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The Culture of Censorship: State Intervention and Complicit Creativity in Global Film Production

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  • Jun Fang

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.

Suggested Citation

  • Jun Fang, 2024. "The Culture of Censorship: State Intervention and Complicit Creativity in Global Film Production," American Sociological Review, , vol. 89(3), pages 488-517, June.
    • Handle: RePEc:sae:amsocr:v:89:y:2024:i:3:p:488-517
    DOI: 10.1177/00031224241236750
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    1. Viviana A. Zelizer, 2012. "How I Became a Relational Economic Sociologist and What Does That Mean?," Politics & Society, , vol. 40(2), pages 145-174, June.
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