How Far Can French Films Travel in China? An Empirical Analysis from The Cultural Discount Perspective
DOI:
https://doi.org/10.54097/ijeh.v10i1.11173Keywords:
Box Office, Culture Discount, Copyright, Sino-French Co-Production.Abstract
As the second largest film exporter except the United States, France is not only one of the important export countries of European Union, but also a major exporter in China and North America. Cultural discount has generally been a problem in the cultural trade export. This article analyzes box office figures from 2009 to 2018 to examine whether French films of different genres and copyrights are more or less subject to cultural discount when they travel to mainland China. The results show that science fiction, adventure and thriller are apparently the most universal and that genre of drama and copyrights of ordinary and buy-out are highly particularistic, whereas co-productions are relatively universal due to non-significant test results. As the results, development status and trend analysis of Sino-French co-production cases are typically discussed.
Downloads
References
Shan, Ding & Li, Nannan. 2016~2017 Annual Report on Development of European Film Industry in Annual Report on Development of Global Film Industry (2018), Beijing: Social Sciences Academic Press, 2018, 145-171.
Litman, B. R. & Kohl, L. S. Predicting Financial Success of Motion Pictures: The 80s' Experience, Journal of Media Economics, 1989, 2 (2), 35-50.
Sochay, S. Predicting the Performance of Motion Pictures, Journal of Media Economics, 1994, 7 (4), 1-20.
Chang, Byeng-Hee & Ki, Eyun-jung. Devising A Practical Model for Predicting Theatrical Movies Success: Focusing on the Experience Good Property, Journal of Media Economics, 2005, 18, 247-269.
Yin, Yiyi. The Analysis of the Success and New Development of Chinese Film, Contemporary Cinema, 2013, 7 , 18-22.
Hoskins, C. & Mirus, R. Reasons for International Trade in Television Programmes, Media, Culture & Society, 1988, 10, 499-515.
Jayakar, K. P., & Waterman, D. The economics of American theatrical movie exports: An empirical analysis. Journal of Media Economics, 2000, 13(3), 153–169.
Oh, J. International trade in film and the self-sufficiency ratio. Journal of Media Economics, 2001, 14(1), 31–44.
Lee, S. An economic analysis of the movie industry in Japan. Journal of Media Economics, 2002, 15(2), 125–139.
Fu, W. W. & Lee, T. k. Economic and Cultural Influences on the Theatrical Consumption of Foreign Films in Singapore, Journal of Media Economics, 2008, 21, 1-27.
Lee, F. L. F. Cultural discount and cross-culture predictability: Examining US movies' box office in Hong Kong. Journal of Media Economics, 2006, 19(4), 259–278.
Lee, F. L. F. Hollywood movies in East Asia: Examining cultural discount and performance predictability at the box office. Asian Journal of Communication, 2008, 18(2), 117–136.
Lee, F. L. F. Cultural discount of cinematic achievement: The Academy awards and US movies' East Asian box office. Journal of Cultural Economics, 2009, 33(4), 239–263.
Walls, W. D., & McKenzie, J. The changing role of hollywood in the global movie market. Journal of Media Economics, 2012, 25(4), 198–219.
MOON, Sangkil, et al. Local consumers' reception of imported and domestic movies in the Korean movie market. Journal of Cultural Economics, 2015, 39: 99-121.
Park, S. Changing patterns of foreign movie imports, tastes, and consumption in Australia. Journal of Cultural Economics, 2015, 39(1), 85–98.
Kogut, B., & Singh, H. The effect of national culture on the choice of entry mode. Journal of International Business Studies, 1988, 19(3), 411–432.
Stigler, G. J., & Becker, G. S. De Gustibus Non Est Disputandum. The American Economic Review, 1977, 67(2), 76–90.
Anderson, Benedict. "Imagined communities: Reflections on the origin and spread of nationalism." The new social theory reader. Routledge, 2020. 282-288..
BOURDIEU, Pierre. The forms of capital.(1986). Cultural theory: An anthology, 2011, 1.81-93: 949..
Throsby, D. Cultural capital. Journal of Cultural Economics, 1999, 23(1), 3–12.
Park, S. China's consumption of Korean television dramas: An empirical test of the “Cultural Discount” concept. Korea Journal, 2004, 44(4), 265–290.
Park, S. The impact of media use and cultural exposure on the mutual perception of Koreans and Japanese. Asian Journal of Communication, 2005, 15(2), 178–187.
Straubhaar, J. D. World television: Global to local. SAGE: SAGE Publications Inc, 2007.
Straubhaar, J. D. Global, hybrid or multiple?: Cultural identities in the age of satellite TV and the Internet. Nordicom Review, 2008, 29(2), 11–29.
Miller, T., Govil, N., McMurria, J., Maxwell, R., & Wang, T. Global Hollywood 2. London: British Film Institute, 2015.
Wildman, S. S. & Siwek, S. International trade in films and television programs, Cambridge, MA: Ballinger, 1988.
Cheng, Jingwei & Ma, Yuxia. Research on Cultural Discount of American Movies in China: based on Box Office Data from 2009 to 2013, Chongqing Social Sciences, 2014, 7, 69-75.
Sun, Danni. The Development Path and Strategy of Arthouse Cinema Line --Nationwide Alliance of Arthouse Cinemas: From Concept to Practice, Contemporary Cinema, 2018, 2, 4-10.
Wan, Chuanfa. On the Cross-cultural Production of Wolf Totem and the Defi nition of Trans-Subject and Regional' Chinese Film, Contemporary Cinema, 2015, 6, 133-137.
Chen, Xuguang. Film Co-productions since 1978: Cultural Conflict Tension and Cultural Fusion Direction, Contemporary Cinema, 2018, 9, 12-18.
Shi, Song. Language, Gender and Ethnicity in Western Science Fiction Films: An Interpretation of Lucy in the Oriental Context, Movie Review, 2015, 19, 33-37.
Hu, Xiang. Lucy: Luc Besson's Sci-Fi Mixture, Beijing Daily, 2014, November 6th, 018.
Zeng, Nianqun. Lucy: Looks like the God, China Film News, 2014, October 31st, 014.
Zhu, Hong. Culture Orientation and International Dissemination of French Film, Contemporary Cinema, 2014, 6, 122-125.
He, Liang. Current Situation of French Films and French Art Economics: A Review of L'Économie Du Cinéma, Film Art, 2009, 3, 153-154.
Sun, Hui & Liu, Hanwen & Song, Jiawei. The Analysis Report of China Film Enterprise in 2013, Contemporary Cinema, 2014, 3, 21-28.
Downloads
Published
Issue
Section
How to Cite
