Even if it means cutting/changing grand parts of their films, Hollywood is bewitched by China’s box
office.
I came across an interesting and captivating article
concerning Hollywood’s interest in making a bigger cinematic breakthrough in
China, not in terms of ‘filming making’
but in terms of profit. Marsh investigates China’s cinematic success within fast growing cinemas and ‘daily’ box
office smash; additionally highlighting that there is an increase of cinemas
being built.
Films now screened
within China must first be reviewed by the S.A.R.F.T [state administration of
radio, film and television], attending then an approval or rejection. Whether
filmmakers submit their scripts before hand or include any reference to
China/Chinese culture or wish to film within the territory, it is preferred if an
official member assists/report the production (particularly on Chinese
locations). Furthermore, if these films
involved Chinese actors and story lines it would be more appreciated.
This article had me expand my research and I encountered
further information regarding Chinese censorship on Hollywood films,
simultaneously references to particular movies that have undergone certain adjustments.
Obviously, it’s hard
to truthfully and adequately portray certain elements of a culture which is not
your own or eventually inappropriate to portray those cultures within a
particular stereotype. The Karate Kid
(2010) was initially discarded because its villain was Chinese, more than 10
minutes were cut from Men and Black 3 (2012)
as it showed an “alien” Chinese waitress, in Skyfall (2012) a scene displaying the shooting of a Chinese guard
was cut out. Surprisingly even Kate Winslet’s ‘portrait scene’ was censored
when Titanic (1997) came out in 3D
(2012).
“For American’s, the hard part is knowing what might suddenly
cause trouble – initial approvals notwithstanding”, (Cieply & Barnes,
2013). I found that films such as The
Departed (2006 - remake) and Pirates
of the Caribbean: at world’s end (2007) were both banned in China. The
reasons concerned references about Chinese people which weren’t much esteemed,
in other films issues are also ‘religious-related’ (i.e. Life of Pi, 2012).
There was also a period in which, not too long ago, the
S.A.R.F.T imposed a blackout of foreign films in the cinemas: its main aim was
to connect the audience with ‘domestic movies’ of Chinese Culture. This did
raise some controversy for those who love watch Hollywood films, due to the
Communist Party’s [who control the S.A.R.F.T] excessive ‘censorship power’.
Although it may be argued that,
to an extent, certain cuts may not be drastic: many of those that I have read
about Chinese censorship involve excluding cynical
images. This brings me to highlight that in many Hollywood films, foreign
individuals, such as Chinese and/or Russians, are set as villains against the
American hero, but alternatively not all are portray in the same way. Let’s not
forget our favorite Chinese kung-fu
hero Jackie Chan. 
“There is a lot of frustration about the rules and censorship
and hurdles and difficulties of getting a film made and distributed in China”,
(Cain in Marsh, 2013). This statement particularly made me think about
Hollywood’s remakes of foreign films: Let
me in (2010), Quarantine (2008), The Grudge (2004), The Ring (2002) and so on. It’s a very increasing tendency of
Hollywood to remake an overseas film, whether it is successful or not; O’Neil
explains that some filmmakers fear that producing something original [in a
studio] could be risky and expensive and simply, Hollywood remakes effective
foreign films for American audiences to enjoy.
"My advice to audiences is go see
the proven hit to appreciate it. Chances are, with the remake, Hollywood is
just serving up re-fried beans that aren't very tasty."
- O’Neil
AG
Bibliography
Marsh, J. (2013), Hollywood
rolls out Red carpet, Metro in focus, London
Articles
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