Chinese Cinemas in the 21st Century: Production, Consumption, Imagination

Research questions


How does the imagination of self and other drive the production and consumption of Chinese films? How do films, along with their styles, stars and genres, travel from one region to another? In Southeast Asia, for example, a younger generation of directors has displayed stylistic affinities with Chinese filmmakers who have achieved auteur status in world cinema. Why do they choose to draw inspiration from them and not from others?


What are the challenges facing Chinese filmmakers in the production of their films? What are the roles of the state and business, film festivals and distribution companies in producing film? In Europe, for instance, art institutions such as the Louvre and the Musée d'Orsay have commissioned Taiwan-based auteurs to make films in France. Why do these European institutions decide to produce films by Chinese directors?


Who consumes Chinese films and why? How has the mode of consumption of films changed with the advent of digital technology and the Internet? To take an example, in the US, the director Quentin Tarantino has become a key figure in introducing East Asian popular cinema to a wider audience. How has this affected the consumption of these films in the west and what impact does it have in the future production of East Asian (in particular, Chinese) films?