2011-2012 China Film Industry Report (Paid Version)

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Published by EntGroup Consulting, the 2011-2012 Chinese Film Industry Report is a comprehensive report on all sections and aspects of the Chinese film industry as well as chapters on overseas markets and a moviegoer survey.  The content of the report includes:

 

I Research Background
II Research Scope
III Methodology
IV Survey Background
V Definitions
VI The Report

 

1. Overall Trends in China’s Film Industry in 2011
1.1 Analysis of China’s Film Industry in 2011
1.1.1 Policy: threats and opportunities of a more open policy environment than ever before
1.1.2 Economics: a market listing rush in film and television
1.1.3 Social: increasing public enthusiasm
1.1.4 Technology: Digitalization has improved the film industry across the board
1.2 Analysis of the Scale of China’s Movie Industry
1.2.1 The Scale of China’s Movie Industry
1.2.2 Box Office Revenue for Chinese Films
1.2.3 Film Copyright in China
1.2.4 Film Advertising in China
1.3 Film Industry Chain in China
1.3.1 Structure of China’s Film Industry Chain
1.3.2 Box Office Profit Sharing in China

2. Chinese Film Production
2.1 Overview and analysis of Chinese film production
2.1.1 Minor slow-down of production increase
2.1.2 Mainstream production -- romance, action and comedy
2.1.3 Post-production market
2.2 Major production companies
2.2.1 Top 20 companies by box office and concentration rate
2.2.2 Characteristics of major production companies
2.3 Analysis on film investment returns
2.4 film co-production 2011
2.4.1 Overview of co-produced films
2.4.2 Co-production trends
2.5 Development trends of Chinese film production

3. Chinese Film Distribution
3.1 2011 Distribution Characteristics
3.1.1 Market Analysis
3.1.2 Market Share Concentration Analysis
3.1.3 Collaboration between Industries with Over Half Co-Distributions
3.2 Distribution Trend Analysis
3.2.1 Internet’s Role in New Media Distribution
3.2.2 District Distribution and Analysis
3.3. Case study of Chinese Film Marketing Methods
3.3.1 Product Tie-in ETERNAL MOMENT
3.3.2 Fan-based marketing of MYSTERIOUS ISLAND
3.3.3 Social Media Marketing – LOVE IS NOT BLIND
3.3.4 Target Marketing – SEER

4. Chinese Film Exhibition: Theater Chains
4.1 Introduction
4.1.1 Theater Chains
4.1.2 Theater Chains in China
4.2 Summary of Chinese Theater Chains in 2011
4.2.1 Market Summary
4.2.2 Perspective Analysis
4.2.3 Concentration Analysis
4.3 Performance of Major Theaters in 2011
4.3.1 Chinese Theater Chains: Three Major Camps
4.3.2 Market Performance of the First Group
4.3.3 Market Performance of the Second Group
4.4 Trend Analysis in Chinese Theater Chain Development

5. Chinese Film Exhibition: Cinemas
5.1 The development of Chinese cinemas 2011
5.1.1 Number of theaters and screens
5.1.2 The Development of Digital Screens
5.1.3 The Development of 3D Cinemas
5.1.4 The Development of IMAX screens
5.2 Market Overview of Cinema Business
5.2.1 Market Size
5.2.2 Operation Efficiency of Top100 Cinemas
5.2.3 Top 10 Cinemas in China
5.2.4 New Operation Models for Chinese Cinemas
5.3 Analysis on cinema investment
5.3.1 Related government policies
5.3.2 Cinema investment and management companies
5.4 Development trends of Chinese cinema business

6 Theatrical Release Scheduling
6.1 2011 Film Market Analysis: By Month
6.1.1 2011 Theatrical revenue distribution trend, by month
6.1.2 Theatrical revenue distribution of the Top 10 box office hits in 2011
6.2 Major Release Seasons 2011
6.2.1 Summer: Advantage for Imported Films
6.2.2 National Day Holiday: to be further explored
6.2.3 New Year period: a stage for domestic blockbusters
6.3 Other Screening Slots
6.4 Characteristics and Trends of 2011 Screening Slots

7. Import and Export
7.1 Import
7.1.1 Box Office of Imported Films
7.1.2 Imported Film Market 2011
7.2 Film Export
7.2.1 Overview of Chinese film exports in 2011
7.2.2 North America

7.2.3 Asia Pacific
7.2.4 Europe and other regions

8. Chinese Moviegoer Survey
8.1 Conclusions
Trends in Film Production
Film Promotion
Attitude toward Advertising in Cinemas
New Media for Films
8.2 Analysis of Survey Samples
8.3 Production and Distribution Survey
8.3.1 Ranking of Film Genres according to Viewer Preference
8.3.2 Ranking of 3D Film Genres according to Viewer Preference
8.3.3 Ranking of IMAX Films according to Viewer Preference
8.3.4 Major Problems Moviegoers Find with Domestic Films
8.3.5 Reasons Moviegoers Choose to Watch a Particular Film
8.3.6 Selection of Specific Film Formats
8.3.7 Language Preferences for Foreign Films
8.3.8 Ways Moviegoers Obtain Film Information
8.3.9 Things that Most Attract Audiences to Cinemas
8.3.10 Purchasing of Peripheral Products among Moviegoers
8.3.11 Types of Peripheral Products/Services Purchased by Moviegoers
8.3.12 Spending Levels on Peripheral Products among Moviegoers
8.4 Cinema Operations
8. 4.1 Ticket Purchasing Practices among Moviegoers
8.4.2 Ticket Prices Deemed ‘Reasonable’ by Moviegoers
8.4.3 Highest Ticket Prices Acceptable to Moviegoers
8.4.4 Promotional Methods Moviegoers Hope to See from Cinemas
8.4.5 Moviegoer Purchasing of In-Cinema Products
8.4.6 Average Per-Person Spending on In-Cinema Products
8.4.7 Top Reasons Why Moviegoers Go to Cinemas to Watch Films
8.4.8 Top Reasons Why Moviegoers Choose not to Go to Cinemas
8.5 Film Advertisements
8.5.1 Moviegoer Attitudes toward Pre-screening Advertisements and Trailers
8.5.2 Lengths of Pre-screening Ads/Trailers Acceptable to Moviegoers
8.5.3 Pre-screening Ad Content Most Easily Accepted by Moviegoers by Industry
8.5.4 Moviegoer Attitudes toward Embedded Advertising
8.5.5 Impact of Embedded Ads on Films
8.5.6 Products Appropriate for Embedded Advertising according to Moviegoers
8.6 Viewing Habits
8.6.1 Habits of Moviegoers while Waiting for Films to Start
8.6.2 When Moviegoers Choose to Go to Cinemas to Watch Films
8.6.3 Whom Moviegoers Usually Choose to Watch Films With
8.6.4 Transportation Choices among Moviegoers
8.6.5 Acceptable Travel Times to Arrive at Cinemas
8.6.6 Motivations of Moviegoers to Watch Films in Cinemas
8.6.7 Monthly Entertainment Spending among Moviegoers
8.6.8 Entertainment Venues Frequented by Moviegoers
8.6.9 Factors Moviegoers Consider Most when Choosing a Cinema
8.6.10 Peripheral Services Most Important to Moviegoers
8.6.11 Cinema Services Most Important to Moviegoers
8.6.12 Cinema Facilities Most Important to Moviegoers
8.7 Film in New Media
8.7.1 Ways that Moviegoers Usually Watch Films
8.7.2 Frequency of Online Viewing among Moviegoers
8.7.3 Amount of Time Moviegoers Spend Online Per Day
8.7.4 Online Films Watched by Moviegoers by Genre
8.7.5 Online Film Choices among Moviegoers by Country
8.7.6 Online Resources Moviegoers Use to Obtain Information about Films
8.7.7 Ways Moviegoers Usually Choose to Watch Online Films
8.7.8 Video Websites Moviegoers Generally Use to Watch Films
8.7.9 Video Players Moviegoers Generally Choose to Watch Online Films
8.7.10 Reasons Why Moviegoers Watch Films Online
8.7.11 Moviegoer Attitudes toward Pay-per-View Online Films
8.7.12 Moviegoer Attitudes toward Advertisements in Online Video
8.7.13 Moviegoer Opinions on Micro Films
8.7.14 Reasons Why Moviegoers Choose to Watch Micro Films
8.7.15 Reasons Why Moviegoers Choose Not to Watch Micro Films
8.7.16 Ways that Moviegoers Find Out about Micro Films
8.7.17 The Ability of Moviegoers to Discover Embedded Ads in Micro Films
8.7.18 Moviegoer Interest in Embedded Brands
8.7.19 Sharing of Micro Films among Moviegoers
8.7.20 Frequency of Watching Films on Mobile Phones among Moviegoers
8.7.21 Length of Films Moviegoers Watch on Mobile Phones
8.7.22 Film Genres Most Watched by Moviegoers on Mobile Phones