[KineJapan] 2013 industry stats
Jasper Sharp
jasper_sharp at hotmail.com
Tue Jan 28 12:31:28 EST 2014
I'm not sure what the number of pink films currently being produced is - probably about half of the hundred when I was writing Behind the Pink Curtain. I think about 100 of these 591 "releases" consist of what is known as ODS ("other digital stuff") - in other words, broadcasts of live or prerecorded sports of musical events to theatres. You are right though, the artificially inflated 591 figure for no. of domestic releases actually exceed the oft-cited 1960 peak of 547.
The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them. Currently in production, directed by Tim Grabham and Jasper Sharp.
The Historical Dictionary of Japanese Cinema (2011) is out now from Scarecrow Press
Midnight Eye - Visions of Japanese cinema
http://www.midnighteye.com
Jasper Sharp, writer & film curatorhttp://jaspersharp.com/
Date: Tue, 28 Jan 2014 10:06:33 -0500
From: pslarson2 at gmail.com
To: kinejapan at lists.service.ohio-state.edu
Subject: Re: [KineJapan] 2013 industry stats
Just a question, subtracting out anime and films aimed at children, how many films does Japan make per year? 591 seems like almost as many as the US produces on a yearly basis.
Pete
On Tue, Jan 28, 2014 at 9:39 AM, Gerow Aaron <aaron.gerow at yale.edu> wrote:
For those interested, Eiren has released the officials stats for the film industry in 2013.
http://www.eiren.org/toukei/index.html
There's not much change: total BO is slightly down, total attendance is slightly up. The market share for Japanese films went down from 65.7% to 60.6%, but still remains strong. The number of screens increased slightly.
The problem is that the number of films released increased yet again: 1117 total (up from 983), with 591 being Japanese films (up from 554). That's an average of 21 films opening each week. What that means, especially with a lower BO, is that each film is getting less money and publicity; and with the only marginal increase in screens, each film is getting less time on screen. And with Toho distributing 20 of the top 30 Japanese films (Toei had 5 and Shochiku only 1; Warners had 3), the fundamental imbalance of the industry continues.
Kaze tachinu/The Wind Rises was the number one film, with animation dominating the top ten (6 of 10).
Aaron Gerow
Professor
Film Studies Program/East Asian Languages and Literatures
Yale University
320 York Street, Room 311
PO Box 208236
New Haven, CT 06520-8236
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.eduwebsite: www.aarongerow.com
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