China Film Industry Report 2010-2011

China Film Industry Report 2010-2011

Brief Version
Contents
1.
OVERALL TRENDS IN CHINAS FILM INDUSTRY .8
1.1.
Analysis of Chinas Film Industry in 2010 8
1.1.1 Policy: film as a national strategic industry 8

1.1.2 Financing: hot money flowing into the film industry 8
1.1.3 Society: the formation of movie-going habits 8
1.1.4 Technology: digitalizing a necessary trend for film development 9
1.2. Film Industry Chain in China 10
1.2.1 Box Office Revenue Sharing System in China 11
1.3.
Analysis of the Scale of Chinas Film Industry 11
1.3.1 The Scale of Chinas Film Industry 11

1.3.2 Domestic Box Office Revenue in China 13
1.3.3 Film Copyright in China 13
1.3.4 Movie Advertising in China: huge potential that needs to be standardized 13
2.
THE PRODUCTION SECTOR.15
2.1. Introduction of the Production Process for Chinese Films 15

2.2. Overview and Analysis of Movie Production in China in 2010 15
2.2.1 Analysis of Quantity of Movies Produced in China in 2010: 526 total movies 15
2.3. Analysis of Financing Channels for Chinese Movies 17
2.4. Analysis of Investment Returns 18
2.5. Co-production in 2010 19
2.5.1 Definitions and Patterns 20
2.5.2 Co-production Patterns 20
2.5.3 Co-production Policies and Development Trend 20
2.6. Future Trends of Chinese Film Production 20
2.6.1 The Emerging Profits for Small to Mid-Budgeted Genre Films 20
2.6.2 Co-productions Seek more Overseas Territories 21
3.
THE DISTRIBUTION SECTOR21
3.1 Summary of Film Distribution Market in 2010 21

3.1.1 Highly concentrated market. 21
3.1.2 Quarterly fluctuated performances of private companies 22
3.1.3 Investment Patterns 22
3.2 Market Performances of the Major Distribution Companies in 2010 23
3.2.1 China Film Group Corporation: remaining a monopoly situation 23
3.2.2 Huaxia: Steadily increasing the distribution volume of domestic films 23
3.2.3 Huayi Brothers: Quality production of high value 23
3.2.4 China Film Digital: Steadily improving 23
3.2.5 Bona Film Group: High quantity and scale effect 23
3.3 Case StudyAftershock 23
3.4 Case StudyLet The Bullets Fly 23
4.
THE EXHIBITION SECTOR CINEMA CIRCUITS IN CHINA 201024
4.1 Introduction to Cinema Circuits in China 24

4.2 Market Landscape of Cinema Circuits 24
4.2.1 Introduction 24
4.2.2 Market Analysis 25
4.3 Major cinema circuits in China 25
4.3.1 Wanda Cinema Line 25
4.3.2 China Film Stellar Theater Chain 25
4.3.3 Shanghai United Circuit 26
4.3.4 China Film Southern 26
4.3.5 Beijing New Film Association 27
4.3.6 Guangzhou Jinyi Zhujiang Movie Circuit 27
4.3.7 Zhejiang Time Cinema Chain 27
4.3.8 Guangdong Dadi Digital Cinema 28
4.3.9 Sichuan Pacific Cinema 28
4.3.10 Liaoning Northern Cinema 28
4.4 Market Features and Future Trends 29
4.4.1 Fast Developments and Wider Gaps 29
4.4.2 Imbalanced Development among Different Regions 29
4.4.3 Seeking Better Management 29
5.
THE EXHIBITION SECTOR -- CINEMAS IN CHINA 201030
5.1 The Development of Cinemas in China in 2010 30

5.1.1 Number of Cinemas and Screens 30
5.1.2 Development of Digital Screens in China 30
5.1.3 Development of 3D Screens in China 30
5.1.4 Development of IMAX Screens in China 30
5.2 Overview of Chinas Cinema Market in 2010 31
5.2.1 Data Different Box Office Levels for Chinese Cinemas in 2010 31
5.2.2 Top 100 Selling in China in 2010 31
5.2.3 Operational Efficiency of Top 100 Cinemas in China in 2010 31
5.2.4 Top 10 Grossing Cinemas in China 32
5.2.5 Beijing Box Office Sales in 2010 32
5.2.5 Shanghai Box Office Sales in 2010 34
5.3 Analysis of Cinema Investment 36
5.3.1 National and Local Support Policies for Cinema Investment 36
5.3.2 Major Cinema Investors 36
5.4 Cinema Investment and Management Companies 36
5.4.1 Overview of Cinema Investment Companies 36
6. 2010 STUDY ON CHINAS MOVIE CALENDAR.36

6.1 2010 Market Analysis of Movies on a Monthly Basis 36
6.1.1 Trend of Yearly/Monthly Box Offices in 2010 36
6.1.2 Distribution of Months for Milestone Movies in 2010 37
6.2 Analysis of China Milestone Movie Release Calendars 37
6.2.1 Summer Movie Release Calendar 37
6.2.2 Movie Release Calendar on Mid-autumn and National Day 37
6.2.3 Release Calendar the New Year period 37
6.3 Analysis of the Development of Chinas Movie Release Calendar 37
7. ANALYSIS OF MAJOR PLAYERS IN CHINAS FILM INDUSTRY38

7.1
Analysis of the Competitiveness Edge of Sophisticated Players in the Film
Industry 38
7.1.1 A Six-year Journey of China Film Group IPO Efforts to Be Finalized 38
7.1.2 Shanghai Film Group 38

7.1.3 Huayi Brothers 38
7.1.4 Bona Film Group 38
7.1.5 Orange Sky Golden Harvest Ltd. 39
7.1.6 Stellar Film Group 39
7.2 Analysis of Competitiveness of New Film Companies 39
7.2.1 Enlight Picture 39
7.2.2 Galloping Horse 39
7.2.3 Dadi Movie 39
7.2.4 LETV Pictures 39
7.3 Analysis of competitiveness of placement advertising company before movie
release
39
7.3.1 Filmore-media. Incorporated Company 39

7.3.2 Jingmao Film Media 40
8. INTRODUCTION AND EXPORT OF OVERSEAS FILM COPYRIGHT41

8.1 Introduction of Overseas Film Copyright for Chinese Film Market in 2010 41
8.1.1 Overview of Box Office of Imported films in 2010 41
8.1.2 Analysis of Market Features of Imported films in 2010 41
8.2 Export of Domestic Films in 2010 41
8.2.1 Overview of Chinese Film Export in 2010 41
8.2.2 North American 42
8.2.3 Asian-Pacific region 42
8.2.4 Europe and Other Regions 42
9.
MOVIE-GOING SURVEY CHINA IN 2010.43
I.
Research Background
Looking back at 2010, despite global economic recession, Chinas film industry
performed exceptionally well with leaping advances.
Based on interviews and
in-depth research and analysis of the film industry, EntGroup presents 2010-2011
China Film Industry Report.
II.
Research Scope
Using data from in-depth research and analysis, this report will focus on the Chinese
film industry in 20102011. In this report, the Chinese film industry refers to mainland
China film industry, and does not include the industries in Hong Kong, Macau and
Taiwan.
III. Methodology
This report adopts both quantitative and qualitative methods, and combines revenue
figures of the film market to conduct the research on the Chinese film industry.
The
statistics used in this report is primarily from the figures announced on China Film News,
gathered from the Computer Ticketing Network Centre of National Film Special Fund
Office, while the market ranking data was obtained from the China Film Exhibition &
Distribution Association, as well as data provided by main film circuits in the country.
The above data were cross-examined by interviewing major cinema circuits and
distribution companies. All the figures and statistics used in this report were obtained
from more than one source, and they were cross-examined repeatedly and were
analyzed comprehensively, to ensure the greatest accuracy and authenticity.
IV. Introduction to online survey

Concept Definition
Chinese movie-goers refer to audience who watched at least one movie in a cinema in
China during the past year (excluding Hong Kong, Macau and Taiwan).
The audience
in this report refers to cinema movie-goers only.

Research Method
The survey was conducted by Internet survey, with Internet survey group iResearchs
iClick survey community network to obtain related data and results.
Period of survey
From Nov 5, 2010 to Nov 30, 2010
Survey Sample
The total number of sample is 9242, among which 3299 are samples from eight major
cities. The 8 major cities are selected from the top 8 cities that have their 2008 box
office revenue grossing over RMB100m.
The sample audience is then weighed valued
based on the distribution of Chinese movie-goers in major cities, as well as the

distribution of Chinese Internet users in major cities.
V.
Definitions
Production Company
Companies that engage in film financing, shooting and post-production work of a film
project which includes film production companies and post-production companies.
The production company owns the original copyright of a film, and sells within a certain
time frame of the copyright to a distribution company or distributor of other channels.
Distribution Company
Companies responsible for setting up and executing marketing and promotional
strategies for the films, as well as negotiating with cinema managers on release scales
and the number of film prints or opening-day screens.
Distribution companies
purchase or represent a films distribution rights, then release the film in the
partnering cinema circuits on flat-fee or revenue-sharing basis, or in other forms of
partnership.
Often times the production and distribution of a film is managed by the
same company.
Cinema Circuits
Cinema
management company that is responsible for communicating with the
distribution company to schedule screenings of a film.
A cinema circuit consists of
several cinemas; cinema circuits provide films prints, schedule screenings and manage
cinemas under the circuits.
prints of the movies.
On a revenue-sharing scheme, cinema circuits obtain
Cinema circuits normally schedule screenings of major
productions, whereas distributors of medium or low budget films need to strive for
support from the cinema circuits to secure screening possibilities.
Cinema
The actual place where the films are screened, and where box office revenue go to;
except for the share of box office revenue, a cinemas revenue also includes the sales
of concession such as popcorn, drinks and other additional products, as well as
derivative commodities of the films, which account for approximately 10 -16 of a
cinemas total income.
Digital Film/ Digital Print/ Digital Screen
Digital film refers to films that are filmed, produced, stored with digital technology, with
the signals transmitted through satellite, optical fiber, disk, Compact Disks or other
forms of physical transmitting forms, then transformed into audio and visual data that
conforms with film technology standards, and presented on cinema screens for viewing.
Digital prints refer to film prints distributed in digital formats; currently in China, digital
prints are normally delivered in hard drives.
Digital screens refers to cinema screening rooms installed with digital projectors and
can project digital films onto the screens.
The number of digital screens is a main
index used to evaluate a regions capacity of showing digital films.

3D Films/ 3D Screens
3D films are films that are shot with cameras of stereographic technolody or are shot
with in normal cameras but added with computer generated 3D stereoscopic images.
3D screen refers to cinema screens that are equipped with a 3D projectors, and that are
able to present 3D stereoscopic images for viewing.
IMAX Films/ IMAX Screens
IMAX films are films shot in 70mm film format or produced through computer
technology to display images of extra large resolution, to be projected onto IMAX
screens; an IMAX screen is a screen to project an IMAX film; a standard IMAX screen is
22 meters wide and 16meters high, but the actual sizes IMAX screens vary in different
cinemas and regions.
Product Placement
Product placement refers to the placement of a product or its iconic visual image or
even its service into a the images of a film, TV drama or television program.
Product
placement is a marketing and advertisement strategy which aims to give the viewers
impression of the product or brand through scene arrangements to let the product or
image reappear in the program, thus creating the effect of advertisement
Cinema Advertising
Advertisements especially produced to be broadcasted along with the screening of a
film in cinemas; normally they are broadcasted before the actual film begins.
VI. The Report

1.
Overall Trends in Chinas Film Industry
1.1. Analysis of Chinas Film Industry in 2010

1.1.1 Policy: film as a national strategic industry
With the release of the Cultural Industries Stimulation Plan in 2009, Chinas cultural
services industry was elevated to the national strategic level. In 2010, the State Council
and nine other ministries issued additional guidelines, giving new life to Chinas film
industry.
Guidelines on Stimulating Film Industry Development
Guidelines on Financial Support for the Promotion and Development of Cultural

Industries
1.1.2 Financing: hot money flowing into the film industry

In 2010, there was an increase in risk in traditional investment sectors like construction
and the stock market, which resulted in a portion of that money coming into cultural
industries. Investment in film over the past few years has been limited to 400-500
companies, but this year, that number broke 1,100. While outside investment in the film
industry has resulted in an increase in the number of movies and the overall level of
investment, the influx of so much hot money has resulted in an overheating of film
investment. Many outside investors have only a limited understanding of the industry
and blind investment may lead to increased risk. At the same time, the influx of too
much hot money is not necessary beneficial to the healthy development of the industry
as a whole.
1.1.3 Society: the formation of movie-going habits

As the number and quality of movies steadily increases, the number of cinemas has also
increased. The appearance of event-focused movies like Avatar and Let the Bullets Fly
has brought Chinese viewers who havent seen a movie in years back to the cinemas.
For young people, going to the movies has become a set leisure activity. In 2010, the
number of movie goers in mainstream Chinese movie markets was 286 million, this is a
40% increase from 204 million in 2009.
1.1.4 Technology: digitalizing a necessary trend for film development
Digital Screenings
As of the end of 2010, of the 6,200 screens in China, around 4,100 were digital or 66% of
the total number, second only to the United States. 2,500 new digital screens went
online in 2010.
3D Screenings
The screening of Avatar sparked a wave of construction of 3D screens in China. As of the

end of 2010, China had 2,020 3D screens, a number second only to the United States.
Changes in the Number of 3D and Digital Screens 2007-2012

2007
2008
2009
2010
2011E
2012E
No. of 3D Screens
82
130
700
2020
4800
7200
No. of Digital Screens
700
800
1600
4100
7408
10030
Total Screens
3527
4097
4723
6256
8925
11800
Percentage of Digital Screens
20%
20%
34%
66%
83%
85%
2011.2 EntGroup Inc.
www.entgroup.cn
Table 1-2: Changes in the Number of 3D and Digital Screens 2007-2012
Film Industry Chain in China
Figure 1-2: Film Industry Chain in China
10
1.2.1 Box Office Revenue Sharing System in China
Box Office Revenue for Share: Actual Box Office Income Operational Taxes/Fees
NFDF Fund Contribution
Operational Taxes and Fees: Actual Box Office Income x 3.3%
NFDF Contribution: Actual Box Office Income x 5%

Table 1-3: Box Office Revenue Split Ratios
1.3.
Analysis of the Scale of Chinas Film Industry
1.3.1 The Scale of Chinas Film Industry

In 2010, the total income of Chinas film industry was 15.36 billion RMB, up 53% from
2009. This can be categorized into domestic box office revenue, domestic non-box
office revenue and international sales revenue. In western countries with developed film
industries, domestic box office revenue usually makes up less than 30% of total revenue,
but in China, this number is closer to 70%.
11
Figure 1-3: Revenue of Chinas Film Industry 2005-2012
12
1.3.2 Domestic Box Office Revenue in China: 27 films over 100M, imported
films comprise 43% of box office revenue
Box office revenues sky rocketed in 2010, reaching 10.17 billion RMB, up 63.9% over
2009.
Also in 2010, there were 27 films that brought in over 100 million RMB, compared with
only 8 in 2009. Four of these, Avatar, Aftershock, Let the Bullets Fly and Inception
passed the 400 million mark, one more than in 2009. Avatar brought in a massive 1.39
billion RMB in box office sales, becoming the first film in mainland China to break the 1
billion mark.
1.3.3 Film Copyright in China
Copyright of Film and Television in China: small-budget films one saving grace
New Media Copyrights of Chinese Films: prices rising rapidly, gradually replacing
DVD rights
1.3.4 Movie Advertising in China: huge potential that needs to be

standardized
13
Figure 1-8: Movie Ad Industry Chain in China
1.3.4.1 Product Placement in Chinese Movies: placement should be primary

concern
1.3.4.2 Pre-Screening and Film-attached commercials in China: must be further
standardized
1.3.4.3 Tie-in Promotion: a new ad format waiting to be developed
14
2. The Production Sector

2.1.
Introduction of the Production Process for Chinese Films

Pre-production Stage
1. Creation of Script
2. Budget Creation
3. Cast/Crew Selection
4. Selection of Location and Props, etc.
5. Review of Script and Obtaining of Filming License
Filming
Post-Production
Review
2.2.
Overview and Analysis of Movie Production in China in 2010
2.2.1 Analysis of Quantity of Movies Produced in China in 2010: 526 total movies
Starting in 2002, the number of movies produced in China began a period of rapid
growth that averaged about 20%. 2008 saw a slight decline, but strong growth was seen
again in 2009 and 2010. There were 526 movies produced in China in 2010, making the
country the third largest maker of films in the world.
15
Figure 2-2: Number of Domestic Movies Produced and Shown in China, 2003-2010
16
2.2.2 Number of Chinese Films Produced in 2010 by Genre: romance and action
films top list
Of the domestically produced films that garnered considerable box office sales,
romance and action films had the highest production numbers, respectively making up
25% and 20% of all films. Following these were comedies and dramas with 17% and 11%
respectively. In terms of box office market share by genre, action, drama and romances
with market shares of 33%, 20% and 15% respectively.
2.2.3 Cost Analysis of Chinese Films in 2010
2.2.4 Number of Digital Films in China
Digital Movies a Strong Trend
Profitable Trials in 3D
2.3. Analysis of Financing Channels for Chinese Movies

With increased policy support for movies from the government and a resurgence in the
movie market, a great deal of capital has flowed into the film production sector. This
report believes that the problem of financing for film production has initially been
resolved and that financing resources for Chinese film production will be more
abundant in the future.
2.3.1 Bank Loans and Classic Examples
2.3.2 Product Placement
2.3.3 Film Funds
2.3.4 Financing in the Stock Market
2.3.5 Government Funding
17
2.4. Analysis of Investment Returns
2.4.1
Main Risks of Film Investment
This report divides the risks of film investment in Chinese film industry in 11 categories.
Each of the below category may be influential and be a deciding factor for a films final
box office result and its social impact.
Main Risks of Film Investment

Risks
Definition
Example
If the script can pass the censorship and
Policy Risk
Over-budget
secure a shooting permit

Is the production over-budgeting and
causing the shooting to halt
Shanghai
Red Cliff
Does the filmmaker and the investor

3
Risk of Crew
agree
on
the
narrative
style
and
direction, and finish the shooting on
Empire of the Deep
time
4
5
Joint
Disagreement between two sides of the
Liang Ge Ren De Ji
Investment
joint investors
Jie
Accidents and hazards in production
Red Cliff
Safety
of
Filming
Reign of Assassins
6
Overlapping
Films of similar subjects or genres
vs
Detective
Dee
Subjects
screened on the same week
and the Mystery of

Phantom Flame
7
8
9
10
11
Risks
of
Distribution
Access to secure a theatrical release as

scheduled, or a good time slot
Pirated copies of film available before
Piracy
screening
Adaptation
Has the production company purchased
rights
the adaptation rights
Public
Does the production company maintain
Relations
a good relation with the media
Word
Mouth
of
Driverless
Let the Bullets Fly
Royal Tatoo
Confucius
Does the film have good word-of-mouth
Just
after release
Nobody
Call
Me
www.entgroup.cn
Table 2- 1 Main Risks of Film Investment
18
2.5.
2.4.2 Analysis of Investment Returns
Aftershock
Detective Dee and the Mystery of Phantom Flame
Go Lala Go
Midnight Beating
Chongqing Blues
Co-production in 2010
In 2010, 95 films have applied to China Film Co-production Company for co-production
or assisted-production, and 63 of them were approved.
19
2.5.1 Definitions and Patterns

The EntGroup Report defines co-production films as films jointly produced by Chinese
and foreign production companies.
The application and procedure of a co-production film is described as below:
Look for Chinese partner, applying for a co-production permit through
1
China Film Co-production Company

Receiving a shooting permit, and signing co-production contracts with
co-production companies
Production
Sending the film to China Film Co-production Company, to be reviewed
by film censors
Passing the censorship, receving a screening permit
International film festivals or distribution
Figure2-7 Chinese co-production filming procedure
2.5.2 Co-production Patterns

Since Chinese companies do not take part financially in assisted productions and
commissioned productions, they do not have the copyrights of the productions.
Sino-Foreign co-productions, on the other hand, are jointly invested by companies of
different countries, so the copyright and the distribution of the production in each
geographic area may go to the respective companies. Another possibility is the
copyright in each geographic area be collectively possessed by all investors while each
of them is solely responsible for the distribution in their own territory.
2.5.3 Co-production Policies and Development Trend
2.6.
ChinaHong Kong co-production policies
Mainland China -Taiwan Co-production
China-Australia Co-production
China-France Co-production
Future Trends of Chinese Film Production
2.6.1 The Emerging Profits for Small to Mid-Budgeted Genre Films
20
2.6.2 Co-productions Seek more Overseas Territories
3. The Distribution Sector

3.1 Summary of Film Distribution Market in 2010
3.1.1 Highly concentrated market.
In 2010, there are 300 production and distribution companies in mainland China, same
as the number in the past two years. Among them, 90% are privately owned, and more
than one third of them have not met with the requirement to produce films in two
consecutive years. Around 50 of them have business volume of two films or more
annually, and have the ability to keep on running. In general, the market is still highly
concentrated and the top ten companies have taken 85.5% of the market share in the
distribution market.
Figure 3- 1 Market Share of the Top Ten Distribution Companies in China, 2010
21
3.1.2 Quarterly fluctuated performances of private companies

With only a few films to distribute for each companies, the performances of private
distribution companies were seriously influenced by the quality of individual films.
Besides,, as private companies are not allowed to
distribute revenue-sharing imported
films, their market shares changed more dramatically than that of state-owned
enterprises.
Figure 3- 2 Market Share of Major Distribution Companies, Q1-Q4, 2010
3.1.3 Investment Patterns

The analysis of revenue range shows that companies distributed more than ten films
have a more complete film revenue structure than others. The revenue segmentation of
the two biggest companies in China, China Film Group and Huaxia, has very much
reflected the general trend of Chinese film market. Most of their films had the theatrical
22
revenue of 50 million or less, and only a few films can be squeezed into the revenue
range between 50 million to 90 million. According to enbase of EntGroup, among the
148 films exhibited in 2010, 18% of them gained their theatrical revenue of RMB100
million or more, 14% of them gained 50 to 100 million, 32% gained 10 to 50 million, and
36% gained 10 million or less. Major productions and their distributed films were
mainly handled by the top ten distributors (all of the 27 films with the revenue of
RMB100 million or more were most certainly handled by top ten companies). As a
whole, the ratio of 100million films in the distribution list of ten companies is most
certainly higher than ratio of 100m films in the total number of films.
3.2
3.2.1
Market Performances of the Major Distribution Companies in 2010

China Film Group Corporation: remaining a monopoly situation
In 2009, China Film Group distributed a total of 62 films; the total revenue was 4.044
billion yuan, which accounted for 64.5% of the total theatrical revenue in China. Its
market share was 38.4%, a percentage that earned it the first place of the top ten
distributors. In 2010, the China Film Group distributed 90 films and gained a revenue of
8.022 billion, which accounted for 78.43% of the total theatrical revenue in China; the
market share was 36.2%, slightly lower than that in 2009. In 2010, the top ten films
distributed by China Film Group collectively created 4.23 billion in their theatrical
revenue and 64.5% of it was from imported films, much
more than the revenue of
domestic films.
3.2.2
Huaxia: Steadily increasing the distribution volume of domestic films
3.2.3
Huayi Brothers: Quality production of high value
3.2.4
China Film Digital: Steadily improving
3.2.5
Bona Film Group: High quantity and scale effect
3.3 Case StudyAftershock

3.4 Case StudyLet The Bullets Fly
23
4. The Exhibition Sector Cinema Circuits in China 2010

4.1 Introduction to Cinema Circuits in China
Introduction
The cinema circuit system in China was established in 2002. The system ended the old
distribution and exhibition system which was based on geographic regions and was
formed during the planned- economy era. At that time, films were distributed by
administrative unit of a province, city or county.
The cinema circuit system lets the
distributors to go to cinema circuits directly and the circuit is responsible for supplying
films to the subordinate theaters. The cinema circuit system not only simplifies the
procedure of film distribution and enhances the efficiency, but also introduces a
competition mechanism among the cinema circuits, making film exhibition a part of the
market economy.
It has then become the driving force of the development of Chinese
film industry.
For cinema circuits financially owning their cinemas, they can be more efficiently and
effectively manage the cinemas and handle the screening schedules more smoothly,
while for those cinema circuits set up in the form of alliance, their market share tend to
be smaller.
However, from the development of cinemas in 2010, we can see that more
and more cinema circuits choose to take financial control over their cinemas in order to
pursue better management and better branding.
This will be a main direction of
future development for cinema circuits in China.
4.2 Market Landscape of Cinema Circuits

4.2.1 Introduction
Since the establishment of the cinema circuit system in 2002, the Chinese film market
has entered an era of rapid development.
In 9 years, Chinas annual box office
revenue has increased from RMB100 million to RMB 10.2 billion.

system is one of the main factors behind such a rapid growth.
The cinema circuit
The following section
will analyze the Chinese cinema circuits in various aspects such as size, numbers,
concentration rate and operation type, and find out the development features of
cinema circuits in 2010.
24
4.2.2 Market Analysis
Size
Numbers
Revenue
Concentration Rate
Screen Concentration
Operation Efficiency
4.3 Major cinema circuits in China

4.3.1 Wanda Cinema Line
Annual Overview
Cinemas
Screens
Cinema number
67
New cinemas
21
Screen
Number
New
Screens
Box Office
554
200
Gross
Increase
rate
Admissions/Screenings
140m
Admissions
36,350,000
68%
Screenings
740,000
In 24 provinces and cities including Beijing, Shanghai, Tianjing, Inner
Cinema Locations
Mongolia, Liaoning, Jilin, Sichuan, Hubei, etc.
Sourceenbase
2011.2
EntGroup Inc.
www.entgroup.cn
For the second year in a row, Wanda Cinema Line becomes Chinas highest-grossing
cinema circuit.
In 2010, Wanda Cinema Line took in an annual gross of RMB1.4 billion,
leading the second-placed cinema circuit by nearly RMB200m.
4.3.2 China Film Stellar Theater Chain

Annual Overview
Cinemas
Screens
Cinema number
136
New cinemas
32
Screen
Number
New Screens
Box Office
684
185
Gross
Increase
rate
1.21billion
Admissions
33,410,000
52%
Screenings
1,000,000
Cinema
In 26 provinces and cities including Beijing, Shanghai, Tianjin, Guangzhou,
Locations
Jiangsu, Hubei, etc.
25
Sourceenbase
2011.2
EntGroup Inc.
www.entgroup.cn
China Film Stellar continues to expand its cinema and screen numbers in the form of
contracted alliance.
In 2010 the circuit has gained 32 new cinemas, reaching new
territories where no cinemas were built in the regions such as Liuzhou of Guangxi
province, Huangshai of Anhui Province.
4.3.3 Shanghai United Circuit

Annual Overview
Cinemas
Screens
Cinema number
153
New cinemas
32
Screen
Number
New
Screens
Box Office
599
184
Gross
Increase
rate
1.07billion
Admissions
26,690,000
63%
Screenings
720,000
Cinema
In 21 regions and cities including Shanghai, Jiangsu, Zhejiang, Anhui, Jiangxi, Chongqing,
Locations
etc.
Sourceenbase
2011.2
EntGroup Inc.
www.entgroup.cn
In 2010, Shanghai United Circuit continue to dominate the Shanghai region as well as
eastern China provinces.
It also expanded its reach to Beijing and allied with one of
the largest cinemas in Asia Jackie Chan Yaolai International Cinema.
4.3.4 China Film Southern

Annual Overview
Cinemas
Screens
Cinema number
119
New cinemas
21
Cinema Locations
Screen
Number
New Screens
Box Office
493
140
Gross
Increase
rate
950m
Admissions
25,880,000
56%
Screenings
670,000
In 13 provinces and cities including Guangdong, Jiangsu, Chongqing, Fujian, etc.
Sourceenbase
www.entgroup.cn
In 2010, China Film Southern takes in a box office revenue of RMB950m, which is a 58%
26
growth rate.
The impressive growth has also widen the gap between itself and its
competitor, Beijing New Film Association.

4.3.5 Beijing New Film Association
Annual Overview
Cinemas
Screens
Cinema number
96
New cinemas
21
Screen
489
Number
New Screens
Cinema Locations
Box Office
200
Gross
Increase
rate
790m
Admissions
22,170,000
29%
Screenings
670,000
In 15 regions including Beijing, Shanghai, Tianjin, Guangzhou, Sichuan, etc.
Sourceenbase
2011.2
EntGroup Inc.
www.entgroup.cn
4.3.6 Guangzhou Jinyi Zhujiang Movie Circuit

Annual Overview
Cinemas
Screens
Cinema number
56
New cinemas
19
Cinema Locations
Screen
Number
New Screens
Box Office
325
110
Gross
680m
Admissions
17,910,000
57%
Screenings
470,000
Increase
rate
In 15 regions including Guangdong, Beijing, Tianjin, Chongqing, Jiangsu, Hunan, etc.
Sourceenbase
www.entgroup.cn
4.3.7 Zhejiang Time Cinema Chain

Annual Overview
Cinemas
Screens
Cinema number
81
New cinemas
22
Screen
361
Number
New Screens
Cinema Locations
Box Office
126
Gross
Increase
rate
420m
Admissions
12,260,000
61%
Screenings
410,000
In 4 regions: Zhejiang, Shanghai, Jiangxi and Anhui
Sourceenbase
www.entgroup.cn
27
4.3.8 Guangdong Dadi Digital Cinema

Annual Overview
Cinemas
Screens
Cinema number
108
New cinemas
59
Screen
399
Number
New Screens
Cinema Locations
Box Office
229
Gross
Increase
rate
370m
Admissions
13,530,000
190%
Screenings
390,000
In 19 regions including Guangdong, Shanghai, Beijing, etc.
Sourceenbase
2011.2
EntGroup Inc.
www.entgroup.cn
With its strategy to fast expand in 2nd and 3rd tier cities, and its successful branding
and management, Dadi Digital Cinema in 2010 has a high-speed growth and for the
first time entered the top 10 list of cinema circuits.
With such a pace of development,
Dadi is likely to reach a higher growth rate in 2011.
4.3.9 Sichuan Pacific Cinema

Annual Overview
Cinemas
Screens
Cinema number
47
New cinemas
12
Screen
263
Number
New Screens
Cinema Locations
Box Office
Gross
Increase
75
rate
3.50m
Admissions
12,090,000
72%
Screenings
340,000
In 4 provinces: Sichuan, Gansu, Guangdong and Shanxi
Sourceenbase
2011.2
EntGroup Inc.
www.entgroup.cn
4.3.10 Liaoning Northern Cinema

Annual Overview
Cinemas
Screens
Cinema number
58
New cinemas
12
Cinema Locations
Screen
Number
New Screens
Box Office
256
75
Gross
Increase
rate
320m
Admissions
10,780,000
35%
Screenings
400,000
In 3 provinces: Liaoning, Shandong and Heilongjiang
28
Sourceenbase
2010.12
EntGroup Inc
www.entgroup.cn
4.4 Market Features and Future Trends

4.4.1 Fast Developments and Wider Gaps
The fast development of cinema circuits started in 2009 and continued in 2010.
However, the fast development was driven mainly by a few leading cinema circuits.
As
major cinema circuits are growing faster and faster, smaller circuits have seen more and
more difficult situation.
This can be seen from the figures of top 10 cinema circuits.
The highest-grossing circuit Wanda Cinema Line in 2010 has 200 new screens, while the
10th placed Liaoning Northern only has 47 new screens in 2010.
The gap between
No.1 and No.10 has been widened as such, not to mention the gap between Wanda
and the rest of smaller cinema circuits.
4.4.2 Imbalanced Development among Different Regions

Because of imbalanced economic development and different consumption habits,
cinemas are unevenly distributed in China. For example, cinemas in big cities, eastern
coastal areas, southern region and developed areas outnumber those in small and
mid-sized cities, mid-western area, northern region and less-developed areas.
4.4.3 Seeking Better Management

As many of the cinema circuits are established in the form of contracted alliance.
For
managers of those circuits, the relation between the circuits and cinemas is merely
relied on the sharing of box office revenues.
The circuit does not have management
power over the cinemas in the alliance.
Many cinema circuits lack effective
management for cinemas under them.
More and more managers, however, have
acknowledged the issue and have begun to invest in or taking majority stakes of the
cinemas in their alliances, hoping to build up stronger financial ties between the circuit
and the cinemas, so as to set up a better management for the cinema circuit.
29
5. The Exhibition Sector -- Cinemas in China 2010

5.1 The Development of Cinemas in China in 2010
5.1.1 Number of Cinemas and Screens
In 2010, the number of cinemas and screens in China continued to maintain a rapid rate
of growth. Within the national circuit of cinemas, there were 313 new venues opened in
2010, bringing the total number to 2000 venues. There were also an additional 1,533
screens in 2010, an average of 4.3 additional screens per day, bringing the total number
of screens nationwide to 6,256. Along with the rapid overall development of the market,
this report has found that, under policies of guidance and encouragement
implemented by the government, the next few years will be a peak period of growth for
the construction of new cinemas. The growth of the number of cinemas and screens will
see rapid growth and it expected that an additional 1,300 cinemas and 10,000 screens
will be added to current levels by 2012.
5.1.2 Development of Digital Screens in China
In 2010, the number of digital screens in China exploded and was what ensured the
possibility of 10 billion RMB in box office revenue. Approximately 2,500 new or
upgraded 2K screens were added in 2010, bringing the total number to 4,100, second
only to the United States, putting China in the number two spot globally.
5.1.3 Development of 3D Screens in China
China is currently experiencing the fastest rate of growth of 3D screens in the world and
is second only to the United States in terms of numbers. As of the end of 2010, the
number of 3D digital screens in China had passed the 2,000 mark and it is estimated
that 49.3% of all screens are 3D. As of December 2010, the total number of 3D screens
had reached 2,020.
5.1.4 Development of IMAX Screens in China
As of the end of February 2011, there were a total 35 IMAX screens in China, of which 5
were film-based and 9 were in technology and science museums. There are 403 IMAX
screens worldwide, of which 280 are for commercial showings and 123 are used in
museums or other non-profit venues.
30
5.2 Overview of Chinas Cinema Market in 2010

5.2.1 Data Different Box Office Levels for Chinese Cinemas in 2010
In recent years, as the numbers of cinemas and screens increase, the box office sales for
individual theaters have also increased dramatically and the number of those with high
box office sales numbers has been especially noticeable. The leader in Chinese box
office sales has been the Guangzhou Feiyang Cinema, increasing its ticket revenue from
56.21 million RMB in 2007 to 67.45 million RMB in 2008 and eventually reaching 82.20
million RMB in 2009.
In addition, the total number of cinemas with box office sales of over 20 million RMB in
2010 was 87, and while these only made comprised 5.2% of nationwide cinemas, total
ticket sales revenue reached 2.76 billion RMB, or 44.5% of nationwide sales, showing
that the revenues from ticket sales has risen to a higher level overall.
5.2.2 Top 100 Selling in China in 2010

Cinema rankings in China changed considerably in 2010. Guangzhous Feiyang
Cinema fell to number six because its two branches were counted separately and it just
so happens that list was topped by the previous years number six, Beijings UME
Cineplex, whose box office sales for the year pushed nearly 100 million RMB. Meanwhile,
the level of the top ten cinemas rose from 50 million RMB to 60 million, a range newly
entered by Shanghais Peace Cinema and Fuzhous Jinyi Cinema.
The total box office of these top 100 cinemas was 3.98 billion RMB, or 39.4% of all box
office sales nationwide, indicating that the cinema market is relatively concentrated.
5.2.3 Operational Efficiency of Top 100 Cinemas in China in 2010
Average Ticket Prices
According to data collected on ticket prices of the 100 top grossing cinemas in China,
the average price of tickets was 40.4 RMB.
Average Number of Screens and Seats
According to data collected, all of the 100 top grossing cinemas are relatively large with
an average of 8.6 screens and seating reaching 1,500.
31
5.2.4 Top 10 Grossing Cinemas in China

Cinema rankings in China changed considerably in 2010. Guangzhous Feiyang
Cinema fell to number 15 because its two branches were counted separately and it just
so happens that list was topped by the previous years number six, Beijings UME
Cineplex, whose box office sales for the year pushed nearly 100 million RMB. Meanwhile,
the level of the top ten cinemas rose from 50 million RMB to 60 million, a range newly
entered by Shanghais Peace Cinema and Fuzhous Jinyi Cinema.
5.2.5 Beijing Box Office Sales in 2010

Beijings cinemas saw rapid growth in 2010, maintaining the citys top position in
terms of box office sales. Of the top 100 grossing cinemas, 14 are located in Beijing and
the top 20 cinemas had average box office sales of 39.5 million RMB. However, there is
also a wide range of differences in revenue with a gap of 83 million RMB between the
top selling cinema and the worst selling. This shows that there is a wide gap in the
development of the Beijing market. However, from a strictly numbers perspective, while
Beijing has nearly 90 cinemas and the number of screens per person is on par with
developed nations, there is still room for improvement.
Top 20 Grossing Cinemas in Beijing in 2010

Cinema
Box Office
Revenue
Y/Y Change
Average Ticket
Price
UME Cineplex
9,824.40
115%
60
Capital Huarong Cinema
7,466.70
33%
47
5,990.40
20%
44
Beijing Stellar International Cinema

(Jinyuan)
Beijing Wanda Cinema (CBD)
5,764.80
25%
49
Beijing Wanda Cinema (Shijingshan)
5,612.00
177%
52
Beijing UME Cineplex (Shuangjing)
4,975.70
60%
48
Beijing Megabox (Zhongguancun)
4,279.80
20%
43
Beijing Megabox (Sanlitun)
4,275.40
67%
46
Jackie Chan Beijing Yaolai
3,367.90
31
10
Beijing Wanda Cinema (Longde)
3,146.50
50%
44
11
Wangjing Stellar International Cinema
3,081.50
21%
42
2,890.10
36%
55
12
Beijing Huaying Tianying Chuanqi Shidai

Cinema
32
13
Beijing UME Cineplex (Anzhen)
2,884.80
27%
39
14
Beijing Jinyi Cinema
2,849.00
25%
46
15
Beijing Huashi Broadway Cinema
2,480.20
12%
41
16
Beijing China Film Cinema (Yongwang)
2,363.90
7%
32
17
Beijing New Century Cinema
2,312.00
48
18
Beijing AMP Cinema
2,162.90
8%
41
19
Beijing Capital Times Cinema
1,767.90
9%
39
20
Beijing Showmax Cinema
1,512.70
19%
45
Source: enbase entertainmentdatabase
Table 5-6: Top 20 Grossing Cinemas in Beijing in 2010
33
5.2.5 Shanghai Box Office Sales in 2010

Shanghais cinemas also grew rapidly in 2010 and out of the top 100 cinemas
nationwide, 9 were in Shanghai and average box office revenue for the top 20 cinemas
in Shanghai was 29.35 million RMB, slightly behind Beijing. This gap shows is due to the
fact that there are a limited number of mid-range cinemas in Shanghai. In terms of
high-range cinema options, Shanghai is just as impressive as Beijing, but the box office
revenue for mid-range cinemas is quite low, centering around 30 million RMB, while
box office revenue for a cinema in a similar area of Beijing would be around 40 million
RMB.
Top 20 Grossing Cinemas in Shanghai in 2010

Cinema
1
2
Shanghai Peace Cinema

Shanghai Yonghua Movie
City
Shanghai Stellar Zhengda
Cinema
Shangahi Wanda Cinema
(Wujiaochang)
Shanghai Pudong New
Century Cinema
Shanghai CGV Xinzhuang
Cinema
Box Office
Revenue
Y/Y Change
Average
Ticket Price
7070.7
102%
68
6069.8
22%
47
5528.8
57%
50
5341.7
44%
45
5000.6
26%
51
3585.8
25%
48
3363.5
45%
54
2956.8
81%
43
2689
29%
38
2555
51%
35
2218.7
33%
43
2158.5
22%
43
Xinghui Shangying CGV

7
10
11
12
Daning Cinema
Shanghai Ever Shining

Cinema
Shanghai Kaiyuan
Mediterranean Cinema
17.5 Shanghai Youyicheng
Cinema
Shanghai Wanda Cinema
(Zhoupu)
Shanghai Film Arts Center
34
13
14
15
16
17
18
19
20
Shanghai Xintiandi UME

Cineplex
Shanghai Qingchun Cinema
Shanghai Century
Dashanghai Cinema
17.5 Shanghai Zhonghuan
Cinema
Shanghai Qixin
Entertainment Co., Ltd.
Shanghai Jiading Robinson
Square Digital Cinema
Shanghai Huanyi Cinema
Shanghai Stellar
International Cinema
1764.9
29%
76
1742.2
31%
33
1530.9
22%
42
1438.4
9%
37
1109.2
41
1102.8
37%
33
865.9
23%
51
626.3
18%
36
Sourceenbase entertainment database
Table 5-7: Top 20 Grossing Cinemas in Shanghai in 2010
35
5.3 Analysis of Cinema Investment

5.3.1 National and Local Support Policies for Cinema Investment
A series of policies were released on the national level between 2009-2011 to promote
the development of cultural services and push the growth of the industry. In terms of
the construction of cinemas, the following are the most important:
Summary of 12th Five Year Plan for Social and Economic Development of the
Peoples Republic of China
Guiding Opinions on Promoting Film Industry Development
Notice on Subsides for the Installation of 2K and 1.3K Digital Projecting Equipment
in Cinemas
5.3.2 Major Cinema Investors
5.4 Cinema Investment and Management Companies

While cinemas under professional cinema investment and management companies
may be under different cinema circuits, they retain a controlling share and complete
operational control in their theaters.
5.4.1 Overview of Cinema Investment Companies

Data in this report shows that, in terms of the number of screens over which investors
have operational control and controlling interest, Wanda tops the list with 554 screens.
Guangdong Dadi Cinemas was ranked second with 255 screens and Jinyi Film placed
third with 229 screens.
6. 2010 Study on Chinas Movie Calendar

6.1 2010 Market Analysis of Movies on a Monthly Basis
6.1.1 Trend of Yearly/Monthly Box Offices in 2010
The box offices in Mainland China kept increasing in 2010, with the yearly record of over
RMB 10 billion, indicating a year-on-year growth rate of 61%. The entire movie industry
features the fast development. And the entire market presents the following distinctive
features:
Significant Increase of the Average Monthly Box Offices with Obvious Advantages
of the Movie Release Calendar for the New Year period
Single Movie as the Essential Factor to Fuel the Box Office
Market to indicate
36
the one-to-one and W Layout

6.1.2 Distribution of Months for Milestone Movies in 2010
The movies put on in 2010 exceed 120 and the average number of movies put on in
each month exceeds 10.
6.2 Analysis of China Milestone Movie Release Calendars
6.2.1 Summer Movie Release Calendar
Analysis of Box Offices and Viewer Persons/Time
Analysis of Distribution of Monthly Box Offices
Analysis of Weekly Box Offices
Analysis of Movie Release
Share of domestic films
6.2.2 Movie Release Calendar on Mid-autumn and National Day
Analysis of the Total Box Offices and Viewer persons/time
6.2.3 Release Calendar the New Year period
Analysis of Total Box Offices and Viewers persons/time
Analysis of Weekly Box Offices
Analysis of Released Movies
Share of Domestic films
6.3 Analysis of the Development of Chinas Movie Release Calendar
Arranging first, scheduling later
In terms of release calendar e for 2010, the over-concentrated movies from frequent
release calendar remains distinctive. In particular, many movies were put on during the
National Day holiday period inthat year. However, except for Detective Dee, it is hard for
other movies to achieve desirable records inbox offices.
37
7. Analysis of Major Players in Chinas Film Industry
7.1 Analysis of the Competitiveness Edge of Sophisticated Players in the Film

Industry
7.1.1 A Six-year Journey of China Film Group IPO Efforts to Be Finalized
Liquidate the Non-performing Assets for IPO
Establishment of China Film Co., Ltd.for IPO and the Future Business as Well
China Film Group to Separate the Monopolized Assets for IPO with the Fear of
Halving the Distribution Earning

7.1.2 Shanghai Film Group
Speeding up the corporate restructuring for IPO
Comparable Profits to the Listed Company but with Lower Profitability
Focus on Establishment of cinemas while expanding to the overseas market
7.1.3 Huayi Brothers
Develop and Plan the Entertaining Kingdom of the Entire Industry Chain for 2010
Low Expectation of Earning from Movies for the Year, while TV Series likely to be its
Primary Business
Movies, brokers are the star business for Huayi Brothers
The pyramid layout of nine businesses can be established steadily after the
gradual improvement of the layout of industry chains.
Diverse types of new movies for 11 years and sequel movies as the majority
Actively expand cinemas and accelerate the process of cash flow
To be a shareholder of Ourpalm Co., Ltd for access to the new media platform
Acquisition of Huayi Giants and Getting into the Game Field
Being the Owner of Huayi Music, also for the Performance Mark
7.1.4 Bona Film Group
Main Businesses of Bona Film Group
The Average Distribution Ability Increased, Market Share Stabled
Stabilize the Business Revenue and Accelerate Investments in Cinema
Introduction of International Partners to Strengthen Film Production
38
7.1.5 Orange Sky Golden Harvest Ltd.
Acquire Legend Shares, Expect More Cooperation
7.1.6 Stellar Film Group
Cinema construction as the most important one in the major businesses of Stellar
Film Group
7.2 Analysis of Competitiveness of New Film Companies
7.2.1 Enlight Picture
Brand-oriented film operations
Relying on the big platform to produce films
No focus on establishing cinemas to create asset-independent entertainment
companies with all the efforts

7.2.2 Galloping Horse
Participation in the establishment of cinema to ,accelerate the layout of industry
chains
7.2.3 Dadi Movie
Background Information
Rapid expansion of the cinema line making it essential for Dadi to construct
terminals for business
Introduction to the Past Movies
2010-the Outbreak of film business for Dadi Times
7.2.4 LETV Pictures
Expected increase of Talents and Fortune in the film industry
7.3 Analysis of competitiveness of placement advertising company before movie release

7.3.1 Filmore-media. Incorporated Company
Founded in1998, Filmore-media Incorporated Company is one of the film media
companies with the longest history and the largest scale in China. Screen matrix is the
core of business. Filmore-media IncorporatedCompany applies itself to provide
professional integrated media consultingand solutions to film operators and customers
based on the entirefilm industry, including placing advertisement, authorizingservices,
Screen matrix, publicizing position, bundlingmarketing, developing post-product,
movieaudient data services, PR support based on film events, etc. It involves every
aspect of the film industry.
39
The major forms of advertising include:
Regular launch
Creative launch
Theme cinemas, private cinema use
7.3.2 Jingmao Film Media

Established in 2008, Jingmao Film Media isa rising star of the film advertising market.
From 2009, JingMao Film Media was authorized by China Film Group/Huaxia Film
Group and other film makers, to jointly promote the development of the film
advertising before the show time, and provide customers with marketing services for
integration of the entire industry chains.
The main products of Jingmao Film Media are flim advertising for the first screen and
Movies for the World. The methods for operation of the first screen include film
implantation, film authority, film debut and cinema show.
40
8. Introduction and Export of Overseas Film Copyright
8.1 Introduction of Overseas Film Copyright for Chinese Film Market in

2010
Taking the population, earnings, demands of culture and entertainment, and film
terminal construction into consideration, the Chinese film market still has great
potential for further expansion. As required by WTO, the Chinese film market in 2011
begins to be further open to the imported films. It is estimated that domestically
produced films and imported films would compete fiercely for the market share.
8.1.1 Overview of Box Office of Imported films in 2010
There are 62 films imported by China in 2010, with the total box-office standing at CNY
4.448 billion, accounting for 43.7% of the annual box-office in the Chinese film market.
Due to the outstanding performance of Avatar, Inception and others, the box-office
earnings of imported films in 2010 are up by 65% over 2009, much higher than the 27%
average growth rate in recent years. Compared with the relevant data in 2002~2010,
the proportion of imported films total box-office earnings fall slowly, and the
proportion of 2008~2010 is lower than 45%. The reason is that competitiveness of
domestically produced films is enhanced continuously. In particular, more and more
Sino-foreign collaborative films are breaking the box office records, thus increasing the
market share of domestically produced films.
8.1.2 Analysis of Market Features of Imported films in 2010
The box office is highly concentrated, with top 10 films accounting for 75%
The office-box of foreign movie whose earnings distribution is based on a

proportional basis accounts for 83% of gross earnings of all the office-box, which
the office-box of 3D has the highest earnings.
Films that distributing company has exclusive rights to show break CNY 100
million.
8.2 Export of Domestic Films in 2010

8.2.1 Overview of Chinese Film Export in 2010
Based on the statistics of Entgroup enbase, although export volume of Chinese films is
decreased a little,
the total overseas earnings are CNY 3,517 million, increasing by 27%
from a year ago. The earnings of movies cooperated with other countries have been on
the rise from 58.8% in 2006 to 99.96% in 2010. There are 47 films and 204 times that
41
completed export deal in 2010, and there are 46 films that cooperated with other
countries. For Chinese movies, North America, Asia-Pacific and Europe are the
important export regions. There are only 2 movies exported to America, but American
box-office gross of Chinese movies wins the champion with the earnings of CNY 1,220
million. Film times exported to Asia-Pacific ranks first, and accounts for 60%
8.2.2 North American
American participation attributes the success of martial arts/action movie
Famous actors especially Jackie Chan and Jet Li play an important role in the
box-office
Case 1 Kongfu Dreams made by China and America

8.2.3 Asian-Pacific region
Box-office earnings of Chinese films in Asia-Pacific regions have been slashed in 2010.
The total office-box of Chinese films is CNY 1,492 million, contributing to 54% of global
overseas market box-office. However, earnings in the Asia-Pacific decreased by CNY
430 million, and the proportion dropped down to 30%. In recent years, compared with
the relevant data from 2006 to 2010, the box-office earnings in Asia-Pacific regions are
CNY 1,300~1,400 million. Export amount of Chinese films in Asia-Pacific regions is 140
in 2010 up after experiencing decline in 2009.
Kong Kong as the main export region, and strive for Australian market in the future
8.2.4 Europe and Other Regions

The box-office earnings of Chinese films in European regions increase steadily in 2010,
with the total box-office standing at CNY 406 million in 2009 in Europe, accounting for
15% of the overseas box-office. The box office earnings in Europe increase by CNY 210
million in 2010, accounting for 18% of the overseas box-office. Compared with the
relevant data from 2006 to 2010, the box-office earnings of the Chinese films in Europe
increase steadily from CNY 177 million in 2006 to CNY 617 million in 2010 with 42% of
annual growth.
Except above-mentioned regions, the box-office earnings of Chinese films keep surging
in Southern America in recent years. The earnings in 2008, 2009 and 2010 are CNY
46,910,000, 114 million and 281 million. China obtains more box-office earnings in
Mexico and Brazil compared with other regions in Southern America, accounting for
72.7% in the recent years. For the films introduced from China, the countries in
Southern American select the films that have good feedback in North America.
Therefore, four films are showed in the countries of South America, including Kongfu
Dreams, Astro Boy, Mummy 3 and Lust.
42
By contrast, Africa and Middle East are still to be developed. In 2010, only Kongfu
Dreams is exported to the above regions, which grossed CNY 28,030,000 in the seven
countries. United Arab Emirates is listed first with box-office result of CNY 13,640,000 in
the region. In 2009, there are two films named Red Cliff and Mummy 3 showed
in the region, and box-office earnings are CNY 15,470,000.
9. Movie-going survey China in 2010

More information in complete version of 2010-2011 China film industry research report.
EntGroup consulting
Rm.1509, Building C, SOHO New Town, 88 Jianguo Rd.
Chaoyang District, Beijing, P.R.China
Tel:
+86-10-85899985
Webhttp://www.entgroup.cn
contact
Leon Gao| CEO
[email protected]
Amy Liu | Business Director
Vivi Wang| Business specialist
[email protected]
[email protected]
43
Entgroup International Consulting (Beijing) Co.,LTD

Rm.1509, Building C, SOHO New Town, 88 Jianguo Rd.Chaoyang District, Beijing, P.R.China
Tel010-85899985
Fax: 010-85899985-839
http://www.entgroup.cn
44

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