PR in Entertainment

At the same day of Oscars feast, about 80 Chinese screenwriter gathered in Beijing to attend the “2008 screenwriters’ rights-protecting convention.” On the meeting, many writers claimed that their basic rights and interests had been invaded, and their pay had been defaulted. Some writers said even their life was threatened when they just required a fair treatment. 

It seems there is a delicate connection between the right-protecting meeting and American writers’ strike. Sometimes you must cry then others will hear you. Though Chinese writers denied their intention of relying on American fellow’s efforts, they admitted that the strike gave them a huge impact to encourage their standing up. 

At the ending of the right-protecting meeting, delegates brought three appeals forward to The State Administration of Radio Film and Television: first, they claim their signature right; second, the administrators should regulate those unreasonable agreements between writers and producers; third, they claim the dividend besides the play. I think these appeals are very reasonable. However, it will be quite difficult for the Chinese screenwriters to win the “fight.” 

China is so different from America in many aspects, including the radio film and television industry. Chinese writers are paid less money than American fellow, especially those nameless. I heard that some famous writers got more than those leading actors in America. And the system is running well with the American writers and producers, while there is no administration to manage the Chinese writers’ rights. Furthermore, China has no lack of people as well as screenwriters. If the producers can not satisfy a writer’s demand, they can find a replacement immediately. Chinese screenwriters are in the situation of buyer’s market. 

Another interesting thing I found after I came to America is that those hot TV series such as “desperate housewives,” (I like desperate housewives!) are kept updated with producers and audiences. They would even change the play according to the responses of audiences. So the writers are playing a really important role on it. When they strike, the producers have to stop. But in China, the TV series came to audiences after the producers finished the entire shooting. And Chinese audiences think the recent TV plays are more and more slouchy, far away from the welcome of those classical old TV series. So if Chinese writers stop writing new plays, TV programs will show those old plays. 

Let’s just keep an eye on this.