Consumption and Reception of Asian Films by Filipino Viewers: An Exploratory Study

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1 Session 2: Industry Studies 108 Consumption and Reception of Asian Films by Filipino Viewers: An Exploratory Study Violeda A. Umali / College of Mass Communication, University of the Philippines Abstract The fairly recent increase in popularity of Asian films in the Philippines indicates a shift in the self-identification of a native population that had been Europeanized and later Americanized for the greater part of its available history. Where earlier generations of Filipinos preferred Westernsourced cultural products, and nationalists during the last century insisted on native and Filipino-first principles, the current generation of Filipinos would seem to be an altogether alien breed, open once more to foreign influences, but not to the West. This paper seeks to inspect this phenomenon by focusing on young Filipinos film preferences, as reflected in the postings of an Internet group site called PinoyExchange. It will use a combination of quantitative and qualitative analyses to answer some basic questions such as What do young Filipinos think of Asian films? but perhaps more important, it will also seek to raise issues on the perception and consumption of non-filipino and non-western film products.

2 Session 2: Industry Studies 109 In the Philippines, as is perhaps also the case in many other countries, the emergence of Asian film fans is a fairly recent phenomenon. Asian films, however, have long been part of the Filipinos viewing fare, but these films were seen mainly on television and not in the cinemas. 1 And for the most part, these films were Chinese films originating from Hong Kong. In the late 1970s and early 80s, these Chinese films were, more often than not, Bruce Lee and Jackie Chan martial arts films dubbed in English, and shown regularly over Channel Other Chinese martial arts films were soon added to the TV viewers choices, among these my all-time favorite Once Upon a Time in China series starring Jet Li. But these movies made up a very small fraction of TV programming in the country; US-produced programs have always dominated the scene. Until recently, hardly any Asian film was shown in mainstream Philippine movie houses. If any non-hollywood films were showing, they would most likely be Hong Kong films. Other Asian films did get their share of public exhibition, but mainly during film festivals that featured art films. But, just as Asian films particularly East Asian films were getting more and more popular internationally, these films soon gained a following (albeit still small) in the Philippines. One concrete proof that these films have made sufficient impact in the country is the fact that commercial movie houses now occasionally include (East) Asian films in their lineup, primarily the horror films from South Korea and Japan. Alongside the increasing presence of Asian films in the country, Asian film fans were born. Previously, it might have taken these fans time to find and link up with one another. But through the Internet, these fans have sought or set up online communities where they can regularly communicate with each other. This paper looks at one of those communities the 1 This statement is based solely on anecdotal evidence and personal experience. Unfortunately, I was not able to find any material that documents the arrival of Asian films in the Philippines. 2 I know there were other Asian films being shown on TV then, particularly Japanese samurai films, but it was the Jackie Chan films that kept me glued to the screen. I did not particularly like Jackie Chan and I got turned off by the slapstick humor, but I loved the kung fu scenes. I still do, and I remain a big fan of Jet Li and his pre-hollywood movies.

3 Session 2: Industry Studies 110 internet site PinoyExchange (URL at < 3 There are many discussion forums in this site, one of which is dedicated to international movies and TV. Within this forum is a discussion thread for Asian movies. This discussion thread was started in June 2003 by topnotch97, an avid fan of Asian movies. From the time it was set up until July 2006, 1,569 messages coming from 243 members have been posted in this discussion thread, and it has registered more than 19,000 hits. While it is true that other forums have many more messages, posters and hits, these figures are noteworthy, considering that Asian films are not as widely marketed and as easily accessible as Hollywood films are in the country. 4 All the 1,569 messages posted from June 2003 to July 2006 were included in the analysis. Quantitative and qualitative textual analyses were used to identify concepts and themes that describe/illustrate the forum members consumption and reception of Asian films. The Posters As mentioned, approximately 243 PinoyExchange 5 members posted messages on the discussion thread on Asian movies. Because posters use a pseudonym, it is hard to guess their socio-demographic profile. It is easy to infer, however, that the posters are generally young and educated, given the specific concerns they raised in their posts, their choice of words, their familiarity with the English language, and their adeptness in using new media formats and technologies. Most of the forum participants are based in the Philippines. Although several members did not indicate where they are located, it can be seen from their messages (e.g., asking for 3 PinoyExchange describes itself as an online community populated by Filipinos from around the World. It has more than 35 discussion areas and 181,700 members. 4 It must be pointed out, too, that the discussion thread on Asian movies is just one of the many threads in the International movies and TV forum that are dedicated to Asian films. There are threads for specific actors, movies, national cinema. Again, many of the threads are dedicated to East Asian talents and productions. 5 Pinoy is the colloquial term for Filipino.

4 Session 2: Industry Studies 111 directions on how to get to a particular place in Manila that sells DVDs, complaining about the speed of their Internet connection) that they are based in the Philippines. A few of the members are based abroad (USA, Canada, South Korea, Australia, Hong Kong, Taiwan, Singapore, Italy, and Taiwan). Expectedly, the members extent of participation in the discussion is uneven: there are regular posters, i.e., they have postings throughout the three-year period covered for the analysis; there are occasional posters, i.e., those who were actively sending messages for a certain period of time only; and there are one-time posters, i.e., those who only had one or two postings in the forum. The latter made up approximately 22% of the discussants. Most active among the members was topnotch97 with 299 messages, followed by altair with 108 messages and Avonlea with 57 messages. The Postings The messages posted covered a range of topics places where one could by DVDs/VCDs of Asian films; film screening schedules (on TV or in the cinemas); film reviews; internet links for particular movies, actors or actresses; trivia about movies and celebrities; images such as movie stills and pictures of actors/actresses; personal opinions about certain movies, actors and actresses; gripes about household members whose viewing preferences differ from theirs (i.e., the posters); and film soundtracks, among others. More than half of the messages dealt with access to Asian films, i.e., where to buy copies, where/how to download copies from the Internet, when a particular film is to be shown/released. Quite a number of postings focused on recommendations about films to collect or watch. There are several discussions on the comparative merits of one Asian film vs. another, or of Asian vs. Hollywood films. The other topics are only marginally discussed in the forum. The Asian films discussed are mostly East Asian films Korean, Japanese, and Chinese (Hong Kong and mainland China). A few posts mentioned Thai and Singapore films, but for the most part, the discussions left out Southeast Asian films and films from other parts of Asia, e.g.,

5 Session 2: Industry Studies 112 India and the Middle East. Further, only one posting put Filipino films side by side with other Asian films, suggesting that Filipino films and filmmakers at least as far as the forum discussants are concerned have not yet made it to the league of noteworthy Asian films and directors. Mapping the Online Fans Consumption and Reception of Asian Films: A Caveat on Methodology The analysis of the postings on PinoyExchange can be done at two levels: first, by identifying consumption and reception patterns in a conventional way, i.e., not yet taking into consideration the nuances of consumption and reception in an online context; and second, by looking at consumption and reception issues that are tied up with the use of new information and communication technologies (internet and digital technologies). In this paper, I have focused more on the first approach, and dealt with the second only marginally. This is mainly because, as mentioned earlier, the emergence of Asian film fans is a fairly new phenomenon in the Philippines. There seems to be no formal research that has been conducted as yet about the Filipino audiences and fans of Asian films. I bring into the analysis my training in communication research, and an attempt to incorporate concepts and arguments that I picked up from the related literature on fandom that I was able to review. At the same time, I have also taken note of admonitions from Hills (2) about theorists [who] follow their own institutional and theoretical agendas, and use fandom within these theory wars and theoretical skirmishes. Finally, I have approached the analysis painfully aware of the fact that I am (to use Hills terms) neither a fan-scholar nor a scholar-fan. The Filipino Fans Consumption and Reception of Asian Films From Television to Films, From Asia to Hollywood: Asserting Asian Films Superiority In mapping the Filipino fans consumption and reception of Asian films, it is but

6 Session 2: Industry Studies 113 appropriate to start with how they got introduced to these films. From the postings, it appears that television played a significant role in this regard. From watching anime and other Asian (or more accurately, East Asian) programs on television, the posters eventually branched out to watching Asian movies in VCD/DVD format. For some posters, the introduction of cable apparently was an important factor. Several forum discussants said that they first encountered Asian movies and other programs in the cable channels, particularly Star Mandarin and Arirang: Ako naman [In my case], I just recently discovered asian movies thru Star Mandarin. Just got tired watching local shows and started surfing the different cable channels, and there got hooked already. (geczar) ako naman ay nagsimulang manood sa arirang [I started watching Arirang] since I was 2 nd yr high school and now, i m already 3 rd yr. in college and i m still watching the movieworld, nonstop and k-dramas being aired in arirang. i started to watch in arirang when i saw hyori and that squareface man. they are so hilarious that i can t stop laughing and it got me hook [sic] on watching korean shows.(marz05) The role of television in facilitating access to Asian movies has simultaneously brought problems to the posters who have to share the TV set with their household members. Conflicts in TV program choices, and/or in using the TV for watching DVD/VCD movies vs. watching broadcast programs, have led to animosities between the posters and their housemates. Because they are usually the only one in the household who are into Asian movies, the posters lose out to their housemates. Being the other, the posters become defensive of their choices; however, unlike other popular culture fans, they do not regard their choices as inferior to their housemates choices. The following posting by Solidus_Alpha illustrates this sentiment: Hilig pa man din nila ang cinema 1, at dos, yun lang ang alam nila na channel, talk about stereotype audiences. tawag ko tuloy sa kanila mga no brainer creatures. kasi ang alam lang nila na tama ay laging galing sa dos, da best ang tv patrol, meteor garden etc. [They only watch Cinema 1 and Channel 2;

7 Session 2: Industry Studies 114 talk about stereotype audiences. I call them no brainer creatures because for them, the only good programs are those from Channel 2, TV Patrol, Meteor Garden, etc.] For Solidus_Alpha and the other posters in the same situation as he is in, their viewing choices are superior to their housemates preferences. Here, the divide goes two ways: a) between the posters channel choices and those of their housemates (cable channels vs. free channels) and b) between Asian movies/programs in cable channels and Asian soaps, particularly Meteor Garden, that air over the free channels. To a certain extent, it can be said that Meteor Garden s association with the free channels (perceived by some of the posters as too commercial and profit-oriented) resulted in its being viewed as an inferior quality program. Programs of the same format that are not shown over free channels seem to be regarded as better, as can be seen in the following exchange between Jel and Subway: Jel: pag nanonood nga ako sasabihin, Arirang na naman, la nmang kwenta yang pinapanood mo. ano may kwenta sa kanila? Yung mga teleserye na wala ka naman matutunan na kahit ano? puro naman di makatotohanan [Whenever I switch to Arirang they will say, Arirang again; their programs are worthless. What do they consider good programs? The series that they watch, that have nothing but unrealistic plots?] Subway: Lam mo? Pagdating ng araw na sumikat ang mga korean movies/dramas sa Philippines, sila na ang mangungulit sa iyo na LIPAT MO SA ARIRANG gusto ko manood [Know what? When Korean movies/dramas become popular in the Philippines, they will be the ones to insist that you SWITCH TO ARIRANG because they want to watch the programs there.] Subway s comment shows yet another dimension to the posters sentiments about their otherness i.e., that they are ahead of their time, that they are setting a trend that will soon be the norm for the rest of the viewing public to follow. This shows that the Asian film fans do not

8 Session 2: Industry Studies 115 only regard themselves as different; they also see themselves as better than the average viewer. Among these fans, thus, there is a high regard for Asian movies. And this perception about the superiority of (East) Asian movies extends to the posters comparisons of Hollywood and Asian movies. Kuroi_Sabato, for example, argues that: yes asian movies are really creating waves now. Hollywood is running out of ideas and they re making a bunch of remakes of asian hits namely Ringu, My Sassy Girl and Infernal Affairs. Topnotch97 is less optimistic, but her/his belief in the quality of Asian films is still evident: some [people] are not even ready for Asian movies and tv shows. they still have this mentality that american shows are the best. what a bunch of ******. Asian movies and tv shows have evolved into better form of entertainment. Such is the posters belief in the quality of Asian movies that they are generally cautious of Hollywood remakes of these films. The quotes that follow are illustrative of their sentiments: Remake ng My Sassy Girl (as in hollywood version)? Naku, di yata kayang mapantayan yung original korean version. (Subway) [Hollywood is making its version of My Sassy Girl? I don t think it can equal the original Korean version.] balak nilang iremake ang My Wife is a Gangster & My Sassy Girl. so far si Queen Latifah ang gaganap ng role ng My Wife is a Gangster. [they plan to remake My Sassy Girl and My Wife is a Gangster with Queen Latifah in the lead role.]yuck!!! think about butchering this [sic] good quality films!!!! (topnotch97) Ever seen Shall We Dance? It s a cute Japanese movie. I heard that Hollywood is gonna remake it starring Richard Gere, Susan Sarandon and (ugh) JLO. Why ruin a good thing? (gokou) These comments from the posters are interesting to juxtapose with Xu s points about Hollywood remakes of Asian films: While the originals are ethnically specific, albeit

9 Session 2: Industry Studies 116 Hollywoodized, representations, the remakes are completely severed from the original ethnic soil and become solely the product of Hollywood homogenisation. Xu goes on to argue that remaking is basically driven by the profit motive, both on the part of the East Asian filmmakers and Hollywood producers. On the one hand, Hollywood pays generous fees for remaking rights, so much so that East Asian filmmakers now have a built-in remaking mentality, which self consciously measures the films against Hollywood standard and actively exercises selfcensorhip. On the other hand, Hollywood producers have come to realize that, thanks to transnationalism whatever proved successful in East Asia would most likely succeed in North America as long as the original ethnicity is changed to that of Caucasian (all emphases mine). If Xu s arguments are correct, Hollywood remakes of Asian films are watered down versions of their original because of collusion between the filmmakers and the Hollywood producers. Based on their comments about Hollywood remakes, it appears that the posters are, as yet, oblivious of this collusion. It would be interesting to find out what they think of the argument that Asian filmmakers are selling out to Hollywood producers. Movies, Stars, and Directors: The Fans Pick their Favorites The list of films that the posters identified as their favorites is long, but three titles stand out: My Sassy Girl (topnotch97: this movie really inspired me to start this thread about Asian Films.) Battle Royale (most posters say it rocks!!!) Infernal Affairs (sugarplumfairy: an action film that made you think) Other titles that were mentioned by several posters are: The Returner, Ringu, The Quiet Family, Shaolin Soccer, God of Gamblers, PingPong (altair: other movies are download, watch, then erase. PingPong is download, watch, then burn. It s THAT GOOD.), My Wife Is a Gangster, Ju-on, Iron Ladies (a Thai film), Naked Weapon, Oh Happy Day!, The Irresistible Piggies, The Classic, My Tutor Friend, Il Mare, Love Letter, Peppermint Candy, Chungking Express,

10 Session 2: Industry Studies 117 Tempting Heart, and Chingu. Some posters professed to being fans of the movies of Stephen Chow, Michelle Yeoh, Jeon Ji Hyun, Jackie Chan, Jet Li (before Hollywood), Takeshi Kitano, and Andy Lau. A few said they were fans of Akira Kurosawa and Wong Kar Wai. Still others said that they liked all Korean, Japanese and/or Chinese movies: There is, obviously, a whole range of film genres that appeal to the posters from action to horror, from comedy to drama. This indicates openness among the posters to try different types of films and not to just restrict themselves to certain genres. Moreover, many of the posters have gone beyond associating certain countries with certain genres (e.g., action films with China and horror films with Japan). The following exchange between Kuroi_Sabato and Pandaemonaeon shows an attempt to correct the typecasting of Asian countries film productions: Kuroi_Sabato: the formula is like this: horror movies = japanese, action movies = chinese, drama movies = koreans Pandaemonaeon: Uh no offense, but have you watched a lot of asian movies enough to form that conclusion? All countries have their own fair share of movies on all the classifications you mentioned they don t focus or specialize on one specific category. Korea has action movies that could give Hong Kong (and even Hollywood!) a run for its money. And please, there s more to Hong Kong movies than guys in suits running around shooting people while posing. In the same way that the posters are able to see Asian films vis-à-vis their Hollywood counterparts, they are also able to relate these films with local films and the local entertainment industry. Such musings are less common among the posters (than their comparisons of Asian and Hollywood films), but in the few instances that comparisons between local and Asian films come up, there is the sentiment that the local entertainment scene will benefit from an infusion

11 Session 2: Industry Studies 118 of Asian films and programs: I think it s awesome that Pinoys/Pinays get a taste of what other Asians have to offer in their movies to give us inspiration, rather than those damn Spanish based telenovelas being too fatalistic.(emeraldragon7) I hope ABS or GMA would not just stick to Chinese teleseryes, but give Korean and Japanese ones some exposure here. Even in Taiwan, Korean and Japanese series are aired alongside their locals. This shows their pulling power to the viewers. Sana mas ma-broaden ng ABS or GMA programming yung options nila sa mga Asian teleserye, at mabura na nang tuluyan yung mga Mexican telenovela na di naman angkop sa atin. [I hope ABS or GMA would broaden their programming options to include Asian drama series so that we could finally get rid of the Mexican telenovelas that are not suited to our culture]. (edching908) The commercial nature of the entertainment industry is, again, not lost on the posters, however. This commercialism poses a threat to whatever benefits having Asian films and programs might bring: ay agree ako diyaan!!! ang hirap kasi sa ABS at saka GMA eh naghahatak lang sila ng ratings. hindi nila iniintindi ang quality ng ibang drama series.[i agree with you! The problem with ABS and GMA is that they are only after the ratings; they don t care about the quality of the drama series.] (topnotch97) I agree on [sic] your statement pero [but] I hope they won t create another PHENOMENON by overpromoting their shows, just like what they did with MG and MVP. (Subway) Since these messages were posted (in 2003) Korean drama series have invaded the country s free channels. How these programs were repackaged and marketed for the local audience would make for an interesting study. Specifically, it would be interesting to find out

12 Session 2: Industry Studies 119 similarities and differences in strategies that the networks adopted in promoting the Taiwan and Korean programs. It would also be interesting to find out how viewers, who have previously seen these drama series in Arirang (or other channels), compare the localized version with the original version that they saw. Access and Authenticity: The Fans Preoccupations As mentioned earlier, the bulk of the messages posted in the Asian Films discussion thread dealt with access to copies of the films. Access mainly means finding out where one could buy pirated DVD/VCD copies of the films specifically the names of shops, their location and how to get there, the DVD/VCD prices, and tips on how to select the best DVDs and get value for one s money. Clearly, the sales and purchase of pirated DVDs/VCDs is illegal, and yet, the posters discuss this matter with much candor. In fact, there are occasionally postings about raids that have been/will be conducted in the shops selling the DVDs/VCDs. Access via sharing and downloading of digital files is also discussed in several postings, but not in the same scale as the purchase of pirated DVDs/VCDs. This is because the computer hardware system and internet connections of many of the posters cannot efficiently handle digital file sharing/downloading. Another access concern updates on film screening schedules, film releases, film reviews and press releases, and internet links where one can find images and information about one s favorite movies, stars, and directors. In her study of online Chinese fans of Japanese TV dramas, Hu (171) argued that Chinese fans, regarded as minority audiences who are not targeted as the objects of capitalist interests, turned to digital technologies to [carve] out alternative practices in the circulation, production and consumption of Japanese TV dramas. The same can be said of the Filipino fans of Asian films. Such films are hard to find in the legitimate DVD/VCD outlets; if available, they are priced beyond what the ordinary could afford to pay. Thus, these fans have looked for alternative ways and means of acquiring copies of, and information about, the films. And even as they acknowledge that selling/buying pirated DVDs/VCDs is illegal, some posters are quick to point out that this practice is not completely bad:

13 Session 2: Industry Studies 120 some people never know [sic] korean movies if it wasn t for the pirated vcds that are circulating today but one advantage of this is that people would still [buy] the original copies if they really enjoyed the movie. they would also look for other korean movies and they would start watching films in the cinemas. (ayamanika) Thus, although they are presently behaving like guerilla fighters who use digital technologies as a way of resisting the aloofness from marketing strategies (Hu 171) of film distributors, the Asian film posters seem optimistic about the prospects of Asian films eventually becoming part of the mainstream film industry. This optimism probably stems from the fact that Asian films are already a regular offering in several cable channels, and have gained notice in Hollywood. Next to access, authenticity of the film viewing experience is another important concern among the posters. Taking off from Barthes distinction between the work and the text, Cubbison (46) argues that the form of the work affects the experience of the text and that when works are produced in alternate languages and formatted as different kinds of objects, the textual experience alters. This gives rise to the authenticity of the viewing experience, which essentially entails the search for the best way to experience the work in order to gain the fullest experience of the text (Cubbison 49). For the fans of Asian films, authenticity concerns manifest in their arguments against dubbing the films (as well as all other Asian programs) in Filipino and in their discussions about the which version of a film to buy. In connection with the former, the posters have these to say: Yung mga [The] current fans ng asian shows, i believe mas gusto manood with subtitles [they prefer to have subtitles] rather dub [sic] in Filipino. It does not mean to degrade or neglect the Filipino language it is just to preserve the cultural aspects of the said asian show.(subway) am not against the filipino language or anything pero pls lang sana wag nila

14 Session 2: Industry Studies 121 itagalize english subtitles na lang ok na minsan kasi di maganda yung dubbing nila e nawawala yung parang nuance ng language pag nitranslate mo into filipino e [Please do not dub the programs in Filipino. English subtitles are fine. Sometimes the dubbing is not good, and the nuances of the language are lost.] (axaryl) The debate over the relative merits of dubbing and using subtitles is not a new one. What is quite odd, however, is how the posters seem to readily accept that the English translation is able to capture and preserve the nuances in the original text. What they have apparently overlooked is that the English version is not the original text, but another version of it. And because something is always lost (or added) in the translation, it is highly debatable that English subtitles are better than Filipino dubbing in preserving the authenticity of the text. The latter concern comes up when a film is released in several versions: the fans would then have to look for that version that will give them the best viewing experience. The following postings are examples: btw, alam niyo ba may deleted scenes sa movie [My Sassy Girl] na ito? maraming versions daw itong movie [did you know that some scenes were deleted from My Sassy Girl and that there are many versions of this movie?] kaya [so] if you guys are looking for several versions take note: Korean, HK, and International Version!!! (topnotch97) [Still on My Sassy Girl]: all I know is that the difference between the Hk version and the Korean version, they were playing My Girl during the high heels scene. I think the HK version is similar to the regular version, they omitted the balcony scene from the restau and the other scene. The director s cut has everything on [sic] it, including the deleted scenes. kaya [so] I prefer the Director s Cut. (topnotch97) in other countries, Asian teleseryes [TV series] were aired [sic] in Bi-lingual

15 Session 2: Industry Studies 122 Language, meaning if you have a TV set that accepts dual audio channels, you have the option to switch the audio between the original language and the dubbed one. That technology is now used in many Asian countries, including Indonesia. However, such TVs are not yet available here, so the networks have not adopted that yet. But it s a very good system. (edching908) Conclusion Asian films, particularly East Asian films, have certainly arrived in the Philippines. This phenomenon is not an isolated case; rather, it is a manifestation of a global trend marked by the rise of Asian cinema. Earlier exposure to Asian programs shown on television might have triggered the fans interest in Asian films, but this interest would have been hard to sustain if production and distribution of these films did not evolve into the large-scale international operation that it is now. Perhaps because in the past, Asian movies (with the exception of the martial arts films) were shown as art films and/or perhaps because the newer ones are closely identified with Hollywood, Asian film fans regard themselves as superior to the non-fans. Unlike pop culture fans who feel that they are frowned upon, the Asian film fans take pride in being the trend-setters that the rest of the movie-viewing public would soon follow. There are nuances in fans consumption and reception of Asian films that reflect their ability to situate themselves and the films in the global context. First is their skill in harnessing digital technologies to facilitate their access to the films. Another is their consciousness of the implications of alterations, in the format and the text, on the authenticity of their viewing experience. Still another is their sense of the interrelationships between Asian films and Hollywood films, and between Asian films and the situations in the local entertainment industry. However, some nuances of the global context of the production and consumption of Asian films are not evident to their fans. One of these is the close working relationship between

16 Session 2: Industry Studies 123 Asian filmmakers and their counterparts in the West. Thus, the fans are unable to discern that remakes are the product of collaboration/collusion between said parties. Also not quite evident to the fans is the fact that Filipinization is not the only thing that stands in the way of an authentic viewing experience. More often than not, what they regard as the original text of the work is actually the product of another layer of translation, whose faithfulness to the original has not been verified. Finally, it is indeed noteworthy that a consciousness of Asian films has finally begun to form among Filipino viewers. This consciousness, however, is mainly associated with East Asian films. There is, as yet, very little consciousness of Southeast Asian films, or of Asian films as they encompass the various regions of the continent. Without the support of the same market forces that propelled East Asian films to their current status, other Asian films might not enjoy the same international recognition that East Asian films now do. How much influence the fans can wield on these market forces is difficult to assess. But the East Asian experience could provide information and insights as to how fan communities and the Asian countries may be able to negotiate their position vis-à-vis the hegemonic tendencies of these market forces. Works Cited Cubbison, Laurie. Anime Fans, DVDs, and the Authentic Text. The Velvet Light Trap 56 (2005): Hills, Matt. Fan Cultures. London: Routledge, Hu, Kelly. The power of circulation: digital technologies and the online Chinese fans of Japanese TV drama. Inter-Asia Cultural Studies 6, 2 (2005): Xu, Gang Gary. Remaking East Asia, Outsourcing Hollywood. Senses of Cinema. November 2004 <

17 Session 2: Industry Studies 124 Violeda A. Umali is Assistant Professor at the University of the Philippines College of Mass Communication (UP-CMC). She is also currently the Chairperson of the UP-CMC Department of Communication Research. She holds a B.A. Communication Research degree and M.A. Demography degree from the University of the Philippines, and a Master of Mass Communication degree from the Nanyang Technological University, Singapore.

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