The Japanese Market for UK Films - BFI

The Japanese Market for UK
Films
November 2007
External Edition
1

This report has been prepared exclusively for the UK Film Council by Cinema
Alliance Ltd. (Tokyo, Japan)
Research Team
Keiji HAMANO (President, CINEMA-ALLIANCE Limited Company)
Hiroyuki KITAE(Executive Supervisor, CINEMA-ALLIANCE Limited Company)
Shoji UDAGAWA
Yasuko WATANABE (President, Magnolia Consulting Co., Ltd.)
Takashi UCHIYAMA (Professor, Chiba University of Commerce)
2

CONTENTS
Executive Summary
Part One – The Japanese Market
1-1 Box Office Data 10
1-2 Theatrical Release System and Trends in Japan 17
1-3 Art House Theatres in Tokyo 25
1-4 Status of Digitalized Cinema Theatres in Japan 26
1-5 Cinema Admission Prices 34
1-6 The Current Print & Advertising (P& A) Situation 37
1-7 Titles Released, by Country of Origin 41
1-8 The Rise of Asian Markets and Contents 45
1-9 TV, DVD, VOD and other Media 55
Part Two – The UK Film Marketplace in Japan
2-1 Titles of UK Film Releases 88
2-2 Japanese Distributors of UK films 92
2-3 Institutional regulation and Anti-monopolistic policy 101
2-4 Market for UK Independents & UK films funded by US Studios 109
2-5 Successful UK Films in Japan 118
2-6 Proposals 120
APPENDICES
A-1 Audiovisual Association List 130
A-2 Distributor List 135
A-3 Exhibitors List 143
3
4

EXECUTIVE SUMMARY
1. Japanese Market
Market size
The Japanese film market, with the inclusion of theatrical, DVD, VOD and
television, accounts for approximately 10% of the world market and is the
second largest market after the United States. It is by far the largest film
market in Asia. In 2006, the theatrical market in Japan earned 203 billion yen,
(US$1.75 billion), while the total earnings of DVD rental and sales were 669.5
billion yen, (US$5.77 billion). The total value of the market including television
sales and VOD business income in Japan is in the region of one trillion yen
(US$8.63 billion.)
Because of the very large number of distribution companies and art house
theatres (there are 22 art house theatres in Tokyo alone), Japan remains the
number one country for showcasing films from around the world. There are no
Japanese government restrictions on the nationality of imported films. According
to IFTA data, Japan is the second largest market after Germany for independent
films. In total Japan imported 404 foreign films in 2006, a 7% increase on
20005. The maximum scale of foreign film release in Japan has been known to
reach 900 screens per picture.
In recent years, new cinemas have been built in Japan to expand the theatrical
market, taking the total to over 3,000 screens, but admissions and box office
receipts remain static. Although Japan is a mature market, smaller distributors
struggle to get their chosen release circuits and dates at multiplex cinemas,
which tend to be dominated by the majors. This situation may lead to a survival
battle between the multiplexes in future.
In contrast, neighbouring countries Korea and China have also increased their
number of screens and succeeded in raising both admissions and box office
receipts. Korea’s theatrical market earns 100 billion yen, (US$863 million /
approximately half of Japanese earnings of US$1.75 billion), while the Chinese
theatrical market earns 40 billion yen, (US$345 million / approximately one fifth
4

of Japanese earnings.)
The Japanese cinema audience
The total number of cinema admissions in 2006 was 164.5 million, an
increase of 2.6% on 2005. Japan’s total population stands at 127.7 million but is
set to decline. Cinema audiences are predominantly in their teens and 20’s, but
exhibitors have in recent years been running campaigns to encourage couples in
their 50’s and upwards to return to the cinemas. A general characteristic of the
Japanese is to be easily attracted by something new. Marketing campaigns
and word of mouth publicity can spark sudden fads but audiences tend to lose
interest easily as well.
Digital Cinema
Japan has only 78 digital cinema screens throughout the country. Although
Japanese manufacturers produce a high proportion of projectors, the momentum
of digital cinema growth is slow compared to neighbouring countries. The
governments of both Korea and China are promoting the digitalization of their
theatres and reports say that the number of digitalized screens in China rose to
over 500 screens this year.
A digital cinema 4K trial was completed in September 2007 but no official report
has yet been made public. Few comments have been made available but the
trial was very successful. High speed optical fibre distribution is currently
thought to be the best system and no other system seems preferable. However,
it is still too early for a decision to be made on whether or not to install 4K
projectors and systems into all Toho sites.
Cinema release patterns
A block booking method exists (nationwide release for Japanese films) based
around Japan’s 9 key cities. For the release of blocked booked films,
agreement is necessary between Toho, Shochiku or the Tokyu Chain, the
Japanese distributors who organize this booking method. Films are also
released through chain booking (nationwide release for Hollywood big budget
films) or through limited-release art house booking with the use of 5 to 20
screens per picture. Recently, expanded release (art house and multiplex
booking) has been introduced, allowing for non big-budget films to be shown at a
5

maximum scale of 200 screens.
In the case of block booking and chain booking, the exhibitors Toho and
Shochiku have great influence over the distribution companies, because
they own cinemas in major cities throughout Japan. As a result, when a film is
booked for release at a key Toho or Shochiku cinema in Tokyo, it automatically
generates a booking at Toho or Shochiku cinemas in other major cities.
Management difficulties in distribution companies
The management and governance of the major distribution companies in Japan
have changed in recent years. The management of GAGA has been replaced
by USEN Group and Nippon Herald Films has been integrated into Kadokawa
Films. Managerial difficulties amongst the majors have been caused by
escalating purchase prices and inflationary Print & Advertising costs. In
addition, the growth in the number of multiplexes has resulted in there being
blockbuster hits and art house hits at two ends of the spectrum, leaving
practically no room for films made with medium-sized budgets to succeed.
The Korean Boom
The Korean entertainment boom known as the Korean Wave (Han-ryu) which
took place in 2002 through to 2003 reached explosive levels of popularity
through a Korean television drama series and ultimately developed into a social
phenomenon. However, the purchase price of Korean films has increased
sharply in recent years, causing a rapid weakening of interest and a decline in
the market from 2006.
Television
Terrestrial television networks are still a powerful medium and some networks
have programming slots for film. There are no regulations or duty to broadcast
films as in continental Europe. The diffusion rate of cable TV is nearly 40%.
There are two satellite-broadcasting systems in Japan and film is important as
content for cable and satellite. There are new platforms for foreign films, such
as IPTV and VOD, but the market for them is still small and not powerful enough
to lead to growth in the foreign film market.
6

2. UK FILM MARKETPLACE
Records show that 37 UK films were imported into Japan in 2006, and 34
films were imported in 2005. There were 23 film project collaborations made
between United Kingdom and other countries in 2005 and 23 projects in 2006.
Independent distribution companies such as GAGA, Nippon Herald, Asmik,
Toho-Towa and Amuse compete in quantity and quality as Japanese importers of
UK films, while amongst the Hollywood majors, Warner Bros. holds an
overwhelming market share because of the great success of Harry Potter. UIP
and SPE follow WB in the Japanese market.
There is no “Screen & Importation Quota” system in the Japanese film industry
as there is in China and Korea, and compared with British and European
countries there are poor government support systems. Japan is therefore a
relatively laissez-faire market from the point of view of institutional structure.
However, Toho Company continues to hold an overwhelming monopoly in the
Japanese market.
Records from Japanese film production companies show that the quantity of
internationally co-produced films in Japan is small and collaboration between the
United Kingdom and Japan is limited.
It could be said that successful UK Films in Japan target female audiences or fall
into the categories of Oscar winning films, films starring popular English actors,
film adaptations of best-seller books and musical films.
Recommendations
・ At London UK Film Focus we recommend enhancing PR activity to include
screenings to introduce British films to Japanese distributors. We also
recommend a promotional festival for distributors and the general public in
Japan.
・ We recommend that you consider the business benefits for independent
7

distributors of foreign films in Japan and consider reducing purchase prices in
order to strengthen relationships with these distribution companies.
・ We recommend the implementation of film project collaborations between the
United Kingdom and Japan and the establishment of a UK / Japan film
co-production treaty.
・ We recommend the production of films featuring UK icons and symbols
familiar to the Japanese people, with a view to promoting co-productions
between the two countries.
・ We recommend that British filmmakers note the success of Korean films in
Japan, in particular their use of stars known to Japanese audiences (through
TV drama in the case of Korea).
Strategic planning for UK film in the Japanese Market (see chap.2-8)
Short term
planning
Long term
planning
Encouraging distributors to
favourable UK films
8
Appeal to audiences
UK Film Festival / Market UK Film Festival / Market
Production/ promotion using key
UK icons known to Japanese
Pricing strategy (setting a
reasonable distribution price
in line with distribution
revenue).
Database of archives
accessible by Japanese
distributors.
Promotion of co-production
between UK and Japan
Penetration through TV Drama
Promotion of co-production
between UK and Japan

Part One
The Japanese Market
9

1-1 BOX OFFICE DATA
In 2006, 821 films were released in Japan, the highest number for the last 7
years. Of these films, 417 were Japanese productions. Both the number of
Japanese films and imported films increased by almost 10% each. According
to the MPPA of Japan, 2006 was the first year since 1986 in which the number of
Japanese films and their market share of box office revenues exceeded
imported films.
number of films
900
800
700
600
500
400
300
200
100
0
644
630
Fig 1-1-1 Number of Films
640
10
622
2000 2001 2002 2003 2004 2005 2006
(Source: Motion Pictures Producers Associations of Japan Inc.)
649
731
821

Fig 1-1-2 Film releases - Japanese Films vs. Imported Films
number of films
450
400
350
300
250
200
150
100
50
0
282
362
281
349
293
347
11
287
335
310
339
356
375
2000 2001 2002 2003 2004 2005 2006
(Source: Motion Pictures Producers Associations of Japan, Inc.)
2006
2005
2004
2003
2002
2001
2000
Japanese films Imported films
Fig 1-1-3 Ratio of revenue of Japanese Films vs. Imported Films
53.20% 46.80%
41.30% 58.70%
37.50% 62.50%
33.00% 67.00%
27.10% 72.90%
39.80% 61.00%
31.80% 68.20%
0.00% 20.00% 40.00% 60.00% 80.00% 100.00%
(Source: Motion Pictures Producers Associations of Japan, Inc.)
417
404
Japanese films Imported films

Fig 1-1-4 Box Office Gross Revenues of Imported films vs. Japanese films
JPY (billion)
200.0
150.0
100.0
50.0
0.0
68.4
43.1
25.3
TOTAL (billion JPY)
foreign movies
Japanese movies
63.3
40.3
23.0
78.4
45.9
32.5
87.3
60.9
26.3
82.7
56.3
26.4
170.8
12
116.5
54.3
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006
The figures represent rental revenue until 1999 and Box office revenue since 2000
200.1
(Source: Motion Pictures Producers Associations of Japan, Inc.)
28 Japanese local films had a budget of over 1 billion yen (approximately
US$8m) in 2006, with 6 of these having budgets of over ¥5 billion yen
(approximately US$42m at exchange rate 1US$ = ¥125). The number one box
office hit was a Miyazaki animation film as usual, but 5 films were live action
feature films produced by TBS, Fuji TV, NTV and other television companies.
Japanese terrestrial television stations produced several hit films, some based
on popular TV dramas. All of the top five domestic films in the BOR of 2006 (cf.
Table 1-1-1) were films produced by the TV networks, four of which were
released theatrically by the powerful Toho and Toho-Circuit. TV stations and the
Toho network are a successful combination in Japan.
In comparison, 20 imported films had budgets of 1 billion yen (US$8m). The
number one film was “Harry Potter and the Goblet of Fire” and the second box
office hit was “Pirates of the Caribbean: Dead Man’s Chest”. Both were over 10
122.0
78.1
196.7
143.4
53.2
203.2
136.1
67.1
210.9
131.8
79.0
198.1
116.3
81.7
203.0
95.0
108.0

illion yen (around US$90m). There was only one independent imported film in
the top 20, which was “Mr. & Mrs. Smith”. It is increasingly difficult for
independent distributors to survive in Japan in these days.
Table 1-1-1 Japanese Domestic Films with Box Office Revenue
Over 1 Billion JPY (Approximately US$9M) in 2006
2006
BOR
(billion
Rank Title
JPY) Distributor
1 Tales from Earthsea / Gedo Senki 7.66 Toho
2 LIMIT OF LOVE: Umizaru/ Limit of Love: Umizaru 7.10 Toho
3 The Wow- Choten Hotel / THE UCHOTEN HOTEL 6.08 Toho
4 Japan Sinks / Nihon Chinbotsu 5.34 Toho
5 Death Note the last name 5.20 WB
6 Yamato / Otoko- tachi no Yamato
Pocket Monster Advanced Generation - Pokemon
5.09 Toei
7 Ranger to Sokai no Oji Manafy
8 Doraemon: Nobita no kyôryû
3.40 Toho
3.28 Toho
9 Tears For You/ Nada so so
Detective Conan: The Private Eyes' Requiem
3.10 Toho
10 / Meitantei Conan: Tanteitachi no requiem 3.03 Toho
11 DeathNote(part1) 2.85 WB
12 Memories of Tomorrow / Ashita no Kioku 2.20 Toei
13 Trick 2.10 Toho
14 Kencho No Hoshi 2.08 Toho
15 Star Reformer 2.00 WB
16 Brave Story 1.88 Toho
17 Stormy Night / Arashi No Yoru Ni 1.80 Toho
18 Kisarazu Cat's Eye: World Series 1.78 Asmik Ace
19 Helen the Baby Fox / Kogitsune Helen 1.40 Shochiku
20 Hula Girls 1.38 Cinequanon
21 UDON 1.36 Toho
22 Memories of Matsuko 1.31 Toho
23 Eien no hou 1.25 Toei
24 The Professor and His Beloved Equation 1.20 Asmik Ace
24 The Ode to Joy 1.20 Toei
24 The Letter / Tegami 1.20 GAGA
27 Check It Out, Yo! 1.08 Toho
28 Midnight Sun/ Taiyo no Uta
Total of Japanese Films over 1 billion yen:783.9 billion yen
1.05 Shochiku
( Data Source; Motion Picture Producers Association of Japan, Inc.)
13

Table 1-1-2 Imported Films with Box Office Revenue
Over 1 Billion JPY (Approximately US$9M) in 2006
2006
BOR
(billion
Rank Title
JPY) Distributor
1 Harry Potter andthe Goblet of Fire 11.00 WB
2 Pirates of the Caribbean: Dead Man's Chest 10.02 BV
3 The Da Vinci Code 9.05 SPE
The Chronicles of Narnia: The Lion, the Witch and the
4 War drobe 6.86 BV
5 Mission: Impossible III 5.15 UIP
6 Mr. & Mrs. Smith 4.65 Toho Towa
7 Flight plan 3.12 BV
8 ChickenLittle 2.68 BV
9 World Trade Center 2.40 UIP
10 King Kong 2.35 UIP
11 Cars 2.23 BV
12 Flags of Our Fathers 1.70 WB
13 The Devil Wears Prada 1.70 FOX
14 SAYURI 1.55 Shochiku/ BV
15 X- Men 1.53 FOX
16 Superman Returns 1.50 WB
17 Poseidon 1.40 WB
18 Over The Hedge 1.10 Asmik Ace
18 The Lake House 1.10 WB
20 V for Vendetta 1.00 WB
20 The Producers 1.00 SPE
20 The Fast and the Furious: Tokyo Drift 1.00 UIP
Total of Imported Films over 1 billion yen (74.09 billion yen)
(Data by Motion Picture Producers Association of Japan, Inc. )
14

Cinema admission fees
Cinema admission fees are decreasing slightly every year, due to two successful
promotional campaigns. One of these is a discount campaign for husbands and
wives over 50 years old and the other is a discount ticket price campaign among
rival multiplexes.
JPYen
\1,500
\1,000
\500
\0
\1,262
Fig1-1-5 Cinema admission fees
\ 1,226
\ 1,224
15
\1,252
\ 1,240
\ 1,235
2000 2001 2002 2003 2004 2005 2006
JPYen \ 1,262 \ 1,226 \ 1,224 \ 1,252 \ 1,240 \ 1,235 \ 1,233
US$ $11.08 $9.80 $10.12 $11.70 $11.50 $10.60 $10.60
(Source: Motion Pictures Producers Associations of Japan, Inc.)
JPY (billion)
200
150
100
50
0
148.8
177.1
Fig 1-1-6 Gross Box Office Revenues
193.4
182.8
170.8
200.1
197.6
203.2
210.9
198.1
\1,233
1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006
(Source: Motion Pictures Producers Associations of Japan, Inc.)
203.0

US$ (million)
2000
1500
1000
500
0
1584.1
Fig 1-1-7 Gross Box Office Revenues
1646.7
1571.5
16
1753.1
1950.4
1799.7
1741.5
2000 2001 2002 2003 2004 2005 2006
(Source: Motion Pictures Producers Associations of Japan, Inc.)
Number of people(million)
180
160
140
120
100
80
60
40
20
0
119
140
Fig 1-1-8 Number of Admissions
153
144
Admissions
135
163
1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006
(Source: Motion Pictures Producers Associations of Japan, Inc.)
160
162
#of people(million)
As can be seen from the above figures, although the box office revenue of
Japanese local films has increased, the total box office gross in Japan has been
flat since 2001. The number of screens has increased to over 3000 screens and
170
160
165

more multiplexes have opened but total box office revenues and admissions
remain the same. This is due to the maturity of the Japanese theatrical industry.
1-2 Theatrical release system and trends in Japan
(1) Nine Key Japanese Cities
Japan’s total population is 127.7 million people of which nearly 23 million live in
the nine key cities of Sapporo, Tokyo, Kawasaki, Yokohama, Nagoya, Kyoto,
Osaka, Kobe and Fukuoka, (listed in descending order from north to south).
This figure corresponds to approximately 18% of the total population of Japan.
Fig 1-2-1 Nine key Japanese cities for cinema exhibition
Nine Key Japanese Cities
Fukuoka
127
Kobe
145
Osaka
248
Sapporo
180
Kyoto
140
Nagoya
210
17
Yokohama
335
Tokyo
789
Kawasaki
121
(× 10,000)
Population Chart
9 Key Cities
2,295 (18%)
Total Population
12,776(100%)
15 March 2007

2) Categories of Theatrical Film Release
1) Nationwide Release
The two methods of nationwide release are block booking and chain booking.
Block Booking: Japanese movie release system used by Toho and Toei Film.
300~400 prints
This method is mainly used to release Japanese movies nationwide
simultaneously. At present, there are two channels for block booking, operated
by Toho domestic film and Toei film. Their strategy is to fix both the opening and
closing date in advance, but the closing date can be adjusted if the film is an
exceptional success or a drastic failure. The scale of this type of release is 300
to 400 prints. However, in consultation with the title owners, Toho and Toei
determine the final print numbers according to the box office value of the film.
In addition to the respective theatres under their direct management, Toho and
Toei consider Toho Cinemas (a subsidiary of Toho) and T Joy (a subsidiary of
Toei) as their basic screening theatres. The block booking system gives Toho
and Toei the flexibility to add independent theatres and multiplexes across the
country, depending on the scale of the release. Exceptions have been made in
the past where the block booking system was used for foreign films such as
Toho’s “Godzilla”, Toei’s “Double Agent” and “Mask 2.”
Chain Booking: Nationwide release system mainly for foreign films, operated by
2 big chains Toho and Shochiku (with Toei & Tokyu). 150~800 prints
This system is mainly used for big budget Hollywood movies and other foreign
films and used to be called the ‘foreign system’, but recently domestic films have
been released this way as well. Under this system, there is a nearly
simultaneous release of the film at nationwide venues. Although the release
dates of mega-hits such as "Star Wars" and the "Harry Potter" series are planned
from between six months to a year ahead, the release dates for most chain
booked films are usually determined just prior to their release.
Although the contract between the theatre and distributor includes a closing date,
18

this date is usually agreed through discussion between both parties based on
box office figures following the release. The scale of the release can vary
between 150 and 800 prints depending on the box office value of the film.
2) Expanded Release: Art House and Multiplex 50-200 prints
This release method begins with mini-theatres in the Tokyo metropolitan area
and additional releases in regional mini-theatres and Multiplexes, in order to
obtain a nationwide scale.
3) Limited Release: Art House Used mostly for foreign cinema releases.
5~20 prints
Limited release is principally used to show art films at mini theatres in cities such
as Tokyo and Osaka.
(3) Scope of Nationwide Release
When a movie is released nationwide, it is preferable that there is at least one
theatre in each prefecture. In Tokyo, it is desirable that it is shown in the Ginza,
Shibuya, Shinjuku and Ikebukuro districts. Outside Tokyo, desirable areas are
Yokohama and Kawasaki cities in Kanagawa Prefecture, and the northern and
southern areas of Osaka City. The total number of theatres which cover the
areas stated above is 52 theatres. In other words, when a movie is released
throughout Japan, at least 50 prints are necessary.
19

Fig 1-2-2 Nationwide Release
Nation Wide Release
Osaka
Kita
Mina mi
20
Tokyo
Ginza
Shibuya
Shinjuku
Ikebukuro
Kanagaw a
Yokohama
Kaw asaki
(4) Block booking and Chain booking methods in detail
Key Areas
Tokyo 4
Osaka 2
Kyoto 1
Kanagawa 2
Prefectures 42
Hokkaido 1
Sum 52
24 July 2007
As mentioned above, block booking and chain booking (or free booking) are the
two methods of releasing films nationwide. In both cases, movies are classified
into the two major groups of Toho and Shochiku, with Japanese movies being
released through organizational channels provided by Toho and Toei Films.
In the strict sense of the word, Toei is not part of the Shochiku group. Formerly,
Shochiku used to produce and distribute Japanese domestic movies on a yearly
basis over a long period. However, in 2001 after the renaming of the
"Marunouchi Shochiku” cinema to "Marunouchi Plaza", it began to book its own
foreign movies as well. Shochiku has since established a strong chain of foreign
movies by making an alliance with Toei and Tokyu Recreation (both being part of
the Tokyu Corporation).
The two major theatrical chains are often distinguished as A-road and B-Road
according to their respective power to attract audiences. The flagship theatre of
Toho, ”Nichigeki 1” is located inside the Yurakucho Marion Building in Tokyo.

Once a movie is given the green light for a release in Nichigeki 1, it automatically
fixes the screening theatres for the movie in other major districts and cities. For
example, Shibuto Cine Tower in Shibuya, Shinjuku Scala in Shinjuku and Toho
Plex in Osaka Northern area are booked accordingly. The programming of these
theatres is booked directly by Toho Cinemas.
Similarly, in the case of Shochiku, when a movie is booked for release in
Marunouchi Piccadilly 1, its screening in other areas such as Shinjuku and
Shibuya are automatically fixed. This programming is done by the department of
Theatrical Sales and Marketing in Shochiku. Because of this system, distribution
companies do not have to make visits to each theatre in major cities to negotiate
bookings. This suggests that the programming directors of Toho (or Toho
Cinemas) and Shochiku have an enormous influence over the distribution
companies.
Fig 1-2-3 Block Booking and Chain Booking
Block Booking and Chain Booking
Japanese
A-road
B-road
Toho Chain Shochiku Chain
Toho Toei
Nichigeki 1 Piccadilly 1
Nichigeki 3 louvre
Scala-za
Yuraku-za Plazer
Miyuki-za Piccadilly 2
21
( with Toei & Tokyu)
Shibuya Tokyu
24 July 2007

(5) Multiplexes in Japan
The first multiplex (or “cinecon” in Japanese, short for cinema complex) in Japan,
“Warner Mycal Ebina” with 7 screens was built in Ebina city in Kanagawa
prefecture in 1993. More complexes were built subsequently and by the end of
2006 the number had risen to 262 sites with 2,230 screens. The total number of
screens in Japan was 3,062 at the end of 2006, of which multiplexes accounted
for 72.8%. The average number of screens in each site is just over 8 screens.
However, the number of movies released within Tokyo at any one period is 12 (2
from block booking of domestic movies, 5 from A road, and another 5 from B
road), and this is just counting Japanese domestic movies and chain booking
releases. It is difficult to release all 12 movies at multiplexes which have an
average of 8 screens. The booking of multiplexes is therefore a major issue for
distributing companies.
Fig 1-2-4 Multiplex in Japan
Cinema Complex in JAPAN
Cinema
Complex
Number of sites : 262
Total screens : 2,230 (72.8%)
Number of screen per site : 8.51
Total number of screens : 3,062 (100%)
22
24 July 2007

(6) Multiplex booking pattern
1) Ordinary Months
Two Japanese films (by Toho and Toei), five foreign movies from A road, and 10
to 12 movies that are cherry-picked from B road and Art house genres are
released.
2) Holiday Seasons
The so-called blockbusters are released during New Year holidays, spring
holidays, Golden Week holidays (end April to early May), and summer vacations
during which schools are closed. There are standard animation film series that
are released at the same holiday periods every year and major Hollywood
movies are also introduced during these periods. The theatres hold a large
number of Hollywood movie prints during these periods, as Hollywood majors
spend a lot on printing costs in order to rent 2 to 3 prints of each movie including
both subtitled and dubbed versions.
In addition, multiplexes sometimes book art house movies in order to
differentiate themselves from each other. Such mini theatres sometimes turn out
hit movies and therefore art house movies are increasingly attractive to
programme directors.
23

Fig 1-2-5 Multiplex; Booking Strategy
Cinema Complex:Booking
Complex Booking Strategy
(1) Ordinary Months
Japanese Movies 2
A-road 5
B-road 2 or 3
Art house cherry pick
(2) Holiday Season
Japanese Movies 2
A-road 7~8
※Blockbuster Titles : 2~3 prints
B-road 1 or 2
Art house cherry pick
24
7
3 ~5
9 ~10
2 ~4
10 ~12
11 ~14
24 July 2007

1-3 Art House Theatres in Tokyo
In most cases, Art house theatres in Japan have a relatively small number of
seats and are therefore known as "mini theatres". Mini theatres can be seen all
across Tokyo Metropolitan area, including Ginza, Shibuya, and Shinjuku districts.
In the recent years, however, they tend to be concentrated particularly in the
Shibuya area where new theatres are continuously being built. Up to the 1990’s,
most mini theatres showed mainly foreign movies such as French movies but
this has changed recently. Korean movies were shown during the Korean boom
years and in the last 2 to 3 years Japanese domestic movies have been shown
in mini theatres as well.
The majority of these theatres are run independently and do not belong to any of
the major distributing companies such as Toho and Toei. A new method known
as “Expanded Release” is developing around these mini theatres, in which
distributing companies add multiplexes in urban areas to the mini theatres to
secure a total of 50 to 200 screens. The reason behind this trend is the increase
in the purchase price of foreign movies. That is, in order to recoup the high
purchase price, companies invest in large advertising budgets to create
secondary and tertiary usage through video packages and television. These
usages are the source of their profits.
25

Fig 1-3-1 Art House Theatres in Tokyo
Art House Theatres in Tokyo
Ginza
• Chanter Cine
• Cine Sw itch
• Ginza Theatre Cinema
Other town
• Ebisu Garden Cinema
• TOHO cinemas
Roppongi HIlls
• Iwanami Hall
• Cine Livre Ikebukuro
Shibuya
• Cinema Rise
• Le Cinema
• Cine Saison Shibuya
• Cine Quint
• Cine Amuse
• Image Forum
• Theatre N
• Euro Space
• Q-AX cinema
• Cinema Vera
26
Shinjuku
• Cinema Square Tokyu
• Theatre Shinjuku
• Theatre Times Square
• Shinjuku Musashino Kan
24 July 2007
1-4 Status of Digitalized Cinema Theatres in Japan
(1) Status of Digital Cinema in Japan.
According to IMAGICA’s web site, there are 50 movie theatres with a total of 73
screens in Japan that show films using DLP Cinema Projectors. In spite of the
proactive stance taken by the Ministry of Economy, Trade and Industry towards
digital cinema, Japanese distribution companies and exhibitors are not aware of
a great demand for digital screens. Compared to its status in Japan, it is fair to
say that digital cinema is more advanced in Korea and China. However, as far as
projectors are concerned, Japanese manufacturers such as Sony, NEC, and
Christi (Ushio) are geared up for digitalization and are likely to make greater
progress in future.

Table 1-4-1 List of Digital Cinema Theatres in Japan
109 Cinemas HAT. Kobe 1 T・JOY Niigata Bandai
109 Cinemas MM. Yokohama 2 T・JOY Oizumi
109 Cinemas Grandberry Mall 1 T・JOY E. Hiroshima
109 Cinemas Saga 1 Aeon Cinema Takasaki 1
109 Cinemas Takasaki 1 XYZ Cinemas Soga 2
109 Cinemas Sano 1 Cineplex Kumamoto 1
109 Cinemas Yokkaichi 2 Cinema Ikspiari 1
109 Cinemas Kawasaki 2 Cinema Mediage 1
109 Cinemas Tomiya 1 Cine Libre Chiba New Town 1
109 Cinemas Minoh 1 Navio Toho Plex 1
109 Cinemas Nagoya 1 United Cinema Toyosu 2
109 Cinemas Meiwa 1 Warner Mycal Cinemas Musashino Myu 1
109 Cinemas Kiba 1 Warner Mycal Cinemas Urawa Misono 1
MOVIX Saitama 1 Warner Mycal Cinemas Tama Center 1
MOVIX Kyoto 1 Warner Mycal Cinemas Itabashi 1
MOVIX Akishima 1 Hiroshima Wald 11 2
MOVIX Kawaguchi 1 Saitama SkipCity 1
MOVIX Kashiwanoha 1 Sapporo Cinema Frontier 2
SOUTHERN PLEX 1 Kagoshima Mitte 10 1
T・JOY Park Place Oita
3 Numazu Cinema Sunshine 1
TOHO Cinemas Roppongi Hills 1 Shinjuku Wald 9 9
TOHO Cinemas Nanba 1 Chiba Keisei Rosa 10 1
TOHO Cinemas Kochi 1 TOHO Sambangai Cinema 1
T・JOY Riverwalk N. Kyushu
T・JOY Kurume
2 Nichigeki Plex 3 1
2 Umeda Burg 7 2
Total of Screens 73
(Data Source; Imagica http://www.imagica-dcinema.com/dcinema-index/locations/list.html)
27
2
2
2

The types of projectors and servers installed in the theatres mentioned above
are described in the list provided below. Christie is the projector most used in
Japan and Quvis is the most used server. Sony’s 4K Pure Cinema system is
installed in 6 screens.
Table 1-4-2 List of projectors used at D-Cinema Theatres in Japan
Projectors Qty
Barco D-Cine DP 100 16
Barco D-Cine DP 50 1
Christie CP 2000 25
Christie DCP-H 6
Digital Projection Ltd. Digimax/
NEC
5
NEC STARUS NC2500S 11
NECvt NC1500C 2
NECvt/ DP cs25 1
SONY SRX-S110 6
Total number of projectors 73
(Data Source; Imagica http://www.imagica-dcinema.com/dcinema-index/locations/list.html)
Table 1-4-3 List of servers used at D-Cinema Theatres in Japan
Servers Qty
Dolby Digital Cinema System 10
Doremi DCP-2000 4
NTT 4K Pure Cinema 6
Qubit 1.x 4
Qubit DS 2
Qubit ST 6
Quvis C 37
No servers 4
Total of servers 73
(Data Source; Imagica http://www.imagica-dcinema.com/dcinema-index/locations/list.html)
28

According to the web site of D-Cinema Today 1 , there are 17 e-cinema screens in
Japan and the number of digitalized screens which are on line is close to 100 in
total. (In fact there are more digital screens than D-Cinema Today has accounted
for and the actual figure is likely to be higher.) However, even approximately 100
screens out of 3,000 screens is a small share and there are also numerous
cases in which sub-film projectors are used instead of digital projectors to show
films in theatres equipped with a digital system.
(2) Shinjuku Wald 9
Shinjuku Wald 9, which is equipped with 2K Digital Cinema Projectors in every
screening theatre, opened on February 9 th , 2007 in Shinjuku, Tokyo. This
multiplex was the first in Japan to have all theatres adapted for digital cinema
screenings. Shinjuku Wald 9 is located on the 9 th to 14 th floors of Shinjuku
3-chome East Building, with 9 screening theatres and a total of 1,842 seats. The
multiplex is managed by Shinjuku Wald Consortium, whose members are T Joy
and Toho Cinemas. The theatres are operated by T Joy.
The projectors installed in these theatres are seven sets of DLP Cinema
NC2500S projectors and two sets of NC800C projectors made by NEC View
Technology. Dolby Digital Cinema System servers have been installed in 5
theatres. As there is no immediate plan to screen digital films at all 9 theatres
simultaneously, the management plans to install servers in the other theatres in
sequence.
(3) Digital cinema collaboration trial
DCI made a public announcement of technical specifications for Digital Cinema
in July 2005. In response to this announcement, Warner Bros. Entertainment
Inc., Warner Entertainment Japan, NTT (Nippon Telegraph and Telephone
Corporation), NTT West and TOHO jointly established 4K Pure Cinema, the
world’s first commercial theatres distributing 4K digital cinema online (high speed
optical fibre network system), in accordance with the DCI standards.
In addition to this, the purpose for this collaboration trial was to carry out a
1 http://www.dcinematoday.com/
29

comprehensive evaluation of the process of DCI standard digital cinema from
distribution through to theatrical release. For this reason, the trial involved
screenings of both the 4K standard (4,096 x 2,160 pixel, 8 million pixel
classification) which is the highest level in DCI specifications; and also the 2K
standard which has 1/4 the number of pixels (2,048 x 1,080 pixel, 2 million pixel
classification). The evaluation included the quality of the picture, management
structure, security and the cost of network online distribution and theatrical
management. It also included surveys from public viewings and examined the
system’s practicality from the viewpoint of technology and management.
During the initial phases of the experiment, Warner Bros. Entertainment Inc.,
Warner Entertainment Japan, NTT (Nippon Telegraph and Telephone
Corporation), NTT West and TOHO were the only five companies participating in
the trial, but Sony Pictures Entertainment (SPE), Warner Mycal, NTT East joined
in May 2006. The trial was due to complete in September 2007.
The roles of the trial participants are as follows:
Warner Brothers and Warner Brothers Japan
- Establishment of Control Centre and Operation Management
- Supply of DCI Standard complying with high quality Digital Content
NTT
- Supplying high-speed fibre optic network between U.S. and Japan and from
distribution centres in Japan to theatres in Tokyo.
- Supplying distribution centre (Yokosuka Research and Development Centre)
- Supplying Digital Cinema distribution system complying with DCI Standards
NTT West
- Supplying high speed fibre optic network in western Japan
- Supplying distribution centre (Osaka Data Centre)
- Supplying and development of Digital Cinema Equipment control console
TOHO
- Supply of theatres
- Operation of theatres
30

- Management of Digital Cinema screening system operations
SPE and SPEJ
- Supplying DCI Standard complying with high quality Digital Content such as
“Da Vinci Code”.
Warner Mycal
- Supply of theatres
- Operation of theatres
- Management of Digital Cinema screening system operations
NTT East
- Supplying high speed fibre optic network in eastern Japan
- Establishment and management of distribution centre (Tokyo Data Centre)
- Supplying and development of Digital Cinema Equipment control console
jointly with NTT West
As mentioned in the Executive Summary, there have been no official
announcements or reports. Industry insiders in Japan appear to be watching
what the Hollywood Studios decide. Moreover, from the digital cinema panel
discussion at Showest in 2007, it emerged that Hollywood studios, exhibitors
and manufactures/ systems companies have different opinions about the
structure and system of virtual print fees. Japanese exhibitors and distributors
think that it will take some time. However, NTT and other big companies involved
in infrastructure are developing high speed fibre optic network systems not only
for digital cinema but also for direct to consumer platforms such as IPTV. If Toho,
one of the biggest exhibitors, starts the move into digital cinema, everything will
change quickly, with other exhibitors following their lead. Besides feature films,
Toho has shown an original programme of Toho Takarazuka musical on their
sites which was very successful.
(4) Digital Cinema in S.Korea and China
1) Korean Government and related organizations
Korea founded the Digital Cinema Forum in August 2004 with the intention of
31

promoting standardization and the installation of digital cinema in Korea.
”Digital Cinema Vision” was inaugurated in August 2005 to take a leading role in
the expansion of the digital cinema industry. In November 2005 an
announcement was made at the “Digital Cinema: Vision and Policy of Industry
Expansion,” that 50% of all screens would be digital by 2010.
The Korean Government has announced a support scheme of 400 billion won
(approximately 48.8 billion yen / US$414 million) through the Korean Films
Development Fund for the expansion of digital cinema and the nurturing of the
Korean Film Industry. With the competitive commercial environment of
companies such as“CGV,” “Showbox” and “Lotte,” and backup from their
government, Korea can be expected to rank with China in global competition to
install digital cinema.
2) Chinese Government and affiliated corporations.
The China Film Group aims to increase the 187 screens installed by early 2007
up to 700 screens as quickly as possible. SARFT (State Administration of
Radio, Film and Television in China) announced their intention to expand 500
digital screens between 2007 and 2009. Within 3,000 theatres currently in
China, it is estimated that China Film Group and SARFT will create 1/3 to 1/4
(approximately 900 to 1,000 screens) of the total number of screens by 2010.
The ratio of 187 screens (amongst a total of 3,000 screens in China) is 6% and
the box office receipt is 12% of the total. The Digital Cinemas are renowned for
being better quality than other cinemas where a single print is used many times
and deteriorates with use. The prints are sold between exhibitors because a
used print is far cheaper than the printing cost.
In China, there are two categories of theatrical exhibition:
- First Class Market: Theatrical exhibition in commercial theatres located in
urban areas.
- Second Class Market: Film exhibition in universities and educational
institutions, factories and public facilities.
China plans to expand digitalization in these markets in general and is reported
32

to have planned 10,000 mobile digital theatres and 10,000 digital theatres
(non-mobile) by the year 2010.
33

1-5 Cinema Admission Prices
The price of tickets sold at the box office falls into four categories
• adults
• college students and senior high school students
• elementary and junior high school students
• infants (at some cinemas they are treated as elementary school students)
Most cinemas also have special reserved seats at a higher price and offer a
discount for the elderly.
There are only minor differences in cinema admission fees throughout Japan but
for example, in Kyushu and Okinawa in southern Japan, the average admission
fee is relatively low. When releasing “Star Wars Episode II Attack of the Clones”
in 2003, Fox requested movie theatres to set a minimum admission fee at no
less than 2,000 yen but was over-ruled by the Fair Trade Commission.
Movie audiences in Japan reached a peak in 1958, after which numbers started
to decline. Although the number of screens has been increasing for the past few
years, admissions and box office revenues have not increased accordingly. The
price of cinema admission has risen gradually and regular admission fees at the
box office are relatively high, but various kinds of discount plans are offered.
Discount price campaigns
To improve business, in 2003, the four associations (Motion Picture Producers
Association in Japan, Foreign Film Importer-Distributors Association of Japan,
Motion Picture Association and Japan Association of Theatre Owners) agreed to
co-operate for the first time to establish a Committee called “Let’s go to movie
theatres!” One of the Committee’s proposals was a discount promotion for
husband and wife couples over 50 years old which was implemented in almost
every theatre in Japan. The plan was successful because it targeted couples
with spare time and money, who make up a large percentage of Japan’s
population. It also suggested cinema as part of a lifestyle for people over 50 who
once were moviegoers but had no time to see movies in their 20’s to 40’s
34

ecause they were too busy taking care of children.
The Committee also carried out a “Senior High School Students Friendship
Discount” campaign to acquire young movie fans. High school students who
went to theatres in a group of more than 3 students were offered a discounted
ticket of 1000 yen each. This campaign was not very successful but is still in
operation.
Some examples of ticket prices
Following is an example of the price system in some typical theatres. The
various discount systems are based on demographics, price is not flexible
according to demand for each title and all prices are kept high in comparison
with other developed countries.
(1) Traditional theatres in Central Tokyo business district
Nichigeki PLEX(Tokyo)
3 screens, 2140 seats. Located in a famous department store in Yurakucho,
close to the Ginza shopping area and Marunouchi business district
Ticket Price Adults 1800 Yen
University/High school students 1500 Yen
Elementary/Middle school students 1000 Yen
Infants (3 to 6 year-old) 1000 Yen
Elderly people (over 60 years old) 1000 Yen
Reserved seats 2500 Yen
Discount Price Late show 1200 Yen
First screening every Friday (Adults/students) 1300 Yen
Ladies Day every Wednesday 1000 Yen
Service Day (every 1 st of the month) 1000 Yen
Credit card discount (JCB, Chantez)
35

(2) Suburbs of Tokyo/ Multiplex
Warner Mycal Cinemas Shin Yurigaoka (Kanagawa Prefecture)
9 screens, 2125 seats, parking for 300 cars, located in a shopping mall near the
station.
Ticket Price Adults 1800 Yen
University/High school students 1500 Yen
Elementary/Middle school students 1000 Yen
Infants (3 to 6 year-old) 900 Yen
Elderly people (over 60 years old) 1000 Yen
Special seats 2000 Yen
BIG 3 SPECIAL
Ladies Day Special Every Wednesday, women’s ticket price is 1000 Yen
Late Show Special Every day after 20:00, all shows at 1200 Yen
First Day Special Every 1 st day of the month, all shows at 1000 Yen
(3) Local Region/Suburban Area Multiplex
MIHAMA 7 PLEX+ONE (Okinawa Prefecture)
8 Screens, 2019 seats, independent type
Tickets Price Adults 1600 Yen
University/High school students 1300 Yen
Elementary/Middle school students 1000 Yen
Infants (3 to 6 year-old) 600 Yen
Elderly people (over 60 years old) 1000 Yen
Special seats 2000 Yen
Discount Price Gentlemen’s price every Monday 1100 Yen
Ladies Day every Wednesday 1100 Yen
First screening every Tuesday and Thursday 1100 Yen
After 20:00 every Tuesday, Thursday and Friday 1100 Yen
Thanks Day (March 1 st , June 1 st , September 1 st ) 1000 Yen
Couple Day (Male / Female Pair) 22nd every month) 2200Yen
36

1-6 The Current Print and Advertising (P&A) Situation
P&A costs are increasing every year, most notably the media-buying price for TV
commercials. Newspaper and radio media prices are flat. Internet and mobile
media is used increasing and is not expensive compared with TV, but TV
commercials are still the most effective way to reach an audience.
As explained in chapter 3, there are 3 theatrical release patterns in Japan,
nationwide release, expanded release and limited release. There are differences
between foreign and domestic distribution and additionally in the case of foreign
films, there are distinctions between films presented by studios and independent
distributors. Following are some sample figures to illustrate the differences
between the categories. Figures are estimates based on industry standards.
(1) Foreign Films
Foreign films by top studios and blockbusters – Nationwide release
(For example, “Pirates of the Caribbean: At World’s End”, “Harry Potter and the
Order of the Phoenix.”)
Number of Screens: 600 to 900 screens
Advertising Costs: 1.5 to 1.8 billion yen (US$12 to 15 million)
Print Costs: 90 to 135 million yen (US$800K to 1.1 million)
Total Costs: 1.6 to 2 billion yen (US$ 13 to 17 million)
(Exchange rate 1US$=125 yen)
Disney Studio’s blockbuster film, “Pirates of the Caribbean: At World’s End”, has
the momentum to accomplish box office receipts of 10 billion yen (US$85 million).
“Spider-man 3” is likely to make 7 billion yen (US$60 million). The Studios
ensure 800 to 900 screens for such titles and allow 1.6 to 2 billion (US$13 to 17
million) worth of P&A Costs. But “Shrek the Third” cost US$15 million worth of
P&A and only took box office receipts of 2 billion yen, (US$17million). “300”
cost 1 billion yen (US$8 million) and made box office receipts of 1.6 billion yen
(US$14 million). However, DVD and TV broadcast generate additional income.
37

Foreign Films (smaller studio and independents) - Nationwide Release
(For example, Hairspray, The Good Shepherd)
Number of Screens: 200 to 250 screens
Advertising Costs: 300 to 400 million yen (US$ 2.5 to 3.5 million)
Print Costs: 40 to 50 million yen (US$330K to 420K)
Total Costs: 340 to 450 million yen (US$3 to 3.8 million)
Foreign titles released nationwide are currently finding it difficult to recover P&A
costs of 300 to 500 million yen (US$2.5 to$4.2 million). Earnings from DVD and
TV broadcasting are decreasing and the burden of minimum guarantee weighs
heavily on independent distributors. Distribution companies are facing
business difficulties with such titles.
Foreign Films- Expanded from limited release
(For example Fahrenheit 911, Saw IV)
Number of Screens: 70 to 100 screens
Advertising Costs: 80 to 120 million yen (US$700k to $1 million)
Print Costs: 12 to 17 million yen (US$100K to 140K)
Total Costs: 100 to 140 million yen (US$ 0.8 to 1.2 million)
Independent distribution companies who pay US$1 million for film titles prefer a
release of 70 to 100 screens. As above, audience numbers do not increase even
if the company pays a large minimum guarantee. In cases where the title
becomes a hit and earns box receipts of 150 million to 200 million yen, the
company still cannot make a profit even after including the proceeds from DVD
and TV Broadcasting. DVD titles of art movies are very unlikely to deliver profits.
Foreign Films- Limited Release
(For example, Vier Minuten/ Four Minutes, Lady Chatterley)
Number of Screens: 30 to 40 screens
Advertising Costs: 40 to 50 million yen (US$330K to 420K)
Print Costs: 9 to 12 million yen (US$70K to 100K)
Total costs: 49 to 62 million yen (US$400K to 500K)
38

Independently owned theatres have been increasing in the past 3 to 4 years.
Even so, if a domestic film is first to book theatres, the distributor of foreign films
can end up waiting for a booking for 1 1/2 to 2 years after delivery of the film.
Foreign film distributor Nippon Herald Films was taken over by Kadokawa,
GAGA by USEN and Shochiku is facing difficulties from the impact of big failures
with foreign films. Independent American films and European films are in a
particularly difficult situation.
(2) Domestic Films
Domestic Films - Studio Block Booking Release with Expansion (Toho and
Shochiku)
(For example Hero, Always, Midnight Eagle)
Number of Screens: 300 screens
Advertising Costs: 300 to 400 million yen (US$2.5 to 3.3 million)
Print Costs: 75 million yen (US$650K)
Total Costs: 375 to 475 million yen (US$3.3 to 4.0 million)
Domestic studio films dominate the business of Toho Company. In addition,
television networks such as Fuji TV and TBS produce films which are increasing
in number in recent years. Their policy is to produce and advertise their own
films and achieve the same results as Hollywood majors who spend 1.5 billion
yen on advertising costs for network TV commercials. This may become a
problem in future because terrestrial TV stations can take advantage of their own
TV spots to promote their products. Although TV stations are businesses that are
approved by Government, this might be considered as media monopoly.
Domestic Films- Expanded from Limited Release
(For example Ping Pong, Kisarazu Cats Eye)
Number of Screens: 100 to 150 screens
Advertising Costs: 150 to 200 million yen (US$1.3 to 1.7 million)
Print Costs: 30 to 45 million yen (US $250K to 380K)
Total Costs: 180 to 245 million yen (US$1.6 to 2.1 million)
39

Certain release patterns revolving around Asmik and other distributors are
becoming common. Instead of pairing with Toho, Shochiku or Toei, they book
their own theatres, advertise themselves and recoup the costs. There is an
increasing number of cases where approximately 1.5 billion yen (US$12 million)
of box office receipts remain after P&A Costs have been recouped.
Domestic Films- Limited Release
(For example Mogari No Mori/ The Mourning Forest, Bright Future)
Number of screens: 30 to 40 screens
Advertising Costs: 40 to 50 million yen (US$ 330K to 420K)
Print Costs: 9 to 12 million yen (US$75K to 100K)
Total Costs: 49 to 62 million yen(US$405K to 520K)
More than 100 domestic titles fit into this pattern. They also face difficulties with
booking theatres, advertisement and other issues and, moreover, face difficulties
with recouping costs
40

1-7 Titles Released, by Country of Origin
(1) Foreign film releases in 2005 classified by nations
41
Continued on next page --->

---> Continued from previous page
Source: Foreign Film Importer-Distributors Association of Japan
42

(2) Foreign film releases in 2006 classified by nations
43
Continued on next page --->

---> Continued from previous page
Source: Foreign Film Importer-Distributors Association of Japan
44

1-8 The Rise of Asian Markets and Contents
(1) Overview
1) China
BOX OFFICE in U.S$(million)
• China is one of the fastest growing countries for cinema with theatrical
revenues increasing 30% each year. The number of screens has also
increased by 12% to 3024 screens, an increase of 336 screens
compared to 2005. The production of Chinese local films increased by
330 in 2006, an increase of 30% compared to 2005. However, the
biggest 5 Chinese films dominate the local film market and other local
films form a small part of the total
400
350
300
250
200
150
100
50
0
Fig 1-8-1 Box office revenue in China
Box Office (China)
71.9 65.9
60.4
58.3
30.8 27.5 44 60.4
45
Chinese films foreign films
81.5
99.7
97.6
146.3
124.1
211.4
2000 2001 2002 2003 2004 2005 2006
(year)

80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
10.0%
0.0%
2) Korea
30.0%
Table 1-8-1 Foreign v Domestic market share in China
32.0%
Share (China)
40.0%
46
50.0%
55.0%
% local market share
% foreign market share
60.0%
63.0%
2000 2001 2002 2003 2004 2005 2006
The Korean film industry has been growing steadily since 2000 and in 2006
admissions reached 1.6 billion people, the same figure as Japan which has a
population 2.5 times bigger than Korea. Ticket prices and therefore box office
revenues in Japan are more than double those of Korea, even though film going
is very popular in Korea.
Korean local films are stronger than imported films. Korea produces nearly 100
films a year, releasing two films every week which compete with each other. The
‘Korean Wave’ of 2006 to 2007 in Japan is in decline, leaving the Korean film
industry at a crossroads.
In Korea, the cinema audience consists overwhelmingly of younger people
compared to Japan, and therefore the titles released are limited to the tastes of a
young audience.

U.S $(million)
1200
1000
800
600
400
200
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
10.0%
0.0%
0
3) Japan
199.9
107.4
Fig 1-8-2 Box office revenue in Korea
Box Office (Korea)
203.5
202.1
260.2
245
47
280.3
320.1
Korean films foreign films
298.4
436.6
360.5
513.6
373.3
669.3
2000 2001 2002 2003 2004 2005 2006
23.1%
Table 1-8-2 Foreign v Domestic market share in Korea
Share (Korea)
49.8% 48.5%
53.3%
59.4% 58.8%
% local market share
% foregin market share
64.2%
2000 2001 2002 2003 2004 2005 2006
Even though the Japanese local film market share overtook the imported film
market share in 2006, the total revenues are the same. With the market for sale
and rental of DVDs decreasing, the Japanese film industry is at a crossroads
too.

U.S$ (million)
2500
2000
1500
1000
80.0%
70.0%
60.0%
50.0%
40.0%
30.0%
20.0%
10.0%
0.0%
500
0
Fig 1-8-3 Box office revenue in Japan
Box Office (Japan)
1080.4
503.7
1003.8
642.9
1145.9
425.6
48
1174.2
579
Japanese films foreign films
1219.4 1056.9 815.1
731 742.7
926.4
2000 2001 2002 2003 2004 2005 2006
31.8%
Table 1-8-3 Foreign v Domestic market share in Japan
Share (Japan)
39.0%
27.1%
33.0%
37.5%
% local market share
%foreign market share
41.3%
53.2%
2000 2001 2002 2003 2004 2005 2006
(2) Analysis of the surge in popularity of Korean TV drama and Korean film
1) The Korean Wave
The public interest in Korean TV drama and film saw a sudden explosion with
the huge hit of the TV drama, “Winter Sonata “, broadcast initially by NHK in April
2003 in Japan. The reason for its popularity with women between the ages of
40 to 50 was the male lead of this drama, Bae Yong Joon. Thereafter, the Four
Heavenly Kings of actors, Lee Byung-Hun, Won Bin, Jang Dong-gun, (the four

most popular stars including Bae Yong Joon), also gained popularity amongst
young female audiences. The explosion of this popularity in Korean TV drama
was literally a social phenomenon.
Ladies call Bae Yong Joon, Yon-sama, with “sama” being an honorific suffix.
When he visited Japan, 5,000 female fans between the ages 30 to 50 welcomed
him at Narita International Airport and 20,000 women assembled at his fans’
gathering, revealing his huge popularity. This burst of popularity was called the
“Korean Wave” and the social phenomenon is said to have generated economic
benefits of two hundred billion yen, (US$2 Billion). Women began to study the
Korean language and numerous Korean restaurants opened in Japan which
have enjoyed great popularity among locals. Many women took trips to Korea
and tours visiting location sites of this drama became extremely popular as well.
Two hundred billion yen, (US$2 Billion) is the calculated figure of earnings during
the peak and the economic benefits generated up to the year 2007. The
accumulated sum are considered to be several times more.
2) Political Relations between Japan and Korea
Koreans, even now, have a deep hostility toward the Japanese dating from the
colonial days. Every year, Japanese face many problems including territorial
disputes, the question of the Prime Minister’s planned visit to Yasukuni Shrine
(where war criminals are enshrined) and issues regarding those who served as
comfort women during the war. The cultural liberalization of Japanese
entertainment in Korea has come into effect gradually since 1999, 55 years after
the war. Korea is now on its way to fully opening its cultural market to the
Japanese, apart from restrictions on Japanese TV drama and the theatrical
releases of some animation films. In Japan, there was concern over possible
harassment from political groups when the 1999 Box Office Success; “Shiri” was
released theatrically. Despite the cold political relationship, the Korean Wave
gave a chance to many Japanese to visit Korea and be exposed to Korean
culture. It is fair to say that the co-hosting of 2002 World Cup by Japan and
Korea contributed a great deal to cultural liberalization.
49

3) Korean TV Drama
Successful Korean TV dramas are all love stories. (Koreans call them “melo” as
in melodrama, or soap opera). The storylines contain unsophisticated plots,
reminiscent of TV drama in Japan twenty years ago, which appeal to Japanese
women in their 40’s and 50’s. The story is always about couple overcoming
difficulties to be together and about the situations and characters revolving
around them. Indispensable prerequisites for highly popular Korean dramas
are a strong heroine surrounded by intimidating women, struck by disease at a
young age or suffering a loss of memory caused by traffic accidents, etc.
Viewers enjoy these inevitable plots.
The NHK network broadcast fuelled the craze for Korean TV drama in Japan
with an 11 o’clock slot on Saturday nights, an easily viewable hour for a
Japanese audience. Another Korean TV drama called “Stairway to Heaven”
had extremely high audience ratings in spite of being shown at 3 o’clock on
Saturday afternoons. Other business successes followed. Expensive DVD
sets (approximately 60, 000 yen (US$500) for a two-box set) were marketed
through newspaper mail-order and video stores; “Winter Sonata” earned DVD
sales of 10 billion yen (US$85 million). DVD sets of popular Korean Actors
including “Stairway to Heaven” earned an average of 2 to 2.5 billion yen (US$17
to $21 million) in sales.
4) The popularity of Korean movies
The 1999 Korean Box Office Success; “Shiri,” was released in Japan in January
2000. The table, “Korean Films Released in Japan,” shows that Korea
exported 29 films to Japan in 2004 and 61 films in the year 2005. As a result of
the Korean Wave, Korean films released in Japan reached the same total
number as Hollywood films shown in Japan. Many films were made that earned
sales of more than 1 billion yen (US$8.5 million). These included:
2003: “My Sassy Girl,” “Windstruck.”
Both films are romantic comedies starring the famous actress, Jun Ji-hyun.
2004: “Silmido,” “My Brother Hood (a.k.a., The Brotherhood of War).”
50

Both films became record-breaking hits that attracted an audience of 10
million viewers. In Korea, “Silmido” was based on historical facts and is an
action drama film that portrays the tragedy of a secret commando whose
mission was to assassinate North Korean leader, Kim Il-sung. “The
Brotherhood of War” was a patriotic action drama with two stars from Four
Heavenly Kings of actors playing opposite roles.
2005: “A Moment to Remember,” ”April Snow.”
Both films achieved high box office figures. “A Moment to Remember” earned
3 billion yen (US$27 million) at the box office and “April Snow” earned 2.9
billion yen (US$26 million). “A Moment to Remember” was a romantic movie
written for Yomiuri Television of Japan. “April Snow” was also a romantic
movie with long-awaited “Yon-sama” in the starring role. Both films became
big hits.
Due to the success of Korean TV drama, actors gained popularity and films in
which they starred were produced in succession, becoming hits in Japan as well
as Korea due to female fans.
Year
2001
2002
2003
2004
2005
2006
Table 1-8-4 Korean Films Released in Japan
Foreign Films Korean
Films
51
Main Titles
349 11 Fall King、Lies
347 10 My Sassy Girl, Friends,
335 14 Double Agent, Musa
339 29 Silmido, Brother Hood,
375 61 Moment to Remember, April
Snow
404 54 King and the Clown、The Host
(Data Source; Foreign Film Importer-Distributors Association of Japan)

5) Inflated Purchase Price of Korean Films
The purchase price of films exported to Japan, (MG / Minimum Guarantee)
started to increase around 2004. Prices peaked for Korean films marketed at
the Pusan International Film Festival and Japanese distribution companies paid
US $1 million to US $7 million for films starring popular actors.
Korean production companies began to worry about the size of their actors’
guarantees as large guarantees meant an increase in film production fees.
Japanese distribution companies continued to purchase Korean films and in a
sense supported them through the period of high average production budgets.
In 2004, Korea’s total export was US$50 million of which exports to Japan
accounted for US$40 million. In 2005, Koreas’ total export was US$75 million
of which Japan purchased US$60 million worth of this sum. Recently, a large
number of sales representatives from American and European film companies
have been asking how long the Korean film boom would last, at the expense of
the sale of their titles.
Table 1-8-5 Korean Films Export Revenues
Total Export
Revenue
Average
Revenue/per
film
52
Number of
Films
Exported
2000 $7,053,745 $185,625 38
2001 $11,249,573 +59% $110,289 59% 102 +168%
2002 $14,952,089 +33% $112,422 +2% 133 +30%
2003 $30,979,000 +107% $191,228 +70% 162 +22%
2004 $58,284,600 +88% $301,993 +58% 194 +20%
2005 $75,994,580 +30% $376,211 +25% 202 +4%
2006 $24,514,728 -70% $117,859 -70% 208 +3%
Export Revenues
Value of
exports to
Japan
Market Share
2000 $7,053,745 n/a n/a
2001 $11,249,573 +59% n/a n/a
2002 $14,952,089 +33% n/a n/a

2003 $30,979,000 +107% $13,893,000 n/a 45%
2004 $58,284,600 +88% $40,401,000 +191% 69%
2005 $75,994,580 +30% $60,000,000 +49% 79%
2006 $24,514,728 -70% $10,200,000 17% 42%
(Data Source: KOFIC)
6) Sudden Decline of the Korean Film Boom
In 2006, star-driven Korean films purchased with large minimum guarantees
such as “Typhoon” and “Renri no Eda”, continued to be released in theatres, but
with unfavourable results. Distribution companies started to back out hastily from
the purchase of Korean Films. Korean box office record makers, such as “The
Host” and “The King and the Clown” were released in Japan in 2006 but
box-office revenues peaked at 200 million to 400 million yen (US$1.7 million to
US$3.4 million). The peak audience was 150,000 to 300,000 people. In 2006,
Korea’s total exports were US$24 million of which Japan purchased US$10
million, showing a drastic decline of 80% compared to the previous year.
7) General overview of the Korean film boom
The “Korean Wave”, which turned into a social phenomenon in 2003, generated
huge economic benefits. A single television drama and the power of women
viewers improved the cold political relationship between Japan and Korea. This
was epoch-making in the entertainment industry and is likely to become an
important reference case in future.
A characteristic of the Japanese people is to be easily attracted by something
new and to lose interest easily as well. Although currently in decline, the
Korean film boom gained enthusiastic fans and patronage. For a film acquired
with a minimum guarantee of between US$500,000 and US$ 1 million and
released in theatres, a strong DVD market can still be expected. Korean films
are therefore likely to continue to exist as a business.
British and other foreign filmmakers should note the power of Korean films and
the example of their success in Japan. The idea of a star introduced through a
53

TV drama and going on to star in films with a good romantic love story and
quality drama will endure and may reappear in other territories.
54

1-9 TV, DVD, VOD and Other Media
(1) Television – An Overview
Japan is probably one of the most complicated TV markets, with numerous
platforms and outlets including terrestrial broadcast, satellite TV which consists
of Broadcasting Satellite (BS) and Communication Satellite (CS) and cable TV.
In terms of audience share, terrestrial TV has the greatest share, followed by BS.
CS and cable are relatively less competitive, but cable and satellite platforms
compete with each other.
.
The structure of Japan’s broadcasting system is as follows:
• Terrestrial TV; One public broadcasting system (NHK) whose income
derives from a license fee and 5 commercial networks. Commercial
networks developed from the 1950s’
• Satellite broadcasting. BS and CS use technically the same satellites, but
are different from each other in an institutional sense. BS was developed
by NHK to create a universal broadcasting service in Japan and is now
used by the major terrestrial commercial networks and WOWOW (Pay TV
service). CS was developed to promote business diversification of
telecommunication services in an era of convergence of telecoms and
broadcasting. The system is similar to BskyB and this broadcasting
service is dominated by one player, SkyperfecTV.
• Cable TV; low diffusion ratio, but gradually increasing.
Digital terrestrial broadcasting is being promoted by the Ministry of Internal
Affairs and Communications. The current analogue broadcasting will be
terminated on July 24, 2011.
55

Fig 1-9-1 Number of households subscribing to TV services
(Thausands of households)
40000
30000
20000
10000
0
Terrestrial
BS (subscribing NHK- BS)
WOWOW
CS (digital bros)
110' CS (digital bros)
CATV
1998 1999 2000 2001 2002 2003 2004 2005 2006
year/ thousand housholds 1998 1999 2000 2001 2002 2003 2004 2005 2006
Terrestrial 36597 36878 37274 37679 37953 38157 37921 37512 37547
BS (subscribing NHK- BS) 9464 10069 10621 11164 11577 12009 12359 12543 12922
WOWOW 2534 2502 2653 2667 2499 2485 2461 2382.3 2413
CS (digital bros) 1113 1823 2618 3042 3383.1 3523.2 3620.7 3737 3685
110' CS (digital bros) 0 0 0 0 42.111 123.33 202.7 321 474
CATV 7894 9428.6 10442 12998 15138 16538 17882 19128 20609
(Source : Ministry of Internal Affairs and Communications, WHITE PAPER Information and
Communications in Japan 2007 )
In the past few years, manufacturers and telecommunication companies have
also entered the television industry as contents providers. The convergence of
telecommunications and broadcasting is under way but there are outstanding
issues to be resolved including rights and coordination among broadcasters,
associations and rights-holders further a field. The following section gives an
overview of the players in the television industries, the movie genres they
broadcast, their strategies and recent trends. Contents platforms and outlets
using telecommunications will be dealt with in the section on “ IPTV “.
56

NHK is the public broadcaster in Japan with income generated from license fees
as shown in Table 1-9-1.
Table 1-9-1 Public Broadcasting (NHK) License Fee:
( including Consumption Tax )
Colour TV
57
2 months
payment
6 months in
advance
12 months in
advance
Automatic Transfer 2,690 Yen 7,650 Yen 14,910 Yen
Collection by Visit 2,790 Yen 7,950 Yen 15,490 Yen
Automatic Transfer
Satellite Colour TV
4,580 Yen 13,090 Yen 25,520 Yen
Collection by Visit 4,680 Yen 13,390 Yen 26,100 Yen
The other terrestrial broadcasters are commercial, consisting of 5 major
networks and 13 independent local broadcasters. The 5 major networks are
Nippon Television Network and its affiliates, Tokyo Broadcasting System and its
affiliates, Fuji Television Network and its affiliates, TV Asahi and its affiliates and
TV Tokyo and its affiliates. Terrestrial broadcasters air all genre programs
(general programming).
Each broadcaster airs movies and as commercial income of traditional terrestrial
broadcasters is declining they are trying to pursue other ways to make profits.
One of the recent trends is for TV stations to produce and invest in Japanese
movies.
(2) Terrestrial broadcasting of movies
TV deals are included in all film distribution rights deals. Therefore, usually, the
distributors of the titles sell the relevant rights to the broadcaster. VOD and CS
channels buy rights from distributors and also from original rights holders.
NHK
Their terrestrial channels mainly broadcast news and general programming and
educational programs. NHK air movies on their satellite channels BS hi vision
and BS 2.

Nippon Television Network: NTV
As of June, 2007 NTV have 3 movie slots a week, on Monday, Wednesday at
midnight and Friday. The majority of their movies are Hollywood or Japanese
movies, as shown in Table1-9-2. The top 3 are all Studio Ghibli’s animation
films, as NTV is a regular member of Ghibli’s production committee.
Table1-9-2 Film Broadcasting Ranking in TV Ratings
Rank Rating Title Date
1 46,9% Spirited Away 2003・1・24
2 35,1% Princess Momonoke 1999・1・22
3 32,9% Howl’s Moving Castle 2006・7・21
4 30,8% Harry Potter and Philosopher’s Stone 2004・6・25
5 28,4% Tsuribaka Nisshi 4 1994・2・4
6 28,3% Tsuribaka Nisshi 6 1994・12・23
7 27,7% Tsuribaka Nisshi 2 1995・1・13
8 27,6% Otoko wa Tsuraiyo Torajiro Shinjitsuichiro 1996・8・9
8 27,6% Tsuribaka Nisshi 4 1995・9・15
10 27,4% Shall We Dance ? ( original version) 1997・3・28
11 27,1% Tsuribaka Nisshi 5 1994・9・16
12 27,0% Princess Mononoke 2003・2・14
13 26,9% Princess Mononoke 2001・1・26
13 26,9% Indiana Jones and the Temple of Doom 1987・10・16
13 26,9% Menkyo ga Nai ! 1995・3・3
16 26,7% Shall We Dance ? ( original version) 1999・2・19
58

17 26,1% Spirited Away 2004・12・10
18 26,1% Tsuribaka Nisshi 8 1997・10・24
18 26,1% Titanic ( 2 nd half) 2003・6・28
20 25,7% Abunai Deka Forever TVSP’98 1998・8・28
21 25,3% First Blood 1985・10・25
22 25,1% Matrix 2003・6・6
23 24,9% Lepin III, Moeyo Zantekken 1994・7・29
24 24,5% Death Note I ( TV special version ) 2006・10・27
25 24,4% Kiki’s Delivery Service 1990・10・5
26 24,2% Indiana Jones and the Temple of Doom 1989・10・20
26 24,2% Rambo: First Blood Part II 1989・4・14
26 24,2% Rambo III 1989・10・13
29 24,1% Tsuribaka Nisshi 3 1994・7・22
29 24,1% Lepin III, Hono no Kioku 1998・7・24
30 23,9% Jurassic Park 1997・2・7
Source: Nippon Television Network Website (Movie Page)
This is the ranking of the top films shown on NTV. The top 3 are very popular Miyazaki animation
films. Tsuribaka Nisshi is a movie series based on a comic book focusing on “Fishing” and a
corporate employee who loves fishing.
Tokyo Broadcasting Systems: TBS
They do not have regular movie slots as of July 2007. However, they do invest
in a variety of Japanese movies. Their Saturday programme “King’s Brunch”
has a movie corner in which they introduce a wide range of movies including art
movies.
59

Fuji Television Network: CX
They have a Saturday night slot called “Saturday Premium” in which they
broadcast all kinds of movies, documentaries and special programmes. They
produce or invest in Japanese movies, some of which are sequels of their TV
dramas.
TV Asahi: ANB
They have had a long-running Sunday movie slot since 1966. The movies they
broadcast are mainly Hollywood major movies and Japanese movies. They
also invest in Japanese movies.
TV Tokyo: TX
The youngest and smallest network has several movie slots a week. On
weekdays, Hollywood movies and Japanese movies are aired in the afternoon
and they have a Thursday night movie slot which is mostly Hollywood movies.
They also have a movie information programme called “Showbiz Countdown” at
midnight on Saturdays, produced by TV Aichi, their affiliate station.
Overall, terrestrial stations carry major films that appeal to a wide audience.
They also broadcast the films they have invested in. There are two film
marketing and promotional programmes, “King’s Branch” on TBS and “Showbiz
Countdown” on TV Tokyo. The slots for movies promotion are therefore limited,
allowing little opportunity for marketing British movies on terrestrial stations other
than major releases.
(3) Movies on Broadcast Satellite (BS)
NHK BS
NHK hi-vision (HDTV) channel and NHK BS2 channel carry movies. They
broadcast a variety of movies including Japanese classics, Hollywood movies,
independents and art house movies. They have an interview programme called
“Inside The Actors” and movie festivals and awards ceremonies can also be
seen on their channels. There is a pattern for foreign TV dramas to be shown
on NHK BS first and then on terrestrial NHK channels afterwards.
60

Other BS Channels (Sister Channels of Terrestrial Stations)
BS commercial channels tend to focus their programming on Asian movies and
Asian TV dramas.
WOWOW and Star Channel
Wowow is a private company owned by terrestrial TV companies, manufacturers
of domestic electrics and advertising agencies, that has provided a pay-TV
service via BS since 1990. Wowow’s main content is movies. Their digital
channel broadcasts over 300 movies a month and their analogue channels
broadcast over 200 movies a month. Their movies cover all genres such as
Hollywood majors, Japanese movies, Asian movies, independent and art house
movies. Wowow now also has a channel on SkyPerfecTV. Star channel was
originally launched as a CS channel and now has an outlet on BS also which airs
Hollywood movies.
The opportunities for British movies are likely to be on NHK BS, BS affiliated to
the terrestrial commercial broadcasters or WOWOW. The opportunities should
be greater in the case of international co-productions with Japanese and British
investment.
61

Table1-9-3 List of BS channels
Channel Major Stakeholders Programming
NHK BS
NHK Drama, Documentary, Animation etc.
High Vision
NHK BS 1 NHK News , Sports, Documentary etc.
NHK BS 2 NHK Movie, Entertainment and Life Style
etc.
WOWOW CX, TBS, NTV, Matsushita,
Toshiba, Hitachi, Dentsu
BS Nippon Nippon Television Network
and other companies
BS – i Tokyo Broadcasting Systems
and other companies.
BS Fuji Fuji Television Network and
other companies.
62
Movies and Sports
Music and Animation etc.
Sports, Entertainment, Drama,
Animation, Movie
Life Style
Drama, Movie, Documentary, Sports,
Music, Entertainment, Animation, Life
Style
Sports, Movie, Drama, Animation,
Music, Documentary, Life Style
BS Asahi TV Asahi and other companies. Entertainment, Music, Movie, Drama,
Animation Documentary, Life Style
BS Japan TV Tokyo and other companies. Economics, Life Style, Movie, Drama,
Sports, Animation
Star
Channel
Hollywood Major Studios and
Japanese companies
Hollywood Movies

Network
Japanese
imported
Sum.
Table1-9-4 Frequency of Film Broadcasting on TV
Film Broadcasting Frequency on TV
NHK
terrestr
ial
2
0
2
NHK
satellite
255
432
687
NTV
18
116
134
63
TBS
19
27
46
14
57
71
ANB
13
89
102
In N. of films broadcasted in 2005, incl.repeated use.
CX
TX
48
277
325
Source, EIGA NENKAN 2007, (Film Yearbook 2007)
WOW
OW
539
2262
2801

(4) Communication Satellite (CS) Broadcasting System
(SkyPerfecTV! / E2 by SkyPerfecTV!) service by SkyPerfect
Communications)
1) Overview of CS
DirecTV has withdrawn from the Japanese market and JskyB joined up with
PerfecTV! to launch the service which became SkyPerfecTV!. Currently,
SkyPerfecTV! dominates the CS market with a total of 290 channels including
100 digital radio channels.
There are three satellites providing channel services:
Satellite longitude 124°and Satellite longitude 128°carry the original SkyPerfec
TV ! Satellite longitude 110°carries E2 by SkyPerfecTV ! (IRD built-in TV sets are
available. The number of channels is 70. Since the satellite is on the same
degree as BS110, if you have a BS 110°antenna, you can receive the service
through the satellite. )
2) Cinema Channels on CS broadcasting networks
There are several cinema channels on SkyperfecTV. The following chart
explains this platform and their movie channels.
64

Table1-9-5 List of major cinema channels on CS –SkyperfecTVs-
Channel Programming
Power Plats
Pay Per View. All sorts of movies: Hollywood movies,
(5 channels)
Japanese movies, independent and adult movies.
Perfect Choice
( 24 channels)
Pay Per View. All sorts of movies: Hollywood movies,
Japanese movies, independent and adult movies.
Cinefil Imagica Hollywood movies, Hollywood classics, European movies
and European classics.
Channel Neco Japanese Movies, TV dramas and Animation.
Eisei Gekijo
( = Satellite Theatre)
Mostly Japanese movies and classics. Some Asian and
Hollywood movies.
Movie Plus Hollywood movies, Asian and European movies.
Film Festival and Awards information.
Star Channel Hollywood movies with subtitles.
Star Channel Plus Hollywood movies with dubbing.
Star Channel Classic Hollywood classic movies.
Star Channel Hi Vision
( E2 only)
Hollywood movies with High Definition.
Horror TV All sorts of horror movies, horror TV dramas .
V Paradise Japanese and Asian Action, Suspense, Horror, Cult movies and
TV dramas.
The Cinema Hollywood movies and Hollywood classics.
Japanese Movie
Channel
Movies from Fuji Television, Kadokawa, Toho and Daiei. Art
house movies and broadband content.
Toei Channel Mostly Toei Group movies, animation, TV dramas and others.
Exciting Grand Prix Japanese Yakuza and adult video movies
CS Gyao Hollywood movies, Asian movies, TV dramas,
Entertainment, Sports, Movie & Animation Information etc.
* Those channels highlighted in yellow are available on E2 by SkyPerfecTV !
65

The channels in bold type offer the best opportunities for British movies. They
currently have some British movies or the channel concept would match
British movies. However, some of the stakeholders of the operating
companies have been changed in recent years. Also, the programming
concept and the target could be changed and/or influenced by market
competition and by other medium. It is essential to watch these aspects
beforehand.
3) CS channels’ collaboration with theatrical releases for moving marketing
One of the marketing strategies the movie channels often take is to promote
their movies in collaboration with theatrical releases. To appeal to viewers,
they select the movies with the same cast or theme or related subjects as
theatrical releases but they struggle because Hollywood movies usually have
strict conditions about marketing. If the rights holders of British movies
can communicate and co-operate with movie channels in Japan, the
opportunity for exposure and promotion of British movies might be
increased.
66

(5) Cable Television
Japanese cable television was started in 1955 in mountain villages where
regular terrestrial broadcast suffered from poor reception. Now cable television
has multiple channels that are retransmissions of terrestrial, BS and for cable
and satellite networks. Their strength is that they are well connected to local
areas and provide local information using their community channels.
1) Overview of the operators and markets
The penetration of cable television is now over 40% of all households as of
December 2006, a total of over 20.61 million-households 2 . There is one major
Multiple System Operator (MSO) and minor local cable system operators. The
largest cable television MSO is JCOM (Jupiter Telecom) with 2.67 million
households as of April 2007. Jupiter Telecom is a group company of the Jupiter
Group. Following is a brief description of the group.
Table 1-9-6 JCOM group
Company JCOM Jupiter TV Jupiter VOD
Shareholders LGI/Sumisho Super Sumitomo
Jupiter TV ( 50% )
Media, LLC. 62.47% Corporation (50%) JCOM (50%)
Others are Banks, Liberty Programming
Investment
Companies, Mitsui &
Co., Ltd.
Japan (50%)
Matsushita Electric
Industrial CO., Ltd.
Business Multiple System Multiple Channel VOD services
Operator
Operator
(Cable TV)
(TV Channels )
Distribution Cable TV
Satellite TV
Video on Demand on
Method
Cable TV
IP Broadcast
CATV
2 Source: Ministry of Internal Affairs and Communications
67

In May 2007, JCOM announced that it was merging with the newly split Jupiter
TV. The reason is thought to be that JCOM is trying to secure competitive
content for their service, because cable companies and telecom companies
have been in the front line over the convergence of telecom and broadcasting.
Telecom giant NTT (the largest telecommunication company) has also
announced the start of a new network service called NGN (Next Generation
Network) within 2007. These two giants are now facing great competition for
leadership in the market for MVPD (Multi-channel Video Programming
Distribution)
2) Characteristics of JCOM
Their service package provides four services – Cable TV, Internet services,
telephone services and mobile phone services. Each local TV station has its own
community channel and the community based service is its dominant positioning.
Currently they are trying to encourage subscribers to switch to digital services.
Jupiter VOD is the aggregator and also Video On Demand service provider, as
explained in the section on VOD. Subscribers contracted to digital services are
able to see TV channels including movie channels plus VOD movies.
Jupiter TV
In May, the merger with JCOM was announced. Jupiter TV’s channels except
for the SHOP Channel will be operated by JCOM. Jupiter TV’s channels are as
follows:
Movie Plus & Movie Plus HD:
The biggest foreign movie channel in Japan
LaLa TV & LaLa TV HD:
Japan’s biggest women’s entertainment channel
GOLF Network:
Japan’s biggest golf channel
REALITY TV:
Japan’s first reality program channel
68

Discovery Channel & Discovery Channel HD:
World’s biggest documentary channel
Animal Planet:
Entertainment channel produced by BBC and Discovery
J Sports: ( J Sports 1/J Sports 2/ J Sports ESPN / J Sports Plus )
J Sports covers all the sports using its 4 channels.
AXN:
Sony Pictures Entertainment’s global drama and movie entertainment
channel
KIDS Station:
Japan’s biggest children’s programme and animation programme channel
AT-X:
Animation premium channel
Japanese Movie Channel:
Japanese movie channel
Jidaigeki (period drama) channel:
Period drama shown daily throughout the year
Nikkei CNBC:
24-hour economic news from around the world
3) Summary: Movies on CATV
The movie channels on Cable TV are basically the same as satellite TV,
because cable and satellite networks (video programming providers for cable
systems and satellite system operators) provide for both cable and satellite.
The options depend on the selection by the stations. JCOM selects its group
channels on a priority basis.
69

(6) Broadcasting on Broadband networks
1) Overview
If the service is categorized by equipment, there are PC services and TV set
services. The major players are NTT, Yahoo! BB, KDDI for IPTV with TV set and
website services such as Gyao, and ISPs of manufacturers’ subsidiaries such as
Nifty (Fujitsu Group), SCN (Sony Group) and Biglobe (NEC Group) for PC
services.
2) Players and their characteristics
The following shows the key players in IPTV multicast broadcasting.
Fig 1-9-2 Key Broadcasting Players on BB networks
Program suppliers (Pay TV networks for cable and satellite broadcasting)
CS Bros. domineer
SkyPerfecTV
Skper
HIKARI!
On Demand
TV
Plala
Networks Inc.
(subsidiary of
NTT-Com)
Cable MSO
JCOM (Jupiter T V)
On-line TV
Co.,Ltd
OCN Theatre 4 th MEDIA
Standard TV IP multicast
on Broadband networks of NTT-Com, NTT-East, NTT-W est
Retransmission
of
CS broadcasting
SkyPerfecTV
VOD;
7500 titles
TV channels
43 ch.
VOD;
8000 titles
TV channels
43 ch.
VOD;
Over
8000 titles
TV channels;
64ch
70
Movie
Splash
IP multicast on
BB of KDDI
VOD;
Over
4000 titles
TV channels;
30ch
BB cable
Corp.
(subsidiary of
SoftBank)
BBTV
IP multicast on
Yahoo BB
VOD;
Over
5000 titles
TV channels;
36ch
Programming
operator
Service
brand for
subscriber
Platform
(©Cinema Alliance)

NTT GROUP
NTT group has 3 IP multicast services distributing almost the same services.
1) OCN Theatre (Originally NTT Communications’ service)
2) Plala Networks (Originally NTT East’s Service)
3) On Demand TV (Originally NTT West’s Service)
Table 1-9-7 IP Multicasts by NTT Group
(This chart shows the original scheme)
Company OCN Theatre Plala Networks
(4th MEDIA)
Original
company
ownership
Collaborator
For TV
Contents
Overview
NTT
Communications
and other
shareholders
NTT East
and other
shareholders
None On Line TV
(Jupiter TV)
VOD service
with NEO
(Current NEO
INDEX)
TV channels and
VOD service
71
On Demand TV
NTT West
and other
shareholders
I- Cast
TV channels and
VOD service
As shown in the above chart, there are similar 3 services. Although it is forecast
that these will be integrated into one service under the NTT Communications
umbrella, this has not been officially announced and the details have not been
reported as of September 2007.
NTT Goup & NGN
NGN stands for Next Generation Network. NTT group is aiming to start the
service using NGN by the end of 2007 or early 2008. In a nutshell, NGN is a
more secure, one stop telecommunications network using IPv6 to take over the
existing network. The bandwidth is guaranteed and will be more stable
compared to the existing network. It is said that this network is more
appropriate to deliver images such as TV programmes and movies.

3) PC Website Services
Gyao (USEN), Yahoo! (Softbank Group), ISPs such as So-net (Sony
Communication Network), Nifty (Fujitsu Group), hi-ho (Panasonic Group),
Biglobe (NEC Group) and Miranca (Neo Index) etc. are all available on a regular
personal computer. The services can be accessed upon registration. Some
contents have free access but others are available to members only.
GYAO:
Gyao’s parent company USEN bought out GAGA, the independent distributor,
and the new company became GAGA USEN. As a result, Gyao is strong in
movies. Gyao’s uniqueness is that their service is free of charge and currently
has over 13 million registered users. Their business model is to generate
profits from advertisements.
4) Movies on VOD and Broadband
The service is still new and all the service providers are struggling to work out
how to make enough profit. Therefore, the contents cover all categories from
adult movies to animation and Karaoke. However, the charts below indicate
some tendencies. The key will be to see how JVOD expands using JCOM’s
advantages of scale and how NTT will concentrate its multiple services into a
stronger platform using NGN and its largest telecommunication brand.
The following graphs and charts are based on information in the Digital Content
White Paper. (Published by Digital Content Association Japan), with a focus on
the movie category.
72

Fig 1-9-3 Broadband Content (Genre Preference) (%)
Adult Content
Travel Information
Book Information
Game Information
Animation
Live Play
Video / DVD content
Movie Trailer
Movie Information
Movie (Short Film,
Drama)
Movie (Theatrical
Movies)
Music (Live Concert)
News (Analysis)
News (Sports)
News (Entertainment)
News (Weather
Forecast)
News (Current Topics)
programs broadcast on
terrestrial broadcaster
0.1
0.2
0.5
0.1
0.3
0.1
0.1
0.3
0.1
0.4
0.1
1.5
0.3
0
0.4
0.1
0.8
0.1
1.7
0.4
0.2
0.4
0.1
0.8
0.2
0.3
0.1
0.8
0.6
0.4
0.2
0.7
0.3
0.3
1.2
2.2
2.1
3.7
3.6
3.9
3.7
4.1
3.7
4.3
73
5.7
5.9
5.5
6.1
6.9
7.6
Would like to see ( Pay
Service ) (%)
Viewed within 3 months (
Pay service ) (%)
Viewed within 3 months(%)
8.4
8.3
0 5 10
(Original survey was conducted by Japan Keirin Association/ White Paper of 2005. Number
of Sample: 7,640 total M: 4,184/F: 3,456)
11.8
12.4

Fig 1-9-4 Viewers’ interests in Broadband Content
Movie ( Theatrically Released )
Genre
Travel Information
Movie Information
Music ( CD )
Music ( Live Concert )
News ( Sports )
News (Weather Forecast)
News ( Currrent Topics )
Program broadcast on BS/CS
TV
Program broadcast on terrestrial
TV
Source: Digital Content White Paper 2006 (DCAJ)
(Original survey was conducted by Japan Keirin Association/ White Paper of 2005. Number
of respondents: 7,640 total M: 4,184/F: 3,456)
Viewers’ interests in Broadband Content
74
16.9
16.6
18.0
18.5
18.8
17.9
19.6
21.7
21.1
24.1
0.0 5.0 10.0 15.0 20.0 25.0 30.0
Percentage
Percentage

Broadband Market Size
From the charts it can be seen that movies are highly ranked by female viewers,
by not by male viewers.
Table 1-9-8 Male Viewers’ Wish List and Ranking of Broadband Content
10-19 years old % 20-29 years old % 30-39 years old % 40-49 years old % 50-59 years old %
Game Information 33.5 TV Program ( Terrestrial ) 33.8 TV Program ( Terrestrial ) 33.2 News ( Current Topics ) 31.0 News ( Current Topics ) 29.3
Music 28.5 Music 32.2 News ( Current Topics ) 28.2 TV Program ( Terrestrial ) 28.5 Travel Information 26.6
Animation 24.1 TV Program ( CS/BS) 26.1 TV Program ( CS/BS) 26.2 News ( Sports ) 27.2 News ( Weather Forecast) 24.2
TV Program ( Terrestrial ) 21.5 News ( Sports ) 24.8 News ( Sports ) 25.4 Sports ( Live Game ) 24.2 News Analysis 21.6
Music ( Artist Information ) 19.7 Game Information 24.6 Sports ( Live Game ) 25.1 News ( Weather Forecast) 23.9 News ( Sports ) 19.6
News ( Sports ) 16.1 Sports ( Live Game ) 23.7 Bycicle, Car Information 24.4 TV Program ( CS/BS) 21.8 TV Program ( Terrestrial ) 18.1
Sports ( Live Game ) 15.5 Music ( Live Concert ) 22.4 Music 23.7 Sports Information 19.6 Sports ( Live Game ) 17.6
Animation Information 15.5 News ( Current Topics ) 21.6 Movie ( Theatrical ) 23.0 Movie ( Theatrical ) 19.5 Finance & Investment Info. 16.5
Sports Information 14.3 Animation 21.4 News ( Weather Forecast) 22.5 News Analysis 19.4 Sports Information 15.6
Movie ( Theatrical ) 14.1 Sports Information 19.2 Music ( Live Concert ) 20.0 Bycicle, Car Information 18.4 TV Program ( CS/BS) 14.5
Table 1-9-9 Female Viewers’ Wish List and Ranking of Broadband Content
10-19 years old % 20-29 years old % 30-39 years old % 40-49 years old % 50-59 years old %
Music 41.5 Music 37.3 Movie ( Theatrical ) 24.0 TV Program ( Terrestrial ) 19.6 Travel Information 25.0
Music ( Artist Information ) 36.6 Music ( Live Concert ) 33.2 TV Program ( Terrestrial ) 23.8 Movie ( Theatrical ) 19.4 News ( Current Topics ) 15.5
Music ( Live Concert ) 27.6 Music ( Artist Information ) 29.3 Music 22.8 Music 19.1 News ( Weather Forecast) 15.0
Drama 26.3 Movie ( Theatrical ) 29.1 Music ( Live Concert ) 22.3 Travel Information 17.6 Movie ( Theatrical ) 14.5
Celebrity Information 25.6 TV Program ( Terrestrial ) 27.1 News ( Weather Forecast) 19.7 Movie Information 17.4 TV Program ( Terrestrial ) 13.6
Movie ( Theatrical ) 23.0 Movie Information 23.8 Drama 18.8 Music ( Live Concert ) 17.2 Movie Information 12.6
TV Program ( Terrestrial ) 23.4 Travel Information 19.6 TV Program ( CS/BS) 18.4 News ( Current Topics ) 17.2 News Analysis 11.1
Animation 23.2 News ( Entertainment ) 19.3 Travel Information 18.1 News ( Weather Forecast) 16.8 Music ( Live Concert ) 10.5
Movie Information 22.9 Video / DVD content 19.1 News ( Current Topics ) 17.9 TV Program ( CS/BS) 15.7 Movie Trailer 10.4
Movie Trailer 19.7 News ( Weather Forecast) 18.9 Movie Information 17.7 Movie Trailer 14.7 Book Information 10.4
Source: Digital Content White Paper 2006 (DCAJ)
(Original survey was conducted by Japan Keirin Association/ White Paper of 2005. Number
of respondents: 7,640 total M: 4,184/F: 3,456)
In this chart, women have more potential and expectations of movies on broadband.
75

(7) DVD
1) DVD Market Size
The estimated market size of DVD sales and rental in Japan is 6.695 billion yen
(equivalent to US $ 5.5 billion / rate: US$1=115 JPN YEN) as of 2006.
Fig 1-9-5 Estimated DVD Market Size for 2006 (Unit: 100 million yen)
Estimated Market Size for DVD 2006
( 100 million yen / unit )
478/ 7%
3,264/
49% 2,953/
44%
Total: 669,500 million yen
Source: Japan Video Software Association’s Data (March, 2007)
76
VHS( for Rental )
DVD ( for Rental)
DVD ( for Sales )
The survey was conducted in September 2006. The number of respondents: 1,361 Age: 16 - 69 years
In 2006, the rental VHS market decreased to less than 50% of its size in 2005.
2) Average selling price of DVDs:
The price range is generally from about 500 yen to 3,500 yen. At bookstores,
there are classic movie DVDs sold at 500 yen. Hollywood movies vary from
999 yen to 3,000 yen and over. Often the first episode of a TV series is sold at
999 yen.

65%
20%
Fig 1-9-6 DVD PURCHASE
6%
3%
Expenditure on DVD Purchase
8%
10%
77
8%
9%
Heavy User Purchase is 72%
0%
71%
Source: Japan Video Software Association (March, 2007)
Over 30,000 yen
10,000 - 29,999 yen
5,000 - 9,999 yen
Less than 5,000 yen
No DVD purchase
Over 30,000 yen
10,000 - 29,999 yen
5,000 - 9,999 yen
Less than 5,000 yen
No DVD purchase
The survey was conducted in September 2006. Number of respondents: 1,361 Age: 19 - 69 years old

Table 1-9-10 Trigger to Purchase DVD
78
2005 2006
Casts and artists 35.4 37.0
I saw the feature at theatre 28.2 33.1
The price came down 19.4 25.5
I missed seeing it at theatre 20.4 20.2
TV commercial, magazine ad 22.4 19.5
I saw the package at DVD shop 22.3 17.8
I always buy the series 12.9 15.6
Reviews, BBS on internet 11.1 15.2
Recommendation on TV and in magazines 16.5 13.8
I rented DVD and saw the feature 12.2 13.6
Impulsive purchase of inexpensive DVD 8.9 13.5
I saw trailer at theatre, on DVD 9.7 9.1
Posters and recommendation at the shop 6.1 6.5
Red: The ratio declined in 2006.
Blue: The ratio increased in 2006.
Source: Japan Video Software Association’s Data (March, 2007)
The survey was conducted in September 2006. The number of respondents: 1,361, Aged 16 - 69 years

Genre
Lifestyle, Travel
Play, Comedy etc.
Foreign Music Video
Japanese Music Video
Children's Video
Foreign Animation
Japanese Animation
Japanese TV Dramas
Japanese Movies
Foreign TV Dramas
Foreign Movies
Fig 1-9-7 Genre of Purchased DVD in 2006
Adult
Sports
Purchased Genres of DVD in 2006
0 10 20 30 40 50 60
79
%
Source: Japan Video Software Association’s Data (March, 2007)
The survey was conducted in September 2006
The number of respondents: 1,361
Age: 16 - 69 years old.
Foreign movies have a relatively strong showing in this graph. Sports genre
includes primary “to see“ content. This category does not include “Exercise” or
“How to“ contents.
2006

Fig 1-9-8 Male to Female Ratio on DVD genre preferences(%)
Foreign Movies
Foreign TV Dramas
Japanese Movies
Japanese TV Dramas4.3
Japanese Animations
Foreign Animations 4.7
Children's Video
Japanese Music
Video
Foreign Music Video
4.7
Play, Comedy, etc. 4.7
Lifestyle, Travel, etc.
Sports
Adult and Fringe
5.2
2.6
1.0
6.8
6.8
5.1
7.0
6.3
8.2
9.4
10.4
11.3
12.5
12.1
15.1
19.8
18.4
21.9
22.7
80
30.2
45.8
55.9
Male
Female
0.0 20.0 40.0 60.0

Source: Japan Video Software Association’s Data (March, 2007)
The survey was conducted in September 2006. The number of respondents: 1,361 Age: 16 -69 years
81

3) DVD Rental Outlets - New outlets for consumers to access DVDs
There are still DVD/VIDEO rental shops we can visit but there are also new types
of outlet which are operated for 24 hours for busy working people.
i) On Line Rental
Tsutaya Discas:
The largest DVD/ CD rental delivery service in Japan, with current membership
over 250,000.
The rental process is: 1. Select and book the title. 2. DVD will be delivered with
an envelope within 3 days. 3. To return, put the DVD into the envelope and mail
it.
ii) Rental DVD at subway stations
Astala Vista:
Tokyo Metro Co., Ltd and Astala Vista Co., Ltd. are collaborating on this service.
Currently there are 32 auto rental machines at the stations within the Tokyo
Metropolitan area.
The rental process is: 1. Book DVD on the net or select DVD at the machine.
2. DVD will be delivered or can be picked up at the machine.
3.To return, mail it back, or return at the machine.
iii) Limited time rental at convenience stores
48 DVD:
48 DVD is operated by Nippon Shuppan Hanbai Inc. using Flex Play
Technology’s method (New York, U.S.A. ).
The rental process is: 1. Book on line or pick up at convenience store. 2. To
return, mail it back for recycling or discard.
Once you open the package, the DVD will be available for 48 hours.
82

43%
Fig 1-9-9 DVD RENTAL
Expenditure on DVD Rental
3% 6%
10%
38%
3.2 % Heavy Use's Expenditure occupies 31.3 % of Rental Share.
22% 0%
21%
26%
31%
83
Over 20,000 yen
10,000 - 19,999 yen
5,000 - 9,999 yen
Less than 5000 yen
No Rental Use
Over 20,000 yen
10,000 - 19,999 yen
5,000 - 9,999 yen
Less than 5000 yen
No Rental Use

(8) Mobile Phones
Mobile Market Size
As of the end of June, 2007, the total number of mobile phones in Japan was
98,055,800. The market share of major companies is as follows:
(Note: The E-mobile figure is less than 70,000 at the moment therefore it is not
included in this graph. The E-mobile service area is limited to Tokyo metropolitan
area and some other cities only.)
Fig 1-9-10 Three Major Mobile Phone Companies
Soft Bank (former
Vodafone)
17%
KDDI's AU (including
TUKA)
29%
Three Major mobile phone companies
Source: Telecommunications Carriers Association Website
(Graph made based on data as of June, 2007 )
84
NTT Docomo
54%
NTT Docomo
KDDI's AU (including
TUKA)
Soft Bank (former
Vodafone)

In 2006 a number portability system was introduced, allowing users to change
carrier without changing their phone numbers. This made the market more
competitive.
100 million yen
8000
7000
6000
5000
4000
3000
2000
1000
0
Fig 1-9-11 Mobile Content Market (1)
1193
1793
Mobile Content Market
1709
2133
2593
2603
85
4074
3150
Table 1-9-11 Mobile Content Market (1)
Mobile Commerce Market
Mobile Content Market
2002 2003 2004 2005
Mobile Content Market 1,793 2,133 2,603 3,150
Mobile Commerce Market 1,193 1,709 2,593 4,074
(100 million yen/ unit Source: Mobile Content Forum)
The music content is strong in the mobile content market as seen below.
Table 1-9-12 Mobile Content Market (2)
Mobile Content Market 2002 2003 2004 2005
Ring Tone Market 957 1,101 1,167 1,048
Ring Tone ( Song ) Market 1 28 201 562
Mobile Game Market 201 270 412 589
Other Mobile Content
Market
634 734 823 951
Total 1,793 2,133 2,603 3,150
(100 million yen / unit Source: Mobile Content Forum)

The majority of content purchases are on music and games for mobile phones
but the allocation of the music genre is not specified in detail in the available data.
Movie sound tracks are also purchased. Another possibility for movie related
business in the mobile market could be movie information.
The following are some movie information sites for mobile phones:
Cinema Walker:
The service is operated by the website “Eiga Seikatsu (movie life) “ and “ Girls
Walker “. (“Girls Walker” is known amongst companies which target young
women and is one of the largest women’s mobile sites. Its monthly access is
over 3-billion page view. The total number of subscribers is 24.4 million as of
2004. )
Cinema Walker provides movie news, theatre information, word of mouth,
Two trailers a week etc. (Eiga Seikatsu is a PC service. Cinema Walker a is
mobile service.)
Hollywood Channel:
Hollywood channel is a group company of Soft Bank. The service provides
Hollywood (celebrity) news, Asian news, TV drama news, sound tracks etc. (PC
& Mobile service)
Mobile Walker:
Mobile Walker is the mobile version of Movie Walker published by Kadokawa
Group’s Kadokawa Cross Media. The service provides theatrical information,
TV guide, event information, downloadable ring tones, sound tracks, trailers and
interviews.
86

Part Two
The UK Film
Marketplace in
Japan
87

2-1 Titles of UK Film Releases
The total number of British films released in Japan, including co-productions,
grew from 34 in 2005 to 37 in 2006.
(1) 2005
Table 2-1- 1 Number of UK films released in Japan (Jan.– Dec.2005)
Producing Country Number of Films
UK 11
USA = UK 4
UK = USA 3
USA=UK =Germany 1
UK=Ireland 1
UK=Holland 1
Canada=UK 1
UK=France=Germany=Ireland=USA 1
UK=France 1
UK=Italy=Germany=Spain 1
UK=France=New Zealand 1
France=UK=Italy 1
Italy=UK 1
Spain=Italy=UK=Luxemburg=USA 1
France=UK=Spain=Italy 1
France=Germany=UK 1
USA=Italy=Luxemburg=UK 1
UK=Australia 1
Canada=UK=USA 1
TOTAL 34
(Source: Foreign Film Importer-Distributors Association of Japan)
88

Table 2-1- 2 UK films released in Japan in 2005
89

(2) 2006
Table 2-1-3 Number of UK films released in Japan (Jan– Dec 2006)
Producing Country Number of Films
UK 12
USA = UK 5
UK = USA 2
UK=Canada 2
France=UK=Czech 1
South Africa=UK=Italy 1
USA=UK=France 1
Jamaica=UK 1
France=Germany=UK 1
France=UK 1
UK=USA=Luxemburg 1
Jamaica=Norway=UK 1
UK=USA=Germany=China 1
UK=Italy 1
Austria=France=Germany=UK 1
Ireland=UK=Germany=Italy=Spain 1
Belgium=France=UK 1
Ireland=UK=France 1
UK=Hungary 1
USA=Holland=UK=Finland 1
Total 37
(Source: Foreign Film Importer-Distributors Association of Japan)
90

Table 2-1- 4 UK films released in Japan in 2006
91

2-2 Japanese distribution of UK films
In the charts in this section, the dates used for analysis are as follows:
Time range of titles
- Theatrical results in Japan: titles released in UK from 1970s’ to Nov.2006
- DVD results in Japan: titles released in UK from 1970s’ to May. 2007
The time of release is based on the UK opening date, not the Japanese one.
Definition of nationality
- British and British co-production titles are as reported by Japanese
distributors because Japan has no definition of nationality of film. See 2-3 (1)
(1) Theatrical distribution
There are two major groups of distributors for British films in Japan, Hollywood
subsidiaries and Japanese distributors.
There are five Hollywood subsidiaries:
• Warner Brothers Japan
• U.I.P
• Buena Vista international (Japan)
• Sony Pictures Entertainment Japan
• 20th century Fox Movies
The key Japanese distributors are:
• Gaga
• Kadokawa (formerly Herald)
• Asmik Ace
• Cine Quanon
• Show Gate
• Shochiku
• Toho Towa (subsidiary of Toho)
• Amuse Pictures
According to the number of films distributed, Gaga is the top distributor followed
by UIP, Kadokawa (Herald), WB and Asmik Ace.
92

Fig.2-2-1 The Number of films distributed by each distributor
(Company)
ONLY・HEARTS
NIKKATSU
HAPPINET
CRESTINTERNATIONAL
KINETIQUE
KUZUI
ARUSINETERAN
ARTPORT
MEDIA・SUIT
K2
ALBATROS
TOHOKU SHINSYA
WISE POLICY
ZANADO
AMUZE PICTURES
CK Entertainment
BUENA VISTA
SPE
GAGA/ HUMAX
TOHO TOWA
OTHERS
SHOCHIKU
SHOWGATE
CINE QUANON
20TH CENTURY FOX
ASMIK ACE
WARNER BROS.
HERALD
UIP
GAGA
3
3
3
3
3
4
4
4
4
5
5
5
6
6
6
7
7
8
9
9
10
11
11
12
13
15
93
15
0 10 20 30 40
(N. of titles)
(Data aggregated from titles released in UK from 1970s’ to Nov.2006)
Hollywood majors are strong in terms of aggregated box office revenue.
20
24
39

(Company)
ZANADO
MEDIA・SUIT
KINETIQUE
CINE QUANON
TOHOKU SHINSYA
SHOCHIKU HERALD
GAGA
SHOCHIKU
BUENA VISTA
ASMIK ACE
HERALD
SHOWGATE
GAGA/ HUMAX
20TH CENTURY FOX
AMUZE PICTURES
TOHO TOWA
UIP
SPE
WARNER BROS.
18
55
60
Fig.2-2-2 Box Office Revenue ranking
(Aggregated BOR by distributor)
310
1100
1230
1270
1659
2158
2370
2663
3700
5030
5483
5750
5900
13581
15223
Sum of Box Office R. (by distribut er, mJPY)
94
74160
0 20000 40000 60000 80000
(Data aggregated from titles released in UK from 1970s’ to Nov.2006)
(Sum of BOR in mJPY)

In term of efficiency (average BOR per film), TohoTowa and Amuse have good
records among Japanese distributors except for Hollywood majors.
(Company)
Fig.2-2-3 Average Box Office Return per title (mJPY)
NIKKATSU
HAPPINET
CRESTINTERNATIONAL
KUZUI
ARUSINETERAN
ARTPORT
WISE POLICY
K2
ALBATROS
CK Entertainment
OTHERS
ZANADO
MEDIA・SUIT
CINE QUANON
KINETIQUE
GAGA
HERALD
ASMIK ACE
SHOCHIKU
TOHOKU SHINSYA
SHOWGATE
GAGA/ HUMAX
AMUZE PICTURES
TOHO TOWA
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
0.0
3.0
13.8
25.8
30.0
33.4
133.2
182.3
184.3
220.0
336.4
95
558.9
958.3
983.3
0.0 500.0 1000.0
(Sum of BOR in mJPY)
(Data aggregated from titles released in UK from 1970s’ to Nov.2006)

Table 2-2-1 Top two Japanese Distributors (mJPY)
Film Title Theatrical Distibution Company B.O.R in mJP\
LARA CROFT: TOMB RAIDER TOHO TOWA 2700
LARA CROFT TOMB RAIDER THE... TOHO TOWA 1800
COLD MOUNTAIN TOHO TOWA 950
REIGN OF FIRE TOHO TOWA 450
YOUNG HANNIBAL TOHO TOWA n.a.
BUGSY MALONE TOHO TOWA n.a.
BUGSY MALONE TOHO TOWA n.a.
The Bourne Ultimatum TOHO TOWA n.a.
Bean 2 TOHO TOWA n.a.
THE PIANIST AMUZE PICTURES 3450
RESIDENT EVIL AMUZE PICTURES 2300
ALL OR NOTHING AMUZE PICTURES n.a.
ORDINARY DECENT CRIMINAL AMUZE PICTURES n.a.
LUCKY BREAK AMUZE PICTURES n.a.
THE MAGDALENE SISTERS AMUZE PICTURES n.a.
(Data aggregated; from titles in ‘70s’ to one in Nov.2006 in term of UK opening date)
96

(Company)
Fig.2-2-4 The Number of UK Films distributed
(Under 1 million JPY Box Office R. and over 1mil. BOR)
TOHOKU SHINSYA
SHOCHIKU HERALD
CINE QUANON
BUENA VISTA
AMUZE PICTURES
SHOCHIKU
GAGA
TOHO TOWA
SHOWGATE
ASMIK ACE
20TH CENTURY
FOX
SPE
HERALD
GAGA/ HUMAX
WARNER BROS.
UIP
1
0
1
1
1
1
2
2
3
3
3
4
4
4
4
4
4
5
5
4
5
6
6
6
7
8
8
9
11
97
14
15
Number of Films
0 10 20 30 40
(N. of films)
(Data aggregated from titles released in UK from 1970s’ Nov.2006)
Under 1mil BOR
Over 1mil BOR
35

(2) DVD and Video Distribution
The sales of the Harry Potter series are extremely high and these push up the
position of WB Home video. Of the Japanese companies, Tohoku Shinsha,
Toshiba, Toho-Towa and Artist FILM are the key distributors.
Fig.2-2-5 DVD Sales ranking by distributor (Aggregated sales m JPY)
MAXAM
AXA
TAKI CORPORATION
AT ENTERTAINMENT
PIONEER LDC
FINE FILMS
ASMIK
NEW SELECT
SPO
PAND
ART PORT
GAGA
INTER FILM
KLOCK WORX
PARAMOUNT
KADOKAWA ENTERTAINMENT
MEDIA FACTORY
NIKKATSU
AVEX MARKETING
AMUZE SOFT
PONY CANYON
ASMIK ACE
GENEON
TOSHIBA ENTERTAINMENT
BUENA VISTA
SYOCHIKU HOME VIDEO
OTHERS
NIPPON HERALD
ARTIST FILM
TOHO TOWA
TOSHIBA DIGITAL FRONTIA
TOHOKU SHINSYA
SONY PICTURES ENTERTAINMENT
20TH CENTURY FOX
UNIVERSAL
WARNER HOME VIDEO
100
100
103
114
121
126
126
140
147
153
185
220
230
247
274
285
384
471
495
617
794
858
1009
1103
1258
1350
1458
1603
2923
3434
3554
3653
5603
6080
6702
98
31208
0 5000 10000 15000 20000 25000 30000 35000
(mJ PY)
(Data aggregated from titles released in UK from 1970s’ Nov.2006)

Fig.2-2-6 Number of DVD titles by distributor (Number of titles)
MYPIC
MOVIE TELEVISION
KING RECORD
HAPPINET
ASMIK
ARTIST FILM
ALBATROS
M3
KLOCK WORX
AVEX MARKETING
TAKI CORPORATION
PIONEER LDC
MAXAM
GAGA
FINE FILMS
AXA
AT ENTERTAINMENT
AMUZE SOFT
TOHOKU SHINSYA
PAND
SPO
PARAMOUNT
NEW SELECT
ART PORT
SYOCHIKU HOME VIDEO
BUENA VISTA
ASMIK ACE
PONY CANYON
NIKKATSU
TOSHIBA DIGITAL FRONTIA
OTHERS
SONY PICTURES ENTERTAINMENT
MEDIA FACTORY
TOSHIBA ENTERTAINMENT
20TH CENTURY FOX
GENEON
WARNER HOME VIDEO
NIPPON HERALD
UNIVERSAL
3
3
3
3
3
3
3
4
4
4
5
5
5
5
5
5
5
5
6
6
99
7
7
7
7
8
8
8
10
10
11
11
12
12
14
14
15
16
16
0 10 20
(Data aggregated from titles released in UK from 1970s’ Nov.2006)
24
(N. of titles)

Fig.2-2-7 Average DVD sales per title by distributor (mJPY)
MYPIC
KING RECORD
ALBATROS
M3
MAXAM
AXA
NEW SELECT
TAKI CORPORATION
SPO
AT ENTERTAINMENT
PIONEER LDC
FINE FILMS
PAND
MOVIE TELEVISION
ART PORT
HAPPINET
MEDIA FACTORY
PARAMOUNT
ASMIK
GAGA
NIKKATSU
KLOCK WORX
GENEON
TOSHIBA ENTERTAINMENT
PONY CANYON
NIPPON HERALD
ASMIK ACE
AMUZE SOFT
AVEX MARKETING
OTHERS
BUENA VISTA
SYOCHIKU HOME VIDEO
UNIVERSAL
TOSHIBA DIGITAL FRONTIA
20TH CENTURY FOX
SONY PICTURES ENTERTAINMENT
TOHOKU SHINSYA
ARTIST FILM
WARNER HOME VIDEO
20.0
20.0
20.0
20.0
20.0
20.0
20.0
20.6
21.0
22.8
24.2
25.2
25.5
26.0
26.4
30.3
32.0
39.1
42.0
44.0
47.1
61.8
67.3
78.8
79.4
100.2
107.3
123.4
123.8
132.5
157.3
168.8
279.3
323.1
434.3
466.9
608.8
100
974.3
1950.5
0.0 500.0 1000.0 1500.0 2000.0
(Data aggregated from titles released in UK from 1970s’ Nov.2006)
(mJPY)
This chart shows well how distribution is concentrated in a few companies

2-3 Institutional regulation and Anti-monopolistic policy
There are no significant government regulations in Japan for film production,
distribution, exhibition and broadcasting, as in European countries. However,
there are ethical rating mechanisms for all films distributed and exhibited, as in
other countries.
In terms of industry structure, five domestic majors, particularly Toho, have a
strong position in the Japanese market. As in other western countries,
Hollywood has a higher market share than major domestic companies. The
long-term trends of the market share of domestic companies versus Hollywood
are similar to trends in France. The Japanese government may be in a dilemma
over anti-monopolistic policy in the film sector and critical decisions have not
been made as a result.
(1)The definition of nationality of film in Japan
British and European states have a national definition of what constitutes a
national film (eg, Film Act 1985 in UK) and at EU level (EC certificate of
nationality). However, there is no such definition in Japan, because of poor
support for film at a national level and limited necessity for a definition.
The Agency for Cultural Affairs, which runs small support systems, defines
eligibility for the system as follows:
”The applicant must be either a production company of the film concerned,
or its representative. The applying company must be a corporate
organization authorized by Japanese law.” 3
And in a co-production agreement with Canada 4 , the eligibility is described as
below.
“an audio-visual production,,,,, which is produced by Japanese producer(s)
in conjunction with Canadian producer(s) or is produced by Japanese and
Canadian producers in conjunction with producer(s) of a third country to
which the Government of Japan or the Government of Canada is linked by
an agreement or common policy similar to this Statement.”
3 “Support Program for the Promotion of Japanese Films Abroad”
4 Common Statement of Policy on Film, Television and Video Co-Production between
JAPAN and CANADA, Tokyo - July 20, 1994
101

The term "Japanese producer" is defined as:
“an individual who possesses the nationality of Japan or is a permanent
resident of Japan according to its relevant laws and regulations and owns or
is a member of the board of directors of a production entity duly established
in accordance with the relevant laws and regulations of Japan,”
The Japanese government determines the nationality of a Japanese film by
company and producer attributes only. The definition of nationality of foreign
films depends on reports made by importers.
(1) Institutional support and regulations
1) Support mechanisms for film.
At present, no rules about import and screen quotas for film have been
introduced into Japan. The Japanese public support system for film is relatively
poor compared to Britain and Europe. Until recently there was no automatic
support system and even now there is only a small, selective system for
Japanese or Japanese co-production films run by the Agency for Cultural Affairs.
2) Prohibited imports
According to section 69,8-1 of Customs Tariff Law-2006, it is prohibited to
import
7. books, pictures, statues and the other items which impair public safety
and customs
8. child pornography
9. item that infringe patent, model utility right, rights of design, trademark
right, copyright, neighbouring right, circuit arrangement use right, and
promotion relating to media content
Through this regulation, some imported films and videos have been investigated
for indecent portrayal.
3) Rating
The government in each prefecture has a law for the healthy care of children and
the younger generation to protect them from harmful media content.
102

The rating of films is conducted by EIRIN (Administration Commission of Motion
Picture Code of Ethics) 5 . Films are classified to four categories.
G General Audiences. All ages admitted.
PG-12 Parental guidance requested. Some material may be unsuitable
for children under 12. Accompanying by parent or adult guardian
is desirable.
R-15 Restricted to audiences 15 years and over. No one younger
than 15 admitted.
R-18 Restricted to adults 18 years and over. No one younger than 18
admitted.
(2) Anti-Monopolistic Policy of Film Industry
Although there have been long discussions about the monopolistic nature of the
Japanese film and television industry, critical and influential public decisions to
improve it, such as the U.S. Paramount decision of 1949, have not been made.
There are two focal points: one is the relationship between production
companies and major distributors and the other is between major distributors
and exhibitors.
The public organisations in charge of anti-monopoly and the promotion of
competition policy in Japan are METI (Ministry of Economy, Trade and Industry) 6
and FTC (Fair Trade Commission) 7 . The basis in law is the antimonopoly law
as in other western countries. METI states that “In the case of the film industry,
the distribution function is handled by three major companies. Terrestrial
broadcasting is provided by NHK and five commercial TV-networks. In both
cases, there is a strong monopolistic tendency and distributors are in a strong
position in relation to production companies.,,,,,, Although the Fair Trade
Commission released guidelines based on the antimonopoly law relating to the
problem of the abusive of power in consignment transactions, the guidelines
5 EIRIN; http://www.eirin.jp/english/index.html
6 METI; http://www.meti.go.jp/
7 Fair Trade Commission; http://www.jftc.go.jp/
103

need to be less abstract and refer to actual transactions, be more detailed, and
better known to the public.” 8 Again, there is criticism, but no crucial action has
been taken.
Regarding the relationship between distributors and exhibitors, 20th Century Fox
Japan was warned by the FTC in 2003 about forcing exhibitors to keep
admission fees high, as deliberate price maintenance is not approved for film
admission in Japan 9 . The market price of film is relatively high compared with
major foreign countries including UK, and the FTC is sensitive about the high
price level.
(3) The stance of the Japanese government on WTO and UNESCO
Japan is a member of the WTO and has agreed to the basic concept of free
trade. In 2005, Japan also agreed to UNESCO’s Convention on the protection
and promotion of the diversity of cultural expression. Although Japan’s stance
on the WTO (particularly GATT article 20 th , cultural exception) is not as radical
as France or US, in its formal statement Japan is closer to the US. The
Japanese Ministry of Finance, METI (Ministry of Economics, Trade and Industry)
and the Ministry of Foreign Affairs are primarily in charge of WTO matters.
Among the four modes 10 of service trade that GATS defines, Japan promises
not to restrict free trade (“NONE” in table2-3-1) except for mode 4 (presence of
natural persons), a stance that is close to U.S.
Within the framework of the WTO, Japan also joined TRIPS in 1994. The EU and
US requested Japan to revise Japanese copyright law in 1996. Mutual
agreements were made in 1997.
8 METI(2002), The subjects and actions for the competition policy on content
distribution (in Japanese documents).
9 Six items are approved to use deliberately keep prices. (Newspaper, book, magazine
and journal, record disk, music tape, music CD)
10 Mode of supply: 1) Cross-border supply 2) Consumption abroad 3) Commercial
presence 4) Presence of natural persons
104

Table 2-3-1 Revised offer by the Japanese government on WTO regarding
service trade (GATS) (offered on 24 June 2005)
Sector Limitations on market access Limitations on national treatment
a) Motion picture
and video tape
production
distribution
and
services (9611)
b) Motion picture
projection services
(9612)
e) Sound recording
services
1) None
2) None
3) None
4) Unbound except as indicated in
HORIZONTAL COMMITMENTS
1) Unbound Unbound None
2) None
3) None
4) Unbound except as indicated in
HORIZONTAL COMMITMENTS
1) None
2) None
3) None
4) Unbound except as indicated in
HORIZONTAL COMMITMENTS
105
1) None
2) None
3) None except as indicated in
HORIZONTALCOMMITMENTS
4) Unbound except as indicated in
HORIZONTAL COMMITMENTS
1) Unbound* Unbound None
2) None
3) None except as indicated in
HORIZONTAL COMMITMENTS
4) Unbound except as indicated in
HORIZONTAL COMMITMENTS
1) None
2) None
3) None except as indicated in
HORIZONTALCOMMITMENTS
4) Unbound except as indicated in
HORIZONTAL COMMITMENTS
“Abc” means one revised from former stance
Mode of supply: 1) Cross-border supply 2) Consumption abroad 3) Commercial presence 4) Presence of
natural persons
* Unbound due to lack of technical feasibility.
The ACA (Agency of Cultural Affairs) takes charge of UNESCO matters. Before
the agreement on the Convention on the protection and promotion of the
diversity of cultural expressions in UNESCO general conference in 2005, ACA
summarised their stance as below 11 .
For the cultural promotion and protection as domestic policies
11 ACA (2004), The basic stance for cultural diversities; A report of working group about
cultural diversity , p11.

-Subsides, tax incentives etc. are necessary
-Screen quotas and entry barrier regulations for foreigners may be an obstacle
to cultural diversity
- Each country and state should promote cultural diversity by human resource
development, subsidies and tax incentives.
After the discussion, Japan agreed with the statement as below.
“anticipates the entry into force of the Convention and looks forward to its
effective and appropriate implementation, forming a coherent part within the
system of international instruments” 12 , The international instrument appears to
include WTO rules.
(4) Entry Barriers –market structure and industry organisation
1) Film and broadcasting industry structure
The relationship between film and television is a voluntarily one. There are no
institutional regulations for broadcasters to invest in and/or broadcast films as in
the French system. In fact, many Japanese major films are produced through
partnerships between a film company, broadcaster, publisher, music, toy
companies and so on. This partnership is usually organized on a film-project
basis and the combination of partners is different each time. The status of the
organisation in law is a voluntary organization. The business model is one of
voluntary corporate strategy or windowing strategy, to clarify the licensing uses
of the film, because there is no mega media group in Japan as in Hollywood
which can carry out every licensing function within the group. There is no
institutional organisation or use of incentives like the French SOFICA rule.
There is a business consensus to broadcast films one year after their exhibition.
This is also a voluntary agreement between companies, not an institutional
regulation.
2) Film production sector
Theoretically, one of the ways for foreigners to enter the production sector is
through international co-productions. However, Japan does not have an active
12 UNESCO (2005), General Conference 33rd session Commission IV, DR.3
Rev.(COM.IV) 17 October 2005.
106

culture of co-production with foreigners and the number of international
co-productions in which Japan is involved is very few. This is quite different from
EU states.
Some bodies (METI, UniJapan, TiFFCOM-TPG) are keen to promote
international co-production but at present Japan has few national co-production
treaties compared with European states. The few cases are an agreement with
Canada (Telefilm CANADA) by the Japanese Ministry of Foreign Affairs, the
partnership memorandum with France (CNC) by UniJapan and a partnership
agreement with S. Korea (KOFIC) by VIPO. The reason why Japan has few
agreements is because the Japanese governmental and social support system
for film is not developed. In other words, there is no attractive incentive like the
US laissez-fair system for foreigners to access Japanese support. Also, the
custom of film partnership consortiums mentioned above is a barrier. These film
partnerships would be an effective and efficient way for foreigners to enter
the Japanese film market.
Another way to access the production sector is via the Hollywood major
subsidiaries, particularly Warner Brothers. Hollywood’s strategy of local
production is used in Japan too and “Death Note 1” and “Death Note 2” were
typical examples of successful films locally produced by Warner Brothers Japan
in 2006.
3) Film distribution sector
Distributors in Japan are divided into three categories - Japanese domestic
majors which distribute primarily Japanese major films, subsidiaries of
Hollywood majors and importers of films from other countries and independents.
Japanese and Hollywood majors have a close relationship with the exhibition
sector in capital (investment), in transaction ties (block-booking deals) and in
transaction volume, and as a result they are the dominant players. Although
one film is usually distributed by one distributor, some distributors distribute a
film jointly. The purpose of this strategy is to expand the number of exhibition
screens.
107

Distribution Sector
Five Domestic Majors Hollywood Subsidiaries
TOHO, TOEI
SHOCHIKU
KADOKAWA
NIKKATSU
Exhibition Sector
Warner B., U.I.P,
Buena V., Sony P.E.,
20C.FOX
TOHO-domestic
TOHO cinemas,
TOHO-imports
Warner Mycal
SHOCHIKU-TOKYU
United Cinema
etc.
etc.
Traditional national chain Cinema-Complex chain
108
Hollywood Co-
Production
Films
(1)Block-Booking (TOHO, TOEI)
(2)Free Booking (SHOCHIKU, Hollywoods’, others)
Foreign
Independents
Films
Importers
GAGA,
TOHO-TOWA
Asmik Ace, etc.
Art-House
Independent house
(©Cinema Alliance)
4) Film exhibition sector
The major players in the Japanese exhibition sector consist of traditional theatre
chains and cinema-complex chains. Toho have the largest networks in both.
British owned Virgin Cinemas Japan was also bought by Toho.
5) The relationship between the distribution and exhibition sectors
The Japanese domestic majors have both distribution and exhibition functions.
Particularly in the case of two of majors, Toho and Toei, these functions are tied
in with block-booking transactions. Other distributors including US majors and
independents need these majors’ networks for exhibition, particularly the Toho
exhibition network. This means that a high proportion of screens are dominated
by exclusive transactions. This may be an invisible entry barrier for foreigners
and independents that cannot otherwise ensure the number of screens for their
films.

2-4 The Market for UK Independents and UK films funded by US
studios (GENRE Analysis)
In the charts in this section, the dates used for analysis are as follows:
Time Range of titles
- Theatrical results in Japan: titles released in UK from 1970s’ to Nov.2006
- DVD results in Japan: titles released in UK from 1970s’ to May. 2007
The time of release is based on the UK opening date, not the Japanese one.
Definition of nationality
- British and British co-production titles are as reported by Japanese distributors
because Japan has no national definition of nationality of film. See 2-3 (1)
(1) Theatrical Distribution
Genres including family, adventure, action and romance records good results.
The high result of the family genre is due to the Harry Potter series.
Figures 2-4-1 and 2-4-4 below are “box plot” charts, used to show groups
of numerical data and to show up outlying data.
109

Fig 2-4-1 Box Plot of theatrical results of UK films in Japan by genre
BoxOffceR (mJPY)
25000.00
20000.00
15000.00
10000.00
5000.00
0.00
72
ACTION
ADVENT
UR
ANIMATI
O
COMEDY
110
DOCUME
NT
DRAMA
FAMILY
(Data aggregated from titles released in UK from ‘1970s’ to Nov.2006)
41
70
HORROR
73
ROMANC
E
SF
75
SUSPENS
E

Fig 2-4-2 UK film market share in BOR in Japan
ROMANCE
7%
HORROR
0%
FAMILY
44%
SUSPENSE
SF 7%
3%
111
ACTION
19%
ADVENTURE
8%
ANIMATION
0%
COMEDY
1%
DOCUMENTARY
1%
DRAMA
10%
Fig 2-4-3 UK film market share in number of titles in Japan
ROMANCE
8%
HORROR
4%
FAMILY
3%
SUSPENSE
13%
SF
3%
DRAMA
39%
ACTION
16%
ADVENTURE
2%
ANIMATION
1%
COMEDY
8%
DOCUMENTARY
3%

(2) DVD and Video Distribution
Genre of family, adventure, animation, action and SF all record good results.
DVD sales (mJPY)
6000.00
4000.00
2000.00
0.00
Fig 2-4-4 Box Plot of DVD results of UK films in Japan
1
3
4
6
8
12
ACTION
63
ADVENTUR
ANIMATIO
73
75
COMEDY
112
DOCUMEN
T
118 122
DRAMA
genre
FAMILY
(Data aggregated from titles released in UK from ‘1970s’ to Nov.2006)
98
106
243
244
HORROR
259
260
262
264
ROMANCE
SF
286
297
300 304
SUSPENSE

Fig 2-4-5 UK film market share in DVD sales in Japan
ROMANCE
9%
HORROR
1%
FAMILY
30%
SUSPENSE
5%
SF
5%
113
DRAMA
12%
ACTION
24%
ADVENTURE
8%
ANIMATION
0%
COMEDY
1%
DOCUMENTARY
5%
Fig 2-4-6 UK film market share in N. of DVD in Japan
ROMANCE
8%
HORROR
5%
FAMILY
3%
SUSPENSE
14%
SF
3%
DRAMA
37%
ACTION
18%
ADVENTURE
2%
ANIMATION
1%
COMEDY
7%
DOCUMENTARY
2%
Comparing theatrical results and DVD and video results (Fig 2-4-1- and 2-4-2),
the tendency is for action, family, romance and SF genres to be relatively

competitive in theatrical release.
On the other hand, the professionals (distributors) tend to buy drama and action
genres (Table 2-4-1). For theatre and DVD, adventure and family genres tend to
be bought by theatrical distributors.
Table 2-4-1 Number of UK titles Japanese distributors buy
GENRE
for Theatrical releasefor DVD release
ACTION 15 19.0% 62 18.0%
ADVENTURE 5 6.3% 8 2.3%
ANIMATION 1 1.3% 2 0.6%
COMEDY 5 6.3% 25 7.3%
DOCUMENTARY 2 2.5% 8 2.3%
DRAMA 25 31.6% 128 37.2%
FAMILY 6 7.6% 9 2.6%
HORROR 3 3.8% 16 4.7%
ROMANCE 5 6.3% 27 7.8%
SF 5 6.3% 12 3.5%
SUSPENSE 7 8.9% 47 13.7%
sum. 79 100.0% 344 100.0%
Table 2-4-2 British Films categorised by genre for analysis
Films categorised by genre for analysis according to Japanese distributors’ definitions. (Source:
Mind Base)
*Family
CHICKEN RUN
Harry Potter and the Goblet of Fire
HARRY POTTER CHAMBER SECRETS
HARRY POTTER PRISONER AZKABAN
HARRY POTTER SORCERER'S STONE
114
Lassie
OPAL DREAM aka POBBY AND DINGAN
Spoon aka Lepel
The New Adventures of Pinocchio

*Drama(1)
24 HEURES DE LA VIE D'UNE ...
24 HOUR PARTY PEOPLE
8 1/2 WOMEN
A GOOD WOMAN
Alice through the Looking Glass
ALL OR NOTHING
ALL THE LITTLE ANIMALS
AND NOW LADIES & GENTLEMEN
BEAUTIFUL JOE
BEND IT LIKE BECKHAM
BEYOND THE SEA
BLOODY SUNDAY
BLOW DRY
BREAD AND ROSES
Breakfast on Pluto
BRIEF ENCOUNTER
BUFFALO SOLDIERS
CALLAS FOREVER
CHOCOLAT
CLOSER
COLD MOUNTAIN
COTTON MARY
COUNTRY OF MY SKULL aka IN MY
COUNTRY
DANCING AT THE BLUE IGUANA
Daniel and the Superdogs
DEAR FRANKIE
DEAR WENDY
DE-LOVELY
DOG DAYS
DOGVILLE
Don Quixote
DON'T MOVE
115
Dust
EAST IS EAST
ESTHER KAHN
Everybody Loves Sunshine
EYES WIDE SHUT
FINDING NEVERLAND
FOREST OF THE GODS
GANGSTER NO. 1
GIRL WITH A PEARL EARRING
GOAL!
GOSFORD PARK
GREENFINGERS
Haven
HEAD IN THE CLOUDS
HEAVEN
Heidi
HIDEOUS KINKY
HILARY AND JACKIE
HOTEL
HOTEL RWANDA
HOTEL SPLENDIDE
I'LL BE THERE
I'M NOT SCARED
IN AMERICA
INNOCENCE aka L'ECOLE
INTERMISSION
INTIMACY
INVINCIBLE
IRIS
IT'S ALL GONE PETE TONG
KIN
KINGDOM OF HEAVEN

*Drama(2)
KINKY BOOTS
Klimt
LADIES IN LAVENDER
L'ANNULAIRE
LIAM
LOVE, HONOR AND OBEY
LOVE'S BROTHER
LOVE'S LABOUR'S LOST
Manderlay
Mariposa Azul aka the Blue Butterfly
MAX
ME WITHOUT YOU
MODIGLIANI
MORVERN CALLAR
MY NAME IS JOE
NEW YEAR'S DAY
NO MAN'S LAND
Oliver Twist
ONCE UPON A TIME IN/MIDLANDS
PRICK UP YOUR EARS
PRIVATE MOMENTS
PROOF
QUILLS
RATCATCHER
RIPLEY'S GAME
RKO 281
Rules of the Game
SERGEANT PEPPER
Sharpe's Challenge
SNATCH
SPICE WORLD
STONED
STRAYED
SWEET SIXTEEN
SWING
116
TEA WITH MUSSOLINI
THE CAT'S MEOW
THE CLAIM
THE CONSTANT GARDENER
THE GOOD THIEF
THE HOURS
THE KING
THE LAND GIRLS
THE LIBERTINE
THE LIFE AND DEATH OF PETER...
THE LOSS OF SEXUAL INNOCENCE
THE MAGDALENE SISTERS
THE MAN WHO CRIED
THE MERCHANT OF VENICE
THE NAVIGATORS
THE PIANIST
THE PIANO TEACHER
THE TRENCH
THE UPSIDE OF ANGER
The Wind that Shakes the Barley
THERE'S ONLY ONE JIMMY GRIMBLE
Tickets
Tideland
TOSCA
TOUCH OF PINK
TWO BROTHERS
UNITED 93
VANITY FAIR
VERA DRAKE
VERONICA GUERIN

*Adventure *SF
ALEXANDER
AROUND THE WORLD IN 80 DAYS
CHARLIE AND THE CHOCOLATE...
FIVE CHILDREN AND IT
MIRRORMASK
Shackleton (Hi-End TV)
THE BROTHERS GRIMM
THE MUMMY RETURNS
*Romance
9 SONGS
BORN ROMANTIC
BRIDGET JONES: EDGE OF REASON
BRIDGET JONES'S DIARY
BUTTERFLY MAN (2002)
CARMEN
CHARLOTTE GRAY
CHASING LIBERTY
DIRTY PRETTY THINGS
ENIGMA
INNOCENCE
JET LAG
LOVE ACTUALLY
NOTTING HILL
117
2001 - A Space Journey
A Sound of Thunder
ALIEN VS. PREDATOR
Atomik Circus: The Return of James Battle
CODE 46
Dracula 3000 - Infinite Darkness
LOST IN SPACE
P.I. - Post Impact
REIGN OF FIRE
REVELATION
The Infinite Worlds Of HG Wells
THUNDERBIRDS
ONE LOVE
ONEGIN
POSSESSION
SHAKESPEARE IN LOVE
SLIDING DOORS
SYLVIA
THE DREAMERS
THE END OF THE AFFAIR
THE GOLDEN BOWL
THE ONE AND ONLY
The Perfect Man aka L'Uomo Perfetto
THE PHANTOM OF THE OPERA
YES

2-5 Successful UK Films in Japan
Quality movies have recently been successful in the Japanese market, which
used to rely on Hollywood’s blockbusters. Following are the titles that were
successful, with suggested reasons for their success.
(1) Quality titles aimed at women
Almost to the exclusion of the male audience, the marketing of these titles was
concentrated on a female audience. This was effective, especially for release in
small theatres.
Such titles were “Girl with a Pearl Earring “, “Callas Forever “, “Hilary and
Jackie”.
(2) Titles that won an Academy Award
It is unique to the Japanese market that Academy Award winning titles are not
guaranteed to succeed. Yet, it is unmistakable that the Award is a trigger for
success. Titles targeting women have this tendency.
Representative titles are “The Queen“, “The Hours“, ”Elizabeth”, and “The
English Patient”.
(3) Titles with Popular Actors
These could be categorized as female targets, especially the titles with Johnny
Depp and (“Chocolat”, “Finding Neverland “), Hugh Grant ( “Notting Hill“, “Love
Actually “) have a strong probability of success.
(4) The Documentary Boom
Starting with American Michael Moore, documentaries were often seen to have a
big success. After the huge success of “ Deep Blue “, titles dealing with the
ecology of living things were released one after another.
(5) Titles produced by Aardman
The Aardman animations are popular in Japan and are familiar from TV
commercials. Their titles have potential to succeed in the future.
Representative titles are the “Wallace and Gromit” series and “Chicken Run “.
118

(6) Titles based on well known original plays, novels and musicals
These titles have strength to attract fans of the originals. Titles based on an
original work, not only novels, tend to have extreme success.
Representative titles are “The Phantom of The Opera “(Musical), “Lara Croft:
Tomb Raider “ (Game), “ Bridget Jones’ s Diary “ (Novel).
(7) Edgy Titles
This kind of title has becomes a huge success when featured widely in women’s
magazines. Representative titles are “Trainspotting “and “The Full Monty “.
119

2-6 Proposals
(1) Critical problems of British film in the Japanese Market
There are not many UK films recognized as UK-made by the Japanese. Many
are misunderstood to be American films or thought to be other European films. In
other words, one of the reasons why UK films remain in a niche position in Japan
is that there are few icons or symbols representing UK film such as famous
actors/actresses, script writers, original works, characters, etc .known to
Japanese distributors and Japanese audiences.
(2) Framework of Proposal
Distributors do not buy films that are unlikely to be accepted by audiences but at
the same time audiences have few chances to see films that distributors do not
supply. To establish a stable position for foreign films, it is necessary to plan
strategically to develop preferred distributors and to appeal to audiences in the
short and long term.
Of the proposals as below, options a, b, and f are most strongly recommended.
Short
range
planning
Long
range
planning
Strategic Planning for UK film in the Japanese Market
Developing
distributors
UK preferable Appeal to ordinary audience
a. UK Film Festival / Market a. UK Film Festival / Market
e. Production/ Promotion using
key UK icons among Japanese
b. Pricing strategy (setting
reasonable distribution
price in line with
distribution revenue).
c. Database of Archives
accessible
Distributors.
by Japanese
d. Promotion of Co-production
between UK and Japan
120
f. Penetration through TV
Drama
d. Promotion of co-production
between UK and Japan

(3) Details of proposals
a) UK Film Festival / Market
The only country which has established a position in the Japanese market
except for the US and Korea is France. One of the reasons is the continuous
effort of UniFrance for years. Since 1993, UniFrance has held a Festival du Film
Francais au Japon every year. Many producers, directors, actors/actresses and
distributors are organized into a large delegation which comes to Japan every
year, holding major events in prestigious places in Tokyo Central Business
District 13 。
Needless to say, this effort contributes to the development of distributors and an
audience who recognize French films as French-made. Otherwise, there are few
imported films able to compete with Hollywood films that are advertised in high
volume through TV commercials and other methods. Other than Japanese
domestic films and Hollywood films, French films, for example “Le Fabuleux
Destin d'Amélie Poulain” “La Marche de l'empereur,” have recorded good results
in Japan.
We propose the planning of a UK Film Festival / Market in Japan. The objective
of this initiative is to develop UK film icons /symbols among Japanese
distributors and audiences. British films like Train Spotting and Elizabeth have a
stronger British feel for the Japanese compared with Hollywood studio
productions like Harry Potter and the 007 series. One of the options may be to
emphasize the British pedigree of these British independent films. Another
option is to use the celebrities of well-known US/UK co production films like
Harry Potter and the 007 series for publicity with a British angle.
Another effective way of promotion would be to invite many Japanese
distributors to future screenings of UK films in London in the way that France
(UniFrance) holds Paris - Rendez-vous with French Cinema in Paris. In addition,
UK films could be advertised. As a reference, the London event - London UK
13 Screenings in TOHO Cinemas ROPPONGI Hills,CINEMA MEDIAGE, market and
seminars in ANA Intercontinental Tokyo and reception in Tokyo Metropolitan TEIEN
art Museum in 2007.
121

Film Focus is not known in Japan and we have not met anyone in Japan who
has been invited to this event. It is necessary to subtitle films in Japanese when
targeting promotions in this way. By doing so, top executives and people in the
video division and distribution companies can be included in the target, as well
as distributors who are proficient in English.
b) Pricing strategy (setting a reasonable distribution price in line with distribution
revenue)
The Japanese exhibition market is increasingly tapering off at the lower end of
the box office. Although the number of screens and films distributed is increasing,
total box-office revenue is not growing significantly. Except for major Japanese
and Hollywood films, distribution is concentrated at the tail end.
One of the distribution channels for these lower grossing films is mini-theatres in
central Tokyo. These mini-theatres do not belong to major chains, they
programme films independently and exhibit European, Asian and other films in
addition to low-budget Japanese films. Some of the films shown in mini-theatres
which are expected to be successful are distributed simultaneously to the other
mini-theatres under cooperation. This model is known as “Mini-chain”. There is a
further case in which films are distributed to multiplexes in suburban areas in
addition to Mini-chains. This is called Tankan-kakudai (Expanded mini theatre
exhibition).
A reason why this method of Tankan-kakudai is developing is the increase in
price between foreign producer and local distributor. If the price was lower, it
would be possible to recoup costs of mini-theatre exhibition with publicity in
newspapers only, avoiding expensive TV commercials. However, as the price is
high, it is necessary to expand the number of exhibition screens to gain more
box office revenue, but also to spend much more on advertising. 14 。
As a result, the business risk in distributing foreign films is high. If the end-user
14 Although advertising budget was around JP¥ 20-30 million until 90’s when
exhibited in only 10-20 theatres in Tokyo and Osaka, it is now increasing to JP¥50mil -
100mil
122

market was expanding more rapidly, even if the risk was high, there would be
new entrants into the business willing to take the risk. But the actual box office
size is stable at around JP¥200billion and there are no signs of dramatic
expansion. In addition, the number of market players is not increasing greatly.
Finally, the number of distributors supplying foreign films is limited and so the
chance for audiences to see foreign cinema is not expanding. The result is a
decrease in sales of DVDs and opportunities for TV broadcast. It is therefore
important for films to be supplied to distributors at a reasonable price, in order to
increase the chances for Japanese audiences to see UK films.
c) Accessibility of database of archives for Japanese distributors
The Festival du Film Francais au Japon 2007 took the daring step of
programming many films which had not yet been sold to Japanese distributors.
This programming gave the festival the function of a showcase not only for
cinema audiences but also for distributors.
d) Promotion of co-productions between UK and Japan
It is a well known fact that UK has made many co-productions of both of films
and TV programmes, a policy embodied in the key words of the UK
government’s "Inward Investment" policy.
Co-production activities appealing to Japanese audience can be broken down
into specific categories as follows:
- British production / arrangement / remaking of Japanese original content
(novel, comic)
- The reverse of the above – British original content and Japanese
production
- The use of Japanese actors/actresses in UK films
For these business activities, a co-production agreement between Japan and
UK with an institutional infrastructure is recommended. For example, La Forêt de
Mogari, co-production film between Japan and France, was produced with a
subsidy of the Japanese Agency for Cultural Affairs and a subsidy of the French
CNC. It was seen with keen interest having been awarded the Grand Prix at
123

the Cannes Festival in 2007.
e) Production/ Promotion to Japanese audiences using key UK icons
There are few icons /symbols that characterise a film as British as far as a
Japanese audience is concerned. In other words, there are few bridgeheads for
UK films to land in the Japanese market. For Japanese and Hollywood films, the
A (Awareness) and I (Interest) phases in the basic consumer behaviour theory of
AIDMA, are almost complete but other foreign films have to make an effort to
establish the A and I phases in the first instance.
This is not to say that Japanese do not have much knowledge about UK culture.
On the contrary, the Japanese have a rich knowledge and interest in UK culture
(table 2-9-1). Japan with its Imperial family system feel close to Britain which has
a Royal family and the film “Queen” is recording high results now. UK as a
political great nation can inspire Japanese with spy action films like 007. The
BBC is famous and has a strong brand-value among foreign broadcasters in
Japan and documentary films made by the BBC are of interest to the ABC1 class.
The Japanese know of UK as a nation of playwrights like Shakespeare or
musicals. Britain is also known for the novels of Agatha Christie, Sherlock
Holmes, Jane Austen, and for humour such as Mr. Bean.
In the same way, for UK films to succeed in Japan, the A and I, or icons /
symbols need to be developed to the level of other knowledge about every kind
of British culture.
124

Table 2-9-1 The perception of the UK among Japanese
traditional modern
culture afternoon tea comedy (Mr.Bean, Monty Python)
antiques design (Conran)
Beatles fashion (Burberry, Paul&Joe, Pringle, Punk,
125
Vivian Westwood)
Book characters film & football (David Beckham, Hugh Grant, Euan
celebrities
McGregor, Twiggy)
museums films (Harry Potter, Lord of the Rings,
Chicken Run, Notting Hill,
Trainspotting, Hitchcock)
premium brands
Royalty & aristocracy
Scotland
Thetre & Musicals
music (Radiohead, Westlife, blue, Muse)
nature cotsworlds hanging baskets (patio containers of London
dogs & horses herbs and
(English reflexology
aromatherapy (nb'English'branding used by popular
English gardens
green pastoral land
lake district
national trust
public footpaths
river Thames
Japanese go to the UK to learn
aromatherapy)
others Universities
(Oxford, Cambridge)
Food &Drink
(English Pub, Fish&Chips,
Cakes&biscuits, Guiness, Scotch
Whiskey, poor quality)
Weather
(gloomy/ English, flooding)
Sports
(soccer P.League, hooligans, rugby,
cricket, tennis & Wimbledon, golf &
St.Andrews, marathon & Paura
Radcliff, horse racing derby, polo)
buildings
(castles, stone houses)
London icons
(Big Ben, Buckingham Palace, London
bridge, Queens Guards, Undergrand,
Double Decker bus)
business
(City financial district and high
incomes, hedging funds)
politics
(Margaret Thatcher'iron Lady,' Tony
Blair, Iraq)
Principles
(polite English gentleman, core value
of family life, freedom & liberty)
This is a part of the research by United Business Media at Aich Expo.Japan in 2003.
f. Penetration through TV Drama
Among foreign films, S.Korean films recently achieved fever pitch success in the

Japanese market. The boom started and was empowered by the promotion of
an actor who played in the Korean TV drama aired by public broadcaster NHK.
Although there were hits of S.Korean films, for example Swiri (2000), before the
drama, the boom was triggered by “Sonata in winter,” which was broadcasted on
NHK-BS2 in 2003. This sweet love story drama was repeated by BS and then
aired again on a terrestrial channel after that because it was so popular. It is
unusual that a satellite broadcast is repeated on terrestrial TV. The interest in
S.Korea awakened by this drama caused people to travel to locations used in
the drama and to take an interest in other Korean actors/actress and films.
This was not the first time that visual content has external effects in Japan.
Looking back, many American dramas were aired in 50’s and 60’s in Japan, with
the diffusion of TV sets in the home, and the Japanese came to admired the rich
life and culture of America. This formed the basic environment for the
acceptance of American films in Japan
.
These S.Korean and American cases suggest that the influence of UK TV
dramas watched at home would be an effective way to increase exposure to UK
culture, life, actors/actresses and stories. The release of UK films based on a
feeling of closeness to UK culture is a means of long term market development.
NHK (terrestrial and BS-satellite) and WOWOW have slots for foreign dramas.
126

Table 2-9-2 TV Programme Imports into Japan
original
2002
1993 1980
production in time aired in number of programs
US 79.6% 82.6% 72.8% 74.9%
UK 6.3% 5.4% 9.3% 7.9%
Italy 2.8% 1.9% 2.4% 2.6%
Taiwan 0.1% 1.4%
S.Korea 2.0% 1.2%
France 1.3% 1.1% 4.1% 2.0%
Hong Kong 1.2% 0.8% 1.1%
Australia 0.7% 0.7% 1.5%
Germany 0.7% 0.6% 1.1% 1.4%
Spain 0.4% 0.5%
127

Table 2-9-3 Some TV UK dramas broadcast in Japan
Original Japanese
Original title
broadcaster broadcaster year in JPN ttitle in Japanese
Alfred Hitchcock Presents NHK- BS2 1955- 1961 ヒッチコック劇場
Crossing the Floor BBC NHK- G
NHK- E,
1998 離党~背信の代償
Doctor Who BBC NHK- BS2 2005- ドクター・フー
Elizabeth I C4 NHK- BS 2005 エリザベス1世 ~愛と陰謀の王宮~
Extras BBC WOWOW 2005 エキストラ:スターに近づけ!
Fawlty Towers BBC TX 1979 Mr.チョンボ危機乱発
Goodness Gracious Me BBC BBC- Japan 2005 グッドネス・グレイシャス・ミー
Hornblower ITV NHK- BS2 2002- 2005 ホーンブロワー 海の勇者
House of Cards BBC NHK- G 1996 野望の階段
I, Claudis BBC この私、クラウディウス
Little Britain BBC WOWOW 2006 リトル・ブリテン
Marple Granada NHK
NHK- G,
NHK- BS2,
ミス・マープル
Monty Python's Flying Circus BBC TX 1976- 空飛ぶモンティ・パイソン
Mr. Bean ITV NHK- G 1990- Mr.ビーン
Murder Rooms BBC NHK- BS2
NHK- G,
2000- 2001 コナン・ドイルの事件簿
Poirot LWT MXTV 1989- 名探偵ポワロ
Prime Suspect Granada NHK- G 1991- 1996 第一容疑者
red dwarf BBC NHK- G 1980- 1999 宇宙船レッド・ドワーフ号
Shoebox ZOO BBC scot NHK- edu マーニーと魔法の書
SPACE:1999
The Adventures of Sherlock
ITC TBS, ANB 1977 & 1981 スペース1999
Holms ITV NHK- G 1985- シャーロック・ホームズの冒険
The Champions ITV CX 1968 電撃スパイ作戦
The Final Cut BBC NHK- G 1997 野望の階段III
The Ice House BBC NHK- BS2 1997 氷の家
The IT Crowd C4 WOWOW 2007 ハイっ、こちらIT課!
TheLineofBeauty BBC WOWOW 愛と欲望の境界線
The Office BBC WOWOW The Office
The Persuaders ITV ANB 1971- 1972 ダンディ2 華麗な冒険
The Prisoner ITV NHK
local
1969 プリズナーNo.6
The Professsionals ITV stations 1980s 特捜班CI- 5
The Protectors ITV NTV, TX 1972- 1976 プロテクター電光石火
The Scold's Bridle BBC NHK- BS2 2002 スコールズ・ブライドル 鉄の口枷
The Sweeney ITV ANB, TX 1978 ロンドン特捜隊スウィーニー
Thomas the tank engine ITV CX 1984- きかんしゃトーマス
To Play the King BBC NHK- G 1996 野望の階段II
UFO AP films NTV 1970- 1971 謎の円盤UFO
Ultimate Force ITV WOWOW 2002 SAS 英国特殊部隊
128

Appendix
129

A-1 Audiovisual Association List
Association List 1-5
The name of the organization TEL FAX E-MAIL
Federation of Japanese Films Industry Inc. 81-(0)3-3243-5585 81-(0)3-3243-5584 info@eidanren.com
http:/ / www.eidanren.com/ activity01.html
To promote movie industry's
Nihonbashi Blg 2F, 1-17-12
Nihonbashi, Chuo-ku, Tokyo Japan
103-0027
improvement, development
and help national economy to
progress.
Administration Commission of Motion Picture Code of Ethics 81-(0)3-3541-2717 81-(0)3-3541-2719 Not Listed
http:/ / www.eirin.jp/ english/ index.html
Being responsible for
classification of motion
Higashi Ginza Blg 2F, 3-9-18 Ginza,
Chuo-ku, Tokyo Japan 104-0061
pictures.
Foreign Film Importer-Distributors Association of Japan 81-(0)3-3548-7689 81-(0)3-3548-7688 Not Listed
http:/ / www.gaihai.jp/ english/ eindex.htm
To help quality enhancement of
imported films and support
Kawakita Memorial Film Institute
Nihonbashi Blg 2F, 1-17-12
Nihonbashi,
Chuo-ku, Tokyo Japan 103-0027
81-(0)3-3265-3281
distribution busines in order to
contributite to the cultural and
economical development in
Japan
info@kawakita-film.or.jp
http:/ / www.kawakita- film.or.jp/ kmfi.eng.html
Kawakita Memorial Blg 1F 1-18, Collection, preservation of the
Chiyoda-ku, Tokyo Japan 102-0082 films, books and other
materials on films.
Association of Production Designers in Japan 81-(0)3-3353-4660 81-(0)3-3353-4660 info@apdj.or.jp
http:/ / www.apdj.or.jp/
Production designers' guild to
advance the position of
production designers through
gathering and information
Panchos Tower 2F 2-15-14 Shinjuku,
Shinjuku-ku, Tokyo Japan 160-0022
exchange.
Japan Film Commission Promotion Council 81-(0)3-3563-2525 81-(0)3-3563-2526 info@film-com.jp
http:/ / www.film- com.jp/ en/ index.html
make a united effort to support
activities of local FCs, thereby
contributing to the development of
Film center 5F in National Museum of
Modern Art,
Tokyo, 3-7-6 Kyobashi, Chuo-ku,
Tokyo, Japan 104-0031
Japan's visual media culture.
Digital Content Association of Japan 81-(0)3-3512-3900 81-(0)3-3512-3908 webmaster@dcaj.or.jp
http:/ / www.dcaj.org/ outline/ english/ index.html
1. Organization of basic
information necessary for
drawing up strategies 2.
Promotion of comprehensive
industry promotion projects
3. Establishment of an
environment for developing
Nippon Life Ichiban-cho Blg LB, 23-3,
Ichiban-cho, Chiyoda-ku, Tokyo, 102-
0082
overseas markets
Uni Japan 81-(0)3-5565-7511 81-(0)3-5565-7531
http:/ / ujf-
To promote Japanese films
e.navicross.jp/ sid=IBfuED15YrsAACh7liQAAAAF5/ a/ top.fcgi Tsukiji Yasuda Blg 5F, 2-15-14,
Tsukiji,
Chuo-ku, Tokyo, Japan 104-0045
overseas.
Directors Guild of Japan 81-(0)3-3461-4411 81-(0)3-3461-4457
http:/ / www.dgj.or.jp/
To advance directors' position
and promote movie industry's
development. To protect legal
and artistic rights of the
Japanese Society of Cinematographers
Shibuya Goto Blg 5F, 3-2, Maruyama- directors
cho, Shibuya-ku, Tokyo, 150-0044
81-(0)3-3356-7896 81-(0)3-3356-7897 info@jsc.or.jp
http:/ / www.jsc.or.jp/ en/ index.html
To support cinematographers
and advance their social status
1-25-14 5F Shinjyuku, Shinjyuku-ku,
Tokyo, Japan 160-0022
Japanese Society of Lighting Directors 81-(0)3-5909-3396 81-(0)3-5909-3397 jimukyoku@jsl.or.jp
http:/ / www.jsl.or.jp/
To suport lighting directors in
3-6 Geino Kadensha, 6-12-30,
Nishi-Shinjuku, Shinjuku-ku, Tokyo,
Japan 160-0023
TV and movies.
130
(List edited by Cinema-Alliance)

Association List 2-5
Japan Film Makers Association 81-(0)3-3582-2654 81-(0)3-3582-0368 jfma@pop11.odn.ne.jp
http:/ / www2.odn.ne.jp/ jfma/
To support independent
productions' economic
standing and improve their
Scenario Plaza 6F, 5-4-16, Akasaka, business and skills.
Minato-ku, Tokyo, Japan, 107-0052
Motion Picture Producers Association of Japan Inc. 81-(0)3-3243-9100 81-(0)3-3243-9101 info@eiren.org
http:/ / www.eiren.org/ history_e/ index.html
The organization of Japanese
4 major film studios. Aiming at
robust growth of movie
producing business. To
promote film exports, negotiate
with foreign organizations,
gathering information from
overseas and within Japan and
Nihonbashi Blg 2F, 1-17-12
to attend international film
Nihonbashi,
festivals.
Chuo-ku, Tokyo Japan 103-0027
All Nippon Producers Association 81-(0)3-3477-7355 81-(0)3-3477-7340 info@producer.or.jp
http:/ / www.producer.or.jp/ index.htm
To strengthen friendship
among producers and grow
Shibuya Video Studio 5F, 41-8, through comopetition
Utagawa-cho,
Shibuya-ku, Tokyo, Japan, 150-0042
Japan Movie Actors' Association (translated English name) 81-(0)3-3986-7186 81-(0)3-3986-7186 info@eihaikyo.com
http:/ / www.eihaikyo.com/ index.html
To study the skills of the actors
aiming at the enhancement of
art of film and development of
culture.
3-30-8, Ikebukuro, Toshima-ku,
Tokyo, Japan 171-0014
Japan Writers Guild 81-(0)3-3584-1901 81-(0)3-3584-1902 Not Listed
http:/ / www.j-writersguild.org/
To protect scenario writers'
rights, to develop friendly
relationship among the
members to network and to
lead cultural activity and
Scenario Plaza, 5-4-16, Akasaka, cultivate next generations.
Minato-ku, Tokyo, Japan, 107-0052
Association of Scenario Writers Japan 81-(0)3-3584-1901 81-(0)3-3584-1902 scenario@asahi- net.or.jp
http:/ / www.mmjp.or.jp/ scenario/
To presnet contenst,
publisihing, education etc.
Scenario Plaza 8F, 5-4-16, Akasaka,
Minato-ku, Tokyo, Japan, 107-0052
Writers Guild of Japan 81-(0)3-3404-6761 81-(0)3-3479-4250 Not Listed
http:/ / www.writersguild.or.jp/ wgj/ index.html
Guild for writers of movies,
broadcasting, stage etc. To
advance economic standing of
the members. To protect
rights, to make better working
environment by prepareing
benefit package, education etc.
Japan Actors Union
6-2-5, Roppongi, Minato-ku,
Tokyo, Japan, 106- 0032
81-(0)3-5909-3070 postmaster@nippairen.com
http:/ / www.nippairen.com/
To provide seminars and
synposium for actors ,
actresses, voice over actors,
3-6 Geino Kadensha, 6-12-30,
Nishi-Shinjuku, Shinjuku-ku, Tokyo,
Japan 160-0023
narrators etc.
Japan Association of Music Enterprises 81-(0)3-3404-4133 jame@jame.or.jp
http:/ / www.jame.or.jp/ index.html
Organization for music
1-26-3 Sendagaya, Shibuya-ku,
Tokyo,
Japan, 151-0051
production, agency, etc.
131
(List edited by Cinema-Alliance)

Association List 3-5
Japan Council of Performers' Organizations 81-(0)3-5353-6600 81-(0)3-5353-6614 pr@geidankyo.or.jp
http:/ / www.geidankyo.or.jp/ 07eng/ index.html
To conduct research study for
performing arts, to provide
training opportunities for
performers, to control and
excerside the rights on behalf
Tokyo Opera City Tower 11th floor of performers and collect
3-20-2 Nishisinjuku, Shinjuku-ku royalties etc.
Tokyo, Japan 163-1466
Visual Industry Promotion Organization 81-(0)3-3542-7531 81-(0)3-3542-7533 info@vipo.or.jp
http:/ / www.vipo.or.jp/ en/ index.html
Human resource development,
content production support,
support on enterpreneurship
and to develop domestic and
global market development.
To-geki Bldg 8F, 4-1-1, Tsukiji, Chuoku,
Tokyo, Japan 104-0045
JETRO ( Japan External Trade Organization ) 81-(0)3-3582-5511 adabunsho@jetro.go.jp
http:/ / www.jetro.go.jp/
Arc Mori Blg 6F, 1-12-32, Akasaka,
Minato-ku, Tokyo, Japan 107-6006
government-related
organization that works to
promote mutual trade and
investment between Japan and
the rest of the world.
JVA ( Japan Video Software Association) 81-(0)3-3542-4433 Not listed
http:/ / www.jva- net.or.jp/ en/ index.html
Activities to promote sound
marketing/Activities to promote
copyright protection/Studies on
censorship restrictions/Market
Tsukiji MF Blg 26th 3F, 2-12-10
Tsukiji, Chuo-ku, Tokyo, Japan 104-
0045
survey and publicity etc.
Japan Visual Library Association 81-(0)3-3351-4511 81-(0)3-3351-4511 webmaster@jvla.gr.jp
http:/ / www.jvla.gr.jp/ top/ index.html#top
Gateway and information
Soralis Eizo Kijutu Kenkyujo, 11-5- provider of visual materials'
1306,
Tomihisa-cho, Shinjuku-ku, Tokyo,
Japan 162-0067
library.
Large Screen Movie Theater Network Japan 81-(0)3-3231-7690 81-(0)3-3231-7692 ohgata@zpost.plala.or.jp
http:/ / www.ohgata.org/ index.html
To improve the recognition of
the large screen, help effective
Suzutoh Blg 4F, 4-6-11, Nihombashi- management of large screen
cho, Chuo-ku, Tokyo, Japan 103-0023 etc.
JASRAC ( Japanese Society for Rights of Authors, Composers
and Publishers 81-(0)3-3481-2121
http:/ / www.jasrac.or.jp/ ejhp/ index.htm
Management business
concerning copyrights of
musical works/Liaison with
copyright licensing
organizations abroad and
arrangements with such
organizations for reciprocal
3-6-12, Uehara, Shibuya-ku,
Tokyo, Japan 151-0064
protection of copyrights of
musical works
Copyright Research and Information Center 81-(0)3-5353-6921 81-(0)3-5353-6920 Not listed
http:/ / www.cric.or.jp/ cric_e/ index.html
To provide wide range of
services on copyright/ public
awareness raising, information
services etc.
Tokyo Opera City 11F, 3-20-2, Nishi-
Shinjuku,Shinjuku-ku, Tokyo, Japan
163-1411
National Film Center 81-(0)3-3561-0823 81-(0)3-3561-0830 Not listed
http:/ / www.momat.go.jp/ english/ nfc/ index.html
Preservation and research of
Cinema
132
3-1 Kitanomaru-koen, Chiyoda-ku,
Tokyo 102-8322
(List edited by Cinema-Alliance)

Association List 4-5
Japan Audio-Visual Education Association 81-(0)3-3591-2186 81-(0)3-3597-0564 Not listed
http:/ / www.javea.or.jp/
Audio visual education's
promotion, international
Mori Blg B1F, 1-19-5, Toranomon,
Minato-ku, Tokyo, Japan 105-0001
exchange, research and
study.
Japan Association of Audio Visual Producers Inc.
81-(0)3-3279-0236 81-(0)3-3279-0238 ask@eibunren.or.jp
http:/ / www.eibunren.or.jp/
Originally established for
non-theatrical productions.
Mitsutoku Nihombashi Blg 6F, 4-2-9,
Muromachi, Nihombashi, Chuo-ku,
Tokyo, Japan 103-0022
To advance social standing
of the producers , to protect
their rights etc.
Computer Entertainement Suppliers' Association 81-(0)3-3591-9151 81-(0)3-3591-9152 info@cesa.or.jp
http:/ / www.cesa.or.jp/ index.html
To promote computer
entertainment industry and
Nishi-Shimbashi Anex 3F, 1-22-10, research and study.
Nishi-Shimbashi, Minato-ku, Tokyo,
Japan 105-0003
The Association of Japanese Animations 81-(0)3-5298-7501 81-(0)3-5298-0041 office@aja.gr.jp
http:/ / www.aja.gr.jp/
Group of production
companies for animation to
Akihabara UDX 4F, 4-14-1, Sotoimprove
environment,
Kanda,
protect intelectual
Chiyoda-ku, Tokyo, Japan 101-0021
properties, cultivate next
generation etc.
Japan Association of Theatre Owners 81-(0)3-5408-5446 81-(0)3-5408-5447
http:/ / www.zenkoren.or.jp/ index2.html
To promote movie going
SEIEIKAIKAN Buil. 6-8-2 Shinbashi
Minato-ku,Tokyo, Japan 104-0061
133
and improve the service etc.
Association of All Japan TV Program Production 81-(0)3-3582-8520 81-(0)3-3582-8063 info@atp.or.jp
https:/ / www.atp.or.jp/ modules/ english/
To hold seminars and
symposiums, provide award,
international exchange etc.
Akasaka Konno Building, 4th floor
7-10-6 Akasaka, Minato-ku, Tokyo
The National Association of Commercial Broadcasters
in Japan
81-(0)3-5213-7711
http:/ / www.nab.or.jp/ index.php?What%20is%20NAB%3F
To maintain TV operations
of the management, to
conduct research and study,
to report various issues to
3-23 Kioi-cho, Chiyoda-ku,
the diet and government
Tokyo, Japan 102-8577
bureaus etc.
Japan Cable Television Engineering Association 81-(0)3-5273-4671 81-(0)3-5273-4675 Not listed
http:/ / www.catv.or.jp/ jctea/ pdf/ english.pdf
To conduct technical study
and develop CATV cacility,
to conduct technical study
and research,consultation
La Berti Shinjuku 6F, 6-28-8, and to establish technical
Shinjuku,
standards for CATV.
Shinjuku-ku, Tokyo, Japan, 160-0022
Japan Cable and Telecommunications Association 81-(0)3-3490-2022 81-(0)3-3490-2575 renmei@catv.or.jp
http:/ / www.catv- jcta.jp/ english_1.html
To enhance ethics of cable
television , to research ,
study for cable television
7th Floor, SDI Gotanda Bldg. and its management etc.
7-13-6, Nishigotanda, Shinagawa-ku,
Tokyo, Japan 141-0031
Japan Satellite Broadcasting Association 81-(0)3-3597-3211 81-(0)3-3597-3213 Not listed
http:/ / www.eiseihoso.org/ index.html#
To enhance satellite
broadcasting and its
penetration, to study and
research for satellite
broadcasting business and
Amakasu Bldg 4F, 2-9-8, Toranomon,
industry, provide information
Minato-ku, Tokyo, Japan 105-0001
to the members etc.
(List edited by Cinema-Alliance)

Association List 5-5
Recording Industry Association of Japan
http:/ / www.riaj.or.jp/ e/ index.html
81-(0)3-6406-
0511 81-(0)3-
JPPA (Japan Post Production Association) 81-(0)3-3355-6420 81-(0)3-3355-6421
not listed
http:/ / www.jppanet.or.jp/
Kita-Aoyama Yoshikawa Blg 11F,
2-12-16, Kita-Aoyama, Minatoku,
Tokyo, 107-0061
West Bldg 6F, 1-18, Yotsuya,
Shinjuku-ku, Tokyo, Japan 160-0004
134
info@riaj.or.jp,
copyright@riaj.or.jp
To protect rights or
producers and enhance the
proper use of recordings
etc
Association of post
production companies and
individuals in the business.
Motion Picture and Television Engineering Society of 81-(0)3-5255-6201 81-(0)3-5255-6202 info@mpte.jp
http:/ / www.mpte.jp/ html/ en/ index.html
To present Movie & TV
engineering EXPO,
seminars, committees. To
exchange information with
Nihombashi Bldg 2F, 1-17-12, overseas organizations and
Nihombashi,Chuo-ku, Tokyo, Japan to set recommended
103-0027
standards etc.
The Japan Writers Association 81-(0)3-3265-9657 81-(0)3- bungeika@dd.iij4u.or.jp
http:/ / www.bungeika.or.jp/ top.htm
Bungei Shunju Bldg 7F, 3-23, Kioicho,
Chiyoda-ku, Tokyo, Japan 102-8559
Organization of writers,
critics, poets, translators etc.
Japan Audio Producers' Association 81-(0)3-3350-1951 81-(0)3-3350-1953 info@onseiren.com
http:/ / www.onseiren.com/ onseiren/ whats/ whats.html
To empower the industry
Mitsui Bldg 5F, 3-8-9, Yotsuya,
Shinjuku-ku, Tokyo, Japan 160-0004
and protect rights.
http:/ / e- renraku.com/ index.html
81-(0)3-3512-0045 81-(0)3-5211-3400 info@e- renraku.com
To make appropriate rules
C/O B-BAT Inc., 3F, NTV 4-bancho
bldg, 4-bancho, 5-6, Chiyoda-Ku,
Tokyo, Japan 102-0081
and environment for smooth
content distritution in
broadband era.
(List edited by Cinema-Alliance)

A-2 Distributors List
Distributor List 1-8
Company Address Phone Fax E-mail
ALBATOROS Ginza Orior Bldg. 5-13-14 81-3549- 81-3549- senden@albatros-film.com
Co., Ltd. Ginza, Chuo-ku, Tokyo, 104-
0061
2700 2705
Alcine Terran ( A
division of
EPCOT Co.,
Ltd.)
AMG
Entertainment
Inc.
Amuse Soft
Entertainment
Inc.
Annie Planet
ANSUR
PICTURES
ARGO
PICTURES
Art Port
Asmik Ace
Entertainment
2F Tokiwa Bldg. 4-5-6
Shibuya, Shibuya-ku, Tokyo,
150-0002
1-5-2 Ebisu Minami, Shibuyaku,
Tokyo, 150-0022
8F Shibuya Infos Tower, 20-1
Sakuragaoka-cho, Shibuyaku,
Tokyo, 150-0031
6F, Phoenix Higashi Ginza
Daisan Bldg. 2-12-14 Tsukiji,
Chuo-ku, Tokyo, 104-0045
3-19-8-105 Okamoto,
Setagaya-ku, Tokyo. 157-
0076
2F, 4-10-21 Akasaka, Minatoku,
Tokyo, 107-0052
A gou, 4F, Daini Yagi Bldg, 3-
6-2 Shibuya, Shibuya-ku,
Tokyo, 150-0002
Roppongi 6-1-24, Lapiross
Roppongi 3rd Floor, Minatoku,
Tokyo 106-8553
At Entertainment 5F, Takeda Daini Bldg, 2-3-3
Ebisu Nishi, Shibuya-ku,
Tokyo 150-0021
135
81-5467-
3121
81-3-5720-
2461
81-3-5457-
3346
81-3-3549-
1266
81-3-3417-
6709
81-3-3584-
6237
81-3-5469-
8735
81-3-5413-
4313
81-3-3476-
2550
81-3-5467-
3120
81-3-5720-
2462
81-3-5457-
3347
81-3-3541-
1326
81-3-3417-
6709
81-3-3584-
6238
81-3-5464-
3328
81-3-5413-
2841
81-3476-
2551
alcine@epcott.co.jp
info@amg-e.co.jp
amuse-s-e@frontworks.co.jp
info@annieplanet.co.jp
info@ansurpictures.com
mail@argopictures.jp
info@artport.co.jp
webmaster@asmikace.co.jp
info@at-e.co.jp
(List edited by Cinema-Alliance)

Distributor List 2-8
avex
entertainment
Inc.
Aya Pro
BITTERS END
Inc.
BIO-TIDE &
Associates Inc.
Broadmedia
Studios
Corporation
CETERA
INTERNATIONA
L
Cinema
ANGELICA
Cine Qua Non
CK
Entertainment
Avex Blg, 3-1-30, Minami-
Aoyama, Minato-ku, Tokyo
107-8577
#4, 5F, 5-17-12 Tsurumaki,
Setagaya-ku, Tokyo
3F Diichi Shiba Bldg, 13-3
Nampeidai Cho, Shibuya-ku,
Tokyo, 150-0036
3F, 3-13-10 Chuo, Nakanoku,
Tokyo, 164-0011
1-14-7 Tsukishima, Chuo-ku,
Tokyo, 104-0052
1-28-4 Aobadai, Meguro-ku,
Tokyo, 153-0042
Fuji Blg B1F, 1-18-3,
Dogenzaka, Shibuya-ku,
Tokyo
Tomin Kogyo Shibuya Blg 7F,
33-7, Udagawa, Shibuya-ku,
Tokyo, 150-0042
Token-Nagai Blg 6F, 2-12-24,
Shibuya, Shibuya-ku,Tokyo
150-0002
CREATIVE AXA Tenku Blg 3F, 7-5, Honshiocho,
Shinjuku-ku, Tokyo 160-0003
Crest
International
Crest Akasaka 304, 4-4-16,
Akasaka, Minto-ku, Tokyo
107-0052
136
81-3-5413-
8550
81-3-3428-
7874
81-3-3462-
0345
81-3-3369-
8221
81-3-5547-
1510
81-3-3715-
5775
81-3-5459-
0581
81-3-5458-
6571
81-3-5464-
0526
03-3589-
3176
81-3-5413-
8936
81-3-3428-
4784
81-3-3462-
0621
81-3-3369-
8228
81-3-5547-
1529
81-3-3715-
5758
e-mail from
HP
http://www.g
ojyu.com/
81-3-5458-
6572
81-3-5464-
0640
03-3589-
3186
ir@av.avex.co.jp
ayapro@pluto.dti.ne.jp
info@bitters.co.jp
info@biotide-films.com
http://www.bmstd.com
info-cqn@cqn.co.jp
www.cubical.jp
www.kinetique.co.jp
info@c-axa.co.jp
info@crest-inter.co.jp
(List edited by Cinema-Alliance)

Distributor List 3-8
Desperado Inc. 3F, Ebisu Square, 1-23-23
Ebisu, Shibuya-ku,
Tokyo,150-0013
EDEN
EMI MUSIC
Japan Inc.
EUROSPACE
FINE FILMS
GAGA
Communications
GAINAX
GENEON
ENTERTAINME
NT Inc.
3F, Ebisu Square, 1-23-23
Ebisu, Shibuya-ku,
Tokyo,150-0013
2-2-17 Akasaka, Minato-ku,
Tokyo 107-8510
1-5, Tsuburayama-cho,
Shibuya-ku, Tokyo
Manu-Life Place
Kudan-Minami Blg 3F, 2-7-6,
Kudan-minami, Chiyoda-ku,
Tokyo 102-0074
Midtown Tower 33F, 9-7-1,
Akasaka, Minato-ku, Tokyo
107-6233
1-2-29, Kajino-cho, Koganeishi,
Tokyo 184-0002
1-20-6 Ebisu-Minami,
Shibuya-ku, Tokyo, 150-8506
GLASSY MOVIE Vila Costa 104, 5-6-16,
Zaimoku-za, Kamakura-shi,
Kanagawa 248-0013
Happinet
Pictures
IMAGICA
Komagata CA Blg, 2-4-5,
Komagata, Taito-ku, Tokyo
111-0043
1-1-8, Nishi-Gotanda,
Shinagawa-ku, Tokyo, 141-
0031
137
81-3-5791-
4780
81-3-5791-
4780
81-3-5512-
1700
81-3-3461-
0211
81-3-3239-
0588
81-3-6823-
7500
81-422-60-
8301
81-3-5721-
1351
81-467-25-
6607
81-3-3847-
0521
81-3-3280-
7500
81-3-5791-
4781
81-3-5791-
4781
81-3-3770-
4179
81-3-5785-
8740
81-467-25-
6122
81-3-5828-
1654
info@desperado.bz
info@desperado.bz
member@eurospace.co.jp
fine@finefilms.co.jp
www.gaga.co.jp
otayori@gainax.co.jp
can send e-mail fron HP
http://www.geneon-ent.co.jp/top_fl.html
info@glassymovie.jp
can send e-mail fron HP
http://www.happinetp.com/jp2/contact.php
can send e-mail from HP
http://www.imagica.com/inquiry/publicity
.html
(List edited by Cinema-Alliance)

Distributor List 4-8
Ineractive Media
Mix
Kadokawa
Pictures
Shibuya First Place 2F, 8-16,
Shinsen, Shibuya-ku, Tokyo
150-0045
Kioi-cho Park Blg 9F, 3-6,
Kioi-cho, Chiyoda-ku,
Tokyo,102-8302
KING RECORD 1-2-3 Otowa, Bunkyo-ku,
Tokyo
KNHO=KINEMA Aakasa Daichi Bldg, 4-9-17
Aakasaka, Minato-ku, Tokyo
THE
KLOCKWORX
Co., Ltd.
LIBERO
LONGRIDE
MAXAM
4F MF Bldg, 1-6-10 Ebisu-
Minami, Shibuya-ku, Tokyo
Fukuyoshicho Bldg 501, 2-2-
6, Roppongi, Minato-ku,
Tokyo
4F 3-11-6 Ginza, Chuo-ku,
Tokyo
2F Tenku Bldg, 7-5 Honshiocho,
Shinjuku-ku, Tokyo
miracle VOICE Aoyama Mansion 301, 2-5-4
Jingu-mae, Shibuya-ku,
Tokyo
Movie- Eye
Entertainment
New Select
4F Da Vinci Ginza Bldg, 6-2-1
Ginza, Chuo-ku, Tokyo
2F Murata Bldg, 2-2-10
Honmachi, Kichijoji,
Musashino-shi, Tokyo
138
81-3-5456-
8640
81-3-3514-
1555
81-3-3945-
2131
81-3-6439-
6500
81-3-5720-
7791
81-3-6230-
2281
81-3-3547-
4017
81-3-3358-
6241
81-3-5474-
1722
81-3-5537-
0151
81-422-27-
6885
81-3-5456-
8645
81-3-3514-
1545
81-3-5720-
7792
81-3-6230-
2282
81-3-3547-
6008
81-3-3358-
8858
81-3-5474-
1800
81-3-5537-
0152
81-422-27-
6885
press@imx.ne.jp
can send e-mail from HP
http://www.kadokawapictures.co.jp/companyinfo/t
oiawase.shtml
http://www.kingrecords.co.jp
info@longride.jp
can send e-mail from HP
http://www.maxam.jp/form/i
ndex.html
me-tokyo@movie-eye.co.jp
mail@100hyakunen.com
(List edited by Cinema-Alliance)

Distributor List 5-8
Nikkatsu
Corporation
3-28-12 Hongo, Bunkyo-ku,
Tokyo
NOWON MEDIA 3F Harajuku Arc Bldg, 6-17-
10 Jingumae, Shibuya-ku,
Tokyo
OFFICE KITANO 6F Trade Akasaka Bldg, 5-4-
14 Akasaka, Minato-ku,
Tokyo
Office
Sanmarusan
OMURO
PICTURES
6F Mizota Bldg 5, 2-4-1-
Ikebukuro, Toshima-ku,
Tokyo
5-38-9-102 Tachibana,
Sumida-ku, Tokyo
PANDORA Films 3F Shintomi Bldg, 2-5-10
Shintomi, Chuo-ku, Tokyo
Paramount
Home
Entertainment
Japan
Petit Grand
Publishing
PHANTOM FILM
= PONY
CANYON
6-8-10 Roppongi, Minato-ku,
Tokyo
5-2-18 Sendagaya, Shibuyaku,
Tokyo
6E Mansion 31, 6-31-15
Jingu-mae, Shibuya-ku,
Tokyo
PONY CANYON 2-5-10 Toranomon, Minatoku,
Tokyo
Prenom H
2F Opera, 3-10-17 Minami-
Aoyama, Shibuya-ku, Tokyo
139
81-3-5689-
1027
81-3-3405-
8851
81-3-3588-
8121
81-3-6907-
8676
81-3-5809-
0266
81-3-3555-
5987
81-3-6406-
2800
81-3-5366-
2400, 81-3-
5366-2401
81-3-5774-
0016
81-3-5521-
8000
81-3-5411-
0880
81-3-5689-1-
43
81-3-3406-
1636
81-3-3588-
8139
81-3-6907-
9230
81-3-5809-
0266
81-3-3555-
8709
81-3-5366-
2402
81-3-5774-
0017
81-3-5411-
0833
can send e-mail from HP
http://www.nikkatsu.com/c
ontact/index.html
info@nowondvd.net,
info@resfest.jp
info@omuro.co.jp
info@pan-dora.co.jp
can send e-mail from HP
https://www.remotesystem.com/phejfaq/contact
.html
info@petit.co.jp
info@phantom-film.com
(List edited by Cinema-Alliance)

Distributor List 6-8
PRESIDIO
CORPORATION
RENTRAK
JAPAN
SHIBATA
ORGANIZATION
SHOCHIKU
3F Aioi Sompo Nibancho
Bldg., Niban-cho, 5-6,
Chiyoda-ku, Tokyo, 102-0084
35F Ebisu Garden Place
Tower, 4-20-3 Ebisu,
Shibuya-ku, Tokyo
10-8, Ginza 2-Chome, Chuoku,
Tokyo
Togeki Bldg., 1-1, Tsukiji 4-
Chome, Chuo-ku, Tokyo
SHOWGATE Inc. Cerulean Tower, 26-1
Sakuragaoka-cho, Shibuyaku,
Tokyo
SIG
SIGLO
SYNERGY
Sony Pictures
Entertainment
Japan
SPO
1F 3-54-12 Sasaduka,
Shibuya-ku, Tokyo
5-24-16-210 Nakano,
Nakano-ku, Tokyo
6F T's Loft Bldg 1-1-9 Nishi
kubo, Musashino-shi, Tokyo
140
81-3-5215-
5632
81-3-5448-
1561
81-3-3545-
3411
81-3-5550-
1522
81-3-6415-
6966
81-3-3379-
5552
81-3-5343-
3101
81-422-60-
5521
Toranomon Tower office 2F, 81-3-6721-
4-1-28 Toranomon, Mnato-ku, 2715
Tokyo
Nankai Tokyo Bldg, 5-15-1
Ginza, Chuo-ku, Tokyo
STEP BY STEP Shibuya TF Bldg201, 1-4-22
Higashi Shibuya-ku, Tokyo
81-3543-
7640
81-3-5485-
6781
81-35215-
5633
81-3-5448-
1569
81-3-3545-
3519
81-3-5550-
1635
81-3-6415-
6973
81-3-3373-
2135
81-3-5343-
3102
81-422-60-
5773
81-3-6721-
2501
81-3543-
7940
81-3-5485-
6782
info@presidio.co.jp
can send e-mail from HP
https://www.rentrak.co.jp/cgi
-bin/inquiry/inquiry.cgi
can send e-mail from HP
https://www.mmjp.or.jp/ssl.s
hochiku.co.jp/guide/form/ind
ex.html
info@showgate.jp
hanao@jjazz.net
spejwebmaster@spe.co.jp
info@spoinc.jp
info@step-by.co.jp
(List edited by Cinema-Alliance)

Distributor List 7-8
SYNERGY
3rd Fl., Suponichi Ginza
Bldg., 14-6 Ginza 1-Chome,
Chuo-ku, Tokyo
taki corporation 5F, Nampeidai Chiyoda Bldg,
1-10 Nampeidai-Cho,
Shibuya-Ku, Tokyo,
TELESIS
INTERNATIONA
L
Toei
Toei Video Co.,
Ltd.
TOHO
TOHOKUSHINS
HA FILM
CORPORATION
TOHO-TOWA
Co., Ltd.
Yamada Bldg, 3-6
Kagurazaka, Shinjuku-ku,
Tokyo, 162-0825
3-2-17 Ginza, Chuo-ku,
Tokyo
10F, 11F, Konwa Bldg, 1-12-
22 Tsukiji, Chuo-ku, Tokyo,
104-0045
1-2-2 Yuraku-Cho, Chiyodaku,
Tokyo
4-8-10 Akasaka, Minato-ku,
Tokyo 107-8460
18, Ichiban-Cho, Chiyoda-ku,
Tokyo 102-0082
TORNADOFILM Shibuya Haramachi
Habitacion 701, Minami 3-10-
12, Ebisu, Shibuya-ku, Tokyo
Tokyo Theatres
Company Inc.
TOKYO VIDEO
CENTER
1-16-1 Ginza, Chuo-ku,
Tokyo,
3-7-15 Akasaka, Minato-ku,
Tokyo 107-0052
81-3-5159-
0861
81-3-3496-
5775
81-3-5261-
1107
81-3-3535-
7704
81-3-3545-
4511
81-3-3591-
9622
81-3-5414-
0211
81-3-3556-
0334
81-3-5768-
1801,
81-3-3561-
8531
81-3582-
3965
141
81-3-5159-
0860
81-3-3496-
5776
81-3-5229-
5671
81-3-3535-
7711
81-3-3545-
4075
81-3-3591-
5352
81-3-5414-
0404
81-3-3556-
0316
81-3-5768-
1802
81-3-3564-
5968
81-3-3589-
5334
promotion@taki-c.co.jp
info-inter@telesis.co.jp
can send e-mail from HP
https://f.msgs.jp/webapp/he
ar/org/showEnquete.do?en
queteid=1&clientid=10670&
databaseid=kup
staff@toei-video.co.jp
can send e-mail from HP
https://www.toho.co.jp/mail/f
orm.php
toiawase@tfc.co.jp
towa@toho-group.co.jp
can send e-mail from HP
http://www.theatres.co.jp/co
ntact/index.html
(List edited by Cinema-Alliance)

Distributor List 8-8
Twentieth
Century Fox
Japan
United
Entertainment
Inc.
UPLINK
COMPANY
VAP Inc.
Walt Disney
Studio Motion
Pictures Japan
Warner Bros.
Pictures Japan
WISE POLICY
XANADUEX
ZAZIE FILMS
Inc.
6F, Aoba Roppongi Bldg, 3-
16-33 Roppongi, Minato-ku,
Tokyo 106-0032
8F, Nichinan Boeki Bldg, 1-9-
2 Shinjuku, Shinjuku-ku,
Tokyo, 160-0022
2F, Totsune Bldg 1, 37-18
Udagawa-cho, Shibuya-ku,
Tokyo, 150-0042
142
81-3-3224-
6340
81-3-5361-
3633
81-3-6825-
5502
Nittere Yonbancho Bldg 1 81-3-3234go-kan,
5-6 Yonban-cho,
Chiyoda-ku, Tokyo 102-0081
5711
Roppongi DK Bldg, 7-18-23
Roppongi, Minato-ku, Tokyo,
106-0032
Hibiya Central Bldg, 1-2-9
Nishishimbashi, Minato-ku,
Tokyo 105-0003
K's Nishiazabu 2F, 2-13-6
Nishiazabu, Minato-ku,
Tokyo, 106-0031
1F, Sumitomo Gotanda Bldg,
7-1-1 Nishigotanda,
Shinagawa-ku, Tokyo, 141-
0031
7F, 2-10-8 Meguro, Meguroku,
Tokyo,
81-3-3746-
5008
81-3-5251-
6300
81-3-5778-
0910
81-3-5759-
3300
81-3-3490-
4148
81-3-3224-
6397
81-3-5361-
3635
81-3-3485-
8785
81-3-3746-
0009
81-3-5251-
6438
81-3-5778-
0911
81-3-5759-
3939
81-3-3490-
4149
marketing@foxjapan.com
mail@united-ent.com
info@uplink.co.jp
can send e-mail from HP
http://www.vap.co.jp/
info@wisepolicy.com
xanadeux@xanadeux.co.jp
(List edited by Cinema-Alliance)

A-3 Exhibitors List
TOHO cinemas
Warner Mycal Cinemas
Aeon Cinema
SMT (Shochiku)
United Cinema
109 cinemas
Korona Group
Sunshine
Kadokawa Cineplex
T Joy (Toei)
miscellany
Total
Company name
# site
143
52
51
7
22
16
15
13
12
11
10
53
262
# screen
471
401
62
221
173
135
125
81
97
90
374
2,230
share
21.1%
18.0%
2.8%
9.9%
7.8%
6.1%
5.6%
3.6%
4.3%
4.0%
16.8%
100.0%
as of the end of 2006 (List edited by Cinema-Alliance)
* Because Warner Mycal and Aeon are in same capital umbrella, it is one of option to
sum up these.