Algorithmic Content Curation, Immersive User Engagement, and the Content-Platform-Social Interface: A Multivariate Examination of Consumption Determinants among Generation Z within China’s Digitally Evolved Media Ecosystem

Algorithmic Content Curation, Immersive User Engagement, and the Content-Platform-Social Interface: A Multivariate Examination of Consumption Determinants among Generation Z within China’s Digitally Evolved Media Ecosystem | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Article Algorithmic Content Curation, Immersive User Engagement, and the Content-Platform-Social Interface: A Multivariate Examination of Consumption Determinants among Generation Z within China’s Digitally Evolved Media Ecosystem Danyang Jin, Xin Ma This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-6823843/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract This study investigates the structural transformation of Chinese digital media film and television production within the context of digitalization, globalization, and diversification. The objective is to construct a model of influencing factors in digital-age content creation, analyzing the correlation between user consumption behavior and creative elements. A mixed sampling method (n = 301) was employed, utilizing scales based on motivation, consumer behavior, and stakeholder theories. Reliability and validity were assessed (α = 0.954), followed by multiple regression analysis. Results indicate that platform distribution strategies (β=-0.19) and interaction design (β = 0.017*) significantly predict user satisfaction (p²=0.02 < 0.05). The findings suggest a "content-platform-social" paradigm in digital media consumption, advocating for a Z-generation female user profile database, a thematic matrix tailored to regional markets, and the development of immersive interactive narrative technologies. This research offers a theoretical framework for digital content operation and algorithm optimization. Humanities/Cultural and media studies Social science/Cultural and media studies Digital Age Consumer Behavior Digital Media Film and Television Production Influencing Factors Figures Figure 1 Figure 2 Figure 3 1.Introduction The Chinese film and television industry is undergoing a significant transformation, precipitated by the proliferation of digital and network technologies, a phenomenon deserving of rigorous scholarly inquiry (Praprotnik, 2022). Digital media, leveraging digital technologies and network protocols, facilitates content delivery via both wired and wireless networks to computers and smart devices. This encompasses online media, mobile internet media, and streaming platforms, integrating textual, auditory, and visual elements to construct interactive audiovisual platforms (Zhou, 2020). The advent of new media, predominantly digital, has revolutionized information access, enabling accelerated and expanded dissemination and reshaping the paradigms of film and television content (Zhang, 2022 ). Simultaneously, media production has accelerated, with short-form video content increasingly supplanting long-form narratives (Lu & Nam 2021 ; Jiang, 2023 ). Consequently, digital media film and television productions have emerged as primary competitors to traditional formats (Zhang, 2022 ). In the digital era, film and television productions have become increasingly integrated into the daily lives of ordinary individuals, with a notable focus on characters from the lower strata of society. Digital media technologies have revolutionized cinematic forms (Dhiman, 2023 ; Topsümer et al., 2023 ). These advancements provide sophisticated platforms and opportunities for the production and dissemination of film and television content. Digital media film and television productions are specifically tailored for online platforms and mobile devices, characterized by their brevity and innovative themes. The target demographic typically comprises individuals with demanding work schedules and limited leisure time. However, the production and distribution of digital media film and television in China are significantly impacted by commercialization (Lin, 2020 ). Producers prioritize metrics such as transmission rates, box office revenue, and viewership, often at the expense of content quality. A substantial portion of these productions consists of entertainment-focused video compilations, frequently featuring exaggerated narratives and, at times, violent content, thereby deviating from mainstream cultural values (Liin, 2020). Digital media has also introduced novel avenues for the marketing of film and television productions (Lyu, 2024 ). Platforms such as Douyin and Kuaishou offer accessible channels for the creation and distribution of cinematic content. The internet has dissolved the boundaries of traditional media and national borders, fostering the development of new cinematic formats, such as micro-films and short videos. These productions, employing concise narratives to achieve cinematic effects, offer advantages including shorter production cycles, efficient dissemination, high return on investment, and refined production quality, enabling the rapid creation of audience-preferred content (Guo, 2024 ). The prevalence of advertising within the majority of Chinese micro-films and short videos has a sustained negative impact on the overall quality of digital media film and television productions (Zhang &Shao, 2024 ). The production of digital media film and television content in China currently operates within a complex environment of both prospects and constraints. This sector is characterized by content targeting younger demographics, diverse distribution channels, and a trend toward industrial-scale production and commercialization. Digitalization, diversification, and globalization are the primary drivers shaping its future development. Digital media technologies are facilitating information dissemination, leading to a diversification of film and television content(Gao, 2018 ). Simultaneously, audience preferences are evolving toward personalization and variety. The accelerated pace of contemporary life, compounded by increased work-related stress, has resulted in a reduction in the time available for viewing online film and television content. Consequently, online films and television series are increasingly adopting shorter formats, often under 20 minutes, with episodic dramas and short-form content gaining popularity. Digital media film and television works also offer viewers the flexibility to select individual episodes, with many incorporating interactive features (Zhang et al., 2017 ; Fang, 2022 ). However, some scholars have critiqued the significant commercialization of production and dissemination within the Chinese digital media film and television industry (Lin, 2020 ). This study seeks to analyze the consumer behavior factors influencing the production of digital media film and television works in China within the context of the digital age, with the goal of assisting content creators in capitalizing on opportunities, meeting consumer demands, and maximizing profitability. The research will encompass an analysis of film and television consumption behaviors in the digital era, including viewing preferences, content selection, and modes of interaction. Furthermore, it will explore the influencing factors on the production of digital media film and television works from the perspective of consumer behavior, culminating in recommendations for future content creation. 2. Literature Review 2.1 Film and Television Consumption Patterns in the Digital Era Contemporary film and television consumption has been significantly reshaped in recent years (Ádám & Balázs, 2021 ). The audience's engagement with media is no longer restricted to conventional formats; instead, a diverse array of channels and platforms are utilized for accessing and viewing film and television content. Prior research highlights a diversification of consumption channels for film and television viewing (Taneja et al., 2012 ). Content is now readily accessible via mobile devices, with online platforms such as Youku, Douyin, Kuaishou, iQiyi, and Tencent Video emerging as primary sources. Viewing modalities have also become more personalized, encompassing television, short-form videos on mobile phones, and cinematic experiences (particularly 3D and 4D formats). Consequently, audience habits and needs regarding film and television consumption continue to evolve in the digital age (Widen, 2024 ). Consumption of audiovisual content is trending towards fragmentation and immediacy, with audiences placing greater emphasis on entertainment value, ease of access, and personalized experiences (He, 2023; Alzubi, 2023 ). Users leverage new media to construct and enact collective identities (Lüders et al., 2022 ). Social interactions among younger generations are not limited to physical spaces; they utilize digital spaces for social engagement, which extends beyond mere self-expression (Pugliese & Vesper, 2022 ). Research by Wang & Wang ( 2024 ) reveals that the widespread use of short-form video applications recently influences users' self-concept clarity. The impact of new media on film and television consumption behavior is pervasive. Excessive use can lead to media addiction (Ho, et al., 2024 ). Alzubi ( 2023 ) examined and evaluated the evolving trends in media consumption behavior throughout the digital age, demonstrating a clear preference for digital media film and television content, particularly among younger demographics. According to Wet ( 2023 ), consumer behavior comprises five stages: problem recognition, information search, evaluation of alternatives, the ultimate choice, and post-purchase evaluation. Digital media technologies have transformed film and television consumption methods, with social media and streaming platforms gaining increasing audience favor (Alzubi, 2023 ). Digital film and television consumption provides personalized, on-demand, and interactive viewing experiences(Praprotnik, 2016 ), thereby influencing consumer behavior (Widen, 2024 ). 2.2 Factors Influencing the Production of Film and Television Content Research into the determinants of domestic film and television production, while still developing, has yielded significant insights(Xia,2022). utilized technology acceptance models and motivational frameworks to examine the factors influencing university students' consumption of film and television content. The study identified that subjective norms, anticipated emotions, perceived utility, enjoyment, and ease of use significantly predict audience viewing intentions(Qian,2022). Analyzed multiple variables affecting the creation of Chinese film and television productions, including audience preferences, producer strategies, and governmental policies (Ocak,2023). Found that factors such as cast, scripts, pricing, and word-of-mouth did not significantly impact the willingness to purchase or view film and television content. Effective distribution strategies are crucial for ensuring that film and television content reaches target audiences through channels such as cinemas and online platforms, thereby enhancing purchase or viewing intentions(Huang & Xu, Sudarmawan et al. 2024 ). demonstrated that factors such as content quality and audience attitudes influence consumption intentions. In contemporary society, fragmented visual perception has become a dominant mode of engagement, and the accelerated pace of life has reshaped consumption patterns. Information consumption is increasingly characterized by a "fast-food" approach, with limited audience attention spans (Zhao, 2017). Complex narratives and character relationships can impede audience comprehension of film and television content. Conversely, short-form video formats are gaining popularity and positively influence audience consumption intentions (Hong & Yang, 2022 ). The production of film and television content should consider audience needs and experiences, catering to their interests and aesthetic preferences. Film and television consumption is not merely an individual behavior but also encompasses social and cultural experiences(Chen & Shafi, 2024). Audiences frequently share viewing experiences, and this social interaction enhances their sense of participation and satisfaction. Therefore, the production process should facilitate audience social interaction. The digital media era offers interactive advantages for the creation of film and television content (Yu, 2023 ). In conclusion, further research is warranted on the influencing factors of digital media film and television content creation in the digital age, particularly research analyzing these influencing factors from the perspective of consumer behavior. 2.3 Research Hypotheses Based on a comprehensive review and synthesis of existing literature, this study proposes a series of core hypotheses designed to investigate and validate relevant theoretical and practical considerations. These hypotheses will be empirically tested through the acquisition of quantitative data, with the objective of clarifying user preferences concerning film and television genres, content selection, and interaction modalities. Additionally, the influence of accelerated information consumption and digital media distribution strategies on creative processes will be assessed (Fig. 1 ). H1 User genre preferences in film and television significantly impact creative production. Content creators are compelled to develop matching models, utilizing algorithmic recommendations and immersive narratives to align with audience expectations. H2 User content selection preferences substantially influence creative production. Informed by audience psychology and algorithmic analysis, user behavioral data directs the trajectory of content production. H3 User preferences for interactive modalities critically affect creative production. Creators employ interactive methodologies to enhance audience engagement, thereby transforming works into dynamic, cyclical systems. H4 User consumption of fast-paced information profoundly influences creative production. Within the context of the attention economy, advancements in media technology reshape audience perceptions of temporality and narrative expectations. H5 Digital media distribution strategies for film and television productions significantly impact creative production. Platform algorithmic recommendation mechanisms shape content creators' subject matter choices and formal innovations. 3. Methodology 3.1 Research Design This study employs a quantitative research design (Redfer, 2014). Quantitative data were collected through a structured questionnaire, and quantitative analysis methods were utilized. A combination of stratified random sampling and snowball sampling was employed to recruit 400 participants aged 18 to 45 from various digital media platforms in China. In the event that the anticipated sample size could not be achieved, 50 volunteers were recruited, each of whom invited 5–6 digital media and film enthusiasts to participate in the questionnaire survey. The questionnaire was designed to collect data on film and television consumption behaviors in the digital age, encompassing viewing preferences, content selection, and interaction modalities, by segmenting user types (age, gender, education, et al.). The questionnaire also included scales to assess the influence of digital media film and television works. The collected quantitative data were processed through frequency analysis and linear regression analysis. This investigation strictly complied with national legislation and research protocols, obtaining prior endorsement from the Ethics Committee of XXX university (Approval No. XXX) prior to initiation. Informed consent was diligently procured from all subjects throughout the survey phase. Participants in the survey provided informed consent by signing an online consent form, The informed consent form's content is detailed in the attachment. Participants were explicitly apprised of the research aims, their entitlement to voluntary involvement, the survey's duration, the assurance of anonymity, the option to withdraw at any juncture, and the comprehensive data privacy and security measures implemented. Participants were required to confirm four statements before the survey commenced to ensure informed consent ("I understand the purpose of this study and what is expected of me as a participant"; "I acknowledge that my participation is voluntary and that I can withdraw from the study at any time without penalty"; "I am aware that my responses will remain anonymous and that my personal data will be kept confidential and not shared with third parties"; and "I agree to participate in this study and provide my informed consent by continuing with the survey"). 3.2 Research Framework This investigation critically examines a multifaceted theoretical landscape, encompassing motivational theory (Simamora, 2021 ), consumer behavior theory (Horváth & Gyenge, 2024 ), and stakeholder theory (Sun et al., 2021 ). Informed by these theoretical underpinnings, a research framework was constructed to comprehensively elucidate the motivations driving consumer behavior and the mechanisms through which stakeholders exert influence. The study leverages these theoretical perspectives to illuminate the pivotal determinants of consumer decision-making, thereby furnishing both theoretical and practical guidance for marketing strategies (Fig. 2 ). 4. Results 4.1 Reliability and Validity Analysis The acquired valid data underwent reliability and validity analyses utilizing SPSS 26.0 software. The analytical findings indicated high reliability of the questionnaire (Cronbach's α = 0.954, > 0.700), and the validity tests confirmed the efficacy and precision of the questionnaire design, with appropriately structured items (KMO = 0.923, > 0.700).(Table 1 ) Table 1 Cronbach’s α coefficient and KMO test NO. Cronbach’s α coefficient KMO test 1 0.954 0.923 2 > 0.700 > 0.700 4.2 Participant Demographic Analysis This study employed an online questionnaire survey, conducted from April 1, 2025, to April 15, 2025, across platforms including Bilibili, Douyin, and WeChat groups(China's mainstream Internet social platforms). Stratified sampling was utilized to recruit participants. The primary survey indicators were designated as core data (Table 2 ). The anticipated sample size was 400 participants; however, 380 completed questionnaires were received, yielding a participation rate of 95%. Data inclusion criteria were devoid of gender, regional, age, and educational biases to ensure broad sample representativeness. Twenty-five duplicate submissions were excluded based on IP address identification. Furthermore, 34 samples were eliminated due to non-compliance with quality (logical) standards, and 20 cases with missing values in key variables were removed through data integrity management (Fig. 3 ). Consequently, 301 valid questionnaires were retained, resulting in an effective recovery rate of 75.25%. Comparative data analysis revealed moderate deviations in the sample concerning age structure and educational attainment. These characteristics align with the profile of new media film and television consumption groups, thus meeting the research design expectations. The geographical distribution of participants was extensive, encompassing numerous provinces and cities nationwide, thereby enhancing the sample's representativeness. These demographic characteristics provide a crucial stratification basis for subsequent analyses of consumption behavior differences. The survey findings indicate that the participant pool predominantly comprised urban residents, constituting 80.39%(n = 242), with the remaining 19.61%(n = 59) residing in rural areas. The rural demographic is largely characterized by elderly individuals and children, who primarily utilize feature phones and smartwatches lacking internet connectivity, thereby limiting the proliferation of new media film and television platform users. Conversely, residents of big cities, due to the exigencies of their lifestyles, allocate a greater proportion of their time to professional endeavors, social engagements, or familial obligations, resulting in comparatively reduced engagement with new media film and television content (Table 2 ). Table 2 Core Inquiries within the Survey Instrument English Version Chinese Version 1.The preferred type of film is suspense. 2.The preferred type of film is crime films. 3.The preferred type of film is art films. 1.偏好的电影类型是悬疑片 2.偏好的电影类型是犯罪片 3.偏好的电影类型是文艺片 1. Social reality themes. 2. Historical and revolutionary themes. 3. Themes of youth and growth. 1.社会现实题材 2.历史和革命题材 3.青春成长题材 1. Social media interaction. 2. Interaction on short-video platforms. 3. Bullet comment interaction. 1.社交媒体互动 2.短视频平台互动 3.弹幕互动 1.The type of digital media and television is an influencing factor in the creation of digital media film and television works. 2.The distribution strategy of film and television platforms is an influencing factor in the creation of digital media and television works. 3.The interaction mode of film and television works is an influencing factor in the creation of digital media film and television works. 4.The content or themes is an influencing factor in the creation of digital media film and television works. 5.The fast-food style of information consumption is an influencing factor in the creation of digital media and television works. 1.电影类型是数字媒体影视作品创作的影响因素 2.影视平台发行策略是数字媒体影视作品创作的影响因素 3.影视作品互动方式是数字媒体影视作品创作的影响因素 4.创作的内容或者题材是数字媒体影视作品创作的影响因素 5.观众的快餐式的信息消费方式是数字媒体影视作品创作的影响因素 Regarding the demographic profile of the sample, the gender distribution reveals that 27.24% (n = 82) of users identify as male, while 72.76% (n = 219) identify as female, indicating a predominantly female user base on digital media film and television platforms. In terms of age, the 18–30 age cohort (Gen Z) constitutes the largest segment at 75.08% (n = 226), followed by the 31–45 age group (Gen Y) at 12.62% (n = 38), those aged 46 and older (Gen X) at 6.31% (n = 19), and those under 18 (Gen Alpha) at 5.98% (n = 18) (Table 2 ). This suggests that digital media film and television platforms are primarily utilized by younger demographics, specifically Gen Z, who exhibit high levels of digital and media literacy and engage in extensive online activities, including video consumption, content creation, and communication (PANAGIOTOU et al.,2022).These platforms serve educational, communicative, and entertainment functions for this demographic (Elkatmış, 2024 ). Concerning educational attainment, 71.10% (n = 214) of the sample holds a university degree, followed by 3.99% (n = 12) with a master's degree, 3.32% (n = 10) with a doctoral degree, 14.62% (n = 44) with a junior college degree, and 6.98% (n = 21) with other qualifications. Digital media film and television content is primarily consumed by undergraduate and junior college students, with a notable preference among female users for leisure consumption. From a professional standpoint, the sample comprises university students (62.13%, n = 187), white-collar workers (16.94%, n = 51), blue-collar workers (9.63%, n = 29), corporate executives (6.64%, n = 20), and civil servants and others (4.65%, n = 14). The data indicates that university students constitute the primary consumer group for digital media film and television content in China (Table 3 ). Table 3 Statistical Summary of Survey Data Distribution NO. Type 1 Type 2 Numbers Percentage Educational Bachelor 214 71.10% 1 Gender Male 82 27.42% Master 12 3.99% 2 Female 219 72.76% Doctoral 10 3.32% 3 Territory City 242 80.39% Associate 44 14.62% 4 Countryside 59 19.61% Others 21 6.98% 5 Age 46 19 6.31% Corporate executives 20 6.64% 9 合计 301 100% Civil servants and others 14 4.65% 4.3 Digital Media Consumption of Film and Television Content A frequency analysis of survey data indicates that a majority of respondents (59.14%, n = 178) engage in online film-related activities, including commenting, reviewing, and voting, on an occasional basis. A substantial proportion of participants (25.91%, n = 78) reported frequent engagement, while a smaller segment (14.95%, n = 45) indicated no participation in such interactions. Regarding consumption volume, the majority of users (70.76%) reported viewing between one and five digital media film and television productions monthly, representing the primary focus of their consumption habits. A smaller percentage of respondents (14.29%) reported viewing between five and ten productions monthly. A minority of users (9.63%) consumed more than ten digital media film and television works per month, while a small percentage (5.32%) reported no consumption. Concerning platform preferences, the data reveal that Douyin and Kuaishou(China's mainstream short video platforms)is the primary source for discovering and viewing digital media film and television content, with 88.04% of users (n = 265) utilizing these platforms. Xiaohongshu is also a significant platform, with 65.78% of users (n = 198) reporting its use. WeChat official accounts (54.15%, n = 163), Weibo (48.17%, n = 145), and Bilibili (44.85%, n = 135) also serve as important platforms for content discovery and consumption. In contrast, platforms such as Douban, Zhihu forums, and Youku exhibited lower user preference, with respective percentages of 18.94% (n = 57), 10.96% (n = 33), and 18.27% (n = 55). Concerning digital media consumption patterns, the data indicates that a substantial proportion of users (85.38%, n = 257) engage with film and television content through mobile devices. Moreover, a majority of respondents (56.81%, n = 171) utilize online streaming platforms for their digital media consumption. Traditional viewing methods, such as television (38.87%, n = 117) and cinema (38.21%, n = 115), represent a significant portion of the sample. These results suggest a shift away from conventional channels, such as television and cinema, and a concurrent increase in mobile and streaming platform consumption. An examination of preferred film and television genres reveals that the top five are suspense (n = 174), youth-oriented films (n = 162), animated films (n = 159), crime dramas (n = 157), and science fiction (n = 148) (Table 4 ). Regarding content preferences, the top three themes are social realism (n = 159), coming-of-age narratives (n = 158), and historical/revolutionary themes (n = 150). Table 4 Distribution of Preferences for Types of Film and Television Works .(1 = very disagree, 2 = disagree, 3 = neutral, 4 = agree, 5 = very agree) A comparative analysis of preferred interactive modalities in film and television demonstrates differential user endorsement across four key approaches: social media engagement, short-form video platform interaction, real-time commenting (bullet screen), and behind-the-scenes documentary creation. The distribution of user agreement was as follows: 53.16% (n = 160), 31.56% (n = 95), 44.85% (n = 135), and 41.53% (n = 125), respectively. Social media interaction was identified as the most prevalent engagement method, followed by real-time commenting (Table 5 ). NO. Type 1 2 3 4 5 1 Thriller 31(10.3%) 28(9.3%) 68(22.59%) 83(27.57%) 91(30.23%) 2 Crime 32(10.63%) 29(9.63%) 83(27.57%) 75(24.92%) 82(27.24%) 3 Art 45(14.95%) 44(14.62%) 93(30.9%) 71(23.59%) 48(15.95%) 4 Romantic 37(12.29%) 47(15.61%) 87(28.9%) 75(24.92%) 55(18.27%) 5 Youth 22(7.31%) 40(13.29%) 77(25.58%) 92(30.56%) 70(23.26%) 6 Family ethics 33(10.96%) 65(21.59%) 110(36.54%) 48(15.95%) 45(14.95%) 7 Science fiction 29(9.63%) 36(11.96%) 88(29.24%) 78(25.91%) 70(23.26%) 8 Action 27(8.97%) 36(11.96%) 90(29.9%) 79(26.25%) 69(22.92%) 9 Animation 35(11.63%) 32(10.63%) 75(24.92%) 80(26.58%) 79(26.25%) 10 Documentary 45(14.95%) 57(18.94%) 91(30.23%) 53(17.61%) 55(18.27%) Table 4 Distribution of Preferences for Types of Film and Television Works . NO. Type 1 2 3 4 5 1 Thriller 31(10.3%) 28(9.3%) 68(22.59%) 83(27.57%) 91(30.23%) 2 Crime 32(10.63%) 29(9.63%) 83(27.57%) 75(24.92%) 82(27.24%) 3 Art 45(14.95%) 44(14.62%) 93(30.9%) 71(23.59%) 48(15.95%) 4 Romantic 37(12.29%) 47(15.61%) 87(28.9%) 75(24.92%) 55(18.27%) 5 Youth 22(7.31%) 40(13.29%) 77(25.58%) 92(30.56%) 70(23.26%) 6 Family ethics 33(10.96%) 65(21.59%) 110(36.54%) 48(15.95%) 45(14.95%) 7 Science fiction 29(9.63%) 36(11.96%) 88(29.24%) 78(25.91%) 70(23.26%) 8 Action 27(8.97%) 36(11.96%) 90(29.9%) 79(26.25%) 69(22.92%) 9 Animation 35(11.63%) 32(10.63%) 75(24.92%) 80(26.58%) 79(26.25%) 10 Documentary 45(14.95%) 57(18.94%) 91(30.23%) 53(17.61%) 55(18.27%) NOTE:(1 = very disagree, 2 = disagree, 3 = neutral, 4 = agree, 5 = very agree) Table 5 Distribution of Preferences for Film and Television Genres. (1 = very disagree, 2 = disagree, 3 = neutral, 4 = agree, 5 = very agree) Type 1 2 3 4 5 Social media engagement 25(8.31%) 26(8.64%) 90(29.9%) 90(29.9%) 70(23.26%) Short-form video platform interaction 17(5.65%) 17(5.65%) 71(23.59%) 112(37.21%) 84(27.91%) Bullet screen interaction 22(7.31%) 36(11.96%) 108(35.88%) 73(24.25%) 62(20.6%) Behind-the-scenes documentaries of film and television production 29(9.63%) 43(14.29%) 104(34.55%) 69(22.92%) 56(18.6%) 4.4 Factors Influencing the Production of Film and Television Content This investigation primarily examines the determinants influencing the creation of film and television content, categorized into two dimensions: facilitating factors (B1-B4) (Table 6 ) and inhibiting factors (F1-F16) (Table 7 ). Frequency analysis reveals that B4, the production of digital media film and television content, which contributes to revenue generation and economic enhancement, is the most frequently cited facilitating factor (n = 168, representing 55.81%). The top five inhibiting factors include the awards or ratings/reputation of digital media film and television content, audience consumption habits characterized by rapid information intake, directors' or actors' utilization of new media for advertising, the interactive methodologies employed in film and television content, and recommendations from peers or media outlets. The agreement rates for these factors are 57.81% (n = 174), 57.14% (n = 172), 55.15% (n = 166), 54.15% (n = 163), and 53.49% (n = 161), respectively. This study employs overall satisfaction (S1) with digital media film and television content as the dependent variable and the facilitating factors (B1-B4) and inhibiting factors (F1-F16) as independent variables for general linear regression analysis. The results indicate that F7, the distribution strategy of film and television platforms, and F8, the interactive methodologies of film and television content, significantly influence the overall satisfaction (S1) with digital media film and television content (pF7 = 0.02 < 0.05; pF8 = 0.02 < 0.05). F7, the distribution strategy of film and television platforms, demonstrates a weak negative linear relationship with the overall satisfaction (S1) with digital media film and television content (r= -0.17), whereas F8, the interactive methodologies of film and television content, exhibits a weak positive linear relationship with the overall satisfaction (S1) with digital media film and television content (r = 0.17). Other factors do not exhibit a statistically significant linear relationship with the overall satisfaction (S1) with digital media film and television content (p > 0.05) (Table 8 ). In the table, VIF < 10 indicates the absence of multicollinearity among the variables in the linear regression analysis. Furthermore, this study also analyzes the impact of demographic variables on the overall satisfaction (S1) with digital media film and television content. Linear regression analysis confirms that demographic variables (gender, age, and education) do not have a statistically significant linear relationship with the overall satisfaction (S1) with digital media film and television content (p > 0.05)(Table 8 and Table 9 ). Table 6 The Benefits of Film and Television Works No. Factors B1 The creation of digital media film and television works can help record important moments in life and enhance the sense of ritual in life. B2 The creation of digital media film and television works can help stimulate creativity and improve artistic expression ability. B3 The creation of digital media film and television works can help arrange time reasonably and improve time management ability. B4 The creation of digital media film and television works can help increase income and improve economic level. Table 7 Non-beneficial Factors of Film and Television Works No. Factors No. Factors F1 Film genre and narrative appeal F9 Thematic content of the media artifact F2 Director and actor promotional strategies within new media F10 Embedded advertising strategies F3 Influence of peer and media-based recommendations F11 Production quality of the film or television program F4 Impact of digital media film production accolades and critical assessments F12 User-stated preferences F5 Cost-effective marketing approaches F13 Audience satisfaction metrics. F6 Digital media (e.g., short-form video, film criticism) recommendation systems F14 Individual audience members' needs and experiences F7 Film distribution strategies across various platforms F15 Audience attitudes and behaviors. F8 Interactive methodologies within film F16 The audience's rapid information consumption patterns Table 8 Linear Regression Analysis S1 Coef. Std.Err. t P > t VIF 1/VIF B1 -0.02 0.08 -0.27 0.79 3.87 0.26 B2 0.17 0.09 1.92 0.06 4.21 0.24 B3 0.05 0.08 0.64 0.52 3.36 0.30 B4 0.01 0.08 0.14 0.89 3.65 0.27 F1 -0.05 0.08 -0.60 0.55 4.28 0.23 F2 0.05 0.06 0.75 0.45 2.45 0.41 F3 0.04 0.07 0.60 0.55 2.90 0.35 F4 -0.01 0.08 -0.15 0.88 3.52 0.28 F5 0.05 0.07 0.79 0.43 2.94 0.34 F6 -0.02 0.08 -0.28 0.78 3.28 0.30 F7 -0.19 0.08 -2.41 0.02 3.58 0.28 F8 0.17 0.07 2.32 0.02 3.12 0.32 F9 -0.01 0.08 -0.16 0.87 3.77 0.26 F10 0.05 0.05 1.02 0.31 2.17 0.46 F11 0.04 0.08 0.54 0.59 4.35 0.23 F12 0.05 0.07 0.72 0.48 3.39 0.30 F13 -0.02 0.09 -0.19 0.85 4.38 0.23 F14 -0.06 0.09 -0.59 0.56 4.75 0.21 F15 0.12 0.09 1.34 0.18 3.77 0.27 F16 0.08 0.07 1.24 0.21 2.65 0.38 _cons 2.14 0.21 10.05 0.00 - - Table 9 Linear Regression Analysis of Demographic Variables S1 Coef. Std.Err. t P > t Gender 0.21 0.11 1.88 0.06 Age -0.03 0.08 -0.42 0.67 Edu -0.01 0.07 -0.14 0.89 (Constant) 3.71 0.32 11.74 0.00 5. Discussion This study builds upon existing literature to identify four benefit and sixteen non-benefit factors influencing consumer behavior. Quantitative analysis indicates that only platform distribution strategies and interaction methods within digital media film and television works significantly correlate with overall satisfaction. These findings partially validate prior research, yet preclude definitive conclusions. The results support Ocak's (2023) assertion regarding the impact of distribution strategies on purchase intent. Furthermore, the research corroborates Yu's (2023) findings, demonstrating that audience interaction enhances engagement and satisfaction, thereby positively influencing consumer purchasing intentions. Beyond consumer behavior, the influencing factors in digital media film and television creation can be analyzed from the creator's perspective and the creative environment (e.g., policy, socio-cultural, and technological contexts). These perspectives are interconnected; thus, the identified factors encompass these dimensions. For instance, the four benefit factors can be considered from the creator's motivation and recommendations from friends or media, which can be categorized under the creative environment. However, these factors differ significantly. The creator's perspective also includes digital media technology literacy(Zhang & Shao, 2024 ), acceptance of digital media technology (Zhang, 2022 ), and the acquisition of knowledge and skills in creating digital media film and television works. The present investigation utilized a quantitative research paradigm, which, by its nature, introduces specific constraints. Foremost, the limited sample size poses a challenge to the generalizability of the findings to the broader population, potentially compromising the validity of the study's conclusions. Furthermore, the structured nature of the questionnaire, employing closed-ended items and scales, may yield circumscribed results. The inherent limitations of closed-ended formats restrict the range of participant responses, thereby impeding a comprehensive examination of the research inquiries. Finally, the multifaceted nature of the factors influencing the production of digital media film and television necessitates a methodological approach capable of capturing these dynamic influences, which may not be fully achieved through scale-based questionnaire surveys. 6. Conclusion 6.1 Summary of Research Findings Employing survey data, this investigation elucidates critical demographic characteristics. The primary consumers of digital media film and television content in China are identified as female university students, primarily from second- and third-tier cities, and recent graduates residing in comparable urban environments. Quantitative analysis of consumption behaviors reveals a predilection for genres including suspense, youth-oriented dramas, animated films, crime thrillers, and science fiction. Regarding content selection, social realism, coming-of-age narratives, and historical/revolutionary themes are favored. Social media interaction and bullet-screen (Chinese: danmu) comments represent preferred engagement methodologies. In terms of platform selection, Douyin/Kuaishou, Xiaohongshu, WeChat Official Accounts, Weibo, and Bilibili are the dominant platforms, whereas Douban, Zhihu forums, and Youku exhibit less prevalence. Smartphones are identified as the primary viewing device. The quantitative investigation into the determinants influencing the production of digital media film and television content elucidates that the capacity of these works to enhance revenue streams and elevate economic metrics constitutes the most significant advantage. Conversely, factors including critical acclaim, audience preferences for expeditious information assimilation, novel media advertising strategies employed by directors or actors, interactive features embedded within the works, and endorsements from peers or media outlets represent principal non-beneficial elements. This investigation, predicated on a consumer behavior framework, furnishes a systematic and comprehensive analysis of these influencing factors, thereby fulfilling its research objectives. The distribution strategies of film and television platforms and the interactive functionalities of the works significantly impact the satisfaction derived from new media film and television productions, whereas other factors do not demonstrate a statistically significant linear correlation with satisfaction. Digital media consumption within the Chinese context has precipitated a novel "content-platform-social" paradigm. Prior to content creation, the establishment of a user profile database, specifically targeting Generation Z female consumers, is deemed essential, alongside the construction of a thematic matrix aligned with prevailing market characteristics. The development of immersive interactive narrative technologies, prioritizing user preferences, is also advocated. This research contributes a theoretical framework for the precision-oriented operation of digital content production, offering practical implications for platform algorithm optimization and the digital transformation of creative endeavors. 6.2 Recommendations for the Production of Novel Digital Media Film and Television Content This investigation posits that the production of digital media film and television content should be strategically directed towards the Generation Z female collegiate demographic, thereby aligning with their specific requisites and consumption patterns. A pronounced emphasis should be placed on the development of content within the genres of suspense, youth-oriented narratives, animation, crime dramas, and science fiction, with thematic explorations encompassing social realism, adolescent development, and historical transformations. The integration of social media platforms and interactive "bullet screen" functionalities is recommended to augment user engagement. Considering the accelerated lifestyles prevalent among both middle-aged and younger adult populations, content should be structured to maintain conciseness, with an episode duration of 20–30 minutes, each possessing a self-contained narrative arc. Prioritization should be given to mobile device compatibility, while ensuring accessibility across diverse terminal platforms. 6. 3 Future Research Directions Subsequent research endeavors will incorporate the utilization of quantifiable continuous variables, such as the assessment of user experience within digital media film and television content through the application of eye-tracking and electroencephalogram (EEG) methodologies. Concurrently, qualitative methodologies, including in-depth interviews and case studies, will be employed to provide a comprehensive analysis of the factors influencing the creation of digital media film and television content and associated consumer behaviors. Furthermore, big data mining and analytical techniques will be leveraged to procure user interaction data, thereby enhancing the systematicity and comprehensiveness of the research framework. Declarations Funding statement: This research is supported by Research on Enhancing the Effectiveness of Ideological and Political Education in Colleges and Universities by Taking Film and Television Creation as a Carrier - A Teaching Reform Project in Shanxi Province, China.(NO.J20221385) Author Contribution Conceptualization,Danyang Jin; methodology,Danyang Jin; software,Danyang Jin;validation,Danyang Jin; formal analysis,Danyang Jin; investigation,Danyang Jin; resources,Danyang Jin; data curation,Danyang Jin; writing—original draft preparation,Danyang Jin; writing—review and editing,Danyang Jin; visualization, Xin Ma; supervision,Xin Ma; project administration, Danyang Jin; funding acquisition, Xin Ma. All authors have read and agreed to the published version of the manuscript. Acknowledgement We would like to express our sincere gratitude to Professor Xie Hongguang from Shanxi University of Media and Communications for his invaluable guidance and insightful suggestions during the research process.His expertise and constructive feedback significantly contributed to the improvement of this paper. We are also deeply thankful for his encouragement and support throughout the study. Data Availability The data presented in this study are available on request from the corresponding author. The data are not publicly available due to being collected and sorted by authors from some paid databases. References Ádám H, Balázs G (2021) Movie Consumption Related Trends And Countertrends In Consumer Behavior. SocioEconomic Challenges 5(1):79–88. https://doi.org/10.21272/sec.5(1).79-88.2021 Alforova Z, Marchenko S, Kot H, Medvedieva A, Moussienko O (2021) Impact of Digital Technologies on the Development of Modern Film Production and Television. 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IEEE. https://doi.org/10.1109/icis.2017.7960053 Zhang L (2022) Research on New Media Film and Television Works. Art Des Rev 10(03):337–347. https://doi.org/10.4236/adr.2022.103025 Zhang B, Shao L (2024) Production and dissemination path of new media film and television content based on 5G technology. Entertainment Comput 100852–100852. https://doi.org/10.1016/j.entcom.2024.100852 Additional Declarations No competing interests reported. Supplementary Files Appendix.docx Cite Share Download PDF Status: Posted Version 1 posted You are reading this latest preprint version Research Square lets you share your work early, gain feedback from the community, and start making changes to your manuscript prior to peer review in a journal. As a division of Research Square Company, we’re committed to making research communication faster, fairer, and more useful. We do this by developing innovative software and high quality services for the global research community. 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13:07:53","extension":"xml","order_by":21,"title":"","display":"","copyAsset":false,"role":"acdc-reference","size":180654,"visible":true,"origin":"","legend":"","description":"","filename":"34f0d7b650ae4c5ca4134e3ab7dc264d1structuring.xml","url":"https://assets-eu.researchsquare.com/files/rs-6823843/v1/f5041833c51bf6e1ebb50171.xml"},{"id":96633018,"identity":"d8b447fe-97f7-49a8-89e6-231fc1653c9a","added_by":"auto","created_at":"2025-11-24 13:07:53","extension":"html","order_by":22,"title":"","display":"","copyAsset":false,"role":"acdc-reference","size":185576,"visible":true,"origin":"","legend":"","description":"","filename":"earlyproof.html","url":"https://assets-eu.researchsquare.com/files/rs-6823843/v1/8e7b07eb3bd8aae5c17e23d5.html"},{"id":96632995,"identity":"7ed5fa2c-871d-43d0-b443-5f656dc67c51","added_by":"auto","created_at":"2025-11-24 13:07:53","extension":"jpg","order_by":1,"title":"Figure 1","display":"","copyAsset":false,"role":"figure","size":938491,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cem\u003eLogical framework of the research hypotheses and research questions\u003c/em\u003e\u003c/p\u003e","description":"","filename":"fig1.jpg","url":"https://assets-eu.researchsquare.com/files/rs-6823843/v1/8b46f8e93384f4501982f60e.jpg"},{"id":96708903,"identity":"d5420ba1-8827-400b-b169-58167208d0e6","added_by":"auto","created_at":"2025-11-25 10:06:07","extension":"jpg","order_by":2,"title":"Figure 2","display":"","copyAsset":false,"role":"figure","size":2985766,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cem\u003eResearch Design - Methodological Framework\u003c/em\u003e\u003c/p\u003e","description":"","filename":"fig2.jpg","url":"https://assets-eu.researchsquare.com/files/rs-6823843/v1/1df6858cd2aa136bbe187e4f.jpg"},{"id":96709105,"identity":"bf36a2d1-60a6-4da8-96f6-10ef4a13f2e3","added_by":"auto","created_at":"2025-11-25 10:07:41","extension":"jpg","order_by":3,"title":"Figure 3","display":"","copyAsset":false,"role":"figure","size":1210670,"visible":true,"origin":"","legend":"\u003cp\u003e\u003cem\u003eControl of the Data Cleaning Process for the Survey Questionnaire\u003c/em\u003e\u003c/p\u003e","description":"","filename":"fig3.jpg","url":"https://assets-eu.researchsquare.com/files/rs-6823843/v1/7aa58de3d1cc3c557d8fc76d.jpg"},{"id":99289012,"identity":"7e92f17f-16e1-4a71-8fc8-cc74fd8509c3","added_by":"auto","created_at":"2025-12-31 09:54:24","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":6213169,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-6823843/v1/d66cece6-f98e-4946-8492-6cb80fe58435.pdf"},{"id":96708840,"identity":"36f4f615-83e1-495f-8f03-c2fbeff44a2e","added_by":"auto","created_at":"2025-11-25 10:05:36","extension":"docx","order_by":1,"title":"","display":"","copyAsset":false,"role":"supplement","size":11856,"visible":true,"origin":"","legend":"","description":"","filename":"Appendix.docx","url":"https://assets-eu.researchsquare.com/files/rs-6823843/v1/927df062c5cbe8ac1f48f1db.docx"}],"financialInterests":"No competing interests reported.","formattedTitle":"Algorithmic Content Curation, Immersive User Engagement, and the Content-Platform-Social Interface: A Multivariate Examination of Consumption Determinants among Generation Z within China’s Digitally Evolved Media Ecosystem","fulltext":[{"header":"1.Introduction","content":"\u003cp\u003eThe Chinese film and television industry is undergoing a significant transformation, precipitated by the proliferation of digital and network technologies, a phenomenon deserving of rigorous scholarly inquiry (Praprotnik, 2022). Digital media, leveraging digital technologies and network protocols, facilitates content delivery via both wired and wireless networks to computers and smart devices. This encompasses online media, mobile internet media, and streaming platforms, integrating textual, auditory, and visual elements to construct interactive audiovisual platforms (Zhou, 2020). The advent of new media, predominantly digital, has revolutionized information access, enabling accelerated and expanded dissemination and reshaping the paradigms of film and television content (Zhang, \u003cspan citationid=\"CR35\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). Simultaneously, media production has accelerated, with short-form video content increasingly supplanting long-form narratives (Lu \u0026amp; Nam \u003cspan citationid=\"CR18\" class=\"CitationRef\"\u003e2021\u003c/span\u003e; Jiang, \u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e2023\u003c/span\u003e). Consequently, digital media film and television productions have emerged as primary competitors to traditional formats (Zhang, \u003cspan citationid=\"CR35\" class=\"CitationRef\"\u003e2022\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eIn the digital era, film and television productions have become increasingly integrated into the daily lives of ordinary individuals, with a notable focus on characters from the lower strata of society. Digital media technologies have revolutionized cinematic forms (Dhiman, \u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e2023\u003c/span\u003e; Tops\u0026uuml;mer et al., \u003cspan citationid=\"CR28\" class=\"CitationRef\"\u003e2023\u003c/span\u003e). These advancements provide sophisticated platforms and opportunities for the production and dissemination of film and television content. Digital media film and television productions are specifically tailored for online platforms and mobile devices, characterized by their brevity and innovative themes. The target demographic typically comprises individuals with demanding work schedules and limited leisure time. However, the production and distribution of digital media film and television in China are significantly impacted by commercialization (Lin, \u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e2020\u003c/span\u003e). Producers prioritize metrics such as transmission rates, box office revenue, and viewership, often at the expense of content quality. A substantial portion of these productions consists of entertainment-focused video compilations, frequently featuring exaggerated narratives and, at times, violent content, thereby deviating from mainstream cultural values (Liin, 2020).\u003c/p\u003e\u003cp\u003eDigital media has also introduced novel avenues for the marketing of film and television productions (Lyu, \u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2024\u003c/span\u003e). Platforms such as Douyin and Kuaishou offer accessible channels for the creation and distribution of cinematic content. The internet has dissolved the boundaries of traditional media and national borders, fostering the development of new cinematic formats, such as micro-films and short videos. These productions, employing concise narratives to achieve cinematic effects, offer advantages including shorter production cycles, efficient dissemination, high return on investment, and refined production quality, enabling the rapid creation of audience-preferred content (Guo, \u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e2024\u003c/span\u003e). The prevalence of advertising within the majority of Chinese micro-films and short videos has a sustained negative impact on the overall quality of digital media film and television productions (Zhang \u0026amp;Shao, \u003cspan citationid=\"CR36\" class=\"CitationRef\"\u003e2024\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eThe production of digital media film and television content in China currently operates within a complex environment of both prospects and constraints. This sector is characterized by content targeting younger demographics, diverse distribution channels, and a trend toward industrial-scale production and commercialization. Digitalization, diversification, and globalization are the primary drivers shaping its future development. Digital media technologies are facilitating information dissemination, leading to a diversification of film and television content(Gao, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2018\u003c/span\u003e). Simultaneously, audience preferences are evolving toward personalization and variety. The accelerated pace of contemporary life, compounded by increased work-related stress, has resulted in a reduction in the time available for viewing online film and television content. Consequently, online films and television series are increasingly adopting shorter formats, often under 20 minutes, with episodic dramas and short-form content gaining popularity. Digital media film and television works also offer viewers the flexibility to select individual episodes, with many incorporating interactive features (Zhang et al., \u003cspan citationid=\"CR34\" class=\"CitationRef\"\u003e2017\u003c/span\u003e; Fang, \u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e2022\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eHowever, some scholars have critiqued the significant commercialization of production and dissemination within the Chinese digital media film and television industry (Lin, \u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e2020\u003c/span\u003e). This study seeks to analyze the consumer behavior factors influencing the production of digital media film and television works in China within the context of the digital age, with the goal of assisting content creators in capitalizing on opportunities, meeting consumer demands, and maximizing profitability. The research will encompass an analysis of film and television consumption behaviors in the digital era, including viewing preferences, content selection, and modes of interaction. Furthermore, it will explore the influencing factors on the production of digital media film and television works from the perspective of consumer behavior, culminating in recommendations for future content creation.\u003c/p\u003e"},{"header":"2. Literature Review","content":"\u003cdiv id=\"Sec3\" class=\"Section2\"\u003e\u003ch2\u003e2.1 \u003cem\u003eFilm and Television Consumption Patterns in the Digital Era\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eContemporary film and television consumption has been significantly reshaped in recent years (\u0026Aacute;d\u0026aacute;m \u0026amp; Bal\u0026aacute;zs, \u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e2021\u003c/span\u003e). The audience's engagement with media is no longer restricted to conventional formats; instead, a diverse array of channels and platforms are utilized for accessing and viewing film and television content. Prior research highlights a diversification of consumption channels for film and television viewing (Taneja et al., \u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2012\u003c/span\u003e). Content is now readily accessible via mobile devices, with online platforms such as Youku, Douyin, Kuaishou, iQiyi, and Tencent Video emerging as primary sources. Viewing modalities have also become more personalized, encompassing television, short-form videos on mobile phones, and cinematic experiences (particularly 3D and 4D formats). Consequently, audience habits and needs regarding film and television consumption continue to evolve in the digital age (Widen, \u003cspan citationid=\"CR31\" class=\"CitationRef\"\u003e2024\u003c/span\u003e). Consumption of audiovisual content is trending towards fragmentation and immediacy, with audiences placing greater emphasis on entertainment value, ease of access, and personalized experiences (He, 2023; Alzubi, \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e2023\u003c/span\u003e). Users leverage new media to construct and enact collective identities (L\u0026uuml;ders et al., \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). Social interactions among younger generations are not limited to physical spaces; they utilize digital spaces for social engagement, which extends beyond mere self-expression (Pugliese \u0026amp; Vesper, \u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). Research by Wang \u0026amp; Wang (\u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e2024\u003c/span\u003e) reveals that the widespread use of short-form video applications recently influences users' self-concept clarity. The impact of new media on film and television consumption behavior is pervasive. Excessive use can lead to media addiction (Ho, et al., \u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e2024\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eAlzubi (\u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e2023\u003c/span\u003e) examined and evaluated the evolving trends in media consumption behavior throughout the digital age, demonstrating a clear preference for digital media film and television content, particularly among younger demographics. According to Wet (\u003cspan citationid=\"CR30\" class=\"CitationRef\"\u003e2023\u003c/span\u003e), consumer behavior comprises five stages: problem recognition, information search, evaluation of alternatives, the ultimate choice, and post-purchase evaluation. Digital media technologies have transformed film and television consumption methods, with social media and streaming platforms gaining increasing audience favor (Alzubi, \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e2023\u003c/span\u003e). Digital film and television consumption provides personalized, on-demand, and interactive viewing experiences(Praprotnik, \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e2016\u003c/span\u003e), thereby influencing consumer behavior (Widen, \u003cspan citationid=\"CR31\" class=\"CitationRef\"\u003e2024\u003c/span\u003e).\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec4\" class=\"Section2\"\u003e\u003ch2\u003e2.2 \u003cem\u003eFactors Influencing the Production of Film and Television Content\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eResearch into the determinants of domestic film and television production, while still developing, has yielded significant insights(Xia,2022). utilized technology acceptance models and motivational frameworks to examine the factors influencing university students' consumption of film and television content. The study identified that subjective norms, anticipated emotions, perceived utility, enjoyment, and ease of use significantly predict audience viewing intentions(Qian,2022). Analyzed multiple variables affecting the creation of Chinese film and television productions, including audience preferences, producer strategies, and governmental policies (Ocak,2023). Found that factors such as cast, scripts, pricing, and word-of-mouth did not significantly impact the willingness to purchase or view film and television content. Effective distribution strategies are crucial for ensuring that film and television content reaches target audiences through channels such as cinemas and online platforms, thereby enhancing purchase or viewing intentions(Huang \u0026amp; Xu, Sudarmawan et al. \u003cspan citationid=\"CR20\" class=\"CitationRef\"\u003e2024\u003c/span\u003e). demonstrated that factors such as content quality and audience attitudes influence consumption intentions.\u003c/p\u003e\u003cp\u003eIn contemporary society, fragmented visual perception has become a dominant mode of engagement, and the accelerated pace of life has reshaped consumption patterns. Information consumption is increasingly characterized by a \"fast-food\" approach, with limited audience attention spans (Zhao, 2017). Complex narratives and character relationships can impede audience comprehension of film and television content. Conversely, short-form video formats are gaining popularity and positively influence audience consumption intentions (Hong \u0026amp; Yang, \u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e2022\u003c/span\u003e). The production of film and television content should consider audience needs and experiences, catering to their interests and aesthetic preferences. Film and television consumption is not merely an individual behavior but also encompasses social and cultural experiences(Chen \u0026amp; Shafi, 2024). Audiences frequently share viewing experiences, and this social interaction enhances their sense of participation and satisfaction. Therefore, the production process should facilitate audience social interaction. The digital media era offers interactive advantages for the creation of film and television content (Yu, \u003cspan citationid=\"CR33\" class=\"CitationRef\"\u003e2023\u003c/span\u003e). In conclusion, further research is warranted on the influencing factors of digital media film and television content creation in the digital age, particularly research analyzing these influencing factors from the perspective of consumer behavior.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec5\" class=\"Section2\"\u003e\u003ch2\u003e2.3 \u003cem\u003eResearch Hypotheses\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eBased on a comprehensive review and synthesis of existing literature, this study proposes a series of core hypotheses designed to investigate and validate relevant theoretical and practical considerations. These hypotheses will be empirically tested through the acquisition of quantitative data, with the objective of clarifying user preferences concerning film and television genres, content selection, and interaction modalities. Additionally, the influence of accelerated information consumption and digital media distribution strategies on creative processes will be assessed (Fig.\u0026nbsp;\u003cspan refid=\"Fig1\" class=\"InternalRef\"\u003e1\u003c/span\u003e).\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eH1\u003c/strong\u003e\u003cp\u003eUser genre preferences in film and television significantly impact creative production. Content creators are compelled to develop matching models, utilizing algorithmic recommendations and immersive narratives to align with audience expectations.\u003c/p\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eH2\u003c/strong\u003e\u003cp\u003eUser content selection preferences substantially influence creative production. Informed by audience psychology and algorithmic analysis, user behavioral data directs the trajectory of content production.\u003c/p\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eH3\u003c/strong\u003e\u003cp\u003eUser preferences for interactive modalities critically affect creative production. Creators employ interactive methodologies to enhance audience engagement, thereby transforming works into dynamic, cyclical systems.\u003c/p\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eH4\u003c/strong\u003e\u003cp\u003eUser consumption of fast-paced information profoundly influences creative production. Within the context of the attention economy, advancements in media technology reshape audience perceptions of temporality and narrative expectations.\u003c/p\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eH5\u003c/strong\u003e\u003cp\u003eDigital media distribution strategies for film and television productions significantly impact creative production. Platform algorithmic recommendation mechanisms shape content creators' subject matter choices and formal innovations.\u003c/p\u003e\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003c/div\u003e"},{"header":"3. Methodology","content":"\u003cdiv id=\"Sec7\" class=\"Section2\"\u003e\u003ch2\u003e3.1 \u003cem\u003eResearch Design\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eThis study employs a quantitative research design (Redfer, 2014). Quantitative data were collected through a structured questionnaire, and quantitative analysis methods were utilized. A combination of stratified random sampling and snowball sampling was employed to recruit 400 participants aged 18 to 45 from various digital media platforms in China. In the event that the anticipated sample size could not be achieved, 50 volunteers were recruited, each of whom invited 5\u0026ndash;6 digital media and film enthusiasts to participate in the questionnaire survey. The questionnaire was designed to collect data on film and television consumption behaviors in the digital age, encompassing viewing preferences, content selection, and interaction modalities, by segmenting user types (age, gender, education, et al.). The questionnaire also included scales to assess the influence of digital media film and television works. The collected quantitative data were processed through frequency analysis and linear regression analysis.\u003c/p\u003e\u003cp\u003eThis investigation strictly complied with national legislation and research protocols, obtaining prior endorsement from the Ethics Committee of XXX university (Approval No. XXX) prior to initiation. Informed consent was diligently procured from all subjects throughout the survey phase. Participants in the survey provided informed consent by signing an online consent form, The informed consent form's content is detailed in the attachment. Participants were explicitly apprised of the research aims, their entitlement to voluntary involvement, the survey's duration, the assurance of anonymity, the option to withdraw at any juncture, and the comprehensive data privacy and security measures implemented. Participants were required to confirm four statements before the survey commenced to ensure informed consent (\"I understand the purpose of this study and what is expected of me as a participant\"; \"I acknowledge that my participation is voluntary and that I can withdraw from the study at any time without penalty\"; \"I am aware that my responses will remain anonymous and that my personal data will be kept confidential and not shared with third parties\"; and \"I agree to participate in this study and provide my informed consent by continuing with the survey\").\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec8\" class=\"Section2\"\u003e\u003ch2\u003e3.2 \u003cem\u003eResearch Framework\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eThis investigation critically examines a multifaceted theoretical landscape, encompassing motivational theory (Simamora, \u003cspan citationid=\"CR25\" class=\"CitationRef\"\u003e2021\u003c/span\u003e), consumer behavior theory (Horv\u0026aacute;th \u0026amp; Gyenge, \u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e2024\u003c/span\u003e), and stakeholder theory (Sun et al., \u003cspan citationid=\"CR26\" class=\"CitationRef\"\u003e2021\u003c/span\u003e). Informed by these theoretical underpinnings, a research framework was constructed to comprehensively elucidate the motivations driving consumer behavior and the mechanisms through which stakeholders exert influence. The study leverages these theoretical perspectives to illuminate the pivotal determinants of consumer decision-making, thereby furnishing both theoretical and practical guidance for marketing strategies (Fig.\u0026nbsp;\u003cspan refid=\"Fig2\" class=\"InternalRef\"\u003e2\u003c/span\u003e).\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003c/div\u003e"},{"header":"4. Results","content":"\u003cdiv id=\"Sec10\" class=\"Section2\"\u003e\u003ch2\u003e4.1 \u003cem\u003eReliability and Validity Analysis\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eThe acquired valid data underwent reliability and validity analyses utilizing SPSS 26.0 software. The analytical findings indicated high reliability of the questionnaire (Cronbach's α\u0026thinsp;=\u0026thinsp;0.954, \u0026gt;\u0026thinsp;0.700), and the validity tests confirmed the efficacy and precision of the questionnaire design, with appropriately structured items (KMO\u0026thinsp;=\u0026thinsp;0.923, \u0026gt;\u0026thinsp;0.700).(Table\u0026nbsp;\u003cspan refid=\"Tab1\" class=\"InternalRef\"\u003e1\u003c/span\u003e)\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab1\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 1\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eCronbach\u0026rsquo;s α coefficient and KMO test\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"3\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNO.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eCronbach\u0026rsquo;s α coefficient\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eKMO test\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.954\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.923\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e\u0026gt;\u0026thinsp;0.700\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e\u0026gt;\u0026thinsp;0.700\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec11\" class=\"Section2\"\u003e\u003ch2\u003e4.2 \u003cem\u003eParticipant Demographic Analysis\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eThis study employed an online questionnaire survey, conducted from April 1, 2025, to April 15, 2025, across platforms including Bilibili, Douyin, and WeChat groups(China's mainstream Internet social platforms). Stratified sampling was utilized to recruit participants. The primary survey indicators were designated as core data (Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e). The anticipated sample size was 400 participants; however, 380 completed questionnaires were received, yielding a participation rate of 95%. Data inclusion criteria were devoid of gender, regional, age, and educational biases to ensure broad sample representativeness. Twenty-five duplicate submissions were excluded based on IP address identification. Furthermore, 34 samples were eliminated due to non-compliance with quality (logical) standards, and 20 cases with missing values in key variables were removed through data integrity management (Fig.\u0026nbsp;\u003cspan refid=\"Fig3\" class=\"InternalRef\"\u003e3\u003c/span\u003e). Consequently, 301 valid questionnaires were retained, resulting in an effective recovery rate of 75.25%. Comparative data analysis revealed moderate deviations in the sample concerning age structure and educational attainment. These characteristics align with the profile of new media film and television consumption groups, thus meeting the research design expectations. The geographical distribution of participants was extensive, encompassing numerous provinces and cities nationwide, thereby enhancing the sample's representativeness. These demographic characteristics provide a crucial stratification basis for subsequent analyses of consumption behavior differences.\u003c/p\u003e\u003cp\u003e\u003c/p\u003e\u003cp\u003eThe survey findings indicate that the participant pool predominantly comprised urban residents, constituting 80.39%(n\u0026thinsp;=\u0026thinsp;242), with the remaining 19.61%(n\u0026thinsp;=\u0026thinsp;59) residing in rural areas. The rural demographic is largely characterized by elderly individuals and children, who primarily utilize feature phones and smartwatches lacking internet connectivity, thereby limiting the proliferation of new media film and television platform users. Conversely, residents of big cities, due to the exigencies of their lifestyles, allocate a greater proportion of their time to professional endeavors, social engagements, or familial obligations, resulting in comparatively reduced engagement with new media film and television content (Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e).\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab2\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 2\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eCore Inquiries within the Survey Instrument\u003c/em\u003e\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"2\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eEnglish Version\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eChinese Version\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1.The preferred type of film is suspense.\u003c/p\u003e\u003cp\u003e2.The preferred type of film is crime films.\u003c/p\u003e\u003cp\u003e3.The preferred type of film is art films.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e1.偏好的电影类型是悬疑片\u003c/p\u003e\u003cp\u003e2.偏好的电影类型是犯罪片\u003c/p\u003e\u003cp\u003e3.偏好的电影类型是文艺片\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1. Social reality themes.\u003c/p\u003e\u003cp\u003e2. Historical and revolutionary themes.\u003c/p\u003e\u003cp\u003e3. Themes of youth and growth.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e1.社会现实题材\u003c/p\u003e\u003cp\u003e2.历史和革命题材\u003c/p\u003e\u003cp\u003e3.青春成长题材\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1. Social media interaction.\u003c/p\u003e\u003cp\u003e2. Interaction on short-video platforms.\u003c/p\u003e\u003cp\u003e3. Bullet comment interaction.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e1.社交媒体互动\u003c/p\u003e\u003cp\u003e2.短视频平台互动\u003c/p\u003e\u003cp\u003e3.弹幕互动\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1.The type of digital media and television is an influencing factor in the creation of digital media film and television works.\u003c/p\u003e\u003cp\u003e2.The distribution strategy of film and television platforms is an influencing factor in the creation of digital media and television works.\u003c/p\u003e\u003cp\u003e3.The interaction mode of film and television works is an influencing factor in the creation of digital media film and television works.\u003c/p\u003e\u003cp\u003e4.The content or themes is an influencing factor in the creation of digital media film and television works.\u003c/p\u003e\u003cp\u003e5.The fast-food style of information consumption is an influencing factor in the creation of digital media and television works.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e1.电影类型是数字媒体影视作品创作的影响因素\u003c/p\u003e\u003cp\u003e2.影视平台发行策略是数字媒体影视作品创作的影响因素\u003c/p\u003e\u003cp\u003e3.影视作品互动方式是数字媒体影视作品创作的影响因素\u003c/p\u003e\u003cp\u003e4.创作的内容或者题材是数字媒体影视作品创作的影响因素\u003c/p\u003e\u003cp\u003e5.观众的快餐式的信息消费方式是数字媒体影视作品创作的影响因素\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003eRegarding the demographic profile of the sample, the gender distribution reveals that 27.24% (n\u0026thinsp;=\u0026thinsp;82) of users identify as male, while 72.76% (n\u0026thinsp;=\u0026thinsp;219) identify as female, indicating a predominantly female user base on digital media film and television platforms. In terms of age, the 18\u0026ndash;30 age cohort (Gen Z) constitutes the largest segment at 75.08% (n\u0026thinsp;=\u0026thinsp;226), followed by the 31\u0026ndash;45 age group (Gen Y) at 12.62% (n\u0026thinsp;=\u0026thinsp;38), those aged 46 and older (Gen X) at 6.31% (n\u0026thinsp;=\u0026thinsp;19), and those under 18 (Gen Alpha) at 5.98% (n\u0026thinsp;=\u0026thinsp;18) (Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e). This suggests that digital media film and television platforms are primarily utilized by younger demographics, specifically Gen Z, who exhibit high levels of digital and media literacy and engage in extensive online activities, including video consumption, content creation, and communication (PANAGIOTOU et al.,2022).These platforms serve educational, communicative, and entertainment functions for this demographic (Elkatmış, \u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e2024\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eConcerning educational attainment, 71.10% (n\u0026thinsp;=\u0026thinsp;214) of the sample holds a university degree, followed by 3.99% (n\u0026thinsp;=\u0026thinsp;12) with a master's degree, 3.32% (n\u0026thinsp;=\u0026thinsp;10) with a doctoral degree, 14.62% (n\u0026thinsp;=\u0026thinsp;44) with a junior college degree, and 6.98% (n\u0026thinsp;=\u0026thinsp;21) with other qualifications. Digital media film and television content is primarily consumed by undergraduate and junior college students, with a notable preference among female users for leisure consumption. From a professional standpoint, the sample comprises university students (62.13%, n\u0026thinsp;=\u0026thinsp;187), white-collar workers (16.94%, n\u0026thinsp;=\u0026thinsp;51), blue-collar workers (9.63%, n\u0026thinsp;=\u0026thinsp;29), corporate executives (6.64%, n\u0026thinsp;=\u0026thinsp;20), and civil servants and others (4.65%, n\u0026thinsp;=\u0026thinsp;14). The data indicates that university students constitute the primary consumer group for digital media film and television content in China (Table\u0026nbsp;\u003cspan refid=\"Tab3\" class=\"InternalRef\"\u003e3\u003c/span\u003e).\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab3\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 3\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eStatistical Summary of Survey Data Distribution\u003c/em\u003e\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"10\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c6\" colnum=\"6\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c7\" colnum=\"7\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c8\" colnum=\"8\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c9\" colnum=\"9\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c10\" colnum=\"10\"\u003e\u003c/div\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNO.\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eType 1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eType 2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eNumbers\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003ePercentage\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\" morerows=\"9\" rowspan=\"10\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\" morerows=\"4\" rowspan=\"5\"\u003e\u003cp\u003e\u003cem\u003eEducational\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eBachelor\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e214\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e71.10%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\" morerows=\"1\" rowspan=\"2\"\u003e\u003cp\u003e\u003cem\u003eGender\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cem\u003eMale\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e82\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e27.42%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eMaster\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e12\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e3.99%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cem\u003eFemale\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e219\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e72.76%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eDoctoral\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e10\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e3.32%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\" morerows=\"1\" rowspan=\"2\"\u003e\u003cp\u003e\u003cem\u003eTerritory\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cem\u003eCity\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e242\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e80.39%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eAssociate\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e44\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e14.62%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cem\u003eCountryside\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e59\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e19.61%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eOthers\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e21\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e6.98%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\" morerows=\"3\" rowspan=\"4\"\u003e\u003cp\u003e\u003cem\u003eAge\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cem\u003e\u0026lt;18\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e18\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e5.98%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\" morerows=\"4\" rowspan=\"5\"\u003e\u003cp\u003e\u003cem\u003eOccupational\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eCollege students\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e187\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e62.13%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e6\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cem\u003e18\u0026ndash;30\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e226\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e75.08%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eWhite-collar workers\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e51\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e16.94%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e7\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cem\u003e31\u0026ndash;45\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e38\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e12.62%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eBlue-collar workers\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e29\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e9.63%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e8\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003e\u003cem\u003e\u0026gt;46\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e19\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e6.31%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eCorporate executives\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e20\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e6.64%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e9\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e合计\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u0026nbsp;\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003e301\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003e100%\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c8\"\u003e\u003cp\u003e\u003cem\u003eCivil servants and others\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c9\"\u003e\u003cp\u003e14\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c10\"\u003e\u003cp\u003e4.65%\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec12\" class=\"Section2\"\u003e\u003ch2\u003e4.3 \u003cem\u003eDigital Media Consumption of Film and Television Content\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eA frequency analysis of survey data indicates that a majority of respondents (59.14%, n\u0026thinsp;=\u0026thinsp;178) engage in online film-related activities, including commenting, reviewing, and voting, on an occasional basis. A substantial proportion of participants (25.91%, n\u0026thinsp;=\u0026thinsp;78) reported frequent engagement, while a smaller segment (14.95%, n\u0026thinsp;=\u0026thinsp;45) indicated no participation in such interactions. Regarding consumption volume, the majority of users (70.76%) reported viewing between one and five digital media film and television productions monthly, representing the primary focus of their consumption habits. A smaller percentage of respondents (14.29%) reported viewing between five and ten productions monthly. A minority of users (9.63%) consumed more than ten digital media film and television works per month, while a small percentage (5.32%) reported no consumption.\u003c/p\u003e\u003cp\u003eConcerning platform preferences, the data reveal that Douyin and Kuaishou(China's mainstream short video platforms)is the primary source for discovering and viewing digital media film and television content, with 88.04% of users (n\u0026thinsp;=\u0026thinsp;265) utilizing these platforms. Xiaohongshu is also a significant platform, with 65.78% of users (n\u0026thinsp;=\u0026thinsp;198) reporting its use. WeChat official accounts (54.15%, n\u0026thinsp;=\u0026thinsp;163), Weibo (48.17%, n\u0026thinsp;=\u0026thinsp;145), and Bilibili (44.85%, n\u0026thinsp;=\u0026thinsp;135) also serve as important platforms for content discovery and consumption. In contrast, platforms such as Douban, Zhihu forums, and Youku exhibited lower user preference, with respective percentages of 18.94% (n\u0026thinsp;=\u0026thinsp;57), 10.96% (n\u0026thinsp;=\u0026thinsp;33), and 18.27% (n\u0026thinsp;=\u0026thinsp;55).\u003c/p\u003e\u003cp\u003eConcerning digital media consumption patterns, the data indicates that a substantial proportion of users (85.38%, n\u0026thinsp;=\u0026thinsp;257) engage with film and television content through mobile devices. Moreover, a majority of respondents (56.81%, n\u0026thinsp;=\u0026thinsp;171) utilize online streaming platforms for their digital media consumption. Traditional viewing methods, such as television (38.87%, n\u0026thinsp;=\u0026thinsp;117) and cinema (38.21%, n\u0026thinsp;=\u0026thinsp;115), represent a significant portion of the sample. These results suggest a shift away from conventional channels, such as television and cinema, and a concurrent increase in mobile and streaming platform consumption. An examination of preferred film and television genres reveals that the top five are suspense (n\u0026thinsp;=\u0026thinsp;174), youth-oriented films (n\u0026thinsp;=\u0026thinsp;162), animated films (n\u0026thinsp;=\u0026thinsp;159), crime dramas (n\u0026thinsp;=\u0026thinsp;157), and science fiction (n\u0026thinsp;=\u0026thinsp;148) (Table\u0026nbsp;\u003cspan refid=\"Tab6\" class=\"InternalRef\"\u003e4\u003c/span\u003e). Regarding content preferences, the top three themes are social realism (n\u0026thinsp;=\u0026thinsp;159), coming-of-age narratives (n\u0026thinsp;=\u0026thinsp;158), and historical/revolutionary themes (n\u0026thinsp;=\u0026thinsp;150).\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab4\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 4\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eDistribution of Preferences for Types of Film and Television Works\u003c/em\u003e.(1\u0026thinsp;=\u0026thinsp;very disagree, 2\u0026thinsp;=\u0026thinsp;disagree, 3\u0026thinsp;=\u0026thinsp;neutral, 4\u0026thinsp;=\u0026thinsp;agree, 5\u0026thinsp;=\u0026thinsp;very agree) A comparative analysis of preferred interactive modalities in film and television demonstrates differential user endorsement across four key approaches: social media engagement, short-form video platform interaction, real-time commenting (bullet screen), and behind-the-scenes documentary creation. The distribution of user agreement was as follows: 53.16% (n\u0026thinsp;=\u0026thinsp;160), 31.56% (n\u0026thinsp;=\u0026thinsp;95), 44.85% (n\u0026thinsp;=\u0026thinsp;135), and 41.53% (n\u0026thinsp;=\u0026thinsp;125), respectively. Social media interaction was identified as the most prevalent engagement method, followed by real-time commenting (Table\u0026nbsp;\u003cspan refid=\"Tab11\" class=\"InternalRef\"\u003e5\u003c/span\u003e).\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"7\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c6\" colnum=\"6\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c7\" colnum=\"7\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNO.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eType\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c6\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c7\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eThriller\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e31(10.3%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e28(9.3%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e68(22.59%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e83(27.57%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e91(30.23%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eCrime\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e32(10.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e29(9.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e83(27.57%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e75(24.92%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e82(27.24%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eArt\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e45(14.95%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e44(14.62%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e93(30.9%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e71(23.59%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e48(15.95%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eRomantic\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e37(12.29%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e47(15.61%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e87(28.9%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e75(24.92%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e55(18.27%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eYouth\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e22(7.31%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e40(13.29%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e77(25.58%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e92(30.56%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e70(23.26%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e6\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eFamily ethics\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e33(10.96%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e65(21.59%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e110(36.54%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e48(15.95%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e45(14.95%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e7\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eScience fiction\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e29(9.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e36(11.96%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e88(29.24%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e78(25.91%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e70(23.26%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e8\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eAction\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e27(8.97%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e36(11.96%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e90(29.9%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e79(26.25%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e69(22.92%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e9\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eAnimation\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e35(11.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e32(10.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e75(24.92%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e80(26.58%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e79(26.25%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e10\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eDocumentary\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e45(14.95%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e57(18.94%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e91(30.23%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e53(17.61%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e55(18.27%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab5\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 4\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eDistribution of Preferences for Types of Film and Television Works\u003c/em\u003e.\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"7\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c6\" colnum=\"6\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c7\" colnum=\"7\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNO.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eType\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c6\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c7\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eThriller\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e31(10.3%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e28(9.3%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e68(22.59%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e83(27.57%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e91(30.23%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eCrime\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e32(10.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e29(9.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e83(27.57%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e75(24.92%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e82(27.24%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eArt\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e45(14.95%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e44(14.62%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e93(30.9%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e71(23.59%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e48(15.95%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eRomantic\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e37(12.29%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e47(15.61%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e87(28.9%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e75(24.92%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e55(18.27%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eYouth\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e22(7.31%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e40(13.29%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e77(25.58%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e92(30.56%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e70(23.26%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e6\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eFamily ethics\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e33(10.96%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e65(21.59%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e110(36.54%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e48(15.95%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e45(14.95%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e7\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eScience fiction\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e29(9.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e36(11.96%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e88(29.24%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e78(25.91%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e70(23.26%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e8\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eAction\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e27(8.97%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e36(11.96%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e90(29.9%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e79(26.25%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e69(22.92%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e9\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eAnimation\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e35(11.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e32(10.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e75(24.92%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e80(26.58%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e79(26.25%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e10\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eDocumentary\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e45(14.95%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e57(18.94%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e91(30.23%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e53(17.61%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c7\"\u003e\u003cp\u003e55(18.27%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003ctfoot\u003e\u003ctr\u003e\u003ctd colspan=\"7\"\u003eNOTE:(1\u0026thinsp;=\u0026thinsp;very disagree, 2\u0026thinsp;=\u0026thinsp;disagree, 3\u0026thinsp;=\u0026thinsp;neutral, 4\u0026thinsp;=\u0026thinsp;agree, 5\u0026thinsp;=\u0026thinsp;very agree)\u003c/td\u003e\u003c/tr\u003e\u003c/tfoot\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab6\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 5\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eDistribution of Preferences for Film and Television Genres.\u003c/em\u003e(1\u0026thinsp;=\u0026thinsp;very disagree, 2\u0026thinsp;=\u0026thinsp;disagree, 3\u0026thinsp;=\u0026thinsp;neutral, 4\u0026thinsp;=\u0026thinsp;agree, 5\u0026thinsp;=\u0026thinsp;very agree)\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"6\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c6\" colnum=\"6\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eType\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003e1\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003e2\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003e3\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003e4\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c6\"\u003e\u003cp\u003e5\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cem\u003eSocial media engagement\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e25(8.31%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e26(8.64%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e90(29.9%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e90(29.9%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e70(23.26%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cem\u003eShort-form video platform interaction\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e17(5.65%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e17(5.65%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e71(23.59%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e112(37.21%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e84(27.91%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cem\u003eBullet screen interaction\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e22(7.31%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e36(11.96%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e108(35.88%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e73(24.25%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e62(20.6%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e\u003cem\u003eBehind-the-scenes documentaries of film and television production\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e29(9.63%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e43(14.29%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e104(34.55%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e69(22.92%)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c6\"\u003e\u003cp\u003e56(18.6%)\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec13\" class=\"Section2\"\u003e\u003ch2\u003e4.4 \u003cem\u003eFactors Influencing the Production of Film and Television Content\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eThis investigation primarily examines the determinants influencing the creation of film and television content, categorized into two dimensions: facilitating factors (B1-B4) (Table\u0026nbsp;\u003cspan refid=\"Tab7\" class=\"InternalRef\"\u003e6\u003c/span\u003e) and inhibiting factors (F1-F16) (Table\u0026nbsp;\u003cspan refid=\"Tab8\" class=\"InternalRef\"\u003e7\u003c/span\u003e). Frequency analysis reveals that B4, the production of digital media film and television content, which contributes to revenue generation and economic enhancement, is the most frequently cited facilitating factor (n\u0026thinsp;=\u0026thinsp;168, representing 55.81%). The top five inhibiting factors include the awards or ratings/reputation of digital media film and television content, audience consumption habits characterized by rapid information intake, directors' or actors' utilization of new media for advertising, the interactive methodologies employed in film and television content, and recommendations from peers or media outlets. The agreement rates for these factors are 57.81% (n\u0026thinsp;=\u0026thinsp;174), 57.14% (n\u0026thinsp;=\u0026thinsp;172), 55.15% (n\u0026thinsp;=\u0026thinsp;166), 54.15% (n\u0026thinsp;=\u0026thinsp;163), and 53.49% (n\u0026thinsp;=\u0026thinsp;161), respectively.\u003c/p\u003e\u003cp\u003eThis study employs overall satisfaction (S1) with digital media film and television content as the dependent variable and the facilitating factors (B1-B4) and inhibiting factors (F1-F16) as independent variables for general linear regression analysis. The results indicate that F7, the distribution strategy of film and television platforms, and F8, the interactive methodologies of film and television content, significantly influence the overall satisfaction (S1) with digital media film and television content (pF7\u0026thinsp;=\u0026thinsp;0.02\u0026thinsp;\u0026lt;\u0026thinsp;0.05; pF8\u0026thinsp;=\u0026thinsp;0.02\u0026thinsp;\u0026lt;\u0026thinsp;0.05). F7, the distribution strategy of film and television platforms, demonstrates a weak negative linear relationship with the overall satisfaction (S1) with digital media film and television content (r= -0.17), whereas F8, the interactive methodologies of film and television content, exhibits a weak positive linear relationship with the overall satisfaction (S1) with digital media film and television content (r\u0026thinsp;=\u0026thinsp;0.17). Other factors do not exhibit a statistically significant linear relationship with the overall satisfaction (S1) with digital media film and television content (p\u0026thinsp;\u0026gt;\u0026thinsp;0.05) (Table\u0026nbsp;\u003cspan refid=\"Tab9\" class=\"InternalRef\"\u003e8\u003c/span\u003e). In the table, VIF\u0026thinsp;\u0026lt;\u0026thinsp;10 indicates the absence of multicollinearity among the variables in the linear regression analysis. Furthermore, this study also analyzes the impact of demographic variables on the overall satisfaction (S1) with digital media film and television content. Linear regression analysis confirms that demographic variables (gender, age, and education) do not have a statistically significant linear relationship with the overall satisfaction (S1) with digital media film and television content (p\u0026thinsp;\u0026gt;\u0026thinsp;0.05)(Table\u0026nbsp;\u003cspan refid=\"Tab9\" class=\"InternalRef\"\u003e8\u003c/span\u003e and Table\u0026nbsp;\u003cspan refid=\"Tab10\" class=\"InternalRef\"\u003e9\u003c/span\u003e).\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab7\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 6\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eThe Benefits of Film and Television Works\u003c/em\u003e\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"2\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNo.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eFactors\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eB1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eThe creation of digital media film and television works can help record important moments in life and enhance the sense of ritual in life.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eB2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eThe creation of digital media film and television works can help stimulate creativity and improve artistic expression ability.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eB3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eThe creation of digital media film and television works can help arrange time reasonably and improve time management ability.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eB4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e\u003cem\u003eThe creation of digital media film and television works can help increase income and improve economic level.\u003c/em\u003e\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab8\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 7\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eNon-beneficial Factors of Film and Television Works\u003c/em\u003e\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"4\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eNo.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eFactors\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eNo.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eFactors\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eFilm genre and narrative appeal\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eF9\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThematic content of the media artifact\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eDirector and actor promotional strategies within new media\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eF10\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eEmbedded advertising strategies\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eInfluence of peer and media-based recommendations\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eF11\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eProduction quality of the film or television program\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eImpact of digital media film production accolades and critical assessments\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eF12\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eUser-stated preferences\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eCost-effective marketing approaches\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eF13\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eAudience satisfaction metrics.\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF6\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eDigital media (e.g., short-form video, film criticism) recommendation systems\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eF14\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eIndividual audience members' needs and experiences\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF7\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eFilm distribution strategies across various platforms\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eF15\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eAudience attitudes and behaviors.\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF8\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eInteractive methodologies within film\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eF16\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThe audience's rapid information consumption patterns\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab9\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 8\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eLinear Regression Analysis\u003c/em\u003e\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"7\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c6\" colnum=\"6\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c7\" colnum=\"7\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eS1\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eCoef.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eStd.Err.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003et\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003eP\u0026thinsp;\u0026gt;\u0026thinsp;t\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c6\"\u003e\u003cp\u003eVIF\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c7\"\u003e\u003cp\u003e1/VIF\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eB1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.02\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.27\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.79\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.87\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.26\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eB2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.17\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.09\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e1.92\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.06\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e4.21\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.24\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eB3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.05\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e0.64\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.52\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.36\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.30\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eB4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.01\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e0.14\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.89\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.65\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.27\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF1\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.05\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.60\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.55\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e4.28\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.23\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF2\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.05\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.06\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e0.75\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.45\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e2.45\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.41\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF3\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.04\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.07\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e0.60\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.55\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e2.90\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.35\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF4\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.01\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.15\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.88\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.52\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.28\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF5\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.05\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.07\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e0.79\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.43\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e2.94\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.34\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF6\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.02\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.28\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.78\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.28\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.30\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF7\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.19\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-2.41\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.02\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.58\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.28\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF8\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.17\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.07\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e2.32\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.02\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.12\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.32\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF9\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.01\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.16\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.87\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.77\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.26\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF10\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.05\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.05\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e1.02\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.31\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e2.17\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.46\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF11\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.04\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e0.54\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.59\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e4.35\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.23\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF12\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.05\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.07\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e0.72\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.48\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.39\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.30\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF13\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.02\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.09\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.19\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.85\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e4.38\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.23\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF14\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.06\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.09\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.59\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.56\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e4.75\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.21\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF15\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.12\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.09\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e1.34\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.18\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e3.77\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.27\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eF16\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.07\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e1.24\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.21\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e2.65\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e0.38\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e_cons\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e2.14\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.21\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e10.05\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.00\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c6\"\u003e\u003cp\u003e-\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c7\"\u003e\u003cp\u003e-\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab10\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 9\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003e\u003cem\u003eLinear Regression Analysis of Demographic Variables\u003c/em\u003e\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"5\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"char\" char=\".\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eS1\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eCoef.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eStd.Err.\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003et\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003eP\u0026thinsp;\u0026gt;\u0026thinsp;t\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eGender\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e0.21\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.11\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e1.88\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.06\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eAge\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.03\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.08\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.42\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.67\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eEdu\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e-0.01\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.07\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e-0.14\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.89\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003e(Constant)\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c2\"\u003e\u003cp\u003e3.71\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c3\"\u003e\u003cp\u003e0.32\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c4\"\u003e\u003cp\u003e11.74\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"char\" char=\".\" colname=\"c5\"\u003e\u003cp\u003e0.00\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e"},{"header":"5. Discussion","content":"\u003cp\u003eThis study builds upon existing literature to identify four benefit and sixteen non-benefit factors influencing consumer behavior. Quantitative analysis indicates that only platform distribution strategies and interaction methods within digital media film and television works significantly correlate with overall satisfaction. These findings partially validate prior research, yet preclude definitive conclusions. The results support Ocak's (2023) assertion regarding the impact of distribution strategies on purchase intent. Furthermore, the research corroborates Yu's (2023) findings, demonstrating that audience interaction enhances engagement and satisfaction, thereby positively influencing consumer purchasing intentions.\u003c/p\u003e\u003cp\u003eBeyond consumer behavior, the influencing factors in digital media film and television creation can be analyzed from the creator's perspective and the creative environment (e.g., policy, socio-cultural, and technological contexts). These perspectives are interconnected; thus, the identified factors encompass these dimensions. For instance, the four benefit factors can be considered from the creator's motivation and recommendations from friends or media, which can be categorized under the creative environment. However, these factors differ significantly. The creator's perspective also includes digital media technology literacy(Zhang \u0026amp; Shao, \u003cspan citationid=\"CR36\" class=\"CitationRef\"\u003e2024\u003c/span\u003e), acceptance of digital media technology (Zhang, \u003cspan citationid=\"CR35\" class=\"CitationRef\"\u003e2022\u003c/span\u003e), and the acquisition of knowledge and skills in creating digital media film and television works.\u003c/p\u003e\u003cp\u003eThe present investigation utilized a quantitative research paradigm, which, by its nature, introduces specific constraints. Foremost, the limited sample size poses a challenge to the generalizability of the findings to the broader population, potentially compromising the validity of the study's conclusions. Furthermore, the structured nature of the questionnaire, employing closed-ended items and scales, may yield circumscribed results. The inherent limitations of closed-ended formats restrict the range of participant responses, thereby impeding a comprehensive examination of the research inquiries. Finally, the multifaceted nature of the factors influencing the production of digital media film and television necessitates a methodological approach capable of capturing these dynamic influences, which may not be fully achieved through scale-based questionnaire surveys.\u003c/p\u003e"},{"header":"6. Conclusion","content":"\u003cdiv id=\"Sec16\" class=\"Section2\"\u003e\u003ch2\u003e6.1 \u003cem\u003eSummary of Research Findings\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eEmploying survey data, this investigation elucidates critical demographic characteristics. The primary consumers of digital media film and television content in China are identified as female university students, primarily from second- and third-tier cities, and recent graduates residing in comparable urban environments.\u003c/p\u003e\u003cp\u003eQuantitative analysis of consumption behaviors reveals a predilection for genres including suspense, youth-oriented dramas, animated films, crime thrillers, and science fiction. Regarding content selection, social realism, coming-of-age narratives, and historical/revolutionary themes are favored. Social media interaction and bullet-screen (Chinese: danmu) comments represent preferred engagement methodologies. In terms of platform selection, Douyin/Kuaishou, Xiaohongshu, WeChat Official Accounts, Weibo, and Bilibili are the dominant platforms, whereas Douban, Zhihu forums, and Youku exhibit less prevalence. Smartphones are identified as the primary viewing device.\u003c/p\u003e\u003cp\u003eThe quantitative investigation into the determinants influencing the production of digital media film and television content elucidates that the capacity of these works to enhance revenue streams and elevate economic metrics constitutes the most significant advantage. Conversely, factors including critical acclaim, audience preferences for expeditious information assimilation, novel media advertising strategies employed by directors or actors, interactive features embedded within the works, and endorsements from peers or media outlets represent principal non-beneficial elements. This investigation, predicated on a consumer behavior framework, furnishes a systematic and comprehensive analysis of these influencing factors, thereby fulfilling its research objectives. The distribution strategies of film and television platforms and the interactive functionalities of the works significantly impact the satisfaction derived from new media film and television productions, whereas other factors do not demonstrate a statistically significant linear correlation with satisfaction.\u003c/p\u003e\u003cp\u003eDigital media consumption within the Chinese context has precipitated a novel \"content-platform-social\" paradigm. Prior to content creation, the establishment of a user profile database, specifically targeting Generation Z female consumers, is deemed essential, alongside the construction of a thematic matrix aligned with prevailing market characteristics. The development of immersive interactive narrative technologies, prioritizing user preferences, is also advocated. This research contributes a theoretical framework for the precision-oriented operation of digital content production, offering practical implications for platform algorithm optimization and the digital transformation of creative endeavors.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec17\" class=\"Section2\"\u003e\u003ch2\u003e6.2 \u003cem\u003eRecommendations for the Production of Novel Digital Media Film and Television Content\u003c/em\u003e\u003c/h2\u003e\u003cp\u003eThis investigation posits that the production of digital media film and television content should be strategically directed towards the Generation Z female collegiate demographic, thereby aligning with their specific requisites and consumption patterns. A pronounced emphasis should be placed on the development of content within the genres of suspense, youth-oriented narratives, animation, crime dramas, and science fiction, with thematic explorations encompassing social realism, adolescent development, and historical transformations. The integration of social media platforms and interactive \"bullet screen\" functionalities is recommended to augment user engagement. Considering the accelerated lifestyles prevalent among both middle-aged and younger adult populations, content should be structured to maintain conciseness, with an episode duration of 20\u0026ndash;30 minutes, each possessing a self-contained narrative arc. Prioritization should be given to mobile device compatibility, while ensuring accessibility across diverse terminal platforms.\u003c/p\u003e\u003c/div\u003e\n\u003cdiv class=\"Heading\"\u003e6. 3 \u003cem\u003eFuture Research Directions\u003c/em\u003e\u003c/div\u003e\u003cp\u003eSubsequent research endeavors will incorporate the utilization of quantifiable continuous variables, such as the assessment of user experience within digital media film and television content through the application of eye-tracking and electroencephalogram (EEG) methodologies. Concurrently, qualitative methodologies, including in-depth interviews and case studies, will be employed to provide a comprehensive analysis of the factors influencing the creation of digital media film and television content and associated consumer behaviors. Furthermore, big data mining and analytical techniques will be leveraged to procure user interaction data, thereby enhancing the systematicity and comprehensiveness of the research framework.\u003c/p\u003e"},{"header":"Declarations","content":"\u003ch2\u003eFunding statement:\u003c/h2\u003e\u003cp\u003eThis research is supported by Research on Enhancing the Effectiveness of Ideological and Political Education in Colleges and Universities by Taking Film and Television Creation as a Carrier - A Teaching Reform Project in Shanxi Province, China.(NO.J20221385)\u003c/p\u003e\u003ch2\u003eAuthor Contribution\u003c/h2\u003e\u003cp\u003eConceptualization,Danyang Jin; methodology,Danyang Jin; software,Danyang Jin;validation,Danyang Jin; formal analysis,Danyang Jin; investigation,Danyang Jin; resources,Danyang Jin; data curation,Danyang Jin; writing\u0026mdash;original draft preparation,Danyang Jin; writing\u0026mdash;review and editing,Danyang Jin; visualization, Xin Ma; supervision,Xin Ma; project administration, Danyang Jin; funding acquisition, Xin Ma. All authors have read and agreed to the published version of the manuscript.\u003c/p\u003e\u003ch2\u003eAcknowledgement\u003c/h2\u003e\u003cp\u003eWe would like to express our sincere gratitude to Professor Xie Hongguang from Shanxi University of Media and Communications for his invaluable guidance and insightful suggestions during the research process.His expertise and constructive feedback significantly contributed to the improvement of this paper. We are also deeply thankful for his encouragement and support throughout the study.\u003c/p\u003e\u003ch2\u003eData Availability\u003c/h2\u003e\u003cp\u003eThe data presented in this study are available on request from the corresponding author. The data are not publicly available due to being collected and sorted by authors from some paid databases.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\u003cli\u003e\u003cspan\u003e\u0026Aacute;d\u0026aacute;m H, Bal\u0026aacute;zs G (2021) Movie Consumption Related Trends And Countertrends In Consumer Behavior. SocioEconomic Challenges 5(1):79\u0026ndash;88. \u003cspan class=\"ExternalRef\"\u003e\u003cspan class=\"RefSource\"\u003ehttps://doi.org/10.21272/sec.5(1).79-88.2021\u003c/span\u003e\u003cspan address=\"10.21272/sec.5(1).79-88.2021\" targettype=\"DOI\" class=\"RefTarget\"\u003e\u003c/span\u003e\u003c/span\u003e\u003c/span\u003e\u003c/li\u003e\u003cli\u003e\u003cspan\u003eAlforova Z, Marchenko S, Kot H, Medvedieva A, Moussienko O (2021) Impact of Digital Technologies on the Development of Modern Film Production and Television. 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Entertainment Comput 100852\u0026ndash;100852. \u003cspan class=\"ExternalRef\"\u003e\u003cspan class=\"RefSource\"\u003ehttps://doi.org/10.1016/j.entcom.2024.100852\u003c/span\u003e\u003cspan address=\"10.1016/j.entcom.2024.100852\" targettype=\"DOI\" class=\"RefTarget\"\u003e\u003c/span\u003e\u003c/span\u003e\u003c/span\u003e\u003c/li\u003e\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":true,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"Digital Age, Consumer Behavior, Digital Media, Film and Television Production, Influencing Factors","lastPublishedDoi":"10.21203/rs.3.rs-6823843/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-6823843/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThis study investigates the structural transformation of Chinese digital media film and television production within the context of digitalization, globalization, and diversification. The objective is to construct a model of influencing factors in digital-age content creation, analyzing the correlation between user consumption behavior and creative elements. A mixed sampling method (n\u0026thinsp;=\u0026thinsp;301) was employed, utilizing scales based on motivation, consumer behavior, and stakeholder theories. Reliability and validity were assessed (α\u0026thinsp;=\u0026thinsp;0.954), followed by multiple regression analysis. Results indicate that platform distribution strategies (β=-0.19) and interaction design (β\u0026thinsp;=\u0026thinsp;0.017*) significantly predict user satisfaction (p\u0026sup2;=0.02\u0026thinsp;\u0026lt;\u0026thinsp;0.05). The findings suggest a \"content-platform-social\" paradigm in digital media consumption, advocating for a Z-generation female user profile database, a thematic matrix tailored to regional markets, and the development of immersive interactive narrative technologies. This research offers a theoretical framework for digital content operation and algorithm optimization.\u003c/p\u003e","manuscriptTitle":"Algorithmic Content Curation, Immersive User Engagement, and the Content-Platform-Social Interface: A Multivariate Examination of Consumption Determinants among Generation Z within China’s Digitally Evolved Media Ecosystem","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2025-11-24 13:07:48","doi":"10.21203/rs.3.rs-6823843/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"fc286bfc-ac72-4b4d-8959-a0f93167dff8","owner":[],"postedDate":"November 24th, 2025","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[{"id":58431753,"name":"Humanities/Cultural and media studies"},{"id":58431754,"name":"Social science/Cultural and media studies"}],"tags":[],"updatedAt":"2025-12-31T09:53:40+00:00","versionOfRecord":[],"versionCreatedAt":"2025-11-24 13:07:48","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-6823843","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-6823843","identity":"rs-6823843","version":["v1"]},"buildId":"8U1c8b4HqxoKbykW_rLl7","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}