NEW YORK, Dec. 8, 2022 /PRNewswire/ -- The global amine market has been categorized as a part of the global media and entertainment sector. The parent global media and entertainment market covers companies offering products, services, and solutions in advertising, broadcasting, cable and satellite, publishing, movies and entertainment, interactive home entertainment, and interactive media and services.

The amine market size is forecast to grow by USD 10,518.98 million, at a CAGR of 7.53% between 2022 and 2027, according to Technavio, Download a sample

Amine market 2023-2027: Scope

The amine market report covers the following areas:

• Market Size

• Key Trends

• Competitive Analysis

Amine market 2023-2027: Vendor Landscape

The global anime market is fragmented due to the presence of several international and domestic vendors. Vendors compete based on several factors, such as quality, price, service, brand image, distribution, and marketing. Moreover, major vendors are focusing on acquiring other small brands to increase their market presence. The increasing competition among vendors may lead to a decline in their product prices, which can negatively impact profit margins and the growth of the market.

Bandai Namco Filmworks Inc., Bones Inc., Discotek Media, Kyoto Animation Co. Ltd., PA Works Co. Ltd., Pierrot Co. Ltd., Production IG Inc., Sony Group Corp., The Walt Disney Co., TOEI ANIMATION Co. Ltd., VIZ Media LLC, and Zerochan are among some of the major market participants.

Amine market 2023-2027: Competitive Analysis

The competitive scenario categorizes companies based on various performance indicators. Some of the factors considered include the financial performance of companies, growth strategies, product innovations, new product launches, investments, and growth in market share, among others, Buy the Report

Anime market 2023-2027: Segmentation

• Content-Type

The shows or series segment was valued at USD 8,464.09 million in 2017 and continue to grow until 2021. Anime filmmakers produce many top-rated and big-budget web series, movies, and animated series, which are easily accessible through OTT services. The huge demand for OTT services globally encourages other service providers to price discounts on their services. This has resulted in increased competition, which, in turn, prompted the existing service providers to upgrade their offerings and increase investments in producing better content to gain a larger market share. Such factors are expected to drive the growth of the shows or series segment of the anime market during the forecast period.

• Type

• Geography

APAC is estimated to account for 75% of the market's growth during the forecast period. The market in APAC is mainly driven by low labor costs in the region. The region attracts animation companies from Europe and the US. Layout preparation, painting, inking, and compositing are the major activities that are outsourced to APAC. Japan, South Korea, and China are the leading countries in the market in APAC.

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What are the key data covered in this anime market report?

• CAGR of the market during the forecast period 2023-2027

• Detailed information on factors that will assist anime market growth during the next five years

• Estimation of the anime market size and its contribution to the parent market

• Predictions on upcoming trends and changes in consumer behavior

• The growth of the anime market

• Analysis of the market's competitive landscape and detailed information on vendors

• Comprehensive details of factors that will challenge the growth of anime market, vendors

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Table of Contents:

1 Executive Summary

• 1.1 Market Overview

2 Market Landscape

• 2.1 Market ecosystem

3 Market Sizing

• 3.1 Market Definition

• 3.2 Market segment analysis

• 3.3 Market size 2022

• 3.4 Market outlook: Forecast for 2022-2027

4 Historic Market Size

• 4.1 Global anime market 2017 - 2021

• 4.2 Content type Segment Analysis 2017 - 2021

• 4.3 Type Segment Analysis 2017 - 2021

• 4.4 Geography Segment Analysis 2017 - 2021

• 4.5 Country Segment Analysis 2017 - 2021

5 Five Forces Analysis

• 5.1 Five forces summary

• 5.2 Bargaining power of buyers

• 5.3 Bargaining power of suppliers

• 5.4 Threat of new entrants

• 5.5 Threat of substitutes

• 5.6 Threat of rivalry

• 5.7 Market condition

6 Market Segmentation by Content Type

• 6.1 Market segments

• 6.2 Comparison by Content Type

• 6.3 Shows or series - Market size and forecast 2022-2027

• 6.4 Movie - Market size and forecast 2022-2027

• 6.5 Music - Market size and forecast 2022-2027

• 6.6 Live entertainment - Market size and forecast 2022-2027

• 6.7 Market opportunity by Content Type

7 Market Segmentation by Type

• 7.1 Market segments

• 7.2 Comparison by Type

• 7.3 Merchandising - Market size and forecast 2022-2027

• 7.4 Theatrical - Market size and forecast 2022-2027

• 7.5 Internet - Market size and forecast 2022-2027

• 7.6 Others - Market size and forecast 2022-2027

• 7.7 Market opportunity by Type

8 Customer Landscape

• 8.1 Customer landscape overview

9 Geographic Landscape

• 9.1 Geographic segmentation

• 9.2 Geographic comparison

• 9.3 APAC - Market size and forecast 2022-2027

• 9.4 Europe - Market size and forecast 2022-2027

• 9.5 North America - Market size and forecast 2022-2027

• 9.6 South America - Market size and forecast 2022-2027

• 9.7 Middle East and Africa - Market size and forecast 2022-2027

• 9.8 Japan - Market size and forecast 2022-2027

• 9.9 China - Market size and forecast 2022-2027

• 9.10 US - Market size and forecast 2022-2027

• 9.11 India - Market size and forecast 2022-2027

• 9.12 UK - Market size and forecast 2022-2027

• 9.13 Market opportunity by geography

10 Drivers, Challenges, and Trends

• 10.1 Market drivers

• 10.2 Market challenges

• 10.3 Impact of drivers and challenges

• 10.4 Market trends

11 Vendor Landscape

• 11.1 Overview

• 11.2 Vendor landscape

• 11.3 Landscape disruption

• 11.4 Industry risks

12 Vendor Analysis

• 12.1 Vendors covered

• 12.2 Market positioning of vendors

• 12.3 Bandai Namco Filmworks Inc.

• 12.4 Bones Inc.

• 12.5 Discotek Media

• 12.6 Kyoto Animation Co. Ltd.

• 12.7 PA Works Co. Ltd.

• 12.8 Pierrot Co. Ltd.

• 12.9 Production IG Inc.

• 12.10 Sony Group Corp.

• 12.11 The Walt Disney Co.

• 12.12 TOEI ANIMATION Co. Ltd.

• 12.13 VIZ Media LLC

• 12.14 Zerochan

13 Appendix

• 13.1 Scope of the report

• 13.2 Inclusions and exclusions checklist

• 13.3 Currency conversion rates for US$

• 13.4 Research methodology

• 13.5 List of abbreviations

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Email: media@technavio.com
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