How has the global environment changed for U.S. (Hollywood) movie studios since 2000? Explain.
Apply the integration-responsiveness framework (see Exhibit 10.8) to describe which global strategy Hollywood studios followed originally, and how their strategic positioning has changed over time. Explain how and why.
Given the economics of the now global movie industry, what are the strategic implications for Hollywood studios? What are some opportunities, and what are some threats? How should Hollywood movie studios take advantage of these opportunities, while mitigating the threats?
When commenting on the disappointing performance of The Great Wall, movie executives continue to highlight the huge market opportunities in China and emphasize that they will soon find the right formula to make movies that are attractive to both American and Chinese audiences alike. Do you agree with this assessment? Why or why not?
Assuming that movie studios will be able to create breakthrough hits that are attractive for both Eastern and Western audiences, what type of global strategy would that entail? What are some benefits of this type of global positioning? What are some of its risks? Why is this type of global positioning so hard to achieve?
b. What can movie producers do to ensure that future Chinese-American co-productions are more successful? Explain.
The global environment for U.S. (Hollywood) movie studios has changed dramatically since 2000 with dramatic increases in the international market share and new markets emerging for studio productions. This is largely due to the rise of digital streaming services, which have made it easier for studios to reach a larger audience internationally and develop content that can be enjoyed worldwide. Additionally, more countries are opening up their markets, allowing Hollywood to enter into joint production agreements with local film companies in order to access funding resources and local talent.
Initially, Hollywood followed an “ethnocentric” approach towards global strategy, where they relied primarily on domestic market dynamics to inform decisions about what type of product should be created and sold abroad. However, as more international opportunities arose they began shifting towards an adaptation-localization strategy where they still focused on producing quality content but also paid attention to the needs of other cultural markets when deciding how best to customize their products for those regions. This allowed them access these new and diverse audiences without sacrificing quality or brand recognition from traditional domestic audiences.
When commenting on The Great Wall’s disappointing performance it is important not only consider that many Chinese audience members found the film too Westernized but also take into account that its success was hampered by inadequate marketing campaigns within both Eastern and Western markets alike – making it difficult for either side’s viewers gain interest in seeing the movie regardless of whether it felt authentically Chinese or American enough respectively . Thus while there may be some truth behind finding a formula attractive enough appeal both sides simultaneously ,it will require more effort than just simply seeking out potential crossover hits but rather strategically combining elements both culturally specific yet universally appealing at same time – something very hard achieve given complexities associated with appealing two disparate cultures altogether .
Assuming movie studios can create breakthrough hits attractive enough satisfy both Eastern & Western tastes ,the appropriate global strategy would need employ integration‐responsiveness framework : balancing desired degree integration between East & West against local responsiveness /customization requirements alighted suit individual target regions .Successful execution would entail incorporating elements culturally familiar I’m general sense yet customized meet particular requirements various distinct viewer groups – i e leveraging knowledge gained through localized primary research understand what makes each region unique then adjusting accordingly incorporate appropriate regional nuances narrative structure visuals etc result relevancy tailored specifically dedicated fan bases . Despite difficulties achieving this fine balance however ,the rewards reaped from succeeding far outweigh risks involved taking holistic perspective: resulting multi‐market advantages including shared production budgets increased viewership overall cost savings due shared distribution strategies reduced risk factors related lack exposure single national box office return etc provide significant incentive pursue ideal union east meets west entertainment experiences .
Finally pursuing successful Chinese‐American co productions require combination several critical elements ranging creative collaborations thorough scriptwriting techniques all way promotional tactics including crafting specialized cross‐cultural advertising campaigns designed engage broader demographic base garner maximum possible awareness even before films released theaters ensure highest chances gaining favor large portion public right start thereby increasing potential return investment generated once internationally distributed theatrically streamed digitally etc Not mention fact such endeavors involve amount patience perseverance note filmmakers must apply themselves learning customs traditions values dialects language mannerisms even customs particular region relation acting style thus really committing fully entire project truly make stand chance successful endeavor end .