Global View

When it comes to cinematic influence US Films have a huge reach. Guan et al. attribute this to the English language’s prominence across the world, due to British imperialism, America’s unparalleled attraction of investment, technology and craftspeople, due to its status as the global hegemon and cultural policies that ensure the pushing of Hollywood films into the global market. This huge presence yields great financial rewards and cultural influence. As can be seen with the top grossers at the global box office often being American productions.

Conversely, Chinese films (specifically mainland China’s films) have less global reach despite being a major film market. Largely this is due to Chinese culture and languages not being as widely known across the world as well as the demonisation of China’s politics in Western spaces. Chinese films have instead focused on domestic audiences over global reach. In 2024, 3 Chinese productions made the worldwide box office top 20 based mostly on domestic takings. However, that may soon change. Currently, 2025’s highest-grossing film is the Chinese fantasy Ne Zha 2. Which performed well domestically and grossed over $19 million in America. Putting it in the top 20 highest-grossing films in America.

USA on Film

US films foreground the idea that American values (freedom and democracy, the strength of the individual and humanism) are universal and thereby everyone, regardless of background or identity, can fit into American social and political life. Especially through film. Additionally, because of its technological capabilities, its films place America as the centre of innovation. Even films that critique these values strengthen America’s image as being a place that values freedom of speech.

A good example of this is Mickey 17. The film, made by an international cast and crew, shows concern for the well-being of the majority of lifeforms and values the ability of individuals to affect change. It also uses extensive special effects to realise futuristic technology, alien creatures and new worlds. Even the film’s critiques of capitalism and colonialism, the system that America embodies, and focus on collective action demonstrate America’s willingness to criticise itself. Thereby maintaining its image. 

China on Film

Regarding cultural image Chinese films are often concerned with showing the capabilities of the Chinese film industry with dramatic spectacle aiming to rival Hollywood. China’s films also showcase Chinese history, traditions and cultural attitudes (the importance of family, community and reserved sexuality) to encourage identification with China’s culture, people and political project. Both nationally and worldwide.

You can see these traits exemplified in films like Ne Zha 2. The film is rooted in Chinese mythological stories (Investiture of the Gods), uses designs inspired by traditional Chinese art and focuses on themes such as collective responsibility to stop oppression and is a high-budget visual spectacle aimed at showing that blockbusters aren’t solely the USA’s domain.

New Cold War

With the US continually vilifying China as China increases in prominence tensions are rising between the two nations. Their films in effect function as arms of influence. The US uses films to position itself as a global leader that cares about democracy and people’s welfare worldwide. Thereby positioning anyone the US doesn’t like as an enemy and justifying US aggression. But US governments have carried out many horrifically anti-democratic and violent policies. Including enabling genocide in Palestine and the deportation of migrants without due process.

Meanwhile, China’s government seems to use films to maintain political cohesion by encouraging patriotism in domestic audiences. Internationally, they act as a way of showcasing who the Chinese people are and what their system is capable of. However, this also has harmful pitfalls, as government censorship means that topics such as governmental human rights abuses aren’t touched on.

Ultimately both industries are used by governments for promotional purposes, but China’s filmic soft power is more based on showcasing itself to the world. Whereas America uses film to demonstrate dominance on the world stage.

The post Cinematic Soft Power: How China and the U.S. Use Film to Influence Global Perceptions appeared first on Big Picture Film Club.

So, why all the drama over a mouse? It’s best to start with the real meat of the matter; copyright.

Copyright and Public Domain

Copyright is a legal protection for original works of authorship expressed in a tangible medium. Tangible media include books, films, plays, music scores, photographs, the list goes on. The purpose of copyright is exclusivity; the author has exclusive rights to claim work as their own and profit from it, unless they choose to forfeit that right or license it to someone else.

Works that have no copyright are considered to be in the public domain. In simple words, they belong to the public and are free for all to use. Once a copyright expires the work enters public domain, because no copyright lasts forever. However, a lot of corporations fought tooth and nail to make it last as long as possible.

The Copyright Fight Behind Steamboat Willie

Steamboat Willie is a seven-minute cartoon that changed the course of film history. One of the first-ever appearances of the beloved character Mickey Mouse, it gained huge popularity upon its release in 1928. Walt Disney’s synchronization of sound with movement was a huge innovation at the time. This little black-and-white film kicked off the Disney empire. Since Steamboat Willie is the basis for the legal rights over the first version of Mickey Mouse, a character that has made Disney an infinite amount of money, its release into the public domain didn’t happen without a fight.

Due to heavy lobbying of corporations (Disney being one of the loudest) the legal lifespan of a corporate-owned copyright has been amended several times. Most recently, the Copyright Term Extension Act of 1998 (nicknamed the Mickey Mouse Protection Act) extended copyright terms for works of authorship in the United States from 75 to 95 years after publication.

That being said, not every version of Mickey Mouse is free to use—only the version made in 1928. The Mickey and Minnie you know from Fantasia or Mickey Mouse Club House are still off-limits. And there are still countless trademarks associated with the brand, so don’t go starting a Mickey-themed business just yet. Regardless, be prepared for a lot of Mickey-inspired remakes this year. And while Disney was reluctant to let Mickey go, this development is a win for the public domain.

Why We Need Public Domain

The main purpose of the public domain is the preservation of culture and the promotion of creative freedom. Countless films have been lost to the passage of time because copyright prevented historians from reproducing copies for preservation. This domain keeps both factual history and the emotional relevance of fiction intact. Think about your favourite childhood movie. Cinderella? A Little Mermaid? One of the dozen iterations of Sherlock Holmes? Hell, even Frozen? All are based on works in the public domain.

Even Steamboat Willie drew inspiration from the 1928 Keaton film Steamboat Bill, Jr, which was in turn inspired by a 1911 recording of Steamboat Bill, a song released in 1910. Nothing is new under the sun. Copyright and public domain circle each other a delicate balance; every author should have the right to their work, but art, as a whole, eventually reverts its ownership to humanity.

Also Read: 7 Interesting Patents Owned By Disney

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