DOCSLIB.ORG

The Political Economy of the Korean Film Industry: Focusing on the Korean Blockbuster and the Dominance of Multiplex

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Political Economy of the Korean Film Industry: Focusing on the Korean Blockbuster and the Dominance of Multiplex The Political Economy of the Korean Film Industry: Focusing on the Korean Blockbuster and the Dominance of Multiplex Sung Kyung Kim Sungkonghoe University Institute for East Asian Studies / 1 / Statistical Facts [Audience, Korean / Foreign film] 5,549 7,938 6,008 8,065 5,498 8,729 5,556 5,431 Foreign Film 4,455 9,791 4,191 8,544 8,019 7,939 7,641 Korean Film 6,391 6,354 5,082 4,481 2,271 (%) 35.1 50.1 48.3 53.5 59.3 58.7 64.8 50.0 42.1 48.7 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 / 2 / Statistical Facts Market share by country Market share by country (2010) (2011) / 3 / Brief history of Korean Film Industry Regulatory Promotional Stablised/ Period Period Stagnation Stagnation Period [small film related company] [big company] Independent 0000 [3 majors] [3 majors] Samsung, Hyundai, Local distributor CJ, Orion, Lotte CJ, Orion, Lotte Daewoo, SKC, CJ Theater [2 major telecommunication] [2 major telecommunication] Corporate [small film related company] SKT, KT SKT, KT Management [others] [others] / 4 / The Regulatory Period(1960~84) Industry Policy • Import business dominated • Licence System • Hostess film (dominance of government control) • Strong star systems • Import Quota System • Consorship (against any political message) Affluent workers Urbanization Rapid increase of audience “Gold Age of Korean Cinema” / 5 / KOREA, 1960’s Page 6 KOREA, 1960’s Page 7 KOREA, 1960’s Page 8 KOREA, 1960’s Page 9 The Promotion Period (1985~2002) Industry Policy • More freedom for production • The fifth amendment of Motion • Korean New Wave (1987-97) Picture Law in 1984 • Rapid decrease of import business (licence to register) • Big Conglomerates considered to • U.S. direct distribution in 1987 start business in the film industries • Culture Industry Department • Various support and incentives from established in 1993 the Korean government • Abrogate the limitation of print in • More funds from finance sector 1994 (wide-release system) arrived • Screen Quota System (up to 140 days – 109days) The Industrialization of Korean Film Industry Government’s promotion for Korean Wave / 10 / Korean Blockbuster 1) Korean materials + Blockbuster form 2) Strong narrative over spectacle 3) The phenomenology of national audiences / 11 / Swiri (1997) Joint Security Area(2000) / 12 / The Stabilised Period (2003~2007) Industry Policy • Second generation of conglomerates • Roh regime (2003~2007) focuses on managed to set up vertical integration supporting Korean Wave in foreign (production-distribution-exhibition) market; Relatively less support for - CJ (CJ Entertainment + CGV), ‘non’ profit films - Orion (Showbox+ Megabox) • Weakening Screen Quota: 146 days - Lotte (Lotte Ent. + Lotte Cinema) to 73 days in 2006 • The three majors occupy over 80% of the market • Rapid Increase of multiplex Heyday of Korean Blockbuster with the dominance of multiplex / 13 / Number of Screen: Multiplex 2,055 1,975 2,004 2,009 1,974 1,880 No. of Screen 1,648 1,451 1,132 977 818 720 588 No. of Theater 373 373 344 321 309 280 302 301 314 300 305 301 292 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 / 14 / Silmido(2004) Taegukgi(2004) / 15 / Welcome to Dongmakgol(2005) Typoon(2005) Korean Peninsula(2006) / 16 / Korean Blockbuster 2nd Wave of Korean Blockbuster - The host (2006) ‘The blockbuster is no longer American owned. The idea may be borrowed and translated, but this should not be understood in terms of the original and the copy, where divergence from the original marks failure of authenticity. Instead, in the postcolonial politics, and globalized economics of blockbusters, borrowing and translation are only the first step on the road toward agency and creativity’ (Berry, in Stringer, 2003: 218). The Host(2006) / 17 / Stagnation Period (2008~) Industry Policy • Third generation of Conglomerates • Less friendly towards ‘culture industry’ entered the market (Two major • Major players in the film industries fail telecommunication conglomerates) to get a fund because of their political • More interest on media content for view mobile network • Several films funded by right wing • Three majors use film industry in group have produced and distributed particular exhibition sector for attracting more people for their via major distribution network. major business (department store, mega store, and etc.) Changing Meaning of Cinemagoing / 18 / Possible Research Topics 1. Shopping Mall and Multiplex • Reconceptualising the existing meanings of cinemagoing; 1) cinemagoing as a cultural event; 2) cinemagoing as consumption of film text the possibility of replacement • Film Theatre: Democratic space? Or Space for middle class consumption? • Phenomenology of space: Sensing cinemagoing practice • Ethnography of cinemagoing practice in multiplex / 20 / Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 2.Regional Blockbuster?! Eternity(2005) Arrow(2010) The thieves(2012) / 28 / Asia Culture Industry • Cooperation within region • Funding within region • Distribution across region • Imagining cinematic place in the level of region • Phenomenology of audience in regional level • * / 29 / .
Load more

Recommended publications
  • D2492609215cd311123628ab69
    Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films.
    [Show full text]
  • Goldsmiths College University of London Locating Contemporary
    Goldsmiths College University of London Locating Contemporary South Korean Cinema: Between the Universal and the Particular Seung Woo Ha A thesis submitted for the degree of Doctor of Philosophy to the department of Media and Communications January 2013 1 DECLARATION I, Seung Woo Ha confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signed……………………….. Date…..…10-Jan-2013……… 2 ABSTRACT The thesis analyses contemporary South Korean films from the late 1980s up to the present day. It asks whether Korean films have produced a new cinema, by critically examining the criteria by which Korean films are said to be new. Have Korean films really changed aesthetically? What are the limitations, and even pitfalls in contemporary Korean film aesthetics? If there appears to be a true radicalism in Korean films, under which conditions does it emerge? Which films convey its core features? To answer these questions, the study attempts to posit a universalising theory rather than making particular claims about Korean films. Where many other scholars have focused on the historical context of the film texts’ production and their reception, this thesis privileges the film texts themselves, by suggesting that whether those films are new or not will depend on a film text’s individual mode of address. To explore this problem further, this study draws on the concept of ‘concrete universality’ from a Lacanian/Žižekian standpoint. For my purpose, it refers to examining how a kind of disruptive element in a film text’s formal structure obtrudes into the diegetic reality, thus revealing a cinematic ‘distortion’ in the smooth running of reality.
    [Show full text]
  • Hybrid Korean Screen Cultures in the Mid-2000S Films a Bold Family (2005), Over the Border (2006), and Welcome to Dongmakgol (2005)
    Concentric: Literary and Cultural Studies 46.2 September 2020: 217-245 DOI: 10.6240/concentric.lit.202009_46(2).0010 The North on Southern Screens: Hybrid Korean Screen Cultures in the Mid-2000s Films A Bold Family (2005), Over the Border (2006), and Welcome to Dongmakgol (2005) Bonnie Tilland East Asia International College Yonsei University Mirae Campus, Korea Abstract South Korean films that address North Korean themes have changed in the decades since South Korea’s democratization. Whereas films in the 1990s presented North Koreans as villains, by the 2000s most films took a more nuanced approach, presenting North Koreans as complex people with the potential to adapt in South Korean society. This paper analyzes three films from the mid-2000s dealing with North Korean issues (A Bold Family [2005], Over the Border [2006], and Welcome to Dongmakgol [2005]) in the context of the South Korean political landscape and North-South relations at the time. The paper argues that mid-2000s films represent a transitional point in the filmic depiction of North Koreans in South Korean film, opening up possibilities of hybridity in Korean identity. These films exhibit an almost ethnographic impulse to document everyday life, and as such contribute broadly to a visual anthropology of North-South Korean relations. Keywords South Korea, North Korea, film, family, visual anthropology 218 Concentric 46.2 September 2020 A grandfather on his death-bed watches home videos of Korean reunification on TV, and heals unexpectedly at the prospect of visiting his northern hometown . A video camera captures moments of village merrymaking through song and dance as the Korean War rages all around .
    [Show full text]
  • Cultural Hybridity in the Contemporary Korean Popular Culture Through the Practice of Genre Transformation
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-28-2018 2:30 PM Cultural Hybridity in the Contemporary Korean Popular Culture through the Practice of Genre Transformation Kyunghee Kim The University of Western Ontario Supervisor Blackmore, Tim The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Kyunghee Kim 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Kim, Kyunghee, "Cultural Hybridity in the Contemporary Korean Popular Culture through the Practice of Genre Transformation" (2018). Electronic Thesis and Dissertation Repository. 5472. https://ir.lib.uwo.ca/etd/5472 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The focus of this dissertation is to show how the media of contemporary Korean popular culture, specifically films, are transformed into “hybrid cultural forms” through the practice of genre transformation. Since the early 21st century, South Korean popular culture has been increasingly spreading across the globe. Despite its growing attention and popularity, Korean pop culture has been criticized for its explicit copying of Western culture with no unique cultural identity. Others view the success of Korean media, both its creative mimicry and its critique of the West, as a new hybrid form that offers the opportunity for reassertion of local identity as well as challenging the global hegemony of the West.
    [Show full text]
  • Trauma Nationalism and Pop Culture: a Fantasy Analysis on Early Post-Cold War Korea Films
    International Journal of Social Science and Humanity, Vol. 7, No. 8, August 2017 Trauma Nationalism and Pop Culture: A Fantasy Analysis on Early Post-cold War Korea Films Yang Liu paradoxically, nationalism) enabled by the commercialization Abstract—This paper mainly analyzes Korea films in the of the Internet and the growth of the mobile phone system. early post-Cold war period (1991-2005), and selects 4 popular The Korean Pop culture- ‘Korea Wave’ has also generate Korea movies as case studies, which are Shiri (1999), Joint influential effects in Asian areas, e.g., China, Taiwan, Hong Security Area (2000), Taegukgi (2004), Welcome to Dongmakgol (2005). Then it uses Bormann’s fantasy analysis Kong, etc. This paper mainly analyses Korea films from the method to explore how these films handle symbols and assign early years of the post-Cold War, from 1991 to 2005. In this meanings to stories and express Korea people’s nationalism way, this paper attempts to find out how South Korean movies narratives. Fantasy analysis has theory roots from both illustrate their nationalism discourse within these new communication and rhetorical criticism, and it involves three backgrounds. steps, which are fantasy theme, fantasy type and rhetorical vision analysis. Among which, fantasy theme is the basic unit of analysis. This study totally finds 10 fantasy themes and 3 fantasy types, and finally composes the rhetorical vision (Trauma II. NATIONALISM IN KOREA MOVIES nationalism) in Koreans movies. For conclusion, this paper Nationalism refers to an ideology, a sentiment, a form of argues that in the early post-Cold War period, Korea films avoid culture, or a social movement.
    [Show full text]
  • Reality & Effect: a Cultural History of Visual Effects
    Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 5-3-2007 Reality & Effect: A Cultural History of Visual Effects Jae Hyung Ryu Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Part of the Communication Commons Recommended Citation Ryu, Jae Hyung, "Reality & Effect: A Cultural History of Visual Effects." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/communication_diss/13 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. REALITY & EFFECT: A CULTURAL HISTORY OF VISUAL EFFECTS by JAE HYUNG RYU Under the Direction of Ted Friedman ABSTRACT The purpose of this dissertation is to chart how the development of visual effects has changed popular cinema’s vision of the real, producing the powerful reality effect. My investigation of the history of visual effects studies not only the industrial and economic context of visual effects, but also the aesthetic characteristics of the reality effect. In terms of methodology, this study employs a theoretical discourse which compares the parallels between visual effects and the discourse of modernity/postmodernity, utilizing close textual analysis to understand the symptomatic meanings of key texts. The transition in the techniques and meanings of creating visual effects reflects the cultural transformation from modernism to postmodernism. Visual effects have developed by adapting to the structural transformation of production systems and with the advance of technology.
    [Show full text]
  • Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
    Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences.
    [Show full text]
  • The Wailing a Film by Na Hong-Jin
    THE WAILING A FILM BY NA HONG-JIN Opens in UK Cinemas 25 November Written and directed by Na Hong-jin Starring Hwang Jung-min, Chun Woo-hee, Kwak Do-won and Kunimura Jun Running time: 156mins Press Contact: Sadari Cunninham – [email protected] Mark Jones – [email protected] [LFF queries] “A powerful blend of detective story, occult horror and Stephen King-esque small-town suspicion, this is superb” ★★★★ SciFiNow ★★★★ Empire “You absolutely must add THE WAILING to your must-see list this year.” Den of Geek “This could well be regarded as one of the best lms to emerge from Korea in recent years.” Screen Daily “A bone-chilling, thunderous descent into Hell” TwitchFilm “A gripping whodunnit” Variety “Deliciously entertaining” The Playlist “Exhilarating bleakness” Slant Magazine “A darkly unsettling story about evil is masterfully told” The Hollywood Reporter “After finishing THE YELLOW SEA [in 2010], all I did was prepare this film. I should have recognised my limits, but with this project I had encountered something truly fierce. I really wanted to make it.” - Director Na Hong-jin In this unbelievably tense supernatural thriller, a foreigner’s mysterious appearance in a quiet, rural village causes suspicion among the locals - suspicion which quickly turns to hysteria as the townspeople begin killing each other in brutal outbursts for seemingly no reason. As the investigating officer watches his daughter fall under the same savage spell, he agrees to consult a shaman for answers - unknowingly escalating the situation into something far more dangerous.
    [Show full text]
  • Film and History: the Korean Example
    Film and History: The Korean Example 5 & 6 November 2015 at SOAS, University of London and KCCUK This interdisciplinary conference will examine the relationship between film and history and the links between historical research and filmic presentations of history with special reference to Korean cinema. Programme and Abstracts International conference Organised by the Centre of Korean Studies & Centre for Film Studies SOAS, University of London www.soas.ac.uk/koreanstudies/events/ Contact: Academic Organiser Dr. Hyunseon Lee, Email [email protected] Page 1 Film and History: The Korean Example 5-6 November 2015 Thursday, 5 November 2015 Djam Lecture Theatre , SOAS, University of London Russell Square, Thornhaugh Street, London WC1H 0XG 9.15 Registration & Coffee 9.45 Opening Conference/ Words of • Hyunseon Lee (Conference Organiser, SOAS, University of London) Welcome • Grace Koh (SOAS, University of London) • Lindiwe Dovey (SOAS, University of London) 10.00 - 11.30 Panel 1 1. Theodore Hughes (Columbia University, New York) Cold War and Films: Korean War - History and Intimacy in Early Korean War Films Vietnam War Chair: Owen Miller (SOAS, University 2. Hyunseon Lee (SOAS, University of London) of London) Cold War Cinema: Nation, Brotherhood, and Remembrance 3. Jong Chol An (University of Tübingen, Germany) From Existential Agony to Ideological Division: Korean Film Understanding of the Vietnam War (1964-1975) during the Post-Cold War Era 11.30 - 11.45 Break 11.45 - 13.15 Panel 2 1. Kyung Jo Min (King’s College London) Recent Historical Films Rewriting the Premodern History of Roaring Currents and the Whirling Self of Chair: Griseldis Kirsch (SOAS, Contemporary South Korea University of London) 2.
    [Show full text]
  • Screening the Past: Historiography of Contemporary South Korean Cinema, 1998-2008 Young Eun Chae a Dissertation Submitted To
    Screening the Past: Historiography of Contemporary South Korean Cinema, 1998-2008 Young Eun Chae A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the degree of Doctor of Philosophy in the Department of Communication Studies. Chapel Hill 2011 Approved by: Dr. Joanne Hershfield Dr. Ken Hillis Dr. Lawrence Grossberg Dr. Mark Driscoll Dr. Guo-Juin Hong ©2011 Young Eun Chae ALL RIGHTS RESERVED ii ABSTRACT Screening the Past: Historiography of Contemporary South Korean Cinema, 1998-2008 (Under the direction of Joanne Hershfield) This dissertation examines cinematic representations of history on contemporary South Korean screen and the practices of film historiography in South Korea during a decade of democratic regimes are the subjects of this study. Between 1998 and 2008, during two liberal presidencies, the Korean film industry flourished and some of the most critical and traumatic events in the past were re-visited and re-visioned in popular films. 2009 Lost Memories and Hanbando employ alternative re-writings of the past, present, and future to portray the experiences of Japanese colonial occupations. The Korean War is re-examined in a more ambiguous and critical light in Taegukgi: The Brotherhood of War and Welcome to Dongmakgol, while Peppermint Candy and Splendid Vacation strive for capturing people‘s history, not an officially imposed version of History, in telling of the Gwangju Democratization Movement. As complex social constructions, the films analyzed in this dissertation reveal that South Koreans are finally able to ruminate on their past in a less simplistic and more complex manner without censorship.
    [Show full text]
  • Korean Cinema (IEE 3306-01 &
    YISS 2017 Korean Cinema (IEE 3306-01 & 02) Instructor: Prof. Jung-Bong Choi (Academy of Film, HKBU) Class Meeting: M ~ Th 1:20pm—3:00pm & 3:20pm—5:00pm Office Hours: TBA Email: [email protected] 1. Overview Course explores key directors and texts of the post-1990 (South) Korean Cinema. Blending film aesthetics with socio-cultural criticism, the class will survey a wide variety of Korean film alongside socio-political transformations the nation has undergone. The general course objective is to equip students with knowledge and concepts needed for comprehensive understanding of contemporary Korean cinema/visual cultures in conjunction with macro-scale social changes. Class consists mainly of lecture, screening (clips), discussion and tests. 2. Course Requirements & Grading Midterm Essay (20%): Write a 500-word essay about your visit to local movie theater: it’s atmosphere inside/outside, decors, technological conditions, audience demeanors, mode of reception, cultural vibes, etc. Due on Sunday, July 16 Final Exams (40 %): Final exam is scheduled for the last day of the class, Aug 3. Questions will be based on lecture, reading, discussion, and screenings. Test format includes multiple-choice, fill-in-the- blank and short essays. Film Commentary/Analysis (20 %): Two essays on the films listed as additional screening. Each entry should be two-page long (roughly 500 words, A 4, double space). No bland plot/narrative summaries; instead, cut to the chase and offer a concise and cogent evaluation of main themes and stylistics of a designated film. Attendance & Participation (20 %): Regular attendance and active class participation are expected and mandatory.
    [Show full text]
  • Showbox (086980 KQ) Tentpole Strategy Bearing Fruit; Overseas Business Taking Shape
    Showbox (086980 KQ) Tentpole strategy bearing fruit; Overseas business taking shape Media US co-production deal and strong Chuseok performance of The Throne US co-production deal: Showbox announced that it has signed a co-production Company Update partnership with the American production company Blumhouse Productions and financing firm Ivanhoe Pictures. Blumhouse is the studio behind the film Whiplash October 1, 2015 (which was distributed in Korea by Showbox this year) and is well known for making low- budget box-office hits. Under the deal, Showbox will team with Blumhouse to produce at least six Korean language films in the thriller and horror genre over the next five (Upgrade) Buy years, with the projects fully financed by Ivanhoe. Showbox will be in charge of the domestic distribution of the movies, which could be remade in English by Blumhouse. Target Price (12M, W) 11,000 Chuseok box-office performance: During this year’s Chuseok holiday, the clear box-office winner was Showbox. The Throne , which was released by the company , sold 2.19mn Share Price (09/30/15, W) 8,480 tickets during the four-day long holiday, bringing the cumulative tally to 4.79mn. We believe the company has broken even on the film, closing the third quarter on a high note. Expected Return 30% Upbeat on 3Q; Tentpole and overseas operations are long-term positives Upbeat on 3Q earnings: We estimate Showbox movies sold 18.2mn tickets in 3Q thanks OP (15F, Wbn) 11 to the box-office hits Assassination and The Throne . The quarterly figure is 47% higher Consensus OP (15F, Wbn) 6 than the previous record set in 3Q12 (12.39mn), when the hugely successful film The Thieves was released.
    [Show full text]