SARFT

Notice concerning Earnestly Doing the Distribution and Screening Work of the Films “The Young Lei Feng”, “Lei Feng in 1959” and “Lei Feng’s Smile” Well

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On 4 March, SARFT issued the “Notice concerning Earnestly Doing the Distribution and Screening Work of the Films ‘The Young Lei Feng’, ‘Lei Feng in 1959’ and ‘Lei Feng’s Smile’ Well” to all provincial, autonomous region and municipal radio, film and television bureaus, all cinema chain companies, rural digital cinema chain companies, relevant film studio work units, the China Film Co. Ltd., the Huaxia Film Distribution Co. Ltd., the Film Channel Programme Centre, the Film Digital Programme Centre and the China Film Distribution and Screening Association, the Notice sais that the films “The Young Lei Feng”, “Lei Feng in 1959” and “Lei Feng’s Smile” are excellent films that have been meticulously produced to remember the 50th anniversary of Mao Zedong and other older-generation revolutionaries’ writing about Comrade Lei Feng. These three films use moving stories, vivid images and lively details to display the short but magnificent life of Lei Feng from different angles, with the real history of Lei Feng’s growing up as the core thread. In order to carry forward the Lei Feng spirit, embody passing down the torch of the Lei Feng Spirit, fully give rein to the important function of the films in building a Socialist harmonious society and stimulating the construction of a spiritual civilization, hereby, the following matters relating to the distribution and screening works of these three films are notified as follows:

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Notice concerning Implementing a Television Documentary Theme Announcement System

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On 7 February, SARFT issued the “Notice concerning Implementing a Television Documentary Theme Announcement System” (GF No. (2013)11) to all provincial, autonomous region and municipal radio and television bureaus, the Xinjiang Production-Construction Corps radio and television bureau, the Liberation Army General Political Department Propaganda Department, CCTV, China Film Group Co., the Central New Film Group, China Education Television, and relevant Centre and State work units, the notice says that, in recent years, our country’s television documentary creation and production has become more dynamic every day, quantity and quality rise incessantly and a desirable development tendency has emerged. On the basis of the spirit of the “SARFT Notice concerning Printing and Issuing Some Opinions on Accelerating the Development of the Documentary Industry” (GF No. [201088]), in order to further let the television documentary market flourish, promote the healthy and orderly development of television documentary creation and production, assist the documentary sector to timely understand information on television documentary themes, attract social forces to participate in television documentary creation and production, avoid production clashes, waste of resources and other problems, and stimulate the formation of a desirable situation in which film documentary production and creation is rich in themes, scientific in its composition, resources are optimized, excellent products merge in large numbers and talents come to the fore, SARFT will implement a television documentary theme announcement system starting from 2013, to gather theme information concerning nationwide television documentary creation and production, Sino-foreign coproductions, imported foreign television documentaries (including source material), etc., and announce it to society. Hereby, the following matters are notified in order to do the work well. Read the rest of this entry »

Notice concerning Cleaning Up Radio and Television “Gift-Giving” Advertising

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This is a translation of the SARFT press release, the original text of this notice has not been made public.

Recently, SARFT issued the “Notice concerning Cleaning Up Radio and Television “Gift-Giving” Advertising”, requiring all levels’ radio and television stations to immediately delete advertising with content playing up “gift-giving”

The notice points out that in a small number of advertisements broadcast by some radio and television stations, content playing up “gift-giving’ such as “first choice for gift-giving”, “gift leader”, “gaining face with higher levels”, etc., there being no lack of famous watches, expensive stamps, gold and silver commemorative coins, etc., among the gifts, this communicates an incorrect value system, and easily foments undesirable social tendencies.

SARFT’s news spokesperson indicated that, the Centre has repeatedly stressed recently that all sectors and all departments must rigorously enforce diligence and thrift, oppose extravagance and waste, that the radio and television system must earnestly implement the Centre’s requirements concerning improving work styles and realistically linking up with the masses “Eight Rules”, and create a good public opinion environment in the whole society to practice strict economy and oppose waste. Radio and television stations are an important propaganda, ideology and cultural battlefield, and must fully give rein to their important function of guiding customs, educating the people, serving society and promoting development, forcefully carry forward the fine traditions of the Chinese nation and modern civilized living concepts, taking the lead in setting the example, implement strict self-discipline and make cleaning-up “gift-giving” advertising into a real action to implement the requirements of the Centre and a concrete measure in restraining the undesirable practice of gift-giving and gift-receiving, grasp implementation with determination and great force, to satisfy the popular masses.

In order to guarantee that the provisions are satisfactorily implemented, SARFT has required all levels’ administrative radio, film and television departments to realistically strengthen daily supervision and management, and standardize advertising broadcast order. At the same time, SARFT has also required all localities to further strengthen work to produce and broadcast public service advertising, strengthen the effect of positive guidance through effective propaganda with unobtrusive influence, and construct a desirable social atmosphere of joy and auspiciousness.

广电总局叫停“送礼”广告

近日,广电总局下发《关于清理广播电视“送礼”广告的通知》,要求各级电台电视台立即删除含有渲染“送礼”内容的广告。
通知指出,一些电台电视台播出的个别广告出现了“送礼首选”、“送领导”、“上级有面子”等渲染“送礼”的内容,且礼品中不乏名表、珍邮、金银纪念币等,传递了不正确的价值观,容易助长不良社会风气。
广电总局新闻发言人表示,近来中央反复强调,各行业各部门要厉行勤俭节约、反对铺张浪费,广播电视系统要认真贯彻落实中央关于改进工作作风、密切联系群众“八项规定”的要求,在全社会营造厉行节约、反对浪费的良好舆论环境。电台电视台作为重要的宣传思想文化阵地,要充分发挥好引领风尚、教育人民、服务社会、推动发展的重要作用,大力弘扬中华民族优良传统和现代文明生活理念,率先垂范,严格自律,把清理“送礼”广告作为落实中央要求的实际行动和遏制送礼、收礼不良风气的具体措施,下大决心、花大力气抓好落实,让广大人民群众满意。
为确保规定执行到位,广电总局要求各级广播影视行政部门切实加强日常监管,规范广告播出秩序。同时,广电总局还要求各地要进一步加强公益广告制作、播出工作,通过潜移默化的有效宣传,增强正面引导效果,营造喜庆祥和的良好社会氛围。

 

“Devils on the Doorstep”: An Interesting Look into Film Censorship

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In 2000, Jiang Wen’s film Devil on the Doorstep was banned in China, after coming in second for the Cannes Grand Prix. The film depicts a situation in which a Chinese villager, Ma Dasan, is forced to watch over a Japanese prisoner and a Chinese interpreter. Unable to bring himself to kill them, Ma hides them in an old watchtower and starts taking care of them. In the end, the two prisoners are traded back to the Japanese Army in exchange for carts of grain, but a subsequent misunderstanding ends in a massacre.

Interestingly, China Digital Times published the verdict of the SARFT film censorship board on Devils on the Doorstep. Normally, censorship decisions are not made public, and their content is only revealed by reference in interviews with filmmakers. However, this document provides an insight into some of SARFT’s methods and priorities.

The most important part of the verdict relates to the portrayal of Chinese villagers and Japanese soldiers against the background of the Second World War, or, using the Chinese term, the War to Resist Japan. Throughout, SARFT takes the film to task for incorrect depictions of the nature of the Chinese people. An old grandfather should not be shown as being sympathetic to a young Chinese soldier, it is deemed incorrect that the villagers care for the Japanese soldier and the Chinese traitor (汉奸 hanjian), or that they indicate that they haven’t really suffered under the occupation. When the Japanese soldier imagines being attacked by the villagers, he imagines them as Samurai. However, SARFT feels that what he should feel most are “the armies resisting Japan, such as the Eighth Route Army or guerrilla forces”. Imagining villagers as samurai “uglifies the Chinese people”. In short, in this film, the “common Chinese people” do not show sufficient hatred towards the Japanese, do not sufficiently differentiate between foe and friend, and display ignorance and apathy. At the same time, according to SARFT, the film does not correctly display the cruelty of the Japanese army but, amongst others, shows a Japanese soldier giving sweets to children. Also, “Japanese army songs are played often, putting a spin on the Japanese imperialists flaunting their strength, which may gravely hurt the feelings of the Chinese people.”

A smaller issue comes at the end of the film, where a Guomindang general declares that only the Guomindang can legally accept the surrender of Japanese troops. Again, this does not fit in official CCP historiography and is therefore beyond the pale.

Lastly, there are a few issues of obscenity and language. A sex scene between Ma Dasan and his lover Yu’er is deemed to “bring about strong, harmful sensual stimulation to people.” A scene in which the villagers’ pack donkey gets aroused by a Japanese army donkey is described as vulgar and boring.

In the light of recent, island-related events, the focus on the manicheist separation between the heroic Chinese and the agressive Japanese invaders provides an interesting insight in the politics of division practiced by the censorship board. By insisting on one-dimensional representation of ethnicities, the board seems to deny the possibility to portray a human connection between the Chinese and the Japanese, as has been explored in many Western WW2 films, including Schindler’s List. Rather, the insistence of a politically correct vision of history reinforces Chinese exceptionalism and the dehumanisation of the Japanese, however horrifying some wartime acts might have been.

In terms of obscene content, again, a logic of dehumanisation takes place. By denying the sexuality of Ma Dasan and Yu’er, the board seems to require these characters to become larger than life superhumans. Perhaps the underlying purpose of this direction of censorship can be best explained by understanding the process of content review as an effort to direct the content of film towards the grand objectives of the CCP. In this view, film is not an open artistic expression to be judged on its own merits by audiences, but is a purposive tool to build awareness of the century of humiliation, the innate superiority of the Chinese people, and the grand destiny to which it is called. That being said, this document is now twelve years old, and more light would be shed on the evolution of this matter if more censorship decisions were made public. If anyone is aware of such documents, please contact us.

State Administration of Radio, Film and Television Film Examination Committee Examination Opinion concerning “Devils on the Doorstep”

The coproduced film “Devils on the Doorstep” that your company submitted has been examined by the Film Examination Committee. The Examination Committee believes that:

The script of this film has not been revised strictly according to the Film Bureau “Response concerning Project Establishment of the Coproduction ‘Devils on the Doorstep'” (DZ No.[1998]302), and has been filmed without authorization under the circumstances that no script has been submitted for filing, at the same time, lines and scenes have been added in many places without authorization, resulting in a film, that on the one hand, not only has not expressed the hatred and opposition of the common Chinese people against the invasion, against the great background of the War to Resist Japan (the sole person daring to scold and oppose the Japanese Army is a madman annoying the villagers), on the contrary, it prominently displays and concentratedly exaggerates their ignorance, apathy and servility, and on the other hand, has not only not fully revealed the Japanese imperialist and aggressive nature, but prominently plays up the rampant manner in which Japanese invaders flaunt their strength, leading to grave deviations in the basic concept of the film.

Filthy words appear repeatedly in the film, and Japanese soldiers often take the insult “Chinese pigs” into their mouths, furthermore, there are shots with naked female bodies, the overall style is vulgar and does not conform to the standards of the “Film Examination Regulations”.

The name of the film must be chosen again according to the repeated requirements of the Film Bureau.

The film must, after earnest revision according to the attachment, be resubmitted for examination.

Attachment: “Major Differences Between the Film “Devils on the Doorstep” and the Approved Script”

I, Unauthorized revised and added scenes, resulting in grave deviations in the basic concept of the film:

1, On pages 7 and 8 of the script, when the masses of villagers in the original literary script try the Japanese Soldier Hanaya and the Chinese traitor Dong Hancheng , they does not show fear, but excoriate them: “You want to make trouble, there are no sweet cakes for your to eat” and “We will beat all the yellow out of you”, etc.  But the film shows that the villagers fear them from the start. And the lines of Grandfather in shot 240 were added: “I see you are also children”, displaying common Chinese people as stupid and ignorant, making no difference between foe and friend.

2, The film bureau has insisted on deleting the scene on giving the devils wheat flour and rice to eat in the literary script, but in the film, not only has this scene not been deleted, but it repeatedly plays up Ma Dasan’s lending rice to Erbozi, agreeing on repaying eight times the loan, and the villagers also excitedly wrapping dumplings for Japanese soldiers and Chinese traitors. It objectively expresses the times of extreme difficulties of life for the common Chinese people during wartime, but their active care for Japanese soldiers and Chinese traitors, gravely violates history.

3, Shots 1027; In comparison with the literary script, the film adds lines for Erbozi: “The Japanese have come to our village eight years ago, what happened in those eight years, have they dared to touch one hair of mine? I’m doing fine, walking level, wherever I go, they will look highly at me”. The Japanese invaders were burning, killing, pillaging and looting China for eight years, committing heinous crimes, however, the film says, through the mouth of the wife of Erbozi that the Japanese army was highly disciplined towards them, embellishing the Japanese invaders.

4, Shots 472 to 496, in comparison with the literary script, the film added a section in which the Japanese Soldier Hanaya thinks that Ma Dasan has brought the villagers and comes breaking through, and imagines Ma Dasan and the villagers with the appearance of Samurai. Against the great background of the War of Resistance, the most dreaded fear of the Japanese soldier Hanaya should be the armies resisting Japan, such as the Eighth Route Army or guerrilla forces, the scene in which Ma Dasan and the villagers are imagined as Japanese samurai is not only false, it also uglifies Chinese people.

5, Shots 877 to 893, shorts 918 to 931, shots 941 to 947, and shorts 954 to 959, in comparison with the literary script, the film has added the storyline that the villagers think Ma Dasan killed the devils, pay not attention to him, and even Yu’er avoids him, upsetting Ma Dasan’s nerve. It displays multitudinous common Chinese people who don’t have the necessary hatred against the Japanese army, don’t differentiate between foe and friend, are ignorant and apathetic.

6, Shots 1002 to 1069; in comparison with the literary script, the film has added a storyline where after the small child’s learning Japanese creates danger, a crowd of villagers gets angry at Ma Dasan, and compete one by one to let him kill himself, and put his head on the table; Yu’er sais to the villagers: “isn’t letting him kill people, also letting me harbouring sinister designs? Look at these two days, you haven’t paid any attention to him. If we don’t kill people, we are forced to kill people, if we have killed people, we are not given any attention, looking at Ma Dasan is the same as looking at the devil, no-one has died, and you clash with us and do this…” It displays that common Chinese people not only do not dare to resist the enemy, but also are full of servility towards and fear of the invaders, can only fight among themselves, and are mutually suspicious and jealous.

7, Page 34 of the script: In the original script, when One Stroke Liu talks about his skill in killling, he says he killed a palace eunuch having a clandestine affair, but in shots 1177 to 1199 if the film, it has changed to One Stroke Liu having killed “eight ministers from the side of Cixi” and “the master of the Hundred Days of Reform, Tan Sitong”, this not only endows it with new political content, but also plays up the pride in beheading skills, with the result that he fails in killing the Japanese soldiers, exclaims “all my life’s glory, destroyed in a moment”, and runs away despondently. For people, it is a metaphor that in the last century, Chinese people were only able to take the axe to their own people, and did not dare to resist foreign aggression.

8, On page 39 of the script, everyone is discussing to send the devils back, in the original script, it is described that when the Japanese army arrives in the village, they draw a circle by sprinkling white rice, encircling the commoners, and force them to eat the rice, those who are unable to eat more, have their heads restrained and rice pressed into their mouth, an when the Japanese captain talks, the commoners pay no attention to him. However, in shots 1763 to 1871 of the film, this scene has been changed into a get-together, and forcefully plays up that they drink wine and sing songs together, the villagers are eternally grateful, the Japanese army is as close as brothers with the villagers, and there are lines such as “Today, I am happy, not only because of these grain carts, but mainly because the Imperial Army has given us face”, etc., this is a major change to the concept of the script, and is utterly contrary to the theme.

9, On pages 47 to 40 of the script; in the scene of the massacre of the villagers, in the original script, there are descriptions of common people who finally come to there senses, rise up and revolt, such as Erbozi picking up a steel helmet and striking Japanese soldiers with it, and the mother of Erbozi who takes of her shoes to hit the devils, and shouts: “Don’t be stupid, pick up weapons and fight.” But in the films, in shots 1872 to 2073, the commoners don’t fight with the devils until they die, and when facing massacre, essentially wait helplessly for death, and let themselves be trampled.

11, The only person who dares to scold and resist Japan in this film is a lunatic who annoys the villagers.

12, In comparison with the literary script, a scene is added in which a Guomindang general convenes the commoners, he openly executes Chinese traitors, and when giving his speech to accept surrender, says: “Only the republican armies are the legal acceptors of surrendering Japanese troops.” He also has a Japanese person lend a hand to kill Ma Dasan. This utterly reverses factual acts, but receives the agreement of the surrounding commoners, it gravely distorts history, and has not achieved the effect of criticising and mocking the Guomindang.

13, In the film, there are two persons singing ditties, who appear three times in total, there is no description of this in the original literary script. In shot 1099, lines such as “The Imperial Army comes to our village, let’s jointly build a common flourishing circle in East Asia, the Imperial Army has come to help the needy and relieve the distressed” have also been added. This is typical of the imagery of ignorance, apathy and being slaves without a country.

14, The content of Crazy Old Seven’s words when cursing Ma Dasan and Yu’er and when cursing Japanese devils is similar, this is extremely inappropriate.

15, In many places in the film, the mouths of Japanese people are used to insult Chinese people for “Chinese dogs”, gravely harming the image of China.

II, In the reply to the script, revision opinions were put forward, but in the following places, these revisions have not been made in the film:

1, On page 2 of the script: after Nonomura finishes juggling, he puts away his pack of sweets into his bag, displaying the Japanese army’s teasing children. In shot 24 of the film, he not only gives sweets, but also repeatedly displays Chinese children in pursuit of Japanese soldiers, asking for sweets.

2, On page 2 of the script: the scene in which Ma Dasan and Yu’er gasp violently for breath on the bed and  Yu’er is naked should already have been deleted in the original script. In shots 28 to 41 of the film, it has not only not been deleted, but lines have also been added: “Let me look”, “Look at what, faster, don’t have a rest”. The effect of the length, imagery and sounds of this bed scene are strong, and bring about strong, harmful sensual stimulation to people.

3, On page 40 of the script: When the donkey is in heat, in the original literary script, it was changed into the donkey running into the devils’ granary. In shorts 1590 to 1606 of the film, it has not been revised. This storyline has a vulgar style and is boring.

4. In the original literary script, the absolute majority of dirty works should have been deleted, but in the film, they are ubiquitous, and many characters use dirty words.

5, In the film, Japanese army songs are played often, putting a spin on the Japanese imperialists flaunting their strength, which may gravely hurt the feelings of the Chinese people.

广播电影电视总局电影审查委员会关于《鬼子来了》的审查意见

你公司送审的合拍片《鬼子来了》已经电影审查委员会审查。审委会认为:
影片没有严格按照电影局《关于合拍片<鬼子来了>立项的批复》(电字[1998]第302号)中的意见修改剧本,并在没有报送备案剧本的情况下擅自拍摄,同时又擅自增加多处台词和情节,致使影片一方面不仅没有表现出在抗日战争大背景下,中国百姓对侵略者的仇恨和反抗(唯一一个敢于痛骂和反抗日军的还是个招村民讨嫌的疯子),反而突出展示和集中夸大了其愚昧、麻木、奴性的一面,另一方面,不仅没有充分暴露日本军国主义的侵略本质,反而突出渲染了日本侵略者耀武扬威的猖獗气势,由此导致影片的基本立意出现严重偏差。
影片多处出现污言秽语,并从日本兵口中多次辱骂“支那猪”,另外还有女性的裸露镜头,整体上格调低俗,不符合《电影审查规定》的标准。影片片名须按电影局多次要求重新选择。影片须在参照附件认真修改后,重新报请审查。 附:《影片<鬼子来了>与批准立项剧本主要不同之外》

  《影片<鬼子来了>与批准立项剧本主要不同之处》

一, 擅自修改、增加情节导致影片基本立意出现严重偏差:

1,剧本第7至8页,原文学剧本中众村民审日本兵花屋及汉奸董汉臣时,并未表现出恐惧,喝斥他们:“要闹歪,没你香饽饽吃,”,“掺假可整出你的黄来”等。而影片却表现村民一开始就惧怕他们。并增加第240镜五舅老爷台词:“我看你们也都是孩子”,将中国百姓表现得愚昧无知、敌我不分。

2,对给鬼子吃细粮的情节,在文学剧本阶段,电影局始终坚持删掉,但影片不仅未删,却反复渲染马大三向二拨子娘借米那,约定借一还八,从村民还热热闹闹给日本兵和汉奸包饺子。客观上表现了战争时期的中国百姓在生活极度困难之时,并主动关心日兵和汉奸,严重违背了历史。

3,第1027镜;影片较之文学剧本增加了二拨子娘台词:“日本子来咱们村都八年了,八年了咋的,他八年了他敢动我一根汗毛?我行的正,走的端,我走到哪他都得高看我一眼。”日本侵略者在中国烧杀抢掠八年,犯下滔天罪行,影片却借二拨子娘之口说日军对自己秋毫无犯,美化了日本侵略者。

4,第472镜至496镜,影片较之原剧本增加了日兵花屋想象马大三带乡亲们冲过来的一段,并将马大三和乡亲们设计成日本武士的样子。在抗战大背景下,日兵花屋最惧怕的应是抗日队伍,是八路军、游击队,马大三和乡亲被设计成日本武士的情节不仅虚假,也丑化了中国人。

5,第877镜至893镜,第918镜至931镜,第941镜至947镜,第954镜至959镜,影片较之原剧本增加了村民以为马大三杀了鬼子,都不理他,甚至鱼儿也躲着他,使马大三神经受刺激的情节。表现了中国众多百姓对日军没有应有的仇恨,以至敌我不分、愚昧麻木。

6,1002镜至1069镜;影片较之原剧本增加了小孩学日本语造成危险之后,众村民向马大三发火,一个个争着让他杀了自己,并把头放到了桌子上的情节;鱼二跟村民说:“让他杀人,那不是让我怀鬼胎吗……看看这两天,你们谁搭理他了……不杀人,逼我们杀人,杀了人,又不搭理我们,见了马大三跟见了鬼似的,人没死,冲我们又弄这个……”表现了中国百姓不仅不敢抗敌,而且对侵略者充满奴性和恐惧,对自己人只会窝里斗,互相猜忌。

7,剧本第34页:原剧本中一刀刘讲自己杀人技巧时,说的是杀偷情的太监,而影片第1177镜至1199镜,改成了一刀刘杀的是“慈禧身边的八大臣”,“百日维新之主谭嗣同”,不仅赋予了新的政治内涵,并对砍头技巧加以自豪的渲染,结果杀日本兵时却遭失败,感叹“英名一世,毁于一旦”,最后狼狈逃走。给人以千百年来中国人只会举起屠刀杀自己人,却不敢抵御外侮的隐喻。

8,剧本第39页,大家商量送鬼子回去一场,原文学剧本中描写日军到了村中,将大米洒成一圈,将百姓圈住,逼百姓吃饭,吃不下的还按住头往嘴里塞,日军队长讲话时,百姓们都不理他。而影片第1763镜至1871镜,将这场戏改为联欢,并大力渲染,一起喝酒唱歌,百姓们感激不尽,日军与村民亲如兄弟,并有“今儿我高兴,不单是冲这几车粮食,主要是冲皇军给了我们面子”等台词,这是对剧本立意的重大改动,从根本上悖离了主题。

10,剧本第47页至49页;屠杀村民场面,原文学剧本中有百姓终于醒悟,奋起反抗的描写,如二拨端起钢盔砸向日本兵,二拨子娘脱下鞋打鬼子,并喊道:“别傻了,抄家伙拼吧”。但影片第1872镜至2073镜,百姓们至死也未与鬼子拼斗,面对屠杀基本是束手待毙,任人宰割。

11,影片中唯一一个敢于痛骂和反抗日本侵略者的人还是招村民讨嫌的疯子。

12,影片较之文学剧本增加了国民党将领召集百姓聚会的场面,他公开处死汉奸,发表受降讲话,在讲话中说:“只有国军才是投降日军唯一合法的接收者。”并借日本人之手杀死马大三。而这一切颠倒事实的行为,却得到了围观百姓的呼应,严重歪曲了历史,没有达到批判和讽刺国民党的效果。

13,影片中有两个唱小曲的人物,共出场三次,原文学剧本中无此描写。镜头第1099“皇军来到咱家乡,共建大东亚共荣圈,皇军来了救苦救难……”这样的台词也是增加的。这是典型的愚昧、麻木、亡国奴的形象。

14,疯老七骂大三与鱼儿的话和骂日本鬼子的话内容相同,十分不妥。

15,片中多处借日本人之口辱骂中国人为“支那猪”,严重损害中国的形象。

二,剧本批复中曾提出修改意见,但影片未改之处:

1,剧本第2页:野野村变完把戏之后将糖装回兜里,以表现日军在捉弄孩子。现影片第24镜头,不仅给了糖,而且还几次表现中国孩子追在日军后边要糖吃。

2,剧本第2页:马大三与鱼儿在床上剧烈的喘息声、鱼儿裸体镜头原文学剧本已经将其删除。影片第28至41镜不仅未予删除,还增加了台词:“让我看看。”“看啥呀,快点的,别歇着。” 这段床上戏时间长,画面、声音效果强烈,给人造成强烈的不良的感官刺激。

3,剧本第40页:毛驴发情一场,原文学剧本中已改为毛驴钻入鬼子粮仓。现影片第1590镜至1606镜,未做修改。此情节格调低俗、无聊。

4,原文学剧本中已将绝大多数脏话删改,但影片中比比皆是,每个人物都在骂脏话。

5,影片中频繁吹奏日本军歌,为日本军国主义扬威造势,会严重刺伤中国人民的感情。

China Network Audiovisual Programme Service Self-Discipline Convention

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(Passed at the 1st meeting of 2012 of the China Network Audiovisual Programme Service Association Council on 13 July 2012)

Chapter I: General Principles

Article 1: In order to stimulate the sustainable development of our country’s network audiovisual programme service business, let network culture flourish, safeguard a healthy and orderly sector order, this Convention is formulated. Read the rest of this entry »

SARFT Spokesperson Talks with Journalist on the “Notice Concerning Further Strengthening Network Drama, Microfilm and Other Network Audiovisual Programme Management”

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Note: the text of this Notice has not been made public. However, the following interview gives a good indication of the key provisions of this Notice and the consequences for Internet media enterprises.

On the 9th, a SARFT spokesperson responded to the questions of a Xinhua journalist on the “Notice Concerning Further Strengthening Network Drama, Microfilm and Other Network Audiovisual Programme Management”.

Q: Why was the “Notice Concerning Further Strengthening Network Drama, Microfilm and Other Network Audiovisual Programme Management” rolled out? Read the rest of this entry »

Notice concerning Questions Relating to IPTV Integrated Broadcast Construction

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This document has not been openly published by SARFT. The following is a translation of a press article outlining and analyzing the main changes of the new IPTV license regime. 

SARFT No. 43

Description of the IPTV business operation permit.

According to the requirements of corresponding radio and television management regulations, general and branch IPTV integrated broadcast control platforms, nationwide IPTV content service platforms and provincial-level content service platforms, and IPTV service enterprises, shall all respectively obtain an “Information Network Audiovisual Programme Broadcast Permit” through the corresponding permit programmes promulgated by SARFT. Only after all the above-mentioned parties obtain the corresponding permit, may they be linked up and launch services.

Read the rest of this entry »

Notice concerning Launching a Special Campaign “Attacking News Blackmail and Dealing with Paid-For News”

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On 13 June, SARFT issued the “Notice concerning Launching a Special Campaign ‘Attacking News Blackmail and Dealing with Paid-For News'” (GF NO. [2012]46 to all provincial, autonomous region and municipal radio, film and television bureaus, the Xinjiang Production-Construction Corps Radio and Television Station, the three central stations, film channels, and China Educational Television, the Notice says that, according to the uniform deployment of the Central Propaganda Department, in order to further standardize newsgathering order, safeguard the credibility and authority of news workers, create a good  atmosphere for the victorious convention of the 18th Party Congress, the General Administration of Press and Publications and other relevant departments will launch a special campaign to “attack news blackmail and deal with paid-for news” for three months, starting now. The basic tasks of the special campaign are: strictly attacking false news organs and newsgathering personnel launching “news blackmail” activities and using “newsgathering” activities for extortion and racketeering. Dealing with newsgathering personnel using newsgathering activities to seek personal gain, or other bad phenomena such as receiving “red envelopes” from newsgathering counterparts, work units, interested parties and related companies, etc. Dealing with news organs and their work personnel publishing advertising under the form of news reporting, engaging in paid-for news and paid-for non-news activities, standardizing newsgathering activity order, eliminating bad tendencies existing in news work. Read the rest of this entry »

Notice concerning Accrediting the First Batch of Mixed State-Level Culture, Science and Technology Demonstration Bases

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GKFG No. [2012]631

Relevant provincial, municipal and plan-listed city science and technology offices (committees, bureaus), Party Committee propaganda departments, cultural offices (bureaus), radio, film and television bureaus, press and publications bureaus:

according to the requirements of the 6th Plenum of the 17th Party Congress concerning “Rely on State high and new technology parks, State sustainable development test regions, etc., to build mixed State-level culture, science and technology demonstration bases”, the Ministry of Science and Technology and the Central Propaganda Department have, together with the Ministry of Culture, SARFT and the General Administration of Press and Publications, launched the mixed State-level culture, science and technology demonstration base accreditation work. Through organizing expert appraisal and joint research by relevant departments, it has decided to accredit the Beijing Zhongguancun mixed State-level culture, science and technology demonstration base and 15 others to become the first batch of mixed State-level culture, science and technology demonstration bases (see attachment for a name list). Read the rest of this entry »

Notice Concerning Further Strengthening and Improving Foreign Television Drama Import and Broadcast Management

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On 9 February, SARFT issued the “SARFT Notice Concerning Further Strengthening and Improving Foreign Television Drama Import and Broadcast Management” to all provincial, autonomous region and municipal radio, film and television bureaus, the Xinjiang Production-Construction Corps Radio and Television Bureau, the Central Television Station, China Film Group Co., and China International Television Company, the Notice says that, after the promulgation and implementation of the “Foreign Television Programme Import and Broadcast Management Rules” (SARFT Decree No. 42), the “Notice Concerning Strengthening Imported Drama Planning Work” (GFWZ No.(2002)948) and the “SARFT Notice Concerning Prohibiting Broadcasting Foreign Television Dramas as Columns in Violation of Regulations” (GF No. (2009)82), all levels’ radio and television organs have earnestly imported and broadcast foreign television dramas according to relevant SARFT regulations, which has given rein to a vigorous function in enriching the popular masses’ spiritual cultural life, enhancing understanding of the excellent cultures of all nations of the world. In order to further strengthen and improve foreign television drama import and broadcast management work, the relevant requirements are notified as follows: Read the rest of this entry »

Cultural Product and Service Export Guidance Catalogue

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Ministry of Commerce, Central Propaganda Department, Ministry of Foreign Affairs, Ministry of Finance, Ministry of Culture, General Administration of Customs, General Administration of Taxation, State Administration of Radio, Film and Television, General Administration of Press and Publications, State Council Information Office Announcement No. 3 of 2012 Read the rest of this entry »

Film Industry Stimulation Law of the People’s Republic of China (Opinion-Seeking Draft)

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Chapter I: General Principles

Article 1: In order to stimulate the flourishing and development of the film industry, enrich the popular masses’ spiritual cultural life, raise the ideological and moral quality and the scientific and cultural quality of citizens, this Law is formulated.

Read the rest of this entry »

Supplementary Provisions to the ‘Radio and Television Advertising Broadcast Management Rules’

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State Administration of Radio, Film and Television Decree

No. 66

 

The “Supplementary Provisions to the ‘Radio and Television Advertising Broadcast Management Rules'” was passed at the State Administration of Radio, Film and Television administration meeting of 21 November 2011, is hereby promulgated, and takes effect on 1 January 2012.

Read the rest of this entry »

Notice Concerning the Implementation of the “Supplementary Provisions to the ‘Radio and Television Advertising Broadcast Management Rules'”

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On 25 November, SARFT issued the “Notice Concerning the Implementation of the “Supplementary Provisions to the ‘Radio and Television Advertising Broadcast Management Rules'”” to all provincial, autonomous region and municipal radio, film and television bureaus, the Xinjiang Production-Construction Corps Radio and Television Bureau, the three central stations, the Film Channel Programme Centre and China Education Television, the Notice says that the “Supplementary Provisions to the ‘Radio and Television Advertising Broadcast Management Rules'” (SARFT Decree No. 66) will be officially implemented from 1 January 2012. In order to guarantee that the new provisions are realistically implemented, the relevant matters are notified as follows:

Read the rest of this entry »

Xinhua interviews SARFT spokesperson on the new satellite television rules.

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This is a translation of an interview published on 26 October on the Xinhua website

Interviewing the authorities

 

Letting television screens become even more rich, varied, healthy and upward Read the rest of this entry »

Opinions Concerning Further Strengthening Comprehensive Satellite Television Channel Programme Management

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Note: this document has not been made public. The following is a translation of a People’s Daily summary.

Update (5 January 2011): I have obtained a copy of the document, which is translated here.

People’s Daily, Beijing 26 October (Journalist Yuan Yue) Read the rest of this entry »

Opinion Concerning Further Strengthening Comprehensive Satellite Television Channel Programme Management

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SARFT No. (2011)83

 

In recent years, comprehensive satellite television channels have incessantly innovated programme content, vigorously expanded programme forms, had have obtained heartening progress in aspects such as propagating the reform and development achievements of all localities, expanding broadcast coverage, strengthening audience viewing choice, etc. But in recent times, a part of comprehensive satellite television channels have displayed tendencies of excessive entertainmentization and vulgarization, damaging the image and credibility of radio and television media, the opinion of audiences is relatively large, and they react strongly. In order to further stimulate the healthy flourishing and development of radio and television, promote programme innovation and optimization, encourage high-level programme forms, raise the production level of radio and television programmes, even more effectively satisfy the broad popular masses, diverse, multi-level and high-level spiritual cultural requirements, hereby, the following opinion on further strengthening comprehensive satellite television channel programme management is put forward: Read the rest of this entry »

Notice Concerning Further Strengthening Radio and Television Advertising Broadcast Management

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On 11 October 2011, SARFT issued the “Notice Concerning Further Strengthening Radio and Television Advertising Broadcast Management” to all provincial, autonomous region and municipal radio, film and television bureaus, the Xinjiang Production-Construction Corps Radio and Television Bureau, the three central stations, China Educational Television, and the Film Channel Programme Centre, the Notice says that after more than a year since the “Radio and Television Advertising Broadcast Management Rules” (SARFT Decree No. 61), the implementation situation generally is desirable, all walks of society universally approve it. But recently, a number of problems violating regulations have reappeared, mainly manifesting as: first, inserting advertising in film or television drama titles or credits; second, inserting advertising in excessive duration; third, a number of transmission and relay organs insert moving caption advertising when transmitting programmes; fourth, a number of advertising overstates its propaganda, fifth, a number of current-affairs and news-type programmes have commercial headings, etc. In order to determinedly correct these problems and realistically standardize radio and television order, hereby, the following is notified to further strengthen radio and television advertising broadcast and management work: Read the rest of this entry »

Notice Concerning the Nationwide Television Drama Shooting Filing Announcement for March 2011

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On 29 March, SARFT issued the “SARFT Notice Concerning the Nationwide Television Drama Shooting Filing Announcement for March 2011” to all provincial, autonomous region and municipal radio, film and television bureaus, the Xinjiang Production-Construction Corps Radio, Film and Television Bureau, CCTV, the Liberation Army General Political and Propaganda Department Art Bureau and the China Education Television Station, the Notice states that, in March 2011, reports of 95 series and 2783 episodes of television dramas shot nationwide have been filed for announcement, and that for 66 series and 1961, announcement has been agreed to. Read the rest of this entry »

Notice Concerning Further Strengthening Television Drama Writing Quality Management

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On 18 February, SARFT circulated the “SARFT Notice Concerning Further Strengthening Television Drama Writing Quality Management” to all provincial, autonomous region and municipal radio, film and television bureaus, CCTV, the General Political and Propaganda Department Art Bureau and the China Education Television Channel, the Notice says that in recent years, television drama creation, production and broadcast have continuously flourished and developed, become universally liked by the popular masses, and broadly followed with interest by all walks of society, at the same time the problem of television drama writing quality had also gained more and more attention, the voices of relevant State entities and all walks of society that require further raising of television drama writing quality become louder and louder. Writing quality relates to the standardization and purity of national and ethnic language writing, relates to media images and correct guidance of the social masses, guaranteeing correct television drama language and writing use and raising television drama writing quality are important tasks for administrative radio and television entities, and are also basic social responsibilities for television drama broadcasting organs and production organs that they shall bear on their own initiative.

Consequently, in order to strengthen supervision and management over television drama writing quality, spur comprehensive television drama production quality to be further raised, the following is hereby required: Read the rest of this entry »