The Impact of Relationship Quality on Electronic Word-of-mouth Referral Behavior in Big Data Era

Consumer through their referral behavior could be an effective mechanism for marketers in promoting their products in today’s big data era. In order to explore the ways that the electronic word-of-mouth referral (e-WOM) comprehensively and effectively influence on the film market in the current media ecological environment in China, this research selects Douban, an outstanding representative of China’s online film evaluation platform as the research object and combines the related theories of relationship quality and e-WOM referral behavior to investigate the significant positive influence of the four dimensions of relationship quality (satisfaction, credibility, affection and commitment) on e-WOM referral behavior.

Analysis of China’s Film Industry in 2020

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.

Colombia of the 20th century: the history of the country in the history of cinema

Colombian cinema, the peculiarities of its development and problems, cannot be separated from the tragic and painful pages of the history of Colombia in the 20th century. In the panorama of the national cinematography’s of Latin America, the cinema of Colombia has long been on the side lines, significantly yielding to Argentina and Mexico, and also constantly experiencing pressure on the film market from Hollywood. Unlike Colombian literature, which conquered the world with "magical realism", the cinema of this country gravitates towards social realism. He is characterized by a bold approach to the most difficult and painful topics, a constant interest in the realities of the country's life. In this regard, when analysing Colombian cinematography, the most productive is the expansion of the boundaries of research in the field of historical memory, an appeal to the problem of violence and overcoming the trauma of the past.

A.A. Khanzhonkov as a Pioneer of the National Film Industry

The article provides an analysis on the activity of the first shareholding company in the Russian film industry. The analysis is based on archival documents from the Russian State Archive and the State Achieve of the Republic of Crimea, as well as on published sources, available literature and Khanzhonkov’s own memoirs. The main focus of the text is on managing mechanism of the shareholding company, special attention is paid to the key directions and peculiarities of its activity in the film market of the early 20th century. It was revealed that the production process of documentary and educational films released by the film factory was rather innovative. The research defined the main stakeholders and equity holders, besides it described the life path of the founder of the Shareholding Company at different stages of his life including the Soviet period. One of the conclusions made in the research was the equity-mutual type of the Shareholding Company, when shares were issued and distributed only among the people closest to the equity holders, their relatives and family members and were not presented to the market for general public. This approach provided the management body with complete control over the enterprise, but at the same time the approach limited its development since there were no external investments. As the Board Chairman and Managing Director A. Khanzhonkov sought alternative opportunities to win the national film market without attracting additional outside sources of funding. The key condition for implementing the chosen strategy was the search for opportunities to improve the quality of released film products.

А. Khanzhonkov and Co Joint-Stock Company and its competitors in Russia

The article is based on the archival files of joint-stock companies in the film industry, stored in the fonds of the Russian State Historical Archive (RGIA), the Russian State Archive of Literature and Art (RGALI), and the Central State Historical Archive of St Petersburg (TsGIA SPb) as well as statistics digests Joint-Stock Companies of Russia (1912–1917) and scientific literature and focuses on the analysis of the activities of A. Khanzhonkov and Co Joint-Stock Company and its competitors in the film industry at the beginning of the twentieth century. A. Khanzhonkov’s joint-stock company, which gradually developed from a small trade and commission business that supplied the Russian market with films and equipment produced mainly by European, became a leader in the Russian pre-revolutionary film market. The company steadily made a profit, increased its fixed and reserve capital, and also paid dividends to shareholders annually. The author came to the conclusion that it is A. Khanzhonkov and Co Joint-Stock Company that was most successful and effective in the field of production and distribution of films among Russian film companies firms and was a real competitor to the branches of leading foreign companies in Russian film business, such as Gaumont and Pathé Brothers. However, the company was unable to fully exploit the opportunities which emerged after the outbreak of the First World War due to the withdrawal of a number of branches of leading foreign companies from the film market. By keeping his firm in the form of a joint-stock company, A. Khanzhonkov actually hindered its development himself by not issuing shares for free sale on the stock exchange. Therefore, the company constantly suffered a lack of investment. This was especially evident after the February Revolution of 1917, when new companies entered the film business, which significantly increased competition in the film market. The attempt to transfer the company’s activities to the Crimea in connection with the construction of a new Yalta film studio was not successful, primarily due to the deterioration of the overall political and economic situation in the country.

Marsjanie. Borowczyk i Lenica na Międzynarodowym Konkursie Filmu Eksperymentalnego w Brukseli

The text describes the backstage of the legendary International Experimental Film Competition in Brussels, which accompanied the Expo-58 Exhibition at a turning point of the political thaw in Eastern and Central Europe. The most important representatives of avant-garde cinema and auteur animation of three generations took part in this event. The Grand Prix was awarded to The House of Walerian Borowczyk and Jan Lenica. The prize became the ticket to a European career for these two young filmmakers. The competition was also remembered as a symbolic beginning of the “Polish school of animation” (or the so-called “Polish school of experimental film”) on the global film market. The author of the article also writes about a difficult return to Poland, about a cash prize that caused many problems, about the successes of Polish films in Brussels, and about the reception of The House in Poland and abroad. Finally, he tries to demonstrate why this bleak and difficult to understand film, which builds opposition to the optimism of Expo Exhibitions, won the main prize, beating over 300 competitors from around the world.