Industry Report: Focus: Asia & Oceania
- Articles, interviews, news, analysis focusing on the audiovisual sector in Asia and Oceania
With €2 billion in box-office revenue in 2012, Chinese cinema has risen to overall second worldwide, far behind the €8.1 billion of the US. Will this growth of more that 30% a year be able to convince everyone of this promising market?
An online survey has been launched in order to identify a set of high level cultural indicators for Australia. A report will then be developed on the strength of the arts and cultural sector and its contribution to economic and social wellbeing
The Sapphires was the top grossing Australian feature film at the local box office in 2012, taking $14.5 million. This significant milestone marks another great year for Indigenous screen stories and the film’s director Wayne Blair in particular.
With the rise of the middle class in China, the country's box-office revenue has skyrocketed in recent years, and foreign companies are stepping up the production of works made jointly with Chinese filmmakers.
A Report from the European Audiovisual Observatory: since the recent increase in the Russian cinema funds, the amount of funding by the State given to films in the Russian Federation has gone from 19% of the entire film budget for films shot in Russia to 44%
Two of China's most influential state-owned film companies, China Film Group and Shanghai Film Group, have submitted their applications to list on the Shanghai stock exchange, the country's securities regulator said.
While the Bengali film industry is going through resurgence, there are various issues plaguing it. Not only are Bengali films and songs being pirated, movie theatres across the state are also closing down at an alarming rate. The Indian Chamber of Commerce organized a panel discussion at a city hotel on Saturday to get different viewpoints and find a solution to these problems.
India’s film industry will benefit from an increased collaboration with Hollywood in the areas of film entertainment, education, VFX and tourism, according to Ernst & Young in a report issued for an initiative launched by the LA Film Council.
Media consumption in the Middle East is in transition, with far more people watching broadcast or online news and political talk shows as a result of recent regional events, according to the Arab Media Outlook Report (2011-2015).
With a promising year in 2011 the taiwanese film industry will continue to increase its growth with the support of the State. The Prime Minister Sean Chen [陳冲] assured it yesterday during the minister's council.
When director Mukul Anand's multi-starrer Agneepath released in 1990, it was rejected by the masses. Agneepath failed to rake in the moolah and producer Yash Johar had a commercial flop on his hands. That was two decades ago. Since then, much has changed in Bollywood.
Speaking at a film forum on Sunday during this week's Shanghai International Film Festival, media mogul Rupert Murdoch expressed amazement at rapid growth of the Chinese film market but warned that China has to protect its intellectual property rights if it wants to continue growing.
Thailand's capable crews, post-production facilities and eye-popping locations have made it a venue of choice over the years for filmmakers as diverse as Oliver Stone, Werner Herzog and, most recently, Todd Phillips.
Doha Film Institute (DFI) has announced at Cannes that 25 new grants for projects as part of its aim to give financial support to Arab movie makers. As film production costs rise across the Middle East and North Africa (MENA) amid changing political societies, DFI called for more collaborative financial support from the Arab world to support storytellers from the region.
In a country that has just faced a series of debilitating earthquakes, a massive tsunami and damaged nuclear reactors reaching Chernobyl levels, movies have been the last thing on most people's minds. But then, two weeks after the earth first shook, Yuko Shiomaki went to see “The King’s Speech” in Tokyo and discovered he was not alone.
Screen Australia released its annual Drama Report on 10 November revealing that total expenditure in Australia by feature films and television drama productions in 2009/10 was $731 million, up 2 per cent since 2008/09.
A proposed new blueprint for Screen Australia’s television funding was released on 19 November 2010 by Chief Executive during her address at the Screen Producers Association of Australia (SPAA) conference in Sydney.
The fast-growing Russian film industry looked like it had hit a bump in first half 2009, as the financial crisis bit and piracy undermined key growth areas. But full-year figures for 2009 and data for first half 2010 show the industry getting back on track
According to the participants of the "Korean Films Going Global", Korean film industry needs to produce more "global films" and link up with Hollywood studios if it want to prevent its continuing decline
Screen Australia released its submission to the 2010 Review of the Australian Independent Screen Production Sector at a seminar in Sydney. The seminar was followed by drinks with the Screen Australia Board.
That there's more to Abu Dhabi than sand is obvious to anyone living in the UAE, but the emirate's strong diversity is a key selling point in its campaign to pitch itself as a location for Hollywood films.
The review will consider the extent to which Government support measures, such as the Australian Screen Production Incentive and direct funding, are assisting the sector to achieve screen cultural objectives.
Mumbai, and India in general, are more and more becoming the outsourcing heaven for major Hollywood productions. In the past years, several movies have already been digitally post-produced in India. But now, the country´s animated industry is flourishing even more.
According to the annual Screen Australia Drama Production Survey foreign production in Australia has down-rocketed from A$251 million to only A$20 million in 2008/09, all of which have been spent by Indian productions.