The China Box-Office Made $4.2 Million During The Spring Festival Coronavirus Closure

With 70,000 Cinema Screens Closed by the Federal Order from the Central Government of Beijing, How Did the China Box-Office Still Produce $4.2MMUSD in Ticket Sales?

By Ryan Carroll, Managing Editor

March, 2020.

In China ticket sales at the China Box-Office during the period from January 24th, the beginning of the Chinese New Year Spring Festival, to February 23rd was $4.2MMUSD compared to $1.76BnUSD over the same time-frame in 2019. According to consulting group Artisan Gateway via The Hollywood Reporter.

$4.2MM may not appear to be a lot of money but with cinemas closed down, and this money still trickling in through February 23rd. When people were not allowed to leave their homes without passing through checkpoints. Without having their temperatures taken, QR ID codes scanned, to show where they have been, when they have left their houses and for how long. This is a reasonable question to ask, and one this author currently does not have an answer to.

Ticket prices and size of movie theater houses are comparable in China as they are in the United states, so we will look at this based on an average of American cinema metrics.

Per screen grosses that are sold out, for Regal and AMC Cinemas, range between $425K-$630KUSD. Which we will adjust to $500USD for our average Chinese sold out screen, in ticket receipt revenue. The total of which would account for 8.5 “sold out” movie theater screens in China.

An average movie theater screen can seat 250-300 people, so let us for argument sake put it on the higher spectrum at 300. 

That gives us 2,550 Chinese packed into cinemas during the height of the COVID-19 coronavirus, or it suggests that maybe someone was profiteering from this crisis?

Stay Tuned China Watchers!

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About the Author

Born and raised in the Missouri-Ozarks Ryan studied Film Production, and East Asian Culture, at the University of Kansas where he was a UGRA recipient that led him on a seven-year long, Journey From the West, to China. Where he worked with Warner Brothers, the China Film Group Corp. and the National Bureau of Statistics of China. Before returning to the States, where he specializes in Chinese Anime & Comics, China’s Box-Office, and Chinese entertainment-tech industries. He has a dog in China, Abigail, and a dog in the Arkansas-Ozarks, King Blue, who help ease his anxiety of suffering from the “Two-Dimensional Complex” that is trying to understand the Culture Industry landscapes of the Middle Kingdom.