Abstract
This article studies the attraction gap between Chinese and US movie from the perspective of the audience. By employing analysis model of movie attraction, questionnaire and quantitative analysis, this paper explores gaps between Chinese and US movies, and discusses the reasons for forming these gaps. The findings demonstrate that: 1) there are perceived value gaps between Chinese and US movie, 2) on the item level, the larger gaps are truth revelation, sensitive topics, mind purification, mental harvest, friends’ praise, unexpectedness, logic, representative, fascination, and 3) on the factor level, the larger gaps are satisfaction of curiosity, plot and moral education.
Highlights
In Chinese mainland market, the box office of Chinese movies has the trend to catch up and surpass the US in recent years
By employing analysis model of movie attraction, questionnaire and quantitative analysis, this paper explores gaps between Chinese and US movies, and discusses the reasons for forming these gaps
The findings demonstrate that: 1) there are perceived value gaps between Chinese and US movie, 2) on the item level, the larger gaps are truth revelation, sensitive topics, mind purification, mental harvest, friends’ praise, unexpectedness, logic, representative, fascination, and 3) on the factor level, the larger gaps are satisfaction of curiosity, plot and moral education
Summary
In Chinese mainland market, the box office of Chinese movies has the trend to catch up and surpass the US in recent years. Liu 18 hero characterization [6] According to their analysis, the reasons for these presented gaps lie in the surface layer, and in the deep layer. No matter the movie from what kind of industry system or ideology, regardless of their educational function, core values, hero characterization, what they eventually present to the audience is one kind of comprehensive attractions, and it is just this attraction, fundamentally determines the box office, the recognition and dissemination range [7] [8] [9]. As such, aiming for more insightful findings, we attempt to use an analytical model [10] established by adopting “movie attraction”, a concept that blurs the borderline among economics, communication and management, to analyze the gaps between Chinese and US movies from the perspective of the audience
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