The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

Abstract

Official film co-production treaties are designed by policymakers to stimulate a range of collaborations, technology transfers, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (often informal) opportunities presented, engaging in vigorous cooperation with Chinese colleagues across all sectors of the production ecosystem. The continuing flow of Chinese–Korean transnational film encounters, underpinned by influential personal networks, resulted in the signing of a formal China–Korea co-production agreement in July 2014. To examine the efficacy of this policy intervention, this article analyzes the diversity of film collaboration that preceded this agreement and its impact on transnational filmmaking in China. It investigates the strategies used in the remaking of Korean auteur Lee Man Hee’s 1966 melodrama Late Autumn (2010), technical innovation in the VFX-heavy Mr. Go (2013), and the making of mega-distributor CJ E&M’s romance drama A Wedding Invitation (2013) to illustrate how Korean firms and practitioners are expanding the commercial entertainment boundaries of Chinese cinema. In so doing, it also reveals how Chinese film companies are enabling the Korean film industry to internationalize its approach to overseas markets beyond the kind of conspicuous policy initiatives tailored for a globalized cultural economy.

Keywords:

• People’s Republic of China
• South Korea
• film policy
• co-production
• Korean wave

Acknowledgements

The author thanks Michael Keane, Terry Flew, Aegyung Shim, Nobuko Kawashima and the anonymous referees for their valuable suggestions on earlier drafts of this paper, as well as Miao Xiaotian (President, CFCC), Susan Xu (Vice President, CFCC), Andy Yoon (President, Moonwatcher Films), and Korean producers Kevin Chang (Association of Film Commissioners International), Lee Joo-ick, and Edward Yi Chi Yun, plus Chuck Chae and Peter Ahn, senior technicians from Dexter Digital, for sharing their valuable insights on this evolving subject.

Notes

1. Insightful studies of the Korean wave (aka Hallyu) include Chua and Iwabuchi (2008); and Kim (2013).

2. See: Frater, P. 2014. ‘China and South Korea Sign Co-Production and Import Deal’, Variety, 6 July, Available from: http://variety.com/2014/biz/asia/china-and-south-korea-sign-co-production-and-import-deal-1201258316/ [Accessed 2 July 2015]; Coonan, C. 2014. ‘South Korea, China Sign Landmark Co-Production Pact’, The Hollywood Reporter, 3 July, Available from: www.hollywoodreporter.com/news/south-korea-china-sign-landmark-716743 [Accessed 2 July 2015]; and Noh, J. 2014. ‘Korea, China sign co-pro agreement’, Screen daily, 4 July, Available from: http://www.screendaily.com/news/korea-china-sign-co-pro-agreement/5073840.article.

3. In 2016, China’s quota of foreign films includes 34 revenue-sharing films per year, while Korea’s screen quota regime requires all cinemas to show domestic films for a minimum of 73 days per annum.

4. At the time of writing, Moonwatcher is co-producing Legend Heroes, an animated children’s TV series, and Fly, Superboard, a feature animation for theatrical release – both of which combine CGI technology and expertise from Korea and investment from China Film Group.

5. Fan, Xu. ‘It’s Hollywood, silly!’ China daily (9 July 2015). Available from: http://usa.chinadaily.com.cn/epaper/2015-07/09/content_21230399.htm.

6. Noh, J. 2013. ‘South Korea and China sign tentative co-production pact’, Screen daily, 18 June, http://www.screendaily.com/news/south-korea-china-sign-tentative-co-pro-pact/5057476.article [Accessed 2 July 2015].

7. Elley, Derek. ‘Late Autumn’ Film Business Asia (21 October 2010). Available from: www.filmbiz.asia/reviews/late-autumn [Accessed 3 February 2014].

8. Hwang, Hei-rim. ‘Late autumn becomes the all-time highest grossing Korean film in China.’ Korean cinema today (13 April 2012), Available from: http://koreanfilm.or.kr/webzine/sub/news.jsp?mode=A_VIEW&wbSeq=106#sthash.jd8Q5pw2.dpuf [Accessed 6 April 2015].

9. While shooting in Seattle with local crews and equipment hire, Late Autumn’s producers qualified for a 30% tax rebate through the Washington Motion Picture Production Incentive Program. Available from: http://washingtonfilmworks.org/funding/production-incentive-program.

10. Not to be confused with the Korean film director of Late Autumn, Kim Tae-yong, who is married to Tang Wei.

11. See KIM Su-yeon. ‘Visual Effect Creators/Dreaming of Another WETA/EON DIGITAL FILM.’ 1 November 2009. Available from: http://koreanfilm.or.kr/jsp/news/reports.jsp?blbdComCd=601008&seq=127&mode=VIEW.

12. See Kim Tae-yong’s home page. Available from: https://sites.google.com/site/taeyongkimshomepage/ [Accessed 14 May 2015]. Drawing on technical input from Kim Tae-yong, Dexter has also developed a water software tool that was utilized in the VFX for Chinese blockbusters The Taking of Tiger Mountain (2014) and Monkey King (2014).

13. Ma, Kevin. 7 October 2013. ‘Korean cinema, Chinese characteristics.’ Film Business Asia, Available from: http://www.filmbiz.asia/news/korean-cinema-chinese-characteristics [Accessed 22 July 2014].

14. See Kil, Sonia. 3 April 2015. ‘China’s Wanda Takes $10 Million Stake in Korean VFX

House Dexter.’ Available from: http://variety.com/2015/biz/asia/chinas-wanda-takes-10-million-stake-in-korean-vfx-house-dexter-1201465914/ [Accessed 23 July 2015].

15. Frater, P. 2015. ‘China’s Legend Capital Invests in Korean VFX Firm Dexter Studios’ Variety 21 July. Available from: http://variety.com/2015/biz/asia/legend-capital-invests-in-dexter-studios-vfx-1201544591/.

16. Sophie’s Revenge, CJ E&M’s first co-production after establishing a Beijing office in 2009, involved actor So Ji-seop and several Korean crewmembers: colorists Lee Yong-gi and Ethan Park (from HFR), and sound engineer Kim Seok-won (from Bluecap Soundworks). Although it was a box office success in China, some Korean critics panned the film for aping the conventions of Korean romantic dramas. See Lee, Hyo-won. ‘Sophie’s Revenge’ Satisfies to a Point.’ The Korea times (20 August 2009). Available from: http://www.koreatimes.co.kr/www/news/art/2009/08/135_50426.html [Accessed 2 March 2015].

17. Han, Bingbin. ‘A Touch of Seoul in Chinese Films.’ China daily USA (11 December 2014). Available from: http://usa.chinadaily.com.cn/epaper/2014-12/11/content_19066937.htm [Accessed on 11 February 2015].

18. Hendriks, Priscilla. ‘“20, Once Again!” Tops Charts.’ On Screen Asia (11 February 2015). Available from: http://www.onscreenasia.com/article/20-once-again-tops-charts/16657 [Accessed 6 March 2015].