<html><head></head><body dir="auto"><div>I think my mail was sent just to Jasper, I'll paste it below just for the sake of clarity: </div><div><br></div><div><div><span style="background-color: rgba(255, 255, 255, 0);">Hello Jasper, </span></div><div><span style="background-color: rgba(255, 255, 255, 0);"><br></span></div><div><span style="background-color: rgba(255, 255, 255, 0);">Great and well written article, just a couple of doubts: </span></div><div><span style="background-color: rgba(255, 255, 255, 0);">you're writing that there are 2 companies pushing the 4D in Japan, United Cinemas, and Toho, but how about Korona? They have 8 4DX screens throughout Japan, if I'm not wrong, or is Korona part of United Cinema? </span></div><div><span style="background-color: rgba(255, 255, 255, 0);"><br></span></div><div><span style="background-color: rgba(255, 255, 255, 0);">As for the price of DVDs and Blu-ray in Japan, it's true that they're expensive and might bring more people to experience cinema in theatres, but let's not forget that the rental business (Tsutaya, Geo and recently Amazon) is still very popular in Japan and reasonably cheap (400 or 350 yen for a new release). </span></div><div><span style="background-color: rgba(255, 255, 255, 0);"><br></span></div><div><span style="background-color: rgba(255, 255, 255, 0);">Just my 2 cents</span></div><div><span style="background-color: rgba(255, 255, 255, 0);"><br></span></div><div><span style="background-color: rgba(255, 255, 255, 0);">All the best</span></div><div><span style="background-color: rgba(255, 255, 255, 0);"><br></span></div><br><div><span style="background-color: rgba(255, 255, 255, 0);">Matteo Boscarol<br></span><div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">ボスカロル マッテオ</span></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">記憶ただ陽炎のゆらめき</span></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">- LuccaFilmFestival</span></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">Asia and Japan Correspondent</span></div><div style="line-height: 24px;"><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=SRv03BAcNSJIHwlK_TsscxF5Wko-tztG-NG6CJZUAnU&e=" style="background-color: rgba(255, 255, 255, 0);"><font color="#000000">http://luccafilmfestival.it</font></a></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">- Sonatine2010</span></div></div><div style="line-height: 24px;"><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=OiTc1deNosWdHxuxSHPm5DxHRyfEG0ZtQCi2aLGvXYA&e=" style="background-color: rgba(255, 255, 255, 0);"><font color="#000000">http://www.sonatine2010.blogspot.jp</font></a></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">- Storia(e) del Documentario in Giappone</span></div><div style="line-height: 24px;"><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=Hs72GN6vaGB2jnkvvmv3EX6rq_HpK6u-dVswzq75qA8&e=" style="background-color: rgba(255, 255, 255, 0);"><font color="#000000">http://storiadocgiappone.wordpress.com</font></a></div><div style="line-height: 24px;"><span style="background-color: rgba(255, 255, 255, 0);">- Screenweek Japan</span></div><div><span style="line-height: 24px; background-color: rgba(255, 255, 255, 0);"></span></div></div></div><div><br>On Feb 18, 2016, at 7:33 PM, Jasper Sharp <<a href="mailto:jasper_sharp@hotmail.com">jasper_sharp@hotmail.com</a>> wrote:<br><br></div><blockquote type="cite"><div>
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<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434"> </span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">This is turning into a rather
fascinating discussion, so thanks to everyone for engaging, especially Stephen
with the amazing wealth of information about the broader situation across Asia.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434"> </span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">In answer to Markus’ question about
foreign markets, I don’t know about nowadays, but I can imagine it’s
negligible. I calculated these stats for the 1950s back in my PhD days, and it
fluctuated between 1.4% of gross domestic income in 1948 to a high of 3.1% in
1953 but generally remained around the 2% mark, where it stayed for much of the
1960s. Back in those days, Okinawa was considered a foreign market, and most of
Japan’s film exports were to neighbouring Asian markets like Hong Kong or
Taiwan, or if the US, then to theatres in Japanese communities in places like
Hawaii or Los Angeles. The European market earned Japanese distributors little
more than prestige – which explains why Daiei eventually tanked while Toei
triumphed. I can’t see the situation being much different today, except that
China and South Korea would now be bigger markets for Japanese producers.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434"> </span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">Matteo, thanks for mentioning the
rental market, which has all but died in Europe and America. It’s been a while
since I was last in Japan, so I’d assumed that Tsutaya was heading down a
similar path as Blockbusters, but it is great to know that it’s still going
strong.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">As for Korona, I don’t know much
about this company, and thanks for raising the issue as again it points to
another area of potential research. My information about 4DX largely came from
this article in the Japan Times by Shusuke Murai: <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.japantimes.co.jp_culture_2015_12_18_films_force-2Dawakens-2Dinterest-2Dmotion-2Deffects-2Dtheaters-23.VsWTfITzTt8&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=QUUuLqGjTnqawXib3oPpNlZlBH6Zp4R-dZiw9A4Y3GQ&e=">http://www.japantimes.co.jp/culture/2015/12/18/films/force-awakens-interest-motion-effects-theaters#.VsWTfITzTt8</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">I think it reinforces the point
though that while 4DX was quite late to arrive in Japan, its expansion has been
pretty rapid – a bit like widescreen scope technologies in the 1950s, although
this time the expansion is driven within Asia and not by markets in “the West”.
The UK currently has three 4DX installations, and I don’t think the US has many
more.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">This to me reinforces my observation
that the future of cinema is not with online services such as Netflix but still
in traditional big-screen cinema presentation and those that argue otherwise
are doing so purely from a Eurocentric viewpoint.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">Thanks Ken for drawing my attention
to the film MISS GRANNY and its various remakes, which again I was not aware of,
but this too highlights how little we in the English-language speaking world are
kept abreast of wider developments in international cinema. Clearly, as the
situation at the Chinese box office in the past weeks demonstrates, Hollywood
and its dependencies are actually becoming less and less relevant in the wider scheme
of things.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434"> </span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">It’s very interesting to compare all this
with UK stats. Apparently last year’s 11% market share was the third
highest on record, but let’s compare this with other countries: The 11% 2015
market share for local films compares with 55.4% in Japan, 35.2% in France, 25%
in Germany, and 18.9% in Spain. Look also at the list of the Top 20 “British”
films from 2015 and note how many of them are actually US co-productions, like
ostensibly culturally English titles as THE SECOND BEST EXOTIC MARIGOLD HOTEL
and LADY IN THE VAN (see: <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.bfi.org.uk_news-2Dopinion_news-2Dbfi_announcements_bfi-2Dstatistics-2D2015-2Duk-2Dindependent-2Dfilms-2Dwin-2Daudiences&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=5MKcKR4qVDlm26_kllAwxcDbWI7WE6XkljquhDD6iG4&e=">http://www.bfi.org.uk/news-opinion/news-bfi/announcements/bfi-statistics-2015-uk-independent-films-win-audiences</a>)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434"> </span></p>
<p class="MsoNormal"><span style="font-size:16.0pt;font-family:Times;
mso-bidi-font-family:Times;color:#343434">So it does look like Japan is in a
particularly strong position with regards to domestic consumption of its own
product with its perennially popular franchises, most of which have been
launched on TV. Meanwhile, echoing Japan, Britain had its worst ever revenues
for foreign-language titles last year. It’s all a bit worrying, I think,
audiences withdrawing into the safety of the homegrown product and not
manifesting any curiosity about the outside world, counter to the trend around
the turn of the millennium. However, this seems to be a worldwide problem from
what I can see.<o:p></o:p></span></p>
<!--EndFragment--><br><br><span class="ecxApple-style-span" style="border-collapse:collapse;"><div style="color:rgb(34, 34, 34);"><span class="ecxApple-style-span" style="border-collapse:separate;color:rgb(0, 0, 0);"><div><br></div><div><span style="font-size:12pt;color:rgb(34, 34, 34);background-color:rgb(255, 255, 255);"><font face="Tahoma"><b><font size="4">The <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__asiahouse.org_events_category_asia-2Dhouse-2Dfilm-2Dfestival-2D2016_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=cgnNqm0haq7CEuH2Js9kvAzmZZPcyVLwfVLDRr_eG6w&e=" target="_blank"><i>8th</i></a></font></b></font></span><font size="4"><font face="Tahoma" style="color:rgb(34, 34, 34);background-color:rgb(255, 255, 255);"><b><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__asiahouse.org_events_category_asia-2Dhouse-2Dfilm-2Dfestival-2D2016_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=cgnNqm0haq7CEuH2Js9kvAzmZZPcyVLwfVLDRr_eG6w&e=" target="_blank"><i> Asia House Film Festival</i></a></b></font><b style="color:rgb(34, 34, 34);font-family:Tahoma;background-color:rgb(255, 255, 255);"> will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.</b></font></div><div><br></div><div><br></div></span></div><div><div style="color:rgb(34, 34, 34);font-family:arial, sans-serif;background-color:rgb(255, 255, 255);"><font size="3"><span style="font-family:Calibri, sans-serif;"><font face="Tahoma"><b><i><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.creepinggarden.com_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=PPhogukMEXRrHCNF2ZcyJiL6qQFIZ_oBk78H-VksuhI&e=" target="_blank">The Creeping Garden</a> </i>- A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, </b></font></span><span style="font-family:Tahoma;"><b>directed by Tim Grabham and Jasper Sharp. </b></span><font face="arial, helvetica, sans-serif"><b><i><br></i></b></font></font></div><div style="color:rgb(34, 34, 34);font-size:12.8px;font-family:arial, sans-serif;background-color:rgb(255, 255, 255);"><span style="font-family:Tahoma;"><b><br></b></span></div><div style="color:rgb(34, 34, 34);font-size:12.8px;font-family:arial, sans-serif;background-color:rgb(255, 255, 255);"><br></div><div style="color:rgb(34, 34, 34);font-family:arial, sans-serif;background-color:rgb(255, 255, 255);"><b><div style="font-family:Tahoma;"><font size="3">The book, <i>The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds </i>out now from <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.alchimiapublishing.com_creeping-2Dgarden_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=3Q4Sdm2YPEH1rMBC5kqw5JAHAFwqgrhkPZk_0YD3v-s&e=" target="_blank">Alchimia Publishing</a>.</font></div><div style="font-size:12.8px;font-family:Tahoma;"><br></div><div style="font-size:12.8px;"><font face="arial black, sans-serif">“An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",</font><b style="font-size:12.8000001907349px;"><div style="display:inline !important;"><div style="display:inline !important;"><font face="arial black, sans-serif"> Dennis Harvey, <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__variety.com_2015_film_reviews_film-2Dreview-2Dthe-2Dcreeping-2Dgarden-2D1201485006_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=sID4usMgwv9g-_HbkvLe7A_hh_U0pI0BGUJVr1Bz_54&e=" target="_blank">Variety</a></font></div></div></b></div><div style="font-size:12.8px;font-family:Tahoma;"><br></div><div style="font-size:12.8px;font-family:Tahoma;"><b style="font-family:'arial black', sans-serif;font-size:small;">"A surprising investigation of perception, thought and life itself", Nicholas Rapold, <i><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.nytimes.com_2015_09_30_movies_review-2Dthe-2Dcreeping-2Dgarden-2Don-2Dthe-2Dwonders-2Dof-2Dthe-2Dslime-2Dmold.html&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=PZVvbkhERJbhnAVeWDV5BHbs1uxd9gR9lqaVaQNCI6M&e=" target="_blank">The New York Times</a></i></b></div></b></div><div style="background-color:rgb(255, 255, 255);"><br></div><div style="color:rgb(34, 34, 34);font-size:12.8px;font-family:arial, sans-serif;background-color:rgb(255, 255, 255);"><br></div></div><font face="Tahoma" style="font-size:13px;font-family:arial, sans-serif;" color="#222222"></font></span><br><br><div><hr id="stopSpelling">Date: Thu, 18 Feb 2016 13:20:02 +0900<br>From: <a href="mailto:kprovenc@gmail.com">kprovenc@gmail.com</a><br>To: <a href="mailto:kinejapan@lists.osu.edu">kinejapan@lists.osu.edu</a><br>Subject: Re: [KineJapan] 2015 Boxoffice<br><br><div dir="ltr">Just to follow up on Markus's (and Stephen's) point about CJ Entertainment. It'll be interesting to see what happens when its localized remake of "Miss Granny" comes out in Japan in April. The Chinese and Vietnamese versions did very well. (In Vietnam, it was the #1 film of 2015.) After that, come the Thai and Indonesian versions, then maybe Germany and elsewhere.<div><br></div><div>Ken</div></div><div class="ecxgmail_extra"><br><div class="ecxgmail_quote">On Thu, Feb 18, 2016 at 12:41 PM, <span dir="ltr"><<a href="mailto:amnornes@umich.edu" target="_blank">amnornes@umich.edu</a>></span> wrote:<br><blockquote class="ecxgmail_quote" style="border-left:1px #ccc solid;padding-left:1ex;"><div dir="auto"><div>That was an amazing post. </div><div><br></div><div>It makes me curious about the degree to which Japanese cinema depends on foreign markets. That's a missing piece that feels obvious when you hear about CJ making Vietnamese films!</div><div><br></div><div>Markus</div><div><br></div><div>PS: the independent (ie., middle finger saluting the censors) crowd in China is being shit down at the center (Songzhuang, Kunming), but I'm also hearing word of a lively new film festival culture in the hinterlands where all those new theaters are sprouting up. <br><br>Sent from my iPhone</div><div><br>On Feb 17, 2016, at 8:03 PM, Stephen Cremin <<a href="mailto:stephen@asianfilm.info" target="_blank">stephen@asianfilm.info</a>> wrote:<br><br></div><blockquote><div>
<div style="padding-left:20px;padding-right:20px;padding-bottom:8px;"><div>In Asia, there are several countries where changes in exhibition patterns have changed the kinds of films being made.</div><div><br></div><div>In China, admissions have grown five-fold since 2010 from 250 million a year to 1.25 billion a year in 2015. This is in line with an almost five-fold increase in the number of cinema screens nationwide. Most of the growth is in smaller cities, which has bred a wave of less-sophisticated comedies (and an anti-vulgarity campaign by Xi Jinping).</div><div><br></div><div>We saw this in Thailand a decade ago when some of the highest-grossing films were low-brow comedies aimed at audiences outside Bangkok, often financed and produced by Phranakorn Film. Sahamongkol (and briefly GTH) also released films for this market. This go-low approach has probably contributed to the current mistrust in local cinema.</div><div><br></div><div>In Indonesia, the dominance of the Cinema 21 chain - which directly or through its subsidiaries - had locked down deals with all the American studios, meant that exhibitor Blitzmegaplex had to branch out and try new things. It's focus on Korean cinema, which Cinema 21 had largely overlooked, gave it a foothold. (It now has a Korean owner.)</div><div><br></div><div>In Taiwan, local films could hardly get exhibition outside Taipei in the early 2000s. Or even much distribution in Taipei. When Warner pulled out, to focus on countries with faster-growing exhibition sectors, local films managed to get broader distribution, helped by the national roll-out of multiplexes. And Taiwan has its low-brow phase too.</div><div><br></div><div>The Vietnam cinema market is growing at the same or at even a faster pace than the China market. As in China, it's a young audience, and local films are breaking box office records every year. The majority of cinemas in Vietnam are now owned by Korean conglomerates CJ and Lotte; the former is also producing local-language films of increasing quality.</div><div><br></div><div>In the Philippines, about 15 years ago the most powerful exhibitor became a born-again Christian and blocked 18-rated films from his cinemas, which overnight decimated the local film industry, which was dominated by "bold" films. Film festivals have stepped in as an alternative distribution platform, majority-financing the local films that they screen.</div><div><br></div><div>In his article, Jasper wonders about the state of home video and VOD in Japan.</div><div><br></div><div>Compared to the rest of Asia, the home video market is relatively strong in Japan, even if it's not growing. There's no home video market in South Korea and China, East Asia's other two main film markets. Streaming is big in both, although it's become very regulated in China in the past year which has decimated the availability of non-US foreign content.</div><div><br></div><div>It costs about US$3 a month in China to subscribe to Netflix-like services that have 1080p HD films about two months after their cinema release. iTunes China sells 1080p HD versions of local Chinese films for less than the price of the pirated DVD9, and usually less than that of a DVD5. There's no fear that such low prices will damage the theatrical box office.</div><div><br></div><div>As a price comparison, the number one film on iTunes China right now is SPECTRE, which costs RMB18 (US$2.75) to buy in 1080p HD, compared to US$19.99 on iTunes US. On iTunes Japan, it's ¥2500 (US$21.90) on pre-order ahead of its 22 March release. The Japan version has burnt-in Japanese subtitles. In China, the subtitles can be turned off.</div><div><br></div><div>(Cinema ticket prices in China are comparable to Japan. Three local films have made more than US$150 million in the past ten days; one of the three - Stephen Chow's MERMAID - has made US$345 million. Box office grew 48.6% last year to US$6.75 billion, with local films taking a 61.6% market share. 686 local films were produced, but just a fraction released.)</div><div><br></div><div>I suspect that Japanese copyright owners are so concerned about damaging DVD income that they are not letting VOD take off. Japanese consumers are still waiting longer for an inferior product at a higher price. The number film in iTunes Japan now is THE INTERN which sells in dubbed and subtitled versions as separate ¥2500 purchases. Greedy double dipping.</div><div><br></div><div>In Japan, nobody is really shaking the boat. I asked Tom Yoda at a group interview during the Tokyo IFF why Gaga doesn't try to lower cinema ticket prices, and he said he wants to but it's impossible to get the cooperation of the exhibitors. When tickets cost ¥1800, of course one goes to seen known properties: sequels, manga/novel/TV adaptations.</div><div><br></div><div>In a seminar during the Shanghai IFF about three years ago, Bona's Yu Dong said that Chinese producers must let exhibitors have the power for a few more years so that they continue expanding the number of cinemas in China. And the government is keeping them in check, fining and suspending licenses for suspicious box office reporting, and holding back US films.</div><div><br></div><div>Nobody is keeping the Japanese exhibitors in check. It's remarkable to me that box office information is much more transparent in China than anywhere else in Asia, including South Korea. I do have sympathy and respect for Kogyo Tsugin-sha, but the government should come in and license their data for the whole film industry.</div><div><br></div><div>And Jasper is right that we need to have information on VOD sales/rentals/streams to best understand the market, but even in the US that data is not published by Netflix, etc. In China and Korea where 90% of a film's income is made in theatrical, it's not so much of an issue. But in Japan and the US it more often determines the viability of a film.<br><div></div><br></div><div>Stephen</div></div>
<div class="ecxgmail_quote">_____________________________<br>From: Jasper Sharp <<a href="mailto:jasper_sharp@hotmail.com" target="_blank">jasper_sharp@hotmail.com</a>><br>Sent: Thursday, February 18, 2016 4:43 AM<br>Subject: Re: [KineJapan] 2015 Boxoffice<br>To: Japanese Cinema Discussion Forum <<a href="mailto:kinejapan@lists.osu.edu" target="_blank">kinejapan@lists.osu.edu</a>><br><br><br> <div dir="ltr"> Thanks for posting Markus. <div> This is an extension of a broader interest of mine, about how local economics shape production and exhibition practices.I actually wrote this before the BFI released its own UK statistics for 2015, which bizarrely claimed the new Star Wars film as "British". But also, I would really love to pursue this kind of research further, on how newly built or newly refurbished flagship individual venues completely change the cinematic landscape and represent a definitive rupture in film history. In London in 2014, a swathe of independent exhibition venues closed down, while in 2015 there were a number of quite significant destination venues opened up. It looks like a similar pattern in Japan, all due to the digitial revolution/transition/switchover, but the economics with regards to attracting audiences are very different. I know academics in the UK have very little interest in looking at this area from an international standpoint, but I think it's fascinating, and would really welcome any feedback on this - after all, Kinejapan has been a little quiet of late compared with the kind of discussions we used to have about ten years ago. </div> <div> <br> <div> <br> <br> <br> <span style="border-collapse:collapse;"> <div style="color:rgb(34,34,34);"> <span style="border-collapse:separate;color:rgb(0,0,0);"> <div> <br> </div> <div> <span style="font-size:12pt;color:rgb(34,34,34);background-color:rgb(255,255,255);"><font face="Tahoma"><b><font size="4">The <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__asiahouse.org_events_category_asia-2Dhouse-2Dfilm-2Dfestival-2D2016_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=cgnNqm0haq7CEuH2Js9kvAzmZZPcyVLwfVLDRr_eG6w&e=" target="_blank"><i>8th</i></a></font></b></font></span> <font size="4"><font face="Tahoma" style="color:rgb(34,34,34);background-color:rgb(255,255,255);"><b><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__asiahouse.org_events_category_asia-2Dhouse-2Dfilm-2Dfestival-2D2016_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=cgnNqm0haq7CEuH2Js9kvAzmZZPcyVLwfVLDRr_eG6w&e=" target="_blank"><i> Asia House Film Festival</i></a></b></font><b style="color:rgb(34,34,34);font-family:Tahoma;background-color:rgb(255,255,255);"> will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.</b></font> </div> <div> <br> </div> <div> <br> </div></span> </div> <div> <div style="color:rgb(34,34,34);font-family:arial,sans-serif;background-color:rgb(255,255,255);"> <font size="3"><span style="font-family:Calibri,sans-serif;"><font face="Tahoma"><b><i><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.creepinggarden.com_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=PPhogukMEXRrHCNF2ZcyJiL6qQFIZ_oBk78H-VksuhI&e=" target="_blank">The Creeping Garden</a> </i>- A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, </b></font></span><span style="font-family:Tahoma;"><b>directed by Tim Grabham and Jasper Sharp. </b></span><font face="arial, helvetica, sans-serif"><b><i><br></i></b></font></font> </div> <div style="color:rgb(34,34,34);font-size:12.8px;font-family:arial,sans-serif;background-color:rgb(255,255,255);"> <span style="font-family:Tahoma;"><b><br></b></span> </div> <div style="color:rgb(34,34,34);font-size:12.8px;font-family:arial,sans-serif;background-color:rgb(255,255,255);"> <br> </div> <div style="color:rgb(34,34,34);font-family:arial,sans-serif;background-color:rgb(255,255,255);"> <b> <div style="font-family:Tahoma;"> <font size="3">The book, <i>The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds </i>out now from <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.alchimiapublishing.com_creeping-2Dgarden_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=3Q4Sdm2YPEH1rMBC5kqw5JAHAFwqgrhkPZk_0YD3v-s&e=" target="_blank">Alchimia Publishing</a>.</font> </div> <div style="font-size:12.8px;font-family:Tahoma;"> <br> </div> <div style="font-size:12.8px;"> <font face="arial black, sans-serif">“An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",</font> <b style="font-size:12.8000001907349px;"> <div style="display:inline !important;"> <div style="display:inline !important;"> <font face="arial black, sans-serif"> Dennis Harvey, <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__variety.com_2015_film_reviews_film-2Dreview-2Dthe-2Dcreeping-2Dgarden-2D1201485006_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=sID4usMgwv9g-_HbkvLe7A_hh_U0pI0BGUJVr1Bz_54&e=" target="_blank">Variety</a></font> </div> </div></b> </div> <div style="font-size:12.8px;font-family:Tahoma;"> <br> </div> <div style="font-size:12.8px;font-family:Tahoma;"> <b style="font-family:'arial black',sans-serif;font-size:small;">"A surprising investigation of perception, thought and life itself", Nicholas Rapold, <i><a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.nytimes.com_2015_09_30_movies_review-2Dthe-2Dcreeping-2Dgarden-2Don-2Dthe-2Dwonders-2Dof-2Dthe-2Dslime-2Dmold.html&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=PZVvbkhERJbhnAVeWDV5BHbs1uxd9gR9lqaVaQNCI6M&e=" target="_blank">The New York Times</a></i></b> </div></b> </div> <div style="background-color:rgb(255,255,255);"> <br> </div> <div style="color:rgb(34,34,34);font-size:12.8px;font-family:arial,sans-serif;background-color:rgb(255,255,255);"> <br> </div> </div><font face="Tahoma" style="font-size:13px;font-family:arial,sans-serif;" color="#222222"></font></span> <br> <br> <div> > From: <a href="mailto:amnornes@umich.edu" target="_blank">amnornes@umich.edu</a> <br>> Date: Wed, 17 Feb 2016 15:28:18 -0500 <br>> To: <a href="mailto:kinejapan@lists.service.ohio-state.edu" target="_blank">kinejapan@lists.service.ohio-state.edu</a> <br>> Subject: [KineJapan] 2015 Boxoffice <br>> <br>> Jasper's excellent analysis of the new Boxoffice figures released by Eiren. <br>> <br>> <a href="https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=DgbpjqKj7zuteP0KbOeLx9ducMRK46-394PReBr6H-Y&e=" target="_blank">http://blog.alltheanime.com/japan-box-office-report-2015/</a> <br>> <br>> Markus <br>> <br>> Sent from my iPhone <br>> _______________________________________________ <br>> KineJapan mailing list <br>> <a href="mailto:KineJapan@lists.osu.edu" target="_blank">KineJapan@lists.osu.edu</a> <br>> <a 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</div></blockquote><blockquote type="cite"><div><span>_______________________________________________</span><br><span>KineJapan mailing list</span><br><span><a href="mailto:KineJapan@lists.osu.edu">KineJapan@lists.osu.edu</a></span><br><span><a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwMFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=jJbwnM_ceIa0W_afhtQWyyAFl0ueByivBivSvOL4nsA&e=">https://lists.osu.edu/mailman/listinfo/kinejapan</a></span><br></div></blockquote></body></html>