Factores que inciden en la Educación Motriz

The practice of product placement under the Hollywood model involves four participants: the brand company, the film studio, the product placement agency, and a third-party evaluation company. Briefly, the brand company, also known as the advertiser, is responsible for providing the products and identifying what message they want to transmit to the audience and what goal they want to achieve. It is also important to point out that the manufacturer can directly participate in creating the product placement scripts. The responsibility of the film studio is to offer a film script and identify where the product placement can be inserted. As Wasko summarised:

This department (studio) serves as an intermediary between the filmmakers and the corporate marketers or their agents. The studio executives who are dedicated to product placement

21_{)n , Wasko used the term full-fledged to describe the}

Hollywood film _{industry. She stated, During the s, product} placement evolved into a full-_{fledged industry , .}

frequently interact with film producers, prop masters, and other production people, as well as with executives from other studio department (2003, 157).

The product placement agency is in charge of matching the right product to the right plot, and negotiates with brand company and the film studio. Finally, the third-party evaluation company collects relative data from audiences and evaluates the effectiveness of the product placement, creating a report for the manufacturer, film studio, and product placement agency.

However, these responsibilities are different in the Chinese film industry. Specifically, it operates a particular commercial mode of product placement that is dependent on the film-production process. In Chinese product placement practice, there are three roles: the

manufacturer, the film studio, and the product placement agency. The manufacturer s responsibility is to introduce the product it wants to promote and for what purpose, and to decide what information it wants to convey to the audience. The film studio provides the film script to the product placement agency, and the film producers decide on the

product placement deals. The most important role, with the most responsibilities, is that of the product placement agency. The product placement agency participates in almost every part of the process. For example, it creates a product placement script for the manufacturer and film studio, while representing the film studio and the manufacturer in negotiations. It is also responsible for monitoring the execution of the product placement during the making of the film; if there are any problems, the agency is responsible for communicating with the film director in order to make modifications. After the film is released, the product placement agency has a full evaluation system for collecting and analysing data from audiences.

The Chinese model of product placement differs from the Hollywood model in many ways, especially in relation to the vital role of the product placement agency. To be more specific, under the Hollywood model, the film studio has the right to decide the product placement deal, which is made not only by producers and other management employees, but it is also decided by those who are above-the-line , such as writers, directors, and actors (Wasko, 2003). However, in the

Chinese model, only producers have the right to make decisions about product placement deals (Wang22_{, 2013). Another difference is that in}

the implementation of product placement, the product placement agency has more responsibilities in the Chinese film industry. In other words, the other participants, such as the film studio, have fewer responsibilities and less power. For example, in Hollywood the film studio identified where the product placement script can be integrated into the film script, whereas in the Chinese film industry this is done by the product placement agency, which creates a specific product

placement script that is added to the original film script. Additionally, there is no third-party evaluation company in the Chinese film industry; its responsibility is carried out by the product placement agency. Unlike Hollywood, the Chinese film industry does not pay enough attention to this important link. This final link is necessary, because it is the only way to examine how effective the product placement is, what kinds of product placement really make sense to audiences, and what product placement audiences like. A final difference is that in the Chinese film industry the manufacturer does not generally get involved in creating product placement scripts. All creative tasks are the responsibility of the product placement agency.

It is clear that the product placement agency has been empowered in the Chinese film industry s model of product placement, which is very different from (ollywood s model. At the same time, the responsibilities of the film studio and manufacturer are relatively fewer. The power

balance in the process of implementing product placement in China is not the same as in the Hollywood industry. This raises a question of whether this uneven distribution of power is influencing how Chinese practitioners maintain their power. Does empowering the product placement agency imply that this agency has more privileges in the operation of product placement? The particular operational model of product placement in the Chinese film industry has led to debate about how different groups of practitioners contend their actual and potential power in product placement deals.

Conclusion

This chapter has provided a historical overview of how the Chinese film industry has developed since the early cinema period, and has

examined the patterns of change and continuity in the industry during the twenty-first century. Internal development and external influence has led to the emergence of product placement as a crucial expansion strategy for the Chinese film industry in this century. This chapter has also provided an overview of how product placement has developed in the modern Chinese film industry, and examined the distinctive role of product placement in the structure of the industry. Through a

comparative approach, this chapter has also examined the operational model of product placement in the Chinese film industry. In comparison with its role in the Hollywood model, the product placement agency is empowered by the Chinese film industry.

The Chinese film industry has been developing for approximately 100 years. Significant events have influenced and reshaped its structure, such as the Economic Reform and joining the WTO. This, in turn, has led to changes in the industry s relationship with (ollywood. )n the early cinema period, Hollywood played an important role in constructing the Chinese film industry; the industry learned everything about producing films and structuring itself from Hollywood. Even during the Economic

Reform, when the Chinese economic system was transformed from a planned economy to mar_{ket economy and China s film industry moved} toward modernisation and marketisation, Hollywood still had very strong influence on the structure of the Chinese film industry. However, rather than dominating Chinese film production, distribution and

exhibition in a direct and obvious way, (ollywood controlled audiences tastes and influenced what they wanted to watch. This motivated the Chinese film industry to produce its own blockbusters, such as Hero (Zhang, 2002).

However, in the twenty-first century government policies have altered the structure of the Chinese film industry. The Chinese government issued new policies to support the film industry at a macro level. For example, in 2010 it issued guidelines on promoting the prosperity and development of cultural industry, and identified the film industry as strategic in the realm of culture. Although the government has

supported the film industry, altering its relationship with Hollywood, the industry is still mainly under government control. A particular characteristic of the Chinese film industry is that it is not fully independent.

)n terms of the industry s financial structure, practitioners have mentioned that product placement has grown rapidly and has made significant contributions in recent years. It plays an important role in determining the structure of the industry, as it has become the second highest source of revenue after the box office. At the same time, product placement has stimulated the explicit commercialisation of the Chinese film industry_{, becoming an important part of the industry s expansion} strategies in China. Additionally, the operational structure of product placement has been designed for the specific circumstances of the Chinese film industry; therefore, it differs from (ollywood s mode of operation with regard to product placement. In the Chinese model, the

product placement agency has a more powerful role, taking on the most responsibilities in the operational process of product placement.

In the complex conditions of the Chinese film industry, with rivalry between commercial and state power, product placement has initiated a controversial debate among academics and practitioners about whether art or commerce is more important. This issue needs to be resolved urgently by the Chinese film industry. At the same time, the historical debates around state vs industry and art vs commerce are crucial themes for an examination of how different groups of

practitioners in the Chinese film industry exert their actual and

potential power through their discourses in the trade press. Therefore, the following two chapters will analyse these discourses.

Chapter 2. Discourse Analysis: Power Relation Between