Film industries are heavily flowed from Western dominance with scholars predicting that Asian film industries, particularly China and India will have the ability to wrestle for control over the flow of global film around the world. Due to technoscapes the wrestle for control is believed to be fuelled by the internet, satellite networks cable television, and DVD distribution. (Schaefer, Karan 2010).
This has ultimately heightened the accessibility for both filmmakers and the audience. With the ability to transform the ways people are making and watching films. Where film explicitly combines local and global connections leading to homogenizing forces with cultural imperialism (Schiller, 1991).
For example, The 2010 movie the Karate Kid exemplifies the hybridisation of different cultural aspects, the move from a western culture to China. The movie has not only widened the audience scope through the adaptation of other cultural aspects but has also allowed people to be less parochial and more cosmopolitan, although it may not be an accurate representation of society it still allows an awareness of culture. This movie made $55,665,805 in the opening weekend. (IMBD, 2010)
The world has been exposed to Chinas culture though different films, although the acceptance of China of other cultures seems to be extremely strict.In 1995 the quota of foreign films per year to be released into the country was 20, not until 2012 did the quote increase to 24. While the censorship of films includes, no classification rating, cutting of footage, do not allow movies which are critical of the government or nation. The board of 40 people include government officials, film makers and academics in which the process of a film being released into China goes through a process where the submission of a script or finished filmed must be submitted.