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Reel China: A crash course in different storytelling traditions

Reconciling disparate narratives in China versus America has become a challenge for filmmakers to appeal to Chinese sensibilities and censors.

September 22, 2012|By Clarissa Sebag-Montefiore and John Horn, Los Angeles Times
  • Jet Li, left, and Jackie Chan battle in "The Forbidden Kingdom."
Jet Li, left, and Jackie Chan battle in "The Forbidden Kingdom." (Chan Kam Chuen / Lionsgate…)

BEIJING — Every movie project involves a certain amount of negotiation, but finding middle ground proved no easy matter when writer-director Daniel Hsia tried to film "Shanghai Calling" in China.

To secure permission to make his story about a Chinese American lawyer relocated to the country's largest city, Hsia exchanged numerous screenplay drafts with China's censors. The government's film production arm, China Film, which co-produced the movie, wanted to make sure that Shanghai was depicted as an efficient modern metropolis, that locals were shown as "kind and hospitable," that the visiting lawyer comes to appreciate the country by the film's conclusion and that a plot about piracy would be rewritten into more of a business misunderstanding, Hsia said.

But the most complicated give-and-take focused on the movie's investigative journalist, and the character's heroic path. American movie heroes typically choose greatness, but their path to glory is often sidetracked by failings or doubts as the idol struggles with physical and emotional setbacks. Chinese movie paragons, on the other hand, normally have greatness thrust upon them, are physically and emotionally stable and rarely change over the course of a tale.

PHOTOS: U.S.-China box office comparisons

"American heroes go out of their way to search for trouble," said Hsia, whose movie has played several festivals and will be shown at the Mill Valley Film Festival on Oct. 13 and 14. A Chinese protagonist, conversely, "does what he does because it's his duty, it's his job — not because he wants to do it." Incorporating that fundamental difference, Hsia said, led to "another huge rewrite," and the project was subsequently approved.

For all of the concessions and changes he had to make, Hsia said, "I absolutely would do it again." The movie opened Aug. 10 in China to glowing notices and solid box-office returns, and Hsia said he expects the independently financed film to play in U.S. theaters next year. "I do feel I got to make the movie I wanted to make," he said.

Hollywood and China are separated by more than 6,000 miles, but the more significant gulf can't be charted on any map. There are vast, historical differences in storytelling tradition that owe as much to Confucianism as modern political sensitivities, and bridging that narrative chasm has become a burning challenge given that within the next few years China will become the world's biggest movie market.

Thanks to loosening quota limits and an explosion of new theaters, Chinese moviegoers have been patronizing American movies in record numbers. The returns for U.S. films have been so outsized this year that Chinese authorities in the last several weeks have tried to limit their popularity. The steps include blackout periods in which no imported films can be exhibited in China and releasing two Hollywood blockbusters on the same day to limit their upside, as Chinese exhibitors recently did with "The Dark Knight Rises" and "The Amazing Spider-Man."

REPORT: Reel China - coverage of the Chinese movie industry

Those punitive limits, which prompted the Motion Picture Assn. of America to complain to Chinese authorities and the Obama administration, are compelling American producers to search for more Chinese co-productions such as "Shanghai Calling," which are not subject to retaliatory exhibition restrictions.

In many cases, the East-West partnerships are relatively painless, as was the case with "Looper," a science fiction action story opening here and in China on Sept. 28, which originally was set in France but rewritten to unfold partly in China. But in several other instances, American filmmakers have had to undergo crash courses in Chinese storytelling traditions, which can be as complex as a hero's journey and as seemingly trivial as how dragons are portrayed.

"There is no clear definition of what you can do and what you cannot do — from both the culture aspect and the censorship aspect," said Chinese American director and screenwriter Anna Chi, the director of the HBO film "Dim Sum Funeral" and co-director of "A Thousand Years of Good Prayers." "Of course there are regulations, there are laws. Everybody knows you can't do [a movie about] Tibet, you can't talk about the Falun Gong," she said of the spiritual practice the China Communist Party has tried to eradicate. "But in terms of creativity there is no handbook. It's all project by project."

To qualify for co-production financing, productions must include a Chinese story element and employ some Chinese production staff. China benefits from the expertise of foreign filmmakers, while Hollywood, in addition to avoiding the retaliatory distribution tactics, gets access to Chinese funding and a bigger cut of box office receipts than a purely American production.

PHOTOS: U.S.-China box office comparisons

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