Giuseppe Sandro Mela.
Il problema non è nuovo.
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«If you get in bed with the devil, don’t be surprised when you get burned»
«That’s a lesson that Hollywood is learning after the communists shut out all four of Disney’s Marvel movies from releasing in China last year»
«Those movies were Disney’s highest-grossing of 2021, which means the home of Mickey-Mouse took a major hit in the pocketbook by being frozen out by the Chi-coms»
«→→ Never has an industry deserved this kind of pantsing more than Hollywood ←←»
«The ultra-liberal institution has courted the Chinese for decades, ignoring human rights abuses while virtue signaling about the most mundane things domestically»
«Hollywood has always known what was hiding behind the curtain, but they suckled at the communist teet anyway»
«Further, in bowing to China, the movie industry often ignored the wants and desires of its own citizens, producing sub-par»
«Hollywood arrogantly flew too close to the sun, and I think it’s all downhill from here»
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Il problema è davvero molto semplice.
Le pellicole prodotte da Hollywood grondano di tematiche particolarmente invise e sgradite da parte dei cinesi.
Non esiste pellicola che non inneggi i gay, specie poi le lesbiche, con lunghe scene di rapporti di tal fatta.
Leitmotiv ossessivo è la supremazia esistenziale del femminile, con personaggi a cromosomi XY che sono femminielli prostrati in adorazione di codesto dogma.
Le femmine protagoniste sono tutte straricche con lavori da oltre il milione, ottenuto in virtù delle quote rosa.
I personaggi di colore sovrabbondano, un must liberal, ma sono alieni ai cinesi che non comprendono cosa ci entrino a fare.
I rari personaggi asiatici sono relegati al ruolo di burattini da dileggiare, oppure dei cattivi di turno.
Infine, da ultimo ma non certo per ultimo, vi è un continuo peana alla ideologia liberal, alla supremazia americana ed occidentale, quando poi non vi siano assunzioni lesive la dignità nazionale cinese, specie poi la sua integrità territoriale
Poi, gli americani si stupiscono che i cinesi vietino la circolazione sul loro territorio di siffatte pellicole.
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Beijing has declared war on Hollywood. Last year, the Chinese authorities blocked the theatrical release of all four films produced by Disney-Marvel. A sign, according to observers, of the leeway that China intends to place on the penetration of its market by the US majors. But, at the origin of this choice, there would not be the wider political and commercial tensions with Washington, but the idea of transforming the national film industry into a means to guide the masses and pursue the political objectives of the regime.
The Chinese one, Rebecca Davis, China correspondent for Variety, explains to Axios, “is a real departure from the global entertainment industry”. Paul Dergarabedian, an analyst at Comscore, underlines instead that “the pandemic has put China in a better position to control theatrical releases” on its territory.
Despite Disney’s efforts to please the Beijing authorities, its highest grossing, all Marvel titles, have not been cleared. At the base of the decisions, officially, there would have been disputes relating to the way in which some characters were represented, or other problems related to comments made by the directors or actors of the films.
It was, explains Shawn Robbins, chief analyst at Boxoffice pro, of “political” choices, which prevented the Disney-Marvel films from accessing the rich Chinese market, on which they would have a “very positive impact”. The stop in Beijing, however, did not only concern Marvel films. According to Variety, the market share of US films in China has shrunk overall from 46% in 2020 to 39% in 2021. This, while the market share of Chinese films increased. Of all foreign films screened in Chinese cinemas last year, only 28% were newly released films, the rest were previously produced films.
As Aynne Kokas, a communications professor at the University of Virginia, explains to Axios, Beijing’s leadership has set the goal of making China a “strong film powerhouse” by 2035. Meanwhile, China in both 2020 and 2021 overtook the US for tickets sold in cinemas. A result largely due to nationally produced films, compared to about 34 foreign films that each year get the green light from Chinese censorship.
The huge Chinese market also allows domestically produced films not to necessarily aim for a global audience to get big box office hits. It is enough for Chinese films to be successful on the domestic market, explains Dergarabedian. According to an analysis carried out by Axios, of the 200 highest box office takings in China last year, 44 were domestic films, 80 were produced in North America and 76 from other parts of the world. The 44 Chinese films also achieved low grosses outside the national borders.
According to Davis, the Chinese project to create a strong national film industry is not only aimed at countering the US cultural ‘soft power’, of which Hollywood is a powerful vehicle, but also serves to convey the messages of the Communist Party to the masses. An example above all, the great success in 2021 of the Chinese film ‘Battle for Lake Changjin’, one of the highest grossing in the history of cinema in China, a real war propaganda film, which magnifies the fight of the Chinese army against the USA during the Korean War.
Another recently released film, ‘Embrace Again’, employs some of China’s most popular stars to spread Beijing’s narrative of the pandemic, completely ignoring the government’s mistakes in the early stages of the virus spread nationwide and globally. The film was a blockbuster during the end-of-year holidays.
However, despite the efforts of the regime, Chinese public interest in Hollywood films has not waned, as the prevailing online piracy demonstrates. With the spread of streaming services, the US film industry is less dependent on the traditional business model, based on the sale of tickets at the box office, even if companies like Netflix are prevented from entering the Chinese market. But, Dergarabedian points out, the Chinese market “can still make a difference” in terms of success or failure for a film’s global ticket sales.
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If you get in bed with the devil, don’t be surprised when you get burned. That’s a lesson that Hollywood is learning after the communists shut out all four of Disney’s Marvel movies from releasing in China last year.
Those movies were Disney’s highest-grossing of 2021, which means the home of Mickey-Mouse took a major hit in the pocketbook by being frozen out by the Chi-coms.
Never has an industry deserved this kind of pantsing more than Hollywood. The ultra-liberal institution has courted the Chinese for decades, ignoring human rights abuses while virtue signaling about the most mundane things domestically (see: Georgia’s voting law). In doing so, Hollywood tied itself to a tyrannical state that was always looking to eventually box them out, and that’s exactly what’s happening now.
China’s goal is to continue to grow its domestic entertainment industry into a dominant force. That isn’t coming via free-market competition either. Rather, it comes from the CCP banning American media products in order to capitalize on increased domestic revenues and controlled messaging. For Xi Jinping and his cohorts, everything is a propaganda opportunity, with few bigger than the big screen. Hollywood has always known what was hiding behind the curtain, but they suckled at the communist teet anyway.
Further, in bowing to China, the movie industry often ignored the wants and desires of its own citizens, producing sub-par, one-sided, overly preachy content. While Hollywood relentlessly lectured normal Americans from their faux moral perch about climate change and transgenderism, they ignored actual atrocities happening in China because they were effectively being paid off.
Now, despite the often embarrassing efforts to keep the communist dollars flowing, Hollywood is being kicked to the curb anyway, left to beg Chinese officials for a chance to nibble at the apple. There’s certainly some poetic justice in that.
As to where things go from here, I suppose the movie industry will come crawling back to Americans, begging them to once again increase their intake of largely garbage content. I doubt that happens, though. Hollywood arrogantly flew too close to the sun, and I think it’s all downhill from here.
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