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Hollywood Is Making More Movies, TV Shows About Asian Americans
Increased prominence of Chinese and Asian Americans in Hollywood means changes to the industry and more opportunities, but what does it mean for audiences?
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Transformation of the Global Film Industry: Prospects for Asian Countries
The cultural strategies of Asian powers must be effectively adjusted to the current realities because the positions of the leaders in the emerging new film…
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The Asia Factor in Global Hollywood | YaleGlobal Online
CAMBRIDGE, MASS.: In the eyes of the world, Hollywood is America. It represents not only the glamour of American movie stars, but also the "soft power" - what many see as the cultural imperialism - of the world's lone superpower. The economic transformations of the past twenty years, however, are changing media landscapes in America and around the world. Perhaps nothing indicates these changes as much as the growing ties between Asian and American films industries - ties which are leading to the Asianization of Hollywood and the Hollywoodization of Asia.
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The WGA wants Hollywood's top studios and producers to regulate the use of AI on their creative projects - specifically demanding that AI cannot write or rewrite literary material, be used as a source material or use the WGA's Minimum Basic Agreement (MBA) covered material to train AI.

However, the Alliance of Motion Picture and Television Producers (AMPTP) moved swiftly to reject that proposal, offering only annual meetings to discuss advancements in technology instead.

The trade association represents more than 350 American television and film production companies in collective bargaining negotiations with entertainment industry trade unions including the WGA.

Creative AI programs like ChatGPT can now use massive data analysis and machine-learning to simulate human-like literary works and visual arts. That has raised questions about whether media corporations will scale back on humans to use AI to write everything from advertising copy to TV shows to blockbuster movies.

In decades past, he explained, scriptwriters could earn a healthy living in TV working on series that aired 13 to 22 episodes per season. But, with the advent of streamers, orders have dropped to only 8 episodes per season, yet their writers might be "held" off the market by the series producers for as long as six months with no work and no pay.

Most also contended that rather than provide everyone with an equal share of the bountiful revenues the streamers are generating off subscriptions, streamers seem to be leaning into big ticket "eye candy" to enable them to compete with feature films, such as spectacular locations, off-the-chart production values, and of course big name A-List Hollywood talent.

"All that brings in very high revenues for the streamers and an appreciably enhanced viewing experience for television consumers than ever before - but none of that has been reflected in what the writers earn,"

"Now that the strike has been called, industry insiders are scrambling to shut down shows - late-night comedy programs, including 'Saturday Night Live,' and daytime talk shows are the first to feel the hit," reported Variety, a top Hollywood trade publication, adding that studios are initiating contingency plans to keep film production rolling on projects with completed scripts.

The Los Angeles Times pointed out that a long strike could have a ripple effect on not only film and television production, but also the Southern California economy.

"The impact is also likely to be felt in Georgia, New York, New Mexico and other production hubs nationwide. Without writers, scripted television shows will struggle to continue filming and live late-night shows will stop immediately," the biggest newspaper on U.S. West Coast noted.

According to the WGA and other industry experts, the entertainment industry is currently undergoing a major transformation with the rise of streaming services and massive change in consumer viewing habits, which is adversely affecting writers and their livelihood.

The labor union, which represents creators who write scripted series, features, news programs and other content, pointed out that despite massive revenues for streamers worldwide, writers are not receiving their fair share of profits from the booming streaming industry and they want to see writers' wages, residuals and health care increased accordingly.

However, some studios and producers are hesitant to give in to the WGA's demands, citing the financial implications of increasing their pay and benefits as just too costly.

The wide gulf between the two sides could lead to a prolonged standoff between writers and industry executives with the potential for creating long-term damage to the entertainment industry as series and projects go dark.

The Writers Guild of America (wga), which called the strike, traces its roots back to cinema’s early days. The language that the strikers use is steeped in history. They talk of “rooms” where writers gather to work on a script and of “notes”, the often brutal feedback they receive from studio executives.
Cinemas are still struggling to lure audiences back after the pandemic. Media companies are drowning in debt. Amid a surfeit of TikTok celebrities and minor Hollywood glitterati, only a few old warhorses like Tom Cruise are guaranteed to bring out the crowds. The main cause of the turmoil is streaming. Its firehose of content keeps people at home, rather than going to the multiplex. Its shows cost the film industry a fortune to make.
For years, Hollywood has been looking outside of the U.S. to China to reach one of the largest movie markets in the world. But films would first have to get past Beijing's government censors.
"This obsession of Hollywood entering China that obsession was especially high like 10 years ago where you do see a lot of coproductions happening," Hu said.
Among the many reasons why Hollywood is producing more Asian American stories, experts said, is because changes to the structure of the industry have opened more doors for Asian talent in front of and behind the camera.
"In the last few years, the last decade or so, as Hollywood — as much of corporate America — has shifted into thinking about diversity as one of its core values, thinking about, 'How do we create a pipeline?'" said Brian Hu, who teaches television, film and new media at San Diego State University and is artistic director of the San Diego Asian Film Festival.
"This is among the first times where the showrunner is Asian American or Chinese American, where the production team behind it and the whole cast and crew … is Asian American or … Chinese American, and part of that is because we're seeing a new generation of talent… who are… kind of reaching that level in the industry where they have that sway," said Jason Coe, assistant professor at the Hong Kong Baptist University Academy of Film.
Hollywood has also grown more aware of the importance of Asian American representation as a component of its broader push toward diversity.
it is important to note that the Asian film market itself has been impacted by Hollywood. This crossover has created movies that are more similar than they are different, and that are designed to appeal to two markets simultaneously.

But what exactly are the driving factors behind this adoption of Asian culture and talent, and why did the “trend” catch on so firmly in the United States? The next few sections will seek to address these questions.

Driving Factors Behind the Rise of Asian Culture in Hollywood

As a result, Hollywood began to heavily “borrow” from the films produced in this region, something that is particularly visible in the horror genre. Some of the most successful horror movie franchises of the past several decades have been Hollywood remakes of movies originating from various parts of Asia, including The Ring (2002, Japan), The Grudge (2004, Japan), Mirrors (2008, South Korea), and The Uninvited (2009, South Korea). Even in movies that are not explicit remakes of Asian films, Hollywood’s horror industry has incorporated aspects of the Asian idea of horror into many (if not the majority) of their releases over the past few decades. [2] As an aside, please note that the aforementioned movies are followed by the release date of their Hollywood remakes and their country of origin.
A number of factors have contributed to the growth of Asian film markets and to Hollywood's increasing domination of them. Trade liberalization has allowed many more Hollywood movies into Asian theaters, and economic growth has given more people the means to see them. The building of modern multiplexes has dramatically increased the number of venues for film exhibition, while the privatization of television and the development of new distribution technologies such as video, cable, and satellite, have created whole new markets for film beyond the theaters. While the distribution and exhibition sectors of Asian film industries have welcomed this market expansion, the production sectors have not always been so enthusiastic, insofar as multiplexes and the new home-based entertainment outlets tend to fill up with Hollywood films.
development prospects for the film industries in four Asian leaders in this field—China, Japan, South Korea, and India. Japan and South Korea are likely to increase their cooperation with the U.S. in cinematography. There are great opportunities for cooperation between the film industries of India and China, but they are heavily dependent on political relations between the two nations. China’s film industry is expected to continue to develop rapidly.

The Hollywood Diversity Report 2023, conducted with the help of the University of California Los Angles College of Social Sciences, found in theatrical films that Asians make up 2.3% of lead actors, 6.5% of overall acting roles, 5.6% of directors and 4.5% of writers in 2022.

According to the 2020 U.S. Census, Asians, Native Hawaiians or Other Pacific Islanders make up 6.2% of the U.S. population.

But there's also a sea change. In the past, we've been at the mercy of what you could call American cultural imperialism - we all used to wait for the next Hollywood blockbuster. They made the movies and showed them throughout the world.
"But streaming services like Netflix and Amazon are about getting subscribers in each country. You can't just throw Marvel movies at that audience - you have to make local films and TV. They want their own stories.
"And so these US companies are putting money into content creation all over Asia, including a hub in Singapore."
Goodridge thinks chances are high that there will be another crossover hit from Asia.
"This shift has coincided with the pandemic. We're not seeing many Hollywood movies, as they have been delayed, so viewers who are at home are focused on a lot of TV or interesting foreign language stuff that we've never looked at before," he says, adding: "We're more open to subtitles."
South Korea, whose music industry has already successfully exported K-Pop artists such as BTS to a worldwide fan base, is in pole position to take advantage, following the success of Parasite, the first non-English language film to take top prize at the Academy Awards.
"China is now officially the biggest film market in the world - there are 1.3 billion people there and that wipes out the US market by comparison. You're looking at gigantic-sized hits coming out of China - films coming close to making $1bn in China alone.