The platformization of China’s film distribution in a pandemic era

IF 2.1 2区 文学 Q2 COMMUNICATION
Wendy Su
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引用次数: 2

Abstract

Abstract The COVID-19 pandemic has fundamentally transformed global media industries’ practices and altered audiences’ media consumption habits. The film industries have shortened theatrical windows and expanded streaming services to cope with this reality, which has accelerated the so-called digital distribution revolution. This study focuses on the transformation of China’s film distribution and exhibition sector before and during the pandemic. Specifically, the study tracks the strategies of China’s digital giants, iQIYI, Tencent-backed Maoyan, and Alibaba-backed Tao Piao Piao, for promoting and exhibiting films. By integrating digital media studies and industrial studies, the study seeks to tackle the issue of whether distributional platformization can serve as the infrastructure of the film industry and usher in a new era of the digital entertainment revolution. The findings indicate that digital corporations’ strategies have accelerated the platformization of the distribution infrastructure of the film industry. However, current industrial practices nourish the prospect of coexistence in the foreseeable future.
大流行时代中国电影发行的平台化
新冠肺炎疫情从根本上改变了全球媒体行业的做法,改变了受众的媒体消费习惯。为了应对这一现实,电影行业缩短了院线放映时间,扩大了流媒体服务,这加速了所谓的数字发行革命。本研究的重点是中国电影发行放映行业在疫情前和疫情期间的转型。具体来说,该研究追踪了中国数字巨头爱奇艺、腾讯支持的猫眼和阿里巴巴支持的淘票票在宣传和展示电影方面的策略。通过整合数字媒体研究和产业研究,该研究试图解决发行平台能否作为电影产业的基础设施,并引领数字娱乐革命的新时代的问题。研究结果表明,数字公司的战略加速了电影行业发行基础设施的平台化。然而,目前的工业实践在可预见的将来孕育了共存的前景。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
4.70
自引率
3.70%
发文量
38
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