In 2021, the box office of the cinema film market has exceeded 46 billion yuan and produced a number of good results, but it is also facing challenges such as centralized content and limited schedule space. On December 29, China Film Co.Ltd(600977) associations, lighthouse Research Institute and lighthouse Professional Edition jointly released a research report on film scheduling strategy entitled “opening up a new road and seeking symbiosis” at the forum of China Golden Rooster Baihua Film Festival in 2021, in order to release the vitality of the film market and ensure the healthy and stable development of the industry through the research and Discussion on scheduling issues.
Mu Chen, President of Lighthouse Research Institute, analyzed the current schedule status: this year, the film market has produced the highest record of Spring Festival (RMB 7.84 billion) and the second highest record of National Day (RMB 4.39 billion), but the total box office share of the two schedules in the overall market of the whole year has increased to 1 / 4 level year by year, and the schedule concentration effect is increasing; Films released on key schedules have opened a large gap with non scheduled films in terms of quantity, score and single-chip box office.
The research and investigation results show that the core appeal of the audience to the film mainly comes from the film itself, not the schedule; In order to break through the schedule restrictions and the ceiling of the industry, the film first needs to understand its own content characteristics and target audience, and then explore the special date and schedule suitable for releasing the audience’s emotions, which will be the core issue to be faced by the industry in the “post epidemic era”.
Mu Chen said that the market also released some positive signals in 2021: in addition to the traditional large schedule, a number of newly emerging schedules, such as Tanabata, June 1 and “520”, have produced brilliant box office results. Among them, I want us to be together, which was released in “520” this year, accurately touched the emotions to the core audience of love films through targeted publicity, and achieved box office results of nearly 100 million yuan on the first day and 326 million yuan in the end. This case takes into account the insight into the schedule and the user’s emotion: in terms of the schedule competition of “520”, there is a great difference between the audience of “I want us together” and “speed and passion 9” released the next day, and it is also different from “your wedding” released on “May Day”; The film pushes the sense of social ceremony of love films to the extreme. The release time is set at 13:14. The results show that the box office at this time exceeds the traditional prime time.
The box office performance of “I want us together” also makes “520” enter the industry vision as an independent schedule for the first time. The report points out that as long as we are close to the emotional demands of the audience and see the “vacuum period” of competitive vacancies, we can actually have more choices. In addition to special festivals with their own emotional attributes, such as seasonal seasons and the vacuum period after returning to work after a long holiday, we can find greater market space for filing and distribution.
“When discussing the schedule trend and publicity strategies of films today, we believe that it is particularly important to seize the opportunity of the change of schedule pattern and find the emotional connection between the film itself and the audience.” Mu Chen said, “film makers and publicity decision makers need to fully understand the characteristics of the film and the core audience, and understand the audience’s viewing and consumption habits, so as to formulate the most suitable scheduling strategy for the film, and the market can have more imagination in the future.”
(economic reference network)
