Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market

Song, Xu

doi:10.1177/2059436418805538

Cited by 22 publications

(25 citation statements)

References 38 publications

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“…As in other countries, the majority of Chinese movie audiences are young—frequent moviegoers are under 35 years old and have a college education. 4 They have strong interests in entertainment products such as movies, TV shows, and video games from Western countries and are generally aware of these products’ English titles (Song 2018). Therefore, we propose the following hypothesis: H 1 : Sales of a cultural product in a foreign country are higher if the brand name is more similar between the foreign market and the home market. …”

Section: Conceptual Backgroundmentioning

confidence: 99%

Branding Cultural Products in International Markets: A Study of Hollywood Movies in China

Gao¹,

Ji²,

Liu³

et al. 2020

Journal of Marketing

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Cultural products are a major component of the world economy and are responsible for a growing share of U.S. exports. The authors examine brand name strategies when cultural products are marketed in foreign countries. Incorporating the unique characteristics of these products, the authors develop a theoretical framework that integrates similarity, which focuses on how the translated brand name relates to the original brand name, and informativeness, which focuses on how the translated brand name reveals product content, to study the impact of brand name translations. The authors analyze Hollywood movies shown in China from 2011 to 2018. The results show that higher similarity leads to higher Chinese box office revenue, and this effect is stronger for movies that perform better in the home market (i.e., the United States). When the translated title is more informative about the movie, the Chinese box office revenue increases. The informativeness effect is stronger for Hollywood movies with greater cultural gap in the Chinese market. Moreover, both similarity and informativeness effects are strongest when the movie is released and reduce over time. This research provides valuable guidance to companies, managers, and policy makers in cultural product industries as well as those in international marketing.

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Section: Conceptual Backgroundmentioning

confidence: 99%

Branding Cultural Products in International Markets: A Study of Hollywood Movies in China

Gao¹,

Ji²,

Liu³

et al. 2020

Journal of Marketing

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show abstract

“…As Song (2018) suggests, "Chinese component should be integrated in the movie in a smooth and seamless way" (p. 185). As for product placement, studios need to consider where and when a product should be shown in the movie so that it can be easily recognized by Chinese audiences but will not be negatively perceived by the audiences or disrupt the film's storyline.…”

Section: Implications and Suggestions For Hollywood's Further Localizmentioning

confidence: 99%

“…Media production in China is relationship dependent (Kokas, 2017), and Hollywood studios and their "compradors" (i.e., above-the-line players) should accustom themselves to this fact and be able to coordinate the different expectations of film collaborative partners (Kokas, 2017). Hollywood studios should honor the product placement agreement that they have made with their Chinese business partners to avoid an unexpected crisis (Song, 2018). Failing to meet the agreement's terms may risk a film's distribution in China.…”

Section: Implications and Suggestions For Hollywood's Further Localizmentioning

confidence: 99%

Journey to the East: A Review of Hollywood’s Film Localization Efforts for China’s Film Market

Song¹

2018

IJECS

Self Cite

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The film market of China has been growing rapidly and is now the world’s second largest film market. Hollywood studios have been sending transnational films to China to receive additional revenues. This research investigates the three channels (i.e., flat-rate buyouts, co-productions, and revenue-sharing titles) through which Hollywood studios can enter their films in China’s film market and reviews the China-focused localization efforts that Hollywood studios have made to appeal to China. The review findings show that exporting Hollywood films to China as revenue-sharing titles has become the favorite approach for major Hollywood studios to gain additional revenues. To improve revenue-sharing films’ box-office performance, localization efforts of Hollywood studios are executed throughout a film’s theatrical life cycle, from a film’s planning and production stages to its distribution, promotion, and exhibition stages. Implications and suggestions as to how Hollywood studios can further utilize film localization efforts to enhance box-office success in China are also discussed in the present study.

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“…The Chinese film market has grown rapidly and just falls behind that of North America. Its box office reached a record of 8.93 billion U.S. dollars in 2018, an increase of 9.2% compared with 2017, accounting for 21.34% of the world's film consumption (Song, 2018). The number of films screened reached 50,766 in 2017 with a 31.95% annual growth rate since 2012 (Fan, 2019).…”

Section: Introductionmentioning

confidence: 99%

“…Regarding domestic factors, the film industry still relies heavily on policy implementation (Shan, 2014). Government regulation and intervention would produce serious limitations for film production (Song, 2018). Severe resource waste, restraints on institutional supply, and an incomplete financing system also exist in the film industry (Xin & Mossig, 2017;Yang, 2015).…”

Section: Introductionmentioning

confidence: 99%

Do Bubble Behaviors Exist in Chinese Film Stocks?

Liu

Wang

2020

Sage Open

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This article investigates bubbles in the Chinese film industry to reveal the industry’s boom and bust process that influences employment, citizen’s livelihoods, and even economic growth. We adopt the film stock index to reflect the industry’s trajectory and employ the generalized and backward sup augmented Dickey–Fuller tests to detect bubble periods. Empirical results indicate that there are three positive bubbles in 2007, 2013, and 2015, indicating that the film market continues to expand after temporary frustrations. Meanwhile, one negative bubble is found in 2019, which demonstrates that the bubble’s negative impacts persist and the film industry is still having problems such as declining industrial output. Economic growth, film quality, and industrial policies are common factors for all bubbles. The global financial crisis, capital in- and outflows, internet giants’ entry and sky-high remuneration are reasons for certain bubble behaviors. Hence, market practitioners should actively recognize bubbles and observe their evolution, which will favor industrial stabilization. A perfect legal system, moderate industrial policies, a competitive market environment, and other measures are needed to confront the opportunities and challenges.

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Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market

Cited by 22 publications

References 38 publications

Branding Cultural Products in International Markets: A Study of Hollywood Movies in China

Branding Cultural Products in International Markets: A Study of Hollywood Movies in China

Journey to the East: A Review of Hollywood’s Film Localization Efforts for China’s Film Market

Do Bubble Behaviors Exist in Chinese Film Stocks?

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