9780367508234 Text.Pdf

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 <ul style="display: flex;"><li style="flex:1">1</li><li style="flex:1">The development of the global film industry between </li></ul><ul style="display: flex;"><li style="flex:1">2017 and 2018 </li><li style="flex:1">1</li></ul>XINGZHEN NIU 23 The global film industry index research report, 2019 ZHENGSHAN LIU 14 The development of the North American film <ul style="display: flex;"><li style="flex:1">industry in 2018 </li><li style="flex:1">34 </li></ul>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 <ul style="display: flex;"><li style="flex:1">Opportunities and challenges for the British film industry </li><li style="flex:1">89 </li></ul>DAVID WILSON vi Contents <ul style="display: flex;"><li style="flex:1">8 The development of the Chinese film industry in 2018 </li><li style="flex:1">95 </li></ul>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 <ul style="display: flex;"><li style="flex:1">195 </li><li style="flex:1">16 Chinese film IP resources development strategy </li></ul>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 <ul style="display: flex;"><li style="flex:1">the film industry </li><li style="flex:1">220 </li></ul>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 <ul style="display: flex;"><li style="flex:1">Global box office and growth rate, 2005–2018 </li><li style="flex:1">2</li></ul>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 <ul style="display: flex;"><li style="flex:1">5.16 Market share of domestic movies in Brazil, 2014–2018 </li><li style="flex:1">75 </li></ul>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 <ul style="display: flex;"><li style="flex:1">users, June 2013–June 2018 </li><li style="flex:1">99 </li></ul>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 xList 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, <ul style="display: flex;"><li style="flex:1">2007–2018 </li><li style="flex:1">36 </li></ul>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 <ul style="display: flex;"><li style="flex:1">2015–2018 </li><li style="flex:1">40 </li></ul>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 <ul style="display: flex;"><li style="flex:1">industry, 2009–2018 </li><li style="flex:1">83 </li></ul><ul style="display: flex;"><li style="flex:1">90 </li><li style="flex:1">7.1 The top 20 films released in the UK and Ireland in 2018 </li></ul>7.2 Investment distribution of BFI funds between April 2012 <ul style="display: flex;"><li style="flex:1">and April 2018 </li><li style="flex:1">91 </li></ul>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 <ul style="display: flex;"><li style="flex:1">130 </li><li style="flex:1">9.4 Top 20 Chinese box offices, 2017–2018 </li></ul>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 <ul style="display: flex;"><li style="flex:1">companies in 2018 </li><li style="flex:1">141 </li></ul>10.4 Rank changes of some cross-boundary cinema investment <ul style="display: flex;"><li style="flex:1">management companies, 2015–2018 </li><li style="flex:1">141 </li></ul>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 <ul style="display: flex;"><li style="flex:1">100 million yuan </li><li style="flex:1">161 </li></ul>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 <ul style="display: flex;"><li style="flex:1">realistic themes in North America </li><li style="flex:1">183 </li></ul>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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