Globalisation has adversely impacted film industries in all aspects of production, ultimately improving cinematic quality and diversity across various global markets. The development of film industries in conjunction with globalisation has both positive and negative factors to be considered. The U.S exemplifies global success as a film industry, where as the Chinese film industry is lagging behind as it struggles to attract large international audiences.
There is an increasing popularity of Indian cinema across various global markets and it has the potential to challenge Hollywood’s cinema hegemony (Karan & Schaefer 2010). An emerging interest in the Indian culture and ‘Bollywood’ can be attributed to socio-cultural variations and hybridization, consequent of formal and informal global network channels. Without globalisation, competition between various global film industries would not exist. Consequently, without the competition, cultural hybridity and hetrogenization would not exist within cinema (at least not as successfully). These factors are important in filmmaking as it is through the inclusion of both local and global elements that content is appealing to a wider audience (Karan & Schaefer 2010). However, it is arguable that through the hybridization of culture and borrowing cultural concepts that cultural identity is lost as a result of misinterpretations and lack of understanding.
The Chinese film industry, for example, lacks the inclusion of both local and global elements; this is one of the many challenges that the industry is facing due to globalisation. However, in analysing the Chinese producer’s problems and competition, alternative methods and ways in which they may be able to achieve more success in a fierce and western-dominant film industry have been suggested. Chinese Confucian culture promotes imitation and tradition, evidenced in their cinema, however lacks the creativity, innovation and the technical skills necessary to compete with other global markets (Huiqun 2010). With an abundance of talent and historical resources, if utilized in a way that American film producers have in the past, Chinese productions have the potential to attract large local and international audiences (Huiqun 2010).
Huiqun, L 2010, ‘Opportunities and challenges of globalization for the Chinese film industry’, Global Media and Communication, vol. 6, no. 3, pp. 323-328
Jin, D.Y 2012, ‘Transforming the global film industries: Horizontal integration and vertical concentration amid neoliberal globalization’, International Communication Gazette, vol. 74, no. 5, pp. 405-422
Karan, K and Schaefer, DJ 2010, ‘Problematizing Chindia: Hybridity and Bollywoodization of popular Indian cinema in global film flows’, Global Media and Communication, Vol.6, No.3, pp.309-316