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A Study on The Strategy Of "Social Media Loop" Of Chinese Commercial Films--Taking Chen Sicheng's Film as An Example

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Abstract

Today's Chinese film industry is thriving, and there are many commercial films that have achieved high box office. So how to stand out from the crowd and get high box office is a question to ponder. Therefore, this paper starts from the study of Chen Sicheng's commercial film's media marketing tactics to explore the media marketing strategy of Chinese commercial film constitutes the closed loop of media marketing. Such a study is significant, not only in terms of how it helps a high-grossing film come to life, but also in terms of the positive lessons such marketing strategies can have for other industries. Finally, this paper finds that the media marketing strategies for Chinese commercial films include, but are not limited to, localising the scripts with current hot topics, and providing a large amount of exposure before and after the release of the film, such as roadshows and appearances of the protagonists on variety shows, in order to attract traffic to the film. These media marketing strategies form a closed media marketing loop that positively impacts the box office of commercial films. But "excessive viral marketing and consumption of hot topics" can have a negative impact. Thus, according to this paper, the marketing of films should be done in a proper way.
Journal of Education, Humanities and Social Sciences
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Volume 28 (2024)
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A Study on The Strategy Of "Social Media Loop" Of Chinese
Commercial Films--Taking Chen Sicheng's Film as An Example
Ying Zhang *
School of Journalism & Communication, Shanghai Jian Qiao University, Shanghai, 201306, China
* Corresponding Author Email: 196131101@mail.sit.edu.cn
Abstract. Today's Chinese film industry is thriving, and there are many commercial films that have
achieved high box office. So how to stand out from the crowd and get high box office is a question
to ponder. Therefore, this paper starts from the study of Chen Sicheng's commercial film's media
marketing tactics to explore the media marketing strategy of Chinese commercial film constitutes the
closed loop of media marketing. Such a study is significant, not only in terms of how it helps a high-
grossing film come to life, but also in terms of the positive lessons such marketing strategies can
have for other industries. Finally, this paper finds that the media marketing strategies for Chinese
commercial films include, but are not limited to, localising the scripts with current hot topics, and
providing a large amount of exposure before and after the release of the film, such as roadshows
and appearances of the protagonists on variety shows, in order to attract traffic to the film. These
media marketing strategies form a closed media marketing loop that positively impacts the box office
of commercial films. But "excessive viral marketing and consumption of hot topics" can have a
negative impact. Thus, according to this paper, the marketing of films should be done in a proper
way.
Keywords: Chinese Film; Media Marketing; Commercial Films; Social Media Loop.
1. Introduction
Commercial cinema, as opposed to literary cinema, seeks primarily the market value of the box
office and its derivatives, with the goal of consumer acceptance, and refers to films that are made to
make a profit. At the same time, commercial films continue to incorporate a variety of elements to
cater to the tastes of different types of audiences in order to maximise profitability. Throughout the
history of commercial cinema in China, it started at the same time as China's film industry. Still in
the silent film era, China had its own commercial film. The release of The Orphan Saves the Ancestor
at the end of 1923 can be said to have confirmed the dual status of Chinese cinema as both art and
enterprise. Between the 1920s and the early 1930s, the Chinese film market gradually saw the
emergence of profit-oriented films, and even the formation of the first large-scale wave of commercial
films in the history of Chinese cinema. In the 1990s, Chinese commercial films stood out and slowly
went global, until today, they gradually have their own place in the world film market.
In the development of Chinese commercial films, there are many outstanding works that stand out,
such as Zhang Yimou's Ambush on Ten Fronts, Hou Yong's No Thieves Under Heaven, and Tang
Jili's The Myth and so on. A closer look at the reasons for these films' great box office numbers
reveals the need for not only good scripts, but also media marketing in the pre-production as well as
post-production stages of the film. Therefore, this paper starts from analysing Chen Sicheng's
explosive commercial films to explore the closed loop of media marketing of Chinese commercial
films.
Chen Sicheng, born in Shenyang in 1978, graduated from the Central Academy of Drama. Initially
a rookie actor, he became well known to the audience for his role in the TV series Soldier's Assault
in 2006 and was later nominated for the Best Actor Award at the 62nd Cannes Film Festival and the
Outstanding Supporting Actor Award at the 3rd British Manx International Chinese Film Festival. In
2014, he won awards such as the MSN New Director Award and the Most Anticipated Director of
the Year from LeTV for the film Beijing Love Story, which he wrote, directed and starred in, and has
since ventured into the world of directing. Until today, Chen Sicheng has created a variety of
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explosive films, such as the reasoning IP that he is bent on creating - the Detective Chinatown series,
and the Manslaughter series have good box office figures. The box office figures for Detective
Chinatown 1, 2 and 3 showed a gradual upward trend, at RMB 820 million, RMB 3.4 billion and
RMB 4.52 billion respectively. Although its Douban rating is not high, and the public has mixed
feelings about the film, it is undeniable that the film has achieved its goal of profitability. Leaving
aside the artistry of the film, on the level of commerce, he has achieved the maximum value of a
commercial film.
This is especially true of the recent film Lost in the Stars, written and produced by Chen Sicheng.
According to the data of Cat's Eye Professional Edition, the total box office of the 2023 film Dragon
Boat Festival has 909 million and Lost in the Stars has reached 507 million in the slot, becoming the
box office champion of the 2023 Dragon Boat Festival. On the 12th day of the film's release, the
cumulative box office of the film reached 2,385 crores. Such high grossing film will make one ponder
how this is possible. Therefore, this paper starts from analysing the box office figures and Chen
Sicheng's promotion for the film in the early and late stages, in order to specifically study the "closed
media marketing loop" of such Chinese commercial films.
First of all, Chen Sicheng has achieved the "sinking of all aspects", on the one hand, the "sinking
of scripts", that is to say, the purchase of the original overseas film scripts and localization. On the
other hand, the "sinking of the audience", that is to say, to comply with the aesthetics of the target
group, and do not make the question of choice between pandering to the elegance and pandering to
the vulgarity. Secondly, he has a great passion and precision for current affairs, and many film scripts
are localised to capture the hot topics of the day, and the material is selected and taken in relation to
the hotspots. For example, the topic of women's rights, such as domestic violence, is still hot in real
life, and "Lost in the Stars" digs deeper into it. Real-life anxieties about class are bluntly depicted in
Lost in the Stars in the classic tale of the simple rich girl and the dark underbelly guy. In addition to
this, he has created a deduction IP exclusively for Chen Sicheng. This particular genre of suspense
not only meets the needs of its target demographic, but its clever setting overseas also contributes to
the scale of the film's creation, constantly enhancing the drama of the film's plot. In the film's post-
promotion, the interview of the person involved in the Thai pregnant woman's cliff fall case after
watching Lost in the Stars was retweeted several times, using hot topics to render the audience's
emotions again and stirring up people's emotional resonance. The official account of the film on short
video platforms such as Shaking Voice released from time to time the viewing reflections of the on-
site viewing group, making use of the audience to achieve the secondary publicity effect of the film.
Media marketing strategies such as these were key factors in the explosion of Lost in the Stars. From
the beginning of the script design to the post-promotional stage, a closed media marketing loop has
been formed.
2. Literature Review
In today's all-media era, many scholars have researched media marketing in the film and television
industry, as the role of media marketing is becoming more and more significant in all walks of life.
In their study, Zhang Jing and Yang Shuyuan point out that the marketing aspect is an extremely
crucial part of the development process of today's film and television industry and enterprises. But
today's traditional film and television industry marketing concepts and models still have certain
problems and need to be improved. In this regard, two scholars put forward rectification suggestions,
such as: event marketing, brand marketing, new media marketing, and constantly improving the
efficiency of film posters and so on [1, 2]. In her research, Wu Jingqing takes the film "Small Times"
as an example and proposes that today's society is in the Internet era and big data is everywhere, so
if China's film and television industry wants to break through the bottleneck and gain long-term
development, it must rely on the development of science and technology, and the two complement
each other. The study also points out that a key factor in the box office success of a film is "media
marketing". The first step is to use big data to analyse a large amount of user data and then tap into
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the audience of the genre. Then according to the characteristics of the audience group to develop a
film marketing plan, such as the use of Microblogging, Shaking Voice and other new media platforms
to start interactive marketing. The star's own traffic is used to continuously stimulate the fan effect
and generate positive interactions with fans and even passers-by. The traffic of network interaction
will in turn continuously increase the exposure of the film, thus achieving the effect of multiple
publicity. Therefore, Wu Jingqing's study emphasises that the Chinese film industry must also
continue to optimise its own media marketing capabilities in order to take the path of sustainable
development, and the promotion and distribution of "Small Times" is a good example of this [3].
Similarly, the profound impact that big data has had on the film and television industry is mentioned
in the studies of Ling Zhang and Eirini Sifaki; Maria Papadopoulou [4,5]. Many scholars also focus
on studying the important role of Microblogging in film marketing [6].
Chen Fachang's research also points out that the integration of online literature and film and
television also fully draws on new media marketing. For example, the "fan economy" plays an
extremely important role in this process. In the process of the integration of network literature and
film and television, the fans are mainly divided into two major parts, namely, the original fans of the
literary works and the fans who are inspired by the stars. The existence of both types of fans has
contributed to the adaptation of literary works as well as to film and television. Specifically, the
recognition of the work by the fans of the original work leads to the formation of a strong and resilient
"clique". At the same time, literary works will give rise to derivative products such as peripheral
products, and fans of the original works are undoubtedly one of the mainstays of this consumer group.
Behaviours such as consuming the periphery in turn generate multiple promotions of the work,
resulting in media marketing [7]. Times are evolving and today's society is an era of integrated media.
In her study, Li Ziwei then pointed out the deepening influence of integrated media on Chinese film
marketing. On the one hand, the media carrier of the collection of integrated media provides multi-
faceted output channels for film promotion. On the other hand, it is more conducive to film and
television in the era of integrated media to do a good job of big data statistics, so as to accurately
locate the film's production and publicity [8]. In his study, Shengjie argued that film and television
companies should reasonably analyse the characteristics of different marketing platforms and
combine them with the company's positioning [9].
Some scholars have also studied the media marketing strategies of Chen Sicheng's commercial
films. Liu Luoqi pointed out that Chen Sicheng, who acted as the screenwriter and producer of the
film "Lost in the Stars", really did "sink the audience". The study highlights that Chen Sicheng
analyses the audience of his films and understands the preferences of such audience, and then
combines them with current hotspots to produce film scripts that are truly "interesting". At the same
time, in the choice of actors, Chen Sicheng will choose actors who bring their own flow and are highly
malleable. And then use the star's own traffic to trigger the "fan effect", so as to play a certain role in
the media marketing of the film [10]. Similarly, He Hongyuan and Suo Yabin also pointed out in their
study that the attempt of film series is one of the media marketing strategies of Chen Sicheng's
commercial films, of which the classic representative is the "Detective Chinatown" series. Series of
films will make the creative space of the film wider, and the IP value derived from the series of films
is even more considerable [11, 12]. Yang Qing and Peng Kang also suggested in their study that Chen
Sicheng is adept at creating inferential IPs and will pinpoint the market [13, 14].
The above studies and theories help readers to understand some background information, from
which it can be seen that although there are many scholars in this field of research, there are few
articles that study the "closed-loop marketing" formed by the media marketing strategy of Chen
Sicheng's commercial films. However, it is important to study the strategy of "closing the media
marketing loop" for commercial films, not only in terms of creating a high-grossing commercial film,
but also for the sustainability of other industries. Therefore, this paper will start from analysing Chen
Sicheng's film to explore the strategy of "closed loop media marketing" for Chinese commercial films.
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3. Methodology
The research methodology of this paper uses case studies as well as observation in qualitative
research. Specifically, this article observes the official Shaking Voice accounts of some of the films
on Shaking Voice, such as the film Lost in the Stars, directed and produced by Chen Sicheng. This
official account now has a total of 1,972,000 followers and a total of 120 million likes. A closer look
at the film's official account reveals that the account released its first Shake video on 2023.02.06 to
announce the film's scheduling, and the video gained 28,000 likes and generated a lot of buzz among
netizens as soon as it was sent out. As you can see, the film's pre-promotion played a role. And from
before to after the film's release, the film's official Shaking Voice account was always active, one of
the videos that received 850,000 likes was about actor Zhu Yilong's live material, so it's not hard to
see that the star's own traffic was also attracting traffic to this film. All of these media marketing tools
continued to draw the distance between the film and the audience between the tangible and the
intangible, stirring up the desire of more viewers to watch the film and buy tickets for the film. In the
process of adopting observation, all the film-related data observed in this paper are from the film's
official account in Shaking Voice, Xiaohongshu or other multimedia platforms to ensure that all the
data are authoritative and true.
4. Results
Through the study, this paper draws the result that some of the Chinese commercial films that have
achieved better results cannot be separated from the closed loop of media marketing constituted by a
series of media marketing tools. Specifically for the study of Chen Sicheng's commercial films, this
paper finds through observation that one of Chen Sicheng's marketing strategies for commercial films
is to "continuously increase exposure in the pre-promotional stage of the film." Specifically, in
addition to the necessary poster publicity in the pre-promotional stage of the film, the main performers
of the Tang Detective cast and crew all landed on Happy Camp, which increased the exposure of the
film's main characters, and further increased the traffic based on the use of the star's own traffic, so
that maximized its flow rate, and built-up momentum for the film's airing. A marketing strategy that
this paper also finds through observation is "roadshow promotion around the country during the film's
run." Specifically, Chen Sicheng had roadshows in Shenzhen, Changsha, and other places during the
run of his film Lost in the Stars. During the roadshow, Ni Ni and Zhu Yilong, the main characters of
the film, interacted with the audience after the screening to share the content of the film with their
fans; they also had a Q&A session with some major media outlets as well as self-trafficked web
celebrities to achieve the effect of promoting the film. In addition to this, the marketing strategies
identified in this paper through observation include "Creating and promoting scripts that incorporate
current hot topics." Chen has not only localised the film based on the introduction of the original
overseas film script, but also combined it with current hot topics. For example, lost in the Stars
combines the hottest topic of women's rights at the moment. In the film's post-promotion also
achieved vertical publicity, that is, focusing on women's rights and interests, vertical users directly
oriented to women, reverse marketing bromance.
5. Discussion
According to the findings of this paper, one of the media marketing strategies for Chinese
commercial films is "increasing exposure in the pre-promotional stage of the film". In Chen's pre-
promotional strategy for the film, this includes making promotional posters for the film, taking the
film's protagonists to nationally recognised variety shows such as Happy Camp, opening the launch
party, conducting roadshows and so on. It's not unreasonable to need to promote a film through
multiple channels even before it's released. First of all, today's Chinese film market is thriving and
there is no lack of good works in the film market, then how to stand out among the many films and
become a dark horse, which will become an unavoidable problem. As long as this problem is solved,
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that will enhance the core competitiveness of the film. The pre-publicity for many of Chen's films
pays special attention to this. Secondly, today's society is in an all-media era, film publicity can make
use of the different qualities of different medias to achieve the effect of multiple publicity. The right
amount of exposure before a film's release has many benefits, the most immediate effect being a spike
in the box office. Take the Chen Sicheng-produced Lost in the Stars, because of its pre-publicity,
exposure for the film's broadcast to accumulate a lot of traffic, so once Lost in the Stars was released,
its attendance rate for a period of time to take the first place steadily, just 12 days after the release of
the cumulative box office reached 2.385 billion yuan. And Chen Sicheng, director and producer of
the Tang Detective series of films is also in line with the "Matthew effect", the use of three films plot
of the local link for the audience to create a unique Tang Detective universe, which for Tang Detective
4, 5 and even 6, 7 to lay the plot and flow of the foundation. The Tang Detective IP created by the
Tang Detective film series also has its added value, which can generate co-operation with food, real
estate and other industries to achieve the linkage of different industries, thus generating huge
economic benefits and promoting the progress and development of society. Therefore, such media
marketing strategies are not only crucial for the sustainability of China's film industry, but also have
positive implications for other industries.
This article also observes that Chinese commercial films also conduct roadshows during the film's
release. For example, Chen Sicheng's film "Lost in the Stars" had roadshows in Shenzhen, Changsha
and other places. Roadshows can achieve good publicity effect without the following points. Firstly,
the fans attracted by the "star aura" of the film's protagonists and the fans of the film's original script
will form a huge "fan effect", which will add colour to the film's publicity and form a good publicity
effect. Secondly, during the roadshow, the main characters Ni Ni and Zhu Yilong interacted with the
media, and the press releases produced by the media later on will again promote the film. Finally, the
roadshow will invite some netizens to come to the scene to watch the film. In the roadshow of the
film "Lost in the Stars", the internet personality "MO" was invited. It's not a coincidence that MO
was invited to the roadshow for the film "Lost in the Stars". MO's debut work was a make-up imitation
(imitating Yeon Jin, the lead actress of Dark Glory, which was a hit drama at the time). After carefully
observing the celebrity's videos after her appearance in the circle, all of them are in this style, and at
this time, MO already has a certain amount of traffic base. So, the publicity team of Lost in the Stars
seized this point and also invited MO to carry out Ni Ni imitation make-up, making use of MO's own
traffic flow for diversion, which had a good publicity effect. Finally, the cast and crew's publicity
team filmed the immediate viewing reactions of the audience and continuously placed them on
multimedia platforms such as Shaking Voice and Xiaohongshu in order to achieve the effect of
secondary publicity.
"Combining current hotspots for script creation and promotion" is also an important marketing
strategy for Chen Sicheng's films with good box office figures. In terms of script selection, overseas
film scripts are localised to be more in line with Chinese aesthetics. In terms of setting, Chen Sicheng
wisely avoids the limitations of a crime deduction film, with all of his stories taking place overseas.
This will allow more room for creative play in the film, making it easier to make a big effort in
multiple areas to create a stronger visual impact and bring an exciting viewing experience to the
audience. In the post-promotion of the film after its release, it is even combined with the current
hotspots. For example, in the post-promotion of the film "Lost in the Stars", the current hot topic of
women's rights was used to reverse market bromance in order to arouse more women's emotional
resonance, so that many women bought tickets and entered the cinema for this purpose.
As a result, the study finds that for a commercial film to be a box office hit, it is indispensable to
have the necessary media marketing tools, which include, but are not limited to, the combination and
localisation of the script with the current hotspots, the pre-promotional campaigns prior to the release
of the film, and the roadshows conducted by the post-promotional campaigns. These necessary media
marketing strategies form a closed media marketing loop that fuels the film's box office success.
However, in the course of research, this paper also finds that there are some problems with this
kind of media marketing strategy. For example, will the "viral marketing" caused by multi-channel
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marketing cause resentment among some consumers and thus produce negative effects? Do films
such as Lost in the Stars deliberately use hot topics of women to consume women? In response to
some of the problems arising from this type of marketing strategy, this paper argues that, whether it
is "film marketing combined with hot topics" or "viral marketing" need to grasp the "degree", and
this "degree" need to rely on the grasp of some market research to control.
6. Conclusion
In this paper, we start from analysing and studying the media marketing methods of the
commercial films produced and directed by Chen Sicheng, in order to study the strategy of "closed-
loop media marketing" for Chinese commercial films. Upon previous research, it’s found that the
media marketing strategies of both Chen Sicheng and the Chinese film industry as a whole are more
or less the same. These strategies include, but are not limited to, the polishing and localisation of the
film script before shooting, the massive publicity before the release of the film in order to gain traffic,
and the roadshow to increase the exposure of the film in the process of the release of the film. These
media marketing tactics will continue from the time before the release of the film to a long period of
time after the film has been broadcasted, which constitutes a "closed loop of media marketing". Each
link in this closed loop is crucial. If the script is not localised and the main audience is still Chinese,
even if there is a lot of publicity in the middle and late stages of the film, it will not necessarily strike
an emotional chord with the audience, and the box office will naturally be affected. Similarly, massive
publicity before the release of the film is essential. This approach will make full use of the fan effect
in order to achieve adequate traffic to the film, which will lay the foundation for traffic to the
upcoming film. Also, the various media marketing techniques used during the film's release should
continue to work. This cascading approach to media marketing will step by step fuel traffic and
continue to drive traffic to the film, and in the end, the most direct result achieved will be the film's
box office figures. Of course, there are some problems that we should reflect on, such as the negative
effects of excessive "viral marketing and consumption of hot topics". In view of the possible problems,
this paper proposes to conduct sufficient market research to grasp the appropriate "degree".
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Article
Full-text available
With the development of science and technology and the continuous changes of social environment, the development prospect of traditional cinema is worrying. This work aims to improve the publicity effect of movie posters and optimize the marketing efficiency of movie posters and promote the development of film and television industry. First, the design concept of high grossing movie posters is discussed. Then, the concept of movie poster analysis based on Deep Learning (DL) technology is analyzed under Big Data Technology. Finally, a movie poster analysis model is designed based on Convolutional Neural Network (CNN) technology under DL and is evaluated. The results demonstrate that the learning curve of the CNN model reported here is the best in the evaluation of model performance in movie poster analysis. Besides, the learning rate of the model is basically stable when the number of iterations is about 500. The final loss value is around 0.5. Meanwhile, the accuracy rate of the model is also stable at the number of iterations of about 500, and the accuracy rate of the model is around 0.9. In addition, the recognition accuracy of the model designed here in movie poster classification recognition is generally between 60% and 85% in performing theme, style, composition, color scheme, set, and product recognition of movie posters. Moreover, the evaluation of the model in the movie poster style composition suggests that the style composition of movie poster production dramatically varies in different films, in which movie posters focus most on movie product, style, and theme. Compared with other models, the performance of this model is more outstanding in all aspects, which shows that this work has achieved a great technical breakthrough. This work provides a reference for the optimization of the design method of movie posters and contributes to the development of the movie industry.
Research on integrated marketing in China's film and television industry
  • Zhang Jing
Zhang Jing. Research on integrated marketing in China's film and television industry. Shandong Normal University, 2013.
Research on film and television marketing in the context of big data--Taking the film "Small Time" as an example. Chinese collective economy
  • Wu Jingqing
Wu Jingqing. Research on film and television marketing in the context of big data--Taking the film "Small Time" as an example. Chinese collective economy, 2022, 68-70.
Research on the impact of "big data" on film and television marketing. Modern Communication
  • Zhang Ling
Zhang Ling. Research on the impact of "big data" on film and television marketing. Modern Communication (Journal of Communication University of China), 2014, 165-166.
Exploration of the all-media marketing model of network literature + film and television
  • Chen Fachang
Chen Fachang. "Exploration of the all-media marketing model of network literature + film and television". Publishing wide angle, 2018, 63-65.
New ways of marketing domestic films in the context of integrated media
  • Li Ziwei
Li Ziwei. New ways of marketing domestic films in the context of integrated media. Media Forum, 2020.
Research on new media marketing strategy of film and television enterprises
  • Sheng Jie
Sheng Jie. Research on new media marketing strategy of film and television enterprises. Chinese Literary Artist, 2017, 257.
Producer Chen Sicheng: I accept all the audience's ideas. China Film News
  • Liu Luoqi
Liu Luoqi. The Vanishing of Her. Producer Chen Sicheng: I accept all the audience's ideas. China Film News, 2023.