On the Exportation of Soft Power in Globalization with the Exemplification of the Film <i>Wolf warrior</i> (II)

Baoliang Peng

doi:doi:10.11648/j.ijla.20200803.11

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On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II)

Baoliang Peng

Published in International Journal of Literature and Arts (Volume 8, Issue 3)

Received: 27 February 2020 Accepted: 12 March 2020 Published: 8 April 2020

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Abstract

In globalization culture is capitalized and invested as a commodity. But the commodified culture not only makes money for an exporter but also disseminates its cultural values with another culture. Both the success of the film Wolf Warrior (II) at home and its failure to be a hit abroad lend weight to the argument. The pros and cons about it evidence the on-going status quo of cultural exchange in One Way One Belt (“The Belt and Road Initiative”) the Chinese global project. Therefore this research makes endeavors to prove the power that story telling particularly the narrative trinity: event, plot and story make money on the one hand and on the other works as site of pedagogy where people learn and experience. This way people find the power as such congenial and innocuous. Thereupon the film director Jing Wu chooses the events as can be seen in the film and “strings” them in such a way that the Chinese viewers are mad about it whereas the viewers abroad especially those in the West sort of turn it down. The striking contrast in box office suggests the fact that cinematic experience is a process of negotiation between director and film goer, which Director Wu has to take into good consideration if he expects to make a hit with his film next time abroad.

Published in	International Journal of Literature and Arts (Volume 8, Issue 3) This article belongs to the Special Issue Humanity and Science: China’s Intercultural Communication with the Outside World in the New Era
DOI	10.11648/j.ijla.20200803.11
Page(s)	100-107
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2020. Published by Science Publishing Group

Keywords

Soft Power, Globalization, Narrative Trinity

References

[1]	Zheng, Xiangfu (2018). “ Global Hegemony and the Self-Strong Chinese Culture”. Journal of Zhejiang Social Sciences, issue3.
[2]	Yu, Changmin (2018). “Who is Afraid of Post-Cinematic Studies.” Film Art, issue 4.
[3]	Chu, Jinyong (2018). “’Confessed Anxiety’: the Global Promotion of Chinese Film from the Cold Reception of Wolf Warrior (II) Abroad. Journal of Film Review, issue 12.
[4]	King, Cynthia M. (2000). “Effects of Humorous Heroes and Villains in Violent Action Films”. Journal of Communication, 50 (1).
[5]	Wu, Haiyun. “How Blockbuster War Movies Capture China’s Changing Nationalism” from ‘http://www.sixthtone.com/users/29324/wu-haiyun’.
[6]	Han, Xiaoqiang (2018). “Cinematic Experience in the Age of Cinema 2.0”. Film Art, issue 4.
[7]	Cassetti, Francesco. Eye of the Century: Film, Experience, Modernity. Trans. Erin Larkin with Jennifer. NY, U. 2008, p188.
[8]	Sobchack, Thomas and Vivian C. Sobchack. An Introduction to Film. Library of Congress Catalog-in-Publication Data, 1978, p7-8, p55, p112.
[9]	Yang, Jing and Xiaotian Jin (2019). “Imagining Globalization in a Chinese Chick Flick.” Ltierature/Film Quarterly. Vol. 47, No. 1.
[10]	Giddens, Anthony. The Consequence of Modernity. Polity Press, 2012, p18–19.
[11]	Said, Edward. Orientalism. Middlesex: Pantheon Books. 1995, p54.
[12]	Leilei Jia (1992). The Meaning of the Embedded Reality in Unreality. Film Art. Issu 5.
[13]	Plantinga, Carl. “The Affective Power of Movies” in Arthur P. Shimamura (ed.). Psychocinematics: Exploring Cognition at the Movies. Published to Oxford Scholarship Online: May-13, 2013.
[14]	Tan, Meiling (2018). “‘Wolf WarriorsII’: A Research on the Strategy of Improving China’s Cultural Soft Power”. Yinshan Academic Journal, issue 2.
[15]	Xu, Fangming and Wang, Sha (2018). “The Narrative of New Heroes and the Construction of State Image”. Yuejiang Academic Journal, issue 6.

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Baoliang Peng. (2020). On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II). International Journal of Literature and Arts, 8(3), 100-107. https://doi.org/10.11648/j.ijla.20200803.11

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ACS Style

Baoliang Peng. On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II). Int. J. Lit. Arts 2020, 8(3), 100-107. doi: 10.11648/j.ijla.20200803.11

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AMA Style

Baoliang Peng. On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II). Int J Lit Arts. 2020;8(3):100-107. doi: 10.11648/j.ijla.20200803.11

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@article{10.11648/j.ijla.20200803.11,
  author = {Baoliang Peng},
  title = {On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II)},
  journal = {International Journal of Literature and Arts},
  volume = {8},
  number = {3},
  pages = {100-107},
  doi = {10.11648/j.ijla.20200803.11},
  url = {https://doi.org/10.11648/j.ijla.20200803.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20200803.11},
  abstract = {In globalization culture is capitalized and invested as a commodity. But the commodified culture not only makes money for an exporter but also disseminates its cultural values with another culture. Both the success of the film Wolf Warrior (II) at home and its failure to be a hit abroad lend weight to the argument. The pros and cons about it evidence the on-going status quo of cultural exchange in One Way One Belt (“The Belt and Road Initiative”) the Chinese global project. Therefore this research makes endeavors to prove the power that story telling particularly the narrative trinity: event, plot and story make money on the one hand and on the other works as site of pedagogy where people learn and experience. This way people find the power as such congenial and innocuous. Thereupon the film director Jing Wu chooses the events as can be seen in the film and “strings” them in such a way that the Chinese viewers are mad about it whereas the viewers abroad especially those in the West sort of turn it down. The striking contrast in box office suggests the fact that cinematic experience is a process of negotiation between director and film goer, which Director Wu has to take into good consideration if he expects to make a hit with his film next time abroad.},
 year = {2020}
}

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TY  - JOUR
T1  - On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II)
AU  - Baoliang Peng
Y1  - 2020/04/08
PY  - 2020
N1  - https://doi.org/10.11648/j.ijla.20200803.11
DO  - 10.11648/j.ijla.20200803.11
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 100
EP  - 107
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20200803.11
AB  - In globalization culture is capitalized and invested as a commodity. But the commodified culture not only makes money for an exporter but also disseminates its cultural values with another culture. Both the success of the film Wolf Warrior (II) at home and its failure to be a hit abroad lend weight to the argument. The pros and cons about it evidence the on-going status quo of cultural exchange in One Way One Belt (“The Belt and Road Initiative”) the Chinese global project. Therefore this research makes endeavors to prove the power that story telling particularly the narrative trinity: event, plot and story make money on the one hand and on the other works as site of pedagogy where people learn and experience. This way people find the power as such congenial and innocuous. Thereupon the film director Jing Wu chooses the events as can be seen in the film and “strings” them in such a way that the Chinese viewers are mad about it whereas the viewers abroad especially those in the West sort of turn it down. The striking contrast in box office suggests the fact that cinematic experience is a process of negotiation between director and film goer, which Director Wu has to take into good consideration if he expects to make a hit with his film next time abroad.
VL  - 8
IS  - 3
ER  -

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Author Information

Baoliang Peng

Faculty of English Language and Culture, Guangdong University of Foreign Studies, Guangzhou, China

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Plain Text BibTeX RIS

APA Style

Baoliang Peng. (2020). On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II). International Journal of Literature and Arts, 8(3), 100-107. https://doi.org/10.11648/j.ijla.20200803.11

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ACS Style

Baoliang Peng. On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II). Int. J. Lit. Arts 2020, 8(3), 100-107. doi: 10.11648/j.ijla.20200803.11

Copy | Download

AMA Style

Baoliang Peng. On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II). Int J Lit Arts. 2020;8(3):100-107. doi: 10.11648/j.ijla.20200803.11

Copy | Download

@article{10.11648/j.ijla.20200803.11,
  author = {Baoliang Peng},
  title = {On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II)},
  journal = {International Journal of Literature and Arts},
  volume = {8},
  number = {3},
  pages = {100-107},
  doi = {10.11648/j.ijla.20200803.11},
  url = {https://doi.org/10.11648/j.ijla.20200803.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20200803.11},
  abstract = {In globalization culture is capitalized and invested as a commodity. But the commodified culture not only makes money for an exporter but also disseminates its cultural values with another culture. Both the success of the film Wolf Warrior (II) at home and its failure to be a hit abroad lend weight to the argument. The pros and cons about it evidence the on-going status quo of cultural exchange in One Way One Belt (“The Belt and Road Initiative”) the Chinese global project. Therefore this research makes endeavors to prove the power that story telling particularly the narrative trinity: event, plot and story make money on the one hand and on the other works as site of pedagogy where people learn and experience. This way people find the power as such congenial and innocuous. Thereupon the film director Jing Wu chooses the events as can be seen in the film and “strings” them in such a way that the Chinese viewers are mad about it whereas the viewers abroad especially those in the West sort of turn it down. The striking contrast in box office suggests the fact that cinematic experience is a process of negotiation between director and film goer, which Director Wu has to take into good consideration if he expects to make a hit with his film next time abroad.},
 year = {2020}
}

Copy | Download

TY  - JOUR
T1  - On the Exportation of Soft Power in Globalization with the Exemplification of the Film Wolf warrior (II)
AU  - Baoliang Peng
Y1  - 2020/04/08
PY  - 2020
N1  - https://doi.org/10.11648/j.ijla.20200803.11
DO  - 10.11648/j.ijla.20200803.11
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 100
EP  - 107
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20200803.11
AB  - In globalization culture is capitalized and invested as a commodity. But the commodified culture not only makes money for an exporter but also disseminates its cultural values with another culture. Both the success of the film Wolf Warrior (II) at home and its failure to be a hit abroad lend weight to the argument. The pros and cons about it evidence the on-going status quo of cultural exchange in One Way One Belt (“The Belt and Road Initiative”) the Chinese global project. Therefore this research makes endeavors to prove the power that story telling particularly the narrative trinity: event, plot and story make money on the one hand and on the other works as site of pedagogy where people learn and experience. This way people find the power as such congenial and innocuous. Thereupon the film director Jing Wu chooses the events as can be seen in the film and “strings” them in such a way that the Chinese viewers are mad about it whereas the viewers abroad especially those in the West sort of turn it down. The striking contrast in box office suggests the fact that cinematic experience is a process of negotiation between director and film goer, which Director Wu has to take into good consideration if he expects to make a hit with his film next time abroad.
VL  - 8
IS  - 3
ER  -

Copy | Download