Zhou Tiedong: Internet thinking is a pseudo concept

Mr. Zhou Tiedong, who is well-known in China's film industry, gave a speech titled “Internet Thinking is a False Concept” at the conference. The following is the full text of the speech:

Zhou Tiedong: I ran to a completely different field today. I also learned a whole day and listened to a full day of classes. After listening, I strengthened my own opinion. Content determinism in the Internet age. Whether we are a platform or a channel, the final decisive thing is the content. Today, whether it is the speech in the morning or the sharing in the afternoon, we have fully proved it, especially the opinions of the teachers of Gao Jun and the opinions of the previous CEOs. , has been supporting my content determinism. After they finished speaking, I felt that I didn’t have to talk about myself anymore. Gao Gao strictly speaking, he should be my predecessor. Before I went to the New Shadow Alliance, Gao always been the Deputy General Manager of the New Shadow Alliance and worked until Retire yourself. The most glorious era of the New Shadow Alliance is the era of the High Army, and now the New Shadow Alliance is not as brilliant.

I wrote an article in September. The title of the article was that Internet thinking was a pseudo concept. On the surface, it was a bit of an ambiguity. It was not. I first put my point of view out in the September issue of the Internet Economy magazine. The point of view was particularly clear. First of all, I denied working for BAT. Working for BAT is the same as Hollywood entering China 20 years ago. First of all, this is absolutely worrying. My point is that the integration of the Internet and film and TV is not started today. From the day the network broadcasting platform was born, it was a natural extension of the film and television industry, especially in the past decade as a huge new economic growth point for the film industry. If there is no network platform or extension of the downstream platform, so-called independent films or niche films may disappear in the world.

My point is that as the platform and channel of the Internet, it is a matter of smooth growth to feed the film and television industry from the content. The joining of the film and television industry will not only have a negative impact on the film and television industry, but will increase the scale of the industry and make it traditional. The film industry is more wary of being effective. Only you have me. I have you to be a healthy industrial structure. Thanks to the Internet, with such downstream channels, as in the past food industry, past food was packed in horse manure, and now there are various kinds of packaging, its logistics and marketing links and traditions. The food industry is completely different. We now say that food may have to say the thinking of the food itself, rather than the packaging thinking of food, is the same reason.

A simple fact has been confirmed today. The Internet has been with us for more than 20 years. I should be the first Internet users in China. When the Internet was born, I was in the United States. I owned the first American AOL. In batch accounts, I have the first batch of ICQ accounts. There is no Internet in China. I already use the Internet. It has been with us for more than 20 years. Internet video has been for more than 10 years, and mobile terminals have exceeded 5 years. My conclusion is like saying that the Internet will replace cinemas. I don't think they know the Internet, either they don't understand movies, or they don't understand both, they have ulterior motives, or they both understand and have no ulterior motives. It really is about now. Industry facts.

We look back at the fact that this is very simple. The global industry has grown at the box office for five years. The United States has a window period. There are eight windows in the distribution of American films. The release of cinemas in the United States is the bottleneck of this window. The United States last year globally. It is 35.9 billion, and the United States is 10.9 billion, but 10.9 billion is only a bottleneck for American film revenue. Its cinemas only account for more than 10%, non-cinema revenue accounts for 80%, and those downstream output values ​​are those other seven. The window is the largest source of income in the United States. I used the locomotive for example, because the locomotive's power is mainly burning, so the United States because of the theater's advancement, it can pull more cars gradually, and can face war overseas, and can dig down downstream. It is because of the bottleneck that it is its brand effect. Therefore, whether the United States is a big company or a small company, it will not hesitate to do a cinema release, especially for the weekend release of cinemas. It will do carpet marketing and lure the first batch of viewers to the cinema to spread the good reputation. From this point of view, The Internet industry in the United States should be regarded as the most developed in the world. The global situation has confirmed that the Internet is absolutely a symbiotic relationship with the film, and it is not the relationship between the rising and the falling.

This is the global box office, box office in various regions of the world. The United States is accustomed to dividing the world into three big chunks. One is Europe, the Middle East, and Africa are one, the Asia-Pacific is a piece, Latin America is a piece, and then they themselves, it divides the international market into these large pieces, and the box office is growing. The growth of each region is the same as just now. It has been growing for five years. Let's take a look. China is now the largest market after the United States. Moreover, these markets are growing each year, especially in the past 12 years since the reform of the reforms in the open-line system in China, they have maintained a growth rate of 30% every year, reaching a maximum of 69%. This is the growth of the box office. It is also due to the increase in the number of screens for theaters. It reached 134,588 pieces last year, and the global growth rate was 4%, of which the Asia Pacific region grew by 1%. And the digital cinema screen has grown by 25%.

Let's take a look at the specifics. This means that the global digital 3D growth is increasing. Today, Gong, who loves Fantastic Art, also mentioned 3D technologies. It is because of the existence of theaters. It is not because the Internet will have these new technologies. The Internet just allows these new things to be extended more. The United States is very stable. It has never declined. It has maintained about 40,000, and the number of screens in the United States will always remain around 40,000. And more of it is dropping below eight screens, and the above theaters are increasing every year.

This is the use of some industry facts, especially the data of some movie industries, to prove that the Internet and movies are not rising and falling, but they complement each other and are a symbiotic relationship. Therefore, what I want to talk about below is that the Internet is an extension of the film industry's icing on the cake. I also mentioned just now that movies are strictly divided into many kinds. Like movies made in the United States, there are many theaters. It only wants international and does not want domestic and international development. Other themes are New York made in New York, Chicago in Chicago, and others based on the community, such as the Spanish community, the Russian community, some cinemas are for young people, some are niche movies, they are The score is particularly fine. In the final analysis, one is a mainstream movie, the other is a non-mainstream movie, or a popular movie and a niche movie. The status is particularly clear. When we say that movies actually have a misunderstanding, it does not have a clear orientation. The United States produces about 700 products each year. Only about 50 products can be issued, or it can be developed downstream.

The best thing to do in the United States is NETFLIX, which was originally a mail-order company in 1997. The first person was a mail-order company. The other person was a teacher. He was originally a mail-orderer, mail-order DVD, and later involved in the Internet. The streaming media on demand provider of change, his slogan is to watch TV programs online, anytime, anywhere, and now 60% of US viewers choose not to watch TV on TV and watch TV on the NETFLIX streaming media platform. 1999 began to provide fixed subscriber services. By 2009, there were 100,000 collections, over 10 million subscribers, and 55 million sets of inventory CDs. By 2007, it had already shipped 1 billion CDs. Eventually, the mail-order business had basically stalled, especially after the mobile terminal. When he relied solely on mail-order sales, his annual income was equivalent to the US movie theater box office. In 2008, the US movie theater box office reached more than 7 billion, and its revenue accounted for almost one-sixth. It increased to 26 million users in 2011. As of this year, its global subscribers have exceeded 50 million. It accounts for 32.3% of the nation's streaming media market share. Strictly speaking, it is already a monopoly, and its business has covered. Entire country.

What I want to say is that what this company is doing is not platform construction and channel construction. Its hardware construction, platforms, and channels are the default values. This does not need to be emphasized. The key is why there is such a platform and such. The channel is because it has been the most important work he has done in the past more than 10 years ago. It is also the core work of the soul, and the work that supports this platform is content construction. We can also review it and think for ourselves.

What has he done on content development since 1997? I think it's just a fusion of television. It is integrated with almost all major television productions. It not only extends the television content industry, it also magnifies the TV industry and is definitely a new economic growth point. . Almost all online dramas are inseparable from it. It has been doing content construction for so many years. No one has emphasized what it has done and invested in channels and platforms. Perhaps its biggest investment is to purchase shows or programs. Cooperation. Everyone also knows that it has done "The House of Cards," and now our sequel to "Crouching Tiger, Hidden Dragon" will be broadcast in 2015, and "Friends" will also be broadcast. This is the TV side. As for movies, all major US companies have signed with it. All the film companies' major movie content is absolutely impossible to miss the huge network platform of NETFLIX. If you miss it and don't give it to copyright, you're equal to Lost a large market.

But even if this is the case, the media is still often criticizing it and saying that its content is still not enough to satisfy. In other words, it itself claims to be a one-stop service, you can see what you want to see anywhere, anytime, but it does not, so the media will often be responsible for it.

In the content determinism of the Internet age, we all know that at the beginning of the era of tape recorders, everyone could go home and watch. Whoever went to spend money to go to the theater to buy tickets, but the movie did not die. Instead, it opened up the marketing of the film. New channels, when the film was invented, especially when the home theater was released, more and more people sentenced the cinema to death, but it did not die. Just a few CEOs have used data to prove that the global film industry is supported by downstream industries, especially Hollywood. Its profit space is completely downstream. Like "Military Impossible 4", it is in the cinema. Yes, even in the theater, the box office reaches 400 million, 500 million, because it has a lot to be divided, so its main platform is still the Internet, because of the Internet's split, it does not need to have any input, just need to put material Provided for these broadcast platforms, and its revenue is able to get 80%, copyright can take 80%, and it is a net gain.

Therefore, the downstream output value, represented by the Internet, has become Hollywood's profit support, and has become the cornerstone for independent films to survive. And these broadcast platforms, just now we have shared with everyone, like Amazon, Hulu, Showbox and so on, they have been supporting the prosperity and development of the film industry. This is because the entertainment nature of the film determines its inherent sharpness and flexibility. The production of any new technology and new media will not only weaken the film media itself, but will also increase its scale. Because I have been importing and exporting movies for more than 30 years and now I have started to make theaters. The problem is that for these platforms, especially the platforms that Wang always shared, we absolutely cannot use them enough. We can't even use them because we have no copyright. Arrangements, no content arrangement, especially with a firewall. I said here, thank you all.