{"title":"审查文化:全球电影制作中的国家干预和共谋创作","authors":"Jun Fang","doi":"10.1177/00031224241236750","DOIUrl":null,"url":null,"abstract":"How does state censorship shape global creative production? To explore the merger of art and the state in a global context, I adopt a micro-sociological approach to examine the culture of censorship and reconceptualize censorship as an ongoing, social process. Based on participant observation within a global film studio and interviews with industry insiders in Beijing and Los Angeles, I investigate how global cultural producers navigate China’s rigid film censorship system. My analysis reveals how China’s state censors use multistage gatekeeping and intermediated censorship to infiltrate the creative process and exert global influence. I then show how informality transforms these organizational procedures into a relational process that is hard to trace. In this, studio executives and filmmakers are induced to engage in complicit creativity, seeking creative negotiations through working with, rather than against, the state; specifically, they practice concession, reconfiguration, and collusion. These processes anchor a culture of censorship characterized by the symbiotic relationship between censors and creators, epitomizing a dynamic dance between everyday state power and everyday resistance. This relational model of censorship provides useful analytic scaffolding, extending our knowledge of the inner workings and consequences of state intervention in the new global cultural economy.","PeriodicalId":48461,"journal":{"name":"American Sociological Review","volume":null,"pages":null},"PeriodicalIF":7.1000,"publicationDate":"2024-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Culture of Censorship: State Intervention and Complicit Creativity in Global Film Production\",\"authors\":\"Jun Fang\",\"doi\":\"10.1177/00031224241236750\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"How does state censorship shape global creative production? To explore the merger of art and the state in a global context, I adopt a micro-sociological approach to examine the culture of censorship and reconceptualize censorship as an ongoing, social process. Based on participant observation within a global film studio and interviews with industry insiders in Beijing and Los Angeles, I investigate how global cultural producers navigate China’s rigid film censorship system. My analysis reveals how China’s state censors use multistage gatekeeping and intermediated censorship to infiltrate the creative process and exert global influence. I then show how informality transforms these organizational procedures into a relational process that is hard to trace. In this, studio executives and filmmakers are induced to engage in complicit creativity, seeking creative negotiations through working with, rather than against, the state; specifically, they practice concession, reconfiguration, and collusion. These processes anchor a culture of censorship characterized by the symbiotic relationship between censors and creators, epitomizing a dynamic dance between everyday state power and everyday resistance. This relational model of censorship provides useful analytic scaffolding, extending our knowledge of the inner workings and consequences of state intervention in the new global cultural economy.\",\"PeriodicalId\":48461,\"journal\":{\"name\":\"American Sociological Review\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":7.1000,\"publicationDate\":\"2024-03-28\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"American Sociological Review\",\"FirstCategoryId\":\"90\",\"ListUrlMain\":\"https://doi.org/10.1177/00031224241236750\",\"RegionNum\":1,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"SOCIOLOGY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"American Sociological Review","FirstCategoryId":"90","ListUrlMain":"https://doi.org/10.1177/00031224241236750","RegionNum":1,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"SOCIOLOGY","Score":null,"Total":0}
The Culture of Censorship: State Intervention and Complicit Creativity in Global Film Production
How does state censorship shape global creative production? To explore the merger of art and the state in a global context, I adopt a micro-sociological approach to examine the culture of censorship and reconceptualize censorship as an ongoing, social process. Based on participant observation within a global film studio and interviews with industry insiders in Beijing and Los Angeles, I investigate how global cultural producers navigate China’s rigid film censorship system. My analysis reveals how China’s state censors use multistage gatekeeping and intermediated censorship to infiltrate the creative process and exert global influence. I then show how informality transforms these organizational procedures into a relational process that is hard to trace. In this, studio executives and filmmakers are induced to engage in complicit creativity, seeking creative negotiations through working with, rather than against, the state; specifically, they practice concession, reconfiguration, and collusion. These processes anchor a culture of censorship characterized by the symbiotic relationship between censors and creators, epitomizing a dynamic dance between everyday state power and everyday resistance. This relational model of censorship provides useful analytic scaffolding, extending our knowledge of the inner workings and consequences of state intervention in the new global cultural economy.
期刊介绍:
The American Sociological Association (ASA) is a non-profit membership association established in 1905. Its mission is to advance sociology as a scientific discipline and profession that serves the public good. ASA is comprised of approximately 12,000 members including faculty members, researchers, practitioners, and students in the field of sociology. Roughly 20% of the members work in government, business, or non-profit organizations.
One of ASA's primary endeavors is the publication and dissemination of important sociological research. To this end, they founded the American Sociological Review (ASR) in 1936. ASR is the flagship journal of the association and publishes original works that are of general interest and contribute to the advancement of sociology. The journal seeks to publish new theoretical developments, research results that enhance our understanding of fundamental social processes, and significant methodological innovations. ASR welcomes submissions from all areas of sociology, placing an emphasis on exceptional quality.
Aside from ASR, ASA also publishes 14 professional journals and magazines. Additionally, they organize an annual meeting that attracts over 6,000 participants. ASA's membership consists of scholars, professionals, and students dedicated to the study and application of sociology in various domains of society.