The Influence of Movie Release Modes on Movie Revenues: Take Lost in Russia and Lost in Thailand as Examples

Research Article
Open access

The Influence of Movie Release Modes on Movie Revenues: Take Lost in Russia and Lost in Thailand as Examples

Ruoxi Chen 1*
  • 1 Wuhan University    
  • *corresponding author 2020301052071@whu.edu.cn
Published on 13 September 2023 | https://doi.org/10.54254/2754-1169/22/20230315
AEMPS Vol.22
ISSN (Print): 2754-1177
ISSN (Online): 2754-1169
ISBN (Print): 978-1-915371-87-4
ISBN (Online): 978-1-915371-88-1

Abstract

In recent years, the competition between China's streaming movies and theatrical movies has intensified. The epidemic has further promoted the development of streaming movies and enhanced the competitiveness of streaming platforms. Traditional theater companies have felt the threat of being "replaced". This article takes the two movies Lost in Russia and Lost in Thailand as examples to analyze the impact of different release modes on the tbox office and concludes that the streaming movie Lost in Russia has a higher box office. Alt-hough there are some accidental factors in the success of Lost in Russia, this study guides the future development of streaming media platforms and theater companies. This article finds that streaming movies have advantages in publicity and cinema chains have ad-vantages in production through SWOT analysis, but they also have inherent disadvantages. Since the streaming media platform and the theater chain cannot replace each other for the time being, and the coexistence of the two release modes is unavoidable, the streaming media platform and the theater chain company should learn from each other's advantages and develop together.

Keywords:

streaming movies, theatrical movies, movie revenues, SWOT analysis

Chen,R. (2023). The Influence of Movie Release Modes on Movie Revenues: Take Lost in Russia and Lost in Thailand as Examples. Advances in Economics, Management and Political Sciences,22,227-232.
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References

[1]. Hu Zhifeng, Chen Hongwei. Find new opportunities in the crisis and make new progresses in the changing situation——Observation and reflection on China's film market in the past three years. China's film mar-ket,01,4-11, (2023).

[2]. Yuan Hongzhou.Interaction and mutual learning: the optimization path of "online media" and cinema films during the epidemic period[J]. Film review, No.633(07),101-105, (2020).

[3]. Qu Xin. Netflix Innovation Development Research [D]. Southwest University, (2021).

[4]. Dong Junhua, Wu Xiaoyu. Empirical Research on Online Movie Watching Behavior under the Post-epidemic [J]. Film Literature, No.810(21):9-17 (2022).

[5]. Bu Shusheng, Guo Jun. The Model, Innovation and Future Landscape of On-Demand Accounting of Online Movies [J]. Modern Audiovisual, (10): 19-23 (2022).

[6]. Liu Hanwen. Objectively Summarize the Past and Actively Plan for the Future—Retrospect and Analysis of the 20th Anniversary of the Reform of the Cinema System [J]. Contemporary Film, No.316(07): 12-20(2022).

[7]. Zhang Runhua. Research on the profit model of Wanda Film [D]. Xi'an Petroleum University, (2019).

[8]. Lu Baishun, Ding Ning. Innovation and Breakthrough of Online Movies in the Streaming Media Era [J]. Film Literature, No.788(23):31-34 (2022).

[9]. Bai He. Theatrical Film Distribution and Streaming Media Marketing: Reflecting on the Practice of Lost in Thailand's Theater Transfer [J]. Chinese Film Market, (10): 45-47 (2022).

[10]. Ran Linrui. Application and Risk Research of VAM Agreement in Film and Television Culture Industry [D]. Guangdong University of Finance and Economics. (2021).

[11]. Xiang Yong. Lost in Russia moved whose cheese? —— Also on the development pattern of my country's cinema chain in the era of digital creativity [J]. Art Review, (03): 88-95. (2021).

[12]. Yu Xiangyun. The core competitiveness of the commercial success of the "Lost" series of films: the integration of entertainment and humanistic connotation [J]. Journal of Southwest Jiaotong University (Social Science Edition), 22(06): 47-52 (2021).

[13]. Wang Jian, Zhuang Xin. Profit Analysis of Film Enterprises——Taking "Lost in Thailand" as an Example [J]. Financial Supervision, No.281(23):69-71 (2013).

[14]. Cui Ying. Speculation on the cultural phenomenon that the box office of "Thailand" is not "Lost" [J]. TV Guide, No.147(05): 39-40 (2018).

[15]. Xu Naiyu. Streaming Media Movie Lost in Russia: Exploring the New Development of Cinema Movies in the Future [J]. Media Forum, 4(12):127-128 (2021).

Cite this article

Chen,R. (2023). The Influence of Movie Release Modes on Movie Revenues: Take Lost in Russia and Lost in Thailand as Examples. Advances in Economics, Management and Political Sciences,22,227-232.

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About volume

Volume title: Proceedings of the 2023 International Conference on Management Research and Economic Development

ISBN：978-1-915371-87-4(Print) / 978-1-915371-88-1(Online)
Editor：Canh Thien Dang, Javier Cifuentes-Faura
Conference website: https://2023.icmred.org/
Conference date: 28 April 2023
Series: Advances in Economics, Management and Political Sciences
Volume number: Vol.22
ISSN：2754-1169(Print) / 2754-1177(Online)

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References

[1]. Hu Zhifeng, Chen Hongwei. Find new opportunities in the crisis and make new progresses in the changing situation——Observation and reflection on China's film market in the past three years. China's film mar-ket,01,4-11, (2023).

[2]. Yuan Hongzhou.Interaction and mutual learning: the optimization path of "online media" and cinema films during the epidemic period[J]. Film review, No.633(07),101-105, (2020).

[3]. Qu Xin. Netflix Innovation Development Research [D]. Southwest University, (2021).

[4]. Dong Junhua, Wu Xiaoyu. Empirical Research on Online Movie Watching Behavior under the Post-epidemic [J]. Film Literature, No.810(21):9-17 (2022).

[5]. Bu Shusheng, Guo Jun. The Model, Innovation and Future Landscape of On-Demand Accounting of Online Movies [J]. Modern Audiovisual, (10): 19-23 (2022).

[6]. Liu Hanwen. Objectively Summarize the Past and Actively Plan for the Future—Retrospect and Analysis of the 20th Anniversary of the Reform of the Cinema System [J]. Contemporary Film, No.316(07): 12-20(2022).

[7]. Zhang Runhua. Research on the profit model of Wanda Film [D]. Xi'an Petroleum University, (2019).

[8]. Lu Baishun, Ding Ning. Innovation and Breakthrough of Online Movies in the Streaming Media Era [J]. Film Literature, No.788(23):31-34 (2022).

[9]. Bai He. Theatrical Film Distribution and Streaming Media Marketing: Reflecting on the Practice of Lost in Thailand's Theater Transfer [J]. Chinese Film Market, (10): 45-47 (2022).

[10]. Ran Linrui. Application and Risk Research of VAM Agreement in Film and Television Culture Industry [D]. Guangdong University of Finance and Economics. (2021).

[11]. Xiang Yong. Lost in Russia moved whose cheese? —— Also on the development pattern of my country's cinema chain in the era of digital creativity [J]. Art Review, (03): 88-95. (2021).

[12]. Yu Xiangyun. The core competitiveness of the commercial success of the "Lost" series of films: the integration of entertainment and humanistic connotation [J]. Journal of Southwest Jiaotong University (Social Science Edition), 22(06): 47-52 (2021).

[13]. Wang Jian, Zhuang Xin. Profit Analysis of Film Enterprises——Taking "Lost in Thailand" as an Example [J]. Financial Supervision, No.281(23):69-71 (2013).

[14]. Cui Ying. Speculation on the cultural phenomenon that the box office of "Thailand" is not "Lost" [J]. TV Guide, No.147(05): 39-40 (2018).

[15]. Xu Naiyu. Streaming Media Movie Lost in Russia: Exploring the New Development of Cinema Movies in the Future [J]. Media Forum, 4(12):127-128 (2021).

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