本文旨在通过对这两部影片的“东京爱情故事”、“爱情”、“承诺”等几部电影的成功与失败，进一步分析电影业中的文化接近与超越。本文首先探讨《东京爱情故事》和《也许是爱情》的成功相似之处，然后再谈《承诺》的失败与《东京爱情故事》的成功。以下是关于文化超越和文化接近的讨论，最后在2个阅读的基础上得出结论。
20世纪90年代中期，在许多流行文化中，日本电视剧在许多亚洲国家受到欢迎。东京爱情故事，是通过从日本电视剧受到了最有利的东亚国家，如台湾，香港和中国在某种程度上。也许爱，中国电影、音乐和故事线的不同形式的日本电影；，东京爱情故事吸引了几乎相同的观众，这部电影，最成功的市场是中国，台湾和香港（通淋，2010）。相似之处是因为文化的接近性，因为日本电影吸引了东亚国家的观众，通过与他们的文化有关，从而成为一个成功的人。
也许爱情吸引了本地观众，也吸引了来自邻国的观众。也许爱情在上映了15年后，东京的爱情故事仍然成功，两部电影的市场都是一样的。也许爱情是一部比东京爱情故事更具预算性的音乐剧，但由于该剧在东亚已经受到影响，所以同样的观众也接受了这部电影，这是一个巨大的成功。东亚人民具有相同的文化特征，从台湾开始，印度和巴基斯坦。他们的信仰支配着他们的行为，因此把任何电影/媒体与他们的生活联系起来就成了一种打击。
通淋（2010）认为，该地区的主要生产商有一个增量的视角转向国际制作公司自上世纪90年代初的方面。这是因为戏剧的泛亚洲生产方式已设法利用联合成本消费结构。日本在戏剧中采用适当的表演，以确保吸引更多观众。日本戏剧给了相应的观众很多关于文化的谈论。这主要包括共同开发和重要的属性使其在全国领先的市场相对容易的目标观众制作戏剧节目（郑，2003）。包括独立制片人在内的电视网络和电影制片人，长期以来，在戏剧制作方面迅速超越国家和地方观众，以吸引全球和地区观众。
Arts assignment 代写:东亚文化电影音乐和电视剧
The East Asian cultures in the long run have been producing with a rapid increment in production over the past several years. According to Koichi Iwabuchi (2002), the aspect reflects on the interregional cultural flow and the perspective of industry connections that over the years have become more intensive with regular notions specifically amongst the nations from East Asia having popular cultural markets with relative maturity. The Chinese, Japanese, Korean and Taiwanese cultural industries have in the modern times managed to produce cross-cultural outputs with the inclusion of films, music and television dramas.
The aim of this paper is to explore culture proximity and transcended in the film industry by further analyze the success and failure of several films including “Tokyo love story”“Perhaps love”“The promise” on the basic of the two readings. The paper will first discuss similarity of the success in “Tokyo love story”and “Perhaps love” then moves on to the Discussion on the failure of “The Promise” Vs the success of “Tokyo love story”. Following will talk about Culture transcended and cultural proximity before finally draw a conclusion base on the 2 readings.
Discussion on similarity of the success in “Tokyo love story”and “Perhaps love”
It became noticeable in mid 1990s that among many genres of popular culture available Japanese TV dramas have been received well in many Asian countries. Tokyo Love Story which was adopted from Japanese TV drama was received most favorably in East Asian countries such as Taiwan, Hong Kong and to some extent China. Perhaps Love, a Chinese film, a musical and story line difference form the Japanese film; this film attracted almost the same audience as that of Tokyo Love Story, most successful market was China, Taiwan and Hong Kong (Tonglin, 2010). Similarities are because of the cultural proximity, as the Japanese film attracted audience of East Asian countries by relating to their culture and hence becoming a success.
While Perhaps Love attracted the native audience as well as audiences from neighboring countries. The Perhaps Love released 15 years after the release of Tokyo Love Story still the success market of both the films is same. Perhaps Love was a musical with more budget than the Tokyo Love Story but since the drama was already hit in East Asia so the same audience accepted the film and it was a great success. The people of East Asia share the same cultural traits starting from Taiwan will India and Pakistan. Their beliefs dictate their actions and thus connecting any film/media to their lives becomes a hit.
Tonglin (2010) argues that the major producers in the region have with an increment perspective turned to the aspect of international productions since the early 1990s. This is because the pan-Asian production mode of the drama productions has managed to take advantage of the joint cost consumption structure. Japan uses suitable performance in drama to ensure that they attract more audience. Japanese dramas give the corresponding audiences lots of talk about culture. This majorly entails the joint development and the production of the drama programs with the vital attributes making them relatively accessible to the targeted audience in the leading national markets (Zheng, 2003). The television networks and filmmakers inclusive of the independent producers are in the long run reaching beyond national and local audiences on the aspect of drama productions rapidly to enable an attraction of the global and regional viewers.
