Feng Xiaogang's Comedy Brand Communication Research

Feng Xiaogang is one of the iconic directors in the process of industrialization ofChinese movies. From his first New Year comedy film “Party A, Party B” in1997, to hislatest work “Personal Tailor” in2013, Feng’s comedy films are always the importantguarantees of box-office receipts in china. Reviewing of Feng Xiaogang’s growth path, wecan say that “originated in the comedy, thriving on the comedy”. When he was appointed thechief director of2014CCTV Spring Festival Evening, in a sense that Feng’scomedic achievements had been officially recognized, not only the popular works.In fact, we can use a variety of theories to study Feng’s comedy films, such as filmology,marketing principles, sociology, rhetoric, mass-communication. And what has beenrecognized is Feng’s comedy films have become a famous brand in China. To be sure, Feng’scomedy brand is not only commercial, but also cultural, social, ideological.In the background of the government’s promoting the development of cultural industry, andthe substantial growth of Chinese comedy films, it is meaningful to searching on theuniqueness of Feng’s comedy brand.This article’s structure and logic is not follow the time sequence, and tthe analysis anddiscussion is closely focusing on the concept of brand. The introduction involves thebackground and significance of the whole article, analysising the existence of Feng’s comedybrand, which is the base of this article. Text contains foue chapters. In this first chapter, weelaborate the strategy of brand positioning in Feng’s comedy films through the analysisingof the types and audiences. In the second chapter, we discussing the Feng’s comedy brandcharacteristics through narrative structure, design of plot, humor of Beijing style,political parody, Earthly warmth and the humanities concern. The next chapter ofbrand communication strategies is the key part of this article, which is including themechanism of movie stars, the supporting of Huayi Brothers, Product Placements,commercial promotions and topical speculations, Showing a variety of factors thatboost Feng’s comedy brand formation. In the last chapter, we point out three enlightenmentsof the domestic films which are given from the Feng’s comedy brand:the strengthen ofdomestic films can’t be without the Brand strategy; the construction of domesticfilm brand should be fully grasp the commercial and artistic; the domesticfilm market should be based on building diversified brand system.