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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 production 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 development 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 of Migration

and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de

l’Homme du Pacifique, 2019). Yanqiu Guan is Associate Professor at Beijing Film Academy Modern Creative Media College, Qingdao, China. She has published more than 20 research articles and papers on film producing and entertainment law, including Research on Film Industry Promotion Law (Blue Book of Film, 2018).

Hong Lu is a lecturer in the Art and Communication School at Beijing Technology and Business University, Beijing, China. Her research interests are in animation creation and the animation market. She has published more than a dozen papers on Chinese TV animation and the Chinese animation film industry, including Report on

the Development of Chinese Animation Film Industry (Blue Book of Film, 2019).

China Perspectives

The China Perspectives series focuses on translating and publishing works by leading Chinese scholars, writing about both global topics and Chinarelated themes. It covers Humanities & Social Sciences, Education, Media and Psychology, as well as many interdisciplinary themes.
This is the first time any of these books have been published in English for international readers. The series aims to put forward a Chinese perspective, give insights into cutting-edge academic thinking in China, and inspire researchers globally.

Titles in arts currently include: Establishment of “Drama” Orientation

Transition of the Research Paradigm of Chinese Dramas in the 1920s and 1930s

Zhang Yifan

Embodiment and Disembodiment in Live Art

From Grotowski to Hologram

Shi Ke

China in the Age of Global Capitalism

Jia Zhangke’s Filmic World

Wang Xiaoping

A History of Chinese Animation

Edited by Sun Lijun

A History of Chinese Theatre in the 20th Century I

Fu Jin

Development of the Global Film Industry

Industrial Competition and Cooperation in the Context of Globalization

Edited by Qiao Li, Yanqiu Guan and Hong Lu

For more information, please visit www.routledge.com/series/CPH

Development of the Global Film Industry

Industrial Competition and Cooperation in the Context of Globalization

Edited by Qiao Li, Yanqiu Guan and Hong Lu

First published in English 2021 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

and by Routledge 52 Vanderbilt Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2021 selection and editorial matter, Qiao Li, Yanqiu Guan and Hong Lu; individual chapters, the contributors

Translated by Qiao Li, Yanqiu Guan and Hong Lu The right of Qiao Li, Yanqiu Guan and Hong Lu to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

The Open Access version of this book, available at www.taylorfrancis. com, has been made available under a Creative Commons AttributionNon Commercial-No Derivatives 4.0 license.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

English version by permission of Social Sciences Academic Press (China).

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

A catalog record has been requested for this book ISBN: 978-0-367-50823-4 (hbk) ISBN: 978-1-003-05150-3 (ebk)

Typeset in Times New Roman by Newgen Publishing UK

Contents

List of figures List of tables

viii xi

Notes on contributors Preface Acknowledgments

xiv xvii xxi

  • 1
  • The development of the global film industry between

  • 2017 and 2018
  • 1

XINGZHEN NIU

23
The global film industry index research report, 2019

ZHENGSHAN LIU

14
The development of the North American film

  • industry in 2018
  • 34

50 65

LORA YAN CHEN

45
The development of the European film industry between 2017 and 2018

NANNAN LI

The development of the Latin American film industry between 2017 and 2018

ZHENGSHAN LIU

67
The development of the South Korean film industry in 2018 79

KOREAN FILM COUNCIL

  • Opportunities and challenges for the British film industry
  • 89

DAVID WILSON

vi Contents

  • 8 The development of the Chinese film industry in 2018
  • 95

124 136 149 157 170 177

SHUZHEN SUN

9 The development of the Chinese film production industry in 2018

MINGSONG LI

10 The development of Chinese cinema circuits and the
Chinese film market in 2018

ZENGHAN ZHUANG

11 The operational model of cinematic adaptation from
Internet content in China

XIAOJUAN YAN

12 The development of the Chinese animation industry in 2017

HONG LU

13 A case study of Crazy Rich Asians: the evolution and development of Asian Hollywood films

YESTIN DENG

14 Priest and director Alex Kendrick: the “manual workshop” and film industrialization

LINLI YU

15 An analysis of the box office success of Wolf Warrior 2
(2017)

CHAO YU

186

  • 195
  • 16 Chinese film IP resources development strategy

DANDAN LI

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

YANQIU GUAN

204 214
18 Copyright issues of Chinese films adapted from the
Internet literature

GUANQUN GAO

Contents vii

19 Developing the integration of the Chinese Internet and

  • the film industry
  • 220

LUYAO LI

20 The UNESCO world “City of Film”: a new engine to boost Qingdao’s urban development

SHUZHEN SUN

227 241

Index

Figures

1.1 1.2 1.3 1.4

  • Global box office and growth rate, 2005–2018
  • 2

23
Regional structure of the global box office, 2005–2018 Regional structure share of global movie box office, 2005–2018 Top ten countries with global box office receipts, 2011–2018 (excluding North America) Global film production and growth rate, 2005–2017 Film production proportion of global economies, 2005–2017 Top ten film production countries, 2005–2017 Number of major types and average box office receipts in the North American film market, 1982–2018 North American film market total box office trend of main film types, 1982–2018 The film industry comprehensive evaluation model The gross box office per indoor screen of China, 2010–2017 Global share of European cinema in 2017 (based on box office receipts) Number of per capita views in Europe in 2017 Box office growth rate of Latin America, 2014–2017 Comparison of box office in Latin America, North America and the world, 2013–2017
4567
1.5 1.6 1.7 1.8
12
1.9
12 16 31
2.1 2.2 4.1
51 53 66
4.2 5.1 5.2
66 67 67 68 68 70 70 71 71 72 73 74 74 75
5.3 5.4 5.5 5.6 5.7 5.8 5.9
Screen growth rate in Latin America, 2014–2017 Number of screens in Mexico, 2013–2017 Cinema attendance in Mexico, 2013–2017 Market share of domestic films in Mexico, 2013–2017 Growth rate of Argentina’s screen numbers, 2014–2017 Growth rate of Argentina’s movie attendance, 2014–2017 Growth rate of the Argentine box office, 2014–2017
5.10 Average ticket price growth rate in Argentina, 2014–2017 5.11 Market share of domestic films in Argentina, 2013–2017 5.12 Screen growth rate in Brazil, 2014–2018 5.13 Growth rate of cinema attendance in Brazil, 2014–2018 5.14 Box office growth rate in Brazil, 2014–2017 5.15 Growth rate of movie ticket price in Brazil, 2014–2017

List of figures  ix

  • 5.16 Market share of domestic movies in Brazil, 2014–2018
  • 75

76 76 77 77 81 90 93 98
5.17 Rate of change in film infrastructure in Colombia, 2014–2018 5.18 Growth rate of cinema attendance in Colombia, 2014–2018 5.19 Colombia’s box office growth rate, 2014–2018 5.20 Market share of domestic films in Colombia, 2013–2017 6.1 Sales figures for the South Korean film industry, 2009–2018 7.1 UK moviegoers and box office, 2009–2018 7.2 Reasons for choosing a video-on-demand platform 8.1 China’s GDP and growth rate, 2011–2018 8.2 Scale and proportion of Internet users and mobile Internet

  • users, June 2013–June 2018
  • 99

8.3 Annual box office and growth rate of Chinese films, 2011–2018 101 8.4 Monthly box office analysis for 2017 and 2018 8.5 Box office analysis of domestic films and imported films, 2011–2018
8.6 Number of films released with a budget of over 100 million yuan at the box office in 2018
101 103 104 105
8.7 Proportion of films with box office over 100 million yuan in 2018
8.8 A comparative analysis of box office growth rates in first-tier, second-tier, third-tier, fourth-tier and fifth-tier cities in China, 2017–2018
8.9 Box office distribution of films released nationwide in 2018 8.10 A comparison of the release rates of domestic feature films,
2012–2018
8.11 Number and box office of Chinese and foreign co-productions, 2016–2018
8.12 Proportion of the box office of Wanda Cinemas and
Dadi Cinemas, 2012–2018
8.13 Total number of cinemas, the increase in number and the proportion of new cinemas in China, 2014–2018
8.14 Total number and the increase in and growth rate of
Chinese screens, 2014–2018
8.15 Online ticketing platform business model 8.16 A statistical analysis of the top 30 “MaoYan” scores of domestic films in the box office, 2015–2018
10.1 Average admission per screen and occupancy rate of the top 10 cinema circuits, 2015–2018
12.1 China’s film market box office, 2013–2018 12.2 A comparison of the Chinese film market’s increase rate,
2013–2017
12.3 Chinese animation film box office, 2013–2017 12.4 Types of animation films of China, 2013–2017 12.5 Trend of China’s animation film box office, 2013–2017 12.6 Chinese animation film record, 2013–2017
105 106

107 109 111 112 113 114

119 138 158

158 159 159 160 161 x

List of figures

12.7 Number of animation films releases of 2017, by month 12.8 The trend of animation films’ monthly box office of 2017 14.1 Global market share of the six major film companies in 2003 and 2006
16.1 Box office and growth rate, 2009–2017 16.2 Box office segment statistics, 2014–2017
164 164

182 196 197 200 201 202 237
16.3 Percentage of film categories in 2017 16.4 Proportion of various derivatives in the domestic film market 16.5 Box office and derivative revenue from overseas films 20.1 Qingdao box office earnings and growth rate, 2012–2017

Tables

1.1 Top 10 countries with the largest box office revenue,
2011–2018 (excluding North America)
1.2 Global film production by continent, 2005–2017 1.3 Four main types of spectacle films
458
1.4 Global box office champions, 1989–2018 2.1 The comprehensive index and indicator system of the international film industry
2.2 The indicator weight distribution of the international film industry index
2.3 The comprehensive index of film industry of the nine countries, 2010–2017
2.4 The sub-entry index of the film industry environment and the supporting conditions of the nine countries, 2010–2017
2.5 The sub-entry index of the film industry size of the nine countries, 2010–2017
2.6 The sub-entry index of film industry efficiency of the nine countries, 2010–2017
2.7 The sub-entry index of native film influence of the film industry in the nine countries, 2010–2017
3.1 Box office and growth rate in North America and international regions, 2014–2018
3.2 Box office and growth rate of the three major international regions, 2014–2018
10 22 25 27 29 30 31 32 35 35
3.3 Comparison of the number of people watching movies in
North America and the number of times per capita,

  • 2007–2018
  • 36

3.4 The participation rates of different entertainment activities in
North America, 2009–2018
3.5 Number of films released in North America, 2007–2018 3.6 The number of films rated in North America, 2007–2018 3.7 Total home entertainment expenditures for movies in the
United States, 2010–2018
36 37 37

39

xii List of tables

3.8 The turnover of the six major Hollywood film and television companies and their parent companies in the fiscal years

  • 2015–2018
  • 40

42 43 52 54 56 57 58 59 60 61 61 80
3.9 Turnover of Walt Disney Company in fiscal years 2015–2018 3.10 Number of Netflix members, 2015–2018 4.1 European countries’ box office, 2014–2017 4.2 Top five box office films in major European countries in 2017 4.3 Box office and movie attendance in European countries in 2017 4.4 Statistics of French film market from 2005 to 2017 4.5 Film market share by production country in France, 2010–2017 4.6 UK movie attendance and box office revenue, 2001–2017 4.7 2017 box office top 10 films in the UK, Ireland and Malta 4.8 2018 box office top 10 films in the UK and Ireland 4.9 UK box office revenue trends, 2008–2018 6.1 Sales figures for the South Korean film industry, 2009–2018 6.2 Major statistical indicators for the South Korean film

  • industry, 2009–2018
  • 83

  • 90
  • 7.1 The top 20 films released in the UK and Ireland in 2018

7.2 Investment distribution of BFI funds between April 2012

  • and April 2018
  • 91

8.1 Main indicators of the development of China’s film industry, 2012–2018
8.2 2018 box office of top 20 new directors’ film list 8.3 List of the top 10 city theaters in China in 2018 8.4 Top 10 cinema chains in China’s movie box office in 2018 8.5 Online ticketing fee sharing mode
96
108 111 113 115
8.6 The main investment and distribution of the online ticketing platform in 2018
8.7 Development stages of China’s online ticketing platform 8.8 Major film industry policies promulgated, 2012–2018 9.1 National film production, 2000–2018 9.2 Top 30 domestic box office tickets in 2018 9.3 Top 10 in the box office list of China’s animation film market in 2018
115 116 118 125 126

128

  • 130
  • 9.4 Top 20 Chinese box offices, 2017–2018

9.5 Top 20 domestic film production companies at the box office in 2018
9.6 Overview of film production by Chinese major film production companies in 2018
9.7 Overview of the films produced by Chinese film companies in 2018
132 133 134
10.1 Market share of top eight cinema circuits, 2015–2018
(in terms of box office revenue)
10.2 Operating statistics of the top 20 cinema circuits in 2018
137 139

List of tables  xiii

10.3 Operating statistics of the top 20 investment management

  • companies in 2018
  • 141

10.4 Rank changes of some cross-boundary cinema investment

  • management companies, 2015–2018
  • 141

143 144 144
10.5 Box office and cinema screens growth, 2015–2018 10.6 Number of cinemas closed in 2017 and 2018 10.7 Cinema category by box office volume in 2018 12.1 Animation films in China with box office over

  • 100 million yuan
  • 161

12.2 Chinese animation films with over 10 million box office in 2017
14.1 Top 10 global box office in 2018
163 179
14.2 Ranking of return on investment of gospel films with

  • realistic themes in North America
  • 183

184 188 198 198 228
14.3 Top 10 world famous international film festivals 15.1 Statistics of domestic box office of Wolf Warrior 2 16.1 Top 10 box office films in China in 2017

16.2 IP development of Where Are We Going, Dad?

20.1 Twelve cities approved by UNESCO as Creative Cities

Contributors

Chao Yu, Assistant Researcher at the Global Film Industry Research Centre,
Beijing Film Academy Modern Creative Media College.

Dandan Li, Assistant Professor of Qingdao Binhai College; research area: film industry.

David Wilson, Honorary Doctor/Researcher in Film of the University of
Bradford in UK, Guest Professor of the Beijing Film Academy Modern Creative Media College, Qingdao, Director of Bradford (UK) the UNESCO City of Film.

Guanqun Gao, Associate Researcher of the International Film Industry
Research Center at Beijing Film Academy Modern Creative Media College. Main research field: Intellectual Property (IP).

Hong Lu, is a lecturer in the Art and Communication School at Beijing
Technology and Business University, Beijing, China. Her research interests are in animation creation and the animation market. She has published more than a dozen papers on Chinese TV animation and the Chinese

animation film industry, including Report on the Development of Chinese Animation Film Industry (Blue Book of Film, 2019).

Korean Film Council (KOFIC) was established on May 28, 1999, with the objective of adopting a Commission based management style composed of nine individual film specialists to discuss Korean film promotion related issues.

Linli Yu, Lecturer at Qingdao Binhai College; main research fields: film art and culture. PhD in Literature and Art Aesthetics from Shandong University.

Lora Yan Chen, Guest Professor at the Beijing Film Academy. President of
Hollywood China Media Consulting Co., Ltd.

Notes on contributors  xv

Luyao Li, Assistant Researcher at the Global Film Industry Research
Center, Beijing Film Academy Modern Creative Media College; research area: new media.

Mingsong Li, Researcher at the International Film Industry Research Center of Beijing Film Academy Modern Creative Media College. Director of the film and television production office; research focus: the film industry and film production; has participated in the production of many movies and TV series.

Nannan Li, Associate Researcher at the International Film Industry Research
Center, Beijing Film Academy Modern Creative Media College. Master’s degree from the University of Nice, France, majoring in media and cultural management. Research interests include cross-cultural communication, European film industry, film distribution and marketing, advertising and exhibition.

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 awardwinning short films. He is the editor of Migration and Memory: Arts and

Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du

Pacifique, 2019).
Shuzhen Sun, Associate Professor, Beijing Film Academy Modern Creative
Media College. Senior Accountant. Main research focus: film and television investment and financing, film and television financial management.

Xiaojuan Yan, Researcher at the International Film Industry Research Center,
Beijing Film Academy Modern Creative Media College. Major research direction: new media management.

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    ARTS & CULTURE ART P42 ART P48 IN PRINT P52 CINEMA P56 STAGE that’smags www.thebeijinger.com Novemberwww. 200 thatsbj.com8 / the Beijinger Sept. 200541 Hovering Child by American artist Fran Forman. See Preview, p46; photo courtesy of Common Ground All event listings are accurate at time of press and subject to change For venue details, see directories, p43 Send events to [email protected] by Nov 10 Nov 8-30 its over 150 art pieces of contem- porary art around the world from Wang Jie the 1960s to the present day. The By eliminating human figures in curatorial approach of the show is rt his paintings, Wang Jie’s emphasis basically chronological, showing is on clothes – our “second skin.” the historical development of the New Age Gallery (5978 9282) world of contemporary art that A Nov 8-Dec 21 parallels the trajectory of the Swiss Chinese Contemporary Art Awards bank’s tastes throughout the dec- ades. Expect big names including ART 2008 Founded in 1997 by Uli Siggs, CCAA Damien Hirst, Andy Warhol, Lucien has awarded Liu Wei this year as Freud, Jasper Johns, as well as its pick for “Best Artist” and Tseng emerging Chinese artists including Yu-chin as “Best Young Artist” (see Cao Fei, Qiu Anxiong and Xu Zhen. Feature, p44). Ai Weiwei has also National Art Museum of China been given a lifetime achievement (6401 2252/7076) award. The works of these three Until Nov 12 artists will be exhibited at the larg- Coats! est art space in 798. Ullens Center Until Jan 10: Edward Burtynsky’s China Beijing is the third stop – after for Contemporary Art (6438 6576) Berlin and Tokyo – for this exhibi- A fresh take on manufacturing art.
  • Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19

    Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19

    WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P.
  • Mainstream Cinema As a Tool for China's Soft Power

    Mainstream Cinema As a Tool for China's Soft Power

    Master’s Degree programme in Languages, Economics and Institutions of Asia and North Africa “Second Cycle (D.M. 270/2004)” Final Thesis Mainstream cinema as a tool for China’s soft power Supervisor Ch. Prof. Federico Alberto Greselin Assistant supervisor Ch. Prof. Tiziano Vescovi Graduand Alessia Forner Matriculation Number 846622 Academic Year 2017 / 2018 To the two stars that have guided me from above TABLE OF CONTENTS 1 Introduction 5 Chapter one: Soft power: a general overview and the beginning of China’s soft power era 7 1.1 Joseph Nye’s definition of soft power 7 1.2 Culture: the core of soft power 10 1.3 The entry of the concept of soft power in China and its translations 12 1.4 Hu Jintao’s speech at the 17th National Congress of the Communist Party of China and China’s first steps towards its soft power strategy 14 Chapter two: China’s focus on cultural soft power and the Chinese film industry 19 2.1 China’s investments in the film industry and films as a soft power resource 19 2.2 The situation of the Chinese film industry in the 1980s and 1990s: is Hollywood China’s lifeline? 26 2.3 Main melody films and the correlation with the China dream (( : taking the documentary Amazing China ()() and the film American Dreams in China (() as an example 32 2.4 Focus on the film Wolf Warrior II II) : a successful soft power strategy 56 Chapter three: Sino-US collaborations 65 3.1 Hollywood and China: same bed, different dreams 65 3.2 The different types of collaborations between China and Hollywood 69 3.3 Is China changing Hollywood? 78
  • Detective Chinatown 2015 Full Movie

    Detective Chinatown 2015 Full Movie

    1 / 4 Detective Chinatown( 2015 Full Movie Feb 16, 2021 — Getty. Audiences sure are eager to return to the movies! Moviegoers in China broke a box office world record over the weekend when Detective .... Detective Chinatown (2015 Chinese Feature | 136 minutes) ... After failing to become a cop, a mystery .... Synopsis. After being rejected from the police college, a mannerly man travels to Bangkok where he and an energetic distant relative must solve a murder .... Nov 29, 2020 — The "Flower Concept" is the largest vendor of enjoyment in Romania. Today, our guest able to watch Detective Chinatown movie in softest video .... After failing to become a police officer, Qin Feng vacations in Bangkok and visits his detective cousin, who needs his help with a murder case.. Movies like Detective Chinatown 2015. After being rejected from the police college, a mannerly man travels to Bangkok where he and an energetic distant .... Jan 20, 2021 — Film Detective Chinatown (2015) yts & Detective Chinatown (2015) yify ... 31, 2015 in 720p WEB / 1080p Full HD & 2160p / 4k Bluray quality.. Dec 31, 2015 — Full Cast & Crew. Social. Reviews 0; Discussions 0. We don't have any reviews for Detective Chinatown. Media. Most Popular; Videos 1 ... Detective Chinatown 2 2018 [Full Movie] Driven by the desire for the huge reward, ... Detective Chinatown (Chinese: 唐人街探案) is a 2015 Chinese comedy .... Movies similar to Detective Chinatown (2015): Focus, Easy Street, The Adventurer, The Cure, The Immigrant, Coney Island, The Rink, Behind the Screen, .... Detective Chinatown (Chinese: 唐人街探案) is a 2015 Chinese comedy-mystery buddy film directed by Chen Sicheng and starring Wang Baoqiang and Liu Haoran.
  • Out of This World

    Out of This World

    18 | Thursday, January 24, 2019 LIFE CHINA DAILY HONG KONG EDITION From left: Actors Shen Teng, Xu Zheng, Huang Bo and director Ning Hao during a Beijing promotional event of the upcoming sci­fi comedy Crazy Alien, which will debut across China on Feb 5. FENG YONGBIN / CHINA DAILY Out of this world Black comedy meets sci­fi in Ning Hao’s new film, Crazy Alien, which will be released during Spring Festival, Xu Fan reports. rom Crazy Stone to No 2001 short fictional story, The on real­life sets. Man’s Land to Dying to Rural Teacher, about the final wish Xu says he had to shoot a lot of Survive, most of the films of a village schoolteacher, who has facial expressions that were used to Ning Hao has directed or cancer, to teach his students about One of the most generate the green creature’s. Fproduced use black comedy to Newton’s laws of motion — an During the promotional event in important examine social issues. effort that unexpectedly ends up Beijing on Jan 17, Ning also So, many people were surprised saving humankind. functions of released a photo of a giant tear­ when the 42­year­old director Ning read the story about nine cinema is to reflect drop­shaped spaceship, inspired recently revealed he has been a sci­ years ago. by a mysterious facility depicted in fi fan since he was young. “I really like Liu’s novels,” he says. social issues and Liu’s celebrated novel, The Three­ Sci­fi content carried by once­ “I started to read them one by portray people Body Problem.