The Japanese Market for UK Films - BFI

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-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
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The Japanese Market for UK Films No
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CONTENTS Executive Summary Part One
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of Japanese earnings.) The Japanese
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2. UK FILM MARKETPLACE Records show
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Part One The Japanese Market 9
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Fig 1-1-2 Film releases - Japanese
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illion yen (around US$90m). There w
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Cinema admission fees Cinema admiss
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more multiplexes have opened but to
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this date is usually agreed through
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Once a movie is given the green lig
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(6) Multiplex booking pattern 1) Or
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1-3 Art House Theatres in Tokyo In
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Table 1-4-1 List of Digital Cinema
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According to the web site of D-Cine
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- Management of Digital Cinema scre
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to have planned 10,000 mobile digit
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ecause they were too busy taking ca
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1-6 The Current Print and Advertisi
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Independently owned theatres have b
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1-7 Titles Released, by Country of
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(2) Foreign film releases in 2006 c
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1-8 The Rise of Asian Markets and C
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U.S $(million) 1200 1000 800 600 40
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most popular stars including Bae Yo
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Both films became record-breaking h
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2003 $30,979,000 +107% $13,893,000
Page 55 and 56: 1-9 TV, DVD, VOD and Other Media (1
Page 57 and 58: NHK is the public broadcaster in Ja
Page 59 and 60: 17 26,1% Spirited Away 2004・12・
Page 61 and 62: Other BS Channels (Sister Channels
Page 63 and 64: Network Japanese imported Sum. Tabl
Page 65 and 66: Table1-9-5 List of major cinema cha
Page 67 and 68: (5) Cable Television Japanese cable
Page 69 and 70: Discovery Channel & Discovery Chann
Page 71 and 72: NTT GROUP NTT group has 3 IP multic
Page 73 and 74: Fig 1-9-3 Broadband Content (Genre
Page 75 and 76: Broadband Market Size From the char
Page 77 and 78: 65% 20% Fig 1-9-6 DVD PURCHASE 6% 3
Page 79 and 80: Genre Lifestyle, Travel Play, Comed
Page 81 and 82: Source: Japan Video Software Associ
Page 83 and 84: 43% Fig 1-9-9 DVD RENTAL Expenditur
Page 85 and 86: In 2006 a number portability system
Page 87 and 88: Part Two The UK Film Marketplace in
Page 89 and 90: Table 2-1- 2 UK films released in J
Page 91 and 92: Table 2-1- 4 UK films released in J
Page 93 and 94: Fig.2-2-1 The Number of films distr
Page 95 and 96: In term of efficiency (average BOR
Page 97 and 98: (Company) Fig.2-2-4 The Number of U
Page 99 and 100: Fig.2-2-6 Number of DVD titles by d
Page 101 and 102: 2-3 Institutional regulation and An
Page 103 and 104: The rating of films is conducted by
Page 105: Table 2-3-1 Revised offer by the Ja
Page 109 and 110: 2-4 The Market for UK Independents
Page 111 and 112: Fig 2-4-2 UK film market share in B
Page 113 and 114: Fig 2-4-5 UK film market share in D
Page 115 and 116: *Drama(1) 24 HEURES DE LA VIE D'UNE
Page 117 and 118: *Adventure *SF ALEXANDER AROUND THE
Page 119 and 120: (6) Titles based on well known orig
Page 121 and 122: (3) Details of proposals a) UK Film
Page 123 and 124: market was expanding more rapidly,
Page 125 and 126: Table 2-9-1 The perception of the U
Page 127 and 128: Table 2-9-2 TV Programme Imports in
Page 129 and 130: Appendix 129
Page 131 and 132: Association List 2-5 Japan Film Mak
Page 133 and 134: Association List 4-5 Japan Audio-Vi
Page 135 and 136: A-2 Distributors List Distributor L
Page 137 and 138: Distributor List 3-8 Desperado Inc.
Page 139 and 140: Distributor List 5-8 Nikkatsu Corpo
Page 141 and 142: Distributor List 7-8 SYNERGY 3rd Fl
Page 143: A-3 Exhibitors List TOHO cinemas Wa
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