Illustration: Liu Xiangya/Global Times
Hengdian movie town offers new blueprint for integration of foreign talents in authentic Chinese cinematic story telling.
As an African, and as a fan of Hollywood's multimillion-dollar productions, little else grinds my gears quite as much as the portrayal of the "foreign" in Western productions. From cultures to peoples, foreignness is treated with contempt, and is employed as a plot enhancer only to fortify the narrative of Western superiority, at the best of times, and at worst, foreign tropes are a means to perpetuate a "white knight" complex.
In a global movie industry that is all too eager to ape the Hollywood blueprint, it would be forgivable for one to assume that China's own industry has also fallen in line with not only the Westernization of cinema, but the concomitant "yankification" of the same. But Hengdian movie town, China's own movie production center, while going through a 21st century renaissance fueled by national rejuvenation efforts, is blazing the way in how foreignness is incorporated in telling modern and authentically Chinese stories.
China's movie industry has made a much-anticipated recovery in 2023. Data released for the New Year festive period paint a picture of a pre-pandemic return to movie-going and box-office profitability. This is in no small part due to domestically produced offerings that have revolutionized moviegoers' viewing experience.
High-quality productions with complex and compelling plots portrayed by a stellar cast have become the hallmark of Chinese cinema. No longer is China beholden to kung fu-style blockbusters long believed to be the wheelhouse of mainland and Hong Kong productions. Now the lineup includes compelling dramas, heady romances, and inspirational period pieces. The latter genre has especially captured the hearts of audiences in China and around the world.
Period pieces, apart from being cinematically appealing, complete with historically accurate costumes and set design, also feature a conspicuous set of actors otherwise rarely seen in Chinese cinema - foreign supporting actors. In any production, supporting actors are important in advancing the plot of the show or the movie visually by contributing to the ambiance of the world of the story.
Foreign faces in Chinese period pieces, like those set during the WWII era, are of particular importance as they accurately portray the Chinese Red Army's run-ins with foreign forces, be they American allies or Japanese invaders. Far from being mere space fillers in scenes, however, these foreign actors are not only important but are, more times than not, required to possess a mid- to high-level of Putonghua fluency, and should have combat, acrobatic, or stunt experience for fight scenes set out in the movie's plot.
China-based British actor Kevin Lee is a testament to the industry's commitment to quality and authenticity. Dubbed the unofficial Chinese flick villain, a role he is happy to reprise, Lee boasts a 13-year career in cinema, much of it having been accrued in China. In his over-decade-long career, Lee wields the keys to staying power in a dynamic industry.
"It's not just about delivering a performance but understanding the intricate details that contribute to a believable portrayal. Skills like screen fighting and linguistic versatility are crucial, but it goes beyond that. It's about understanding the nuances of character development, body language, and vocal projection," Lee outlined.
Actor and stunt professional Fredrik Yderström not only represents a growing number of foreign professionals in the Chinese film industry, but also the direct absorption of graduates from Chinese universities directly or tangentially linked to the industry. Having studied martial arts at Beijing Sports University, the Swedish national got his first break in the Chinese film industry in 2000, and after over two decades in the industry, he successfully launched the first fully foreign-owned talent agency to help facilitate the entrance of foreign talents into the Chinese film industry. "Building strong relationships with key industry players like directors and producers has been invaluable, as it fosters trust and collaboration. These relationships often provide more opportunities than traditional avenues, such as agents or bookers," Lee noted.
There is an ever-expanding corps of international actors hitting the Chinese silver screen. This new post-epidemic period is one of rediscovery and holds great potential. "The entertainment industry is a little bit like China's last 'wild frontier,'" Yderström joked, as he emphasized the magnificent growth potential.
Like any industry, China's movie world landscape offers a unique set of challenges to industry aficionados like Lee and Yderström, and newcomers alike. Admittedly, cultural nuances are a famously challenging maze for most foreigners in China to navigate. However, a seeming lack of opportunities doesn't mean an actual lack of them. Lee encourages perseverance, advice borne from his own industry experiences, including one in which he had to be far more proactive in seeking an audition with director Zhang Yimou for a part in the movie Snipers. "This experience reinforced the importance of perseverance, effective communication, and collaboration in navigating the complexities of the industry," Lee said.
Loopholes in the industry also need China's renowned problem-solving touch, especially with regard to residuals, image rights, and the availability of work permits for international performers in the country.
With the further streamlining of regulations governing foreign professionals in China, Yderström hopes that the changes will also positively impact the movie industry, further helping establish its foreign professionals in the industry and the country.
Moving forward, Lee and Yderström are optimistic about the outlook of foreign actors in the industry, with some like Yderström leading the charge in opening casting agencies to attract talent from outside China to Hengdian movie town.
This bodes well for the expansion of China's movie repertoire, further appealing to an increasingly interested international audience, as foreign actors in Chinese productions and TV shows offer a snapshot of a more inclusive and open country.
The author is an editor of the Global Times.
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