In the context of the “Belt and Road Initiative”, the interactions among countries along the Silk Road have become increasingly intertwined. This extends beyond economic and infrastructural cooperation to encompass cultural and artistic exchanges. With the continuous enhancement of China’s comprehensive national strength and international influence, coupled with innovative developments in cultural dissemination, numerous outstanding Chinese films have begun to make their mark on the global stage. The international expansion of Chinese cinema not only stems from the rapid development of our film industry but also benefits from favorable factors such as positive recognition from local theaters and audiences in certain overseas markets.
Numerous English studies (e.g., Huang, 2024; Kokas, 2018; Richeri, 2016) have highlighted the Chinese government’s increasing focus on the cultural and creative industries. As China’s film industry thrives, a group of Chinese scholars have begun to explore and construct theoretical frameworks suitable for Chinese cinema. They posit that conventional aesthetics of Hollywood and genre film are no longer adequate for analyzing Chinese cinema. Notably, scholars like Chen Xuguang have broadened the discourse on film industrial aesthetics theory beyond traditional image aesthetics, indicating the inherent growth potential of Chinese film theory. Similarly, Rao Shuguang has advocated for the development of a community aesthetic and an evaluation system for Chinese films, underscoring the pivotal role of community aesthetics in the sustainable development and theoretical framework of Chinese cinema. These theoretical contributions offer profound reflections, comparisons, and interpretations of the history and practices of Chinese cinema from diverse angles, capturing societal attention and earning widespread recognition and resonance, thereby fueling a surge of research interest.
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In recent years, there has been a growing scholarly interest in the remarkable intensity and extensive reach of Chinese cultural dissemination in Southeast Asia, surpassing that of other regions. This phenomenon has garnered attention due to the unique geographical location and cultural context of the region, making it a focal point for research on cross-cultural dissemination of Chinese cinema. The Association of Southeast Asian Nations (ASEAN) countries, situated at the intersection of the “Belt and Road Initiative”, are prioritized for high-quality development under the initiative. Given the close geopolitical and cultural ties between ASEAN and China, it is proposed that ASEAN should be a primary focus area for studying the cross-cultural dissemination of Chinese cinema. Some Chinese films have achieved remarkable box office success in ASEAN countries. For instance, the 2023 film “No More Bets” (directed by Shen Ao) grossed over 20 million Malaysian Ringgit (approximately 4.2 million USD) in Malaysian theaters, becoming the highest-grossing imported film from China. However, the development of the film industry and theater infrastructure varies across ASEAN countries, and there has been limited systematic research on the distribution, exhibition, and consumption of Chinese films in this region thus far.
This book endeavors to empirically investigate the reception of Chinese film aesthetics and consumption behaviors among audiences in ASEAN countries, who will use this book as a guide for understanding the intricacies of Chinese cinema. At the heart of exploring Chinese film industrial aesthetics is a focus on people. Every stage, from content production to distribution and dissemination, requires the establishment of a harmonious, efficient, legal, and contextually relevant community. The chapters included in this book will not only hold significant academic value but also provide practical guidance for advancing the international development of the Chinese film industry.