"If you make U.S. films, there are quotas in China and only a few dozen pictures make it to the big screen. Plus they make less money on the backend than co-productions. Co-pros enjoy almost as much profit as domestic films do in China and for that reason alone they are more attractive," explained Zhang.
But Zhang cautioned that the type of content is of primary importance to the success of a co-production and filmmakers need to pick their target audience and not try to appeal to all viewers.
Avery told Xinhua previously, "You need to do Chinese cultural characters right. It has to culturally be sound. The key is be respectful and synergistic with both cultures."
Wendy Weiqun Su, Associate Professor of Media and Cultural Studies at the University of California, Riverside (UCR), feels that more than just market-driven, or profit-seeking partnerships, U.S.-China co-productions are innovative communication models that have the potential to create a space for a new global culture and to help China and the United States to achieve a consensus.
"But the fulfillment of these potentials will require a steadfast effort and the commitment of more than one generation of filmmakers from both China and the U.S.A.," she asserted.
Professor Su authored, "China's Encounter with Global Hollywood: Cultural Policy and Film Industry, 1994-2013," and posited that a global culture and a reshaping of the global media structure are already in the making.
【国际英语资讯:Spotlight: Hollywood insiders weigh in on future of U.S.-China co-productions】相关文章:
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