Transnational Screen Production

下面为大家整理一篇 的essay代写范文 -- Transnational screen production，文章讲述如今，观众可以轻松访问越来越多的新老电影和视频。全球观众已经习惯了跨国环境。同时，他们可以观看和评估两个或更多 制作的电影。跨国屏幕制作的概念已经浮现在人们的脑海。观众经历并目睹了跨国民族和电影的制作和放映，因此电影主权的观念逐渐消失。随着听众的发展和壮大，人们已经意识到文化主权意识正处于危险之中。实际上，所有电影都已经进入了来自不同民族和种族观众的文化，这意味着电影不再属于单一的民族文化。跨国民族和文化背景下的常见主题之一是专门从事电影的跨国银幕作品。保护特定文化的电影文化的观念已被电影业的发展所取代。这些电影已不再仅由一个 制作，并由一个 的 机构监控。随着跨国电影的发展，金融，劳动力和技术已成为重点。

 

Transnational Screen Production

1. Introduction

 Nowadays, an increasing number of new and old movies and video are easily accessible to the audience. The global audience has been accustomed to the transnational context. Meanwhile, they can watch and evaluate the films that are made by two or more countries. The concept of transnational screen productions has come to people’s mind. The audience has experienced and witnessed the production and screening of transnational ethnic groups and films, so that the concept of the sovereignty of the films has been gradually vanishing. With the development and expanding of the audience, people have realized that the sense of cultural sovereignty is at stake. In fact, all the films have entered a culture from different nationalities and ethnic audiences, which mean that a film no longer belongs to a single national culture. One of the common topics in the transnational ethnic and cultural context is the transnational screen productions specialized in films. The idea of protecting the film culture of a specific culture has been replaced by the development of the filming industry. The films are no long only made by one country and monitored by the only authority in one country. With the development of the transnational films, finance, labor and technology have become a key focus.

Transnational screen productions can diversify the multimedia industry and cooperation can accelerate the development and create a win-win situation in the perspective of finance, labor and technology. This essay is aimed to explore the topic of transnational screen production, which can be divided into six parts. The first part introduces the film of Memoirs of a Geisha, which will be elaborated in the following parts respectively. From the second to fourth parts, it discusses three factors in finance, labor and technology. The fifth part explores the reasonability of “Transnational” screen production. And the last part is a conclusion to the whole essay.

2. Introduction of Memoirs of a Geisha

Memoirs of a Geisha is a love film directed by Rob Marshall in the perspective of the heroine Sayuri’s memories of her tragic life. The producer of the film is Steven Spielberg, starring Zhang Ziyi, Gong Li, Michelle Yeoh, Ken Watanabe. The film was officially released on December 23, 2005 in the United States. 

The main production team is in the United States. The actors and actresses are mainly from China and Japan. The plot is created in accordance with the novel authored by Golden. The film tells the story of how Sayuri was transformed from a fishing village woman to one of the most famous Geisha in Japanese history. (Golden, 1998)

In 2006 Seventy-eighth Oscar Award, the movie was awarded for best cinematography, best art direction and best costume design. Zhang Ziyi with excellent performance has become the first Chinese actress to be nominated for best actress for the Golden Globe Award. Gong Li, the Chinese actress, won the 77th United States National Critics Association Award for best supporting actress.

3. Transnational Finance

Nowadays, investors from different countries tend to invest in one movie.

Memoirs of a Geisha has five big investors that are all American companies: Colombia, DreamWorks, Red Wagon, Ambling Entertainment and Small Telescope.

4. Transnational Labor

For a transnational film, labor is an important fact because actresses and actors are from different nationalities with different languages, cultures and customers. Meanwhile, cooperation is another important perspective to be considered.

In the film of Memoirs of a Geisha, Zhang Ziyi has a solo dancing when wearing a pair of stilt with a twelve inch height in the snow. Therefore, the actress has to practice for a long time, because she never touches this part in her previous life. Gong Li was trained for folding fan for five months for the filming of Memoirs of a Geisha. 

The clothing of Memoirs of a Geisha is very different from the authentic geisha, because there are only 3 Japanese out of 17 members in the film costumes and make-up team. In order to make the actors and actresses learn geisha’s life quickly. Director Marshall specially invited some experts to start a six-week geisha training camp before shooting in Los Angeles.

Film technology consultant Lisa is the original author Gordon's chief adviser, and the only western woman who once lived in Japan with geisha. She is responsible for introduce some details of geisha’s behaviors to the actors and actresses. Helping the actors and actress wear the formal kimono is a tough manual work. Thomas, playing as geisha dressing man, learned some complex dressing process like how to twist and knot with Japanese kimono advisor to learn.

5. Transnational Technology

6. The Reasonability of “Transnational” screen production

 

7. Conclusion

In the third place, taking advantage from others is the key problem to be solved in the next stage. In the movie’s future, the degree of technology progress will determine the artistic imagination without boundaries, which restricts the quality of the movie industry. A technology team with systematic training and talents will increase the intensity of independent innovation, which is committed to the development of independent intellectual property rights of technology, equipment and software tools. Integration of resources will maximize the interest of the industry.

 

Reference

Golden, A. 1998. Memoirs of A Geisha. Vintage Books.

 

Zhang, YJ. and Dong, XL. 2008. The study of Chinese films and Transnational Films. Literature and Art Theory Research, (6): 15-22. 

 

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