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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 ofMigration 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, includingResearch 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 cre- ation and the animation market. She has published more than a dozen papers on Chinese TV animation and the Chinese animation film industry, includingReport 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 China- related 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 perspec- tive, 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 Attribution- Non 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 viii List of tables xi Notes on contributors xiv Preface xvii Acknowledgments xxi 1 The development of the global film industry between 2017 and 2018 1 XINGZHEN NIU 2 The global film industry index research report, 2019 14 ZHENGSHAN LIU 3 The development of the North American film industry in 2018 34 LORA YAN CHEN 4 The development of the European film industry between 2017 and 2018 50 NANNAN LI 5 The development of the Latin American film industry between 2017 and 2018 65 ZHENGSHAN LIU 6 The development of the South Korean film industry in 2018 79 KOREAN FILM COUNCIL 7 Opportunities and challenges for the British film industry 89 DAVID WILSON vi Contents 8 The development of the Chinese film industry in 2018 95 SHUZHEN SUN 9 The development of the Chinese film production industry in 2018 124 MINGSONG LI 10 The development of Chinese cinema circuits and the Chinese film market in 2018 136 ZENGHAN ZHUANG 11 The operational model of cinematic adaptation from Internet content in China 149 XIAOJUAN YAN 12 The development of the Chinese animation industry in 2017 157 HONG LU 13 A case study of Crazy Rich Asians: the evolution and development of Asian Hollywood films 170 YESTIN DENG 14 Priest and director Alex Kendrick: the “manual workshop” and film industrialization 177 LINLI YU 15 An analysis of the box office success ofWolf Warrior 2 (2017) 186 CHAO YU 16 Chinese film IP resources development strategy 195 DANDAN LI 17 Impact of the Film Industry Promotion Law on the significant growth of the Chinese film industry 204 YANQIU GUAN 18 Copyright issues of Chinese films adapted from the Internet literature 214 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 227 SHUZHEN SUN Index 241 Figures 1.1 Global box office and growth rate, 2005– 2018 2 1.2 Regional structure of the global box office, 2005– 2018 2 1.3 Regional structure share of global movie box office, 2005– 2018 3 1.4 Top ten countries with global box office receipts, 2011–2018 (excluding North America) 4 1.5 Global film production and growth rate, 2005– 2017 5 1.6 Film production proportion of global economies, 2005– 2017 6 1.7 Top ten film production countries, 2005– 2017 7 1.8 Number of major types and average box office receipts in the North American film market, 1982– 2018 12 1.9 North American film market total box office trend of main film types, 1982– 2018 12 2.1 The film industry comprehensive evaluation model 16 2.2 The gross box office per indoor screen of China, 2010– 2017 31 4.1 Global share of European cinema in 2017 (based on box office receipts) 51 4.2 Number of per capita views in Europe in 2017 53 5.1 Box office growth rate of Latin America, 2014– 2017 66 5.2 Comparison of box office in Latin America, North America and the world, 2013– 2017 66 5.3 Screen growth rate in Latin America, 2014– 2017 67 5.4 Number of screens in Mexico, 2013– 2017 67 5.5 Cinema attendance in Mexico, 2013– 2017 68 5.6 Market share of domestic films in Mexico, 2013– 2017 68 5.7 Growth rate of Argentina’s screen numbers, 2014– 2017 70 5.8 Growth rate of Argentina’s movie attendance, 2014– 2017 70 5.9 Growth rate of the Argentine box office, 2014– 2017 71 5.10 Average ticket price growth rate in Argentina, 2014– 2017 71 5.11 Market share of domestic films in Argentina, 2013– 2017 72 5.12 Screen growth rate in Brazil, 2014– 2018 73 5.13 Growth rate of cinema attendance in Brazil, 2014– 2018 74 5.14 Box office growth rate in Brazil, 2014– 2017 74 5.15 Growth rate of movie ticket price in Brazil, 2014– 2017 75 List of figures ix 5.16 Market share of domestic movies in Brazil, 2014– 2018 75 5.17 Rate of change in film infrastructure in Colombia, 2014– 2018 76 5.18 Growth rate of cinema attendance in Colombia, 2014– 2018 76 5.19 Colombia’s box office growth rate, 2014– 2018 77 5.20 Market share of domestic films in Colombia, 2013– 2017 77 6.1 Sales figures for the South Korean film industry, 2009–2018 81 7.1 UK moviegoers and box office, 2009– 2018 90 7.2 Reasons for choosing a video- on- demand platform 93 8.1 China’s GDP and growth rate, 2011– 2018 98 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

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