The Chinese film market is growing rapidly, with analysts expecting it to become the world’s largest by 2020. As a result of China’s economic rise and the decline of moviegoing in the U.S., Hollywood producers are increasingly catering to the Chinese. This raises serious concerns over the strong media influence the Communist Party could gain over global movie markets.
China’s Communist Party bans media content that depicts alcoholism, “glorification of evil,” ethnic conflict, religious themes, anything deemed pornographic or sexually abnormal (including the mere depiction of homosexuals), and anything that “harms public morality” from being shown in China. The wide range of restrictions has caught Hollywood’s attention as the Chinese film market grows.
For instance, Metro-Goldwyn-Mayer and Walt Disney Studios had to re-edit the films “Skyfall” and “Iron Man 3” respectively, in order to clear censors in China. But these censors are now gaining influence even earlier in the production process. American productions such as “Ready Player One,” “Pacific Rim: Uprising,” and more recently “The Meg” were made with the express purpose of turning a profit in China. And as China’s market power continues to grow, Chinese audience appeal is likely to become the de facto Hollywood policy for approving scripts. That’s troubling.
The influence the Chinese market is having on film production can be seen as evidence of a growing Chinese middle class that can afford leisure and entertainment, and that isn’t necessarily a bad thing. But this nonetheless may also have troubling political connotations. As a result of Hollywood’s new, sweeping appeal to Chinese markets, Chinese censors will be able to influence media far beyond their borders.
It’s likely the Communist Party is aware of the sway they now have on American entertainment—and they likely intend to expand it. In March of 2018, management of the China Film Group, the country’s largest film production and distribution company, was reassigned to the Central Committee’s Propaganda Department. The stated intent behind this move was the development of their domestic film industry and the promotion of patriotic films.
But these films include 2017’s “Wolf Warrior 2,” which portrays the heroic Chinese military protecting an African nation from evil American mercenaries, so it’s clear there’s more at stake here than pure patriotism. As Hollywood caters to the dominant Chinese market, more of this geopolitical propaganda may creep into domestic films, helping to promote Chinese values abroad and strengthening the view of the Chinese regime as a stable and efficient alternative to chaotic American democracy.
The impact on the global film industry by Chinese censors is already being felt. A recent study from Johns Hopkins Carey Business School on the effects of Chinese preferences on the global film industry noted that “Chinese society’s aesthetic preference for lighter skin can be linked to the more frequent casting of pale-skinned stars in films targeting the Chinese market.” Alongside this has come an increased drive to cast Asians and Asian-Americans in English-language films.
While increased prevalence of ethnic diversity may appeal to both domestic and foreign markets, sexual diversity does not. The Academy-Award winning “Call Me By Your Name” was banned in China for its portrayal of homosexuality, and actions such as these are likely to reduce the sexual diversity representation in the larger budget films, such as those in the action, adventure, or science fiction genre. In liberal Hollywood, increased diversity initiatives, such as expanding roles for women and minorities, seem to increasingly promote progressive values but are careful not to come into conflict with the Communist Party.
This deference is concerning. Film’s role in influencing culture has long been known, and control over mass media is a common tool used by governments to influence the public. In more globalized markets, coordinated actors are able to take advantage of Hollywood’s desire for a simple formula for picking profitable scripts in order to gain influence. For Hollywood, catering to an authority responsible for the entertainment consumption habits of a specific market has historically been the most reasonable thing to do to avoid a film’s failure.
For instance, prior to the Motion Picture Association of America’s introduction of film ratings, Golden Age Hollywood, which lasted until the 1960s, felt the strong influence of the Catholic Church. It exerted significant control over scripts and production to ensure that the Church wouldn’t have to warn its followers against watching the latest releases.
As American markets prove less lucrative during a film’s theatrical run, Chinese censors are stepping in to fill the authoritative role producers desire, and are gaining the influence that such market power entails. Producers would be wise to think about the values they are conveying in the films they make, being careful to not cross the fine line between clearing Chinese censors and actively promoting the Communist Party’s ideals.
Ryan Khurana is the Executive Director of the Institute for Advancing Prosperity and a contributor for Young Voices.
