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The Next Growth Strategy for Hallyu 79
Lee & Kim / The Next Growth Strategy for Hallyu 79 THE NEXT GROWTH STRATEGY FOR HALLYU A Comparative Analysis of Global Entertainment Firms Yeon W. Lee Seoul School of Integrated Science and Technology [email protected] Kyuchan Kim Korea Culture and Tourism Institute [email protected] Abstract Previous policy approaches on Hallyu have been focused on the role of government engagement, particularly in fostering diversity and equal business opportunities for small-and-medium enterprises (SMEs). However, a more strategic approach to the cultural industries should be implemented by carefully examining the role of the private sector, particularly the role of large enterprises (LEs). his is important because LEs have an overarching and fundamentally diferentiated role in increasing the size of industry through their expansive value-creating activities and diversiied business areas. his study focuses on the complementary roles of SMEs and LEs in facilitating the growth of Hallyu by bringing in the perspective of value chain diversiication and the modiied value chain framework for the ilm industry. By conducting a comparative analysis of the global entertainment irms in the US, China, and Japan, this study reveals how LEs in the global market enter and explore new industries within culture and continue to enhance their competitiveness. By forming a business ecosystem through linking their value-creating activities as the platform of network, this study looks into the synergistic role among enterprises of diferent size and scale and suggests that Korea’s policy for Hallyu should reorient toward a new growth strategy that encourages the integrative network of irms where the value activities of LEs serve as the platform for convergence. -
Wanda Cinema
Deutsche Bank Markets Research Rating Company Date 8 March 2016 Buy Wanda Cinema Company Update Asia China Reuters Bloomberg Exchange Ticker Price at 7 Mar 2016 (CNY) 80.30 Consumer 002739.SZ 002739 CH SHZ 002739 Price target - 12mth (CNY) 115.00 Hotels / Leisure / 52-week range (CNY) 244.89 - 72.59 Gaming HANG SENG INDEX 20,160 Suspended for major acquisition; we Tallan Zhou Karen Tang foresee an emerging movie kingdom Research Analyst Research Analyst (+852 ) 2203 6464 (+852 ) 2203 6141 Reason for suspension is to buy movie/TV assets from Dalian Wanda Group [email protected] [email protected] The Wanda Cinema suspension continues, but today it released an announcement saying that the company will acquire movie/TV-related assets from Dalian Wanda Group. Price/price relative 280 What are Dalian Wanda Group’s film/TV assets? 240 The three film/TV-related assets below are under the control of Wanda Group, 200 according to public news sources. 160 120 1. Wanda Pictures 80 40 2. Legendary Pictures (which Wanda Group acquired for USD3.5bn) 0 1/15 7/15 1/16 3. Wuzhou Film Distribution (五洲电影发行) (a 44.5% share, the largest Wanda Cinema shareholder) HANG SENG INDEX (Rebased) We cannot help linking this announcement to the news of Wanda Film’s IPO Performance (%) 1m 3m 12m The WSJ said recently that Wanda Group is seeking USD1.5bn from domestic Absolute -5.0 -28.1 -11.8 Chinese investors for Wanda Pictures, on a USD5.3bn valuation. The potential HANG SENG INDEX 4.5 -9.2 -16.6 IPO asset is also likely to include Legendary Pictures and Wuzhou Film Source: Deutsche Bank Distribution. -
BSAC Business Briefing China on the Global Media Stage April 2017
BSAC Business Briefing China on the Global Media Stage April 2017 This paper was commissioned by BSAC and presented at a BSAC Council Meeting on 21 February 2017 accompanied by a complementary presentation and discussion by Ben Keen. It was subsequently revised and published in April 2017. This Business Briefing is a short introduction to the business dynamics within China as well as the opportunities emerging internationally from the rapid evolution and global expansion of the major Chinese media and technology groups. After years of widespread of piracy, particularly in the home video sphere, there is a prevalent assumption in the West that Chinese consumers spend little on media content. In fact, Chinese consumers paid out a staggering $31.4 billion in 2016 to access media content. And this disregards the massive additional media-related revenue streams generated via advertising. Nearly three quarters of this spend was on subscriptions to pay TV and about a fifth went towards purchasing cinema tickets, with the balance spent on paid-for video services delivered online. BSAC Business Briefing: China on the Global Media Stage April 2017 1 Cinema exhibition China is now the second largest cinema market by gross box office value after the USA, but has now overtaken the USA as the country with the largest number of screens. Last year, an average of 26 new screens were opened every day in China. Despite this rapid growth, there is still considerable scope for further development: China has just 30 screens per million people, as opposed to 125 per million in the USA. -
The Chinese Film Industry: Features and Trends, 2010-2016
THE CHINESE FILM INDUSTRY: FEATURES AND TRENDS, 2010-2016 Jinuo Diao A Thesis Submitted for the Degree of PhD at the University of St Andrews 2020 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/19497 This item is protected by original copyright The Chinese Film Industry: Features and Trends, 2010-2016 Jinuo Diao This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy (PhD) at the University of St Andrews December 2019 Candidate's declaration I, Jinuo Diao, do hereby certify that this thesis, submitted for the degree of PhD, which is approximately 80,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for any degree. I was admitted as a research student at the University of St Andrews in September 2015. I received funding from an organisation or institution and have acknowledged the funder(s) in the full text of my thesis. Date 18 December 2019 Signature of candidate Supervisor's declaration I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
Offering Circular (The ‘‘Offering Circular’’)
IMPORTANT NOTICE NOT FOR DISTRIBUTION IN THE UNITED STATES IMPORTANT: You must read the following disclaimer before continuing. The following disclaimer applies to the attached offering circular (the ‘‘Offering Circular’’). You are advised to read this disclaimer carefully before accessing, reading or making any other use of the attached Offering Circular. In accessing the attached Offering Circular, you agree to be bound by the following terms and conditions, including any modifications to them from time to time, each time you receive any information from Wanda Group Overseas Limited(萬達集團海外有限公司) (the ‘‘Issuer’’), Dalian Wanda Group Co., Ltd.(大連萬達集團股份有限公司)(the ‘‘Guarantor’’) and Credit Suisse (Hong Kong) Limited, China Everbright Bank Co., Ltd., Hong Kong Branch, The Hongkong and Shanghai Banking Corporation Limited, China Securities (International) Corporate Finance Company Limited, Bank of China Limited, CMB International Capital Limited, Nomura International (Hong Kong) Limited, China CITIC Bank International Limited, China International Capital Corporation Hong Kong Securities Limited, CM Securities (Hongkong) Company Limited, CMB Wing Lung Bank Limited, Founder Securities (Hong Kong) Capital Company Limited and Orient Securities (Hong Kong) Limited (together, the ‘‘Joint Lead Managers’’). Confirmation of Your Representation: In order to be eligible to view this Offering Circular or make an investment decision with respect to the securities described herein, investors must be outside the United States. This Offering Circular is being -
3RD SINO-EUROPEAN PRODUCTION SEMINAR Expert
in co-operation with 3RD SINO-EUROPEAN PRODUCTION SEMINAR 15th February 2017 at White Room, 2nd floor, Martin-Gropius-Bau, Niederkirchnerstraße 7, 10963 Berlin Expert biographies . AUYEUNG Poping, casting director . Cristiano BORTONE, Bridging the Dragon . Jessica CHEN, Easy Entertainment . CHEN Lizhi, Spire Media . Patrick FRATER, Variety . Alex JIA, Beijing WD Pictures . MA Heliang, Just Film Festival . Kay NIESSEN, Action Concept . Stefan RETZBACH, Action Concept . SHAN Dongbing, Donwa Pictures . WANG Luna, Beijing Juben Pictures . WANG Yu, Chinese Film Market . YANG Fengwei, Just Film Festival . Jerry YE, Huayi Brothers . Grace ZHANG, Dadi Film . ZHU Li, Beijing Juben Pictures AUYEUNG POPING Casting director Dates in Berlin: 10 - 16 February 2017 AUYEUNG Poping is a casting director from Canada. A veteran of the Asian and North American film industry of over 35 years, she was the casting director for the first big budget American film (Tai Pan starring Joan Chen) shot entirely in China in the mid 80s. She specialises in casting English-speaking Asian actors in international productions shooting in the U.S., Canada and Asia and has the largest database of English speaking Asian actors worldwide. She has been working out of Greater China and Asia for more than 15 years and is very well connected with key players in the Asian film industry. She has cast feature films with a wide range of budgets, including films for major studios like Karate Kid (Jackie Chan, Sony Pictures), and Forbidden Kingdom (Jackie Chan, Jet Li, Relativity Media) to smaller yet equally successful film and TV projects like the Chinese language film Sophie’s Revenge (Zhang Ziyi, Perfect World Beijing).