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首页> 外文期刊>Erdkunde >THE CHINAFICATION OF HOLLYWOOD: CHINESE CONSUMPTION AND THE SELF-CENSORSHIP OF US FILMS THROUGH A CASE STUDY OF TRANSFORMERS AGE OF EXTINCTION
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THE CHINAFICATION OF HOLLYWOOD: CHINESE CONSUMPTION AND THE SELF-CENSORSHIP OF US FILMS THROUGH A CASE STUDY OF TRANSFORMERS AGE OF EXTINCTION

机译：好莱坞的追捕：中国消费和美国电影的自我审查通过案例研究灭绝时代

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摘要

For Hollywood films, the international box office is now financially more important than the domestic market China will soon become the world's largest box office for Hollywood films. To gain access to the Chinese market foreign films must be approved by China's government. Movies must not disparage Chinese culture, landmarks, or the government. Eager to comply, Hollywood producers are not waiting until they are reviewed to make changes and instead are self-censoring in advance rather than risk being denied access. In this paper, I use a representation-in-relation-to approach to cultural geography that positions a film's text in relation to its production practices to understand the way Hollywood is remaking itself to appeal to China. The representation-in-relation-to approach takes practice seriously without jettisoning the power of representation. I apply this approach to Transformers: Age of Extinction, which through its production practices provides a case study on what trade publications are referring to as the 'Chinafication of Hollywood.' In an industry driven by profit, the Chinafication of Hollywood is a form of influence that further limits the creativity and uniqueness of Hollywood movies by prescribing what gets made and how it is represented. Transformers: Age of Extinction is an important cultural text, not for its narrative content, but for how its representation relates to the production practices that allowed it to become China's largest grossing film at that time and the only billion-dollar blockbuster of 2014.
机译：对于好莱坞电影，国际票房现已在经济上比国内市场更重要，中国将很快成为世界上最大的好莱坞电影票房。要获得中国市场的外国电影必须得到中国政府的批准。电影不得贬低中国文化，地标或政府。渴望遵守，好莱坞生产商在审查方面没有等待，以进行更改，而是提前自我审查而不是被拒绝进入的风险。在本文中，我使用代表性 - 与文化地理学的方法定位，这些文化地理位置将电影文本与其生产实践有关，以了解好莱坞重新制定本身以吸引中国的方式。结论的代表性 - 致力于治疗，而不会抛弃代表的力量。我将这种方法应用于变形金刚：灭绝的年龄，通过其生产实践提供了案例研究，就什么贸易出版物称为“追随好莱坞”。在一个由利润驱动的行业中，Hollywood的追随者是一种影响的形式，进一步限制了好莱坞电影的创造力和唯一性，通过规定所做的成果以及它是如何代表的。变形金刚：灭绝的年龄是一个重要的文化文本，而不是其叙述内容，而是其代表性如何涉及其当时成为中国最大的汇总电影的生产实践以及2014年唯一十亿美元的百万股。

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