HAVAS CHINA Monthly Market Update
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Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Analysis and Discussion on the Network Self Made Drama Under the Network Platform
Analysis and Discussion on the Network Self Made Drama under the Network Platform Xiaoxia LI Zibo Vocational Institute Abstract: In recent years, with the continuous deepening of the integration of Internet and film and television creation, China has entered the online drama world spawned by the “Internet”. In the development trend of online drama, self-made content has become the foundation of every major platform. In 2020, the network self-made drama will be stable and new. Under the benign situation of stable development, it will move towards higher quality and broader stage. Keywords: Network; Platform; Homemade drama; Film and television DOI: 10.47297/wspciWSP2516-252708.20200409 1. The Rise of Self-made Drama in the Network Video Platform (1) The characteristics of network communication and the platform advantage of mastering the front market data, the network self-made drama has high interaction and market sensitivity. (2) Behind the rise of the network self-made drama is the network video platform that is eager for more control. n the increasingly fierce and cruel competition of “film and television winter”, Ithe network self-made drama makes these online video platforms escape the copyright purchase cost of the sky price, and change from passive content competition to active participation in content production, and become the core of platform differentiation competition. At the same time, this benign change also contains the vision of the film and television industry to reshape the content ecology. About the author: Xiaoxia LI (1978-02), female, from Zibo City, Shandong Province, master, lecturer, engaged in computer applications, network big data and artificial intelli- gence. -
(12) Patent Application Publication (10) Pub. No.: US 2017/0142454 A1 JANG (43) Pub
US 201701 42454A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2017/0142454 A1 JANG (43) Pub. Date: May 18, 2017 (54) THIRD-PARTY VIDEO PUSHING METHOD Publication Classification AND SYSTEM (51) Int. Cl. (71) Applicants: LE HOLDINGS (BEIJING) CO., H04N 2L/237 (2006.01) LTD., Beijing- - - (CN); LECLOUD H04N 2L/2582L/23 (2006.01) COMPUTING CO.,LTD., Beijing (CN) (52) U.S. Cl. CPC ..... H04N 21/237 (2013.01); H04N 21/25816 (72) Inventor: Yuhan JIANG, Beijing (CN) (2013.01); H04N 21/23109 (2013.01) (73) Assignees: LE HOLDINGS (BEIJING) CO., (57) ABSTRACT LTD., Beijing (CN); LECLOUD Disclosed are a method and system for pushing video to a COMPUTING CO.,LTD., Beijing third party, the method including: receiving a video request (CN) instruction from a third party, the video request instruction including third-party identification authentication informa (21) Appl. No.: 15/252,252 tion and third-party video stream identification information; retrieving a prestored list of local video streams correspond (22) Filed: Aug. 31, 2016 ing to a third party ID according to the third-party identifi cation ID authentication information; determining a video O O stream to be pushed by comparing the third-party video Related U.S. Application Data stream identification information with local video stream (63) Continuation of application No. PCT/CN2016/ configuration information in the list of local video streams; 083022, filed on May 23, 2016. pushing the video stream to be pushed to the third party. Sharing of different video streams between different video (30) Foreign Application Priority Data platforms is implemented by presetting a video stream matching list in a server, and a response to a video request Nov. -
Analysis of the Development Tendency of Network Video Programs
2020 4th International Conference on Education, Management and Social Science (EMSS 2020) Analysis of the Development Tendency of Network Video Programs Lei Xi a, Zaining Wang b, * School of Journalism and Communication, China West Normal University, Nanchong, 637009 Sichuan, China [email protected], [email protected] *Corresponding author Keywords: Internet self-made programs, development trends, characteristics. Abstract: "Audiovisual new media programs" refer to new media forms characterized by two-way interaction through the combined effect on human audiovisual senses, such as network video, IPTV, Internet TV, mobile TV, etc. With the rise of online media, the viewing habits of netizens are undergoing earth-shaking changes. People’s dependence on video sites is gradually increasing. Video sites have also become the main position for many people to draw on "spiritual food." In the development of audiovisual new media, due to changes in the relationship between the mediator and the audience, the increase in audience participation, the increase in micro-fragmented content, and technological application innovation, online video programs have been uploaded by the initial netizens and gradually developed into copyright Purchase and online self-made new media program production forms. 1. The transition from uploading to copyright purchase by netizens 1.1 Uploaded by netizens Online video programs first started with the uploading of netizens. Since YouTube was acquired by Internet crocodile Google in 2006, the attitude of the Internet ecosystem to video sites has undergone a tremendous change, and they have invested in the field of video sites. China’s video website platform has correspondingly come to a period of opportunity for development. -
Hengten Networks (00136.HK)
22-Feb-2021 ︱Research Department HengTen Networks (00136.HK) SBI China Capital Research Department T: +852 2533 3700 Initiation: China’s Netflix backed by Evergrande and Tencent E: [email protected] ◼ Transforming into a leading online long-video platform with similar Address: 4/F, Henley Building, No.5 Queen's DNA to Netflix. Road Central, Hong Kong ◼ As indicated by name, HengTen (HengDa and Tencent) (136.HK) will leverage the resources of its two significant shareholders in making Ticker (00136.HK) Pumpkin Film the most profitable market leader Recommendation BUY ◼ New team has proven track record in original content production Target price (HKD) 24.0 with an extensive pipeline. Current price (HKD) 13.8 ◼ Initiate BUY with TP HK$24.0 based on 1.0x PEG, representing 74% Last 12 mth price range 0.62 – 17.80 upside potential. Market cap. (HKD, bn) 127.8 Source: Bloomberg, SBI CHINA CAPITAL Transforming into a leading online long-video platform with similar DNA to Netflix. HengTen Networks (“HT”) (136.HK) announced to acquire an 100% stake in Virtual Cinema Entertainment Limited. The company has two main business lines: “Shanghai Ruyi” engages in film and TV show production while “Pumpkin Film”operates an online video platform. Currently one of the only two profitable online video platforms, we expect the company to enjoy similar success as Netflix given their common genes such as: a) a highly successful and proven content development team b) focus on big data analytics which improves ROI visibility and c) enjoyable user experience with an ads-free subscription model As indicated by name, HengTen (HengDa and Tencent) (136.HK) will leverage the resources of its two significant shareholders in making Pumpkin Film the most profitable market leader. -
First Name Last Name Title Company Country Anouk Florencia Aaron Warner Bros
First Name Last Name Title Company Country Anouk Florencia Aaron Warner Bros. International Television United States Carlos Abascal Director, Ole Communications Ole Communications United States Kelly Abcarian SVP, Product Leadership Nielsen United States Mike Abend Director, Business Development New Form Digital United States Friday Abernethy SVP, Content Distribution Univision Communications Inc United States Jack Abernethy Twentieth Television United States Salua Abisambra Manager Salabi Colombia Rafael Aboy Account Executive Newsline Report Argentina Cori Abraham SVP of Development and International Oxygen Network United States Mo Abraham Camera Man VIP Television United States Cris Abrego Endemol Shine Group Netherlands Cris Abrego Chairman, Endemol Shine Americas and CEO, Endemol Shine North EndemolAmerica Shine North America United States Steve Abrego Endemol Shine North America United States Patrícia Abreu Dirctor Upstar Comunicações SA Portugal Manuel Abud TV Azteca SAB de CV Mexico Rafael Abudo VIP 2000 TV United States Abraham Aburman LIVE IT PRODUCTIONS Francine Acevedo NATPE United States Hulda Acevedo Programming Acquisitions Executive A+E Networks Latin America United States Kristine Acevedo All3Media International Ric Acevedo Executive Producer North Atlantic Media LLC United States Ronald Acha Univision United States David Acosta Senior Vice President City National Bank United States Jorge Acosta General Manager NTC TV Colombia Juan Acosta EVP, COO Viacom International Media Networks United States Mauricio Acosta President and CEO MAZDOC Colombia Raul Acosta CEO Global Media Federation United States Viviana Acosta-Rubio Telemundo Internacional United States Camilo Acuña Caracol Internacional Colombia Andrea Adams Director of Sales FilmTrack United States Barbara Adams Founder Broken To Reign TV United States Robin C. Adams Executive In Charge of Content and Production Endavo Media and Communications, Inc. -
Buyers Registered for MIP China 2020 As of 2020.07.16
Buyers registered for MIP China 2020 as of 2020.07.16 Online Meetings 28-31 July 95 Buyers from 75 different companies from 18 countries Country/Region Company First Name Last Name Job Fonction Content Acquisition interest Note Director Acquisitions & Co- APAC WARNER MEDIA APAC Hoyoung JUNG Kids/Animation Formats/Non Scripted productions BRAZIL BOX BRAZIL Claudia DREYER Director Special Projects Docs/Factuals Drama/Series/Scripted Format Kids/Animation CHINA ALIBABA GROUP-ALIENT BUSINESS GROUP YOUKU-DOCUMENTARY CENTRE Wei ZHANG General Manager Docs/Factuals Senior Manager of Program CHINA BEIJING INMOST MEDIA CO.LTD Johnny ZHOU Drama/Series/Scripted Format Formats/Non Scripted Feature Film Acquisition CHINA BEIJING INMOST MEDIA CO.LTD Hailey ZHAO Manager of Program Acquisition Drama/Series/Scripted Format Kids/Animation Formats/Non Scripted Feature Film CHINA BEIJING XIANGJIANG YIHUA FILM & TV Weicui GUAN Founder Docs/Factuals Drama/Series/Scripted Format Kids/Animation Feature Film CHINA BILIBILI Daniel HU Senior Manager Kids/Animation CHINA BYTEDANCE Yingjie CHU Copyright Senior Director Docs/Factuals CHINA BYTEDANCE Li MA Content Acquisition Drama/Series/Scripted Format Feature Film CHINA BYTEDANCE Mengyuan XIAO Director Docs/Factuals Kids/Animation CHINA CCTV ANIMATION GROUP LIMITED Jolisa XU Deputy Director Kids/Animation Head of International Acquisitions & CHINA CMG FILM, DRAMA AND DOCIUMENTARY PROGRAMMING CENTER CCTV9 Yuan TIAN Docs/Factuals Formats/Non Scripted Co-Production CHINA DA NENG CULTURE MEDIA Zhi HENGYI Manager Docs/Factuals CHINA HAINING A&A MEDIA CO.LTD. Shide XIANG General Manager Docs/Factuals Kids/Animation Feature Film Documentary Film CHINA HANGZHOU MARSEE TECH CO.,LTD Wang Sherin Copyright manager Kids/Animation CHINA HUAWEI TECHNOLOGIES Hou YUE Senior Manager Docs/Factuals Drama/Series/Scripted Format Kids/Animation Feature Film Head of Content Acquisition & CHINA HUAWEN PICTURE GROUP Freya CAO Docs/Factuals Drama/Series/Scripted Format Kids/Animation Feature Film Distribution CHINA iQIYI. -
How Chinese Television Found Its Way out of the Box
International Journal of Communication 10(2016), 5426–5443 1932–8036/20160005 Disconnecting, Connecting, and Reconnecting: How Chinese Television Found Its Way Out of the Box MICHAEL KEANE1 Curtin University, Australia The emergence of online platforms dispensing TV content in China has transformed conventional understandings of Chinese media. Online video companies have revitalized the Chinese media industry while throwing out challenges to the government. Three disruptive moments illustrate how Chinese television is regulated, distributed, and accessed: disconnecting, connecting, and reconnecting. I examine some of the leading online platforms and consider the growing power of Baidu, Alibaba, and Tencent—known as the “kingmakers” of the Chinese Internet. I describe how the Internet has created an unprecedented transformation in China’s television industry and how “Internet television” is disrupting the formerly stable and heavily managed sector. Finally, the article explores how new technologies of distribution are allowing Chinese culture to internationalize and to “reconnect” with Chinese-speaking communities. Keywords: Internet television, television, China, digital disruption, soft power When James Lull published China Turned On: Television, Reform and Resistance in 1991, the People’s Republic of China was in the midst of an upsurge in media production, spurred on by economic reforms that allowed many millions of people to buy television receivers, then a much-desired consumer item. Lull (1991) depicts Chinese viewers gathered around the TV as a family unit, watching serial dramas. The television receiver is a rectangular box in the living room disseminating government messages and entertainment—mainly serial drama—to an enthralled audience. In the decades that followed, television evolved. -
Key Trends in China's Online Video Industry
KEY TRENDS IN CHINA’S ONLINE VIDEO INDUSTRY April 2021 1 ONLINE VIDEO PENETRATION APPROACHES 94% OF INTERNET USERS TRACKING INTERNET & ONLINE VIDEO USER TRENDS Penetration of Internet Users 94% 89% 62% 1,200 989 1,007 927 942 1,000 880 873 900 829 802 725 800 709 617 624 549 600 501 499 Total users (mil.) 400 200 0 2018 2019 2020 Q1 2021 Internet Users Online Video Users Short Video Users Livestreaming Users Source: Company data, Media Partners Asia 2 SHORT VIDEO DRIVING CONSUMPTION SHARE OF VIDEO USER TIME SPENT 100% 9% 9% 22% 19% 20% 3% 3% 90% 24% 3% 3% 3% 3% 2% 80% 2% 3% 2% 3% 3% 8% 8% 4% 2% 5% 10% 9% 70% 13% 8% 9% 12% 4% 5% 60% 15% 66% Of 24% 12% 50% 23% 27% 27% Streaming Time 19% Spent On Top 3 40% 20% Short Video 30% 27% 28% 15% Platforms 20% 33% 34% % of Online Video Time Spent Time Video Online of % 26% 14% 10% 9% 15% 0% 1% 0% 2016 2017 2018 2019 2020 Q1 2021 Douyin Kuaishou WeChat Channel Video iQIYI Tencent Video Youku Mango TV Bilibili Others Source: Company data, Media Partners Asia 3 RATE INCREASES SUPPORT SVOD ARPUS, MORE UPSIDE ON AD ARPUS MONTHLY ARPU PER DAU (KEY DIGITAL COMPANIES) ADVERTISING REVENUE PER DAU (KEY VIDEO PLATFORMS) 35 70 30 60 Ad monetization per DAU for most video platforms Platforms such as Bilibili 25 50 is still fairly low, but and WeChat Channel Video upside may be limited due still significantly 40 20 to slowing industry undermonetized US$ US$ 65.1 growth 15 Recent rate hikes led 30 by iQIYI and Tencent Low monthly ARPU implies upside 21.6 10 Video on membership fees for most 20 Chinese platforms Average 5 10 20.4 7.5 12.3 11.8 10.9 10.7 4.9 6.8 3.8 2.9 2.8 2.5 0 1.0 0 Alibaba Tencent Baidu iQIYI Bilibili Kuaishou Weibo Douyin Youku Mango Kuaishou iQIYI Tencent Bilibili WeChat TV Video Channel Note: Video 1) Monthly ARPU reflects consumer spend, and excludes advertising. -
Download Your Free Digital Copy of the June 2018 Special Print Edition of Animationworld Magazine Today
ANIMATIONWorld GOOGLE SPOTLIGHT STORIES | SPECIAL SECTION: ANNECY 2018 MAGAZINE © JUNE 2018 © PIXAR’S INCREDIBLES 2 BRAD BIRD MAKES A HEROIC RETURN SONY’S NINA PALEY’S HOTEL TRANSYLVANIA 3 BILBY & BIRD KARMA SEDER-MASOCHISM GENNDY TARTAKOVSKY TAKES DREAMWORKS ANIMATION A BIBLICAL EPIC YOU CAN JUNE 2018 THE HELM SHORTS MAKE THEIR DEBUT DANCE TO ANiMATION WORLD © MAGAZINE JUNE 2018 • SPECIAL ANNECY EDITION 5 Publisher’s Letter 65 Warner Bros. SPECIAL SECTION: Animation Ramps Up 6 First-Time Director for the Streaming Age Domee Shi Takes a Bao in New Pixar Short ANNECY 2018 68 CG Global Entertainment Offers a 8 Brad Bird Makes 28 Interview with Annecy Artistic Director Total Animation Solution a Heroic Return Marcel Jean to Animation with 70 Let’s Get Digital: A Incredibles 2 29 Pascal Blanchet Evokes Global Entertainment Another Time in 2018 Media Ecosystem Is on Annecy Festival Poster the Rise 30 Interview with Mifa 71 Golden Eggplant Head Mickaël Marin Media Brings Creators and Investors Together 31 Women in Animation to Produce Quality to Receive Fourth Mifa Animated Products Animation Industry 12 Genndy Tartakovsky Award 72 After 20 Years of Takes the Helm of Excellence, Original Force Hotel Transylvania 3: 33 Special Programs at Annecy Awakens Summer Vacation Celebrate Music in Animation 74 Dragon Monster Brings 36 Drinking Deep from the Spring of Creativity: Traditional Chinese Brazil in the Spotlight at Annecy Culture to Schoolchildren 40 Political, Social and Family Issues Stand Out in a Strong Line-Up of Feature Films 44 Annecy -
MANGO EXCELLENT MEDIA CO.,Ltd. Summary of the Semi-Annual Report 2020
Summary of the 2020 Semi-annual Report of MANGO EXCELLENT MEDIA CO., Ltd. Stock Code:300413 Stock abbreviation:Mango Excellent Media Number:2020-048 MANGO EXCELLENT MEDIA CO.,Ltd. Summary of the Semi-Annual Report 2020 I. Important notes The summary of this semi-annual report comes from the full text of the annual report. To fully understand the Company’s operating results, financial situation and future development plan, investors should read the full text of the semi-annual report carefully in the media designated by the China Securities Regulatory Commission (CSRC). This semi-annual report is available in Chinese and English. In the event of any inconsistency between the Chinese version and the English version, the Chinese version shall prevail. Except for the following directors, all the other directors attended in person the Board meeting for the review of this Report and its summary. Reason for not attending Name Office title Proxy meeting in person Non-standard auditor’s opinion □ Applicable √ Not applicable Preliminary plan for profit distribution to the common shareholders or turning the capital reserve into the share capital for the reporting period, which has been reviewed and approved at the board meeting. □ Applicable √ Not applicable The Company has no plan of cash dividends carried out, bonus issued and capitalizing of common reserves either. Preliminary plan for profit distribution to the preference shareholders for the reporting period which has been reviewed and approved at the board meeting. □ Applicable √ Not applicable -
Surviving in Between Neoliberalism and “Socialism with Chinese Characteristics”
Surviving in between Neoliberalism and “Socialism with Chinese Characteristics”: Chinese Women in Negotiation with the Nation and Public Culture A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Xiaomeng Li August 2020 © 2020 Xiaomeng Li. All Rights Reserved. This dissertation titled Surviving in between Neoliberalism and “Socialism with Chinese Characteristics”: Chinese Women in Negotiation with the Nation and Public Culture by XIAOMENG LI has been approved for the School of Media Arts and Studies and the Scripps College of Communication by Eve Ng Associate Professor of Media Arts and Studies Scott Titsworth Dean, Scripps College of Communication ii Abstract LI, XIAOMENG, Ph.D., August 2020, Media Arts and Studies Surviving in between Neoliberalism and “Socialism with Chinese Characteristics”: Chinese Women in Negotiation with the Nation and Public Culture Director of Dissertation: Eve Ng People’s Republic of China under President Xi Jinping’s administration has demonstrated an intense agenda of nation-building, observable through the country’s ardent participation in the global economy on the one hand, and domestic propagation of national and cultural pride on the other. While new ideologies such as “Core Socialist Values” and “Chinese Dream” are prevailing in almost every aspect of Chinese people’s daily lives, women are largely overlooked as part of the “citizens” in the official discourses even though they