List of Favorite (Foreign aka Chinese and Korean) Stars in Japan

Most of the list is pretty decent but towards the top I had to start laughing. A lot.

11 Kim Junghoon

10 Rain

9 Huang Xiaoming

8 Nicholas Tse

7 Chang Chen (Great choice – best actor on here and best young actor in Taiwan, period)

6 Lee Junki

5 Jaycee Chan (aka Jackie Chan’s son…??? Popular by association?)

4 Song Seungheon

3 Jay Chou

2 Kwong Sangwoo

1 F4

The article states that the survey was conducted on Japanese women by SmaSTATION, a Japanese show. Huang Xiaoming is the first mainland Chinese actor to be on this list, due to the popularity of the new Shanghai Bund series, and that F4 is still riding the wave of Meteor Garden. I guess Hana Yori Dango is the gift that never stops giving to actors, kind of like Pride and Prejudice whose very very similar plot gave all its male stars in its adaptations everlasting fame.


12 thoughts on “List of Favorite (Foreign aka Chinese and Korean) Stars in Japan

  1. I’ve collection of his past VCDs and CDs in his early days of stardom. Interested, pls drop me a mail. Some of them are 1. VCD – Winner takes all (Nic Tse, Lin Xin ru)
    2. VCD – Jia zhou hong hong ren guan – kuang re fen zi yin yue hui (Featuring Nic Tse Karaoke Version)
    3. VCD – Believe (Nic Tse)
    4. VCD – Demi- haunted (Nic Tse, Eason Chan, Joey Yung)
    5. VCD – A man called Hero (Nic Tse, Ekin Cheng, Shu Qi, Yang Gong Ru)
    6. VCD – Metade Fumaca (Nic Tse, Zeng Zi wei)
    7. VCD – The mirror (Nic Tse, Lin Xin Ru, Jack Neo)
    8. VCD – Tiramisu (Nic Tse, Lu Qiao Ying, Lin Jia Xin)
    9. VCD – Comic King (Nic Tse, Eason Chan, Lin Xin Ru, Zhang Zhi Lin)
    10. VCD – Master Q 2001 (Nic Tse, Cecilia Chung)
    11. Music CD + VCD – Xie xie ni de ai 1999 (Nic Tse)

  2. I really don’t consider it well-rounded cinema when people make very boring but pretty films. I dislike quite a few directors who go that direction not just HHH. One thing I’ve always like about Zhang Yimou, is that usually, and he really messed up with one or two of his wuxia, is that despite being so fixated on beauty he never lets go of the pace or humanity in his stories. I never got bored while watching even the most plotless of his works (I guess that would be The Road Home, but many others too) and that I think is where his genius lies. And I really think that’s important as a filmmaker. It’s kind of a copout to use the artsy excuse. If an American director tried that they wouldn’t get the same kind of slack.

    That’s too bad about Edward Yang. I guess I’ll never know whether he could have been great or not, but just because he won an award doesn’t mean he’s good. Chen Kaige won the oscar but it doesn’t mean he’s better than Zhang Yimou who never won. I’m still waiting for a Taiwanese director to sweep me off my feet the way Zhang Yimou or Feng Xiaogang does.

    But yeah, I agree China’s rise killed Hong Kong film. It’s really unfortunate. I don’t think you can blame it completely on HK ‘s director trying to please those censors though. Part of it is the loss of HK’s identity as a whole. I remember ten years ago people would still say they were Hong Kongnese or British, but refuse to call themselves Chinese. I doubt anyone would say something similar now; most people may separate themselves from the mainland, but still feel they’re Chinese. The fear that they had pre-1997 that was such good fodder for filmmaking is nonexistant now. Another reason is that some Chinese talent is not going to HK anymore the way everyone did when HK was the place to make money.

    While I think HK cinema is definitely turning for the worse, it may not always be that way (especially if somehow those pesky censors just internally combust the way I hope they will).

    I don’t really mind if HK loses some of the uniqueness as long as the films produced are better. HK cinema was never perfect (I guess none are) They lack some of the poetry that Chinese cinema has and I think a combination of the best traits of each could be a very good thing. I think if the lightness of HK film and China’s artistic flair could be somehow melded together, you could have films that can compete with hollywood blockbusters. And film industries always change style. I don’t know. I guess we’ll just have to see. And hope somehow SARFT chokes on its own stupidity and ceases to function. But I do think one day…not now, but one day when China gets rid of its pirating, and stops censoring, then China will overtake Hollywood.

    It’s a simple matter of money + talent. By that time China will have a bigger market than hollywood and a bigger talent pool. I see no reason for China not to be able to acheive that if those two things happen. The only question is when will it happen, or possibly better, will it? I guess it all depends on China’s government and for such a far-sighted government, their ideas on PR and the value of Chinese entertainment is sure near-sighted.

  3. No, I didnt say their was anything wrong with film quotas. I think its a great thing. It was stupid for Korea to succumb to Hollywood pressure and get rid of their film quota. In fact, Taiwan needs to incorporate their own film quota as well since Hollywood films take up something around 90 percent of the BO.

    HHH, I personally like his films. I guess it just depends on the person but I found them interesting. I will say that his films do move slowly and tend to tests some peoples patience. Edward Yang has not come out with more films after Yi Yi because he has sadly passed away. I do agree that their are plent of young talented directors. Chung Mong Hong is one of them. I got to check out his recent dark comedy Parking in a film festival and loved it. As for the film board, they are definitely hindering progress. As for Wuxia, I didnt mean to say they were big budget because of censors. They are big budget because that is all the West thinks of when they think of Chinese movies and therefore thats all they will pay to see. But, even domestically big budget flicks are usually Wuxia because those are the easiest ones to get through the film board. There are a few exceptions like Feng Xiaogangs Assembly which was awesome while still managing to escape the SARFT wrath. As for other Chinese speaking regions like HK, the censorship board in China is indirectly hurting HK as well. Because HK directors want to tap into that China market, they self-censor their movies to please the censors and try hard to make movies that appeal to the Chinese market. They lose that feel of a Hong Kong movie. One of the few directors actually staying true and making Hong Kong films is Johnnie To. China-HK Coproductions isnt necessarily a bad thing – I enjoyed Warlords and China still lacks in directors who can direct big budget pics like that minus a few like Zhang Yimou…but, I am afraid that HK directors will try to much to appeal to the China market and lose that edge and that uniqueness that separates Mainland films and HK films.

  4. Whoa, William…how did we get here from a pretty little list of pretty guys? I can see you feel passionately about Taiwan’s film industry, and I wish them success as well, but objectively they really haven’t been stellar. Ang Lee did great things for Taiwan in the past but he’s since moved on to America, and I think all his movies about China ring false now, including Crouching Tiger and Lust, Caution. HHH is a critically acclaimed director, but his movies are sooo slow and boring. Edward Yang I would put on the same level as Chen Kaige. He really only acheived fame with Yi Yi (aka his equivalent of Farewell My Concubine). I’ve yet to see other examples of greatness from him and wonder if it was just a fluke. You should take heart though. Taiwan seems to have an emerging list of young directors like Alexi Tan, Cheng Hsiao-Tse, and many others. Let’s see if they can cut it.

    And I agree, I hate the Chinese film board. They’re keeping Chinese film from reaching their true potential. I love a lot of things about China, but SARFT has got to go.

    Wuxia films are not big-budgeted because of censors, it’s because they’re the only films foreign distributors are interested in. They can use more money to make them because they have a bigger market.

    Lastly, I don’t see the problem with film quotas. Korea does the same thing. A couple of years ago they buckled under US pressure to let in more foreign movies and their own movie industry is finding it very hard to compete now, taking less and less percentage of the box office. It’s not just Korea. China should foster the development of its own industries, and Taiwan, HK, and all other Chinese-speaking regions should use each other to their advantage so that they can get bigger markets, and thus film bigger and better movies.

  5. Well yeah, if you wanna talk commercial films then China protects their domestic film industry. There is a film quota on foreign films and a set number of screens guaranteed for domestic Chinese films. There is no such thing in Taiwan. I would say that “artistically” pound for pound, Taiwan makes better movies than China and many other countries. Those movies go on to win awards at major festivals like Cannes and Venice. Taiwan has plenty of elite directors -(Ang Lee, Hou Hsiao Hsien, Tsai Ming Liang, Edward Yang De Chang,etc..) Commercially, Taiwan’s film industry is not doing as well – until the recent release of Cape no 7. which has made more money in Taiwan than China’s Red Cliff did. In fact, its the highest grossing movie of the year ahead of Iron Man, Batman,etc.. And, dont forget that unlike China, Taiwan has a ratings system. In Taiwan, film makers can make what they want. In China, directors have to please the filmboard. If they make something controversial, they risk their film being cut or being banned – think Lust Caution and poor Tang Wei. So, I would argue that China’s film scene is not alot better than Taiwans. Sure they are making more money at the domestic BO then Taiwanese films at the Taiwan BO but they are artistically and creatively hindered by China’s lack of a rating system. Ever wonder why every big budget commercial film out of China is a period wuxia film(Hero,Curse of Golden Flower, The Promise, The Banquet,etc..) because those films are the easiest way to pass censors. Taiwan doesnt come out with many commercial films but recent ones include Cape No 7 which is just a very local film which is mainly in Taiwanese and Japanese about alternates a romance 60 years ago and a eclectic group of people forming a band. Its made 13 million at the BO in Taiwan already and outgrossed the #2 film by more then double what it made and its still playing now. Another commercial Taiwanese film coming out soon is Invitation Only which is a Taiwanese Slasher film with all the blood,gore, chopped fingers and other parts that you would come to expect in a slasher flick. Obviously that wouldnt fly in China because of the censors hence you never see horror films in China. So take your pick. China has the money but they cant make what they want. Taiwan has the freedom but lacks the money.

  6. Well, China’s film scene is a lot better than Taiwan’s but you’re right about the music part. But in ten years, it’s going to be massively different, unless something happens to China herself. Which is the point of this blog, to document all the changes I anticipate.

  7. no, no problem. just pointing out that half of the mandarin speaking stars were Taiwanese. It just shows that China is still behind in pop culture. Speaking to people from China, I have figured out that most of them listen to more Taiwanese singers then actual Mainland Chinese ones. I do think their pop culture sector is developing rapidly though

  8. If I had said Taiwanese, Hong Kong stars, the title of this post would be too long. That’s why I used Chinese. Because aren’t they all of Chinese ethnicity? I don’t think any of them are aboriginal Taiwanese.

    I didn’t mean to offend, but I think everyone knows F4 and Jay are from Taiwan, and I specifically said Chang Chen is from Taiwan so …yeah. Didn’t think there’d be a problem.

  9. Half the stars are Taiwanese(F4,Jay Chou, Chang Chen). The only real Chinese stars are Jaycee, Nicholas, and Huang Xiaoming

  10. I thought TVXQ would be somewhere too, but maybe the demographic was different. Also TVXQ is probably the kind of group where anyone who likes them will buy their CDs just to have them even if they are bad, and for people like Jay Chou, a lot of people like his CDs, but don’t need to own them.

    Also, TVXQ’s sales are higher because they actually sing in Japanese. So sales doesn’t quite equal popularity. But Jaycee Chan…I just don’t know about that one.

  11. What the macfable? Did they read the numbers wrong or something? 5 and below I understand, but the rest is lost to me. Ok maybe not 5.

  12. Oh wow. I thought DBSK would be there since they reached the top of Oricon chart. But I love the list. XD *fangirls over Chang Chen*

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