（25）Los Angeles Times，October 17，1995，pp.D1，7and November 3，1995，p.D4.For a detailed account of the revival of the film market in Chinathat was spurred by the imports ，see Lao Mei，"Chinese Domestic Films：FirstLight and Shadows ，"Dianying yishu（Film Art）No.2，1996，pp.43-48.[goback]
（26）This regulation is reprinted in China Film Corporation ，ed.，Dianyingzhengce fagui zhongyao wenjian huibian（Compendium of the Important Official Documentson Film Policies and Regulations），（Beijing ：Dizhi chubanshe，1997），pp.1-11，at p.8.On the violation of this regulation ，see Wang Gengnian，Zhongguodianying bao（China Film News ），February 17，2000，p.1.
（27）Zhan Shibang ，"Who Are the Stars of Today's Box Office ？"in Nanfangzhoumo（Southern Weekend），December 4，1998，p.9.Chinese readers would alsobe aware that Ning Jing married her foreign co-star from "Red River Valley"（Honghegu），suggesting that she was unable to find a suitable mate among Chinese males.
（28）Yingjin Zhang and Zhiwei Xiao，Encyclopedia of Chinese Film （Londonand New York：Routledge，1998），p.272.Because of a typographical error theannual figure for Popular Cinema's circulation is listed in the Encyclopedia as960million copies（instead of 9.6million for the special issue that had the "HundredFlowers"award ballot ）。[Personal communication from Zhiwei Xiao].Academic publicationson film have also declined in recent years.The two most important，also discussedin the Encyclopedia ，are Dianying yishu （Film Art），first published in 1959，and Dangdai dianying（Contemporary Cinema ），first published in 1984.Indeed，one leading film professional told me that Film Art might be forced to close downbecause of financial difficulties （Interview ，Beijing，July 2000）。
（29）"China's Highest Film Awards Face New Set of Challenges，"in filmbazaar.com，April 3，2000.
（30）Yi Xudong，"When Will China's Restless，Impetuous Cinema Become Calm？"Xin Shiji（New Times ）No.7，July 1997，p.66.
（31）Circulation figures can be found in Zhongguo xinwen chuban tongji ziliaohuibian 1998[A Compendium of Statistical Data on Chinese Journalism and Publications]（Beijing ：Zhongguo tongji chubanshe，1998），p.170.
（32）See Di yi shou （First Hand）No.36，September 1，1998，p.3，published by Horizon Research.
（33）For examples ，see Mao Qiang，"Analysis of the 1998Nationwide Marketfor American Shared-Profit Films；"He Wenjin ，"Thoughts Elicited by Charts Showing'Titanic'Box Office Trends ；"and Weng Li ，"Insights from the Market Phenomenonof 'Titanic'，"all translated in Stanley Rosen ，ed.，"Hollywood Films and ChineseDomestic Films in China （Part I），"Chinese Sociology and Anthropology，Fall1999，pp.33-37，47-54，and 58-69.
（34）National Journal's Congress Daily，February 10，2000（online version）；Variety，February 14-20，2000，p.22；and Los Angeles Times，May 23，2000，pp.A 1，14.
（35）Los Angeles Times，October 31，1999，pp.C 1，8.
（36）Michel Oksenberg ，quoted in Los Angeles Times，May 30，2000，p.C 1.
（37）For a discussion of these restrictions and the China film market moregenerally ，see Lora Chen，"Personal Notes on Changes in the Chinese Film Industry：Globalization and the Market Economy ，"（unpublished paper ）。
（38）For an excellent discussion of the obstacles to Hollywood's dreams ofa vast China market ，see James Bates，"China Deal Won't Be a Quick Hit for Hollywood，"Los Angeles Times ，May 30，2000，pp.C 1，4.
（39）There are many articles on this debate in newspapers and magazines.See，inter alia，Xu Lijing，and Lan Xiding ，"Wuyuan piaojia：nengfou xianqi yingjie{Wanmei fengbao}（A Five Yuan Ticket：Will It Set Off 'The Perfect Storm'in FilmCircles ），Jingji ribao （Economic Daily），November 23，2000，p.9and MaoGuo ，"Wuyuan piaojia：Rang shichang shuohua"（A Five Yuan Ticket：Let the MarketDecide），Zhongguo dianying bao（China Film News ），November 23，2000，p.3.On this issue more generally ，see Zhang Yan，"Are Cinema Prices Really TooHigh？"Beijing qingnian bao，December 5，1999，p.14，translated in StanleyRosen ，ed.，"Hollywood Films and Chinese Domestic Films in China （I ），"ChineseSociology and Anthropology，Vol.32，No.1，Fall 1999，pp.43-46and Tang Jiqun，"The ABC's of Shanghai's Film Market：A Survey Report of Yangpu District CulturalBureau（Part Two），"Zhongguo dianying shichang No.8，August 1999，pp.32-33，translated in Rosen ，"Hollywood Films and Chinese Domestic Films in China （II），"Chinese Sociology and Anthropology，Vol.32，No.2，Winter 1999-2000，pp.82-88.The information on the availability and quality of VCDs and DVDs is basedon my observations in Beijing in July 2000.
（40）Rosen interview with Jin Zhongqiang，Beijing，December 12，1999.[goback]
（41）The best work on censorship in pre-1949China has been done by Xiao Zhiwei.See "Anti-Imperialism and Film Censorship during the Nanjing Decade ，1927-1937，"in Sheldon Lu ，ed.，Transnational Chinese Cinemas：Identity ，Nationhood ，Gender（Honolulu：University of Hawaii Press ，1997），pp.35-57.
（42）Asiaweek ，April 10，1998，p.35.Also see South China Morning Post，September 24，1997（Internet edition）and December 9，1997（Internet edition）。
（43）New York Times ，October 10，1997，p.B 7.After Disney had signeda deal with Scorsese they really had no choice except to proceed with "Kundun".Not to do so would have subjected the studio to charges of censorship and damagedtheir reputation within the artistic community in Hollywood.
（44）Washington Post，February 8，1999，p.A 1.It was clear that Disneywas placating Chinese sensibilities rather than seriously planning the distributionof the two films in the U.S.One film -"A Time to Remember"（Hongse lianren）-is a patriotic love story set during the Communist revolution and would have littleinterest for U.S.audiences.
（45）Chang Bin，"Dapian qinian zhiyang"（Seven Years of Megafilms），Xijudianying bao（Movie and Drama Weekly），May 5，2000，p.3.
（46）Wang Tong，"WTO yu Zhongguo dianying"（WTO and Chinese Film），Xijudianying bao（Movie and Drama Weekly），May 19，2000，p.7.This was part ofa "great debate"in the Chinese film industry over how to survive in the wake ofWTO entrance.
（47）En Na，"Killer：Chongxin renshi Meiguo dapian"（Killer：UnderstandingAmerican Megafilms in a New Light ），Beijing qingnian bao ，May 19，1999，p.3.
（48）Zeng Yabo，"Jiekai haolaiwu de miansha"（Drawing Aside Hollywood'sVeil），Zhongguo dianying shichang （Chinese Film Market ）No.7，July 1999，p.10.
（49）Chen Xiaoyun ，"'Zhenshi huangyan'：Meiguo dianying de huoyu baquan"（"True Lies"：The Vivid Language of Hegemony of American Films ），Zhongguodianying bao（China Film News ），August 12，1999，p.2.
（50）Du Zhongjie，"Menghuan bei hou you zhi kanbujian de shou"（There isan Invisible Hand Behind the Dreamland），Zhongguo dianying bao（China Film News），August 12，1999，p.2.
（51）Zhang Renjie ，"Mulan ci -kan donghuapian Hua Mulan"（Ode to Mulan-Seeing the Animated Film Mulan），Dazhong dianying （Popular Cinema）No.8，August 1998，p.15.
（52）Ibid.
（53）Wang Yongzhi and Ren Yi，"Yinjin da pian yinchu de ganga"（The EmbarrassmentCaused by Importing Major Films ），Banyuetan neibuban （Internally circulatededition of bimonthly forum）No.7，July 1999，pp.40-41.One leading film authorityin China warned me never to believe box office figures officially released.On hismany visits to Chinese theaters to see films not subsidized by group ticket purchases，he finds very few others in the audience.
（54）Liu Hong ，"Jiaru WTO ：Zhongguo dianyingye jiyu yu tiaozhan bingcun"（Entering WTO：The Chinese Film Industry Faces Both Opportunities and Challenges），unpublished research report from the Guangxi Film Studio）
（55）On some of these competing strategies also see Shaoyi Sun，"Under theShadow of Commercialization ：The Changing Landscape of Chinese Cinema"（unpublishedpaper ）。
（56）Kang Jianmin ，"Zhendui wenti ，xunzhao tupo"（Seeking a Breakthroughby Finding the Problems ），Dianying yishu （Film Art）No.3，May 5，1999，pp.13-15.
（57）On box office figures around the world ，see Peter Cowie，ed.，VarietyInternational Film Guide 2000（Los Angeles ：Silman-James Press ，1999），pp.62-72.
（58）Zheng Dongtian ，"Shengcun，haishi huimie"（To Be or Not to Be？），Beijing guancha （Beijing Observation ）No.4，April 2000，pp.50-55.
“THE WOLF AT THE DOOR”：HOLLYWOOD AND THE FILM MAR
Endency of Values of Modern Landscape Architecture