“Communication policy of cinema industry enterprises in the context of COVID-19 (on the example of cinema chains)”

The global pandemic caused a crisis in the Ukrainian cinema industry. Some entities were closed, but the biggest market players were able to concentrate their efforts on interacting with visitors through social networks, public attention, frequent press men- tions and discussions of influencers as synergies of communication policy tools. The purpose of the paper is to make proposals for improving the communication pol- icy of cinema chains under new challenges. Based on a system analysis and indices of activity in social media of ten key Ukrainian cinema chains during the COVID-19 period, the main trends of their behavior and vision of development were determined. Changes were detected in the product strategy. To increase the effectiveness of com- munication policy, a focus should be on enhanced communications with consumers, especially through the implementation of a content-plan for publications on Facebook and Instagram, including facts from the lives of actors or filmmaking process, uniting followers around the filming theme, interacting, etc. Based on the above, the proposals are made to strengthen communication policy: activating posting frequency, generat-ing more interesting content, and focusing on engaging with the followers. It turned out that such changes affect the key quality efficiency of social media marketing in two cinema chains. Such events rebuild the online community of moviegoers, which fosters loyalty and increases in visitors in the post-pandemic period. In this context, the implementation of online cinema in cooperation with distributors will contribute to formatting an online platform aimed at attracting a larger number of consumers, regardless of external circumstances. of 2020 cinema across suspended their activities due to the threat of the spread of coronavirus of Ministers of Thus, the lockdown that lasted in Ukraine July posed many important issues for the cinema industry, the solution of which significantly impacted the further business of individual cinemas and the market as a whole. Such a force majeure factor could not have been predicted, because there was no such stoppage in the history of the cinema market. Economic issues, such as payment of rent, wages to employees, the impossibili-ty of selling already purchased goods with a short shelf life from the bar of the At the same time, the revaluation


INTRODUCTION
Since December 2019, the coronavirus pandemic has forced the governments of most countries to implement the lockdown -closing all enterprises except hospitals, pharmacies and supermarkets. At the beginning of 2020 cinema chains across Ukraine suspended their activities due to the threat of the spread of coronavirus (Cabinet of Ministers of Ukraine, 2020). Thus, the lockdown that lasted in Ukraine until July 1, posed many important issues for the cinema industry, the solution of which significantly impacted the further business of individual cinemas and the market as a whole. Such a force majeure factor could not have been predicted, because there was no such stoppage in the history of the cinema market. Economic issues, such as payment of rent, wages to employees, the impossibility of selling already purchased goods with a short shelf life from the bar of the cinema, came first. At the same time, after the revaluation

LITERATURE REVIEW
Communication in marketing of enterprises is considered a mix of processes aimed at achieving the performance indicators of their work in advertisement, direct marketing, branding, PR, sales promotion, loyalty programs, sponsorship, personal sales, and trade presentation (Kotler et al., 2004, p. 424). Scientists have identified the synergistic interaction of all communication tools for positioning, segmentation and branding (Aaker, 2008) and studied the impact of communications on sales promotion, brand awareness and loyalty (Kotler et al., 2013). Lambin as one of the founders of the selection of communication, considers marketing communications as "complex of signals, which come out from firm to different auditory, including clients, salespeople, government and own stuff" (Lambin, 2004, p. 271). Kotler built a communication mix, which covers all points of a company's contacts with clients, "а company's total marketing communication mix also called promotion mix consists of specific blends of advertising, personal selling, sales promotion, public relations and direct marketing tools that the company uses to pursue its advertising and marketing objectives" (Kotler, 2005). He described the elements of the communication process: a sender coded a message and sent it through the media to a recipient. The sender must have good coding skills to make correct messages that the target audience can decode. After that, it is important to get feedback (Kotler, 2011, p. 400).
"Despite the society challenge connected with COVID-19, the scientists and analytics accentuate an attention on using even communicative politic tools for increase the efficiency of activities. The coronavirus began to wreak havoc around the world in March 2020. Total digital consumption continued to grow, with an 8% increase in visits and a 10% increase in total minutes spent online in March 2020" (Oh, 2020).
"The crisis is focusing greater attention on online supply in sectors such as retail, health, education, telecommunications and audio-visual services, accelerating companies' efforts to expand online operations, and creating new consumer behaviors that are likely to contribute to a profound and long-term shift towards online services. In the future, the increased supply of services through digital networks can be expected to strongly impact trade, leading to increased supply through mode 1 (services supplied from one country to another)" (World Trade Organization, 2020).
Research on social media in business, marketing and economy in general in a pandemic situation covers a wide range of people from all of the world. "Social media marketing strategies tend to be more inclined towards intentional branding than functional branding. This is contrary to what has been suggested in the extant literature that social media marketing may be more oriented towards functional branding rather than intentional branding" (Fahmi Al-Zyoud, 2018).
Dubovyk studied a complex approach to advertising as a communication policy tool on the Internet. She suggested the following structure integrated marketing communications by type: 1) Internet advertisement; 2) promoting online sales -e-coupons, product sampling, delivery for free, give away, lotteries, discounts and prizes, e-loyalty programs, bonus incentives, cross-stimulation programs; 3) direct internet marketing -spam, direct e-mailing, ICQ, SMS, QR-codes; 4) community -recommendations and reviews, management of visitors' registrations, reputation management (Dubovyk, 2014, p. 123).
COVID-19 has had a significant impact on the global and national economy, including Ukraine. Therefore, it is worth looking for new tools to stimulate business development. Among the ways of overcoming negative consequences of the pandemic, scientists indicated social media as an element of marketing communications.
In particular, "exactly due to social media brand can become more recognizable, and due to marketing, thanks to social media marketing, you can constantly stay in touch, attract new clients, sell a product from the cinema bar online, and most importantly, after quarantine, not a single client is lost and conversely their number will increase" (Lazebnyk et al., 2020, p. 151).
However, the research does not pay enough attention to the functioning and features of the communication policy of cinema industries subjects. At the same time, some papers predict future development of the cinema industry. So, Sterritt notes: "I strongly suspect that post-pandemic moviegoing patterns will be significantly different from the paradigms that previously held sway. Whatever the specifics of the new normal turn out to be, people who love huge movies on huge screens will surely continue to feed their habit when (and if) multiplexes are fully back in business, and if smaller theaters keep up their newly acquired capacity for virtual exhibition, marvelous benefits will accrue to countless cinephiles living in areas without brick-and-mortar art houses" (Sterritt, 2020, p. 506). The cinema industry, which is formed by film producers and distributors, is one of the business spheres that experienced the biggest impact from COVID-19. But despite the complexity of technology, insignificant contribution to GDP and a new turn of development of cinema chains in Ukraine (in the context of changing the form of ownership from common to private), this sector is understudied. Sheremeta made the following conclusions: "The analysis of influence factors on consumer behavior gives insight into the features that determine the desire/willingness of the buyer (consumer) to purchase this or that product. Besides, marketing tools provide an opportunity to change the consumer behavior in the seller's desired direction" (Sheremeta, 2019, p. 101).
Meanwhile, a systemic scientific approach to activating the development of cinema chains has not been formed. Therefore, there is a need to study their communicative policies, in particular in the context of COVID-19, and develop measures to stimulate their activities.

AIMS
The paper is aimed at formulating recommendations on actions to overcome the crisis associated with the temporary suspension of film demonstrations through a communication policy as a part of an overall marketing strategy.

METHODS
This article based on a research approach of assessment communication policy of cinema chains in the context of COVID-19. The method of competitive analyze of activity of enterprise in digital consist in same-type data collection from enterprise in the same sphere (Pidgurska et al., 2019). In this paper were analyzed behavior of cinema chain in period of part-time stopping of film demonstration. Were made monitoring of publishing in press about social activity of cinema business and in professional magazines, studding the information from official websites. Also were made thematic analysis, qualitative and quantitative analysis, supplemented by the method of comparison, grouping, and classification, to identify common features and main trends in interaction with subscribers-visitors online. This methods are used of research exactly researchers of social media marketing (Jaakonmäki et al., 2017) for studying se-mantic content social media and the communicative strategy with visitors. For data processing, quantitative indicators were used generally accepted key results of effectives in social network.
The following quantitative parameters and metrics were identified: the number of participants

RESULTS
As of March 2020, there were 13 cinema chains in Ukraine. Each of them consists of a different number of cinemas that are designed for a different number of spectators. Table 1 shows a number of halls in a cinema chain. After the end of the enhanced quarantine regime, the structure of the cinema market changed. As of July 2020, the Linia Kino cinema chain has closed one cinema (Aladdin shopping mall) and thus reduced its number by five halls. The Multiplex cinema chain started operating by closing the cinema in the Skymall shopping mall, thus losing 10 halls.
In addition to the change in the structure of the market in the number of cinemas due to COVID-19 in some cinema networks, the prod-uct itself has changed. For example, from the first days of closing, the customers of the cinemas of Planeta Kino, Linia Kino, Multiplex in Kyiv, and Kinotema in Zaporizhzhia could order delivery of products from the cinema bar (combo sets of popcorn and other snacks to watch movies at home). For Easter, Multiplex collaborated with the Italian restaurant chain ilMolino and offered its guests the delivery of an exclusive product -pastries like Easter cake -Panettone with popcorn.
Later, Multiplex, Planeta Kino and KinoLand (Kharkiv) announced the sale of electronic certificates for a visiting cinema at a fixed price of UAH 100, which could be used after the opening of cinemas, while the certificate price was lower than the standard pricing policy. Thus, under quarantine conditions, the network of cinemas used the following product strategies: • sale certificates "in advance"; • delivery of popcorn; and • organization of mobile and open-air car cinemas.
To study the communication policy, communications of cinema networks on the subject of posts were analyzed to identify the emotional nature of the content during the phase of strict quarantine (from March 12 to July 1, 2020).
Some cinema chains were not ready for new challenges. Kyivkinofilm and Odesa Kino cinema chains did not have official social media pages.
The Butterfly cinema chain did not communicate with its audience on Instagram and Facebook after the announcement on March 17 of the cinema's closure until July 4. Despite the large number of cinemas on the chain, as for August 20, 2020, the network has less than 500 followers on Instagram, and 4,760 on Facebook.
The Oscar cinema chain took long breaks between posts on Instagram and Facebook. So, there were the following intervals: from March 8 to 22, then one post, then the next with a contest -April 16, the next entertainment on April 23, the next were intermittently for almost a month and resumed regular posting at intervals of a couple of days from June 19. As of August 2020, the Instagram page has 7,952 followers.
The Cinema citi cinema network had no regular posting on Instagram and Facebook during the quarantine period from March 19 to July 1. Few posts were posted on Facebook during this period -the official announcement of the closure of the cinema, two entertainment posts, one with a trailer for the premiere of the film, which will be released after quarantine, one advertising post about collaboration with MEGOGO with a promo code for free TV viewing on 10 days and one with online festival advertising.  Wizoria, on Instagram and Facebook, remained in touch with its audience. The posts presented selections of films on various topics for viewing at home, told about actors' birthdays, shared recipes from cartoons, trailers for upcoming premieres, voted for the best actor who played James Bond, mentioned interesting film anniversaries. The stories encouraged the audience to interact -weekly voting for the best film of the year, quizzes on various topics, and a live broadcast with actor Bohdan Yusypchuk.
The Multiplex cinema network broadcast entertainment content to its audience, advertised for the purchase of certificates, delivery of popcorn and Pannetone, the sale of Funko Pop toy figures with Marvel characters, held raffles, introduced a cognitive section "retrospective from Multiplex -a selection of tapes rental on this day" on Instagram and Facebook.
Planeta Kino, after announcing the closure of cinemas through its Telegram-channel, announced the free distribution of 500 kg of popcorn if a guest shows that he is subscribed to this channel. Communication on Instagram and Facebook continued with regular posting as before the introduction of quarantine. In its communications, the cinema chain offered quarantine tips, advertized the delivery of food from its RE'LUX cinema restaurants via Glovo and Uber Eats, and its own brand of packaged popcorn, Pumpidup, which is sold in online grocery supermarkets and encouraged to purchase certificates. socks. In addition, the network of Planeta kino cinemas had a social initiative -the management transferred UAH 200,000 to the Zhyttelyub charity fund, which was shared through a video created by the entire team of the network. In April, Instagram Planeta Kino launched the "Small Talks" section -weekly live broadcasts with conversations of co-owner Dmitry Derkach with interesting audience guests, including Alina Pash, DZIDZIO, Sabina Musina, Andrii Trushkovskyi, Pupsi Kira, Yurii Horbunov, Positive. Interactives were held -subscribers were invited to shoot a video on "Why I love Planeta Kino", as well as to join the challenge "finally do it", where subscribers in their stories should tell what they "finally did" in quarantine and mark the page of the cinema, passing an online quest together with City Quest, quizzes.
For a more in-depth quantitative analysis of communications in social networks during the phase of strict quarantine and in a similar period, provided the usual activities of cinemas, this study considered the indicators of activity in social networks.
With the help of the Livedune analytics collection service, the number of subscribers was determined in two periods: the beginning of quarantine and after the release of cinemas return to work, in July on the Instagram social network there are such cinema chains -KinoLand, Cinema city, Oscar, Multiplex, Planeta Kino and Wizoria (see Table 2). With the help of the Livedune service, quantitative data was received on subscribers on Facebook as of July 2, 2020, from accounts of cinema networks (see Figure 1).
By the number of followers on Instagram, the leaders are Multiplex, Planeta Kino and Wizoria. During the quarantine period, the Mupltiplex and Planeta kino cinema chains managed to increase their audience, while all other cinema networks lost between 600 and 2,000 subscribers. On Facebook, the leaders in the number of subscribers are Multiplex, Planeta Kino and Cinema citi.
The number of posts for the quarantine period in 2020 was summarized and compared with the number of publications for the same period in 2019 (see Figures 2 and 3).

Cinema chain
The sum of likes, reposts and comments (А)

Number of posts (В)
Number of subscribers, July 2, 2020 (С) For clarity, data on activity and engagement indicators are presented in the graphs in Figures 4 and 5.

SMA ((А/С)*100%) ER (SMA/В)
The calculation of SMA and ER metrics indicates that Instagram subscribers from Wizoria, Multiplex and Planeta kino showed more attention, and the share of the audience in terms of the number of posts was higher in Cinema citi, Planeta kino and Oscar. On Facebook, the reaction of the audience to the content of the cinemas Kinoman, Line Cinema and Wizoria was more ac-tive, and the involvement rate was the highest in Kinoman, Linia kino and Kino tema.
The analysis of the Instagram and Facebook accounts of two large foreign cinema chains shows that the American cinema network AMC, which is part of the world's largest Chinese cinema chain Wanda Group, actively communicated with its audience between March 12 and July 1: the publications were published four times a day, every day. There were the following topics: video interviews  These indicators show that the activity is almost identical on the pages in both networks, and the involvement is very low.
After the quarantine was lifted, cinema networks resumed their work, but with some quarantine restrictions from the Ministry of Health of Ukraine.
The following safety rules have been developed for all cinemas: • mask mode; • temperature screening of staff and guests at the entrance; • observance of social distance in queues; and • occupancy of halls no more than 50%.
The implemented safety rules, on the one hand, will prevent cinemas from making a full profit, because firstly they reduce attendance by half, and secondly they have a negative impact on the general atmosphere of relaxed recreation, because cinemas primarily perform an entertaining function for the audience. On the other hand, transparency in implementing these rules and the construction of communications in the context of strict observance of cinemas of all sanitary norms will help cinemas create an image of a safe place of rest, which should be preferred over other possible entertainment. Movies are also an influential factor in the work of cinemas. Due to restrictions on cinemas around the world, the mode of operation of cinemas around the world is heterogeneous, and the return to work in different parts of the world has occurred in different months, the film owners are postponing premieres, most of them have already changed the release dates to 2021.

CONCLUSION
The aim of the study was to formulate recommendations for communication policy of cinema chains in crisis. The results prove that the pages of cinema chains, with time-to-time posting, lost touch with spectators. On the contrary, cinema chains that regularly post at least once every three days engaged followers in the discussion and do not lose engagement, because they operate according to algorithms of social networks. Such cinema chains not only declared about the opportunity of buying certificates or product's delivery from the cinema bar, but also represented interesting facts from filmmaking, made live interview with actors, celebrated birthdays of stars, etc.
The study proposed key measures for cinema chains to strengthen communication policy: the activation of posting frequency, formation of more interesting content for subscribers, focus on interactions with subscribers, publication of content in pages with surveys, quizzes, voting to engage the audience in interaction. Mixing of the above measures has shaped new rules of communication policy and opened up the opportunity for the cinema business to attract more people by increasing its presence on the Internet.
Within the new reality, the unification of cinema chains under their own trademark, including online cinemas in cooperation with distributors, will help enter a new stage in accordance with the new requirements of society. Such behavior in social networks of brands may be due to reduced marketing budgets and high competition for content, since many users started creating very large amounts of content, going live, media personalities and brands increased competition to unprecedented levels for subscribers and engagement.
Seizing the opportunity to become virtual community movie fans for their subscribers will increase the efficiency of cinema chains. On the contrary, cinemas should seize the opportunity and become a virtual community of film fans for their subscribers. To stay connected and ensure high traffic in the first months after cinemas open, they should continue to post regularly and conduct targeted advertising campaigns. In addition, cinema networks should take advantage of online cinemas and create, in cooperation with distributors or existing platforms, a new product -their own streaming platform that could attract more customers by providing business and the off-season work.