After announcing the implementation of reciprocal tariffs on global countries, Donald Trump declared a 100% tariff on foreign films just one month later, sparking outrage from Chinese state media. Analysts believe that this move is advantageous for the American film industry to avoid political censorship and prevent the infiltration of toxic cultural influences from China.
President Trump stated on May 4th on his social media platform “Truth Social” that he had instructed the U.S. Department of Commerce and the U.S. Trade Representative to impose new tariff policies on the film industry. Trump expressed concern that other countries were providing various incentives to attract movie producers and studios away from the U.S., which he considered a threat to national security and a form of information dissemination and propaganda.
According to a report from Real America’s Voice (RAV) on May 5th, Trump mentioned in the Oval Office that the American film industry has long been taken over and destroyed by other countries. Hollywood has actually not been doing much business in this regard, with most of it moving to other countries, despite their shiny façade still in place.
“I’m not looking to undermine this industry, I actually want to help it out. But they all received support from other countries, reaped a lot of benefits, and as a result, the entire industry has been brought down,” Trump emphasized.
He promised to engage with industry insiders to ensure their satisfaction because everything he does is geared towards job opportunities. “This industry has strayed from its roots in the U.S., and we will make sure to bring it back home,” he added.
Trump’s actions shocked Hollywood but garnered support from many people, with netizens commenting, “Make Movies Great Again!” and expressing a desire for Hollywood to produce original and non-conforming films.
User “墓碑科技” on X platform posted an analysis of Trump’s film tariff policy, stating that it is a move to compel Hollywood to return to its origins. He argued that the value of films lies in both financial aspects and the power to influence narratives. “Bring American screens back to America, use American money, tell American stories. Continue to be the propagator of the American dream,” he wrote.
Over the past decade, Hollywood has outsourced 35% to 40% of major production and post-production work to countries like Canada, the UK, Australia, and even China’s Hengdian. This equates to an annual outflow of production fees of around $12 billion, equivalent to the total manufacturing wages of ten cities like Detroit. Overseas box office revenue now accounts for 70% of major U.S. film income, with the Chinese market comprising nearly 25%.
The user highlighted that money has been earned, but the power of influence is diminishing. Scripts are altered to accommodate Chinese audiences, and major studios like Warner Bros., Disney, and Universal have succumbed to Chinese market pressures. As a result, American military personnel are portrayed increasingly negatively while Chinese images are glorified, shaping a cultural battle on screen.
Notably, Chinese media outlets like the “Beijing Daily” heavily criticized Trump’s new policy of imposing a 100% film tariff, warning of potential global countermeasures against American movies. Combined with previous statements by the Chinese National Film Administration about “moderating the import of American films,” Chinese audiences may find it challenging to see Hollywood blockbusters on the big screen in the future.
According to data from the Motion Picture Association, in 2013, the Chinese market accounted for $3.6 billion in box office revenue, about 30% of the global total. To access the Chinese market, Hollywood films often need to co-produce with Chinese companies. Co-produced films not only bypass import quotas but also receive a higher share of box office revenue.
In recent years, more Hollywood movies have been shot in China or collaborated with Chinese companies, such as “Transformers: Age of Extinction” (2014) tailored for the Chinese market and “Mulan” (2020) filmed in China’s Hengdian Studios and New Zealand.
China expert Qin Peng, in an interview with Epoch Times, noted the close relationship between Hollywood and the Chinese Communist Party (CCP). Major studios seek Chinese investments, sometimes leading to self-censorship. Films are sold to China, with some productions even completed in the country.
In 2012, Wanda Group acquired the second-largest U.S. theater chain AMC, becoming the world’s largest cinema operator. Qin Peng believes this acquisition influences the American film industry. The real threat, he argues, lies in cultural influences, self-censorship, and compromise.
“People have criticized Hollywood for being too left-wing, introducing various deviations and controversial themes. Hollywood has been decadent in recent years, shying away from addressing real-world issues such as global threats from the CCP or human rights abuses,” Qin Peng stated.
While tariffs may not directly address these issues, they prompt Hollywood to reconsider its practices. Under Trump’s new policies, some filmmakers may return to the U.S. to avoid censorship and ensure security, as film and media play a unique role in shaping societal values.
Rights activist Xing Jian from New Zealand expressed concerns about the impact of filming in China, highlighting censorship-related alterations that compromise the artistic integrity of films. He believes that Trump’s tariffs on foreign films aim to prevent the spread of toxic CCP culture in the U.S., benefiting American and Chinese-American communities. Understanding local cultures and adhering to societal norms facilitate smoother integration into overseas societies, which are generally more accepting.
Jian emphasized the CCP’s manipulation of overseas Chinese through platforms like TikTok and films, preventing access to free speech platforms like Twitter and Facebook, ultimately perpetuating cultural discrimination and hindering the dissemination of diverse ideas abroad.
In conclusion, Trump’s measures to impose tariffs on foreign films are seen as a strategic move to safeguard American cultural integrity, combat the influx of Chinese propaganda, and protect the freedom of artistic expression that defines the American film industry.