By Shujen Wang
Framing Piracy is the 1st booklet to systematically study movie distribution--legal and illegal--in the biggest and quite often untapped industry on the earth: better China. Tracing networks of optical disc (VCD, DVD) and on-line piracy, this ebook tackles problems with coverage, foreign politics, globalization, and expertise. It deals in-depth analyses of the original industry buildings and copyright governance regimes within the 3 territories--China, Hong Kong, and Taiwan--and incorporates a wealth of unique examine, new info on piracy and distribution, and interviews with international movie vendors, key govt officers, and movie pirates. With adjustments and reforms afoot in China upon its coming into the realm alternate association, this well timed e-book indicates that such ameliorations have far-reaching implications for coverage, thought, and perform.
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Extra resources for Framing Piracy: Globalization and Film Distribution in Greater China
This section explores several specific spatial-temporal contexts: I WTO, globalization, and Sino-American relations; technology developments; ' market conditions (supply and demand imbalance); copyright regulations and , enforcement; spatial organization and networks; and finally issues of reception, ^ consumption, and subjectivity. The USTR Special 301 Episodes China in some ways represents a nightmare scenario for corporate America, a post-Napster Wild West chaos where any intellectual property can be illegally copied, and commonly is.
When viewed from the perspective of being a lucrative market for pirated goods, the consequence of piracy in China takes the form of revenue losses in one single territory. From the perspective of being a production and export base for pirate networks, however, potential losses can be far more immense and damaging. 1), it is one of the most visible in „anti-piracy actions in China (and Asia in general). The Motion Pictures Associaion (MPA) works closely with Chinese customs in investigating, raiding, and ^racking down on pirate factories and smuggling.
Literature and art are subordinate to politics, but in their turn exert a great influence on politics. Because art is perceived to be capable of influencing politics while simultaneously viewed as subordinate to politics, it is believed that government regulations and censorship are necessary. 3 Founded in 1979, the China Film Corporation 61 Chapter 5 Film Distribution in Mainland China became the country's monopoly film enterprise, regulating film distribution and import/export operations. There are two subsidiaries under the China Film Corporation: China Film Export and Import Corporation controls the import and export of films, while China Film Distribution and Exhibition Bureau in China and its regional subsidiaries own the majority of the cinemas and dictate the contractual terms, play dates, admission prices, and other aspects of film exhibition (see Richardson, 1999; and Wu, 1992).
Framing Piracy: Globalization and Film Distribution in Greater China by Shujen Wang