2012-2013 China Film Industry Report (Paid)

  • Type:Annual
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Related Reports:
2011-2012 China Film Industry Report (Paid)
2010-2011 China Film Industry Report (Paid)

Published by EntGroup Consulting, the 2012-2013 China Film Industry Report looks deeply into all aspects of China’s domestic film industry and global movie markets and delivers first-hand information on present-day Chinese moviegoers. The following is an outline of the content of this report:
I Research Background
II Scope of Research
III Research Methodology
IV Survey Background
V Terminology
VI Body of Report

1. General Trends for China's Film Industry in 2012
1.1 Macro-Environment of China's Film Industry in 2012
1.1.1 Political: with relaxed import restrictions, Chinese-language films face a decisive moment
1.1.2 Economic: accelerated cross-border acquisitions
1.1.3 Social: moviegoers total 470 million, movie-going habits mature
1.1.4 Technological: expansion of Internet and information technology in the Film Industry chain
1.2 Scale of China's Film Industry
1.2.1 Scale of China's Film Industry
1.2.2 Box Office Revenue of China's Film Industry
1.2.3 Non-Box Office Revenue from Chinese Movies
1.2.4 Advertising Revenue from Chinese Movies
1.3 Current State of the Development and Industry Chain Structure in China's Film Industry
1.3.1 Current state of China's Film Industry
1.3.2 Industry Chain Structure of China's Film Industry
1.3.3 China’s Revenue SharingModelor Box Office Revenues

2. Film Production in China in 2012
2.1 Overview
2.1.1 Overall Process of Film Production in China
2.1.2 Volume of China Films Produced in 2012
2.1.3 Comedy, Romance, and Action remain topgenres; Drama and Suspense surprisingly take off
2.1.4 Box office revenue forimported films pass domestic filmsfor first time in five years
2.1.5 3D and IMAX box office revenue reaches 9 Billion RMB, over 50% of total
2.2 Analysis of Chinese Production Companies
2.2.1 Market Share of Production Companies
2.2.2 Concentration ofthe Production Market
2.2.3 Competition Trends and Characteristics in 2012: private companies contribute to top ten domestic movies, Enlight Media takes top prize
2.3 ROI for Chinese Films  
2.3.1 Main Risks in Investment
2.3.2 Source of Financing   
2.3.3 Analysis of ROI for Chinese Films
2.3.4 Case Studies
2.4 Overview of Coproduction in China in 2012  
2.4.1 Terminology and Procedures for Coproductions
2.4.2 Coproduction Models
2.4.3 Government Policy on Coproductions
2.4.4 Overview of Coproduction in 2012
2.4.5 Trends
2.5 Post Production Industry: post-production and special effects change capital distribution and cinema-going habits
2.6Trends of Film Production in China in 2012  
2.6.1 Large State-Owned StudiosPursue IPOs; Entertainment Industry and Capital Market Collaborate More Closely
2.6.2 Number of Domestic “Special films” Increase, Blockbusters Enter New Phase of Development                      
2.6.3 Small Budgeted Comedy and Suspense Films Win Big, Distinctive Genres Prosper
2.6.4 Domestic Films See More Franchises with Increasing Series

3. Film Distribution in China in 2012
3.1 Overview
3.1.1 Market Shares among Domestic Distributors
3.1.2 Concentration of the Chinese Distribution Market
3.2 Analysis of Chinese Film Distribution Market in 2012
3.2.1 Leading Chinese Distributors
3.2.2 Mid-sized Distributors
3.2.3 Newly Emerging Distributors
3.3 Trends of Chinese Film Distribution
3.3.1 Factors Driving up Prices for Imported Films
3.3.2 Distributor-Exhibitor Split Adjusts,Former Gets Upper hand
3.3.3 Studios Work Closer with New Media Partners to Accelerate Development of New Media Platforms
3.3.4 Cross-Border Acquisitions Lay Foundation for Chinese Films Going Overseas
3.4 Analysis and Case Studies of Film Marketing
3.4.1 Integrated Marketing –“Painted Skin: The Resurrection”
3.4.2 Emotion-Based Marketing –“A Simple Life”
3.4.3 Word-of-Mouth Marketing –“Lost in Thailand”
3.4.4 Ambush Marketing –“Bixian Panic”

4. Analysis of Major Chinese Production and Distribution Companies
4.1 State-Owned Companies
4.1.1 China Film Group
4.1.2 Shanghai Film Group
4.1.3 Huaxia Distribution Co.
4.2 Publicly-Listed Companies
4.2.1 Huayi Brothers
4.2.2 Bona Film Group
4.2.3 Enlight Media
4.3 Private Companies
4.3.1 Le Vision Pictures
4.3.2 New Classics Media
4.3.3 Beijing Galloping Horse
4.3.4 Shengshi Film Distribution Co.
4.3.5 Mei Ah - Hua Tianxia Film Distribution Co.

5. China’s Film Exhibition Business in 2012: Theatre Chains
5.1 Introduction of Theater Chains
5.1.1 Definition of Theater Chains
5.1.2 Chinese Theater Chains
5.2 Overview
5.2.1 Market Overview
5.2.2 Multi-dimensional Analysis
5.2.3 Concentration Analysis
5.3 Market Performance of Different Theater Chains
5.3.1 Characteristics of Chinese Theater Chains
5.3.2 Market Performance of First Tier Chains
5.3.3 Market Performance of Second Tier Chains
5.3.4 Market Performance of Third Tier Chains
5.4 Analysis of Typical Theater Chains
5.4.1 Wanda
5.4.2 Jinyi International 
5.5 Development Trends of Chinese Theater Chains
5.5.1 Move Up in Industry Chain by Participating in Film Investment and Distribution
5.5.2 Expanding Overseas: Wanda Acquiring AMC
5.5.3 Scale Disparity Widens, Market Sees More Mergers
5.5.4 Virtual Theater Chains Emerge in Search of New Distribution Platforms

6. China’s Film Exhibition Business in 2012: Theatres
6.1 Overview of Theater Development in China in 2012
6.1.1 Number of Theaters and Screens
6.1.2 Number of Digital Screens
6.1.3 Number of 3D Screens
6.1.4 Number of IMAX Screens
6.1.5 New Technologies Adapted in Chinese Theaters
6.2 Overview of Chinese Theater Operations in 2012
6.2.1 Box Office Revenue by Tiers of Theatres
6.2.2 Top 100 Best Run Theaters in 2012
6.2.3 Top 10 Grossing Theaters in 2012
6.2.4 Operational Models of Chinese Theaters
6.3 Analysis of Theater Investment Practices
6.3.1 Policies for Theater Investment
6.3.2 How to Select Locations for Theatres
6.3.3 Review of Theater Owners
6.3.4 Analysis of Major Theater Investors
6.4 Trends in Theater Investment
6.4.1 Increasing Number of Screens Intensifies Competition, Differentiated Services to Become Most Important Factor
6.4.2 Tax Refunds Benefits Theaters,with Room for Increased Revenue
6.4.3 Projection Technology Further Advances; 3D and IMAX Screens Continue to Increase

7. Study of Movie Schedules in China in 2012
7.1 Market Performances by Month
7.1.1 Monthly Top Films of 2012
7.1.2 Trends of Monthly Box Office Gross
7.1.3 Characteristics of Release Schedules 
7.2 Analysis of Key Chinese MovieSeasons in 2012
7.2.1 Summer Season: Box office revenue drops 200 Million RMBmainly due tolack of imported films
7.2.2 National Day Holiday: Mostly Low Quality Films, Full Potential Not Reached
7.2.3 Chinese New Year: domestic tent-poles disappoint, small-budgetcomedybecomesa surprisinghit
7.3 Analysis of Other Movie Seasons in China

8. Imports and Exports of Foreign and Chinese Films
8.1 ImportedFilms in Chinese Market in 2012
8.1.1 Box Office Performances of Imported Movies in 2012
8.1.2 Characteristics of Imported Movie Market in 2012
8.2 Exported Chinese Domestic Movies in 2012
8.2.1 Overview of Chinese Movies Sold Internationally in 2012
8.2.2 Chinese Films in North America
8.2.3 Chinese Films in Asia Pacific Markets
8.2.4 Chinese Films in Europe and Other Regions
8.3 Trend Analysis of Import and Export of China’s Film Market in 2012
8.3.1 Import Restrictions Relax, Domestic Films Face Decisive Moment
8.3.2 Number of Imported Films Skyrocket, Online Video Providers Are Biggest Buyers
8.3.3 Export of Chinese Domestic FilmsRemains Bleak, Distribution Model of Revenue Sharing to Be Established

9. International Movie Markets
9.1 Overview of the Global Film Industry
9.1.1 Analysis of Global Box Office Revenues in 2012
9.1.2 Average per Capita Viewing Frequency in Ten Countries in 2012
9.1.3 Average Ticket Prices and Revenue in Ten Countries in 2012
9.1.4 Average Ticket Prices as Share of Monthly Income in China, the United States, Korea, Japan and France in 2012
9.2 Overview of North America in 2012
9.2.1 Market Performance in North America in 2012
9.2.2 Rankings of Top Grossing Films and Distributors
9.3 Overview of Asia Pacific (Japan, Korea, India) in 2012
9.3.1 Market Performance in Asia in 2012
9.3.2 Analysis of Box Office in Japan, Korea and India
9.3.3 Average Ticket Prices in Japan, Korea and India
9.3.4 Numberof Moviegoersin Japan, Korea and India in 2012
9.3.5 Total and per Capita Numbers of Screens in Japan, Korea and India
9.3.6 Market Shares of Local Movies in Japan, Korea and India
9.3.7 Top Grossing Movies in Japan, Korea and India in 2012
9.4 Overview of Film Industries in Major European Countries in 2012
9.4.1 Box Office Revenues in Major European Countries in 2012
9.4.2 Average Ticket Prices in Major European Countries
9.4.3 Number of Moviegoers in Major European Countries
9.4.4 Analysis of Domestic Movie Market Shares in Major European Countries in 2012
9.5 Overview of the Film Industry in Australia in 2012
9.5.1 Box Office Revenues in Australia in 2012
9.5.2 Total and per Capita Viewing Numbers
9.5.3 Average Ticket Price
9.5.4 Number of Screens
9.5.5 Analysis of Domestic Movie Market Share in Australia in 2012

10. 2012 Chinese Moviegoers Survey
10.1 Survey Overview
10.2 Survey Samples 
10.3 Trends in Production and Distribution 
     Tendencies in Selecting Movies
  Expectations for Movie Seasons
  Factors Influencing Ticket Purchases
  Preference in Derivative Merchandising
10.4 Trends in Theater Investment and Operations 
  Theater Construction
  ConsumersPerception
  Theater Promotions
  Ticket Purchasing Habits
  Amount of Consumer Spending
  Reasons for Cinema Going
10.5 Attitude toward Movie Advertisements
  Time of Entering Theatre
  Pre-Screening Advertisements
  Embedded Advertisements
  Previews
10.6 Viewing Habits 
  Characteristics of Viewing Habits
10.7 Film Consumption via New Media 
  Online Viewing Habits
  Mobile/Tablet Viewing Habits


About EntGroup
EntGroup Consulting is the leading research and consulting company focusing on China’s entertainment industry. A member of ComInsight Information Alliance Group, Entgroupfocuses on providing data and information, conducting market research, industry research, consulting, and organizing media conferences. We serve a wide range of clients in areas of film, TV, new media, entertainment marketing and animation.
        EntGroup also operates an online portal for the entertainment industry-- www.entgroup.cn.

About entbase
        entbase is a database focusing on the entertainment industry. Created and managed by China's leading entertainment industry research institute, EntGroup, it provides statistics and analysis on film and TV industries, as well as insight on market trends and consumer behaviors.  It is an essentialtool for entertainment investors, financiers, film production companies, distributors and advertisers. entbase integrates Box Office data and analysis, moviegoer surveys, advertisinginsight, buzz tracking and industry research reports.
For more information, please visit: http://english.entgroup.com.cn/enbase.html

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