Skip to main content
Disciplines
Automotive Business IT + Informatics Construction + Real Estate Electrical Engineering + Electronics Energy + Sustainability Insurance + Risk Finance + Banking Management + Leadership Marketing + Sales Mechanical Engineering + Materials
Events
DE
EN
Books
Journals
Topic Page
Marketing
Start single access now
Access for companies
EXTENDED SEARCH
Log in
Top
Published in:
Introduction Read chapter Read first chapter

2019 | OriginalPaper | Chapter

10. Proposal for a New Participatory Creative Production Model

Author : Patrice Poujol

Published in: Online Film Production in China Using Blockchain and Smart Contracts

Publisher: Springer International Publishing

Log in

Activate our intelligent search to find suitable subject content or patents.

search-config
loading …

Abstract

In the previous chapters, I observed how the production process of the Chinese creative industries sector evolved since 2001. I have studied the dynamics of this system from a macro to a micro level and I have identified obstacles that potentially affect both production efficiency and the emergence of new local creative talents. There is a need for a new model, at least for a model that encompasses certain changes. In the wake of the threat of receding box office revenues (Yan 2016), how can Chinese cinema further develop and support the emerging film makers?

Dont have a licence yet? Then find out more about our products and how to get one now:

Springer Professional "Wirtschaft+Technik"

Online-Abonnement

Mit Springer Professional "Wirtschaft+Technik" erhalten Sie Zugriff auf:

  • über 102.000 Bücher
  • über 537 Zeitschriften

aus folgenden Fachgebieten:

  • Automobil + Motoren
  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Elektrotechnik + Elektronik
  • Energie + Nachhaltigkeit
  • Finance + Banking
  • Management + Führung
  • Marketing + Vertrieb
  • Maschinenbau + Werkstoffe
  • Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

inform now

Springer Professional "Technik"

Online-Abonnement

Mit Springer Professional "Technik" erhalten Sie Zugriff auf:

  • über 67.000 Bücher
  • über 390 Zeitschriften

aus folgenden Fachgebieten:

  • Automobil + Motoren
  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Elektrotechnik + Elektronik
  • Energie + Nachhaltigkeit
  • Maschinenbau + Werkstoffe




 

Jetzt Wissensvorsprung sichern!

inform now

Springer Professional "Wirtschaft"

Online-Abonnement

Mit Springer Professional "Wirtschaft" erhalten Sie Zugriff auf:

  • über 67.000 Bücher
  • über 340 Zeitschriften

aus folgenden Fachgebieten:

  • Bauwesen + Immobilien
  • Business IT + Informatik
  • Finance + Banking
  • Management + Führung
  • Marketing + Vertrieb
  • Versicherung + Risiko




Jetzt Wissensvorsprung sichern!

inform now
previous chapter Participatory Involvement and Focus Groups with Emerging Creative Talents
next chapter Conclusion
Footnotes
1
In a flatter structure, this role is delegated to one trusted central line Producer with sole authority with the Producers to access and disburse the production accounts.
 
2
Investors, government, corporate partners.
 
3
Including, music, camera, sound, art, and drama departments.
 
4
Renamed just 10 days before production in broken English Sword Hidden To Pull.
 
5
Originally a commission charged for risks associated with discs breaking during the distribution process. Except for the niche Vinyl market, this process is now obsolete in a digital distribution model and the fee is therefore unjustified.
 
6
This fee was charged initially to cover the cost of printing and transporting 35 mm copies of films: each copy could cost an average of US$6000–8000 and weighted about 28 kg for a feature film. Depending on the circulation territory, a popular film would typically require a few hundreds of copies for a release.
 
7
Be it casting or sales agent.
 
8
This will be developed in the Sect. 10.3 of this chapter.
 
9
This will be discussed into more details over Sects. 10.2 and 10.3.
 
10
As previously explained in Chap. 6.
 
11
Phones being kept outside of the set or being switched off is customary during a film shoot. This is as much to avoid embarrassing pictures to be leaked to the press as to limit distractions among cast and crew. For instance on Ghost in The Shell, no pictures were taken on set unless people were accredited to do so. A Non-Disclosure form was signed by all the people allowed to access the shooting location.
 
12
Fame in terms of business is also connected to capital, where actors and Directors can become bankable.
 
13
Although this has to do with social recognition, it is slightly different from fame, because instead of being praised for market success, one is praised for their hard-work and hard-earned talent and skills.
 
14
I have represented the more central and micro-circles with heavier lines as they are more pervasive for the artists.
 
15
As seen in Chaps. 6 and 9.
 
16
This responsibility is sometimes mitigated in case of acts of God or unforeseen circumstances.
 
17
As mentioned in Chaps. 4 and 7.
 
18
Although Creative Hong Kong and the FDF are estimated to be much smaller than the CFF’s, they contribute to fund local filmmakers. The HAF contributes expand Hong Kong filmmakers’ reach to Pan-Asian and worldwide creative collaborators. However, their integrity as local fund might be threatened in the near future by the ambitions of the local Hong Kong government to comply with the Chinese market (Wong 2016a).
 
19
These festivals feature a sub-section for young filmmakers in the margin of the official selection which is mostly buried in the overall programming. Very little access is given to these filmmakers to network with professional filmmakers unlike in the early days of Sundance where Quentin Tarantino started his career by being able to connect with filmmakers such as Terry Gilliam.
 
20
As mentioned in Chap. 6.
 
21
One of the film category is about Shenzhen theme related films.
 
23
They feature crowdfunding and sometimes crowdsourcing simultaneously like in the case of Hit Record, Slated or Wreckamovie.
 
24
Kickstarter takes a 5% brokerage commission, while Indiegogo takes a 4% commission on accepted and funded projects.
 
29
Looper also had Chinese elements due to the partnership with Chinese production company DMG entertainment. The film was also partly shot in Shanghai to increase its chances to be distributed in China.
 
30
Many of these companies are in gaming which is outside of the direct remits of this work.
 
31
See Appendix 10 and 11 for more details about these companies.
 
32
Braid raised over US$1.4 million equivalent in Ethereum for its production budget in 2017 (Arnon 2017; Token Talk 2018).
 
33
https://s3.amazonaws.com/tribeca_cms_production/uploads/document/document/5ad9602cb5b6e23e1cf747ea/Braid_Press_Notes.pdf.
 
34
Esperanto was originally proposed as an international language by Dr. Ludwig L. Zamenhof, a Polish physician, who published it in 1887.
 
35
http://​www.​bitfilmfund.​com/​ (at the time of the publication of this work, bitfilmfund has already stopped its activities and the portal is closed).
 
36
Another potential issue about Altcoins and Blockchain is security. In light of recent hacks on the DAO (April 2016) and several exchanges including Gate Coin and Bitfinex, it is still a model in its infancy which needs to be well designed and experimented if translated to film production. Starting with short films or low budget independent films would be a wise way to operate.
 
39
Interviews with Lars Bjorck on 6th December 2017, Los Angeles, US and 2nd January 2018, Bangkok, Thailand.
 
41
https://www.cardano.org/en/team/.
 
42
One idea is the possibility for all the nodes of this decentralised system to agree on one token (preferably a stablecoin) or to exchange tokens instantly without the intermediary of a centralised exchange (atomic swap). Cardano has been working on a model which would also interoperate different chains and tokens. If this system is rolled out, it would also greatly facilitate this process.
 
43
Lumiere or Lumière [芦明] (c) 2016 is based of an idea developed by the author from 2014. Not to be associated or mistaken for copycat name Lumiere Token (lumiere.blocktoken.ai and lumieretoken.io), which has recently emerged in 2018 while this book was published. It seems that Lumiere Token have been trying to take the opportunity to raise funds through an ICO first before switching to STO mode during the bear crypto-market.
 
44
See Appendix 10 for web references and short descriptions of some of these models and solutions. Amazon Web Services (AWS) is however currently promoting blockchain-based solutions, which the blockchain and crypto communities have been so far rather critical about (how can a large centralized entity promote decentralization?).
 
46
CTQuan is a hybrid system also positioning itself as co-Producer of projects.
 
47
iChuangye proposes to give its crowd-investors equity ownership in exchange for funding.
 
52
Tron could however surprise since they purchased P2P network BitTorrent in 2018 and set a strategic alliance with one of the largest crypto-exchanges in the world, Binance.
 
53
Most of these large organisations are developing blockchain technology in the form of private chains.
 
54
As seen previously in Chap. 7.
 
55
As seen previously in the case of the CFF (Chap. 4 and this chapter), Chinese Government initiatives have been limited by bureaucracy and corruption.
 
56
See Appendix 10 for the corresponding websites.
 
57
As seen previously in Chap. 5 – Smart contracts imply the transfer of any documents which can be documents, sound or video files and which can act as part of a set protocol.
 
58
At the Microwave Festival on 11th November 2018, Jack Cheng, CMO at SingularDTV (Breaker) Hong Kong announced SingularDTV’s ownership and release of Prospect (by Christopher Caldwell and Zeek Earl) and Happy Workers (Executive Produced by David Lynch). Launchpad, the crowdfunding module of SingularDTV (Breaker) is also working with a local Hong Kong talent, Ho Fung, on funding his film After Graduation, what’s next?
 
60
2018 and 2019 are seeing the rise of such coins in a bear market structures: with the controversy surrounding Tethers (USDT) potential collateralisation issues, coins such as True USD or Circle amongst many others have emerged.
 
61
Each of these intermediaries are typically paid 10% commission. It can go up to 25–35% for distributors in the West. In China, certain background actors’ casting agents take as much as 80% of their talents’ commission.
 
62
For instance, Hong Kong law prohibits crowd investors from taking any profits from their donations. On 5th September, following an ICO ban in China and tighter restrictions in Korea, the Hong Kong Securities authority was looking to regulate the ICO ecosystem in Hong Kong. In either case, it makes the market less prone to fraud and it is a necessary step for blockchain and smart contract technology to be widely adopted by mainstream creative users. Other countries like Singapore have not adopted such measures, which offer an alternative for platforms who do not want to align with Beijing rules.
 
63
Aside from banking, it is estimated that one of the first sectors to implement blockchain technology for reasons of transparency and fair distribution of funds should be the charity sector (Davies 2015; Allison 2016).
 
64
This would be rewarded as much by the online feedback as by the personal satisfaction and passion factor.
 
65
The Man from Bitcoin was looking to raise CNY30 million: http://​Bitcoinworldtour​.​org/​2016/​05/​17/​imovie-crowdfunding/​
 
66
Or other Chinese online corporate champion.
 
67
Or following the distribution window chronology.
 
69
Although neither China nor any other countries would be particularly or consistently targeted.
 
Literature
Altabás Fernández, Ciro (2014). ‘Autofinanciación y crowdfunding: Nuevas vías de producción, distribución y exhibición del cine español independiente tras la crisis financiera española.’ Historia y Comunicación Social. 19. March. pp. 387–399.
Baranova, Darya and Artur Lugmayr (2013).‘Crowd Intelligence in Independent Film Productions.’ In Artur. Lugmayr, Heljä Franssila, Hannu Kärkkäinen, and Janne Paavilainen, (eds.). Proceedings of the 17th International Academic MindTrek Conference. Tampere, Finland: Association for Computer Machinery (ACM). pp. 182–186.
Bauwens, Michel, and Vasilis Kostakis. 2014. Network Society and Future Scenarios for a Collaborative Economy. Basingstoke; New York: Palgrave Macmillan.
Blockgeeks. 2018. “What is Ethereum Casper Protocol? Crash Course” Blockgeeks, June. https://​blockgeeks.​com/​guides/​ethereum-casper/​
Blocktribune. 2018. “First Ethereum-Backed Feature Film ‘Braid’ Bows at Tribeca Film Festival.” Bitnewsbot, April 14. https://​bitnewsbot.​com/​first-ethereum-backed-feature-film-braid-bows-at-tribeca-film-festival/​
Bo, Federico. 2018. “Cinema, entertainment and blockchain: An overview of international projects” Medium.com, June 18. https://​medium.​com/​swlh/​cinema-entertainment-and-blockchain-an-international-projects-overview-e9ca7a8d1798
Browning, Anni. 2011. General Manager of Film Finances International, Sydney Office. Meeting Face to Face in Beijing and Hong Kong and Telephone Interview on August 8, 2011.
Burkitt, Laurie (2015). ‘Chinese Theaters Face Scrutiny Over “Ghost Screenings”.’ The Wall Street Journal. [online]. Available: http://​www.​wsj.​com/​articles/​chinese-theaters-facescrutiny-over-ghost-screenings-1457496727 [Accessed 14th September 2016].
Buterin, Vitalik. 2016. Presentation of the DAO at KPMG Offices in Hong Kong – June 7. Hong Kong.
Chapas, Agustin. 2015. Chairman of China Film Networking Group, a Networking Group of 260 Film Industry Professionals as of 10th August 2018, Including Representatives from Alibaba, Bona Films and Huayi Brothers Connected through Wechat with Its Administrator Physically Located in Shanghai.
———. 2016. Chairman of China Film Networking Group, a Networking Group of 260 Film Industry Professionals as of 10th August 2018, Including Representatives from Alibaba, Bona Films and Huayi Brothers Connected through Wechat with Its Administrator Physically Located in Shanghai.
Chu, Jehan. 2018. “Meet Up with Ethereum core developer Lane Rettig.” Hong Kong Ethereum Association, February 6.
Coen, Joel, and Ethan Coen. “Blood Simple.” US: Circle Films, 1984.
Coppola, Francis Ford. Apocalypse Now. US: Paramount Pictures, 1979.
Crypto Insider. 2017. “BRAID Token Sale Spearheads Next-Generation Film Financing” CryptoInsider. https://​cryptoinsider.​21mil.​com/​braid-token-sale-spearheads-next-generation-film-financing/​
Dweck, Carol (2006). Mindset. NewYork: Ballantine Books.
Fang, Yunyu Francesca. 2014. Former Journalist for Global Times and China Daily. Interviewed in Beijing from 2011 to 2014 and by Email on 28th May 28 2014.
Gan, Bi [毕赣]. 2016. “Kaili Blues [路边野餐, Lù Biān Yěcān].” China: Capricci Films.
Glachant, Isabelle. 2009. CEO and Producer at Chinese Shadows and Asian Shadows, Head of Unifrance in Beijing. Interview in Beijing in December 2009 and ongoing conversations and email contact until 2014.
Gordon-Levitt, Joseph. 2013. “Don Jon.” US: Hit Record Films, Voltage Pictures and Relativity Media.
Graeber, David. 2001. Toward an Anthropological Theory of Value: The False Coin of Our Own Dreams. Basingstoke, Hampshire; New York: Palgrave.
Gubbins, Michael. 2012. “Digital Revolution: Active Audiences and Fragmented Consumption.” In Digital Disruption: Cinema Moves On-Line., edited by Dina Iordanova and Stuart Cunningham, 67–100. St. Andrews: Dina Iordanova.
Harvey, Dennis. 2018. “Tribeca Film Review: ‘Braid’” Variety, April 23. https://​variety.​com/​2018/​film/​reviews/​braid-review-1202780131/​
Hurtado, Patricia, Bain Benjamin, and Russo Camila. 2018. “U.S. Judge Says Initial Coin Offering Covered by Securities Law” Bloomberg, September 11. https://​www.​bloomberg.​com/​news/​articles/​2018-09-11/​u-s-judge-says-initial-coin-offering-covered-by-securities-law
Jenkins, Henry (2006a). Fans, Bloggers and Gamers: Exploring the Participatory Culture. London; New York: New York University Press.
Jenkins, Henry, Sam Ford and Joshua Green (2013). Spreadable Media: Creating Value and Meaning in a Networked Culture. London; New York: New York University Press.
Johnson, Rian. 2012. “Looper.” US, China: China Film Group, DMG Entertainment, Sony Pictures.
Johnson, Derek. 2007. “Inviting Audiences In: The Spatial Reorganisation of Production and Consumption in ‘TVIII’.” New Review of Film and Television Studies. 5 (1): 61–80.
Kassovitz, Mathieu. 2008. “Babylon A.D.” France, US: Canal+ and 20th Century Fox.
Keane, Michael. 2013. China’s New Creative Clusters: Governance, Human Capital, and Investment. Media, Culture and Social Change in Asia. London; New York: Routledge.
———. 2013. Creative Industries in China: Art, Design and Media. China Today. Cambridge: Polity.
———. 2015. The Chinese Television Industry. London: Palgrave Macmillan.
Keane, Michael, and Stephanie Hemelryk Donald. 2002. “Responses to Crisis: Convergence, Content Industries and Media Governance.” In Media in China: Consumption, Content and Crisis., edited by Michael Keane, Stephanie Hemelryk Donald, and Yin Hong. New York: Routledge, 3–17.
Lee, Philip. 2005. Hong Kong’s Film Industry: A path to enter the global market in the new century. PhD Thesis, Hong Kong Polytechnic University.
Lobato, Ramon, Julian Thomas and Dan Hunter (2011). ‘Histories of User-Generated Content: Between Formal and Informal Media Economies.’ International Journal of Communication. 5. pp. 899–914.
Lowenstein, Stephen. 2000. My First Movie: Twenty Celebrated Directors Talk about Their First Film. New York: Pantheon Books.
Lukas K. 2018. “Multisig wallets (storing $300M+). Is it the best way to store your millions raised during an ICO?” Medium.com, April 19. https://​medium.​com/​cryptodus/​multisig-wallets-storing-300m-is-it-the-best-way-to-store-your-millions-raised-during-an-ico-7845465e3dca
Marotta, Jenna. 2018. “Netflix’s Content Budget for 2018 Balloons to $13 Billion — Report” Indiewire, July 6. https://​www.​indiewire.​com/​2018/​07/​netflix-original-content-spending-13-billion-1201981599/​
Mauss, Marcel (1965). The Gift: Forms and Functions of Exchange in Archaic Societies. New York: Norton.
Meng, Bingchun. 2012. “Underdetermined Globalization: Media Consumption via P2P Networks.” International Journal of Communication. 6:478–83.
Melchior, Maarten. 2015. Key Partner at Netherlands-Based Collection Agency Fintage Collection Account Management B.V. Series of Informal Interviews at the Beijing International Film Festival (April 2015) and through Subsequent Emails and Face-to-Face Meetings until 2018.
Menant, Aurélien. 2016. CEO of Hong Kong-Based Blockchain Startup Gatecoin. Series of Interview in Hong Kong in April 2016 and throughout 2017.
Nolan, Christopher. “Inception.” US: Warner bros, 2010.
Oulmekki, Sélim. 2015. Interview with Sélim Oulmekki, Beijing: Media consultant based in Beijing since 2007 who worked with Lu Chuan [陆川] and now executive for Hi-Show Entertainment. Series of informal interviews in Beijing and through Wechat.
Oulmekki, Sélim. 2017. Media Consultant Based in Beijing since 2007 and Who Worked with Lu Chuan [陆川]. Now International Affairs Executive for Hi-Show – Entertainment since 2016. Series of Informal Interviews in Beijing, Hong Kong and through Wechat from 2015 until 2018.
Partz, Helen. 2018. “Ethereum to Combine Casper and Sharding Upgrades” Coin Telegraph, June 16. https://​cointelegraph.​com/​news/​ethereum-to-combine-casper-and-sharding-upgrades
Pilarski, Aymerick (2016). Cameraman on The Great Wall, Outcast, and DoP on The Heart of Konba. Series of interviews in Beijing and through Wechat.
Rosu, Grigore. 2017. “IELE: A New Virtual Machine for the Blockchain” Runtime Verification, December 15. https://​runtimeverificat​ion.​com/​blog/​iele-a-new-virtual-machine-for-the-blockchain/​
Sennett, Richard (2008). The Craftsman. New Haven: Yale University Press.
Shaffer, Leslie (2015). ‘Is there really money to be made in Chinese movies?’. CNBC. September 23 [online]. Available: http://​www.​cnbc.​com/​2015/​09/​23/​monster-hunt-broke-chinamovie-records-but-cinema-profitability-unclear.​html [Accessed 18th October 2015].
Shershow, Aaron (2015). Line Producer on Iron Man 3 and the Marco Polo TV Series, Producer of Morning Paris. Series of informal interviews in Hong Kong, Beijing and through Wechat.
Silver, Jon, and Frank Alpert. 2003. “Digital Dawn: A Revolution in Movie Distribution?” Business Horizons. 46 (5):57–66.
Solsman, Joan. 2018. “Will cryptocurrency fund the next indie film hit?” Cnet, April 23. https://​www.​cnet.​com/​news/​will-the-next-indie-film-hit-be-brought-to-you-by-blockchain-like-braid/​
Sun, Alexandra (2016). Hong Kong-based Distributor and Film Producer at The Film Library. Series of informal interviews in Hong Kong, Beijing, and through Wechat.
Terranova, Tiziana. 2000. “Free Labour: Producing Culture for the Digital Economy.” Social Text, 63 18 (2): 33–57.
———. 2004. Network Culture: Politics for the Information Age. London: Pluto.
Token Talk. 2018. “Braid - The First Crypto Funded US Film” TokenTalk, May. https://​www.​tokentalk.​co/​TokenTalk/​braid-the-first-crypto-funded-us-film-5ae87ea2aba91028​42637853
TrustNodes. 2018. “Ethereum’s Casper and Sharding Delay Disappoints, But Can the 2020 Deadline be Reached?” Trustnodes.com, July 8. https://​www.​trustnodes.​com/​2018/​07/​08/​ethereums-casper-sharding-delay-disappoints-can-2020-deadline-reached
Voutas, Sam. “King of Peking.” US, China: Crowdfunded – Kickstarter and Zongchou, 2017.
Wang, Philip, Wesley Chan, and Ted Fu. 2016. “Everything Before Us.” US: Wong Fu Productions.
Wong, Silvia. 2016b. “Man-Made Citizen.” Screen Daily, March, 18.
Zhang, Rui (2016). ‘Film producer kneels down begging for more showtime.’ China.org. May 13 [online]. Available: http://​china.​org.​cn/​arts/​2016-05/​13/​content_​38446127.​htm.​
Metadata
Title
Proposal for a New Participatory Creative Production Model
Author
Patrice Poujol
Copyright Year
2019
Book
Online Film Production in China Using Blockchain and Smart Contracts

Print ISBN: 978-3-030-02467-3

Electronic ISBN: 978-3-030-02468-0

Copyright Year: 2019

DOI
https://doi.org/10.1007/978-3-030-02468-0_10

Premium Partner

    Image Credits