论文总字数：34781字

摘 要

谈到美国电影，映入脑海的便是好莱坞大片。其广泛而深远的影响既得益于拥有世界上最大规模、最强实力的电影生产基地，更在于它拥有一整套科学的调研方法和营销策略。从某种角度来说，好莱坞电影产业的成功与其说是电影产品的辉煌，不如说是电影营销的辉煌。其高度专业化的营销策略，不仅在全球电影市场推广好莱坞电影，也对好莱坞电影品牌的形成起到了至关重要的作用。

本论文采用文献综述法、案例分析等方法总结并分析好莱坞和中国电影近五年来主要的营销策略。并通过对比分析法对好莱坞电影与中国电影各自的营销策略在营销模式、营销目标和营销预算三个方面进行对比研究，并且从中归纳出中国电影应借鉴与学习的地方。

关键词：好莱坞电影；中国电影；营销策略

Table of Contents

Acknowledgements i

Abstract ii

摘要 iii

Table of Contents iv

Lists of Tables v

Chapter One Introduction 1

1.1 Background of the Study 1

1.2 Significance and Purpose of the Study 1

1.3 Layout of the Thesis 2

1.4 Literature Review 2

1.4.1 Research on Film Marketing at Home and Abroad 2

Chapter Two Features of Hollywood movies marketing strategies 5

2.1 Brand Marketing 5

2.2 Post-film Marketing 7

Chapter Three Features of Chinese movies marketing strategies 9

3.1 Traditional Marketing 9

3.2 New Media Marketing 9

Chapter Four A comparison between Chinese and Hollywood films marketing strategies 11

4.1 Marketing Model 11

4.2 Marketing Goal 12

4.3 Marketing Budget 13

Chapter Five Suggestions and Conclusion 14

References 15

Lists of Tables

Table 1. Hollywood Superhero Films in Chronological Order 6

Table 2. Average income for 29 $100 million Hollywood blockbuster movies 7

Chapter One Introduction

1.1 Background of the Study

Born in early 20 century, Hollywood film industry has rapidly developed into the most influential film industry among the world. Within one hundred years, it generates hundreds of brilliant and popular films, thanks to its scientific operating model and mature marketing strategies. Till now, Hollywood has generated a complete industry chain. It not only sells films, but also sells a series of products related to the film, including film franchise and post-film merchandise. Hollywood is not so much a pure film industry as a symbol and representative of American movie success. However, Chinese films marketing is at its early stage. Despite the emergence of new media makes the publicity of films become increasingly diversified, Chinese film marketing strategy is still too monotonous. It overemphasizes the promotion of the film itself, but neglects the importance of non-screening marketing.

1.2 Significance and Purpose of the Study

With its mature operating mechanism and marketing model, Hollywood movie occupies global movie market at an amazing speed and develops a profound effect on the film industry. Likewise, Chinese film industry has been burgeoning in recent years and becomes a potential force in global movie market. In order to expand worldwide, Chinese film industry should first and foremost develop steadily in the local market, aiming to be a solid foundation in the global movie market. Thus mature marketing strategies are indispensable in the advancement of Chinese film industry. However, currently Chinese film industry fails to accurately cognize the importance of marketing strategies, yet attaching great importance to the promotion of the film itself, and ignoring the potential value of the film.

This thesis attempts to analyze the marketing strategies of Hollywood movies and Chinese movies comparatively, thus to conclude some marketing tactics applicable to Chinese movies. This study is expected to help Chinese film industry evolve more efficiently in the local market.

1.3 Layout of the Thesis

This thesis consists of four chapters. Chapter One is a general introduction of this thesis. It presents the research background, the significance and purpose of the study, the overall structure of this thesis and the literature review of this study. Chapter Two discusses two main features of Hollywood movies marketing strategies: brand marketing and post-film marketing. Correspondingly, Chapter Three summarizes two main features of Chinese movies marketing strategies: new media marketing and traditional marketing. After a thorough analysis of Hollywood and Chinese movies respective marketing strategies, Chapter Four is expected to make a comparison between Chinese and Hollywood films marketing strategies, aiming to point out the limitations of Chinese marketing strategies compared with Hollywood's in three perspectives: marketing model, marketing goal and marketing budget. In the end, Chapter Five is subject to make a conclusion of this study and give suggestions for the future development of Chinese movies in the long run.

1.4 Literature Review

Film promotion refers to “the practice of promotion specifically in the film industry, including press releases, advertising campaigns, merchandising, franchising” and etc. (Stone Circle, 2015) It is an indispensable part along with the process of film distribution. Film promotion is also known as film marketing or film advertising. Steven R. Pritzker (2009) recognizes marketing movies as “a high-risk but a high-reward enterprise”, and numerous sophisticated strategies are put into practice in this process.

1.4.1 Research on Film Marketing at Home and Abroad

Because of the long history of American movie, American movie marketing has experienced a long-term development. The approach of movie marketing becomes extraordinary diverse with the passage of time. Sebastian Joseph (2014) contends that at the earliest, studios focus on television and print advertisements to promote their films before release. With the accelerating progress of technology, movie marketing moves into the digital age, and there are traditional promotion and online marketing, which filmmakers utilize social media and other emerging internet-related channels to marketing movies. As Andrew Sparrow (2007) points out, internet provides filmmakers with the means of distribution and enables them to interact directly with their target audience. However, although some experts specialize on movie marketing, the research about the marketing methods used in the film promotion of Hollywood is insufficient in the foreign countries.

On the contrary, there are numerous researches about Hollywood film marketing domestically. Because of the huge success of Hollywood film industry, increasingly filmmakers and researchers in China go about studying the development of Hollywood movie marketing and the relationship between Hollywood film marketing strategies and Hollywood film success. Hollywood marketing strategies are instituted with immense amount of market research and information analysis being done (Duan Xiaoxiao, 2013). Li Yimin (2014) points out that the focus of Hollywood movie marketing is customer orientation. In addition, Hollywood marketing methods come into play in coordination with the entire process, including film production, distribution, projection and offline expansion (Wang Zhan, Yang Ting, 2012). It not only caters to mainstream audiences in scriptwriting and moviemaking, but also uses brand marketing and post-film marketing proficiently to maintain a large number of loyal audiences.

With regard of movie marketing in Chinese film market, the professor at the School of Film and Television of Shanghai University, Chen Xihe (2009) argues that Chinese “big film” has gradually formed three characteristics: market orientation, big investment and high production standards (including shocking audio-visual effects and all-star lineup) under the influence of the “Hollywood Model”. However, there is still a huge gap between Hollywood and Chinese marketing strategies (Li Mengzhe, 2010). Chinese film industry needs to build domestic film brands, develop post-movie market, and innovate financing and production methods and emphasize market-centered integrated marketing (Li Yimin, 2014). Besides, according to Yu shengnan and Xu Jun (2014), presently in China, film market moves into digital 3.0 times. Chinese film industry should “combine new thought, propagation mode, transmission channel and feedback with conventional marketing strategies to realize industrial value added”. However, the researches on new marketing strategies in Chinese film industry are still too limited. Liu Fan and Liu Jingya (2014) contend that increasing film marketing methods generate these years, including viral marketing, new media marketing and big data marketing, though the theory of these new movie marketing tactics keeps lagging behind the practice of these marketing strategies.

In conclusion, although many scholars in China study and advocate Hollywood marketing strategies, and some even conduct researches on the influence of Hollywood marketing strategies on Chinese film industry, the comparative study of Hollywood and Chinese film marketing strategies is still insufficient or a little out of date. It is worth mentioning that movie marketing strategy, different from other study subjects, updates at a dramatic speed. Based on the lack of research in this field, this article will focus on the comparative study of Hollywood and Chinese film marketing strategies in recent five years, with the purpose of giving some suggestions to Chinese filmmakers for a prosperous Chinese film market.

Chapter Two Features of Hollywood movies marketing strategies

2.1 Brand Marketing

Brand marketing is a series of marketing methods that help a company develop market identity to make a lasting impression on customers. In other words, the key point of brand marketing is customer-centered strategy. When applying brand marketing to film industry, it means to create some titles as brand name and attach those to movie to greatly impress the audiences. In the case of Hollywood, branding is always the distinctive feature of Hollywood movie.

Hollywood is adept at making various brand names, due to the fact that starring, director, types of the film and even the film itself could be branded. When referring to Hollywood, people will always think about superhero. Thus, superhero is one of brand names of Hollywood movie. As Avengers Franchise is a typical superhero movie franchise in Hollywood film industry, let's take it as an example. Avengers, being a bestselling comic in America since it has been published in 1963, tells the stories of several superheroes saving the world. Besides, each superhero of Avengers is the protagonist of a bestselling comic book, for instance, Iron man and Captain America in Tales of Suspense, Thor in Journey into Mystery. Based on Avengers enormous popularity, Hollywood film industry decided to produce movie adaptation of the comic book and make Avengers a film franchise.

Brand marketing is one of the significant marketing strategies in the case of Avengers. Firstly, the decision to make Avengers a movie is based on customer-centered strategy, the key of brand marketing. After thorough market research, Hollywood finds that the story of Avengers attracts many people's eyes in the United State. Thus, if Hollywood makes Avengers a movie franchise, numerous fans of this well-known comic book will become its potential customers. Secondly, the release order of Avengers related films is of great importance in the formation of brand.

Table 1. Hollywood Superhero Films in Chronological Order

As we can see from above, from 2008 to 2011, Hollywood harvested an enormous box office take from the film Iron Man 1amp;2, Captain America and Thor. Besides, each superhero movie gains a large amount of loyal audience. Thus, after the blockbuster of these superhero movies, Avengers, with the gathering of all these popular superheroes, came out in 2012 and hit $623,357,910 at the North American box office. Since 2012, Avengers has become a big brand name that impresses the world. Likewise, the same tactic is used on Avengers 2amp;3. With the help of the release of Avengers members' films, the popularity of Avengers and its starring keeps growing. Not to mention that these series of films are set for the same story lines, which would definitely attract the audiences' interest and force them to step into the cinema. Till May 1^st 2018, Avengers: Infinity War tops the North America box office with $257,698,183 in its opening weekend, becoming the highest-grossing film in North American weekend box office history. Nowadays, if we judge the consequence, it is no exaggeration that the release strategy of Avengers related films greatly help the development of the brand influence of Avengers. Lastly, all-star lineup is another brand name of Avengers. As the brand effect of superstars is one of the biggest selling points of a film, it is no wonder that Avengers Series has kept recruiting the same celebrities to shoot the film series. These lead actors have already become the superheroes from the perspective of audiences. Generally speaking, Its gorgeous lineup of Hollywood superstars, gathering of four big names (Iron Man, Captain America, Black Panther and Thor) and far-reaching brand influence of Avengers itself together make Avengers a big impressive brand.

2.2 Post-film Marketing

Post-film marketing is the marketing strategy used specifically for post-film product development. Post-film products are the various derivatives, or so-called by-products of the movie, including the play rights of TV channels, DVDs, toys, clothing, digital games, theme park and etc. Post-film products are not simply material products, but contain countless additional cultural value as well. For example, a T-shirt with Avengers logo is identical to a normal T-shirt in its function, but different from it in spiritual meaning. According to 4p theory, different pricing strategies are based on different product positioning. The price of post-film product should be quite affordable, since paying incredibly high for the spiritual meaning is unrealistic. However, because of the huge sales volume, post-film products still make tremendous profits. In order to maximize the additional output of film, it is of great significance to develop post-film product market.

Table 2. Average income for 29 $100 million Hollywood blockbuster movies

Source: StephenFollows.com

Owing to the low cost and the high profit of post-film merchandising, it is essential to develop post-film marketing. Hollywood is doing well in this domain. The statistics shows above comes from StephenFollows.com, a website researching on various topics around film industry by Stephen Follows, a British scholar. According to Stephen Follows, about 40% of Hollywood's total movie revenue comes from box office gross, and the rest 60% comes from non-screen marketing. Besides, Stephen also points out that although theatrical is the largest income source for film, it is not the most profitable one. After deducting the sale taxes and the cinema's share, the actual returns shrink down to 53% of the total box office intake domestically. However, there is a miracle in merchandising. Although merchandising makes an average of $11.5 million per movie, almost two-thirds of the total merchandising money comes from just two movies. Thus, it can be inferred that Hollywood top-grossing films could recall nearly half of the budget back in merchandising alone. Since merchandising is only one part of post-film products, the gross profits of post-film products is astronomical.

Let's still take Avengers as an example. These years, Hollywood studios licenses the rights to produce numerous Avengers related products, including the Avengers DVDs, the toys and the stamps of each members. Besides, there are a large number of Avengers collaboration products in the market, for instance, Avengers x adidas, Avengers x Nike, Avengers x Acer and etc. In addition, there are Avengers buildings in every Disney Theme Park in North America. All of these contribute to the giant success of Avengers and provide Hollywood with huge profits.

In summary, brand marketing and post-film marketing together with traditional marketing and internet marketing, constitute for the main part of Hollywood movie marketing. Apparently, it is these two distinctive marketing methods that come into play through screen marketing and non-screening marketing.

Chapter Three Features of Chinese movies marketing strategies

3.1 Traditional Marketing

Traditional marketing is a basic marketing strategy widely used all around the world. It involves movie trailers, press release, movie posters and etc., and most of these activities are conducted before the film release.

It is no exaggeration that traditional marketing accounts for nearly one third of the entire marketing process in Chinese film industry. When the release date of a film is settled, a series of traditional marketing methods will be done. Firstly, the film studio releases several movie trailers on cinemas, TV channels and other online video platforms (such as YOUKU, IQIYI) to arise the audiences' interest. Besides, the promotion department writes some articles and makes some movie posters, and publishes them respectively on magazines, newspapers and LED advertising screens in cities. Secondly, the director together with lead actors participate in several hot entertainment shows to promote their works. Meanwhile, numerous press releases and roadshows are held by the main characters of a film. All of above activities constitute the major parts of traditional marketing in China.

3.2 New Media Marketing

As movie marketing moves into digital age, internet marketing becomes one of the most important marketing methods, and increasing marketing methods generate on the foundation of internet. Nowadays, people spend so much time on social media platform, so many new marketing methods are created related to them. This kind of marketing strategy is called new media marketing.

Presently in China, because of a nature of low cost and high popularity, new media marketing exerts a profound influence on the popularity of a movie. As wechat and weibo become the most prevalent application in China, let's take wechat and weibo as examples. According to 2017 WeChat Data Report, an average of about 902 million people log in wechat every day in September 2017, and the number of active followers of wechat subscription accounts per month is up to 797 million. It is undeniable that a cooperation between film studios and wechat subscription accounts can facilitate the promotion of films. Therefore, after the film release, many wechat subscription accounts would post their film reviews, which definitely contain not only the brief introduction and good-looking stills but also the positive remarks of the movie. It is worth mentioning that some of these subscription accounts are owned by professional movie critics, whose positive opinion is also a kind of buzz marketing.

Weibo, however, is the major method of new media marketing in China. According to Xu Wen (2014), the main characteristic of new media is the combination of various communication methods, which people could utilize to read articles, watch videos and express ideas. For instance, individuals could compose weibo, repost weibo and comment weibo. That is to say, people could get information from comments area aside from weibo composers. Generally speaking, new media marketing could be inextricably interwoven with other marketing methods. In the case of weibo, firstly, each film would register an official weibo account before the film production. Thus, the film studio can post the daily life of the cast members while the film is being shot, and post different trailers and interesting sidelights when the film is about to release. Besides, when the film is about to release or on release, the director and the leading actors would send new weibo to promote the film, which will make a large crowd of celebrities and their fans repost or comment the weibo, even compose new weibo with topics spontaneously. It is easier for marketing teams to recognize the interest points of cyber citizens and widely spread them to the public on account of the interaction and sharing, the main characteristics of social media. Thus, based on the support of marketing teams, interest topics of the film are expected to keep ranking top at trending topics list, which makes increasing people aware of and interested in the film.

From above we can see that wechat and weibo cooperates well with top star marketing, fans marketing topic marketing and buzz marketing, and all these efforts together help facilitating the promotion of a film.

Chapter Four A comparison between Chinese and Hollywood films marketing strategies

4.1 Marketing Model

After summarizing the major marketing strategies of both Hollywood and Chinese, we can see clearly that the two film industries differentiate from each other in marketing model. In China, filmmakers have long considered screen marketing as the main means of movie marketing, emphasizing on public communication, while in Hollywood, filmmakers keep a good balance between screen marketing and non-screen marketing.

Indeed, box office gross is one of main methods for measuring the success of a film. And that's the reason that Chinese movie marketing comes into play mainly in the process of film release, including the promotion before film release and the maintenance of a film reputation after it. Chinese film industry has attached great importance to the box office gross and video playback on various video channels. Thus, many new generating marketing strategies are bonded up with traditional marketing and new media marketing to work for them. However, this excessive emphasis on screen marketing is a limitation to Chinese marketing model, which separates the whole process of a film. The neglect of the marketing activities of offline expansion and before film production hinders the development of Chinese film industry. Hollywood, on the other hand, combines different marketing models in a mature way. This is actually a practice of integrated marketing communication, a theory of utilizing coupling marketing methods to optimize the expected marketing outcome. As for Hollywood, its traditional marketing methods coupled with brand marketing and post-film marketing come into play from film production, distribution, projection to offline expansion, thus providing Hollywood with a complete industry chain and a combined marketing model.

To put it simply, both Chinese and Hollywood film industries have done well in screen marketing, but Chinese film industry fails to take non-screen marketing seriously, making Chinese film marketing models much simpler than Hollywood's.

4.2 Marketing Goal

From Chapter Two, we conclude that brand marketing and post-film marketing are two distinctive marketing strategies in Hollywood film industry. Since these two marketing strategies together exert great influence on the entire process of a film series, it can be inferred that Hollywood marketing think highly of the long time interest of the film industry. However, from Chapter Three we find that traditional marketing and new media marketing are generally considered as the main movie marketing methods in Chinese film industry. As these two marketing methods play a key role in pushing audiences to buy tickets, it is clear that Chinese film marketing emphasizes excessively on the promotion of a movie itself.

It is easier and far more economical to maintain loyal customers than attract new customers. If a company wants to develop sustainably, it is necessary to emphasize brand. Clearly, Hollywood pursues long time interest and thus makes a good use of brand. If we look at Hollywood film industry, we can see that Hollywood prefers to make film franchise and produce post-film products, thus making film a sustainable brand. If a film brand is made, the marketing cost of following films can be cut down greatly and filmmakers can distribute most of the budget to film production. In fact, this is the current situation in Hollywood film industry, where “big film” and film franchise account for the majority of the gross income of Hollywood film industry. Its marketing goal is not only to maximize its box office gross, but also to work for its following films and interest brought by the film brand.

However, Chinese film industry overlooks the importance of brand. Does Chinese film industry lack the materials of making brand film? Actually the answer is no. Just like Harry Porter and Avengers, in China we have Journey to the west. However, although numerous film studios produce film on this theme, and even some of them make it a film franchise, none of them make it a brand successfully. After all, Chinese film franchise fails to have the same starring members, same story lines, and lacks the post-film products to support the brand. Luckily, some film studios has already begun to pay attention to the brand marketing. For instance, Detective Chinatown series is a typical example. It has same starring members, same story lines and even the suspense in the end of the film, raising audiences' expectation of the next episode. Thus, Detective Chinatown II hit 3.397 billion box office income, a threefold rise of Detective Chinatown I's. What's more, it also manages to utilize post-film marketing. For instance, the mobile game of Detective Chinatown is created, toys of the starring members is manufactured and etc.

Although some films has begun to apply brand marketing and post-film marketing, this kind of movie marketing is in the minority. In China, owning to middle and low budget films occupying most of the film market, it seems impossible for them to create and maintain an impressive brand name. Thus, each film has its own marketing plans, and its marketing team may dismiss after film is taken out of theaters. Thus, it is apparently that Chinese marketing goal is to maximize a single film's box office income. However, this kind of movie marketing makes Chinese film industry overlook enormous potential interest of a movie.

4.3 Marketing Budget

From what has been discussed above, we can see that movie marketing is lack of investment in China presently. Hollywood publishes an average of nearly 500 films each year, so the percentage of the filmmakers' investment in marketing is astonishing. According to Stephan Follows' database, marketing accounts for an average of 29% of the total costs ($100 million ) for a movie, being the largest category outside of the production budget (35%). However, in China, a domestically produced movie has a marketing cost of only 50% of the production budget. Thus, limited marketing budget forces domestic marketing companies to launch marketing activities after a film is distributed. But in Hollywood, film marketing and film distribution have not been split. This is reason that the success of Hollywood blockbusters is more dependent on marketing than filmmaking. As brand marketing and post-film marketing need to be carried out through the entire process of a film (from getting a final script to expanding to offline), Chinese film studios only have the budget to launch traditional marketing and internet marketing. In this respect it is explainable that non-screening marketing is being ignored in Chinese film industry.

Chapter Five Suggestions and Conclusion

In conclusion, Hollywood film marketing is prone to perfection, which elaborately utilizes screen marketing and non-screen marketing to run through the entire process of film. On the other hand, Chinese film marketing has gradually become much more mature and diversified, but the core of marketing is centered on screen marketing and film promotion. Apparently, the operation model and the marketing style of Hollywood movie industry are not formed in one day, but developed step by step. It is through trial and error that Hollywood fully grasps the nature of movie, a business and culture product, and consider it as a complete industry chain. From the Western to today's "big production film", the style of Hollywood movie is formed and adapted on account of the thorough market research on customers and the unique American culture. And this is what we Chinese film industry should learn from it. As Chinese film industry is at its early stage, a blind imitation of Hollywood operation model and marketing style might give rise to an opposite effect in the local market. Therefore, after learning about the gap between Chinese and Hollywood main movie marketing strategies, it is high time that Chinese filmmakers have learned from Hollywood and formed a unique and appropriate marketing plan. First and foremost, Chinese film industry should seek more investment and distribute more budget to movie marketing. Secondly, it is of utter importance to apply movie marketing to run through the entire process of a film. Thirdly, the awareness of applying brand marketing and post-film marketing in Chinese movie marketing still needs to be enhanced. Finally, Chinese is supposed to keep attaching great importance to new media marketing, and try to combine it with various new marketing methods to optimize the result.

References

Kitchen, P., amp; Burgmann, I. 2015. Integrated marketing communications: Making it work at a strategic level [J]. Journal of Business Strategy. 36: 34–39.

Steven R. Pritzker. 2009. Marketing Movies: An Introduction to the Special Issue [J]. Psychology amp; Marketing. DOI: 10.1002/mar.

Fred S. Zufryden, 1996. Linking advertising to box office performance of new film releases [J]. Journal of Advertising Research. 29-41.

Joseph, Sebastian. 2014. Movie marketing moves into the digital age [OL]. Marketing Week (Online Edition). P4-4,1P.

Andrew Sparrow, 2007, Film and television distribution and the internet: a legal guide for the media industry [M]. TJ International Ltd, Padstow, Cornwall.

Follows, Stephen, 2016, How movies make money: $100m Hollywood blockbusters [OL]. Stephen Follows Film Data and Education.

Wang, X. P, [汪献平], 2012, 好菜坞电影的品牌营销策略及其意义[D], 电影评介。

Huang, S. S amp; Wang, W. X, [黄珊珊, 王文星], 2008, IMC视角下的电影后产品营销策略研究 [J], 电影文学,22:10-11.

Wang, Z amp; Yang, T, [王战,杨婷],2012, 好莱坞电影的营销和推广策略研究[J], 湖南大众传媒职业技术学院学报,12(05):5

Li, M. Z, [李孟哲], 2010, 浅析好莱坞电影营销模式对中国电影营销模式的影响 [J], 电影评介,13:78-82.

Duan, X. X, [段潇潇], 2013, 漫画系列电影占领票房新高地——以《复仇者联盟》为例浅析好莱坞电影营销模式 [J], 中国电影市场,05:21-24.

Pan, C. M, [潘成敏], 2010, 何去何从: 从好莱坞电影的营销策略引发对中国电影营销的思考 [J], 黑龙江科技信息.

Li, M. J, [李明洁], 2015, 基于互动的中国电影社会化媒体营销 [J], 现代商业,26:21-22.

Xu, W, [徐雯], 2016, 新媒体环境下中国电影营销传播策略分析 [J], 全国商情,27:76-77.

Zeng, Y. N amp; Chen, Z. B, [曾耀农,陈忠斌],2005, 中国电影的营销策略研究[J], 武汉科技学院学报,07:1-4.

Gao, S, [高山],2013, 跨越大银幕——中国电影的宣传与营销现状分析[J], 当代电影,05:69-73.

Wang, Q. Q, [王清清], 2012, 从王汉伦观察中国早期电影与电影宣传 [J], 浙江艺术职业学院学报,10(01):47-51.

Liu, P amp; Liu. J. Y, [刘藩,刘婧雅],2014, 当前中国电影营销的关键问题研究[J],上海大学学报(社会科学版),31(05):12-28.

Xiao, L. S amp; Xiong, Y, [肖良生,熊岩], 2007, 后电影市场中的4C营销[J], 电影文学,20:6-7.

Yu, S. N amp; Xu, J, [于胜男,徐君], 2016, 数字3.0时代的国产电影营销策略[J], 湖北函授大学学报,29(24):101-102.

剩余内容已隐藏，请支付后下载全文，论文总字数：34781字