Hollywood will no doubt insist that there be a higher import rate, a greater share of theatre revenues and greater control over release dates in China – trade barriers that the Chinese have exercised with undeniable intelligents to reduce the foreign dominance of their nascent but balloon film industry. Kokas: Well, I think a lot of things are going to depend on what`s going to happen with the COVID fund. So, in particular, how quickly American theaters are able to reopen and begin to really admit a large number of people in a very dense way. If that hasn`t happened for years, we may see a system of Hollywood studios that focuses almost exclusively on the Chinese market for all big-budget films. The other thing we see is that we have a transformation from where the movies are made. If the pandemic in the United States continues to be really bad, we can see a lot of what is called the production or production of other countries. This could also change the power dynamic between Hollywood and China. In this sense, IFTA asserts that China has failed to comply with the obligation to allow a private distribution industry. It is said that private companies are not duly granted, that they are always assigned to the public authorities for import authorizations, distribution dates and digital keys. In addition to censorship controls, film imports are subject to inadequate documentary controls, which are extremely expensive and increase delays in cinema access. The Chinese film market is large and rapidly growing; Last year, receipts from Chinese cinema receipts reached $2.1 billion.
Much of this revenue came from 3D titles, a fast-growing sector of the film industry. The USTR had reopened the 2012 film agreement on behalf of the film industry on the occasion of its fifth anniversary. While many sources indicate that China and the United States have reached a broad agreement in 2018 or early 2019, further progress has been halted by the bilateral trade war between the United States and China. But now, exactly three years later, the IFTA complaint of February 6 indicates that the gap between the two parties could widen again. How do you expect this influence, China`s influence on the American film industry, that could change our industry over the next four or five years? It accuses China of “putting in place informal or opaque strategies that prevent Chinese private distributors from ensuring the censorship or release date of American films by the Chinese government and preventing the payment of minimum royalties guarantees to U.S. producers.” On 10 April 2007, the United States requested consultations with China on: (1) certain measures limiting trade rights for imported films for release, audiovisual home entertainment products (. B for example, video cassettes and DVDs), sound recordings and publications (. B, for example, books, magazines, newspapers and electronic publications); and (2) certain measures that restrict or discriminate market access for foreign providers of publications distribution services and foreign providers of audiovisual services (including distribution services) of audiovisual entertainment products. Jean Prewitt, President/CEO of the Independent Film Television Alliance: “For independents, this agreement is important.