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Wang Jianlin， the wealthiest man in China has announced that he will be recreating the American film industry. He will do this by establishing an 8 billion dollar facility entitled Qingdao Oriental Movie Metropolis. He has gone as far as bringing in American actors， and hasmade plans to duplicate the iconic Hollywood hills sign in Chinese （Burkitt， 2013）. This strategic move by Wang disregards the local qualities of China （specific city is unnamed）， and the culture of the Chinese labor force. By implementing Thackara’s （2006） design principal， Wang can lay out a more appropriate and successful version of his dream to bring Hollywood to China.
If Wang were to design his Movie Metropolis with a focus on creating a unique version of Hollywood， one which takes into account Chinese ideals and culture， he would be making a very different and more appealing investment. Although American cinema is by far the most recognized cultural medium for the film industry， “it came to be”somewhat organically， and not by the conscious effort of a major investor. I do not know much about the landscape of China， but I can assume that it does not resemble the Hollywood hills， and to implant this into the Chinese landscape would be the perfect example of a “cultural spectacle” condemned by Thackara. To revamp this idea in the most direct form， Wang needs to bring in Chinese actors rather than American ones. He needs to gather the opinions of Chinese locals on what they would like to see the film industry become， and establish a new style of Cinema， one which the world has yet to see.
Extending this localization of Wang’s vision even further， he could invest the same 8 billion dollars in the actual Chinese film makers. The main actors in the film industry are the directors and masterminds behind the scenes. By offering these professionals vast funding they can create high budget movies on a“Hollywood”scale， but with distinctly Chinese characteristics. Wang should imagine what a director with as little as 500 million dollars could accomplish without the strict guide of duplicating Hollywood.
The impact of this type of reconstruction of Wang’s project has profound implication for Chinese culture. On the one hand， going with his current plan would weaken the Chinese identity. It would send the message that their own culture is not good enough， therefore we need to adopt a “better”one. By offering funding to Chinese film-makers to accomplish their dream projects， Wang is sending the opposite message. He would be removing himself from the authority figure in this project， and giving film-makers a greater level of creative freedom. Wang has the ability to contribute to， and strengthen， the Chinese culture. This message is distinctly opposite of the previous one， showing the Chinese people that they can achieve a level of success that American cinema already has. Moreover， if they do not gain such widespread popularity， they will have their own brand which they themselves can locally appreciate. Although Wang is the decision maker since he is personally funding this project， by considering the ethical implications of his vision on Chinese culture， he can make the shift from self-oriented “success” thinking to focusing on the contributions he can make to the Chinese people （Zander
If Wang were to design his Movie Metropolis with a focus on creating a unique version of Hollywood， one which takes into account Chinese ideals and culture， he would be making a very different and more appealing investment. Although American cinema is by far the most recognized cultural medium for the film industry， “it came to be”somewhat organically， and not by the conscious effort of a major investor. I do not know much about the landscape of China， but I can assume that it does not resemble the Hollywood hills， and to implant this into the Chinese landscape would be the perfect example of a “cultural spectacle” condemned by Thackara. To revamp this idea in the most direct form， Wang needs to bring in Chinese actors rather than American ones. He needs to gather the opinions of Chinese locals on what they would like to see the film industry become， and establish a new style of Cinema， one which the world has yet to see.
Extending this localization of Wang’s vision even further， he could invest the same 8 billion dollars in the actual Chinese film makers. The main actors in the film industry are the directors and masterminds behind the scenes. By offering these professionals vast funding they can create high budget movies on a“Hollywood”scale， but with distinctly Chinese characteristics. Wang should imagine what a director with as little as 500 million dollars could accomplish without the strict guide of duplicating Hollywood.
The impact of this type of reconstruction of Wang’s project has profound implication for Chinese culture. On the one hand， going with his current plan would weaken the Chinese identity. It would send the message that their own culture is not good enough， therefore we need to adopt a “better”one. By offering funding to Chinese film-makers to accomplish their dream projects， Wang is sending the opposite message. He would be removing himself from the authority figure in this project， and giving film-makers a greater level of creative freedom. Wang has the ability to contribute to， and strengthen， the Chinese culture. This message is distinctly opposite of the previous one， showing the Chinese people that they can achieve a level of success that American cinema already has. Moreover， if they do not gain such widespread popularity， they will have their own brand which they themselves can locally appreciate. Although Wang is the decision maker since he is personally funding this project， by considering the ethical implications of his vision on Chinese culture， he can make the shift from self-oriented “success” thinking to focusing on the contributions he can make to the Chinese people （Zander