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Zendaya and Tom Holland were in Shanghai. They walked around the city, stopped for matcha and noodles, and quickly travelled across Chinese social media and beyond. They were there to launch Spider-Man: Brand New Day. Shanghai hosted the cast and became the first city to screen 26 minutes of exclusive footage. China was also among the film’s first release markets, two days ahead of North America. Zendaya and Tom Holland take a selfie with fans in a Shanghai Noodle restaurant

The question isn't cinema or digital. It's which job each one is actually good at — and China's media landscape makes that distinction sharper than most. Different jobs, not competing channels Brand growth needs both attention and action. Cinema leads on awareness and memory: attention, emotion and brand stature. Digital leads on consideration and action: research, comparison and response. The two roles overlap, but each is strongest at a different stage of the brand journey.

Cinema advertising in China isn't a single product. Four formats cover four different jobs, from broad national reach to a fully branded audience experience — and picking the right one starts with the objective, not the inventory. Network Pre-Show: broad reach, scalable awareness The widest-coverage format, built for brands prioritizing national reach over concentrated impact in a handful of venues. This is typically where a market-entry campaign starts. Premium Placement: th

In 2023, Kantar surveyed roughly 16,000 consumers across 23 markets for its Media Reactions Ad Equity ranking — a measure of which advertising channels people actually appreciate, rather than merely tolerate. Cinema came in at #2 globally, behind only sponsored events, and ahead of out-of-home, point of sale and digital out-of-home. For a brand weighing where to spend a limited China budget, that ranking is worth pausing on. A channel audiences choose, not one they endure Mos