Predicting the development path of Bona Film based on the marketing mix theory

Huayi Brothers Media Co., LTD., once known as the "first stock of Chinese film and television entertainment", has been mired in continuous financial losses since 2018. According to the financial statements of Huayi Brothers in 2021 and the semi-annual financial statements in 2022, Huayi Brothers has been in a state of loss in profit, and there are major flaws in its main business planning. The company had ideas and actions to save the market but to no avail. This article starts with the financial report of Huayi Brothers and discusses the problems exposed in its development. It can clarify the current difficulties faced by the Chinese film industry and list film and television companies and propose appropriate solutions to help the further development of the Chinese film industry and also provide other Film and television companies sounded the alarm.

The authors examine how Chinese film and television companies have collaborated with their counterparts in South Korea during the past decade. The first part of the chapter challenges the concept of cultural and media ‘flows’, arguing that processes and technologies have probably been more instrumental in transforming the Chinese media industries. Whereas the generic term ‘flows’ applies to finished content, an increase in film co-production and formatting activity in the television industry between the two nations leads us to examine other factors including professional relationships and the exchange of creative ideas and technology. The next section looks at the Chinese government’s ‘going out’ strategy through the 2014 film co-production agreement with South Korea, and the post-production collaboration that followed it. We then examine some examples of television collaboration and how this is helping to raise China’s profile in East Asia, where it is inevitably tarred with the negative image of the Chinese Communist Party. The question that arises is: will such East Asian collaboration efforts enable or impede China’s media dream of reaching out to the world stage?

Due to the continuous economic development in recent years, there is a phenomenon that people begin to pursue spiritual satisfaction while meeting the basic material needs. Film is an important way of mankind's Daily pastime. As the consumer power in film increases, the economy of film production also develops. This article chose the Huayi brothers, the Light media, Wanda film, Chinese film co., LTD., 4 listed Chinese film and TV making company to analysis the relationship between the economy. Based on their financial statements, revenue expenditure analysis of their income in recent years as well as the spending of filmmaking, this study summarizes the close ties between Chinese movies and economic and carries on the development of some prediction. According to the analysis, China's film and economic relationship is mutual promotion, and after the outbreak of the new champions league era, the development of China's film will continue to accelerate. These results can help people understand more about the development between Chinese film and economy and the development background of Chinese film economy.

This study aims to construct an empirical model to address the challenges and opportunities facing the Chinese film industry in the post-Covid age and delves into the relationships between customer satisfaction and loyalty. The researcher conducted a comprehensive analysis employing a quantitative research approach and integrating various theoretical frameworks, including annual reports on the Chinese film market, consumer behavior models, and theories such as service quality (RATER) and theory of planned behavior (TPB). A questionnaire survey at Wanda Cinemas, one of the busiest cinema chains in Beijing, yielded 536 valid responses. The findings indicate significant relationships between the Theory of Planned Behavior (TPB), service quality (RATER), and customer satisfaction and loyalty in the film industry. The film market validates the impact of TPB and RATER on customer loyalty through the mediating role of customer satisfaction. Furthermore, the application of the TPB model reveals the enduring connection between customer satisfaction and loyalty in the post-Covid age. This study, which is based on a thorough investigation of the Chinese film industry, provides a profound understanding of the mechanisms shaping customer loyalty in the post-Covid Age Chinese film market. The empirical model not only offers strategic guidance for the film industry to navigate new opportunities and challenges but also establishes a valuable theoretical foundation for future research in related fields. Ultimately, this research provides empirical support and practical recommendations for the sustainable development of the film industry and customer relationship management.

In the context of the continuous deepening of population aging in China, the silver-haired market, as an emerging consumption sector with both social value and economic potential, has attracted much attention. This paper focuses on the Chinese silver-haired market, conducting a systematic exploration through literature research, data analysis, and case studies. It systematically investigates the growth characteristics of the current Chinese silver-haired market, the changes in consumer group demands, as well as the shortcomings in the market supply side in terms of product innovation, service adaptation, and industry regulations. At the same time, by combining the mature development experience of foreign silver-haired markets, it proposes countermeasures and suggestions for optimizing the development of the Chinese silver-haired market from dimensions such as enterprise product development, government policy support, social atmosphere creation, and industry standard improvement. This research aims to help tap into the consumption potential of Chinas elderly population, improve their quality of life, and support the sustainable and high-quality growth of the silver-haired market.

Despite rapid advancements in Artificial Intelligence-Generated Content (AIGC) across various sectors, research on its specific implementation within the Chinese broadcast media industry remains limited, particularly regarding its impact on content generation efficiency, quality, and associated challenges. This exploratory study investigates AIGC technology applications in content creation workflows within the Chinese broadcast media, contributing unique insights from China’s distinctive digital ecosystem shaped by the “Great Firewall” and specific regulatory environment. Guided by the Media Ecology Theory, this research employed a qualitative approach through semi-structured interviews with key executives from two leading Chinese film and television companies. The study reveals that AIGC technology brings significant operational efficiency improvements, including approximately 50% increased 3D rendering efficiency and substantial reductions in time and costs for scriptwriting, graphic design, and video editing. These findings indicate a transformative shift in traditional content creation practices, highlighting AIGC’s potential to enhance productivity while reducing operational costs. However, the research identifies critical implementation challenges, including workflow modelling complexity and content duplication issues that create “efficiency paradoxes” where apparent gains mask underlying complexity increases. The study contributes novel theoretical insights by extending the Media Ecology Theory to understand AIGC as an environmental force that fundamentally transforms production ecosystems through environmental restructuring, cognitive reframing, and cultural redefinition. Methodological limitations include a small sample size of two companies and executives, limiting statistical generalisability while providing analytically rich insights into early-stage AIGC deployment within China’s unique media landscape. Despite implementation challenges, high user satisfaction with AIGC-generated content suggests broad application potential. This research offers valuable insights into balancing AI-driven efficiency with human creativity and provides a foundation for future studies on integrating AIGC technology into media production within distinctive cultural and regulatory contexts.

Tiffany as an example of the jewelry industry development profile, to explore the development prospects for the jewelry industry in the Chinese market, including industry development environment, industry policies, and other aspects. Methods: This paper explores the production and operation situation of Tiffany through literature research method, empirical summary method and through horizontal analysis of Tiffany's financial statements and ratio analysis, and digs deeper into the impact and significance of Tiffany on China's economic development. The research results show that the Chinese jewelry market should carry out brand building and create national brands; optimize jewelry structure and design jewelry for target groups; upgrade marketing strategies, use the digital era to sell jewelry online, and accelerate the stable construction of the Chinese jewelry market through video promotion, etc.

Abstract: Previous studies have emphasised mainly the competitive relationship and the resistance of host governments to the expansion of foreign firms in the film industry. Adopting the competitiveness approach, this article, by contrast, analyses how internationalisation has enhanced the competitiveness of China's film industry. It shows that Chinese filmmakers leverage Hollywood's resources via three channels of internationalisation—trade, foreign direct investment and international co-productions. The enhanced competitiveness of China's film industry serves as the foundation for its bargaining power vis-à-vis Hollywood, enabling China to respond more effectively to Hollywood's expansion into its film market. However, the Chinese government's recent tightening of censorship on film production has negatively affected the sustainable relationship between China and Hollywood and hinders China's pursuit of achieving global appeal for Chinese films.

As the COVID-19 ended, the global entertainment economy began to recover. On this occasion, the global film and television industry is also beginning to recover. This study will discuss the company background, main industry,main products,stock situation, financial data, future development and competition of several major film and television companies. Through financial data and market analysis, comparing and selecting target companies, and analyze the advantages and risk factors of investment. By comparing the financial data of the four companies, Disney became the target investment company. The risk factors are analyzed in detail. At the same time, by calculating and chart statistical analysis, the financial situation, competitive relations, advantages and disadvantages and development prospects of the four major companies are comprehensively analyzed. These results are conducive to the basic research of film and television industry under the recovery of entertainment economy and the correct investment choice. It is also helpful for investors to learn the basic methods and main thinking aspects of investment selection.

For the limitation that Chinese movie box office forecasting accuracy is not high in the long-term prediction research, based on the research of the Chinese movie market, this paper proposes a long-term prediction model for movie box office based on the deep belief network. The new model improved the movie box office influence model of Barry, screened out the effective box office impact factor, normalized the quantitative factor and formed a measurement system which is suitable for the Chinese movie market. Based on this measurement system, the characteristics of the data set in the original space are transferred to the space with semantic features and a hierarchical feature representation by deep learning, thus the accuracy of box office prediction was improved. Experimental evaluation results show that, in view of the 439 movie data, the DBN prediction model of movie box office has better prediction performance, and has good application value in the field of film box office.

In this study we consider Chinese cinema in Russia distribution condition. It is proved that a serious stimulus for the development of cinematography in the People's Republic of China was a rational combination of commercial tools in the production of films with the solution of serious image problems for China, that modern Chinese cinematography has acquired another extremely important load – it has become an important media instrument of “soft power” for the dissemination abroad of information about Chinese culture, history and politics, as well as for the formation of a positive image of China, creating a trust relationship to Chinese civilization and nation. For Russia, as a country located along the “One Belt, One Road”, cooperation with China is especially valuable. The study substantiates that the interaction of the two countries in the field of cinematography is one of the main components of maintaining good – neighborly relations. It has been established during the conducted study that Chinese films actively participate in the international film festival in Russia, winning various awards, since February 1935, when at the First Moscow International Film Festival (or the Soviet Film Festival in Moscow) the social drama “Song of the Fishermen” directed by Cai Chusheng received an incentive prize of the festival jury. It was the first international prize in the history of Chinese cinema.

This paper reports findings from a recent survey of 1115 respondents from 34 rural counties/villages in 11 Chinese provinces. It investigates consumers’ reaction towards the advertising market by incorporating the use of information sources and perceived source credibility into the advertising effectiveness literature. This is the first time that information about long-overlooked Chinese rural consumers based on probability sampling has become available to western readers. The results show that rural Chinese consumers utilise a variety of information sources when making their purchase decision, and for different product categories different information sources are preferred. Although perceived source credibility is a reliable predictor for information sources use, the most trusted information source might not always be the most used source. While television is by far the most frequent source of information for any type of product, Chinese rural consumers may trust different sources differently, depending on the type of product.

As the most potential industry in the knowledge economy, the modern service industry plays an increasingly important role in economic development. In this paper, the SWOT analysis of modern service industry has been done in the old industrial bases where the technological renovation leads to industrial decline. The results show that geographical position’s superiority, abundant natural resources, complete industrial system, convenient transportation condition and government policy support etc. are the strengths and opportunities of modern service industry development in the old industrial bases. While lagging development level, imperfect service support system, deficient human resources, lack of technical innovation ability and serious social problems etc. will bring negative impact to the modern service industry of the old industrial bases.

This chapter begins the book’s study of the golden age as a pre- national cinema, and examines the period as a transnational cinema that mimics Singapore’s positioning as a transnational space. Borrowing Sheldon Lu’s argument on Chinese cinema, it shows that film production in Singapore arose as ‘an event of transnational capital from its beginning’. To that end, the chapter considers the development, practices and migrant constitution of the film industry vis-à-vis the socio-political circumstances of this burgeoning nation, including Singapore’s complex relationship with Malaysia, and places Singapore cinema within the larger transnational network of film production and distribution in the region, Hong Kong and China.

본 연구는 온라인 사용후기(구전)가 소비자의 수용행동에 미치는 영향을 비교하고자 하였다. 이를 위해 정보원 유형(information source)과 제품 카테고리(product category)에 따른 소비자의 지각하는 선망 수준을 측정하였다. 또한 지각된 선망을 우호적 선망과 악의적 선망으로 구분하고 각각의 수준이 소비자 수용행동(브랜드 선호도 및 구매의도)에 미치는 영향을 집단별로 비교하기 위하여 다변량 분산분석을 실시하였다. 검증 결과, 정보원 유형과 제품 카테고리는 우호적 선망에 주효과를 나타내었다. 특히 연예인과 왕홍에 대한 우호적 선망이 일반인보다 높게 나타났으며, 사치재와 관련하여 우호적 선망이 높게 지각되었다. 우호적 선망과 소비자 수용행동을 살펴보면, 우호적 선망은 정보원 유형과 제품 카테고리와의 상호작용을 통하여 브랜드 선호도 및 구매의도에 영향을 나타냄을 확인할 수 있었다. 한편, 악의적 선망은 소비자 수용행동에 영향을 나타내지 못함을 확인하였다. 이를 통해 온라인 사용후기에 대한 중국 소비자들의 수용행동을 이해하고 마케팅 전략 수립에 시사점을 제공하고자 하였다.The purpose of this study is to examine consumer acceptance behavior on online review among Chinese consumers. For this purpose, this study measures the level of envy based on information sources and product category. Envy is categorized into benign envy and malicious envy, which compare the impact of consumer acceptance behavior. The result of this study shows that benign envy is effective on consumer acceptance behavior. Especially, it is found that benign envy have interaction effect with information source and product category for brand preference and intention to purchase. On the other hand, it is found that malicious envy have no meaningful influence on consumer acceptance behavior. Through this study, it makes understand consumer acceptance behavior on online review and provide meaningful implications for making marketing strategy.