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Part III Participant Approach for a Participatory Model
8 Chinese Audiences: Evolution and Change of Media
Consciousness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
8.1 Audience Evolution and Chinese Urban Youth:
A Quantitative Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
8.1.1 Introduction of the Survey . . . . . . . . . . . . . . . . . . . . . . . . . 300
8.1.2 Millennials in China . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
8.2 Theatre, Home and Mobile Viewing Platforms: Changing
Practices and Changing Industries . . . . . . . . . . . . . . . . . . . . . . . . . . 303
8.2.1 The Revival of Cinema-Going . . . . . . . . . . . . . . . . . . . . . . 303
8.2.2 Home Viewing Platforms: Traditional Versus Digital . . . . 305
8.2.3 Mobile Platforms Explosive Growth . . . . . . . . . . . . . . . . . 308
8.3 New Viewing Contexts: Physically Isolated but Virtually
Interconnected . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
8.3.1 Piracy and the Demise of the Traditional Industries . . . . . 309
8.3.2 Film-Viewing and Social Isolation . . . . . . . . . . . . . . . . . . . 313
8.4 Content Adoption and Protectionism . . . . . . . . . . . . . . . . . . . . . . . . 316
8.4.1 Asian Films and Cooperation . . . . . . . . . . . . . . . . . . . . . . . 316
8.4.2 Foreign Films Penetration: US and EU Content . . . . . . . . 318
8.4.3 National and Global Political Dimensions . . . . . . . . . . . . . 320
8.5 Audience Evolution: Towards the Emergence of Local
Creative Talents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
8.5.1 Creative Industries and Active Audiences:
The Disruptive Nature of a Changing Relationship . . . . . . 322
8.5.2 Participatory Media Culture and Active Audiences . . . . . . 324
8.5.3 Inuence of Film Aesthetics and Creative Content . . . . . . 326
8.5.4 The Rise of Community-Based Creative Audiences . . . . . 327
8.5.5 Active Audiences, Collaborative Creative Audiences
and the Emergence of Local Creative Talents . . . . . . . . . . 328
8.6 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
9 Participatory Involvement and Focus Groups with Emerging
Creative Talents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
9.1 Introduction and Methodology . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
9.2 Golden Circle, Foreign Mimicry and Self-Censorship . . . . . . . . . . 340
9.2.1 Genre Mimicry and Financial Freedom . . . . . . . . . . . . . . . 340
9.2.2 Government Censorship . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
9.2.3 Self-Censorship Through Mimicry . . . . . . . . . . . . . . . . . . 342
9.2.4 Passion Factor and Motivation . . . . . . . . . . . . . . . . . . . . . . 343
9.2.5 Financial Censorship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
9.3 BFA Training, Local TV Productions, the Vicious Circle
of Traditional Industries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
9.3.1 Locally Bred Filmmakers . . . . . . . . . . . . . . . . . . . . . . . . . . 343
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