Please use this identifier to cite or link to this item: 192.168.6.56/handle/123456789/30936
Full metadata record
DC FieldValueLanguage
dc.contributor.authorcurtin, michael-
dc.date.accessioned2018-12-14T07:38:18Z-
dc.date.available2018-12-14T07:38:18Z-
dc.date.issued2007-
dc.identifier.isbn978-0-520-25133-5-
dc.identifier.urihttp://10.6.20.12:80/handle/123456789/30936-
dc.descriptionAt the turn of the twenty-first century, feature films such as Crouching Tiger, Kung Fu Hustle, and Hero—each of them coproduced with major Hollywood studios—marched out of Asia to capture widespread acclaim from critics, audiences, and industry executives. Taken together they seemed to point to a new phase in Hollywood’s ongoing exploitation of talent, labor, and locations around the globe, simply the latest turn in a strategy that has perpetuated American media dominance in global markets for almost a century and contributed to the homogenization of popular culture under the aegis of Western institutions.1 These movies seem to represent the expanding ambitions of the world’s largest movie studios as they begin to refashion Chinese narratives for a Westernized global audience. Yet behind these marquee attractions lies a more elaborate endgame as Hollywood moguls reconsider prior assumptions regarding the dynamics of transnational media institutions and reassess the cultural geographies of media consumption. For increasingly they find themselves playing not only to the Westernized global audience but also to the world’s biggest audience: the Chinese audience.-
dc.languageenen_US
dc.language.isoenen_US
dc.publisherUniversity of California Pressen_US
dc.subjectMotion pictures—Chinaen_US
dc.titlePlaying to the World’s Biggest Audienceen_US
dc.typeBooken_US
Appears in Collections:Film and Television Production

Files in This Item:
File Description SizeFormat 
211pdf.pdf1.54 MBAdobe PDFView/Open
Show simple item record


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.