by Albert Wang for China Film Biz
March 12, 2012
Well no surprise here – Hollywood dominated the mainland Chinese box office once again with 5 films taking a 73 percent share, reaffirming the fact that China’s film industry simply does not yet have what it takes to compete with Hollywood imports at its own domestic box office.
This is an observation that has been written about extensively here on China Film Biz over the past month, and deservedly so – it has been nearly two months since a Chinese film claimed the top box office spot in the mainland. The last time was mid-January, when The Great Magician starring Tony Leung and Zhou Xun opened. Even then, The Great Magician’s reign was short-lived, lasting all of one week before a series of Hollywood imports began their recent streak of domination.
It may seem like we’re beating a dead horse by mentioning China’s inability to produce popular mainstream films for its masses. This is perhaps especially true this week, when even beating a dead horse was something that China literally failed to succeed in doing at the local Chinese box office.
I am referring to the film War Horse, the Steven Spielberg-directed epic war adaptation that is based on a children’s novel. War Horse, which was released in the US on Christmas of last year, found itself atop the mainland Chinese charts this past week, grossing a rather modest $8.8 million over the span of six days.
To put that opening gross in perspective, the week’s second highest grossing film, Journey 2: The Mysterious Island, made $15.2 million in half as many days when it opened in China in mid-February. The Taiwan co-produced romance Love, meanwhile, made $13.9 million over the course of its first seven days of screening on the mainland.
Also opening this past week was the US action-fantasy film animation Conan the Barbarian, which took in $3.1 million over six days to come in at number four at the box office.
Mission Impossible 4 and the previously released family animation Happy Feet Two rounded out the Chinese box office top five.
A recent post here on China Film Biz highlighted several challenges that make it difficult for mainland Chinese filmmakers to make commercially successful films. That post focused mostly on the rules and regulations that stifle what should very well be a vibrant and productive creative culture within the mainland Chinese film industry. Rather than rehash the critical (and very true) observations made in that post, I’m going to focus here a bit on another aspect of the same question – i.e., what I believe needs to be explored in regards to actual film content if China plans on ever developing a successful global Chinese cinema.
Now everyone knows that China will be an increasingly important power in the 21st century. But how will China’s developing economic and geopolitical might translate on a cultural level?
This is a question that the Chinese government is seeking to address in part through the development of a global Chinese cinema. But does the Chinese government, headed by a consortium of book smart and savvy politicians with academic educations largely in engineering, know the first thing about what this global Chinese cinema should look like?
Chinese civilization is often described as being over 5000 years old, and it is in part this rich history that has led many scholars to assert that Chinese culture and society is one that often looks backwards in time with great reverence. You see this reverence for the past played out in Chinese cinema/media through the strong, recurring theme of nostalgia in many Chinese movies. Traveling back in time became such a popular theme in Chinese television that SARFT actually banned the storytelling device from the mainland Chinese airwaves a year or two ago.
In my opinion, the Chinese people’s reverence for the past is an aspect of Chinese culture that will likely hinder the development of a global Chinese cinema. The recent government-produced period films Beginning of the Great Revival and The Founding of the Republic – which featured basically everyone and anyone who has any star power in China/HK/Taiwan – have had little to no global appeal. As rich as it is, Chinese history has little appeal to the average global moviegoer. You can even have a certified A-list Hollywood actor like Christian Bale headlining your Chinese period film, but it won’t get potential moviegoers off their sofas and into theaters.
It’s true that the US and the rest of the Western world are fascinated by China, but not the China of the past. This should be obvious, especially when it comes to the average American – we are a people that aren’t particularly known for caring about history, even our own. Yes, people are aware of China and its rapid economic growth. But it is not China today that people want to know about. It is the China of tomorrow.
Ultimately I believe this is one of the major areas that needs to be explored by the mainland Chinese film industry if it is to succeed at developing a global Chinese cinema. No one really cares what China looks like today, and in some regards they shouldn’t – the country is changing so fast, what you see today will likely be radically different from what you see five years from now.
What people will want to know – whether they realize it yet or not – is where China will end up, because to a large extent, depending on what this future destination of China looks like, so too will the rest of the global world look as well.
Albert Wang is an aspiring producer of US-China film co-productions who joined the Pacific Bridge Pictures team in December, 2011. His previous blog on US-China films can be seen at hollymu.com.