MCLC Resource Center is pleased to announce publication of Darrell William Davis’s review of Hollywood Made in China (University of California Press, 2017), by Aynne Kokas. The review appears below, but is best read online at: http://u.osu.edu/mclc/book-reviews/ddavis/. My thanks to Jason McGrath, MCLC media studies book review editor, for ushering the review to publication.
Kirk Denton, MCLC Editor
Hollywood Made in China
By Aynne Kokas
Reviewed by Darrell William Davis
MCLC Resource Center Publication (Copyright January, 2018)
Aynne Kokas, Hollywood Made in China. Berkeley: University of California Press, 2017. 272pp. ISBN: 9780520294011 (Cloth: $85.00) ISBN: 9780520294028 (Paperback: $29.95)
Hollywood Made in China is an elegant account of Hollywood’s evolving engagements in China’s commercial film environment. In six concise chapters, Aynne Kokas details the myriad flows of policy, investment, deployment, and rewards of Sino-US media co-productions. Her aim is mostly large-scale entertainment schemes, including contemporary blockbusters, theme parks, and studio co-ventures. Because China is now becoming the world’s largest film market, Hollywood is courting Chinese executives and regulators, the better to ensure access to viewers and returns for American pictures. The objective is market access, in return for which Hollywood players are willing to cede control, a tradeoff the author calls “transformative” (33). This is a transaction not available to Silicon Valley (e.g., Google, Facebook, Netflix), and despite frustrations of piracy and capricious regulations, Hollywood may well count itself fortunate. In any case, Kokas demonstrates that the Sino-US co-production enterprise is a work in progress, always in a state of renegotiation and revision, as she aptly puts it: “The Hollywood dream factory and the Chinese Dream work together, while mired in a state of perpetual negotiation” (20). A combination of Hollywood “thirst” for ever-larger markets (old) and China’s “cultural trade deficit” (new) brings potential synergies and symbiosis (2-3). It also brings evolving forms of contention and conflict (13). With every new co-production, new standards and practices appear in the playbook. Aynne Kokas makes a strong case for the “interaction and variability” (8), the unpredictability inherent in this volatile relation. Continue reading