scholarly journals Impact of the Film Industry Promotion Law on the significant growth of the Chinese film industry

2020 ◽  
pp. 204-213
Author(s):  
Yanqiu Guan
Keyword(s):  
Film Industry ◽  
Significant Growth ◽  
Chinese Film

scholarly journals Do Bubble Behaviors Exist in Chinese Film Stocks?

SAGE Open ◽  
2020 ◽  
Vol 10 (4) ◽  
pp. 215824402098330
Author(s):  
Chi-Wei Su ◽  
Lu Liu ◽  
Kai-Hua Wang
Keyword(s):  
Economic Growth ◽  
Global Financial Crisis ◽  
Film Industry ◽  
Stock Index ◽  
Industrial Policies ◽  
Chinese Film ◽  
Augmented Dickey Fuller ◽  
Boom And Bust ◽  
Negative Impacts ◽  
The Global Financial Crisis

This article investigates bubbles in the Chinese film industry to reveal the industry’s boom and bust process that influences employment, citizen’s livelihoods, and even economic growth. We adopt the film stock index to reflect the industry’s trajectory and employ the generalized and backward sup augmented Dickey–Fuller tests to detect bubble periods. Empirical results indicate that there are three positive bubbles in 2007, 2013, and 2015, indicating that the film market continues to expand after temporary frustrations. Meanwhile, one negative bubble is found in 2019, which demonstrates that the bubble’s negative impacts persist and the film industry is still having problems such as declining industrial output. Economic growth, film quality, and industrial policies are common factors for all bubbles. The global financial crisis, capital in- and outflows, internet giants’ entry and sky-high remuneration are reasons for certain bubble behaviors. Hence, market practitioners should actively recognize bubbles and observe their evolution, which will favor industrial stabilization. A perfect legal system, moderate industrial policies, a competitive market environment, and other measures are needed to confront the opportunities and challenges.

scholarly journals Scene, Aesthetics and Industry Chain: Postmodern Cultural Thinking of Films in 5G Era

2021 ◽  
Vol 3 (4) ◽  
pp. 19-24
Author(s):  
Heqiang Zhou ◽  
Lei Que
Keyword(s):  
Film Industry ◽  
Important Influence ◽  
Film Production ◽  
Film Culture ◽  
Industry Chain ◽  
Chinese Film ◽  
Post Modernism ◽  
The Way ◽  
Film Aesthetics

With the in-depth influence of 5G technology on film art, the postmodern culture contained in it is also becoming more and more obvious. Understanding the context of the 5G era and clarifying the origin of film postmodernism culture will help us deeply analyze the cause of the rise of postmodernism film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodernism film culture. In addition, we should also think deeply about the film culture under the post-modernism of 5G era, and explore the way to stick to the benign development of film creation and film industry. To enhance our cognition and appreciation of post-modern film culture, to give play to the positive factors of post-modern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

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 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.

scholarly journals Mainstream Film Production in a Country on the Cusp of Change

2019 ◽  
Vol 8 (2) ◽  
pp. 63-88
Author(s):  
Julian Ward
Keyword(s):  
Film Industry ◽  
Subsequent Development ◽  
Open Letter ◽  
Short Article ◽  
Chinese Film ◽  
Army Officer ◽  
Chinese Studies ◽  
Communist China ◽  
History Of ◽  
Narrative Forms

In June 1984, the journal Dianying pingjie (Film Criticism) published a short article titled “An Open letter to the August First Film Studio”, written by an army officer called Xu Gewei, in which he described The Colourful Night, The Last Military Salute and Star of the Battleground, three of the studio’s recent productions, as mediocre, inept and crudely made. This paper will look at the three films in the context of the early 1980s, a period in the history of filmmaking in Communist China, which, in spite of being critical for the subsequent development of the Chinese film industry, still receives comparatively little attention. The paper will show how, although the films rely for the most part on out-moded techniques and narrative forms, there are moments that display an interest in new film techniques and reveal an understanding of the evolving world of China in the early 1980s. At time of publication of this article, the journal operated under the old name. When quoting please refer to the citation on the left using British Journal of Chinese Studies. The pdf of the article still reflects the old journal name; issue number and page range are consistent.

scholarly journals The Causes and Enlightenment of Post-Modern Film Culture in the 5G Era

2021 ◽  
Vol 5 (5) ◽  
pp. 25-30
Author(s):  
Heqiang Zhou ◽  
Lei Que
Keyword(s):  
Film Industry ◽  
Important Influence ◽  
Film Production ◽  
Film Culture ◽  
Industry Chain ◽  
Chinese Film ◽  
The Way ◽  
Film Aesthetics

With the increasing influence of 5G technology on film art, the postmodern culture contained therein is also gradually becoming obvious. Understanding the context of the 5G era and clarifying the origin of postmodern film culture can help us analyze the cause of the rise of postmodern film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodern film culture. In addition, we should also consider the film culture under the postmodernism of 5G era, and explore the way to stick to the benign development of film creation and film industry in order to enhance our cognition and appreciation of postmodern film culture, to maximize the positive factors of postmodern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

Movie Roadshow as Dramaturgical Interaction Between Film Professionals and Audiences: An Event Organiser Perspective in The Chinese Film Industry

2021 ◽  
Author(s):  
Min Xu ◽  
Sangkyun Kim
Keyword(s):  
Film Industry ◽  
Small Scale ◽  
Media Industry ◽  
Chinese Media ◽  
Face To Face ◽  
Chinese Film ◽  
Public Figures ◽  
Social Media Platforms ◽  
Media Practices ◽  
Depth Interviews

Recent years have witnessed an unprecedented rise in face-to-face film promotion events in China. Core members of numerous film production teams have toured over 30 major Chinese cities in order to meet their audiences. Despite their growth and popularity, these small-scale but prevalent and recurring events have rarely been discussed in the context of event studies. Drawing on Erving Goffman’s dramaturgical perspective, this study explores how organisers of film promotion events construct performances and event meanings in the Chinese media industry. It analyses in-depth interviews with ten Chinese film practitioners in addition to microblog posts for promotional events of the highest-grossing movies from 2017 to 2019. The results suggest that event dramaturgy is designed, staged, and managed both on site and on social media platforms. The performative elements of the events and interactions between public figures such as celebrities and audiences offer insights into the collective and individual meanings of face-to-face media practices in contemporary China.

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