Notes
（1）Dierdre L.Nickerson and Todd Lappin ，"Frustration in Peking ：ChineseDirectors Win Acclaim Abroad But Not At Home，"Far Eastern Economic Review ，August12，1993，p.57，citing China Film.It should be noted，however，that boxoffice statistics for Chinese films are highly inconsistent.One well-informed intervieweein Beijing in July 2000actually warned me not to believe what I read about thisin the Chinese press，that official publications over-reported attendance.Forexample ，Seth Faison reported in The New York Times （November 21，1995，p.C1）that attendance had declined from a peak of 14billion in 1992，while WilliamBrent reported in The China Business Review （September-October 1994，p.38）thatonly 1.2billion tickets were sold in 1993.An authoritative Chinese source notedthat the total audience had dropped by 50percent from 1979（29.3billion）to1991（14.4billion）。See Ni Zhen，ed.，Gaige yu zhongguo dianying （Reform andChinese Film）（Beijing ：Dianying chubanshe ，1994），p.50.There were manyreasons for the decline ranging from poor distribution，the low quality of governmentapproved films，and the growing popularity of other forms of entertainment.Inthe late 1980s，just prior to the Tiananmen military crackdown of June 1989，Chinesestudios had been increasingly relying on pure entertainment films in an effort toincrease the box office.Communist Party officials were not at all pleased thatmore than 60percent of Chinese films in 1988were kung fu films，thrillers andmusicals.See Renmin ribao（People's Daily），January 31，1989，cited in Xinhua，English ，reprinted in Foreign Broadcast Information Service （FBIS），China，89-021，February 2，1989，p.30.
（2）At the beginning of the reforms there was only one "cabaret"in China，at the Dongfang Hotel in Guangzhou.By 1994，according to Renmin ribao，therewere hundreds of cabarets ，at least 200，000karaoke bars，and 60，000"videoviewing rooms".See Los Angeles Times ，November 29，1994，p.F9.
（3）Hong Kong Standard ，September 18，1992，p.11，reprinted in FBISChina ，92-182，September 18，1992，p.22.
（4）For Document No.3（issued by the Ministry of Radio ，Film and Televisionon January 5，1993）see China Film Corporation ，ed.，Dianying zhengce faguizhongyao wenjian huibian（A Collection of Important Regulations on Film Policy）（Beijing ：Dizhi chubanshe，1997），pp.12-15.For Document No.348（issuedby the same agency on August 1，1994）see ibid.，p.16.
（5）Tony Rayns in The Independent（London），September 26，1993，p.48.Also see Kyodo News Agency，November 16，1992，reprinted in FBIS China，92-221，November 16，1992，pp.27-28and Derek Elley，"China ，"in Peter Cowie，ed.，Variety International Film Guide 1994（Hollywood ：Samuel French Trade，1993），p.122.
（6）Derek Elley，"China ，"in Peter Cowie，ed.，Variety InternationalFilm Guide 1995（Hollywood ：Samuel French Trade，1994），p.136.It shouldbe noted that some major centers，such as Beijing，Shanghai and Jiangsu provincewere doing better because of a few popular titles.
（7）Ibid.
（8）Twelve Hollywood films had been imported in 1992for this flat fee.SeeDaily Variety ，March 21，1994，p.1.
（9）Xinhua ，English，July 14，1994，reprinted in FBIS China，94-135，July 14，1994，pp.25-26.
（10）Zheng Dongtian ，"To Be or Not to Be？Jinru WTO yihou de zhongguo dianyingshengcun beijing fenxi"（To Be or Not to Be？Background and Analysis on the Existenceof Chinese Film after Entrance to WTO ），Dianying yishu （Film Art）No.2，2000，pp.4-8.To ensure greater circulation for his views this article was published ，with a slightly different title in Beijing Guancha（Beijing Observation ）No.4，April 2000，pp.50-55.In both articles "To Be or Not to Be"is written in English.
（11）For translations of articles on different sides of this ideological dividesee Stanley Rosen ，ed.，"Hollywood Films and Chinese Domestic Films in China（Part I），"Chinese Sociology and Anthropology Vol.32，No.1，particularlypp.12-22.For a discussion of "main melody film"see Linda Jaivin，"Guns and Butter：A Survey of Recent Chinese Cinema，"China News Analysis No.1466，August 15，1992，p.2.As Jaivin cites from Renmin ribao，August 30，1991，p.5，mainmelody films are supposed to help people to "find their way and strengthen theirbelief in the face of the extremely complicated political disturbances in Chinaand abroad at this time".
（12）"More Reform Urged for PRC's Film Industry ，"Xinhua in Chinese ，July7，2000，translated in FBIS China ，July 7，2000（Internet）。This circularhas been extensively reported in the Chinese press.For example ，see "Deepen theReform of the Film Industry ，Foreign Capital is Permitted for Investment，"Beijingwanbao，July 8，2000，p.14.
（13）For a recent critique of the burdens of producing main melody films byfilm professionals，see Yin Hong ，"1999zhongguo dianying beiwang"（A Memorandumon Chinese Film in 1999），Dangdai dianying （Contemporary Film ）No.1，2000，pp.10-15.
（14）Chang Bin，"Megaproductions ：The Seven Year Itch，"Xiju dianyingbao （Movie and Drama Weekly），May 5，2000，p.3.This article provides a usefulyear by year summary of Hollywood films shown in China and includes the openingdate for each film，box office figures for Beijing's Capital Cinema，and otheruseful data.Also see Rone Tempest，"How Do You Say Boffo in Chinese ？The Fugitive，"Los Angeles Times ，November 29，1994，pp.F1，9.
（15）Cited in the Associated Press，November 19，1994.
（16）Rone Tempest ，Los Angeles Times，November 29，1994，op.cit.[goback]
（17）Daily Variety，November 28-December 4，1994，p.48.The decisionto import "The Fugitive"and the impact of Hollywood blockbusters into the Chinamarket more generally was discussed in a variety of Chinese sources at the time ，including such industry publications as Xiju dianying bao （Film and Theater News），Zhongguo dianying zhoubao （China Film Weekly ），Zhongguo dianying shichang（China Film Market ），Wenhui dianying shibao （Wenhui Film Times ），and Zhongguowenhua bao（Chinese Cultural News ）。One of the most detailed accounts，summarizingnot only the dispute and its chronology ，but also the process by which "The Fugitive"was brought to China，can be found in Zi Shan，"The Western Galaxy is Moving Eastand the Path Has Not Been Smooth：A True Account of the Storm Over 'The Fugitive'in Beijing，"Zhongguo dianying shichang（China Film Market ），No.1，January1995，pp.15-17.
（18）For a discussion of the return of "The Fugitive"to Beijing theaters ，see Gao Feng，"The Autumn Leaves Pass Through the Winter and Welcome the Spring：'The Fugitive'Returns to Beijing Screens"in Zhongguo dianying shichang （ChinaFilm Market ）No.3，March 1995，pp.10-11.Because of this dispute ，the boxoffice figures for "The Fugitive"in Beijing in 1994were less than one-sixth thefigures for Shanghai.
（19）Daily Variety，May 3，1994，p.4.
（20）Daily Variety，August 5，1994，p.5.
（21）Maclean's，February 20，1995，p.18；Financial Times（London），February 8，1995，p.4.
（22）Daily Variety，November 29，1994，p.4.
（23）See Fan Jianghua ，Mao Yu and Yang Yuan ，"Tour of the 1995Film Market，"Zhongguo dianying shichang（China Film Market ）No.1，January 1996，pp.4-7，translated in Stanley Rosen ，ed.，"The Film Market in China，"Chinese Educationand Society Vol.32，No.2，March-April 1999，pp.37-50.
（24）"Forrest Gump"opened on June 9in Beijing and June 16in Shanghai ，but only 35percent of the seats were sold.Among various problems were the poordubbing done by the August 1Film Studio，the fact that most Chinese were not familiarenough with American history，and the general lack of excitement and entertainmentvalue provided by the film，particularly in comparison with "The Fugitive"and"True Lies".After the initial buzz created by the film's success at the AcademyAwards，Chinese audiences stayed away and theaters lowered their ticket pricesfrom 20to 10yuan.See United Press International，June 20，1995.
“THE WOLF AT THE DOOR”：HOLLYWOOD AND THE FILM MAR
Endency of Values of Modern Landscape Architecture