This thesis explores the global-local interplay among three key players, which are Hollywood, the Chinese government, and Chinese film industry, by analyzing representations of China and Chinese culture in three kinds of modes of film cooperation between Hollywood and China in the era of globalization. Drawing on both the analysis of three factors respectively and the elaboration of tripartite push-and-pull, a spectrum of film collaboration has been built to find out how the leveraging powers work, indicating that the images of China in selected films manifest a shared cultural identity that is hybridized and market-friendly. By further discussing China’s position in the global competition, it reveals China’s ambition to brand itself as a global media power instead of a media capital.

根據Joseph Nye的定義:軟實力是透過吸引和説服，而非以強迫或收買，使你得到想要的東西的能力。最近，為了推動他們的「和平崛起」，中國政府致力於軟實力的發展。其焦點是採用非威脅的、基於文化的方法以迎合世界其他國家，進而達到展現中國是新興超級強國的目的。 已知電影為強而有力的文化工具，而在二十一世紀美國好萊塢的電影產業一向穩占世界主導地位。但在世紀之交，中國把本土的電影業市場化，將此媒介從純粹的宣傳工具變成一個文化產業。根據胡錦濤二零零七年的敦促，中國需要進一步發展文化上的軟實力以因應國家快速的崛起。發展至今，固然中國電影業的軟實力尚未能與美國電影業相比擬，但它在過去十年的進步仍然令人難以置信。 若中國確實將電影業視為國家重要的軟實力資源之一，則仍然有許多障礙需要克服。 但所謂的障礙究竟是什麽？本論文將評論中國電影業的軟實力發展。我們將蒐集與評估現有的資料以研究其進化與現況。更將進一步分析， 在針對中國特定的軟實力目標上，該產業的成功與不足。 / According to Joseph Nye, “Soft power is the ability to get what you want through attraction rather than coercion or payments” (2004, 256). Recently, China has been making a soft power push to promote its “peaceful rise,” focusing on a non-threatening culture based approach, with the aim of ingratiating themselves as an emerging super power to the rest of the world. Film remains a powerful cultural tool, one that the U.S. industry in Hollywood has dominated throughout the twenty-first century. But as China marketized its own film industry at the turn of the century, the medium there has moved away from being purely a propaganda apparatus to more of a cultural industry. Upon Hu Jintao’s urging in 2007, China must better develop its cultural soft power to accommodate its meteoric rise. While the Chinese film industry’s soft power development has not yet reached the ranks of the U.S.’s, it has made incredible strides over the past decade. There are still many hurdles for it to surpass if it truly intends to become a significant soft power resource for the country, but what are they? This thesis will evaluate the Chinese film industry’s soft power development by surveying existing material, data, and research on the subject, by examining its evolution, by reviewing its current environment, and by analyzing its successes and its shortcomings against the framework of China’s specific soft power objectives.