Working film in China Overview – China has a thriving film industry, which has experienced rapid growth in recent years. The Chinese film industry produces a variety of films, including domestic productions and co-productions with other countries. China also has a large cinema market, with thousands of theaters across the country.
China is a popular filming location for both domestic and international productions due to its diverse landscapes, cultural richness, and modern infrastructure. Many films and TV shows have been shot in China over the years, including blockbusters like “Transformers: Age of Extinction” and “The Great Wall.”
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The Chinese government has also implemented various incentives to encourage foreign productions to film in China, including tax rebates and streamlined permit processes. However, it’s worth noting that filming in China can also come with challenges, including language barriers, cultural differences, and strict regulations around content and censorship.
Part 1: Working film in China – Chinese Partners Required
The biggest challenge for foreigners working in China’s film industry is that they cannot function independently due to legal restrictions. China’s film laws restrict foreign companies and content.
Part 2: Working film in China – China’s Censors Are Powerful
China’s film censorship committee approves or rejects movies. Knowing their current regulations is essential. Yes, their current regulations. China lacks film legislation, with CCP influence on censors.
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Part 3: Working film in China – The Import Rules Are Strict
China’s pre-WTO negotiation centered on the number of foreign films allowed in the country yearly.
Part 4: Working film in China – Blacklists are Real, Both for Content and People
Filmmaker Lou Ye was barred from creating movies in China for five years due to submitting films without permission.
Part 5: Working film in China – A New Film Law is Coming
A new draft of the Chinese government’s law promoting the film industry was released for public feedback in November 2015. This legislation has been in the works for more than ten years, and numerous draft versions have been released throughout that time, so there is no assurance that the current draft will pass any time soon. But as China’s film industry continues to grow and shine as a beacon of hope in a generally troubled economy, the need for open government will only become more critical.
Part 6: Working film in China – Talent is Hard to Nail Down
The dearth of strong Chinese studios, which results in a lack of great film slates, is one of the main obstacles facing Chinese filmmakers today. As a result, it is challenging to create a production schedule for a set release date. As a result, there is unrest in the casting industry, which is problematic if the goal of filmmaking is to get actors to perform in a controlled setting that is produced by a sizable crew. In China, it’s incredibly challenging for movies to have start dates and for producers to have faith that those start dates would be fulfilled when, for example, the lead actress withdraws from a movie with a modest US$5 million budget because she received a better offer.
Part 7: Working film in China – The Box Office Booms — and It’s Corrupt
In order to protect the market for domestic productions during times when moviegoing is at its highest, Chinese regulators impose unofficial blackout periods on imported movies of varying The Hundred Regiments Offensive is a 2015 Chinese war epic filmlengths: a week around the Lunar New Year (late January to early February), four to six weeks during summer vacation (July and August), the first week in October for National Day (October 1), and a week around Christmas and the New Year by the Western calendar. The blackouts make sure that at the end of the year, domestic films’ gross exceeds that of foreign films. (Box office receipts from joint productions are included on domestic side.)
Part 8: Working film in China – Copyright Protection Does Exist
Chinese authorities and commercial actors have both demonstrated an enhanced awareness of the need to preserve and enforce copyrights. China has a bad image for widespread piracy and disdain of intellectual property (IP) rights. Film piracy is a problem around the world, but in China, where pirate DVD shops have been openly operating for decades and where today’s major online video sites got their start as sources for illegally watching foreign films and TV shows that were not widely available, cultural attitudes toward intellectual property rights and lax enforcement allowed the problem to grow. But as the gatekeepers of the industry have begun to understand that there is money to be made from content, attitudes have begun to change.
Part 9: Working film in China – IP Is An Industry Obsession
Tiny Times, which was directed by Guo Jingming, has become commonplace in China, as has the rush to invest in original intellectual property (IP). The idea of “IP movies,” which are based on intellectual property in the form of characters and tales that viewers are already familiar with via comics, games, TV series, or web series, currently dominates most of the industry conversation on China. Both Rock Dog, which will be released later in 2016, and Go Away, Mr. Tumor, China’s entry for the 88th Academy Awards, are based on well-known web comics. Talk show presenter He Jiong, who also served as the director of the 2015 coming-of-age movie Forever Young, first adapted a series of well-known novels into the Tiny Times franchise.
Part 10: Working film in China – Private Studios Are Flourishing
Since China’s entry into the WTO at the turn of the century, the structure of the country’s film industry has changed. This is because a portion of the industry that had previously been dominated by a one-party state began to be privatized. The growing admission of international films extended the options for moviegoers and put pressure on local players to step up their game, making that seminal event in 2001 one that would upend the business.
