ESP-4011

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2025-08-18

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Vol. 10 No. 8 (2025): Published

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Research Articles

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Copyright (c) 2025 Zhongyu Zhao, Hasrul Hashim* and Ammar Redza Ahmad Rizal

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How to Cite

Zhongyu Zhao, Hasrul Hashim, & Ammar Redza Ahmad Rizal. (2025). The impact of OTT platforms on the cinema industry and audience preferences in China : A case study of tencent video. Environment and Social Psychology, 10(8), ESP-4011. https://doi.org/10.59429/esp.v10i8.4011

The impact of OTT platforms on the cinema industry and audience preferences in China : A case study of tencent video

Zhongyu Zhao

Faculty of Social Science And Humanities, Universiti Kebangsaan Malaysia, 43600 Bangi, Malaysia

Hasrul Hashim

Faculty of Social Science And Humanities, Universiti Kebangsaan Malaysia, 43600 Bangi, Malaysia

Ammar Redza Ahmad Rizal

Faculty of Social Science And Humanities, Universiti Kebangsaan Malaysia, 43600 Bangi, Malaysia


DOI: https://doi.org/10.59429/esp.v10i8.4011


Keywords: OTT Platforms; tencent video; platform imperialism; Chinese cinema industry; audience preferences; algorithmic recommendation; media ecology; content production strategies; film distribution models

Abstract

The purpose of this qualitative study was to investigate how Chinese audience preferences and the film business are impacted by OTT platforms, specifically Tencent Video. To look into content creation, audience behaviour, and changing film distribution models, a total of six expert interviews and six generational focus groups with Gen Z, Gen Y, and Gen X participants were held. While generational comparison offered insights into changing media consumption patterns, the research used a case study technique to discover content strategies and platform governance mechanisms through thematic analysis. Tencent Video was found to be an example of platform imperialism due to its vertical integration of production and distribution, integration of algorithmic recommendation systems, and emphasis on monetisation through VIP models and exclusive access. Diverse generations' responses to these frameworks revealed diverse adaptations: Gen Z showed algorithmic engagement and multi-device adaptability, Gen Y represented hybrid consuming patterns, while Gen X showed pragmatic or hostile attitudes towards platformization. Growing conflicts between platform control and user autonomy were brought to light by discontent with monetisation logics across all cohorts. This paper develops an interpretive framework to describe the socio-technical reorganisation of China's film industry by fusing Platform Imperialism with Media Ecology Theory. In addition to influencing what is created and consumed, Tencent Video, as an infrastructure and content curator, also changes audience expectations, the value of films, and their theatrical importance. The results add to more general conversations about generational media transitions, digital governance, and cultural sovereignty in the Chinese context.

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