Film Market Research Articles

Research on the Impact Value of Big Data Technology on the Development of Film Industry

As an intellectual-intensive industry, film and television creation is a key link in the film industry. The integration of film and television creation and big data can establish a user preference model, directly attack the marketing focus and occupy the commanding heights of profit. Today's film and television productions all use big data to avoid risks. Why is the film market going down instead? This paper discusses the impact of big data application on the value of the film industry at the moment when the big data infrastructure and technology are not yet fully formed.

Main marketing trends in the Russian cinema market in the current realities

The article examines current marketing trends in Russian cinema and film industry, which have emerged in the 21st century in Russian cinema and international federation of film societies. The aim of the study is to define the directions of marketing strategies for enlarging the target audience and extracting the maximum possible profit from cinematographic business. Based on key works on marketing and their own observations, the authors investigated the concept and essence of marketing, its content and specifics. Various ways of increasing the audience of cinemas and customer loyalty programmes were analysed. The main societal trends, which influence the creation of cinematographic images in contemporary cinematography, were identified, and the factors of modern society development and their correlation with the world of cinematography, including the degree of their influence, were pointed out. The results of the study can serve as a basis for evaluating the effectiveness of marketing strategies.

Analysis of Mulan’s Poor Reception in China from the Perspective of Orientalism

Abstract The undesirable reception of Disney’s Mulan (2020) is attributable to complicated factors. This paper combs Hua Mulan’s images in Chinese literary and visual discourses, and confirms her as a virtuous epitome and a national heroine in Chinese mainstream culture, whereas in Mulan, she is portrayed as a warrior with magic “qi” and homosexual orientation, representing modern feminists’ pursuits for gender recognition and equality. Besides, the assertive collage of Chinese cultural elements severely impairs the authenticity of her story. Superficially, the arbitrary appropriation of Chinese culture causes the poor reception of the movie, which, however, if situated within the framework of Orientalism with a lineal examination of the Chinese-culture-related Hollywood movies, more underlying causes, ideological, political and commercial, can be uncovered. The film’s failure bespeaks the predicament confronted by contemporary Hollywood film industry. If Hollywood film producers want to reap lucrative gains from the booming Chinese film market, they should rectify their outdated condescending attitudes and do more in updating their production concepts, innovation, empathy and cooperation. This paper may be of significance as a reference to the practice and study of film adaptation, production and marketing across cultures.

Analysis on Marketing Path of Classic Film Re-Screening Based on 4V Theory

The re-screening of classic films is an indispensable part of the mature film market. Many old films, restored and upgraded, can still ignite audiences' enthusiasm and reap remarkable box office results when they are re-released years after a lag. However, not every re-release of a classic film is a huge success. Some films have spent a lot of money to restore the re-release, only to be rushed out of theaters to lackluster reviews. How to achieve the maximum value of classic film re-screening? Based on the 4V marketing theory proposed by Professor Wu Jinming, this paper analyzes the marketing path of successful re-screening of classic films in the future from four aspects: differentiation, functionalization, added value and resonance.

A bioethical examination of the use of human emotions as a film marketing tool on short video platforms: normative morality applicable to film marketing matrix

The marketing matrix on a short video platform is an intriguing research topic. It is a novel film marketing strategy on the short video platform that successfully stimulates the audience’s emotion in the film marketing process, but it must also be ethically tested.To address this desire, we examine the problem using normative ethics (consequentialism, deontology, and virtue ethics). The marketing matrix will be addressed within the framework of philosophical ethics, whose emotional marketing can be tested, in what follows, through reviews of literature and content analysis. First and foremost, a matrix standpoint will be adopted in order to provide a preliminary conceptualization along with its emotional techniques of the marketing matrix; then, the marketing matrix will be addressed within the framework of philosophical ethics, whose emotional marketing can be tested. In the future, when creating a moral marketing matrix, the author proposes that numerous ethical concepts be taken into account comprehensively.

Socio-political features and prospects for the development of the Russian movie industry through the prism of the history of soviet cinema and international film industry experience

The article is devoted to the Russian movie industry and the problems that national cinema is currently facing. This applies to surface level, urgent difficulties, such as the rapid decline in cinema attendance in the absence of Hollywood tentpoles at the box office, as well as to deeper shortcomings, among them the lack of Russian cinema's own identity. The author describes how the modern system of state support of the movie industry unwittingly leads to a deluge of similar run-of-the-mill movies, which not only negatively affects the total revenue of Russian cinemas, but also does not allow the domestic film market to grow, as well as effectively perform its socio-political functions. Patriotic high-budget blockbusters have become the most demanded type of Russian film production in recent years, the plot of which is based on events from Russian history, told in the language of Western commercial cinema. The rare but nevertheless sound successes of such films have led to the system under which these types of movies receive the lion's share of budget funding. Disregarding the fact that box office data shows that viewers are more often attracted to films of a smaller scale, but about lives of our contemporaries of today and tomorrow. The current situation in the Russian movie industry is compared with the experience of the formation of the Soviet cinema and withe the development of national film industries of China, South Korea and France.

Among Nations, Texts and Media: Spectatorship, World War I and the Occupation of Istanbul

Sinemanın kurumsallaşması, İstanbul’da 1900-1910 arasına rastlayan dönemde, Batı Avrupa ve Kuzey Amerika ile neredeyse eşzamanlı olarak ilk sinema salonlarının açılmasıyla başlamıştır. Kurumsallaşma süreci, yerli film prodüksiyon şirketlerinin kuruluşu, düzenli sinema dergilerinin çıkmaya başlaması ve özellikle film yıldızlarına dair yazıların yaygınlaşmasıyla gerçekleşmiştir. Bu, aynı zamanda, Osmanlı İmparatorluğu'ndan ulus-devlete geçiş dönemidir. Ayrıca, Birinci Dünya Savaşı’na, işgal dönemine ve Kurtuluş Savaşına, sinemanın yeni bir teknoloji ve sanat formundan adeta kamusal bir alana dönüşmesi süreci eşlik etmiştir. Bu süreçte, film piyasasının ulus-aşırı dinamikleri İstanbul’un bu dönemdeki çok uluslu ve çok dinli yapısıyla uyumlu ilerlemiş, savaşın kaybı, İstanbul’un işgali ve Milli Bağımsızlık Mücadelesi şehirde gösterilen filmlerin milliyetlerini de etkilemiştir. Bütün bunlar filmlerin alımlanması sürecinde özellikle erkek yazarlarda cinsiyet temelli bir ayrımı tetiklemiş, edebi tahayyülün sinemasal üsluba yakınlaşmasına yardımcı olmuştur. Öte yandan dönemin edebi yazınında sinemaya dair en ayrıksı yaklaşımlardan biri Halide Edip Adıvar’ınkidir. Onun romanlarında, hafıza, hatırlama, hayal kurma gibi bilişsel süreçler ile sinema arasındaki estetik benzerliklere çokça rastlanır. Bu nedenle çalışmada, bilişsel süreçler ile sinema arasındaki fark Halide Edip’in romanlarından, sinema seyircisinin cinsiyetlendirilmesi de dönemin çoğunluğu erkek diğer romancılarının yazınından yola çıkılarak analiz edilmiştir. Analiz yapılırken, sinema seyirciliğinin cinsiyetlendirilmesinde savaşların film dağıtımına etkisi ve dağıtımla bağlantıları da göz önünde bulundurulmuştur. Bu kapsamda makalede, Birinci Dünya Savaşı ve İşgal dönemi İstanbul’unda sinema ve seyirciliğin duygusal ve kültürel tarihine odaklanırken çok boyutlu ve feminist bir bakış açısı ortaya konulmuştur. Analiz kapsamında ilk olarak dönemin gazeteleri, ticari kayıtları ve belgeleri aracılığıyla şehirdeki film dağıtımının ulusal/uluslararası niteliklerine, sonrasında da kurgu yazında dağıtımın etkilerine bakılmıştır.

Optimizing Film Companies' Marketing Strategy Using Blockchain and Recurrent Neural Network Model.

With the growing scale of the domestic film industry, the output of domestic films is also increasing. The design and execution problems in ticket marketing strategies adversely affect the revenue of domestic films. This paper aims to propose solutions to optimize film companies' marketing strategies by analyzing the marketing environment and current situation to increase the income of domestic films. Firstly, the current situation of BJ's marketing is analyzed, and the main problems are clarified. Secondly, the necessity and feasibility of applying blockchain technology to the operation and management of film companies are introduced. New marketing strategies and safeguards have been developed by analyzing the target market and optimizing the program. A quantitative method is used to predict a new movie's box office in its premiere month. The proposed method introduces three factors affecting the box office: new film positioning, film marketing, and film prerating, as input variables. Besides, a Recurrent Neural Network (RNN) is implemented to predict the monthly box office of the premiere of new films. The results show that the predicted monthly box office of the movie adopting the optimized marketing strategy is 1,451,718.6 CNY, which is smaller than the target box office of 1414029.8. The Mean Absolute Error (MAE) is only 0.026. The proposed model's Root Mean Square Error (RMSE) is 0.45 for the long-term prediction of a single movie price. The MAE is 0.106, and the accuracy is 0.80. The model proposed beats the unimproved Long Short-Term Memory (LSTM) model and the Autoregressive Moving Average (ARMA) model. This paper provides a reference for optimizing the film company's marketing system.

Budowa nowej socjalistycznej kultury: mobilne zespoły projekcyjne jako narzędzie propagandy w Chińskiej Republice Ludowej w latach 1949–1966

Building a new socialist culture: Mobile projection teams as a propaganda tool in People’s Republic of China 1949–1966 After the founding of the People’s Republic of China, the Chinese Communist Party (CCP) embarked on a groundbreaking project: the creation of new art for “workers, peasants and soldiers.” In this great endeavour designed to shape the “new socialist man,” film proved to be one of the most effective tools and the so-called mobile projection teams (MPT) crisscrossing the country were assigned the task of bringing a new politicised art to people living in the most distant parts of China. The present article aims to describe the mechanisms of centrally-planned culture as it functioned in the vast countryside and prove that film projectionists were as important as films itself for the promotion of new state ideology. Through an analysis of Chinese press articles from the 1949–1966 period and the use of most recent Western scholarship in the field the author aims to bring new life to the study of the so far relatively overlooked aspect of Chinese filmmaking: the “seventeen years” (1949–1966) period. Special attention being paid to contemporary accounts of MPT’s work, the author also avails himself of works of fiction in order to present a multi-faceted view of an important aspect of PRC state propaganda. The author believes that this new scope of study will be beneficial not only to scholars of Chinese culture but also bring the largely unknown history of the currently biggest film market in the world to light.

Emotion Recognition and Classification of Film Reviews Based on Deep Learning and Multimodal Fusion

In terms of cross-cultural exchanges, the film is not only an important embodiment of a country’s cultural soft power but also the most direct and favorable way of communication. The advent of the all-around well-off era has propelled people’s demand for spiritual, cultural, and entertainment which promotes the vigorous development of the film culture industry. The expansion and development of China’s film market, domestic films, are a reflection and extension of China’s culture and ideas. It plays an extremely important role in enhancing cultural self-confidence and cultural output. In order to better grasp the emotional tendency of the audience, understand the viewing needs, and put forward suggestions on domestic film production, it is very necessary to analyze the emotion of film reviews and dig deep into semantics. Since the evaluation of film works considers many factors that are complex and changeable, the choice of model plays a significant role in the process of emotion analysis. The deep learning model represented by a deep neural network has high tolerance to sentence noise, has strong information discrimination, and features self-learning ability. It also has great advantages in emotion classification tasks. This study conducts an in-depth study and research on the traditional emotion analysis methods and finally puts forward an effective emotion analysis framework that combines the traditional emotion analysis method and deep learning network. This framework enhances the text vectorization representation and emotion classification model by performing emotion analysis. The effectiveness is verified by corresponding experiments which justify the superiority of the approach.

Sentiment Analysis of Animated Film Reviews Using Intelligent Machine Learning.

Film is an essential expression of a country's cultural soft power in terms of cross-cultural exchange. In addition, film is also the most direct and favourable means of communication. Along with the expansion and development of the Chinese film market, outstanding animation films have emerged in recent years. Animated films have both artistic and commercial properties and can not only have a cultural impact but can also contribute to economic growth. For this reason, our country is now paying more and more attention to the development of animated films. Specifically, animated films not only represent a country's cultural soft power and national image, but they are also a symbol of the strength of a country's cultural industry. As a reflection and extension of China's culture and ideology, animated films play an important role in enhancing cultural confidence and cultural export. In recent years, China's economy has shown a steady and sustained growth trend. At the same time, with the rapid development of internet technology, social networking has gradually penetrated into all aspects of people's lives. Various social networking forums, websites, and sites have emerged. While satisfying a wide range of needs, they also provide information on product reviews, social reviews, and service reviews. These reviews contain feedback from the reviewer about the subject of the review. Tapping into the emotions in these reviews can provide consumers with shopping references and help businesses to optimise their products and improve their business strategies. With the help of modern internet technology and information technology, the modern movie industry, such as Cat's Eye Movies and other internet entertainment service platforms, has developed a model of online ticketing, offline movie viewing, and online reviews and feedback. The content of the reviews on these movie websites fully reflects the attitudinal views of the movie-going community. These reviews play a decisive role in the box office and the further spread of culture. As a result, in order to better understand the audience's emotional tendencies and needs, it is necessary to carry out sentiment analysis and deep semantic mining of animated film reviews. As the evaluation of film works considers many factors and is complex and variable, the choice of model is crucial in the process of sentiment analysis. Machine learning models represented by deep neural networks are more tolerant of sentence noise and have strong information discrimination and feature self-learning capabilities. As a result, intelligent machine learning is more advantageous for sentiment classification tasks. This study is a combination of textual data mining and statistical analysis from the perspective of viewers' comments to study the online reviews of animation films from different countries. At the same time, this research hopes to uncover meaningful information from the film reviews and the gap between Chinese and other countries' animation films, in order to provide a little help for the rise of domestic animation films.

The Identification and Dissemination of Creative Elements of New Media Original Film and Television Works Based on Review Text Mining and Machine Learning

With the continuous growth of the film market and the consumption demand of audiences, the value of film content has become increasingly apparent. Extracting movie content elements is an important step in quantitative analysis of movie content. In this paper, based on text mining technology, deep data analysis of movie reviews is carried out using TF-IDF and machine learning to visualize high-frequency words, and sentiment analysis is performed on reviews to find out the hidden deep information behind the big data of movie reviews. Although the extracted keywords can draw the content and characteristics of the film for us, they cannot establish the correlation with the creative elements of the film and television works. Therefore, in this paper, the extracted keywords are clustered to find the central words of these words. First of all, in order to improve the representativeness of keywords, the Epoch data set and the Batchsize data set are used to conduct experimental analysis on the model in this paper. Through comparative experiments, it is concluded that when Batchsize = 32 and Epoch = 25, the model achieves the optimal classification effect. The analysis shows that when the training times are too small, the model is not fully learned, and when the training times are too many, the model will be overfitted, which will reduce the accuracy of the model, resulting in the opposite effect. The keywords extracted above can draw the content and characteristics of the movie for us.

Strategia mitu w marketingu filmowych profili facebookowych

Myth Strategy in Social Media Film Marketing Nowadays, many marketing activities involve the implementation of modern solutions. One of these may be the use of social media. Concomitantly, marketing can also use well-known techniques that have been working for years in many different areas – such as those that refer to the attributes of myth. The aim of this paper is to present the results of research on the use of myth strategy in social media marketing in the Polish film market. In order to achieve this goal, a literature review has been conducted and research of the best film-related Facebook profiles has been carried out. The study identified multiple ways to implement the myth strategy using the strategies of monomyth, bricolage, and counter-intuitiveness.

Suspect narratives: “Sinifying” an “Indianized” Japanese story

AbstractIn 2013, the Malayalam film Drishyam, a suspenseful story of the cover up of an accidental murder, became a huge hit in India that inspired remakes in many regional languages including one in Hindi that, as with other recent Bollywood hits, traveled to China. This time, though, instead of screening the Hindi film in theaters, the narrative reached Chinese audiences with a Chinese language remake, titled Sheep Without A Shepherd《误杀》. The original film has been accused of lifting its story from a popular Japanese detective novel, The Devotion of Suspect X, which was also made into films in Japanese, Chinese, and Korean. This essay traces the many versions of the narrative to explore how comparing the Indian and Chinese films can recenter our understanding of global cinema and film circulation. When considering the many version of Drishyam, instead of focusing on tensions between center and periphery, we can examine both the anxieties and the creative power of cultural borrowing and the retelling of narratives in an increasingly inter-connected Asian film market

КІНОПРОКАТ УКРАЇНИ У КРИЗОВИХ УМОВАХ: МАРКЕТИНГОВІ СТРАТЕГІЇ

Introduction. Today, in the context of the global crisis situation and the martial law of our country, the issue of considering the func­tioning of any field, especially the network of cinemas, is becoming quite relevant. Problem. The pandemic has had a signifi­cant impact on the film market around the world, especially given that the share of content comes from abroad and film releases over the past year and a half depend largely on the deci­sions of global film studios.The aim of the article is to study the struc­tural changes in the market of film distribution in dynamics and systematize the factors influen­cing the work of film distributors in late 2021, early 2022, and propose measures to eliminate economic losses, to develop recommendations for further work of film companies based on SWOT analysis.Methods. General scientific methods such as synthesis, comparison and generalization are used.Results. Structural changes in the market of distribution companies in Ukraine have been studied, the performance of the box office for the year before the pandemic and during breaks in film distribution has been analyzed. Factors influencing the work of film distributors are considered and measures are taken to eliminate the consequences of economic losses. Recom­mendations for further work of film com-panies based on SWOT analysis have been developed. Conclusions. Changes in the planned reper­toire plan, low competitiveness compared to fo­reign products, postponement of premieres, simultaneous rental in cinemas and streaming platforms, which increases piracy and illegal activities in the cinema network, reducing the possibility of selling tickets, the lack of any premieres are among important systematized factors that influence market conditions and the work of the film distributor in new reality. New possibilities and prospects of film dis­tribution development in view of crisis condi­tions are highlighted.

Screen monopoly and diversity: a comparative study between the Korean and French film industries

ABSTRACT In recent years, there have been many voices in Korea arguing that a few commercially successful films take up the opportunities for the exhibition of other films and thus limit the selection of titles available for moviegoers, a trend dubbed the “screen monopoly”. In seeking a solution, a number of scholars have looked to the anti-screen monopoly “regulations” in France, but without providing rigorous or persuasive evidence. By comparing the appropriate variables of Korea and France, this paper argues that the Korean film market is less monopolised than France despite the non-existence of these regulations. Furthermore, it demonstrates that Korea has more diversity than France. As a result, this paper concludes that introducing the French anti-screen monopoly regulations in Korea does not seem a beneficial option. The findings in this paper suggest a strong need to re-examine the effectiveness of government policies in the cultural industry.

Framing Shakespeare in New Digital Canons: Paratextual Conventions of RSC Live and NT Live

This article develops an analysis of the relationship between paratextual framing and institutional identity in the body of productions broadcast to cinemas by RSC Live and NT Live, proposing that paratexts are an integral yet consistently overlooked mediator of meaning in Shakespearean live theater broadcasts. Since the National Theatre’s broadcast of All’s Well that End’s Well in 2009 and the Royal Shakespeare Company’s debut live theater broadcast of Richard II in 2013, Shakespearean performance has dominated the UK’s event cinema market. This article examines the interpretive significance of paratextual conventions developed by these two companies in negotiating institutional identity and shaping narratives of Shakespeare’s cultural value. It brings these marginal materials to the center of critical analysis, proposing an original critical vocabulary by which to examine the diversity of the broadcast paratexts which have developed around, and been shaped by, Shakespearean performance in the medium. A sustained analysis of the frames of interpretation offered in Shakespearean broadcast performances exposes the interpretive labor these marginal materials regularly perform, highlighting the value of analyzing Shakespearean live theater broadcasts holistically.

How does genre preference influence the importance of film marketing mix elements: evidence during the COVID-19 pandemics

This paper aims to propose a conceptual model which will unveil how fans of different film genres observe the importance of elements of marketing mix when consuming products in the film industry during COVID-19 pandemics. To verify the proposed conceptual model, a survey was conducted during the lockdown and the responses of 1606 individuals from Serbia, who declare themselves as film fans, were analyzed using structural equation modelling analysis. The results support the assumption that the respondents who prefer different film genres give different importance to elements of the film marketing mix. Our findings show that based on the genre of the film marketing activities can be tailored so as to improve their effects, especially during the pandemics and post-pandemics period. It is believed that the herein presented research could initiate further research on the issue of modelling marketing activities in the film industry based on consumers’ genre preference and behavior.

The Competitive Advantage of the Indian and Korean Film Industries: An Empirical Analysis Using Natural Language Processing Methods

India has a longstanding reputation in the film industry, whereas South Korean films have only recently achieved notable success globally. Despite their significant positions in the global film market, there are very few studies that compare and analyze the competitive advantage of the two countries in the film industry. This paper adopts the ABCD model as a complementary framework to the two mainstream theories of strategic management (i.e., industry-based view and resource-based view) to analyze and compare the competitiveness of the industrial success of emerging countries. For the empirical test, this paper uses natural language processing methods to operationalize the theoretical model. After collecting text data from news articles in English related to the Korean and Indian film industries, this study analyzes how many keywords with regards to the 8 sub-factors of the ABCD model are mentioned in the articles using the document similarity measurement. The results reveal the different but complementary areas of strengths. India has higher competitiveness in the factor of Agility while Korea has higher competitiveness in Convergence. This study also highlights the areas for further development and potential partnership between the two countries by leveraging each other’s strengths.

Market Segmentation in the Film Industry Based on Genre Preference: The Case of Millennials

One of the industries that has been hit the most by the Covid-19 is the film industry. Practitioners and experts in the field are in need to better understand the changed consumers and their new behaviour so that they can adequately communicate with them. The population segment which attracts the most attention are the Millennials due to the fact they have a high level of self-interest, they mix streaming services, and their purchase intention building is much slower compared to other generations. This study aimed to propose a segmentation approach in the film industry based on genre preference. To verify the proposed approach, an online survey on consumer habits and attitudes towards different elements of film marketing mix was conducted at the beginning of the Covid-19 lockdown in Serbia. Upon that, biclustering algorithm was employed to segment the respondents. Finally, similarities and differences between retained segments were explored, which provided insights on which elements of film (elements of product, Word of Mouth, Frequency of consumption, and elements of promotion) respondents pay attention to based on their genre preference. The observed similarities and differences led to the creation of tailored communication strategies for each segment, which could improve the effectiveness of marketing activities in the film industry during the Covid-19 era, and could be extended in the post-Covid era.