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The development of the film industry

2019-07-10 来源: 51due教员组 类别: Essay范文

下面为大家整理一篇优秀的essay代写范文- The development of the film industry,供大家参考学习,这篇论文讨论了电影行业的发展。目前,我们的电影市场还不是很完善,对于电影档期的运作方式主要还是在学习和模仿阶段,其中最重要的就是学习和模仿美国好莱坞的运作方式。而在学习和模仿的过程中,电影产业也在日臻完善。

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There are two main ways to define the film industry schedule. The first one is based on the perspective of distributor, cinema and cinema: the schedule is the time interval from the release date to the next release date of the film. Second, audience based perspective: schedule is the period of time in the market when potential audiences have free time and are willing to focus on a certain type of film.

At present, China's film market is not very perfect, and the operation mode of film schedule is mainly in the stage of learning and imitation, the most important of which is to learn and imitate the operation mode of American Hollywood, but China's film industry is also improving day by day. At the present stage, China's film schedule has formed a preliminary pattern, namely to the Spring Festival, summer holiday, New Year's day and National Day, the four main schedule, and five first gear, valentine's day, tomb-sweeping day and Dragon Boat Festival and other small schedule as a supplement. As a very special phenomenon in the film industry, it is precisely due to the existence of this special phenomenon that the box office of the film also presents seasonal changes along with the fluctuation of this schedule. The main characteristics are that winter and summer are two important nodes of domestic film box office revenue. The following analysis of this paper will be divided into film schedules according to the New Year period, summer period and others. Among them, the new file is refers to the playing time is between 1 December - February 28th between movie season, summer is refers to the playing time is between June 1 - August 31 films between sessions, divided by a new file with the summer season for other films, concrete segment for March 1-31 May and September 1 - two sessions on 30 November. For the convenience of research, we recorded the Chinese New Year period as schedule A, the summer period as schedule C, and the two schedules from March 1 to May 31 and September 1 to November 30 as schedule B and D respectively.

As can be seen from table 1, the number of new releases of A in the 2015-2016 schedule is 41, accounting for 25.95% of the number of new releases. The number of new films released in the schedule B is 35, accounting for 22.15% of the number of new films released. The number of new films released in schedule C is 43, accounting for 27.22% of the number of new films released. The number of new releases in schedule D was 39, accounting for 24.68% of the number of new releases.

In terms of box office revenue, the box office revenue of period A in 2015-2016 was 49.525 billion yuan, accounting for 28.04% of the total box office revenue. The box office revenue of period B was 37.055 billion yuan, accounting for 20.98% of the total box office revenue. Box office revenue in schedule C was 42.941 billion yuan, accounting for 24.31% of the total box office revenue. Box office revenue in period D was 47.117 billion yuan, accounting for 26.67% of the total box office revenue.

Considering the great difference in the quality of films, the overall reputation of films released in schedule C in 2016 is lower than that in schedule D. The relatively low reputation of schedule C affects the increase in the number of moviegoers in the current period, which leads to relatively low box office revenue in the current period. This is also in line with the market law. In addition, five of the top 10 films were released on release A and one on release C. Among the top five films, 4 are released on schedule A, which further fully demonstrates the seasonal distribution of the film industry.

Due to the significant differences in culture, customs and habits between different countries, the film's release schedule is very careful. In the following analysis, we divide the newly released films into domestic films and international films, and further analyze the number of domestic films released and box office revenue. As can be seen from table 2, the number of domestic new films released in the 2015-2016 schedule A was 30, accounting for 34.09% of the number of new films released. The number of domestic new films released in schedule B was 13, accounting for 14.77% of the number of new films released. Schedule C the number of domestic new films released was 27, accounting for 30.68% of the number of new films released. The number of new films released in schedule D is 18, accounting for 20.46% of the number of new films released. It can be seen that the distribution characteristics of domestic films exactly reflect the obvious seasonal distribution characteristics. In terms of box office revenue, the box office revenue of period A in 2015-2016 was 36.665 billion yuan, accounting for 36.83% of the total box office revenue. Box office revenue of period B was 10.356 billion yuan, accounting for 10.41% of the total box office revenue. Box office revenue in period C was 27.304 billion yuan, accounting for 27.43% of the total box office revenue. The box office revenue of slot D is 25.223 billion yuan, accounting for 25.33% of the total box office revenue. Therefore, it can be seen that both slot A and C are higher than slot B and D in terms of box office revenue and the number of new releases.

It can be seen from figure 1 and figure 2 that the number of new releases is basically consistent with the change trend of the box office, which fluctuates in a zigzag pattern with the seasons. In terms of the release of new films, the release of new films in that year mainly focused on schedule A and schedule C, and showed the same trend in the following year. In addition, in some special festival dates, the cluster of new releases is more obvious. For example, seven films were released on February 19, 2015, and three films were released on February 8, 2016. In terms of the box office, the box office revenue in 2015 period A and C was significantly higher than that in period B and D, indicating that the New Year period and summer period were the two peaks of box office revenue in that year. In 2016, the box office revenue of stage A was significantly higher than that of stage B and D, but the box office revenue of stage C was lower than that of stage D when compared with the same stage of the previous year. For the former, the decline of box office revenue was mainly caused by the decline of the overall quality of films in 2016 and the decline of reputation. For the latter, the quality of films released in schedule C is generally lower than that in schedule D. Excluding the influence of film quality and word-of-mouth factors, it can be judged that the box office revenue of a film presents an obvious cyclical change trend with the seasons.

The regression results for lambda = 0.000749 or lambda = 1.001 are shown in table 3. This is an indication of a bad outcome. Nor can it be improved by using film quality data such as scores, regions and genres. So the Einav comparison doesn't make a lot of sense, but it doesn't mean it's a potential problem, given the short data span and the fact that theaters and studios may be more concerned about the impact of specific festival dates in the short term.

In general, the film schedule has a significant role in promoting the box office. In the appropriate schedule, the audiences have more spare time for consumption, which leads to the increase in the number of movie goers and the promotion effect on the box office is improved. However, the movie-watching experience in the schedule also pays more attention to the film reputation, so there is heterogeneity in the impact on the box office of films with different reputation.

Film schedule is a very important factor affecting the box office revenue, is the key to achieve high box office revenue, more and more attention by directors and investors. In essence, film schedule is a kind of film marketing and publicity strategy, which is generally carried out in the early stage of cinematography. The system, process and science of film scheduling, as well as the marketing means and strategies of implementing different film scheduling according to different film theme and melody classification, have become a sign of whether a national film market is mature or not.

The real problem with Chinese films is that they rely too much on IP and stars, and have no mature mechanism to control the production process, thus relaxing the requirements on film quality. However, as Chinese audiences appreciate good films and are willing to pay for sincere works, it is no longer normal for Chinese films to make money. Only films that win with quality can make expected profits.

The importance of schedule is self-evident, in the Spring Festival, summer, New Year and National Day, there is a high flow, if the film is released during this period, to obtain greater profits. However, when arranging the current period, a reasonable combination should be made according to the connotation of the film and its time slot. For example, Wolf warrior 2 makes reasonable use of its time slot and patriotism, thus achieving the highest domestic box office record.

When the film is released, it shall pay attention to the integration of various existing marketing resources, such as the integration of production, development, release and related industries, and establish a multi-fulcrum profit model and capital recovery channel with the film works as the center.

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