Re-nationalizing China's film industry: case study on the China Film Group and film marketization

Yeh, Yueh Yu; Davis, Darrell William

doi:10.1386/jcc.2.1.37_1

Cited by 62 publications

(22 citation statements)

References 2 publications

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“…Despite the country-wide economic liberalization in the 1980s and 1990s, the transition of the film industry to a market-oriented and profitdriven industry has only started gathering pace since 1994 (Su, 2014). By 1994, the financial losses of film studios which were all SOEs reached record highs and many were on the brink of bankruptcy (Yeh & Davis, 2008).…”

Section: China's Film Industrymentioning

confidence: 99%

“…This involved steps to improve quality and reach international standards through rapid corporatization/privatization, rejuvenation of domestically-owned studios, the reform of the distribution-exhibition system and the opening up of the industry to foreign competition (Yeh & Davis, 2008). Many of the reforms between 1994 and 2001 were gradual and incremental and had limited effects on the development of the industry (Su, 2014).…”

Section: China's Film Industrymentioning

confidence: 99%

“…In contrast, out of the top ten players, six are POEs. Foreign firms 5 can engage in co-production and joint ventures with Chinese firms (Yeh & Davis, 2008). As co-production means that films are produced, at least in part, in China, co-production films do not count as foreign films but foreign studios are able to receive a fixed 50% share of the box office receipts (O'Connor & Armstrong, 2015).…”

Section: China's Film Industrymentioning

confidence: 99%

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Behind film performance in China’s changing institutional context: The impact of signals

et al. 2017

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Grounded in signaling theory, this paper investigates the signals reflecting product quality, innovativeness, reputation and cultural background which influence film performance, that is, film survival (duration on cinema screen) and box office success, in China's changing institutional context. This market has grown substantially and still possesses potential for further development. However, China's unique institutional context presents challenges. By examining an expanded range of potential signals, two of which have not previously been examined in the literature, namely imported films and enhanced format film formats such as 3D and IMAX, we develop a conceptual framework and argue that signaling theory needs to be combined with institutional context. Similar to findings for film industries in other countries, we find quality and reputational signals including budget, star power, sequels, and online Asia Pac J Manag (2018) 35:63-95

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Section: China's Film Industrymentioning

confidence: 99%

Section: China's Film Industrymentioning

confidence: 99%

Section: China's Film Industrymentioning

confidence: 99%

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Behind film performance in China’s changing institutional context: The impact of signals

et al. 2017

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“…Since the liberalization of film production in China (Lye 2008;Yeh and Davis 2008), film financing needs to come from outside the state studio system that used to plan, produce and distribute all films, and product placement has increasingly brought new avenues for funding films and television programmes. Commercial cinema in China prioritizes boxoffice performance rather than ideology, unlike films from before the Reform Era, which were tightly controlled and produced by the state to serve the communist regime.…”

Section: Product Placement and Commercial Chinese Cinemamentioning

confidence: 99%

Product placement with ‘Chinese characteristics’: Feng Xiaogang's films andGo Lala Go!

Wing-Fai

2015

Journal of Chinese Cinemas

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“…This regulation has shielded Chinese pictures for many years, and the preferred domestic big-budget pictures have enjoyed a near monopoly of screens. 11 Policy, both explicit and unwritten, is a key factor in the high performance of contemporary PRC cinema.…”

mentioning

confidence: 99%

Home Is Where Hollywood Isn’t: Recasting East Asian Film Industries

Yeh¹

2014

Media Industries Journal

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Echoing some scholars who have challenged the Hollywood-centric view with respect to East Asian film and television, 2 I provide an up-to-date review of the ways East Asian industries have protected their economic interests and conserved local culture through moving images. Despite strong Hollywood marketing in East Asia, local films have experienced a resurgence since 2008especially in Japan, South Korea, Taiwan, and China, While Hollywood has continued to launch blockbuster franchises-weapons of mass distraction-to capture markets around the globe, local films in East Asia have been able to survive, and even outperform, Hollywood pictures. Government protection and the rebalancing of distribution and marketing might have galvanized the revival of East Asian film industries, but, more importantly, it is audience interest in locally produced media content that has sustained the continuing growth of East Asian cinemas.

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Re-nationalizing China's film industry: case study on the China Film Group and film marketization

Cited by 62 publications

References 2 publications

Behind film performance in China’s changing institutional context: The impact of signals

Behind film performance in China’s changing institutional context: The impact of signals

Product placement with ‘Chinese characteristics’: Feng Xiaogang's films andGo Lala Go!

Home Is Where Hollywood Isn’t: Recasting East Asian Film Industries

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