Chinese Film Industry

Films are regarded as the experience goods in which one is unable to appreciate some traits until he or views them (Connelly, et al. 41). From that perspective, it is apparent that recent interests in the Chinese film industry have remained to be evaluated by the scholars in both the West and East (Song 6). Along with that line, the Chinese film industry has dramatically grown to the extent of receiving intensive attention from other overseas critics. Scientists such as Yingjin Zhang, Xu, McGrath, Zhang Zhen, as well as Berry and Farquhar are concentration on analyzing the different images and phenomena in the current Chinese cinematic shows (Song 6). In this case, their studies have been based on examining the Chinese culture. For instance,

The period was characterized by accelerated film sector reforms by the government. In addition, a number of compilations of the Chinese film industry have since been published. In the year 2005, a comprehensive and authorized research report edited by Yu Jianhong and Zhang Huijun was published (Song 6). The report was entitled “The China Film Industry Annual Report: 2005-2006.” The report incorporated statistics critical to film production analysis, exhibition, as well as production in the year 2005 (Song

In this case, the scientist has written an essay “The Wolf at the Door: Hollywood and the Film Market in China from 1994-2000,” which provides the reader with an introduction to the dynamic association between China and Hollywood as early as in the mid-1990s (Rosen 45). In addition, Rosen (7) examines the impacts of the Hollywood blockbuster movies on the domestic film industry as well as their frustrations with negotiations with China’s governmental bodies. Therefore, the article presents a valuable foundation for exploration of the Chinese film industry since it provides an American perspective on the industry. He further reveals that Hollywood blockbusters led to hot debates amongst the Chinese film producers in the local film market whereby there were arguments that the mid-budget genre films were the feasible solution to addressing the economic crisis of the Chinese media products. Therefore, a research gap exists in studying the influence of the Japanese film developments in film market trend in China. In this case, very few scientists have paid attention to the relationship between film market trends and film developments. In addition, fewer researchers have analyzed the roles of Japanese films in the Chinese film