Distributing Asian cinema, Past and present: Definitions from DVD labels
- Submitting institution
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University of Greenwich
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 21315
- Type
- C - Chapter in book
- DOI
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10.1057/978-1-349-95822-1
- Book title
- The Palgrave Handbook of Asian Cinema
- Publisher
- Palgrave Macmillan
- ISBN
- 9781349958214
- Open access status
- Out of scope for open access requirements
- Month of publication
- -
- Year of publication
- 2018
- URL
-
-
- Supplementary information
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-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. It demonstrates the competing perceptions and definitions of Asian cinema within the UK consumer market. A select number of distributors are now dedicated to releasing films from this part of the world on a regular basis. My research asks how such films are promoted, packaged and circulated to audiences in the UK. The result of analysing such practices is that it becomes clear that the distributor is marketing and promoting themselves, through their titles and their actions undertaken. This can also shape perceptions of Asian cinema, in addition to the titles, filmmakers and actors involved in these productions. This is a significant contrast to both recent and historic definitions and attitudes towards the distribution process in the film and media industries – the majority of which have emphasised these actions as ‘invisible’ in relation to others, such as production, exhibition and consumption. However, in the UK, these distributors are essential for getting films from Asian countries to UK audiences. They often facilitate screenings at festivals and cinemas, as well as enabling the exhibition of their titles through DVD releases or digital streaming services. Many distributors now promote such practices through social media, subscriber newsletters and advertising, rather than stay ‘invisible’. The means by which the film text is circulated and distributed – for example on Blu-Ray or DVD – is a transformative aspect, when film is regarded as a form of soft power. It also does not just affect a single film. As found in this chapter, there are patterns within the images and terminology used for distributing and marketing these films, meaning that the labels shape perceptions of certain directors, genres, stars, and nations, as well as specific films.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
