Tag: China in Hollywood

The New York Analysis of Policy and Government concludes its review of  China’s growing control over Hollywood, and how this impacts upon the very survival of American culture.

In May, Small Wars Journal’s  Darren E. Tromblay outlined the issue of China’s use of Hollywood. “China has a well-established respect for information warfare.  Chinese companies have made a variety of acquisitions in the United States that it can leverage to influence U.S. decision-making.  While certain aspects of this buying spree – telecom and media purchases – have made national headlines and prompted U.S. government inquiries, China’s entry into – and consolidation of its holdings in – the entertainment field provide a vector that has not been sufficiently scrutinized…Since 2012, Chinese entities have made a significant push into the U.S. film production and distribution industry.  Chinese involvement in this area creates two primary concerns.  The first of these is that, by gaining control of distribution, China can effectively diminish the impact of films that it deems to be objectionable to Beijing’s interests.  China may take offense at any number of themes – ranging from portrayals of the country as an aggressor to glorification of protest and civil disobedience – that have filled U.S. movie screens.  A second, complementary, concern is that China will develop the resources to produce content with thematic elements supportive of a “China solution”.  Sympathetic, non-Chinese-produced, portrayals have already entered American theaters (one need look no further than the recent Disney nature flick, “Born in China”) – it is entirely plausible that Chinese producers will be able to capitalize on these sentiments with their own content.”

In the broad marketplace of ideas, it could be speculated that American audiences should be able to see through Hollywood’s sellout to Chinese censorship.  The problem is that the ability to do so is hampered by a U.S. education system that has deemphasized the teaching of history and civics, and that has adopted anti-American curriculums that are, at times, even more hostile (and inaccurate) than those portrayed by China or other hostile regimes.

A National Association of Scholars report   on the issue of public education’s “New Civics” outlines why young Americans are already primed to be susceptible to foreign propaganda that portrays America as an evil nation. It found that:
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“What we call the  ‘New Civics’ redefines civics…Rooted in the radical program of the 1960s’ …Though camouflaged with soft rhetoric, the New Civics, properly understood, is an effort to repurpose higher education. The New Civics seeks above all [dedicated] to …elevating international ‘norms’ over American Constitutional law, and disparaging our common history and ideals…Because middle schools and high schools no longer can be relied on to provide students basic civic literacy, the subject has migrated to colleges. But colleges have generally failed to recognize a responsibility to cover the basic content of traditional civics, and have instead substituted programs under the name of civics that bypass instruction in American government and history.”

A Federalist study agrees. “…a retired AP teacher named Larry Krieger took a look at the new APUSH [Advanced Placement U.S. history] guidelines that had started to circulate. He has examined the AP tests for decades because he coaches for the exams (and, not incidentally, has won awards from College Board for his AP teaching). What he saw alarmed him. He teamed up with American Principles Project fellow Jane Robbins, who is nationally known for her incisive criticism of Common Core…’The new Framework inculcates a consistently negative view of the nation’s past. For example, the units on colonial America stress the development of a ‘rigid racial hierarchy’ and a ‘strong belief in British racial and cultural superiority.’  Third, they noted that the new framework ignored pivotal figures and events in favor of less-important individuals and events that reinforce a leftist narrative of U.S. history: “It excises Benjamin Franklin, James Madison, and the other founders from the nation’s story. George Washington’s historical contributions are reduced to a brief sentence fragment noting his Farewell Address. Two pages later, the Framework grants teachers the flexibility to discuss the architecture of Spanish missions, suggesting it merits more attention than the heroes of 1776.” Krieger also conducted a meticulous dissection of the anti-American themes and anti-knowledge gaps in the extensive new curriculum framework. These include emphasizing exploitation, racial conflict, and economic determinism, and omitting the Pilgrims, all Revolutionary War battles, Alexis de Tocqueville, Uncle Tom’s Cabin, and much more.”

Emmet Tyrell, editor of the American Spectator,  has repeated an oft-heard refrain: “Culture trumps politics.” From the anti-American bias of the nations’ educational system to the new reign of Chinese values in our entertainment, the United States is in danger of losing its identity within a generation.

The biggest story in Hollywood surpasses even the Weinstein scandal.

Recently, a rather boring, third rate science fiction film, Geostorm, opened. It featured an absurd plot, miscast actors, and a woeful script.  The movie’s premise was that an American official plotted to use advanced weather control technology to wipe out enemy nations, even though no war was underway.

Why should you care? That basic concept, that the U.S. is a malevolent nation, is becoming increasing common, both on television programs and feature movies.  It is not a coincidence that these concepts have become increasingly prevalent as Hollywood increasingly is financed by China. NBC’s  Ronan Farrow reports that “If you got to a movie theater right now, there’s a pretty good chance that the film you see will have been partially financed in China.” Beijing has not been subtle about using its monetary muscle to induce the famously “for sale” chieftains of Tinsel Town to spread its propaganda.

Business Insider notes that “Chinese outbound capital has begun to have substantial influence in Hollywood. Hollywood is increasingly a destination for media investment by Chinese companies in individual projects, in US-based offices, and even entire studios. Alibaba reportedly invested in the 2015 Hollywood film “Mission: Impossible—Rogue Nation.” The China Film Group has been linked as an investor to the record-breaking “Furious 7” movie. Chinese entertainment and technology firm LeTV established its US offices in Los Angeles in 2015. In April 2015, Chinese film studio Huayi Bros. made an agreement with American motion picture company STX entertainment to co-produce and co-distribute 12 to 15 films. In January 2016, the Dalian Wanda Group acquired American studio Legendary Pictures, making it the first Chinese firm to own a Hollywood studio. Rather than made in China, Hollywood studio productions will also increasingly be made by China—or rather, by Chinese companies investing in Hollywood.”
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The Washington Post’s Ana Swanson  has written that “China has never been shy about its desire to acquire “soft power” – the kind of cultural and economic influence that can’t be wielded by military might. And Hollywood has often been a partner in its project…These deals have sparked concern over whether China’s expanding influence in Hollywood could lead to more pro-Chinese propaganda in U.S. films. The Chinese government tightly controls media content, and Hollywood studios have been known to alter films to feature China or the Chinese government in a more flattering light to gain access to the country’s lucrative film market…”

Last year, the House of Representatives Appropriations Committee expressed concern about foreign media entities “which may receive funding and/or direction from a foreign government with the intent to serve propaganda goals and censor content in the United States.”  Its basic finding that to appease China, and in the hopes that its films will be allowed by Beijing censors to be shown in the lucrative Chinese market, Hollywood is following Chinese censors guidelines in producing films.

A Report  by the U.S. China Security Review Commission found that “China’s strict regulation of entertainment imports, including foreign films, violates the country’s World Trade Organization (WTO) commitments, as determined in a 2007 WTO decision calling for China to open its film market to foreign films. After years of noncompliance and inaction, China partially opened its film market in 2012 following a deal with the United States. The deal allowed for the import of 34 films each year—up from the previous limit of 20 films—in exchange for a temporary suspension of further U.S. WTO actions against China’s film importation policies. During Chinese President Xi Jinping’s September 2015 visit to the United States, the Motion Picture Association of America and China Film Group reached two new film agreements, which could increase market access for foreign films in China. Based on recent history, however, promises that China will further open its film market should be viewed skeptically. Chinese box office sales have increased alongside China’s standard of living, resulting in China surpassing Japan as the world’s second largest film market (behind the United States) in 2012. If global film market growth rates remain consistent over the next few years, many experts expect China to surpass the United States as the largest film market in the world as early as 2018. Hollywood relies on China’s film market for revenue, but the process to get films into China is arduous due to strict and opaque regulation of film imports. China’s regulations and processes for approving foreign films reflect the Chinese Communist Party’s position that art, including film, is a method of social control. As a result of these regulations, Hollywood filmmakers are required to cut out any scenes, dialogue, and themes that may be perceived as a slight to the Chinese government. With an eye toward distribution in China, American filmmakers increasingly edit films in anticipation of Chinese censors’ many potential sensitivities.”

The Report Concludes Tomorrow.