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«China Film Industry Report 2012-2013 (in Brief) China Film Industry Report 2012-2013 (in Brief) China Film Industry Report ...»

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China Film Industry Report 2012-2013 (in Brief)

capital flowing into theater development that began in 2010. These newly-added theaters also need to establish new theater chains in order to facilitate the consolidation of resources, the strengthening of management capabilities and the improvement of operational efficiency.

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6. China Film Exhibition Industry in 2012 –A Study of Movie Theaters in China

6.1 Overview of the Development of Movie Theaters in China for 2012 6.1.1 Development of Chinese Movie Theater Numbers and Screen Numbers in 2012 In 2012, the number of movie theaters in China continued to expand at a rapid pace. Theater chain companies across the country built 880 new cinema complexes, bringing the total number of theaters to 3,680. There were 3,832 screens added, an average of 10.5 new screens per day, and this brought the total number of screens to 13,118. With this, the number of screens in China has broken the “10,000 mark.” The average number of screens in the newly added theaters was 4.8, which shows that most of the new theaters added in 2012 were large-scale, comprehensive multi-room theaters. It is estimated that the increase rate in screen numbers and theater numbers China Film Industry Report 2012-2013 (in Brief) will begin to slow down in 2013 as market investment behavior becomes more rational and the competition between theaters becomes more intense.

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6.1.2 Expansion of the Number of Digital Movie Screens in China for 2012 The number of screens equipped with digital movie screens in China for 2012 was 12,225, which accounted for 93.2% of all movie screens. All of the newly added screens in 2012 were equipped with digital movie screens. 2K digital movie screens in China have exceeded 12,000 in number, and the main theater chains now basically only provide for digital viewing. Under the influence of both governmental policy and developing trends in the film market, the dominance of digital movie screens will be further solidified and strengthened.

6.2 Overview of the Movie Theater Market in China in 2012 6.2.1 Different Movie Theater Groupings in China based on Box Office Performance for 2012 According to data provided by the EBOT EntGroup Box Office Tracker, there were 2,988 urban theaters in China with box offices offering statistical information in 2012. These theaters can be categorized at 5 different levels on the basis of their annual box office proceeds. The defined ranges of these five levels are as follows (in Yuan): 50-90 million, 30-40 million, 10-20 million, 5-10 million and less than 5 million. Individual theaters have yet to exceed 100 million in box office earnings. According to EntGroup’s analysis, the backbone of the Chinese movie theater market in 2012 were the theaters at the 10-20 million level. It is estimated that the proportion held by theaters in this level will increase in 2013.

China Film Industry Report 2012-2013 (in Brief) Image 6 - 3 Distribution of Movie Theaters throughout Different Box Office Groupings in China for 2012

7. Timeslot Analysis in China in 2012

7.2 Analysis of the Primary Timeslots in China’s Market for 2012 7.2.1 Summer Timeslot: Income for this timeslot shrank by 200 million, primarily because of a low number of imported films Box office proceeds for the film market in Mainland China during the summer timeslot of 2012 reached 4.09 billion Yuan. Compared to the 4.28 billion of proceeds during the same timeslot in 2011, box office proceeds for the 2012 summer break shrank by nearly 200 million. According to incomplete statistics, there were a total of 90 films that competed during the summer timeslot of 2012, of which 25 were imported films (including revenue-sharing films, licensed films, Hong Kong and Taiwanese films, as well as specialty films) and 65 were domestic movies (including 19 co-productions). There were 5 domestic films with box office proceeds exceeding 100 million, and there were only 9 films exceeding 50 million. Domestic films made up the great majority of films China Film Industry Report 2012-2013 (in Brief) screened during the summer timeslot, and these films did not perform especially well. This is the main reason for the reduction in box office proceeds during the summer timeslot.

Image 7 - 3 Comparison of Box Office Proceeds during the Summer Timeslots from 2008 to 2012

8. Import of Foreign Films and Export of Chinese Films

8.1 The import of Foreign Films to the Chinese Film Market in 2012 8.1.1 Box Office Performances for Imported Films in 2012 Since 2008, the proportions of total box office proceeds taken by imported films in the Chinese film market have been steadily growing. In 2012, imported films released in Mainland China produced a total of 8.8 billion Yuan in box office proceeds. This was an increase of 2.7 billion Yuan from 2011, and the proportion of the market held by imported films exceeded the 50% mark, arriving at 51.5%. This is the first time in 9 years this share has exceeded that of domestic films.

China Film Industry Report 2012-2013 (in Brief) Image 8 - 1 Box Office Comparison between Domestic Films and Imported Films from 2005 to 2012 Data provided by Entgroup shows that, for all the different types of imported films, revenue-sharing blockbusters were able to receive the major shares of box office proceeds. The total box office proceeds taken in by this type of movie accounted for 83.5% of box office proceeds taken in by imported films.





8.2 The Export of Chinese Domestic Films in 2012 8.2.1 The Overview of the Export of Chinese Films in 2012 According to a data report released by the State Administration of Radio Film and Television on January 9 th, 2013, China exported 75 films to over 80 countries and regions in 2012. Overseas box office proceeds and sales reached

1.063 billion Yuan, which was a reduction of 47.5% from the previous year.

In addition to this, according to the statistics provided by China Film Promotion International regarding the overseas box office proceeds for the individual films of each film producing company, the domestic film in 2012 with the highest level of overseas box office proceeds was a film produced by Le Vision Pictures entitled “The Bullet Vanishes” (“Xiaoshi de Zidan”) whose box office proceeds reached 85 million Yuan.

8.3 Trend Analysis for the Import of Foreign Films and the Export of Chinese Domestic Films 8.3.1 Limits on Hollywood’s Share of Imported Films has been further relaxed, and competition with domestic films has intensified In February of 2012, China and the US reached an agreement and successfully drafted a memorandum of understanding which addressed film related disputes within the WTO. Many new provisions were made at this time, including those allowing for the increase of the amount of American blockbusters allowed into the Chinese import market by 14 films. Looking back on 2012, it can be seen that the new addition of imported 3D/IMAX films has delivered quite a blow to the box offices of domestic films. Domestic films and imported films entered a period of head-to-head competition in the year of 2012.

China Film Industry Report 2012-2013 (in Brief) Image 8 - 3 Proportion of monthly Box Office Proceeds held by Imported Revenue-sharing Films for 2012 Looking at the situation at the level of the market, it can be seen that as the quotas for imported Hollywood films continue to increase, the two state-owned companies that originally had a control on the distribution rights for imported revenue-sharing films (China Film Group Corporation and Huaxia) found that it was more difficult to meet the needs of the market with their own operational capacity. This made it possible for a third corporation with distribution rights for imported revenue-sharing films to appear on the scene, which meant that there were to be more competitors entering the market.

China Film Industry Report 2012-2013 (in Brief)

Appendix 1:

–  –  –

Published by EntGroup Consulting, the 2012-2013 China Film Industry Report looks deeply into all aspects of

China’s domestic film industry in a global market. The following is an outline of the content of this report:

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

1. Overall Analysis of Trends in China’s Film Industry in 2012

1.1 Analysis of China’s Film Industry in 2012 1.1.1 National Policy: Fewer restrictions on foreign films puts pressure on Chinese language films 1.1.2 Economics: Cross-border M&A to be More Common 1.1.3 Social: Moviegoer numbers reach 470 million as audience tastes mature 1.1.4. Technology: Internet and information technology is advancing the film industry

1.2 Analysis of the Scale of the Chinese Film Industry 1.2.1 Overview of the Scale of the Chinese Film Industry 1.2.2 Box Office Revenue for Chinese Films 1.2.3 Revenue from Non-Theatrical Sales of Films in China 1.2.4 Revenue from Film Advertising

1.3 Film Industry Chain in China 1.3.1 Current Stage of Development of the Chinese Film Industry 1.3.2 Box Office Profit Sharing in China 2 Film Production in China in 2012

2.1 Overview of Film Production in China in 2012 2.1.1 Analysis of Production Volume in China in 2012: 745 feature films were produced, 30% made it to theatres

China Film Industry Report 2012-2013 (in Brief)

2.1.2 Analysis of Chinese Movies in 2012 by Genre 2.1.3 Imported Films Surpass Domestic Films at the Box Office for the First Time in Nearly 9 Years

2.2 Analysis of Chinese Film Production Companies in 2012 2.2.1 Analysis of Market Share for a Chinese Film Production Company in 2012: Enlight Pictures became a real challenger with “Lost in Thailand”, taking a market share of 7.23% 2.2.2 Analysis of Revenue Concentration among Chinese Production Companies in 2012: production companies show trend toward free competition, but time is still needed before a loose oligopoly is formed

2.3 Overview of Co-productions in China in 2012 2.3.1 The Definition of a Co-production and Its Operational Procedures 2.3.2 Cooperation Model for Co-Productions 2.3.3 Government Policy on Co-Productions 2.3.4 Overview of Co-Productions in 2012 2.3.5 Development Trends in Chinese Co-Productions

2.4 Post-Production Industry: Post-production and special effects change capital distribution and viewing habits 2.4.1 The Scale of Post-Production Market 2.4.2 Competition in China's Post-Production Industry - Phenom Films (Tiangong Yicai) enjoys a clear advantage

2.5 Analysis of Development Trends in Chinese Movie Production 2.5.1 Large State-Owned Media Groups Fight for IPOs, Film and Capital Markets see Further Integration 2.5.2 Number of Special Domestic Movies Increase, Blockbusters Enter New Phase of Development

3. Film Distribution in China in 2012

3.1 Overview of Film Distribution in China in 2012 3.1.1 Analysis of Market Shares among Chinese Distributors: private companies more active and four companies split market share for each season 3.1.2 Concentration of Chinese Distribution Market: the concentration of the distribution market worsens, with CR8 increasing 6.30% over the previous year

3.2 Analysis of Chinese Film Distribution in 2012 3.2.1 Leading Companies in Film Distribution 3.2.2 Mid-sized Distributors 3.2.3 Newly Emerging Distributors

3.3Chinese Film Marketing Models and Case Studies for 2012 3.3.1 Cross-Border Integrated Marketing - Painted Skin: The Resurrection

China Film Industry Report 2012-2013 (in Brief)

3.3.2 Emotion-Based Marketing –“A Simple Life” 3.3.3 Word-of-Mouth Marketing –“Lost in Thailand” 3.3.4 Parasitic Marketing –“Bixian Panic”

4. Analysis of Major Chinese Production and Distribution Companies

4.1 Analysis of State-Owned Companies 4.1.1 Comparative Analysis of Business Development in State-Owned Film Companies 4.1.2 Comparative Analysis of Competitiveness

4.2 Analysis of Listed Private Companies 4.2.1 Huayi Brothers

4.3 Analysis of Private Companies 4.3.1 Galloping Horse 4.3.2 Le Vision Pictures 4.3.3 Wanda Films 4.3.4 New Classics Media 4.3.5 Mei Ah Huatianxia

5. Chinese Film Exhibition Industry in 2012 - A Study of Movie Theater Chains in China

5.1 General Information about Movie Theater Chains in China 5.1.1 Theater Chains in China

5.2 Overview of Movie Theater Chain Operations in China in 2012 5.2.1 Market Overview 5.2.2 Analysis from Three Separate Parameters 5.2.3 Analysis of Concentration Levels

5.3 Market Performances of Theater Chains in 2012 5.3.1 Theater chains in China have experienced the following trend: As the first tier of theater chains expands, improvement within the second tier begins to become visible 5.3.2 Market Performance for First Tier Theater Chains 5.3.3 Market Performance for Second Tier Theater Chains

5.4 Analysis of Two Typical Theater Chains 5.4.1 Wanda Cinemas 5.4.2 Jinyi Circuit

5.5 Analysis of Theater Chain Development Trends in China 5.5.1 Theater Chains Participate in Financial Investment and Distribution, as well as the Arrangement of the Entire Industry

China Film Industry Report 2012-2013 (in Brief)

5.5.2 Wanda Cinema’s Acquisition of AMC Has Opened up the Path for the Expansion of Chinese Films Overseas 5.5.3 The disparity between the operational scales of the different theater chains grows daily, causing the consolidation of theater chains in China to become gradually more visible 5.5.4 Online “theaters” perform especially well and continue to explore this new channel for film screening in China

6. China Film Exhibition Industry in 2012 –A Study of Movie Theaters in China

6.1 Overview of the Development of Movie Theaters in China for 2012 6.1.1 Development of Chinese Movie Theater Numbers and Screen Numbers in 2012 6.1.2 Expansion of the Number of Digital Movie Screens in China for 2012 6.1.3 Growth in the Number of 3D Movie Screens in China for 2012 6.1.4 Growth in the Number of IMAX Movie Screens in China in 2012

6.2 Overview of the Movie Theater Market in China in 2012 6.2.1 Different Movie Theater Groupings in China based on Box Office Performance for 2012 6.2.2 Top 100 Chinese Theaters based on Operational Effectiveness in2012 6.2.3 Top 10 Theaters in Box Office Proceeds in 2012

6.3 Analysis of Theater Investment 6.3.1 Analysis of Theater Investment Policies 6.3.2 Theater Investment Management Companies 6.3.3 Analysis of Two Typical Theater Investment Companies



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