Symbolic analysis of the poster of the Korean film Missing: Gone Woman and the Chinese film Find you

2021 ◽  
Vol 65 ◽  
pp. 613-636
Author(s):  
Yingqiang Chen ◽  
Kyung-min Kwon
Screen ◽  
2019 ◽  
Vol 60 (2) ◽  
pp. 332-341
Author(s):  
Sangjoon Lee

2017 ◽  
Vol 2 (1) ◽  
pp. 74-89 ◽  
Author(s):  
Kai Soh ◽  
Brian Yecies

Since the early 2000s, the Korean Wave (aka Hallyu) has influenced Greater China in enterprising and complex ways that diverge from the ways in which Hallyu has impacted other markets. At the same time, since China joined the Word Trade Organization in 2001, art, culture and media production have been largely transformed from vehicles for state propaganda into new gateways for producing and showcasing popular commercial entertainment. Korean producers have played a significant role in this evolving transformation, albeit in a cultural space that the Government of Mainland China still uses and shapes as an important mouthpiece of the Party-state. While media headlines accentuate these progressive pathways, there is a dearth of scholarly commentary on the ways in which Korean film practitioners are contributing to this new era of cultural globalisation in China. To shed light on this emerging topic, the authors examine Chinese audiences’ reception of the Korean film Miss Granny (2014) and the most successful Korean–Chinese co-production to date, its Chinese remake 20 Once Again (2015). The article utilises data drawn from Douban, a major Chinese entertainment and popular culture social networking site, to assess the ‘inconspicuous’ impact of the cinematic component of the Korean Wave on Chinese cinema. In taking this approach, the authors seek to assess the importance of localized film content for Chinese audiences, as well as canvassing a range of hitherto unknown opinions about ‘Korean’ and ‘Chinese’ styles of storytelling.


2018 ◽  
Vol 14 (3) ◽  
pp. 251-284
Author(s):  
김서운 ◽  
HyoIn Yi
Keyword(s):  

SAGE Open ◽  
2020 ◽  
Vol 10 (4) ◽  
pp. 215824402098330
Author(s):  
Chi-Wei Su ◽  
Lu Liu ◽  
Kai-Hua Wang

This article investigates bubbles in the Chinese film industry to reveal the industry’s boom and bust process that influences employment, citizen’s livelihoods, and even economic growth. We adopt the film stock index to reflect the industry’s trajectory and employ the generalized and backward sup augmented Dickey–Fuller tests to detect bubble periods. Empirical results indicate that there are three positive bubbles in 2007, 2013, and 2015, indicating that the film market continues to expand after temporary frustrations. Meanwhile, one negative bubble is found in 2019, which demonstrates that the bubble’s negative impacts persist and the film industry is still having problems such as declining industrial output. Economic growth, film quality, and industrial policies are common factors for all bubbles. The global financial crisis, capital in- and outflows, internet giants’ entry and sky-high remuneration are reasons for certain bubble behaviors. Hence, market practitioners should actively recognize bubbles and observe their evolution, which will favor industrial stabilization. A perfect legal system, moderate industrial policies, a competitive market environment, and other measures are needed to confront the opportunities and challenges.


2021 ◽  
Vol 13 (4) ◽  
Author(s):  
Rocío Bernal-García ◽  
Felipe Gómez-Moreno ◽  
Francisco J. Serrano ◽  
César Heras ◽  
José Yravedra

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