scholarly journals Analysis of China’s Film Industry in 2020

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Hong Yin ◽  
Yanbin Sun
Keyword(s):  
New Media ◽  
Film Industry ◽  
Market Structures ◽  
Chinese Film ◽  
Window System ◽  
Box Office ◽  
Leading Position ◽  
The Matthew Effect ◽  
The Government ◽  
Film Market

Abstract The influence of the coronavirus disease 2019 pandemic impacted the global film market in 2020. Across the world, the Chinese film market was the first to recover and, as a result, assumed a leading position. This was because the government launched a return-to-work policy, the capital market became more rational, the integration of film companies accelerated, the film industry model trended toward centralization, and market structures underwent deep adjustments. Despite shrinking market space and declining film production during 2020, the industry produced films that remained diverse in genre and subject. Where the “Matthew effect” of accumulated advantage is much more acute in the film industry, a more diverse distribution approach has emerged in the field of new media. With box office returns approaching a ceiling, it has become more urgent to stabilize the quality of top films, enrich and enhance the competitiveness of genre films, and strengthen the theatricality of art films. It also became urgent to improve the film industry system, the product system, the market system, and the box office window system.

scholarly journals Broadkast of the film’s box office

2020 ◽  
Vol 18 (2) ◽  
pp. 24-37
Author(s):  
Irina G. Knyazeva ◽  
Daria M. Ivanova
Keyword(s):  
World Economy ◽  
Film Industry ◽  
Investment Project ◽  
The United States ◽  
Chinese Film ◽  
Box Office ◽  
The World ◽  
Russian Film ◽  
Film Market ◽  
Market Volume

The film industry is a relatively young, but at the same time, promising and continuously growing branch of the world economy with a market volume of more than 100 billion US dollars. Russia is also an active participant in the global film industry. This is due to both the growth of film production and the growth of consumption of products of the world film industry. The possibility of obtaining high returns, which is accompanied by high risks, makes market participants, from producers to potential investors, to look for any ways to reduce the risks of investing in this industry. The film as an investment project has its own risks, profitability and other characteristics of any other investment project. That is why it is important to find a way to predict the success of this film project in the form of a forecast of its box office, as the main source of profitability. Because of the globalization process here are also importance of searching any universal tool for predicting the success of box office not only in the country of origin, but also beyond, in the territory of other countries. In this paper, the authors will select a universal tool for forecasting box office of both foreign films and films of domestic production in order to reduce investment risks of investing in the film as an investment project. According to the results of the research, the selected tool was tested in practice by creating an interface for its application in Microsoft Exel and then calculating the forecast of box office, finding the forecast error of two projects: the box office of a foreign film co-produced by the United States and Great Britain named "Three billboards on the border of Ebbing, Missouri" in the Russian film market and the film produced by Russian company "Ice" in the Russian and Chinese film markets.

scholarly journals Global film market, regional problems

2016 ◽  
Vol 1 (4) ◽  
pp. 312-330 ◽  
Author(s):  
Giuseppe Richeri
Keyword(s):  
Film Industry ◽  
Production Costs ◽  
Financial Resources ◽  
Know How ◽  
Chinese Film ◽  
Hollywood Films ◽  
Box Office ◽  
Market Fragmentation ◽  
Film Market ◽  
Regional Problems

In the global film market, China is gaining more and more importance. The Chinese box office and film admissions are growing year after year and Chinese film and related companies are able to make business more and more abroad. On the contrary, US and European film markets are flat and the production costs of their film are growing. Both are trying to enter the Chinese film market and cooperate with Chinese film companies. The article reviews the Hollywood strategies towards China and analyses the advantages and problems that will be found following this way and the reason why China is interested to cooperate with Hollywood. But also, in that case, there are advantages and problems to analyse. The place of European film industry and market is different because Europe has a lot of problems to deal with: industry and market fragmentation, little cooperation among member states, lacking distribution of European film outside national markets and too large box office share of Hollywood films. European companies would like to improve cooperation with China, but they have few financial resources to invest in co-productions, they do not have blockbusters to push the China box office and they have no know-how to offer for gaining on the global film market. They can only offer cultural, artistic and creative competences, but is that what Chinese film industry is looking for?

The Italian Film Industry (1945–1985)

2020 ◽  
pp. 23-40
Author(s):  
Michael Guarneri
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Ground Zero ◽  
Box Office ◽  
Production History ◽  
History Of ◽  
Italian Film ◽  
Post War ◽  
Film Market ◽  
First Time

The chapter provides an overview of the history of the post-war Italian film industry from crisis to crisis, that is to say from the ground zero of 1945 (when the whole Italian film business had to be politically and economically reorganised, together with the rest of the war-torn country) to the ground zero of 1985 (the year in which, for the first time in almost three decades, Italian film production fell below the rate of 100 films made per year, as the culmination of a crisis that started in the mid-1970s). The chapter opens with an in-depth production history of I vampiri / Lust of the Vampire (Riccardo Freda, 1957), followed by an account of the 1958-1964 boom in the production of pepla, the historical-mythological adventures of the sword-and-sandal kind. Both cases (an isolated commercial failure the former; a short-lived box-office goldmine, or filone, the latter) are emblematic of the functioning of the Italian film industry between the early 1950s and the mid-1980s – a state-subsidised system mostly based on a constellation of medium, small and minuscule business ventures piggy-backing on popular genres/trends in the local and/or global film market.

scholarly journals Obstacles to Using Chinese Film to Promote China’s Soft Power: Some Evidence from the North American Market

2021 ◽  
Vol 1 (1) ◽  
pp. 205-221
Author(s):  
Stanley Rosen
Keyword(s):  
Soft Power ◽  
Film Industry ◽  
Social Stability ◽  
Liberal Democracies ◽  
Chinese Film ◽  
The North ◽  
Box Office ◽  
North American Market ◽  
Power Scale ◽  
Chinese Films

Abstract China’s use of film to project soft power has been unsuccessful. However, the generation of soft power through its film industry is not China’s highest priority. The pursuit of soft power, including through film, is much more directed toward the domestic audience in China, reflecting the greater importance of political and social stability, along with ensuring the patriotism of youth. Moreover, given the origins of the soft power concept and the methodologies used to evaluate countries on a soft power scale, countries that are not liberal democracies will never be able to score high on any soft power ranking. Using empirical data such as box office figures, and Chinese and Western media sources, it will be shown that the lack of success of Chinese films in overseas markets stems in part from structural reasons beyond China’s control, but also in part because of decisions made by Chinese state officials and the filmmakers themselves.

The Translocalized McDull Series: National Identity and the Politics of Powerlessness

Animation ◽  
2017 ◽  
Vol 12 (1) ◽  
pp. 28-44
Author(s):  
Hang Wu
Keyword(s):  
Hong Kong ◽  
National Identity ◽  
Mainland China ◽  
Hybrid Identities ◽  
Chinese Film ◽  
Box Office ◽  
Animated Films ◽  
Animated Film ◽  
Film Series ◽  
Film Market

The animated film Me & My Mum was released in mainland China and Hong Kong in 2014 and proved to be a huge box office hit, cashing in on the existing McDull animated films that are hailed as the best animations in Hong Kong. Previous scholarship suggests that the McDull animated film series is a symbol of Hong Kong local culture; it serves as a repository of the changing landscapes of Hong Kong and demonstrates hybrid identities. However, this article argues that the McDull animated film series is more translocal than local, a fact which reveals the dynamics of the Hong Kong–mainland China relationship after Hong Kong’s return to Chinese sovereignty in 1997. The translocalized McDull series demonstrates an obsession with Chineseness which helps to evoke the national identity. By aestheticizing powerlessness as cuteness through anthropomorphic animals, the McDull series used to be highly political; they grappled with the wounds of society in Hong Kong. However, the articulation of a well-rounded McDull in the translocalized film Me & My Mum indicates that it is conforming to the Chinese Communist Party’s ideology of ideal children while the political power of aestheticizing powerlessness is repressed, revealing the dominant power of the Chinese film market.

Industry drivers of multinational companies’ externalization choice: a conceptual framework and application to Korea–China film co-productions

2020 ◽  
Vol 35 (11) ◽  
pp. 1633-1644
Author(s):  
Hwy-Chang Moon ◽  
Wenyan Yin
Keyword(s):  
Entry Mode ◽  
Multinational Companies ◽  
Entry Modes ◽  
Content Type ◽  
Domestic Firms ◽  
Chinese Film ◽  
Specific Factors ◽  
Host Government ◽  
The Government ◽  
Film Market

Purpose This conceptual paper aims to explore under what conditions multinational companies (MNCs) are more likely to internationalize through externalization modes. Design/methodology/approach This paper complements previous studies by proposing three industry-specific factors that affect MNCs’ decision for externalization. It then applies this framework to the case of Korean MNCs’ strategic choice when entering the Chinese film market which is highly regulated by the government, to illustrate how such a framework works in practice. Findings This paper suggests that MNCs are more likely to choose externalization entry modes under the three industry conditions: when the business grows fast, when there are best practices of industry standard and when the business requires multi-competence. It also shows that the three conditions explain well the growing Korea–China co-productions in the Chinese film market. Practical implications This paper provides useful implications for the government’s regulatory effectiveness. The protectionist policies of the host government are valid only in an industry where the three conditions are met, as they increase the possibility of domestic firms’ participation by encouraging foreign MNCs to shift their entry mode from sole venture toward alliances with domestic firms. Originality/value This paper enriches the entry-mode research by indicating that MNCs’ externalization decisions need to consider these industry-specific factors. In addition, it also contributes to the understanding on why some countries maintain their high attractiveness for foreign MNCs, whereas other countries do not, given the similar level of restrictive government regulations.

scholarly journals The South Korean film industry and the Chinese film market

Screen ◽  
2019 ◽  
Vol 60 (2) ◽  
pp. 332-341
Author(s):  
Sangjoon Lee
Keyword(s):  
Film Industry ◽  
The South ◽  
Chinese Film ◽  
South Korean ◽  
Korean Film ◽  
Film Market

Research on Movie Box Office Prediction Model With Conjoint Analysis

2019 ◽  
Vol 12 (3) ◽  
pp. 72-84 ◽  
Author(s):  
Wei Lu ◽  
Ruben Xing
Keyword(s):  
Conjoint Analysis ◽  
Influence Factors ◽  
Forecast Model ◽  
Chinese Film ◽  
Box Office ◽  
The Neural Network ◽  
Multiple Dimensions ◽  
Expert Interview ◽  
Main Index ◽  
Film Market

Based on the Chinese film market, considering the influence factors of the movie box office (MBO) from multiple dimensions, and using the conjoint-analysis method with a questionnaire survey and an expert interview to determine the main index system affecting MBO, this article then establishes a MBO forecast model through the neural network BRP method. In combination with the actual data of the film market along with the empirical analysis and verification this article provides valuable investment reference for film risk control and movie investment decisions.

scholarly journals El Cine: El negocio de la cultura

2017 ◽  
Vol 6 (12) ◽  
Author(s):  
David Lozano ◽  
José N. Barragán ◽  
Sergio Guerra
Keyword(s):  
United States ◽  
Key Words ◽  
Film Industry ◽  
Country Of Origin ◽  
The United States ◽  
The Other ◽  
Film Production ◽  
Mexican Film ◽  
The Government ◽  
Film Market

Key Words: Film business, film consumption, film market, film production, culture.Abstract: The main purpose of this document to state the importance of the films not only as a cultural generator, but also as an economical and industrial engine for the Country of origin. It establishes, mainly the importance that producers and directors have to play in these two film slopes of movie business: as a culture product and as a consumption product. It shows the contribution that the 7th art has given to the United States obtaining importantblockbusters and as a mean in which this Country has influenced in the values and the desires of others. We expose what, years ago, the film industry represented to Mexico during the “Golden Era” (“Epoca de Oro”), how it declined and which mechanisms are being implemented by the government to stimulate this industry. On the other hand, we give detailed information of what the Mexican film makers could do to impulse the industry.Palabras Clave: Consumo de películas, cultura, mercado del cine, negocios deproducciones cinematográficas, producción cinematográfica.Resumen: El presente documento tiene como finalidad plasmar la importancia de los negocios dedicados a la producción cinematográfica no sólo como generadores de cultural sino también como motor económico y empresarial del país de origen. Se establece la importancia que tienen principalmente los productores y directores de actuar en estas dos vertientes del negocio del cine: como cultura y como producto de consumo. Se plantea el aporte que han hecho en los Estados Unidos los negocios de producción cinematográfica recaudando importantes sumas de dinero en taquilla y como medio por el cual este país hainfluido en los valores y deseos de los demás. Se expone lo que alguna vez la producción de cine representó para México durante su “Época de Oro”, cómo declinó y qué mecanismos se están implementando para estimular a los negocios dedicados a este giro. Por otro lado, se puntualiza lo que este tipo de negocios en México pudieran hacer para impulsar la industria.

scholarly journals China’s Cinema Watchdogs on the World Wide Web

2018 ◽  
Vol 11 (2) ◽  
pp. 39-59
Author(s):  
Lara Herring
Keyword(s):  
Social Media ◽  
Film Industry ◽  
State Intervention ◽  
Chinese Cinema ◽  
Private Industry ◽  
Employment Contracts ◽  
Chinese Film ◽  
Box Office ◽  
The World ◽  
Media Channels

Online communities play an important role in the development of the Chinese film industry in several significant ways. Taking social media as its focus, this article explores three areas of influence; promoting transparency, critiquing and policing. In China, the leaking of private industry documents, such as employment contracts and memos including information about incentives put forth by the State, are shared on social media with the intention of helping to ensure the opacity and integrity of the industry. Furthermore, where State-run media channels in China are heavily censored, film critiques are made possible through less-restricted social media sites such as Douban. Finally, this paper explores the role that users of social media play in policing distributors and cinema chains who are accused of committing box office fraud when Chinese film industry personnel and cinemagoers use social media to call out malfeasance. Thus, this paper contributes to existing research interested in State intervention in the Chinese cinema industry and the consequences of that intervention.

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