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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.

In the field of labor economics, abundant research has been conducted on the cause and magnitude of the gender wage gap in various industries in the United States. While the national gender wage gap has decreased over the last few decades, this trend has not been observed in every industry. The film industry, in particular, has experienced a notable lack of progress in both its social and economic treatment of women. Because Hollywood has significant influence in the United States, its misguided portrayal of women and failure to ensure equal pay for male and female actors sets a harmful standard for the rest of the nation. Due to the confidential nature of actors’ salaries, however, there is little research on the topic of the gender wage gap in Hollywood. Using a couple hundred observations, I examined the magnitude of the gender wage gap in Hollywood and compared the impact of gender on actors’ salaries to that of more pertinent variables, such as critical success and available finances. I concluded that gender has a greater effect on an actor’s salary than any other variable. In consideration of the relative lack of literature on this topic, I recommend several ways to further the research conducted in this study.

Abstract This study analyzed Taiwan film industry with Michael Porter¡¦s ¡§Diamond¡¨ system, and also tried to drive a dynamic diamond system to scenario plan for the future of Taiwan film industry. There are four attributes in a diamond system. They are: Factor Conditions, Demand Conditions, Related and Supporting industries, and Firm Strategy, Structure, and Rivalry. The conclusions of the analysis are as follows: 1. Factor Conditions Film industry knowledge, finance support and high quality human resource are significant in filmmaking. 2. Demand Conditions Because of the small home market and low market share, film production companies in Taiwan should actively search for strategic alliances and co-production chances. It would broaden market scale in this way. 3. Related and Supporting industries In order to leverage resource into film production, Related and Supporting industries need to group clusters. 4. Firm Strategy, Structure, and Rivalry Focusing the competition among national firms is more important than facing the competition with international big companies. The conclusion of the scenario planning suggests that developing digital content industry and attracting high quality human resource would drive the Taiwan film industry diamond run.

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Since the 1980s, growing international recognition for Taiwanese auteurs has placed Taiwan on the map of world cinema. However, in the new millennium popular tastes have gradually become a key concern for Taiwanese filmmakers; in the years since 2008, the dramatic box office success of Cape No.7 has further boosted their commercial production. Through four case studies, this thesis investigates four major filmmaking strategies among Taiwanese filmmakers, seeking to provide a wide-ranging picture of Taiwan cinema since the turn of the century. These case studies represent different approaches to filmmaking and indicate the different audiences that Taiwanese filmmakers may address. Ang Lee’s Crouching Tiger, Hidden Dragon not only demonstrates that Asian films can achieve international box office success but also raises issues of cultural authenticity and cultural translation. Chapter One describes how the global success of Crouching Tiger, Hidden Dragon has promoted transnational co-production in Asia. The Hollywood-funded project Double Vision and Taiwanese filmmakers’ engagement in intraregional co-production are outlined in Chapter Two, examining the development of pan-Asian co-production in Taiwan cinema. The immense popularity of Cape No.7 in Taiwan reflects Taiwanese viewers’ demand for cultural products with local colour. Chapter Three views this domestically-produced film as a local response to cultural globalisation and revisits the significance of nativist imagination to the production and consumption of contemporary Taiwan cinema. The last chapter examines auteur-oriented filmmaking in this area and underscores the dependence of art cinema in Taiwan on the film festival economy and international niche markets. These case studies highlight the influence of transnational connections on the production, consumption and content of contemporary Taiwan cinema, showing that Taiwan cinema should be understood in a transnational context.

This study analyzed venture capital investment criteria of Taiwan¡¦s movie industry by the method of literature review and in-depth interviews. There are four directions to estimate whether a movie is investment-worthy or not. There are followed by movie marketing, the team of movie-making, movie financial status and movie contents. 1.Movie Marketing Movie marketing contains the following factors: the movie proposal contents are made by producers or directors when searching for venture capital investments, film making team¡¦s marketing and selling abilities. 2.The Team of Movie-making The team of movie making contains the following factors: the director and the producer¡¦s experience and personalities; the quality of cooperation in the movie-making team, and the last one factor is other movie investors, who are estimated by their experience. 3.Movie Financial Status This part is made of the following factors: the cash flow of the film making team, and the financing and operation ability of the team. 4.Movie Contents This part contains the following factors: first, the skills of movie-making, including cinematography skills, written skills, post-producing skills and etc.. Second, the feature of the movie. It contains stars, story and etc.. The last factor is cost controlling abilities of movie-making.

The local language production strategy (LLP) emerged in the early 1990s and developed into a key practice for major media corporations operating in Latin America, Europe, and Asia. This dissertation analyzes where Sony’s international production strategies intersect transformations in the Brazilian and Spanish film industries during the mid-1990s to 2010. The LLP strategy, widely perceived as a corporate product of globalization and market power of Sony, is simultaneously viewed as a culturally specific media product intended for local Portuguese or Spanish-language audiences using national tax incentive policies and talent. This project provides a multi-layered history of Sony’s trans/national practices, Latin American and European regional industries, Brazilian and Spanish national policies and conditions, and the creative agency and power of local film production companies. Adapted from Timothy Havens, Amanda D. Lotz, and Serra Tinic’s critical media industry studies approach and Paul du Gay’s “circuit of culture,” I conducted archival research and on-site field interviews in Rio de Janeiro, São Paulo, Madrid, and Brussels with local producers, distributors, policymakers, lobbyists, and Sony executives. The study is grounded equally in box office data, co-production financing specifics, and cultural policy as well as first-hand accounts and industry discourse. Instead of labeling the LLP another all-powerful strategy of Global Hollywood, I explore the everyday practices, power relations, and complex negotiations involved in local and national agents working alongside large transnational media company to produce commercial films like Chico Xavier (2010) or Salir Pitando (2007). Sony’s local operations have to balance the global corporate strategy and logic with changing local conditions, policies, practices, technologies, and partnerships. Each location study illustrates a unique strategy and situation ranging from the quasi-autonomous operation in São Paulo to the short-lived, highly micro-managed Sony European operation in based in Madrid. I challenge traditional theoretical and industrial understandings of national cinema, media imperialism, media convergence, and the classification of Sony Pictures Entertainment as solely an American or Japanese company. What results is a close institutional analysis exploring issues such as what defines “local” media industries, the flexibility of the nation, and the position of transnational media companies outside the U.S. / text