Essays on Markets and Business Management at the British Film Industry Assignment

Download full paperFile format: .doc, available for editing

The paper "Markets and Business Management at the British Film Industry " is a perfect example of a management assignment. The film industries and markets in both Britain and China differ is social-cultural, technological and political aspects. Indeed, the decision on whether the British Film Industry (BFI) should expand to the market in China would be made based on the favourability of these environmental factors. First, let’ s consider the social-cultural differences in film industries and markets between and China. Film and moving image in Britain are considered essential as they are a reflection of the British culture both within British society and across the globe.

Apart from being one of the world’ s leaders in making and selling films, Britain films allow the people in the country to reflect on and change their thinking of a national identity (House of Commons 2003). The film industry and markets have brought people in British together and this is the reason why the British government has invested in culture to promote cultural identity through making films. Unlike Britain, China has witnessed a sharp increase in the number of people who attend cinema, not only due to increase in the standard of living and growth in the economy but also due to strong social and cultural identity of the Chinese and this has led to increased market share for films (Wetherly 2014).

Many Chinese enjoy watching cinema together and this prompted continuous and rapid construction of theatres (UNESCO 2013). Despite, increase in ticket prices, Chinese spectators have continued to fill theatres and this is a sign of social cohesiveness, which is also an opportunity to film companies, such as BFI which should increase export of humorous films to the Chinese market (Cain 2013). On technology, the film industry and market in Britain use digital technology to make, distribute, and exhibit films.

Since the development of this technology, several commercial digital cinema screens have been established and it is well-entrenched in the process of film-making in the UK (Lobato 2012). Nevertheless, digital technology is mainly applied in photography and exhibition after the production processes that involve editing special effects, visual, and sound (House of Commons 2003). The development is technology has increased competition in film-making and marketing of the same, thus BFI has to keep pace with changes in the technology to maintain its position in the market, both locally and internationally (Wetherly and Otter 2011). The film industry in China has also embraced digital technology (Zhang 2004).

The only difference is that they use cinema circuits which comprise of various cinemas and they provide schedule screening, films prints, and manage all films under the circuits. Cinema circuits are normally used to schedule screenings of productions that are major (Entgroup International Consulting 2010).

Apart from the digital film, the industry also uses digital prints in film-making. There are also various digital screens used to show films in different regions in China, which has increased the market for films in the country. Politicians in Britain passed legislation that allows films certified as ‘ British’ to benefit from tax treatment advantages (House of Commons 2003). Tax advantages are used as incentives to encourage the local film industry to make films and to attract foreign investment to perform overseas production of the film (House of Commons 2003).

These incentives have seen film industry and market in Britain grow drastically to international level. This is also an opportunity for BFI to increase its production of films that will appeal to the international market, especially China (Oxford Economics 2011).



Cain, R. 2013, ‘The Increasingly Astonishing Rise of China’s Film Business’, Viewed 17 October 2014,

Commercial Service 2014, China’s Movie Market Snapshot: Astounding Achievement in 2013, Guangzhou: China.

Cullen, J. B. and Parboteeah, K P. 2008, Multinational management: a strategic approach, 6th ed., Thompson/South-Western Pub., Mason.

Drahos, P., and Braithwaite, J. 2002. Information Feudalism: Who Owns the Knowledge Economy? London: Earthscan.

Entgroup International Consulting 2010 ‘China Film Industry Report 2009-2010, Beijing: China.

House of Commons 2003 ‘The British Film Industry’, Sixth Report of Session 2002-03: Vol 1.

Kraus, R. 2004. The Chinese Censorship Game: New Rules for the Prevention of Art, In R. Kraus (Ed.), The Party and the Arty in China: The New Politics of Culture (pp. 249). Lanham: Rowman & Littlefield Publishers.

Lobato, R. 2012, Shadow Economies of Cinema: Mapping Informal Film Distribution, London: British Film Institute.

Montgomery, L. 2004. ‘Troubled waters for the development of China’s film industry.’ In Proceedings : Media Technology, Creative Industry and Cultural Significance, Taipei, Taiwan.

Oxford Economics 2011, The Economic Contribution of the Film and Television Industries in China, London: Oxford Economics.

Schechter, D, Chen, K. and Lai, J. 2012, ‘Talking points: Showtime for China.’ China Economic Review.

U.S. Commercial Services 2012 ‘Doing Business in China: 2012 Country Commercial Guide for U.S. Companies.’

UNESCO (United Nations Educational, Scientific and Cultural Organization) 2013, ‘Emerging markets and the digitalization of the film industry’, A analysis of the 2012 UIS International Survey of feature film statistics. ISBN: 978-92-9189-136-8.

Wang, S. 2004, ‘Chinese Culture Protection Society.’

Wetherly, P. and Otter, D. 2011, Introduction: ‘business’ and its ‘environment, in P. Wetherly and D. Otter (eds.), The business environment: themes and issues, 1st ed., Oxford University Press, Oxford, pp. 1-31.

Wetherly, P. 2014, ‘The social and cultural environment’, in P. Wetherly and D. Otter (eds.), The business environment: themes and issues, 3rd ed., Oxford University Press, Oxford, pp. 143-172.

Zhang, Y. 2004, ‘Chinese National Cinema.’ New York: Routledge.

Download full paperFile format: .doc, available for editing
Contact Us