Tag Archives: China

China Cinema Digest – Friday 21 November 2014

Interstellar poster China

“Interstellar” had a good week at the Chinese box office, boosted by Imax showings and holding off competition from both domestic comedies and Madagascar penguins.

Interstellar took $42.33 million in its first five days in China, dominating a week in which Christopher Nolan’s sci-fi epic went head-to-head with Johnnie To’s romantic comedy Don’t Go Breaking My Heart 2 and DreamWorks Animations’ Penguins of Madagascar in the world’s second largest movie market.

Starring Matthew McConaughey and Anne Hathaway as astronauts trying to save the human race, with an ensemble cast that also includes Jessica Chastain and Michael Caine, Interstellar racked up 7.14 million admissions from 149,316 screenings, according to the research outfit Entgroup.

That was fewer screenings than the second-place movie in the week to Nov. 16, Don’t Go Breaking My Heart 2, but the space film also showed on 170 Imax screens in China, which gave box office a major lift.  LINK

You might also be interested in this article about advance online ticketing sale for “Interstellar”, which set a new record.

China Imax

The success of Imax and Premium Large Format films in China prompts Broadcast HC 360 to look at the technology behind Digital PLF, both Imax and its domestic Chinese competitors.

Relative to the IMAX “silent like gold,” the theater construction market is more lively. Cinema operators to invest and build its own brand for use in its own theater, the movie started issuing investment Poly Films, is the development of a domestic IMAX DMR system POLYMAX Poly; Wanda independent development of the giant screen projection system “X-Land “; and in digital cinema technology research-based science and technology enterprises Chen Xing Digital technology introduced in 2013 Cinelab laser IMAX screenings of high-quality solutions. These domestic IMAX brand is undoubtedly herald the birth of the modern multiplex cinema building, will move towards high-quality IMAX hall main trends.

And particularly worth mentioning is Cinelab IMAX innovative laser from the light source to the electro-acoustic to build sound, IMAX is a qualitative leap in technological development milestones. IMAX movies the same environment and needs two Barco 2K projectors can only support up to 2K mode with a resolution of 2048 x 1080 pixels, a contrast ratio of 2000: 1, Cinelab laser IMAX system simply uses a laser IMAX Simply using a Christie 4K projector with a resolution up to 4096 * 2160 pixels, with a 2100: 1 contrast ratio, while the same effect, it is easy to see, Cinelab laser relative to the giant screen IMAX giant screen, the screen resolution increases four times, four times the clarity also increased. Given the high brightness laser light source in the screening process 2D center maximum brightness of up 40FL, and IMAX is 15FL, IMAX 2D laser brightness increased 2.67 times, and further optimize the viewers 2D viewing experience.  LINK

Read More »

Does Hangzhou Point to Bubble in China’s Cinema Market?

Broadway Hangzhou IMAX

Broadway Cinemas (IMAX) in Hangzhou

Talk about China overtaking United States’ cinema box office within a few years is predicated on the growth rate of the past couple of years continuing in an unbroken upward line. Yet too little attention has been paid to whether growth in multiplexes, screens and seats is outstripping demand for tickets.

Tier 2 City Focus

On-the-ground reports from markets outside of China’s half a dozen Tier 1 cities (Beijing, Shanghai, etc.) are starting to suggest that overbuild has resulted in blockbusters increasingly playing to empty auditoriums. Hangzhou is one such market.

According to Wikipedia, “Hangzhou is classified as a sub-provincial city and forms the core of the Hangzhou Metropolitan Area, the fourth-largest metropolitan area in China,” with Hangzhou prefecture having a registered population of 8.7 million inhabitants. It is considered a Tier 2 City, a group of around three dozen Mainland metropolitan areas increasingly targeted by investors, developers and multinationals in recent years. And as WSJ put it:

When it comes to China, the commonly used term “second-tier cities” is a misnomer, says Robert Lawrence Kuhn, an investment banker and author of How China’s Leaders Think. The so-called “second-tier” cities should actually be called “first-class opportunities,” given that these cities have been growth engines of the Chinese economy, boosted by huge amounts of investment, new infrastructure and an influx of new talent.

Multiplexes are at the forefront of these developments in Tier 2 cities, in some ways epitomising it as they combine entertainment, real estate and retail in one location.

Yet after several years of intensive development and investment, worrying signs of over-supply are starting to emerge, as indicated in the article quoted in Sina.com.cn from Qianjiang Evening News, headlined, “Hangzhou total of 49 cinemas, average of one theater added monthly.”

Hangzhou Cinemas: “Too Dense” – But Still Growing

The article points out that just in the last two months of this year will see the opening of a Jin Yi multiplex, a Wanda multiplex and a Shi Xiang Road multiplex – and this on top of an already saturated market.

The article then points out that in a five kilometer (3.5 miles) area there are five multiplexes, and that with 10 more multiplexes slated for 2015 it will be “too dense” and that next year many cinemas will “barely” get by.

Read More »

China Cinema Digest – Thursday 13 november 2014

China Film Group La Paking

Hollywood is looking to make more money out of China than the import-restricted and revenue split-skewed arrangements currently allow. So why not expand merchandising? Just check the Fast & Furious Experience in last week’s China Cinema Digest to appreciate the opportunities.

The head of China’s powerful state-run movie enterprise that supervises film imports wants to strengthen ties with Hollywood by selling merchandise in that country’s theaters.

La Peikang, chairman of China Film Group, has launched a new initiative aimed at spurring consumer product sales at theaters in China’s fast-growing exhibition sector.

To test the project, the group has already selected 1,500 top-ranked theaters in China that will have their own shops selling movie-themed merchandise, such as toys, clothing, games and DVDs, La said in an interview with The [LA] Times.  LINK

China youth

An editorial in The Workers Daily asks whether blockbusters pandering to “small town youth” is detrimental to Chinese cinema. In doing so it also highlights that “domestic movie box office increase is largely thanks to the gift of theater expansion, rather than to improvement in their quality.” The piece asks some very pertinent questions about demographic and geographical realities will undermine continuous cinema expansion as it goes beyond Tier 1 and Tier 2 cities in more rural markets. Worth reading in full.

In fact, it seems gratifying box office figures have confirmed the doubts. Foreign films in China last year, 41% of the box office take football, though not more than half, but to enter the mainland theaters are only 60 foreign films of last year, and the year of production of 638 feature films into theaters have 245. There are 60 foreign films at the box office over 27 million, and 245 domestic movie box office over billion were only 33.

Faced with such a market, a lot of film industry practitioners to second and third tier cities moviegoers that “small town youth” as the future of the film industry’s main viewing groups, because in the second and third tier cities cinema showing growth spurt. When in 2012, the national new screen 3832, 60% of the distribution in the second and third tier cities and county-level cities, four cinemas in 2013 reached a new three-digit number of theater tier cities, many in a two-tier cities years, it has gone through several screens from the single digits to double-digit upheaval.

Small city into the “theater of the times”, making the share of the domestic film industry has changed, northward four first-tier cities of Guangzhou-Shenzhen country’s total box office share has dropped from 32.8 percent in 2008 to 25.8 percent in 2012. Economic development so that “idle rich” and “small town youth” willing to purchase movies, videos and many second and third tier cities will also be used as pre-marketing focus.  LINK

Read More »

Questions Raised About Wanda Cinema’s IPO

Wang Jianglin, chairman and founder of Dalian Wanda Group

Sina Finance carries a long and excellent analysis of Wanda Cinema’s re-submitted IPO document, written by Enterprise Observer newspaper reporter Zhu Lin. The article raises several pertinent question about the IPO of the world’ largest cinema chain, which also controls AMC in the US.

The article is in Chinese, but is worth reading in full in the Google translation (or read the original here) to better understand this important listing and company.

There is too much covered in the article to regurgitate everything in this piece, but a few interesting nuggets are worth highlighting, not least the family connections underpinning the ownership and control of the company, as well as future challenges that it is likely to face.

The initial application for listing on the Shenzhen Stock Exchange in July this year was refused on account of “insufficient information” in the IPO prospectus document. Wanda has thus had to submit additional information, some of which makes for very interesting reading.

According to the document the Wang family, headed by Wang Jianlin, controls 71.4% of Wanda Cinema’s total equity, meaning that they exercise complete control over the company, and will continue to do so even after the IPO of no more than 60 million shares.

The article provides a breakdown of the family stake(s):

Prospectus shows Wanda Wanda Cinema controlling shareholder investment, holding 68% stake in Wanda Cinema. Wang Jianlin, Hop Hing Investment Limited by Dalian Wanda Group and the Cultural Industry Group Holdings Wanda indirect investment, the actual controller Wanda cinema. And Wang Jianlin, Wanda Cinema son Wang Sicong currently holds 500 million shares, accounting for 1% of the total share capital, Wang Jianzhong Wang Jianlin brother, Wang can, WANG Jian-chun and ??? each hold 0.6% stake in Wanda Cinema.

Wang’s son Wang Sicong four brothers plus five people, accounting for 3.4% of total share capital before the issue Wanda Cinema, plus the 68% stake controlled by Wang Jianlin, Wang’s family holding up to 71.4%, the realization of Wanda Cinema’s absolute control.

It is clear that the listing will thus make Wang Jianlin even more of a billionaire while also making his close family very wealthy.

At an IPO price of 33.33 yuan per share, the market value of Wanda Cinema would be around 18.7 billion yuan (USD 3 billion), giving the Wang Jianlin family a stake of 13.35 billion yuan (USD $2.18 billion) with Wang’s four brothers earning around a billion yuan each  (USD $160 million). So the IPO is a profitable family affair.

Read More »

China Cinema Digest – Wednesday 5 November 20

Transformers China

Not a month seems to go by without China breaking a new box office record. The Mainland box office is now on course to hit USD $5 billion (30 billion yuan) by the end of this year according to the Chinese Film Producer’s Association (CFPA).

The CFPA’s vice president Wang Fenglin told an film industry expo in Wuhan that China’s box office had reached $3.59 billion (22 billion yuan) for the January-to-September period, topping the $3.55 billion (21.8 billion) for the same period last year.

Wang also said that domestic films accounted for 51.4 percent of the market while imported films were 48.6 percent and that a total of 230 films were shown in mainstream cinemas in the first nine months of 2014.

Although the CFPA touted the $4.9 billion figure, the $5 billion mark looks within reach. A slew of big releases are set to hit theaters in the last two months of the year, and key moviegoing dates such as Singles’ Day (Nov. 11) and Christmas are still to come.  LINK

Danzish cinema Chonqing

Danzish Cinema – rated No. 1 on Chongqing

The Chinese central government is subsidising the building of cinemas in Tier-2 and Tier-3 cities as a means of improving and speeding up urbanisation, though this can have the unintended consequence of inflating the exhibition bubble if the market cannot sustain these cinemas.

National Film Development Office recently allocated special funds for the cause of the second batch of county-level city theater construction subsidies totaling 14.2 million yuan [USD $2.3 million] 2012-13 . Reporters today (28) days from the Chongqing Municipal Culture Committee was informed that this subsidized a total of 25 theaters, including 11 in 2012 did not apply for a full refund in 2013 and 14 between the new theater.

Chongqing Municipal Committee of the person in charge of culture, the city had about 20 theaters will not enjoy subsidies. In order to reduce agriculture-related areas and remote counties film screenings main operating pressure and the cost burden of investment, the city actively seek the State Press and Publication Administration of Radio and national experts and Resources Committee, together with the municipal finance, and other multi-national digital management center to coordinate the efforts of last year National Resources Committee research group dedicated field visits to understand the actual situation in Chongqing.  LINK

Read More »

China Cinema Digest – Tuesday 28 October 2014

 

China online ticketing

Beginning in November, China will start reporting box office number and info using social media in an effort to improve transparency. The move is good news for Hollywood studios, but will also provide a better picture of the exhibition market in the world’s second largest cinema territory.

In July, the State General Administration of Press, Publication, Radio, Film and Television introduced an updated ticketing system, which gives better real-time information.

This week, Li Dong, head of a special unit of SAPPRFT which looks at ticketing and box office issues, said the watchdog was planning to release the information through popular social media, such as Weibo, which is similar to Twitter, and WeChat, which has parallels with WhatsApp. It wasn’t immediately clear at what frequency the data would be reported.  LINK

Wanda Cinemas Logo

The re-submission of their IPO prospectus has lead to plenty of coverage of Wanda Cinemas, including the astonishing revelation that the operator can manage the construction of an entire multiplex in just 105 days from start to finish. Lots of data, number and statistics in this article on China’s largest cinema operator, which still “only” accounts for less than 15% of total Mainland BO takings.

Coupling that is pure theater assets invested directly by theaters, cinemas and theaters all assets owned by relying on the model, capital and Wanda Cinema mode as a link for the film, its unified management, unified row theater piece. Since its inception in 2005, grossing Wanda Cinema faster growth each year, in 2011 box office revenue reached 1.785 billion yuan, accounting for the proportion of the movie grossed 13.61%; 2012 box office revenue reached 2.456 billion yuan, accounting for the movie box office income ratio was 14.39%; 2013, box office revenue reached 3.161 billion yuan, accounting for the proportion of the national film grossed 14.52%; 2014 January to June, the box office revenue reached 1.988 billion yuan, accounting for the proportion of movie box office revenue was 14.46%, continue to maintain the country’s first cinema box office revenue.

Wanda market share

Development of Wanda Wanda Plaza cinema into projects and tenant lease non Wanda commercial real estate development business projects, Wanda Cinema is the only strategic partner Wanda Plaza theater format, along with the rapid expansion of Wanda and other commercial real estate projects, Wanda cinema investment flourish, construction accelerated.

Wanda cinema investment and construction process is divided into the project site, theater design and theater construction, single Wanda cinema construction period is usually 105 days or so, in other words, after the completion of the siting and design of the theater, Wanda only three and a half months will be able to Wanda opened a theater. LINK

Read More »

Good Dose of Reality Is the Perfect Antidote For All the Netflix Fear Mongering

Crouching Tiger Sequel on Netflix and IMAX

It’s been a week since streaming media giant Netflix announced two big agreements which signal the company is aggressively moving into a space once occupied exclusively by motion picture distributors and exhibitors. One calls for a sequel to the martial arts classic “Crouching Tiger, Hidden Dragon” to be released next August day-and-date on Netflix and in select IMAX theatres. The other sees Netflix enter into a deal with actor Adam Sandler to finance and distribute four feature films.

In their pieces on the announcements journalists used phrases such as “landmark”, “game changer” and “paradigm shift” so often the words lost all meaning. A week later, it turns out the sun still rises in the east and sets in the west, North American movie theatres were just as crowded as ever over the weekend and cinema goers still gobbled up popcorn while watching the latest releases.

This is not to say Netflix’s moves weren’t noteworthy or significant, but rather that the pots of ink (both virtual and otherwise) spilled covering the news were, more often than not, used to write overblown treatises filled with hyperbolic predictions of the industry’s demise crafted primarily to play on the fears of those who depended on it for their livelihoods. Now that everyone’s initial excitement has died down we hope to bring some sanity back into the conversation by examining a few often overlooked concepts.

Crouching Content, Hidden Sequel
Before last week, how many of you actually knew that a sequel was being made to “Crouching Tiger, Hidden Dragon”? After last week’s Netflix news, you can more than triple the number of people who know about the movie, and that’s being extremely conservative. Mainstream media had hitherto paid little notice of the sequel being made to a fourteen-year-old Chinese-language film.

Sure, “Crouching Tiger, Hidden Dragon” was a blockbuster when it was released in 2000; the first foreign language film in the United States to earn more than USD $100 million and for years was the country’s highest grossing foreign language movie of all-time. The movie was also nominated for ten Oscars, the most Academy Award nominations ever received for a foreign language film, a record the film still holds. “Crouching Tiger” went on to win four trophies including Best Foreign Language Film and it served to jump-start the career of director Ang Lee, who was already a well respected helmer.

When it comes to the sequel none of that matters however, in part because so many of the elements which made the original “Crouching Tiger” film a success are missing. Stars Yun-Fat Chow and Ziyi Zhang are missing, leaving Michelle Yeoh as one of the few returning cast members. The screenwriters, including James Schamus, are absent as well. Perhaps most importantly, Ang Lee will not be directing.

Instead, Woo-ping Yuen has been tapped to direct the sequel being penned by John Fusco. Arguably an incredibly influential figure of the Hong Kong action genre, Yuen has only made one film in the past 20 years; “True Legend” in 2010 which cost RMB ¥122.6 million (USD $20 million) to make and only made RMB ¥46.5 million (USD $6.82 million). He has been working predominantly as a fight choreographer for movie such as “Kill Bill: Vol. 2″.

To be sure Yuen may be a fine and capable director, though currently is a bit of an open question due to his limited creative output in recent years. So too then is the quality of “Crouching Tiger, Hidden Dragon: The Green Legend” itself. When Netflix first announced they would finance and open the film it raised speculation that the sequel may not actually be any good. Realizing this, the movie’s distributor, The Weinstein Company, may have been trying to lay off some of their risk on the production, if not entirely recoup their expenditure, by selling Netflix the rights to distribute it.

Brooks Barnes of the New York Times echoed these sentiments as a guest on Showbiz Sandbox this week stating that The Weinstein Company “…got a huge big publicity pop for this sequel and that has to be viewed in that context. Yes it’s sequel to one of the best performing foreign films ever, but if you look closer at that film there are some questions about it…. you just kind of have to wonder what kind of sequel is this? Is this a route that gets them a big headline for something that may ultimately been a direct to home video title all along.”

Read More »

Daily Cinema Digest – Wednesday 1 October 2014

Billy Elliot

Event cinema has a new hero and his name is Billy Elliot, having grossed more on the day it beamed than The Equalizer, the highest grossing film.

Universal’s live stream from London’s Victoria Palace Theatre last night [Sept 28] danced its way to an extraordinary $3.1m (£1.904m), setting a new record for Event Cinema releases.

Based on figures from Rentrak, in terms of theatre releases, Billy Elliot surpassed the previous best opening set by NT Live: War Horse at $2.5m (£1.6m). War Horse is also currently the highest grossing theatre release at $4.6m (£2.7m).  LINK

Good timing for Variety to cast a spotlight on event cinema, which accounts for almost a fifth of revenue of some art house screens and has saved many a rural cinemas.

Picturehouse director of distribution Marc Allenby says a like percentage of his company’s box office comes from such programming. “What’s remarkable,” he adds, “is that that 18% comes from such a small proportion of screenings.”

In Sweden, not only has the sector been a boon to rural cinemas, which struggle to book new film releases day-and-date with big cities, it also has enabled exhibs to take advantage of new revenue streams.

“A court decision said that when a cinema is screening opera or theater, it automatically becomes an opera house or theater, so legally, we can serve alcohol,” says Rickard Gramfors of Folkets Hus och Parker, which operates 170 cinemas in the nation.  LINK

Both of them will be attending the ECA event in London on 16 October – see our banner and side bar for details.

AMC premium seats

AMC is pushing ahead faster than planned with its re-seating plan of upgrading more of its cinemas to premium quality (and pricing). It will spend USD $39 million more than initially planned in the current year. Smart or desperate strategy? The answer is: ‘necessary’.

The approximately $39 million represents a nearly 20 percent increase from the estimated $200 million in planned net cash outlays in 2014. Actual total capital spending for 2014 will be approximately $265-$285 million, before expected landlord contributions of $35-$55 million.

The additional 2014 capital investment will primarily support the acceleration of recliner re-seat initiatives, additional MacGuffins bars and IMAX screens in AMC theatres. As of June 30, 2014, AMC had recliner re-seats in 44 locations with 505 screens, 74 MacGuffins and 148 IMAX screens, which makes AMC North America’s leading and largest IMAX distributor.

In December of 2013, AMC announced a $600 million, five-year recliner re-seat investment. During the second quarter of 2014, admissions revenues per screen increased by 33 percent and Adjusted EBITDA more than doubled at AMC’s 44 recliner re-seat locations.   LINK

Read More »

China Special Cinema Digest – Thursday 25 September 2014

Today we catch up Chinese cinema news from the last couple of weeks, which I was unable to report while travelling. As always, the Google translation is not perfect, but as we do not have a journalist on staff who can translate perfectly from Mandarin (yet!), it will have to do. We are also saving the biggest piece of cinema news to come out of China recently for a separate post.

Chen Xing technology laser

Our favourite Chinese (digital) cinema equipment manufacturer Chen Xing has issues a list of “Seven Rules for Cinema Brand Building” that heavily promotes its own technologies and solutions, while also providing an insight into the company’s thinking and strategy.

Don’t forget what we’ve written about them before: “China’s ‘Last Mile’ Plan for Digital Cinema: Ditch Western Technology.” This is as much true for smartphones and airplanes as it is for cinema equipment – China does not want to keep importing ‘Western’ technologies but build their own (then export it). Such competition and innovation should not be seen as a threat but a good thing.

The Seven Rules are: acoustical design, sound system, laser light source projection, TMS centralized management and control systems, cinema ticketing management system and service quality guarantee system.

Chen Xing talks about the alternatives it will offer up when it comes to laser (illuminated) projection, as well as immersive audio, where its Cinelab has developed 5.1, 15.1 and 17.1 audio which “get rid of the shackles of sources,” and offer “the perfect interpretation of the Dolby (ATMOS) panoramic sound studio truest sound.”

Chen Xing fires a shot across the bows of the other manufacturers by pointing out that while not being part of the original DCI elite, it is one of the largest server/media block deployers in the world today.

Digital Film for film and television industry has brought tremendous changes. Especially in distribution and exhibition side, digital cinema technology has maintained rapid growth in recent years. Of course, these are inseparable from the updated device technology. Regardless nowadays 3D, IMAX, 4K and other high-tech marketing, have become an end shadow vane hall, the market demand for high-tech also “hubbub straight on.” Christie, Barco, NEC, SONY have launched projectors with laser light source, which means Hollywood recommended type of light source laser source trend.

Among them, in the digital cinema systems, as film screenings server core products while always being SONY, GDC, Dolby, Doremi and other foreign manufacturers, “occupation”, but with the development of technology, more and more Chinese national brand manufacturers Chen Xing Technology began as “emerging” by the market influence is also rising. It is understood that the field of the world’s digital projectors DCI-compliant digital cinema server products, market share and influence were sorted by: GDC, Dolby, Doremi, Chen Xing AQ series.  LINK

Imax Tianjin

Imax screens only account for one per cent (1%) of the total Mainland screen count but an astonishing ten per cent (10%) of the box office, according to an interview with Imax’s director in China Yuan Hong. He also reiterates that China’s total box office will overtake the United States, some time between 2018 and 2020. “When will we surpass the United States? Five years ago we did not expect to ask this question, now it is just around the corner,” he observes.

Also at the box office, too, “as the movie, the theater itself is dependent on bringing new grossing film screenings, but also for the huge traffic.” Especially as the Lunar New Year stalls, summer gears up. “It also shows that, for shopping centre developers, the introduction of a cinema format still has a very good future.” At the box office, although high, it brings high turnover, but the scene, Yuan Hong also points out is “broke.” “For the cinema itself the profit margins are very limited, even if the movie is good, it is quicker to make money from popcorn, drinks, toys and other Transformers. ”  LINK

Read More »

Chinese Box Office Growth Driven by Women and Millennials

Tiny times 3

The China Film Association and other units launched the “2014 Chinese Film Art Report” and “2014 China Film Industry Report” earlier this week in Beijing.

The reports analyse cinema consumption patterns of domestic Chinese films and finds that they are primarily driven by females, Millennials and repeat viewing, with an astonishing per head spending of several hundred dollars per month at the multiplex. The reports also worries about the “shallow” themes of some of the most popular Chinese films.

With foreign (mainly Hollywood) films restricted in the Mainland market under the 20+14 quota, China’s cinema growth is taking place mainly on the back of domestic films. The government is keen to encourage this growth, which is why it is focusing research efforts on understanding cinema consumption patterns.

These two reports look at 2013 releases, which totalled 311 movies, of which 250 were domestic films(1) and 61 foreign films(2). Out of these 219 were categorized as genre films, such as comedy, romance, and action films, while 31 were categorized as “non-genre”.

It notes that out of 59 films that earned more than one billion yuan at the box office 32 were domestic, with domestic films accounting for 58% of overall takings, the highest number ever for Chinese cinemas.

‘A Great Leap Backward’

The report and articles about it seize upon the youth focus and themes of the most successful films.

It is noteworthy that the themes about the current urban population of the urban youth film themes of love and youth, grow up to become a dark horse, and rescue. The higher box office films “To Youth”, “Tiny Times”, “Chinese Partner,” “Break the Contract”, “That Was Stolen Five Years”, etc., all have a youthful theme. But the report notes that, while a good number of youth films, many of the movie lacks intrinsic emotional power and creative artistic qualities, and themes of these films focus on youth and substance, youth and love, youth and nostalgia, but lack a richer ambiguity.

The article goes on to lambast the “speculative mentality prevailing” in many youth films with the highest market share, saying “the youth theme of this bonanza is shallow excessive consumption.” The sentiment is perhaps understandable as even western media has latched onto what makes films such as “Tiny Times 3″ so popular.

YouTube Preview Image

Here is for example what the BBC had to say about it:

Tiny Times couldn’t be further from Mao’s ascetic communism: it is a wholesale celebration of conspicuous consumption and materialism that has been described as a cross between Sex and the City and The Devil Wears Prada.

The series follows four attractive, fashion-obsessed young women in Shanghai: Lily, Ruby, Lin and Nan Xiang. It chronicles their lives and romances. The actresses look perfect – nicely groomed and slim. There are constant references to sports cars and expensive brands such as Prada and Gucci. The characters are often in opulent surroundings as they enter into relationships with handsome, well-dressed men.

Read More »