Chinese Soft Power and Media Discussion and Updates

FairAndUnbiased

Brigadier
Registered Member
The success of Nezha films indicates that China still has a huge film market, and excellent works can earn extremely high profits, but unfortunately there are too many bad films in China. As for the overseas market, it's too early to talk about it. The problem now is that China needs to make movies that can satisfy the Chinese people first.
Nobody except US can talk down to China in movies, and only Japan and India are even close to equal.

For everyone else their movie industry doesn’t exist and theaters are dominated by Hollywood. Even Saudi Arabia and South Korea almost entirely watch Hollywood.
 

Eventine

Junior Member
Registered Member
If I had to prioritize, I'd say China should be looking to leap frog & dominate new form entertainment industries - video games, streaming video, and AI content being prime among them - not traditional mediums like box office films. This isn't to say box office films shouldn't be made or shouldn't get any attention, but allowing Hollywood films in just to fill empty theaters would be a mistake.

Not to mention, it wouldn't even work, because theater attendance in the West is similarly down - people's behaviors are just changing:

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I introduced the term entertainment power a while back to distinguish it from general soft power, and I remain convinced that is a necessary distinction. South Korea being "cool" doesn't mean it has any real power to wield, and we can see this from how Western investors have basically taken over much of the South Korean entertainment industry and shaped it towards their ends.

Having said that, entertainment power as a vehicle for cultural and ideological power (and thus general soft power) is a concept I admittedly under appreciated in the past. Recently, I've come to the realization that mediums such as TV shows and movies seem particularly influential in shaping the behavior of young people, particularly women, and that it is a contributing factor to the phenomenon of Western or "white" worship in global populations.

To this end, it is important to control the messages that are being carried through entertainment power. Where as you're not going to get much value out of pure propaganda entertainment (as audiences will largely laugh at / reject it), the sort that is particularly dangerous is content that implicitly promotes or reinforces foreign value systems without being very obvious about it, which can flourish particularly in an environment where there is no effective counter messaging.

For example, if you keep watching TV shows that glorify freedom and democracy, and there's no shows that ever criticize those ideologies, chances are you will eventually come to think those values are "correct" and in doing so, be brain washed into a liberal.

Once a converted liberal, you then become susceptible to genuine liberal soft power propaganda, which could inspire you to take actual political action. Entertainment power, in this respect, can act as an entry way drug for whole sale ideological soft power, though whether it does or not, depends on the specific content being considered and whether there is counter messaging available in the larger media environment.
 
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GulfLander

Colonel
Registered Member
The success of Nezha films indicates that China still has a huge film market, and excellent works can earn extremely high profits, but unfortunately there are too many bad films in China. As for the overseas market, it's too early to talk about it. The problem now is that China needs to make movies that can satisfy the Chinese people first.
Improving screenwriting, directing and actor skills maybe could help reach more audience..
 

sunnymaxi

Major
Registered Member
The success of Nezha films indicates that China still has a huge film market, and excellent works can earn extremely high profits, but unfortunately there are too many bad films in China. As for the overseas market, it's too early to talk about it. The problem now is that China needs to make movies that can satisfy the Chinese people first.
NeZha 2 overseas run is overshadowed by its domestic box office performance..

1. USA - $20.8 Million with limited theaters release.. 12th highest grossing Non-English movie of all time

2. Australia - A$5.22 million.. movie outperformed even "Captain America: Brave New World" in terms of per-screen average and occupancy rates

3. Singapore - $4.5 Million.. by far the highest grossing Chinese film.

4. Malaysia - RM50 million gross in Malaysia and become the highest grossing anime movie of all time in the country surpassed Frozen2

5. UK - $1.5 Million in opening weekend.. exceptional performance and movie screened over 250 cinemas across 100 UK and Ireland cities.

NeZha2 earned $60 Million outside China with limited release and only Mandarin language. makers are planning to full fledge release in English dubbed language.

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Chinese content taking over SEA market.. this will definitely help Chinese cinema to grow further in overseas

C-drama fever sweeps Southeast Asia, with shows dominating screens and hearts​


chinese dramas.png

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Mcsweeney

Junior Member
These next 5 years I see a huge usurping of Japan's traditional dominance in animation and video games. Unfortunately, I don't see the term "Donghua" taking on a life of its own as a distinct medium; people will probably just place Chinese animation under the umbrella of "anime" but will nevertheless recognize them as being Chinese shows (the same way everyone knows Genshin Impact is Chinese despite the fact they treat it the same as a Japanese anime-style gacha game).
 

Temstar

Brigadier
Registered Member
The success of Nezha films indicates that China still has a huge film market, and excellent works can earn extremely high profits, but unfortunately there are too many bad films in China. As for the overseas market, it's too early to talk about it. The problem now is that China needs to make movies that can satisfy the Chinese people first.
This, it should be noted film making in China is dominated by something of an informal medieval guild system where the a small clique of talentless people make predictable slop year on year. They don't believe in socialist values and worse couldn't tell a good story if they life depended on it.

Jiaozi and Frant Gwo (director for The Wandering Earth 1&2) are both from outside of that system and represent serious challenges to this established clique. No doubt the commercial success of these two will inspire more outsiders to break into movie making and hopefully wipe out the clique, but this process is very much still in the beginning stages.
 

FairAndUnbiased

Brigadier
Registered Member
These next 5 years I see a huge usurping of Japan's traditional dominance in animation and video games. Unfortunately, I don't see the term "Donghua" taking on a life of its own as a distinct medium; people will probably just place Chinese animation under the umbrella of "anime" but will nevertheless recognize them as being Chinese shows (the same way everyone knows Genshin Impact is Chinese despite the fact they treat it the same as a Japanese anime-style gacha game).
fine with me.

Japan took Chinese characters, government, metalworking and religion. Prior to that they were stone age tribes. China literally saved 1000 years of bronze age feudal warfare for them. What is a minor use of anime compared to saving them 1000 years?
 

Eventine

Junior Member
Registered Member
Borrowing from anime is fine, but China needs more original IPs that are globally popular. It pains me to see Chinese game studios raise the bar on production quality but fail to deliver lasting IPs that become classics, while Japan can turn out low quality cash grabs off of decades old IPs and make hundreds of millions.
 

OppositeDay

Senior Member
Registered Member
Borrowing from anime is fine, but China needs more original IPs that are globally popular. It pains me to see Chinese game studios raise the bar on production quality but fail to deliver lasting IPs that become classics, while Japan can turn out low quality cash grabs off of decades old IPs and make hundreds of millions.

Both Tencent and NetEase are pushing for original IPs. NetEase almost cancelled Marvel Rivals because they didn't own the IP. Tencent's Morefun studio, maker of the best Naruto and One Piece games on the market, is betting big on their Yi Ren Zhi Xia game (The Hidden Ones). I do not agree with some of their creative choices but I hope they do will.
 

Quan8410

Junior Member
Registered Member
Borrowing from anime is fine, but China needs more original IPs that are globally popular. It pains me to see Chinese game studios raise the bar on production quality but fail to deliver lasting IPs that become classics, while Japan can turn out low quality cash grabs off of decades old IPs and make hundreds of millions.
The global taste and China taste is vastly different. What is domestically popular may not be internationally popular. Anyone can enjoy Pokemon but not everyone enjoy Xianxia dramas (which unfortunately there are so many of them). Even Lord of Mysteries Donghua with Western settings is kind of flop right now.
 
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