Scholarly Articles
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Here I examine how the expanded role of the Chinese market, both in terms of audience size and financing, has both reasserted hegemonic Hollywood genre and talent selection and asserted hegemonic Chinese standards.
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Here I argue that the competing features that attract commercial capital investment and drive state centralization create a molecular structure of national film investment, or the division of investment in the film industry into several interdependent centers.
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Here I argue that the financial interests of US-based online entertainment platforms are magnifying the financial growth of Chinese competitors due to focus by US firms on short-term shareholder value.
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Here I argue that the financial interests of US-based platforms are amplifying the global impact of Chinese domestic cybersecurity regulations.
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Here I argue that the comparative fragmentation of media regulatory power in the US, despite long benefiting Hollywood studios, makes them susceptible to Chinese government efforts to expand media soft power.
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We constructed an "Air Discussion Index" to estimate daily particulate matter counts based upon Sina Weibo (Chinese Twitter) content.
Tao Zhu, Aynne Kokas, Rui Zhang, Dan Cohan, and Dan Wallach PLOS ONE 11(9) 2016
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Led by Joshua Braun, we convened a dialogue in response to the recent public and media discourse surrounding the security breach at Sony Pictures Entertainment and its film, The Interview focusing on North Korea, cybersecurity, and digital distribution.
Popular Writing
“Twitter and TikTok Have a Key Risk in Common.”
Barron’s, November 7, 2022.
“Why TikTok Is a Threat to Democracy.”
Journal of Democracy, October 2022.
“Trafficking Data: China’s Pursuit of Digital Sovereignty.”
The Diplomat, September 26, 2022.
“US piecemeal approach to data security leaves Americans vulnerable to foreign tech companies.”
South China Morning Post, September 21, 2022.
“Taiwan cheers ‘Top Gun: Maverick’ for defying Chinese censors.”
Quoted in NBC News, June 3, 2022.
"The New Top Gun Is a Perfect Metaphor for How Hollywood Bends to China."
Slate, April 28, 2022.
“How Beijing Runs the Show in Hollywood.”
Journal of Democracy, April 2022.
“Storming of US Capitol: US lawmakers advocating for democracy abroad must look closer to home.”
South China Morning Post, January 21, 2022.
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“China's 2021 Data Security Law: Grand Data Strategy with Looming Implementation Challenges.”
China Leadership Monitor, December 1, 2021.
“China-Born Chloe Zhao Sought Common Ground in Oscars Speech.”
Nikkei Asia, April 27, 2021.
“CGTN Loses UK License: China’s Global Media Gambit.”
The Diplomat, March 22, 2021.
“How Joe Biden Can Help Hollywood Compete with China.”
Nikkei Asia, January 9, 2021.
"US Defenders of Democracy Have Much Work to Do at Home.”
South China Morning Post, January 8, 2021.
“US Protests: America Is Losing the Soft Power War to China.”
Australian Financial Review, January 8, 2021.
“TikTok Deal Puts Japan between a Rock and a Hard Place.”
Nikkei Asia, October 31, 2020.
“‘Mulan’ is a movie about how much Hollywood needs China”
Washington Post, September 9, 2020
“China already has your data. Trump’s TikTok and WeChat bans can’t stop that”
Washington Post, August 11, 2020
“‘Parasite’ was a triumph for a film industry trapped between the U.S. and China”
Washington Post, February 11, 2020
“China's filmmakers will never please Beijing enough”
Nikkei Asian Review, April 26, 2019
“How China is using science fiction to sell Beijing’s vision of the future”
Washington Post, March 13, 2019
U.S. Responses to Chinese Influence Operations in the United States: Hearing before the Foreign Affairs Subcommittee on Asia and the Pacific, House of Representatives, 115th Cong. (2018) (Testimony of Aynne Kokas).