PThe ixar love letter to China’s second-generation immigrant family, Turning Red, is a milestone for Hollywood and seems to mark the end of the expected fateful love affair with China. From filming near the camp in Xinjiang Uygur Autonomous Region and thanks to members of the Chinese Communist Party’s publicity department to title stars supporting police violence during protests in Hong Kong in 2019, the film has become controversial. I did.
Subsequent Hollywood-China co-productions have seen similar blowbacks in this form of kowtow to China. Dreamworks’ Abominable (2019) was boycotted by Vietnamese and Malaysian viewers for its explicit support for China’s geopolitical ambitions. Netflix’s Over the Moon (2020) tried to express Chinese culture, but failed in the Chinese box office. Disney’s messy Raya and Last Dragon (2021) also performed poorly in China, leaving a sour taste for the story of pursuing the unification of various “war” kingdoms. A strange but clear nod to Xi Jinping’s centralized strategy.
It seems that the relationship between Hollywood and China has come to an end, indicating that China is steadily “decoupling” from the West. Under the guise of a positive Zero-COVID policy, China has turned inward, and foreign-foreign partnerships place future prospects in Hong Kong as a place to rebuild a “civil society in line with CCP standards.” .. Taiwan is definitely part of that strategy.
As the box office revenues of American movies decline, they are being replaced by high-budget Chinese movies modeled after Hollywood blockbusters. Mood can change rapidly. One notable incident was the Academy Award-winning Chloé Zhao. Social media was scrubbed after state media canceled the Chinese release of the movie after Oscar defeated Nomadland and resurfaced interview comments about China’s surveillance status.
Therefore, we find that we are now in an exciting moment for a Hollywood movie that tells a Chinese story. Directed by Domee Shi (who won the Oscar with a beautiful short bao), “I Occasionally Lesser” is the story of a new generation following the precocious May Lee. A Chinese-Canadian teenager tackling adolescent challenges and the overwhelming expectations of her mother. These appear as transformations into red pandas. If you throw in the curse of a long-standing family and the nostalgia of the 2000s, you can get a universal movie with an uplifting feeling that does not panda. To a specific audience.
A year ago, the legend of Marvel’s Shang-Chi and Tenling was a movie I saw with very low expectations, but not only was it brilliantly made, but it was also littered with Easter eggs that hinted at Chinese whitewash. In particular I was overjoyed that my past (including the bus driver’s badge number, which is the date of the Cheonanmen incident) Canadian star Simu Liu, the reality of the family struggle in communist China and the lemon tea in Hong Kong. When talking about his love for the brand Vitasoy, he was boycotted in China by a stab from a Hong Kong police officer – which led to a backlash.
Sometimes I’m a lesser going one step further. Its main Chinese is Cantonese. Cantonese is Hong Kong’s joint official language that the CCP is trying to curb as another strategy for managing China, as it would if it restricted the use of Mongolian in 2020. These movements have not been overlooked. ShangChi was rejected for release in China, and Turning Red went straight to Disney + streaming services not available in China.
As a result, we are witnessing Asian-American films bloom as China continues to pursue isolation from the world. The end of the situation in Hollywood and China could lead to a promising new future free from binding. Kowtow to the authoritarian regime for money.