By Chris Berry, Luke Robinson
This booklet is the 1st anthology of study dedicated to the booming global of chinese language movie fairs, masking either mainstream and self sustaining movies. It additionally explores fairs within the Chinese-speaking global and gala's of chinese language movies within the remainder of the area. The booklet asks how chinese language movie gala's functionality as websites of translation, translating chinese language tradition to the realm and global tradition to Chinese-speaking audiences, and in addition how the overseas movie pageant version is being remodeled because it is translated into the Chinese-speaking world.
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Additional resources for Chinese Film Festivals: Sites of Translation
30 In line with the contingency approach, festivals should be considered complex sets of functions and activities that respond to changing conditions,which are influenced by external forces such as the political and cultural environments, as well as by the needs of their stakeholders. ”31 Such a multidimensional approach proves useful when discussing BJIFF, as it prompts us to consider the many different contexts—local, national, and international—in which the festival’s management operates. In particular, strategic reputation management as a framework is helpful in making sense of an event that is managed by the state and connected to the national film industry, but is also aimed at establishing its position on the international film festival circuit.
But what does interest me is the local significance of the translation of elements of the business festival model into the HKIFF. Although not directly discussed in Cheung’s critique, the other significant event that precedes corporatization is the 1997 transfer of power from London to Beijing, in accordance with the 1984 Sino-British Joint Declaration on Hong Kong. 29 In these circumstances, HKIFF joined the many local institutions whose continued unchanged practices might reassure Hong Kong citizens SHANGHAI AND HONG KONG: A TALE OF TWO FESTIVALS 23 of the preservation of the local identity and culture that HKIFF had itself participated in building in the 1970s and 1980s.
Pollacchi argues BJIFF provides a spotlight for the Chinese film industry, which, although burgeoning, lacks sufficient glamor opportunities. Although SIFF also provides glamor opportunities for the industry, its main purpose has been to boost Shanghai itself as a world city. This argument can be supported with how it has managed its red carpet events historically. As Pollacchi rightly points out, these red carpet events like the opening and closing ceremonies are the main opportunities for publicity, are often broadcast live on television, go on much longer than at comparative festivals elsewhere and often include all manner of people who would not otherwise be in town.