本文選題：保底發(fā)行 + 博弈論�。� 參考：《當(dāng)代電影》2017年10期

【摘要】：保底發(fā)行不僅是各發(fā)行方之間,發(fā)行方與制片方之間的博弈,而且由于保底協(xié)議簽訂雙方,影片與觀眾、股民與上市發(fā)行公司之間的信息不對稱,影響著受眾觀影福利和電影產(chǎn)業(yè)的資源配置。只有實(shí)現(xiàn)資源的高效合理配置,才能使保底結(jié)果達(dá)到理想狀態(tài),即影片實(shí)際票房高于保底數(shù)字,且差額合理,發(fā)行方盈利,擁有資本發(fā)行更多項(xiàng)目,而制片方也無強(qiáng)烈改變策略的愿望,有資金和信心制作更多優(yōu)秀影片,此時(shí)方達(dá)到一種良性正向激勵(lì),使資金在電影產(chǎn)業(yè)合理循環(huán),創(chuàng)作更多優(yōu)質(zhì)影片。
[Abstract]:Underwriting is not only a game between the issuers, the issuers and the producers, but also because of the asymmetric information between the parties to the underwriting agreement, the film and the audience, the shareholders and the listed issuing company, It affects audience viewing welfare and the resource allocation of film industry. Only by realizing the efficient and reasonable allocation of resources can the bottom guarantee result reach the ideal state, that is, the actual box office of the film is higher than the guaranteed figure, and the difference is reasonable, the issuer is profitable, and he has more items of capital issue. The producers have no strong desire to change their strategies, and have the money and confidence to produce more excellent films. At this time, they can achieve a positive incentive to make funds in the film industry to create more high-quality films.
【作者單位】： 中國藝術(shù)研究院;
【分類號(hào)】：J943

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