The Japanese Market for UK Films - BFI

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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
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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
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1-9 TV, DVD, VOD and Other Media (1
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NHK is the public broadcaster in Ja
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17 26,1% Spirited Away 2004・12・
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Other BS Channels (Sister Channels
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Network Japanese imported Sum. Tabl
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Table1-9-5 List of major cinema cha
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(5) Cable Television Japanese cable
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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 and 106: Table 2-3-1 Revised offer by the Ja
Page 107 and 108: culture of co-production with forei
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: (3) Details of proposals a) UK Film
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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The Japanese Market for UK Films - BFI

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