The economic story of China in the 21st century, as well as the movie industry, has no exception. From its partnership with the U.S and quota access to the primary market, distribution licenses, and production have contributed to the great success seen today. Reciprocally the country's production expertise, finances, and robust distributions have made China join the success of joint ventures (Verevis, 2015). One excellent example is the shrinking production in Hong Kong to 52 movies by 2012. Even though 23 were considered to be genuinely local, Hongkong had more opportunity to transform the springboard of output. According to the former assistant secretary, he claimed that the Chinese film market would be the largest in the film market. One reason why he said this is how the country is building about 25 screens every day. Moreover, in comparison with Canada and the U.S the number of movies sold during the Lunar New year was four percent higher (Verevis, 2015). The ways which China is re-shaping in the global film industry through the exploration of the Chinese film industry has impacted other countries that are in the film industry.
By the second Format panel, Hong Kong cinema was broached and enabled it to sell the movies produced in another language in the overseas market. Unlike the emphasize that facilitates the industry's expertise around the global market, China's expertise and local firms like the Media and Emperor Asia has enabled the country to be top sellers (Kennedy, 2013). The panels of international sales and distribution agents who have been in the market have noted that despite the decline in the production of the film from Hong Kong, China remains an exportable film industry. In recent years, Taiwan's box office has thrived and hit the market but betrayed the industry's parochialism.
In the past several movies enabled China to become a top seller in the film industry. For instance, in 1940s 'Kung Fu Hustle' which was a pretentious martial art film won as the best movie at the Golden Horse awards. Another movie that took five awards was 'The Tale of Wannabe Gangster.' The movie, which had the actress Yuen Qiu was also awarded as the most supporting actress. During the event held at the Golden Roosters, Jackie Chan, who acted the 'Police story' was awarded the best actor in the role of a disillusioned cop (Cheuk-Ming, 2010). His award also came because of representing the dignity and righteousness of China. The Chinese Film Art Center and Film Association of China's Federation of art and literacy released the 2018 version of Chinese Film version and discovered that the market in China has a robust growth track to the Northern American market. In the last five years, the top movies that made China a big success in the film industry included 'The Last Witch Hunter,' 'Kung Fu Panda 3,' 'Battleship,' Escape Plan,' 'and the 'Need for speed.'
China's way of producing movies changed since they began building. For instance, in the past films revolved around their culture and the Kungfu theme. Most of them involved fights between the community members - such films involved actors like 'Bruce Lee, Jackie and many more. Most of their moves were about two tribes that engage in fights because of a common goal (Bettison, 2013). However, today, technology has changed the way movies are designed in China. Most of them involved the use of special powers. A good example includes Witch Hunter,' 'Kung Fu Panda 3,' 'Battleship,' Escape Plan,' 'and the 'Need for speed.'
China also managed to pander to the SARFT2 mandates, prioritize in the Mainland market and relinquished the less lucrative markets to facilitate growth. Moreover, instead of the mainland Chinese and our local markets, the distributed also contributed to the regeneration of the international markets. Since then China flourished in 2000. Later the high grossing Chinese production was facilitated more by films such as the 'Hidden Dragon' and the 'Crouching Tigger' and many more have contributed to the success of the film industry.
Even though the old market has evaporated because the market has grown older, China rebuilt the North American Market from scratch so sustain the markets. China is also very good at producing horror movies such as the 'Mysterious Island,' 'Blood Stained Shoes and many more to adapt to the modern genre. Moreover, China changed the Hollywood storytelling technique to break the limitations of their production to the international market (Song, 2018). One movie that had the prospects of the global market because of how it was plotted as well as the suspenseful narrative is the 'New little dragon.'
The demand and supply added with strict controls on the type of films that get into China have enabled the country to become a global film industry (Hale, 2010). For instance, China has only allowed 34 first films through the use of the quota system. Since the country is known for its massive film market, it has great competitors. While controlling people on the type of movies to watch is known as a modern dictatorship, the country does this to ensure that the citizens don't concentrate on the anti-communists messages but also to ensure they don't get wrong information about their town.
Even though there is a concern with the expansion of China's cinema into the international market, the distribution of Hollywood movies created new hurdles and opportunities. For instance, in 2012, the U.S and China had trade deal meant to liberalize the mainland market thus widening the import equator from producing 20 to 34 blockbuster movie every year. This has allowed the country to raise and share the general revenues to 25 percent. Moreover, Chin has added fourteen titles that have made the films fit for IMAX or 3D exhibitions which sell at higher prices than the usual 2D releases.
The deal between China and Sony Pictures Entertainment has no become one of biggest media empires. While these deals have generated the expansion of China to Hollywood, it has led to tight governmental controls. This is because Hollywood alters films that feature the Chinese government to be granted permission to the country's lucrative film marketing (Tani, 2013). With such, China gave Hollywood a combination of blockbuster because of the cash-rich equity funds and huge movie market who wanted to invest in companies and films. Through this plan, China used approximately $23.12 trillion as purchasing power parity (Tani, 2013). The United States, on the other hand, became third by giving 19.3 trillion dollars.
This means that the film industry focused on not only the local market but also the international marketplace. While the Taiwanese comedies depended on the regional dialects, they even dubbed into other Chines dialects to promote the growth of the movie industry. Further, the success of the domestic market surprised China and enabled it to sell movies overseas (Vogel, 2012). Even though China's language movies are provincial, some are centric, and this makes them fizzle in the foreign market.
China has been on a spree to go its film industry because of the demand. The economic story of China, for instance, in the 21st century, as well as the movie industry, has no the exception. One excellent example is the shrinking production in Hong Kong to 52 movies by 2012. The reason behind this is that China's expertise and local firms like the Media and Emperor Asia has enabled the country to be top sellers.
Bettinson, G. (2013). Journey to the West: Chinese movies in the global market. Asian Cinema, 24(2), 259-270. doi:10.1386/ac.24.2.259_7
Cheuk-Ming, J. C. (2010). A study of the seller and buyer relationship strategy in the Hong Kong broadcast video equipment industry. 104-122. doi:10.5353/th_b3126517
Hale, H. (2010). 23The Global Film Industry. How to Work the Film & TV Markets, 23-37. doi:10.4324/9781315755359-3
Kennedy, D. D. (2013). The Film Industry in the Peoples Republic of China. SMPTE Journal, 85(11), 859-865. doi:10.5594/j07524
Song, X. (2018). Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China's cinema market. Global Media and China, 3(3), 177-194. doi:10.1177/2059436418805538
Tani, M. (2013). Being There: Sony Corporation and Columbia Pictures. Managing International Trade and Investment, 368-388. doi:10.1142/9781848160040_0020
Verevis, C. (2015). Introduction: Remaking Film. Film Remakes, 1-34. doi:10.1007/978-1-137-08168-1_1
Vogel, H. L. (2012). Movie Industry Accounting. A Concise Handbook of Movie Industry Economics, 59-79. doi:10.1017/cbo9780511614422.004
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