对中国电影产业市场环境营销策略

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摘 要:这篇论文是一篇对中国电影产业市场环境及营销策略的分析报告.总共包含了四章.首先,第一章对中国电影的发展史进行了简要的回顾,然后,第二章是关于中国电影市场环境在过去二十年间发生的变化的概述,其次,第三章对现阶段中国电影产业应该采取何种市场营销策略以促进其更好地发展进行了深入的分析,最后,第四章将会谈到在加入了WTO之后将会给中国电影产业带来哪些机遇和挑战.

总的来说,本论文对中国电影产业的分析研究可以概括为以下三个方面:

对中国电影产业的发展回顾以及现状分析,

揭示目前存在于中国电影产业的问题与面临的挑战,

对中国电影产业在未来的发展中应该采取何种市场营销策略以及如何应对外国电影进军中国市场所带来的影响提出建议和意见.

Abstract:Basically,thisdissertationisgoingtomakeananalysisontheissueofChina’ilmindustry.Itgenerallyincludeourchapters.Firstofall,ChapterOnewillgiveabriefreviewofthedevelopmenthistoryofChina’ilmindustry.Then,ChapterTwowilldiscussthevaryingMacroEnvironmentofChina’ilmmarketinpasttwodecades.ChapterThreewillconsiderthepropermarketingstrategythatshouldbeimplementedasaneffectivedirectioninthedevelopmentofChina’ilmindustry.Finally,ChapterFourwilltalkabouttheimpactanddevelopmentprospectsofWTOentryonChina’ilmindustry.

Essentially,thisdissertationisaimtoacplishmainlythreeoutes:

*TogiveabriefintroductionaboutthepastandpresentsituationsofChina’ilmindustry,

*TorevealtheproblemsandchallengesthatexistingincurrentChina’ilmindustry,

*Topresentsomeremendationsontheaspectsofmarketingmunications,petingwithforeignpetitorsandfurtherdevelopmentinthefuture.

关 键 词:中国电影产业发展史中国电影市场环境营销策略WTO机遇挑战发展前景

KeyWord:China'ilmindustrydevelopmenthistoryChina'ilmmarketenvironmentmarketingstrategyWTOopportunitychallengedevelopmentprospects

Methodology

Thewritingofthisdissertationistotallybasedonsecondaryresearches.Allthematerials,figures,tablesandtheoriesthatsupportcontributionstothisdissertationareoriginallyfromtheinter,andbooksinlibrary.

Introduction

Whenattemptingtounderstandtheevolutionhistoryofthefilmindustryinanycountry,itisalwaystruetorememberthatcinemais“aculturalpractice”.Thus,“thedifferentdimensionsofcinemaartistic,mercial,industrial,technological,political,andideologicalarevitallyinterconnected”.“Theplexwaysinwhichfilm-makers,theaudience,officialdom,critics,andcustodiansoftasteandindustrialistsinteractmeritveryclosestudy”.

Inthepastcentury,China’ilmindustryhaswitnessedmanyhistoricalchanges,suchastheingandgoingartistictrends,theriseandfallofrelatedbusiness,aswellastheprogressandretrogressionexperienced.Assignificantastheyare,thesechangeswhichcanbeviewedasthemilestonesindifferentperiodsinthedevelopmenthistoryofChina’ilmindustryalwaysareworthytobeanalyzedclosely.Thewayofhowthedimensionentionedaboveinteractalsoinvitesseriousstudy.Consequently,thisdissertationwillpresentananalysisonChina’ilmindustrywhichisonthebasisoftheseprinciples.

Chapter1:ABriefReviewofTheDevelopmentHistoryofChina’sFilmIndustry

On11August1896,“WesternShadowplay”wairstintroducedatYouyicunofXuGardens,ateahouseforvariousentertainmentsinShanghaibyaFrenchShowman.Itiarkedasthebeginningoffilm’sentranceinChina.Sincethen,thedoorforenterChina’ilmmarketwasopenedgraduallytotheWestthroughthediverseteahousefilmshowsinShanghai.However,notjustforeignbusinesenhadrealizedthepotentialfinancialbenefitromattractingChineseaudiencesthroughnewlyimportedWesternshadowplays,Chineselocalindustrialistsalsoconsideredfilmsasaprofit-makinenture.Thefirstattemptatfilm-makingnationallywasConqueringJunMountainintheautumnof1905,whichcanbeviewedastheofficialbirthofChineseCinema.


Bringingtotheforeground,theChinesefilmindustrydidnotbeginuntil1913whenthefirstChinesemovieTheDifficultCouplewasshotbyZhengZhengqiuandZhangShichuanwithforeignfundsandtechnology.In1931,China’irst“talkie”TheSongstress,RedPeonywasproducedbytheStarStudio,whichwasthefirstfilmproductionstudioinChinaestablishedbytheCommercialPressin1923.

Toattractaudiences,inDecember1907,therebuildingofBeijingGrandTheaterwaspletedandbegantoshowmovies.Inthesameyear,thefirstChinesemoviecinema,Ping’anCinema,wasestablishedinBeijingbyforeigninvestors.AccordingtothereportsoftheMinistryofCommercialAffairsofUnitedStates,intheyearof1926,therewere26cinemasinShanghaibecauseofthepopularityofbothdomesticandforeignfilms.Attheendof1930s,thenumberreached36.

Duringtheperiodfromearly1930sto1937,China’ilmindustryhasbeenexperiencedanimportanteventwhichwascalledtheNewFilmMovement.Althoughlastingforonlyafewyears,itwasextremely“invogue”atthattimeandhaadesignificantcontributionstothewholeChinesesociety.Differentfromthefilmsinthe1920s,mostoftheworksproducedthensoughtforstepoutofthenarrowrestrictionsofethicsissuesandfamilytrifles,andturnedtofocusonthedarksideofthesociety.Thefilmscourageouslyexposedthehideousproblemsthatpeoplewereconfrontingaswellasexpressedthewishesofpeopletorebelagainstimperialiandfeudaliandpursuetheirfreedom.ThemostfamedrepresentativeswereStreetAngel(1937)andCrossroad(1937).

Inthe1940s,althoughthefilmmarketwasinachaoticstatebecauseofbeingontheeveofChina’sliberation,film-makingadvancedmorequicklythanithadinthe1930s.Forinstance,bothoftheclassicalworksSpringRiverFlowsEastward(1947)andLightofMillionHopes(1948)hadhighartisticvaluesandcreativespirits.

Ingeneral,“duringthe43yearrom1905to1948,Chinaprogressedfromshowingonlyforeign-madefilmstoshootingitsownandfromusingforeignfundsandtechnologiestofilmingindependently.Eventually,Chinabecamestrongenoughtodevelopitsownnationalcinema”.

DuringthedecadeollowingtheestablishmentofPeople’sRepublicofChinain1949,mostofthefilmswereconcerningthewarofresistanceagainsttheJapaneseaggressionandthecivilwar,andtomemorateandextolthepeople’sheroeswhosacrificedinthosewars.Forinstance,DongCunrui(1955)byGuoWeiandTheRedDetachmentofWomen(1961)byXieJin.However,China’ilmindustryfellintodisastertimeduringtheperiodof“CulturalRevolution”.Therewasnofilmsproducedbetweentheyearof1966and1972duetothestrictconfinesofpoliciesandinthelatterfouryears,filmunfortunatelybecamethetoolofthe“GangofFour”policy-makerstomunicaterevolutionarythinking.

Intheyearollowingthe“CulturalRevolution”,film-makersbegantofreetheirmindsandtherangeoffilmsubjectsweremoreextendedthaneverbefore.Filmindustryboomedagainandmoviebecameapopularmediumofentertainment.TheemergenceoftheFifthGenerationoffilm-makerswhomademovieorthesakeofartsshockedChina’ilmindustryandsomerepresentativedirectorswonawardsatinternationalfilmfestivalsonceandagain.Forinstance,intheyearof1987,ZhangYimouwontheGoldenBearAwardsattheBerlinFilmFestivalforhiirstinternationalawardwithRedShumandthefilmhasachievedartisticandmercialsuccessesdomesticallyandinternationally.Similarly,anotherhighlyacclaimeddirectornamedChenKaigewonnumerousinternationalawardsaswellwithhiostfamousYellowEarth(1984).


Atthesametime,becauseChina’ilmproductionturnedtobemarket-orientedinthe1980s,anumberofdirectorsstartedtomakemercialfilmorentertainmentbutnotart.Thefilmorthispurposerangingfromhumorouilms,cartoonfilmstokongfufilms,andtheproductionofthesefilmsreacheditspeakattheendof1980sandevenlastedto1990s.TheentertainmentfilmshadasignificantpositioninChina’ilmmarket,especiallyontheaspectofbalancingtheexpansionofforeignentertainmentfilmswhichwereallowedtobeshowninChinabyChinesegovernmentsince1995.

Ingeneral,alloftheartmovieadebytheFifthGenerationandtheSixthGenerationfilm-makersandtheentertainmentmovieshegainedconspicuoussuccessesathomeandabroad,andopenedanewphaseforChina’ilmindustryinthenewmillennium.

Chapter2:AnalysisonTheVaryingMacroEnvironmentofChina’sFilmMarketInPastTwoDecades

Whenseekingtounderstandthehistoricaldevelopmentoffilmindustryinanycountry,whetheritisinChinaorIndiaorUnitedStates,itisalwaystruetobearinmindthattheeffectofmacroenvironmentofthemarketisanextremelyimportantfactorthatcannotbeignored.Ailmsaredistinctproductsofvariousculturalgeographies,itisobviousthatdifferentmacroenvironmentscanhedifferenteffectsonthefilmindustry.AccordingtoPhilipKotlerandGaryArmstrong,themacroenvironmentconsistsofdemographic,economic,natural,technological,political,andsocialforces.RegardingthefilmindustryinChina,themacroenvironmentofitilmmarkethaschangeddramaticallyinpasttwodecades,especiallyontheaspectsofpolitical,economic,socialandtechnologicalfactors.Thesetranormationsareworthytobeanalyzedcarefullyfortheimportantsignificancestheyhold.

2.1PoliticalEnvironment

Attheverybeginningof1980s,China’ilmmarketwaspletelystate-controlled.Theformofcentralizationwaslackofscientificmanagementandlong-termstrategy.Asaresult,theproblemsoflowproductivityandinefficiencyofthestate-runenterprisesinsuchapoliticalenvironmentbroughtfinancialcrisistothefilmindustry.Allthreesectorswithintheindustry:production,distributionandexhibitionlostmoney.Thecrisiscalledforareforminthehopeofalteringmarketpositionandreconstructingtheindustry.Thereupon,inthesecondhalfof1980s,Chinesegovernmentimplementedreformfirstlyinthedistributionsector.Differentfrombefore,localdistributorsweregrantedmoreeconomicautonomyandfinancialresponsibilities,andnolongerfunctionedonlyasthemediumwhopassedalongmoviestothecinemasandturnedovertheboxofficerevenuetothecentralgovernment.Furthermore,theybegantohetherighttoshareprofitswiththegovernment.

InJanuary1985,theChinaFilmBureau(GUOJIADIANYINGZONGJU)heldaprofessionalconferencetoassesstheouteofearlyreformanddiscussthewayorfurtherimprovements.Decentralization,pricereformandenterprisereformwereissuedasthekeymeasuresintheconference.Consequently,stateinterventionontheoperationsinlocalfilmmarketwasconfinedinabroaderway.Ticketpricesteppedoutoftherestrictionofsingle-pricesystem,andwasallowedtobeadjustedaccordingtodifferentmarketvaluesindifferentplaces.Aorenterprisereform,privateenterprisesandindividualproductionunitsweregrantedmoremanagerialautonomyandfinancialincitementtoincreaseproductivity,andultimatelytogainmorerevenueaswellaarketprofits.


InJanuary1986,theFilmBureauwastranerredfromtheMinistryofCulturetothenewlyformedMinistryofRadio,FilmandTelevision.TherestructuringwasattemptedtobringstrictercontrolonChina’ilmmarket,andtostrengthenthesupervisionovermarketingoperationswithinthewholeindustry.

InJuly1997,thepoliticalstatusofHongKongwitnessedahistoricchangefromacrowncolonyofGreatBritaintoaspecialadministrativeregionofthePeople’sRepublicofChina.Toacertainextent,thetranormationhasbroughtchangestoChina’ilmmarketaswell.Themostsignificantoneisthenumberofco-productionfilmadebyboththemainlandandHongKongincreaseddramatically.Forinstance,intheyearofwhichiollowingimmediately1997,halfoftheco-productionfilmsshowninChinesecinemaweremadewiththecooperationofHongKongfilmenterprises.

Withthegoaloffurtherdevelopment,Chinesegovernmentestablishedaseriesofstatutesinsuccessiontoregulatetheoperationsinfilmmarketduringtheperiodof1990s.Afterthe16thNationalCongressoftheCommunityPartyofChina(CPC)whichwasheldin2002,Chinesegovernmentincorporatedthedevelopmentofculturalindustryintothenationallong-termdevelopmentstrategy.Undertheguidingofthisprinciple,China’ilmadministrationbegantoquickenitsstepstowardilmindustrialization,byacceleratingtherenovationprocessintheindustryandenhancingtheoperationstandardswithinthewholemarket.

2.2EconomicEnvironment

Generallyspeaking,inthe1980s,Chinahaadeanoutstandingprogressineconomicdevelopmentbecauseoftheimplementationofeconomicreformandanopeninguppolicy.Sincethe1990s,Chineseeconomyhaaintainedarapidgrowthwithayearlyrateofaround8percent.TheflourishingeconomicenvironmenthascreatedahistoricdevelopmentopportunityforChina’ilmindustry.Moreover,accordingtothepredictionofChinesegovernment,bytheyearof2020,theGDPwillincreasedoubly,andtheGNPwillincreasefrom$1,000billionin2001to$4,000billionin2020.Undoubtedly,theseachievementswillcertainlybringaboutafurtherdevelopmenttoChina’ilmindustry.

Ontheotherhand,theboomingeconomyhasbroughtaboutagreatchangetotheconsumptionhabitsofChinesepopulationaswell.Sincethesecondhalfof1990s,theconsumptionofculturalproductshadasteadyincreaseyearbyyear,andnowalmostequalstotheamountofmaterialproducts.Withtheeconomicdevelopment,theconsumptionofculturalproductswillundoubtedlyincreaseonalargerscaleinthefuture.

2.3SocialEnvironment

Comparedwiththeyearsbefore1980s,thenumbersofthepopulationindifferentagelayersgraduallyreachedastateofequilibriuminpasttwodecades.Therateofbothbirthanddeathhadasteadydecreaseyearbyyear.Therefore,China’ilmindustrywasrequiredtocarryoutcorrespondingadjustmentstoadapttothissignificantchangeinitssocialenvironment.Forinstance,thefilmenterprisesandfilm-makersbegantorealizethatthetargetaudiencesshouldbeenlargedtobeingincludepeoplefrom5to60.Inaddition,thetypesoffilmsshouldbefurtherexpandedtosatiydifferentdemandsofpeopleindifferentagesaswell.Asaresult,themarketwhichistargetingonyoungchildrenandelderpeopledevelopedrapidly.Anumberofoutstandingfilmsincludinganimations,warandmilitaryfilmsemergedandreceivedhighlyappraisements.


Secondly,sincethe1980s,Chinahasgainedgreatachievementsintheeducationarea.Intheyearof1986,ChinesegovernmentpromulgatedthepolicyofNineYearsCompulsoryEducation,whichstipulatesthateverychildofschoolagemusthelegaleducationfromprimaryschooltojuniormiddleschool.Sincethen,thenumberofeducatedpeopleinChinaincreasedheily,andreachedahistoricpeakof91.8%by2003.Asaresult,inordertofurthersatiypeople’sdemands,sciencefictionfilms,educationalfilmsaswellasdocumentaryfilmsbegantoappearincinema.Tothegreatestextent,thesenewlyemergedfilmsheenrichedthecontentofChinesecinemaandstimulatedthedevelopmentofChina’ilmindustry.

Atlast,duringthelongperiodbeforethe1980s,moviehadalwaysbeenoccupiedthewholeentertainmentmarketinChina.However,sincethemid-1980s,theemergenceofotherentertainmentoptionssuchastelevision,radio,videopactdiscs,KaraokeandInterhebeenaffectingthefilmmarkettosomeextent.Movieswerenolongerasattractiveasbefore,andthenumberofmoviespectatorsdecreaseddramaticallyyearbyyear.

2.4TechnologicalEnvironment

Ingeneral,thetechnologicalenvironmentofChina’ilmmarketchangedsignificantlyinpasttwodecades.Ascanbeseeninthetablebelow,duringthisperiod,theproductioncostsofChinesemovieshadasteadyincreaseyearly.Mostofthefundshebeenusedtocreatenewandadvancedtechnologiestomakethemovieoreattractiveandinteresting.Forinstance,withtherapiddevelopmentofputerscience,3Dthecreationofmovingpicturesinathree-dimensionaldigitalenvironmenthasbeenimplementedinthepost-productionprocesstocreateaspecialvisualeffectfortheaudiences.

Ontheotherhand,sincethe1980s,therewasanewtrendthatanumberofuniversitiesbegantoopenpost-productioninstituteorimagedesignandtechnologypractice.Moreover,manyinstitutions,academicdepartmentsandanizationswereestablishedbyprofessionalfilm-makers,toinstructadvancedtechnologiesandspecialistknowledgeofothercountries.

Chapter3:MarketingStrategy

Basically,movie,asakindofculturalproducts,isbothsimilarwithanddifferentfromthematerialproducts.Ontheaspectofthedifference,movieisanintangiblethingthatcannotbesubstantiallytouchedbypeople.However,assimilarasthematerialproducts,movieneedarketingprocesstomunicatewithpeopleaswell.Inthisrespect,marketingstrategiesarealsoapplicableinfilmindustry.

Generalspeaking,themarketingstrategiesthatcurrentlyimplementedinChina’ilmindustryisnoteffectiveenough.ItwouldmakeChinesemovieslackofpetitiveforcesinbothdomesticmarketandoverseas.Therefore,itisextremelynecessarytoalterthissituationbycarryingoutrelativelyefficaciousstrategiesinstead.Inthischapter,theAnsoff’sstrategicmarketingdirectionsaswellasthemarketingmixwillbeanalyzed.Itwillmainlyconcentrateondiscussingthemarketingstrategiesthatshouldbeimplementedindomesticmarket,however,italsowillconsidertheoverseaarketstosomeextent.


3.1StrategicMarketing

Withintheplicatedenvironmentwithincreasingmarketsaturation,fiercepetitionanddecliningprofitsinglobalfilmmarket,China’ilmindustryrequiresgreaterconcernonmoreefficaciouarketingstrategiestodirectthedevelopmentandenhanceitspetingcapabilities.AccordingtothefamousAnsoff’sStrategicMarketingDirections,“therearereallyjustfourways(strategicdirections)thatananizationcanexpanditsoperationstofilltheperformancegap”.


Ascanbeseeninthetableabove,Ansoff’sStrategicMarketingDirectionshasissuedfourelementorstrategicmarketing.Theyseparatelyare:marketperation,productdevelopment,marketdevelopmentanddiversification.

3.1.1Peration

Firstofall,perationisconsideredasthestrategywithlowestriskamongall.Itconcentratesonsellmoreofexistingproductstoexistingmarket.Usuallyitprisesintensivepromotionalactivities,moreaggressivepricingpoliciesandextensivedistributions.Forthosewhoadoptthisstrategywouldassumethereispotentialdemandorthepetingadvantageswillbefurtherexploited.However,theideathatitisdifficultforexistingproductstosatiythechangingdemandsofcustomersandthemarketplaceliesinthecontrary.Whatiore,“thematchingofneedsbetweenthecustomerandthecorporationmustbenotonlypositive,butalsobetterorstrongerthanbetweenthecustomerandthepetitor”.IncurrentChina’ilmmarket,alargeamountofaudiencesconsiderthatexistingChinesemoviesarelackofcreativitiesaswellasadvancedtechnologieswhichcanmaketheimagesandplotoreattractive.Contrary,movieromtheHollywoodandotherregionswhichcanbeviewedasthepetitorsofChinesemoviesarecapabletosatiysuchdemandsofChineseaudiences.Inthisrespect,ifChinesefilm-makersdonottakeanyactionstoalterthissituationandtoimprovethequalityofmovies,theaudienceswillbeattractedbytheforeignoriginmoviesandconsequently,China’ilmindustrywillgraduallyloseprofitsandmarketshare.

3.1.2ProductDevelopment

Thesecondstrategyisproductdevelopment,whichcontinuestofocusonexistingmarketbuttodevelopadditionalorreplaceableproducts.Itisassumedthatnewproductswillbeacceptedbytheexistingcustomers.Comparedwithperation,thisstrategyhasahigherriskfactorbecausenewproductdevelopmentcanbeexpensive,anditisequivocalthatwhetherthecustomerswillacceptthenewoneornot.RegardingthesituationofChina’ilmindustry,itisundoubtedthatthegovernmentandfilmenterprisesshouldinvestmorefundstodevelopnewtypesofmoviestosatiythedemandsoftheaudiencesaswellastoregainthemarket.However,thosenewtypesofmovieustbeproducedonthebasisofthemarketdemandsandtheirownmarketpositioning.Otherwise,itcanbringChina’ilmindustryanenormouslosorsuchaninvestmenttodevelopunpopularmovies.


3.1.3MarketDevelopment

Withintheexistingmarketwhichissaturatedandtoopetitive,China’ilmindustrycancontinuetoconcentrateondevelopingexistingrangeofproductsbuttoseekfornewmarketsabroad.ItisthethirdstrategyofAnsoff’sStrategicMarketingDirectionscalledmarketdevelopment,whichhashigherriskyfactorthanthetwostrategieentionedbefore.Basically,toopenupforeignmarketscanbringmoreprofitsanddevelopmentpotentialstoChina’ilmindustry.Ontheotherhand,itioreriskyaswell,especiallywhenenteringthenewmarketswhicharenotwellunderstood.ItisagambleforChina’ilmindustrytoenteranewmarketwithoutsufficientinvestigationsonthemacroenvironment,markettrends,audiences’demandsaswellaspetitors’strategies.Forinstance,whenplanningthepricingstrategyformoviesgoingtobeshowninanewmarket,simplyknowtheerageticketpricesofthepetitorsthereiarfromenough.Strategically,itisnecessarytofindouthowmuchflexibilitythepetitorsheinfurtherreducingtheprice.

3.1.4Diversification

Diversification,whichistooffernewproductstonewmarkets,isthemostriskyoneinallofthefourdirections,althoughtherearehighestprofitsandpotentialreturnsaswell.Tooidtheriskstothegreatestextent,firstly,itisnecessarytounderstandwellaboutthenewmarkets,ontheotherhand,toidentifythepetitiveadvantagesandmarketpositioningofthenewproductsalsocannotbeneglectedwhenenteringthenewmarkets.Inordertofurtherdevelopforeignmarkets,China’ilmindustryshouldcontinuouslymakecontributionstotheproductionofnewtypesofmovieswithsignificantChinesefeatures.However,itisimportanttoensurethatthesemoviescanbeacceptedbytheaudiencesinthenewmarketsbecauseofthedifferencesofculturalbackgroundsaswellasartisticvalues.“Marketingrepresentstheboundarybetweenthemarketplaceandthepany,andknowledgeofcurrentandemergingtrendsinthemarketplaceisextremelyimportantinanystrategicplanningexercise”.

3.2MarketingMix

Marketingmixcanbedefinedas“thesetofcontrollable,tacticalmarketingtoolsthatthefirmblendstoproducetheresponseitwantsinthetargetmarket”.Itconsistsofeveryelementthatafirmoranindustrycanapplytoinfluencethedemandofitsproduct:product,price,promotion,place,people,processandphysicalevidence.Withthepurposetooccupydomesticmarketwiththelargestportion,China’ilmindustryshouldtakestepstoreformthemarketingprocesstocatertothemarkettrends.Generallyspeaking,thestepscanbecarriedoutaccordingtothesefourelements:product,price,promotionandplace.

3.2.1Product

“Productsarethefocalpointbywhichpaniesseektosatiycustomers’needs”.ItisatruththatChina’ilmindustryshouldbearinmindinthedevelopmentnomatterindomesticmarketoroverseas.“Productspriseplexbundlesofattributeswhichmustbetranslatedintobenefitorcustomers”,andthereisnoexceptionforthespecialculturalproductssuchaovies.InnowadaysChina,audiencesnormallyhehigherexpectationsonthemoviestheychoosethaneverbefore,nomatterwhattypesofthemoviesare.Theynotonlyseekforsatiactionsafterseeingamovie,butalsootherdeepsensationssuchasexcitement,beingtouchedordisgust.Forexample,audiencesanticipatestoseekongfumoviesorsciencefictionmovieswithamassofadvancedputertechnologieswhichcanmakethesceneoreattractive,themovieswithfascinatingplots,orathought-provokingsubjectthatcanmakepeoplestarttothinkaboutsomeseriousproblemsthatexistinginthesocietyafterwards.Inthisrespect,Chinesefilm-makersshouldmakeeffortstotheutmosttoenhancethequalityofthemoviestosatiysuchdemandsoftheaudiences.


3.2.2Price

Asanoversuppliedproduct,itisdifficultforChinesemoviestoattractmoreandmoreaudiencesastherearemanyotherchoiceromforeigncountriesexistingincurrentChina’ilmmarket.Therefore,theremustbeagoodreasonfortheaudiencestochooseChinesemoviesinsteadoftheforeignoneswhicharegraduallyoccupyingalargeportioninChina’ilmmarket.ToofferalowerpriceisagoodwaytoincreasethepetitiveedgeofChinesemovies.“Oneofthesolutionstoencouragetrialisbyofferingpriceswhicharesufficientlylowthatalargenumberofbuyerswillswitchfromtheirexistingsupplier”.Basically,thePerationPricingStrategycanbeadoptedtohelpChinesemoviestowinmoremarketshareinthepetitionwithforeignculturalproducts.Besidesthepetitiveprice,offeringdiscountsonspecialfestivals,regularcouponsaswellareeauxiliaryproductssuchaspostersorDVDscanalsoattracttheaudiences.Forinstance,theSpringFestivalisthemostimportantfestivalinChina.Peoplealwaysgettogetherwiththeirfamiliesatthattimeandhevariousentertainmentorcelebration.Togotothecinemaisonepopularoptionthatmanypeopleprefer.InordertoattractmoreaudiencestochooseChinesemovies,filmenterprisescanofferabigdiscountontheticketpricewithconcessionssuchasbuyoneticketandgetthesecondonehalfoff.

3.2.romotion

AccordingtoPalmer,“therealityofmostmarketsiiercepetitionbetweensuppliersinwhicheachsupplierhastomunicatetopotentialbuyerstheuniquebenefitsofbuyingitsproductsratherthanthepetitor’s”.Inordertoobtainthebestresultinthepromotionprocess,itioreeffectiveforChina’ilmindustrytoapplythe“Pull”promotionalstrategyratherthanthe“Push”,forChinaisalargecountryinitsterritoryarea.Forexample,filmenterprisesanddistributorscanputadvertisementsonthebest-sellingnewspapersandmagazinesonanintensivebasisbeforeanewmovieisgoingtobeshowninthecinema.Besides,toholdpublicactivitiesinweekendsorholidaysisanotherpopularwaytopromoteamovie.Inaddition,topromotemoviesontheInterisgraduallybeingasignificantmethodnowadays.Inthe“1990s,theInterhasevolvedintoalowcostmasunicationmediumthatempowersalmostanyonetopublishtexts,movingpictures,music,etcinstantly”.TheInterallowspeopletoconnectwithmillionsofothersallovertheworld.Therefore,topromotemoviesontheIntercangetaneffectiveresultatthelowestcost.Inthisrespect,China’ilmindustryshouldpaymoreattentionsonputtingpromotionsontheInterasaresponsetothistrend.Forinstance,filmenterprisescanbuildacooperationrelationshipwiththefamouswebsiteswhichhealargeamountofbrowsingratestopromoteanewmovie.Moreover,theycanestablishanonlinemunityfortheaudiencestoexchangetheiropinionsaboutcertainmovies,orevenpresentsuggestionsandexpectationsontheindustry.


3.2.4Place

“Placeincludespanyactivitiesthatmaketheproductailabletotargetconsumers”.Itisanextremelynecessaryelementforaneffectivemarketingprocess.RegardingthesituationofChina’ilmindustry,tomaintainanunobstructeddistributionchannelforensuringmoviesareailabletotheaudiencestothegreatestextentisoneofthemostimportantfactorsinoccupyingthefilmmarket.Therefore,filmenterprisesshouldcooperatewithlocaldistributorsindifferentregionstomakesurethatthereisnoobstacleinthiactor,aswellastoseekfortheirhelptodealwiththeproblemshappenedinotheraspects.Ontheotherhand,filmenterprisesshouldlearnfromtheexpertiseandsuccesulexperienceofforeigncounterpartsonhowtoexpandthecoveragerateofthefilmmarketaswell.

Chapter4:TheImpactandDevelopmentProspectsofWTOEntryOnChina’sFilmIndustry

ChinaofficiallybecameamemberofWTO(WorldTradeOrganization)attheendof2001.Theaccessionhasbroughtanumberofsignificantopportunitiestothedevelopmentbothineconomyaswellasotherindustries,andthereisnoexceptioninthefilmindustry.However,China’ilmindustryalsohasbeenconfrontingmanychallengessincethemembershipofWTO.Forexample,inordertomeetthemitmentsofitsWTOentry,Chinesegovernmenthaadetwoagreementsonopeningupthefilmmarkettotheforeigncounterparts.Firstly,aftertheaccession,20foreignmovieswouldbeallowedtobeimportedforreleaseonthebasisofrevenue-sharingandobeyingChina’sadministrationsonfilms,secondly,foreigninvestorswouldbeallowedtoparticipateinthedevelopmentofChina’ilmindustry,but,withamarketsharelimitationofupto49percent.

4.1TheImpactofWTOEntryonChina’sFilmIndustry

Firstofall,WTOentrycanhelpChina’ilmindustryquickenitsstepstowardsindustrializationandglobalization.WithmoreandmoreforeignfilmenterprisesbegantoinvestChina’ilmmarket,alotofcapital,advancedtechnologiesandmanagerialexperiencehebeenintroducedtotheindustry.Therefore,itioreconvenientforChinesefilm-makerstoutilizeforeignresourcesintheprocessofproduction,post-production,distributionandexhibition.

Secondly,theincreasingforeignmoviesallowedtobeshowninChinesecinemashegraduallybeeamainsourceofChina’sBoxOfficerevenue,whichevenreachedhalfofitinrecentyears.InordertoalterthisoptimisticsituationandenhancethepetitiveforcesofChinesemovies,in2001,anotherthreefilmgroupswereapprovedtobeestablishedbytheChinaFilmBureau(GUOJIADIANYINGZONGJU).Theyrespectivelyare:theSouthChinaFilmGroupwhichiscenteredonGuangzhou-basedPearlRiverStudio,theNorthwestFilmGroupcenteredonXi’anStudioandtheSouthwestFilmGroupwhichiscenteredonChengdu-basedEmeiStudio.

Thirdly,WTOentrymakeChina’ilmindustrybegantorealizetheimportanceofsteppingupthefightagainstpiracy.AccordingtoasurveybytheChineseFilmArtistsAssociation,percapitaspendingoncinemaadmissionfeeseachyearisonly0.8yuaninlastdecade.MillionsofpeoplechoosetowatchmoviesonVCDorDVDplayers,andalargeportionoftheVCDsandDVDsarepirated.


4.2TheChallengesBroughtbyWTOEntrytoChina’sFilmIndustry

Basically,thechallengesbroughtbyWTOentrytoChina’ilmindustrycanbesummarizedintothreeareas:

*Howtoprotectthenation’sownculture,

*TheoldChinesecinemasareinthesituationofbeingeliminatedbytheforeigncounterparts,

*Thedistributionsectorneedstobefurtherreformed.

Asakindofculturalproduct,movieisusuallyusedasamediumforexpressinganation’scultureandideology.However,afterbecameamemberofWTO,thenumbersofforeignmovies,especiallytheHollywoodblockbustersthatareallowedtobeshowninChinesecinemashebeenincreasingdramatically.Asaresult,theWesternculturesaregraduallybeingdisseminatedamongmoreandmoreChineseaudiences,whichhebroughtbothpositiveandnegativeinfluencestothem.Forinstance,someyoungaudiencesconsideredthattheWesternculturesaremuchmoreattractivethanChineseculture.Theyarefetishisticaboutthefigurescharacterizedinthosemoviesandalwaystrytocopythemasexamples.Therefore,China’ilmindustryiacingthechallengeofhowtoprotectthenation’sownculturefrombeingaffectedbytheforeignmovies.

Sincethesecondhalfof1990s,therehasbeenatrendthatmoreandmoreaudienceeelreluctanttogototheoldChinesecinemastowatchmoviesduetotheshabbyfacilities,poorservice,fogyishmanagementaswellasalotofinconveniencesgeneratedontheaspectssuchasbuyingticketsorparking.Ontheotherhand,sincethemembershipofWTO,foreigninvestorsgraduallyrealizedthatthereisahugepotentialmarketinconstructingadvancedcinemasinChina.Asaconsequence,manynewcinemaswithhigh-clasacilitiesandsatiactoryservicesbutalsoforeigninvestmentsemerged.TakeBeijingasanexample,nearly80%ofthecinemasareofall-sizedandmedium-sizedandareoldaswellasoutofdate.Allofthesecinemasareunderthecontroloflocaldistrictsandheaconservativemanagerialsystem.Comparatively,althoughthenumberofforeign-investedcinemasisall,thesecinemascontraattractmuchmoreaudiencesandheagreatadvantageinthepetitionwithChinesecinemas.

Lastbutnottheleast,theinefficiencyinthedistributionsectorhasalwaysbeenamainproblemtohinderthedevelopmentofChina’ilmindustry.Regionalmonopoly,redundantadministrativesystem,andlimitedautonomieorbothproductionstudiosanddistributionpaniesarethethreeprimaryobstacles.Althoughthegovernmenthascarriedoutmanystepstoresolvetheseproblems,theeffectsarenotsatiactoryenough.AfterbeingamemberofWTO,itiscrucialforChina’ilmindustrythatoperationswithinallthesectorustmeetinternationalstandards,andthereisnoexceptionforthedistributionsector.Otherwise,theChinesedistributionenterpriseswillgraduallybeeliminatedinthepetitionwiththeforeigncounterparts.


4.3TheOpportunitiesBroughtbyWTOEntrytoChina’sFilmIndustry

Undoubtedly,theWTOentrycanbringanumberofopportunitiestoChina’ilmindustryaswell.

Inthefirstplace,theWTOentrycanbringmoredevelopmentpotentialstoChina’ilmindustry.Sincetheaccession,theimportedmoviesheoccupiedadominantpositioninChina’sBoxOfficerevenue.AlthoughthissituationwouldmakeChina’ilmindustrybeinginaninferiorplaceinthepetitionforthemarket,itcertainlyhassomepositiveinfluences.ItnotonlycanbringmorerevenuetoChina’ilmmarketwhichisgoodforstimulatingtheeconomicdevelopment,butalsocanmakeChinesefilm-makersaswellailmenterprisesbeingawareoftheirdisadvantagesandthechallengestheyareupagainst.

Secondly,theWTOentrycanspeeduptheprocessofrenovationandmodernizationofChinesecinemas.Inretrospect,thepoorconditionofmostofoldChinesecinemashasbeenabigobstacleinthedevelopmentofChina’ilmindustry.Inthelastanalysis,itisduetolackofenoughcapital,advancedtechnologyandscientificmanagement.AfterbeingamemberofWTO,theincreasingforeigninvestmentshebroughtagoodopportunityforChina’ilmindustrytobegintorenovateandreconstructtheoldcinemas.Thegovernmentandrelateddepartmentsshouldgraspthisopportunityandfullyutilizetheforeigncapital,equipments,technologiesaswellaanagementintheprocessoftherenovation.

Thirdly,theWTOentryhaadeChina’ilmindustryobtainalotofprogressonconsummatingthelegalsystem.SincethemembershipofWTO,China’ilmmarkethasbeenopeninguptoforeigninvestorsgradually.Inordertobettercontrolsuchamultinational-basedmarketenvironment,itisessentialtoestablishapletelegalsystemtoregulatetheoperationswithineachsector.Theadministrationsoverthemarketarerequiredtoalterfromrelyingongovernmentinstructionstolegalsystemaswell.Asaresult,anumberofnewregulationshebeenissued.Forinstance,therearethe“RegulationonFilmManagement”,the“ManagementRegulationonInternationalCooperationinFilmProduction”.Withthedevelopmentcontinues,China’ilmindustrywillundoubtedlyachievemoreimprovementsontheperfectionoflegalsysteminthefuture.

对中国电影产业市场环境营销策略参考属性评定
有关论文范文主题研究: 关于营销策略的论文范文素材 大学生适用: 学术论文、电大论文
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Atlast,theWTOentrycanprovidemoreopportunitieorChinesemoviestoenterforeignfilmmarkets.AccordingtotheWTOprinciples,despiteofimportingforeignoriginmovies,Chinaalsocanexportitsownmoviestoforeignmarkets.Inthisrespect,Chinesegovernmentandfilmenterprisesshouldtrytopromoteaanymoviesaspossibletoforeignfilmmarketsaswell,andconsequentlyquickenitsstepstowardsglobalizationoftheindustry.

Conclusion

Toconclude,thisdissertationhaspresentedarelativelyprehensiveanalysisonChina’ilmindustryontheaspectsofdevelopmenthistory,macroenvironmentofthefilmmarket,marketingstrategiesandthedevelopmentprospectsafterbeingamemberofWTO.Ingeneral,inthepastcentury,China’ilmindustryhaadeagreatprogressandgainedanumberofachievementsinbothdomesticmarketandoverseas.However,theweaknessesthatstillexistingcannotbeignored.Besides,China’ilmindustryisconfrontingmoreandmorechallengesbroughtbytheforeignpetitorsaswell.Inordertobemorepetitive,itisnecessaryforChinesegovernmentandfilmenterprisestoimplementeffectivereformstofurtherdevelopthecurrentstrengthsandimprovethedisadvantages.Moreover,itisimportantforChina’ilmindustrytothinkabouttheissueofhowtoretainthedomesticmarkettothegreatestextentinthepetitionwithforeignoriginmoviesaswell.


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[9]中国九年义务教育人口覆盖率达91.8%

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[10]AStudyofthePotentialoftheChineseFilmIndustry.Availableat:

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