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The phenomenon of the American movie diplomacy in China was unique. While exchanges in other fields were shrinking, movie diplomacy developed free from negative effects due to the deteriorating general relationship. Why was this?
Starting from 7 May 1981, the first American film week was conducted in Beijing and four other cities. The movies were old and comparatively dull: a musical entitled Singing in the Rain, a cartoon Snow White and three feature films, including Guess Who's Coming to Dinner. The list shows that all movies reflecting contemporary American life were ruled out. But they were met by interested audiences and the event claimed to be a success. Obviously, the American officials involved in this event might have liked some contemporary films to be included in the list. Nonetheless, these films suited the Chinese officials' appetite. The whole thing was under China's control and there was no imposition of American suggestions on Chinese leaders.
Putting the inflow of foreign culture under the control of the government is a vital policy in China's cultural relations with other countries. Cultural policy in China, as has been pointed out, is very much under the influence of political developments and culture in turn also has a strong impact on politics. So it is important to have a stable and balanced cultural policy, which requires, in this case, control of the influx of Western culture. During the four years from 1981, the CFEIC, China's only agency handling the importation of foreign movies, carried out a rather consistent policy in purchasing American movies, conforming to the requirement of political considerations, the development of Chinese movie making and practical needs.
When importing an American movie, exposing the dark side of the capitalist society took high priority in governing the selection of specific movies. This policy was best explained in a review of Nightmare, a gift of an American company, shown in 1979. In a review entitled "In the Mill of Nightmares", indicating that American society is a generator of nightmares, the author tells his readers that what is shown in that movie is a general phenomenon in America. In deciding on accepting movies like Alambrista, First Blood and Guess Who's Coming to Dinner, this selection of negative images of America can be seen clearly. In fact, this criterion was, and is still, applied to the choice of movies from all Western countries.
89
The phenomenon of the American movie diplomacy in China was unique. While exchanges in other fields were shrinking, movie diplomacy developed free from negative effects due to the deteriorating general relationship. Why was this?
Starting from 7 May 1981, the first American film week was conducted in Beijing and four other cities. The movies were old and comparatively dull: a musical entitled Singing in the Rain, a cartoon Snow White and three feature films, including Guess Who's Coming to Dinner. The list shows that all movies reflecting contemporary American life were ruled out. But they were met by imterested audiences and the event claimed to be a success. Obviously, the American officials involved in this event might have liked some contemporary films to be included in the list. Nonetheless, these films suited the Chinese officials' appetite. The whole thing was under China's control and there was no imposition of American suggestions on Chinese leaders.
Putting the inflow of foreign culture under the control of the government is a vital policy in China's cultural relations with other countries. Cultural policy in China, as has been pointed out, is very much under the influence of political developments and culture in turn also has a strong impact on politics. So it is important to have a stable and balanced cultural policy, which requires, in this case, control of the influx of Western culture. During the four years from 1981, the CFEIC, China's only agency handling the importation of foreign movies, carried out a rather consistent policy in purchasing American movies, conforming to the requirement of political considerations, the development of Chinese movie making and practical needs.
When importing an American movie, exposing the dark side of the capitalist society took high priority in governing the selection of specific movies. This policy was best explained in a review of Nightmare, a gift of an American company, shown in 1979. In a review entitled "In the Mill of Nightmares"," indicating that American society is a generator of nightmares, the author tells his readers that what is shown in that movie is a general phenomenon in America. In deciding on accepting movies like Alambrista, First Blood and Guess Who's Coming to Dinner, this selection of negative images of America can be seen clearly. In fact, this criterion was, and is still, applied to the choice of movies from all Western countries.
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