Image Source @视觉中国
On May 10th, "The Avengers 4: The Final Battle" (hereinafter referred to as "Reunification 4") exceeded 4 billion in the country, second only to "Wolf 2" (5.68 billion) and "Wandering Earth" (46.5) Billion), ranking third in the domestic box office history list. Although it has been released for 22 days, the current "Reunion 4" still maintains the second-quarter box office in China.
By the time the eyes were released, the global box office had reached $2.5 billion (17.1 billion yuan), less than $300 million behind Avatar, directed by Cashen. At the latest exchange rate, the domestic harvest is worth more than $600m, second only to $720 million in the local market, accounting for about 53 per cent of the total box office of the two places alone.
According to the statistics, in the sense of the big end of the over-the-air "infinite legend", "Reunion 4> almost won the box office of all the countries of the world, but only in Japan is in a bitter battle." According to the picture. com, the title of the box office in Japan is held only a week, and in the second week of the second week of the release, the fourth-week-old detective, Coonan, is the first to return to the top with a total of 44,000 people and 5 million yen.
As of May 12, Founding 4 had exceeded 4.8 billion yen in Japan, setting the best score of 11 years in the Marvel series, but there was still a lot of gap with the 7.9 billion yen of Detective Conan: cyanotic fist. Why is Marvel, who is "lonely and defeated" all over the world, difficult to capture the Japanese market?
Marvel in Japan: repeatedly defeated, difficult to taste a win
Combing the achievements of Marvel Film Universe in Japan, we will find that Hollywood's number one series of gold-sucking films have been repeatedly defeated in Japan-before 2019. Marvel's best performance in Japan is just ninth place in the Avengers League of the year, with many films ranking 40th and 50th in Japan's annual box office rankings.
Subtly, starting with Iron Man, Marvel's first phase grossed less than 1 billion yen at the box office in Japan, and the Invincible Hulk and Captain America even ranked above 100. Of course, Marvel movies during this period are still trying to cultivate fans, and the box office is excusable. Until 2012, the Avengers Alliance, which the heroes gathered, won 3.2 billion yen in one fell swoop and raised its annual ranking to ninth place.
However, the situation of other countries taking off after the incubation period is very different. Since then, most of the Marvel's single-player movies have not improved significantly in Japan. Only a few regiments and "Spider-Man: Return of Heroes" barely entered the top 20 In fact, there are many works in the middle of the 50. For example, "Iron Man 3" and "Raytheon 2: Dark World" ranked 2nd and 19th in the Chinese market, and ranked 18th and 58th in Japan respectively. Strong as the "Avengers" can only be on the brink of the top 10, Japan seems to have built an "enchantment" for Marvel.
On the other hand, as many as 15 of the 22 works of the Marvel Film Universe have never won even one week in Japan, including all Iron Man, Captain America, and the Galaxy Guard. An independent film with "The Ant Man." In addition, although the entire Marvel series had six summits at the time of opening the painting (at the box office), the first two of the Avengers and Dr. Singular have avoided the popular schedule. Fan "Reunification 4" finally succeeded in winning the single-week title in terms of the number of people in the "strong dialogue".
Not only is it difficult to gain the upper hand in competition, but the global box office of Marvel Film has also been difficult to break through.
It should be noted that even if the growth rate of the box office in Japan is stagnant, Japan, with a population of 120 million, will still produce 222.5 billion yen (about 13.6 billion yuan) in the box office in 2018, and it will be more than 200 billion yen for the fifth consecutive year. The third largest movie market is an important ticket position for Hollywood blockbusters. However, looking at the 22 works of the Marvel Film Universe, the global share of the Japanese market is surprisingly stable, with most of it falling between 1% and 3%, which does not match the global “third pole” identity.
In contrast, Marvel's fan base in China has expanded sharply over the same period, with Iron Man, for example, accounting for 1.93% of the mainland, almost the same as Japan's 1.48% over the same period. By the time the mainland grossed more than 4 billion yuan at the box office, its global share had soared to more than 26 percent, while Japan still stayed at 1.6 percent-that is, after 11 years of long operations, Marvel was almost "zero growth" in Japan.
No matter how big the waves are in the rest of the world, the Japanese market seems to be indifferent, and it seems that Japan has become a "sad heart" of superheroes. However, if it is not limited to the scope of the "Marvel Movie Universe", the "Spider-Man" trilogy produced by Sony at the beginning of this century has also been sold in Japan, winning 7.5 billion, 6.7 billion and 7.1 billion yen. In the first two quarters, Japan was the largest overseas ticket warehouse outside of North America. But when it comes to the restart version of "Amazing Spider-Man", Spider-Man seems to have lost its appeal at once, and both of them have shrunk to 3 billion yen in Japan. The latest "Spider-Man: Return of Heroes" also falls within this range.
Marvel fancy marketing, the Japanese market is not moved
In the face of such an "unfriendly" Japanese market, Marvel has not been unmoved.
The first is to let the key film wrong peak release. As early as 2008, Marvel set the appearance time of Iron Man at September 27, nearly five months later than in other areas, or even later than the "invincible Hulk" that opened the painting in the summer. Unlike China, where strict quota restrictions are imposed on imports, Marvel's move is aimed at avoiding Japan's 4, May hit schedule in the hope that Iron Man will win a "good start" in the Japanese market. But the strategy was not surprisingly effective, with Iron Man still earning only 830 million yen, not even in the top 50 of the year.
"Iron Man" only accounts for 830 million yen.
However, this did not shake Marvel's determination, in the Avengers League schedule, Marvel still postponed the Japanese release time. For example, the first Avengers did not land in Japan until August 14, while the rest of the world began painting at the end of April and early May, while Avengers 2: the Austrian era was also delayed by two months.
Kevin Fitch, who was propagating to Japan at the time, explained that this is the "Avengers" distribution strategy in Japan: Marvel's superhero is not well known in Japan, so it is not the same as the choice of propaganda. At the release time, it is better to postpone the film release time to the time after the movie box office hot sale, because the film continues to set a box office record in other countries, which is itself a very attractive way of publicity."
But it backfired: although the first two Avengers both broke 3 billion yen and were already "prominent" in their own series, they were still trapped in the invisible "ceiling". Perhaps aware of the limited effect of postponing the release, the Avengers Alliance, which began last year, chose to be released synchronously, so that the third and fourth directly collided with the theater version of Detective Conan, the National Animation.
In order to adapt to the new strategy of simultaneous global release, Marvel's marketing in the Japanese market can be described as hard-working, but it has little effect. For example, before the release of "Avengers 3: Unlimited War" last year, the issuer tried to capture the "doom-out" atmosphere in the film, trying to capture the fear of disaster in the local audience. .
Avengers 3: infinite War Marketing in Japan
This is the case, in the face of the three-week "Detective Conan: Zero Executioner", the "Avengers 3: Infinite War", which is fully attacked, is still being crushed in the movie, but with a higher average The price was slightly ahead of the box office, and ended with only 3.74 billion yen (about 230 million yuan), which made Japan the only market in the Avengers 3: Infinite War. The "Detective Conan: Zero Executive" has a long-term lifeline of 9.1 billion yen (about 560 million yuan), making Marvel fans stunned.
By this year, compound 4, which knew its strength was not good, had even played a joint promotion with the famous detective Conan: cyanotic fist of the same period, raising attention in a way of "rubbing heat." It is not difficult to explain why Marvel held its premiere and fan festivals in China and South Korea, and mainly Kazi attended all the publicity in person, but only dubbing actors attended the "special screening activities" in Japan. And from the sound of the "practice" to the shrine.
This year, "Reunification 4" and Conan played a joint marketing
From the results, "Reunification 4" only refreshed the series with a new two weeks, and achieved a "week tour" on the top of the championship, but was still quickly released two weeks ahead of the "Detective Conan: 绀Blue Fist defeated - even if it was the heat of Conan, it did not make "Fulian 4" even more than a week of box office champion.
Japan's "new normal": real people have ebb, animation is the mainstream
In fact, Hollywood's live-action movies have had a "honeymoon period" in Japan: since the 1980s, with the Japanese economy's take-off and consumption levels, the Japanese film market has also grown rapidly, and the number of mobilized audiences has been stable for 1 year. More than 100 million people, Japan once became the most important overseas market for Hollywood movies.
In almost 30 years, Hollywood's real-life visual effects have been shown in Japan, and they have all won good box office results. From "Alien ET" (13.5 billion yen), "Jurassic Park" (12.85 billion yen) to "Peaceless Robbery" (13.5 billion yen), "Phantom of the Star Wars" (127 Hundreds of yen), there has also been a "miracle" of "Titanic" long-term life to 26.2 billion yen. In the first 10 years of the new century, the first three "Harry Potter" sold 20.3 billion yen, 17.3 billion yen and 13.5 billion yen respectively. "Avatar" also took an amazing profit of 15.6 billion yen.
Avatar Japan Poster
During this period, Japanese films relied mainly on Ghibli animation to fight against it, "Spirited Away" (2001, 30.8 billion yen), "Halle's Moving Castle" (2004, 19.6 billion yen) The box office of "Princess Mononoke" (1997, 19.3 billion yen) and "Goldfish on the Cliff" (2008, 15.5 billion yen) is still at the forefront of history.
In the era when the Chinese market has not yet emerged, the Japanese audience has also embraced the Hollywood live-action film that is leading the world in production. It has become the most important ticket warehouse for American studios. According to statistics, from 2000 to 2009, Japan’s imported films have surpassed local works in terms of market share for seven years. This phenomenon is quite similar to the domestic market that shouted “Good Laihu” after 2010.
However, with the stagnation of the overall growth of the Japanese film market and the stylized stereotype of Hollywood live-action films, more and more mature Japanese audiences are no longer flocking to it, but will play their love for animation works to the extreme. In Japan, where the quadratic industry is extremely developed, not only the Changqing Theater Edition, such as "Detective Conan" and "Doraemon", has reached new highs year after year, but also many new ones have reached the big screen through the image. Animation has often occupied four to six of the top 10 in recent box office rankings, the only one in the world's largest markets.
The highest local box office in Japan in 2018 TOP10 (Source: China Film News)
Japanese viewers' preference for animated films can also be seen in the performance of Hollywood animated films in Japan. Although the Marvel series has average results, Disney/Pixar animations have achieved excellent returns in the Japanese market. In 2014, "Frozen" completed an amazing 16-week championship and eventually entered the top three in history with 25.9 billion yen. In addition, "Toy Story 3" and "Finding Nemo" also seized a huge harvest of more than 100 million US dollars.
Japanese consumers' love for animation is inextricably linked to the development history of their animation culture.
After World War II, cartoonists, represented by Shizuka, brought great psychological comfort to the Japanese people at that time by creating works expressing reflection on life and peace. In the 1970s, Japan's economy entered a period of rapid development, and the outline of living standards and the increase of work pressure led to a huge demand for relaxed and pleasant cultural consumption content, all kinds of hot and blood. As a result, love has been sought after by all ages. With the development and reform of animation culture, animation plays a very important role in the daily life and spiritual world of the Japanese people, and also promotes MiyazakiHayao and other animation masters to become national directors.
Hayao Miyazaki's "Spirited Away" breaks the box office record in Japan
After the 1990s, a large amount of capital entered the animation industry, which led to many breakthroughs in Japanese comics in terms of painting techniques, production techniques, and conceptual design. Coupled with the turmoil in the game industry and the booming Internet industry, the boundaries of animation consumption and secondary culture have been greatly expanded. In today's society, the animation culture has not only been limited to entertainment itself, but has fully penetrated into all levels of Japanese society, so that national-level IP such as "Detective Conan", "Pokémon" and "One Piece" can easily form " The grand occasion of a call for one hundred.
Marvel, which thrives in the global market, is "out of time" when it comes to Japanese viewers who are more and more interested in animation.
"Bohemian Rhapsody" topped the 2018 Japan Box Office Championship
It can be said that animation has become the "king of the Japanese market", and the water and soil of Marvel movies is not convincing. For the highly mature Japanese market, the period of high-conceptual production has already passed, and more local productions that fit local tastes are on the rise. This trend is still deepening. Perhaps this will be the future picture of many latecomers.
For the Chinese film industry, it seems that the process is being repeated. In addition to the ten-year final work of Marvel's layout, in recent years, the import of large films in China hasn't made great success, and many Chinese film viewers have started to throw up on Hollywood's ``beauty'' .
However, unlike the rise of anime films in Japan, there seems to be no type of film in China that will not fall behind in the positive competition. Perhaps with the rise of more industrialised military films and science fiction films in China, with the precise control of the cost of shooting and the unique grasp of the tastes of the audience, domestic films will have the strength to participate in the competition with Hollywood's top production. However, for the domestic film industry, this is still a patient way to cultivate.
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