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Background
Film production in China and Taiwan has evolved over the years because of the changes in socio-economic and political forces. According to Poujol (2019), the evolution of the film industry in the two countries can be traced back to the period when the region was under Japanese rule. The imperial rulers used films to popularize specific policies that favored them. When China gained its independence, the rulers of these nations adopted the policy of colonial power. The same has been witnessed in Taiwan where films are viewed as a powerful tool that can help the government to influence public opinion. Currently, film production is rapidly evolving in Taiwan because of the economic and political changes in the country. Producers have become more independent from state control, and are now focused on the economic aspect of the industry. Their goal, besides being interested in entertaining and informing the public, is to make money (Yeh, 2018). The same wave is being witnessed in China. However, the Taiwanese government is more interested in influencing the film industry than that of China. According to Wang (2020), film production is a complex process that is influenced by numerous external forces, which include emerging technologies, political forces, and economic factors, socio-cultural forces, and the vested interest of the producers. There is a need to have a detailed understanding of these forces and how they influence the industry. In this study, the focus is to assess film production in Taiwan and China from a political economy perspective.
Importance of the Study
Hollywood films have dominated the global film industry for decades. Fenton (2020) explains that for over a century, the American film industry has enjoyed massive freedom from close control of the government. They have had the opportunity to primarily focus on entertaining the audience and generating income from the process. The producer’s concerns would be to generate income that would sustain their businesses. Sometimes they would use films to criticize the government and to champion for rights of the minorities. Players in this industry know that they can focus on their work without fear. The same cannot be said for the film producers in Taiwan and China.
The film industry in the two countries has experienced rapid growth over the past five decades. However, Stuckey (2018) observes that there has been a tight control of the industry by state. Direct criticism of the government through films, as is common in the United States and other western countries, remains uncommon in the country. Instead, there is an unwritten rule that requires producers to use their work to promote socio-cultural integration, political stability, and economic prosperity. Stuckey (2018) notes that film companies that fail to observe the written and unwritten laws may be subjected to varying degrees of government. The evolution of the industry, especially in terms of freedom from the close government control, is happening faster in China, especially in Hong Kong, than in Taiwan. The Taiwanese film industry is still viewed by the government as a tool that it can use to hold firm control of the masses.
The massive growth of the Taiwan film industry is supported by the country’s socio-economic growth and political stability. The same growth pattern has happened in the mainland China. Fenton (2020) reports that the Chinese film industry is the second-largest in the world, after Hollywood, producing $ 6.6 billion in revenue. The Taiwanese film industry has also experienced significant growth over the period. However, it is apparent that in both nations, there is a significant influence by the government on the content created. Private players in the industry still lack the freedom that can allow them to develop content based on their perceived socio-economic and political forces in their societies. As they focus on creating revenues from their production, they are also forced to take into consideration the possible reaction of the government.
The study will help in explaining how the political economy of the two countries affects their film industry. China has become the second-largest economy in the world and the Taiwanese economy is also experiencing impressive growth. As it continues to enjoy economic prosperity, the film industry is witnessing unprecedented growth. However, some scholars and players in the industry have argued that government scrutiny and close control of the industry have hurt the growth of the sector (Poujol, 2019). In this creative industry, it is necessary to ensure that some form of independence exists from government control. As long as the industry is not going against the law by championing for uprising or crime, there should be some level of independence. The challenge that the industry has to overcome is to meet the needs of its audience effectively without going against both the written and unwritten laws governing its operation.
Aim and Objectives
It is necessary to define the aim and objectives of the study to help determine the data that should be collected from various sources. It defines the focus of the study, eliminating cases where one collects information that is irrelevant to the research. This research aims to assess film production in China and Taiwan from a political economy perspective. The following are the specific objectives that the researcher seeks to achieve by the end of the study:
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To assess the growth of the film industry in both China and Taiwan;
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To identify and discuss major similarities and differences in the Chinese and Taiwanese film production;
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To determine the impact of the political economy (interrelationship among individuals, companies, government, and public policy) on the film industry in the two countries;
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To propose ways in which players in the film industry, both in China and Taiwan, can overcome the identified challenges.
Literature Review
Film production in China has attracted the attention of scholars for the past several decades. Stuckey (2018) explains that acting in China, and by extension Taiwan, is significantly different from that of the west. It entails martial arts and emphasizes the need to remain loyal to the authority. Most of these films also explain some of the grave consequences that one can face when they disobey those who are in power. On the other hand, films from the west cherish freedom and democracy and the dangers that those who try to embrace dictatorial leadership may face (Yeh, 2018). The contradiction of themes presented in these films has attracted the attention of scholars as they try to assess themes presented and the reality that producers and directors face in their production.
Taiwan has been evolving socially, economically, and politically, within the past five decades. The same economic growth has been experienced in China, which was once home to the largest number of people living below the poverty line, and is currently home to the largest number of millionaires in the world (Poujol, 2019). These transformations have been reflected in the film industry. However, players in the industry are still expected to observe specific norms and practices. The film has remained a cultural tool that promotes patriotism, self-sacrifice, and commitment to societal values and development (Stuckey, 2018). In Taiwan, there is greater scrutiny of activities of the industry, especially on themes that they promote. There is the concern that the industry can become a platform that may promote civil disobedience or even revolution within the country (Wang, 2020). Such concerns often limit creativity among producers and directors as they have to ensure that their products are in line with specific guidelines set by the state.
The study will focus on specific theories that can help explain the growth and development of the film industry in Taiwan and the challenges that they face. Aesthetic Cognitivism is one of the major theories that will be explored in detail in this study. This theory holds that the value of art, and how it should be perceived, goes beyond the creation of delight, pleasure, amusement and emotional catharsis (Stuckey, 2018). It is also a source of understanding and a means of passing critical information to the audience. It means that although films are meant to entertain and amuse the audience, they also present critical messages that should be taken into consideration. When producers and directors are unable to present the message freely because of political reasons, then the quality of such a film may be compromised. Other theories that will be reviewed include Schreiber theory, linguistic film theory, and feminist theory.
Women are increasingly playing a major role in the film industry in Taiwan. According to Wang (2020), women are now going beyond acting, to being screenwriters, directors and producers. Some of the prominent female directors and producers in Taiwan include Sylvia Chang, Lingo Hsieh, Huang Yu-shan, Sylvia Chang, and Lingo Hsieh among others. In China, some of the leading female directors and producers include Li Shaohong and Ann Hui (Qin & Chien, 2021). They have revolutionized the industry by bringing in feminist views into the film production. Their prominent roles in film production has meant that views of women can be expressed in these production. According to Stuckey (2018), niche films is another emerging trend in this industry. Producers are currently targeting specific audience such as children, teenagers, young adults, and the elderly with products that meet their unique needs.
Methodology
When planning to conduct research, it is essential to have a clear plan on how data will be collected from various sources and processed to achieve the aim and objectives of the study. According to Peters and Fontain (2020), at the proposal development stage, one has to clearly define methods that will be used to obtain data. In this project, primary data will be collected from both primary (through survey) and secondary (published materials) sources. The section explains how to have access to the needed data, the sampling method and sample size, which will be used, and the tool got data collection, which will facilitate the process of gathering primary data from the sample. Also explained in this section are data collection administration, data analysis, and ethical considerations that will have to be observed when conducting research.
Data Sources and Access
Data that will be used in the study will come from both primary and secondary sources. Secondary data will be obtained from books, peer-reviewed journal articles, and reliable online sources. Information from these sources will form the basis of the literature review in the report. Thanem and Knights (2019) explain that literature review is an essential part of research because it enables one to understand what other scholars have found out in that field of knowledge. It makes it possible to develop background information before going to the field to collect primary data. It also makes it possible to understand existing knowledge gaps. A detailed review of the literature eliminates the possibility of duplicating an already existing piece of knowledge (Peters & Fontain, 2020). The film industry in China and Taiwan has attracted massive attention from both local and international scholars. As such, finding the relevant materials will not be a challenge.
Once secondary data is collected and reviewed, the next step will be to collect primary data. The film industry in both countries is evolving rapidly. It means that a report published about the industry a decade ago may not accurately present the current situation. As such, collecting primary data makes it possible to understand the current trends, challenges, and practices in the industry. It also offers a perfect opportunity to address knowledge gaps identified when conducting a literature review (Hennink et al., 2020). The researcher intended to interview producers, directors, actors, and experts in the film industry to understand their views and concerns.
Accessing specific individuals who will participate in the study should take a specific pattern that is ethical and acceptable when conducting academic research. The first step will be to identify specific film companies that can help in the collection of data. The researcher will then develop a consent form explaining the aim of the study, its significance, and the role that participants will play. The researcher will then use available means to reach out to the management of these firms and deliver the consent form. If they agree to allow their employees to take part in the study, the researcher will then contact individual employees based on the sampling criteria discussed below.
Sampling Method and Sample Size
The film industry in China and Taiwan currently employs thousands of people directly and indirectly. It may not be feasible to gather data from everyone in the industry because of the limited time the researcher had to complete the study (Hennink et al., 2020). As such, it was necessary to develop a manageable sample to represent the entire population. As mentioned above, it will be necessary to collect data from film producers, directors, and actors in the two countries. These individuals understand the challenges that they go through to prepare these films. They are also in a good position to propose ways in which these challenges can be addressed at individual, firm, and state levels.
Judgmental sampling, also known as no-probability sampling, is considered necessary in this study. This sampling method will enable the researcher to reach out to individuals in specific groups (producers, directors, and actors). The researcher will ensure that each of these groups is represented in the sample. A sample size of 50 individuals will be adequate for the study. They will include 5 producers (3 in China and 2 in Taiwan), 5 directors (3 in China and 2 in Taiwan), and 40 actors (30 in China and 10 in Taiwan). In each of the three groups, participants will be prioritized based on their experience in the industry and academic qualifications.
Primary Data Collection Instrument
The researcher will develop a questionnaire to facilitate and harmonize the process of primary data collection. The document will have three sections. The first section of the document will focus on the demographical factors of the participants. It will help to determine the country of origin/residence of the participant, their age, academic qualifications, and more importantly, their experience in the industry. The second part of the instrument will focus on the current position held by the participant (producer, director, or actor) and the period they have been in that position. The last section of the document will focus on specific issues relating to film production in the two countries and the challenges that they encounter.
The document will have both structured (closed-ended) and unstructured (open-ended) questions. The open-ended questions will make it possible to gather data that will be used in qualitative analysis. These questions will allow respondents to use their words to explain specific phenomena that elaborate on the issue being investigated. As Hennink et al. (2020) observe, it makes it possible to conduct a thematic analysis of the data presented. On the other hand, closed-ended questions will facilitate the statistical analysis of data. Information obtained through such questions will be coded and analyzed mathematically. Such analysis helps in explaining the severity of the issue being investigated.
Data Collection Administration
When the instrument for data collection has been developed, the next step will be to collect data from the sampled population. It would be appropriate to conduct a face-to-face interview with the sampled respondents. Hennink et al. (2020) argue that face-to-face interviews are always the most effective approach to collecting data as it eliminates unnecessary excuses and participants are less likely to lie. However, it was not possible to reach out to the participants physically because of the geographical challenges, the limited time within which the study had to be completed, and challenges associated with the spread of COVID-19. As such, the researcher had to rely on online platforms to deliver the questionnaires to participants.
After getting consent from the management of the targeted institutions, the researcher will contact their employees in the three categories identified above. Making a direct phone call to the selected individuals will be effective. Those who agree to be part of the investigation will receive the questionnaire through their e-mail address or available social network platforms. They will be requested to fill the questionnaire within 30 days and e-mail it back. Regular communication with these participants will enhance the response rate.
Data Analysis Approach
The next stage after data has been collected will be to analyze them in a way that responds to the research aim and objectives. Assessing film production in China and Taiwan from a political economy perspective will require both quantitative and qualitative analysis of data. Qualitative analysis will involve the development of themes based on phenomena that respondents will explain relating to the film industry, its growth trends, and the challenges that they face. On the other hand, quantitative analysis will make it possible to understand the severity of specific challenges in each of the two countries and their impact on the growth and sustainability of the industry. Mixed method research will ensure that there is a detailed discussion of the issue to enable the researcher to provide comprehensive evidence-based solutions.
Ethical Considerations
It is always advisable for a researcher to observe ethical issues when collecting data. Breakwell et al. (2020) emphasize the need to ensure that the identity of participants is protected. Ensuring that all respondents remain anonymous helps in ensuring that they are not exposed to criticism or any form of attack because of their opinion, which may be different from that of the majority of those in positions of power. Instead of using their names, the researcher intends to assign codes to the participants. Consent will have to be obtained before any participant is contacted. Participation in the study will also be voluntary, as Thanem and Knights (2019) recommend. As academic research, all forms of plagiarism will be avoided, as the school demands.
References
Breakwell, G. M., Wright, D. B., & Barnett, J. (Eds.). (2020). Research methods in psychology (5th ed.). SAGE.
Fenton, C. (2020). Feeding the dragon: Inside the trillion dollar dilemma facing Hollywood, the NBA, & American business. Post Hill Press.
Hennink, M. M., Hutter, I., & Bailey, A. (2020). Qualitative research methods (2nd ed.). SAGE.
Peters, B. G., & Fontain, G. (2020). Handbook of research methods and applications in comparative policy analysis. Edward Elgar Publishing.
Poujol, P. (2019). Online film production in China using blockchain and smart contracts: The development of collaborative platforms for emerging creative talents. Springer.
Qin, A., & Chien, C. (2021). China’s women filmmakers are embracing their stories. Moviegoers are loving it. The New York Times.
Stuckey, G. A. (2018). Metacinema in contemporary Chinese film. Hong Kong University Press.
Thanem, T., & Knights, D. (2019). Embodied research methods. SAGE Publications.
Wang, K. J. (2020). Hong Kong popular culture: Worlding film, television, and pop music. Palgrave Macmillan.
Yeh, E. Y. (Ed.). (2018). Early film culture in Hong Kong, Taiwan, and Republican China: Kaleidoscopic histories. University of Michigan Press.
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