CHAINA SURGES 36% IN TOTAL BOX OFFICE
REVENUE
China’s box office surged ahead by 36% to hit
$4.82 billion (RMB29.6 billion) in 2014.
That consolidated China’s position as the world’s
second largest theatrical territory, with a total that
was 47% of the North American cumulative, which
slipped 5% in 2014 to $10.3 billion.
In 2013, China box office hit $3.57 billion or 4.6
billion yuan.
While “Transformers: Age of Extinction” was the
year’s top film, for the second year in a row local
films bettered the competition from Hollywood.
Local films accounted for a combined $2.64 billion
in 2014 (RMB16.2 billion) and a 55% market share.
That was a considerable achievement for Chinese
cinema, considering that the Import quotas were
expanded in 2012 to allow more Hollywood
Imports. But the score might have been higher still
had some of the most anticpated Chinese films
performed better in the key December month,
when local films are favoured and Hollywood
effectively locked out.
Both John Woo’s “The Crossing” and jiang Wen’s
“Gone With The Bullets” underperformed in
December, in a repeat of the lesson supposedly
learned in December 2012 when the expected
blockbusters by big name directors were trounced
by low budget “Lost in Thailand.”
The biggest Chinese hits of 2014 were
contemporary and youth-driven titles “Breakup
Buddies,” “The Breakup Guru,” and “The Continent”
with family entertainer “Dad Where Are We Going”
in the top five, along with fantasy “The Monkey
King” the most traditional. One late December
success was “The Taking of Tiger Mountain,” a big
budget, 3D war-adventure film, directed by well-
established maverick Tsui Hark, which kicked off
with a $51 million opening weekend.
According to data from the State Administration
of press, publication, Radio, Film and Television, a
total of 618 Chinese films were produced in 2014,
compared with 638 were made in 2013. That was
the second year that production dropped slightly.
The number of Chinese films achieving theatrical
release, however, is likely to have been less than
half that total.
Data from SAPPRFT show cinema admissions
rising to 830 million, up 34.5% compared with 617
million in 2013. That implies minimal inflation in
the mean national ticket price, a figure which is
constantly being pulled lower as more cinemas
open in second, third and fourth tier cities where
prices are lower than the three major metropolises.
47,083,571人
24,892,619人
4.Dad Where Are We Going (🇨🇳) 21,758,750人
5.インターステラー (🇺🇸) 20,981,111人
19,539,459人
9.猿の惑星：新世紀 (ライジング) (🇺🇸)
19,168,108人
10.キャプテン・アメリカ
／ウィンター・ソルジャー (🇺🇸)
18,423,846人
11.君といた日々 (🇨🇳) 16,617,714人
16,396,875人
14.ガーディアンズ・オブ・ギャラクシー (🇺🇸)
15,282,308人
15.アメイジング・スパイダーマン２ (🇺🇸)
15,015,128人
16.エクスペンダブルズ３ ワールドミッション (🇺🇸)
14.164,688人
17.My Old Classmate (🇨🇳) 13,810,303人
18.ＧＯＤＺＩＬＬＡ ゴジラ (🇺🇸) 12,668,947人
20.The House That Never Dies (🇨🇳) 11,766,857人
11,713,095人
22.ホビット 決戦のゆくえ (🇺🇸) 11,285,610人
11,104,146人
24.ニード・フォー・スピード (🇺🇸) 10,833,684人
25.オール・ユー・ニード・イズ・キル (🇺🇸)
10,695,000人
SOURCE：VARIETY