Box Office Trends
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Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019). -
Success in the Film Industry
1 Abstract This paper attempted to answer the research question, “What determines a film’s success at the domestic box office?” The authors used an OLS regression model on data set of 497 films from the randomly selected years 2005, 2006, 2007, 2009, and 2011, taking the top 100 films from each year. Domestic box-office receipts served as the dependent variable, with MPAA ratings, critical reviews, source material, release date, and number of screens acting as independent variables in the final regression. Results showed that source material, critical reviews, number of screens, release date, and some genres were statistically significant and positively contributed to a film’s domestic revenue. Introduction Each year in the United States, hundreds of films are released to domestic audiences in the hope that they will become the next “blockbuster.” The modern film industry, a business of nearly 10 billion dollars per year, is a cutthroat business (Box Office Mojo). According to industry statistics, six or seven of every ten films are unprofitable, making the business risky at best (Brewer, 2006). Given this inherent risk, how do film studios decide which films to place their bets on? Are there common factors, such as critical reviews, MPAA rating, or production budget, which explain one film’s monetary success relative to another? This question forms the basis of this research project. To answer it, we estimated an Ordinary Least Squares regression that attempted to explain the monetary success of the top films in five years out of the past decade. This regression expanded our original dataset, which used 100 randomly selected films from 2004. -
Perspectives from the Global Entertainment and Media Outlook 2017–2021 Curtain Up! User Experience Takes Center Stage
Perspectives from the Global Entertainment and Media Outlook 2017–2021 Curtain up! User experience takes center stage www.pwc.com/outlook PwcOutlook_C1-21-fin3-050417.indd 1 5/5/17 10:54 AM Use and permissions Use of data in this publication Permission to cite About PwC Articles in this publication are drawn No part of this publication may be PwC helps organizations and individuals from data in the Global entertainment excerpted, reproduced, stored in a create the value they’re looking for. and media outlook 2017–2021, a retrieval system, or distributed or We’re a network of firms in 157 countries comprehensive source of consumer and transmitted in any form or by any with more than 223,000 people who advertising spend data available via means — including electronic, are committed to delivering quality in subscription at www.pwc.com/outlook. mechanical, photocopying, recording, assurance, tax and advisory services. Tell PwC continually seeks to update the or scanning — without the prior us what matters to you and find out more online Outlook data; therefore, please written permission of PwC. by visiting us at www.pwc.com note that the data in the articles in Requests should be submitted in writing this publication may not be aligned to Gary Rosen at [email protected] with the data found online. The Global Supplier to the Outlook outlining the excerpts you wish to use, entertainment and media outlook Ovum, a provider of business intelligence along with a draft copy of the full report 2017–2021 is the most up-to-date and strategic services to the global that the excerpts will appear in. -
How the Motion Picture Industry Miscalculates Box Office Receipts
How the motion picture industry miscalculates box office receipts S. Eric Anderson, Loma Linda University Stewart Albertson, Loma Linda University David Shavlik, Loma Linda University INTRODUCTION when movie grosses are adjusted for inflation, the Sound of Music was a more popular movie Box office grosses, once of interest only to than Titanic even though the box office gross movie industry executives, are now widely was over $400 million less. So why is it then publicized and immediately reported by movie that box office grosses are often the only industry tracking companies. The numbers reported, when the numbers have instantaneous tracking and reporting hurts little meaning? The motion picture industry, movies with weak openings, but helps movies aware that inflation helps movies grow bigger, with big openings become even bigger as has little interest in reporting highest grossing people flock to see what all the fuss is about. box office numbers with inflation-adjusted Due to inflation, the highest grossing movies dollars that will show the motion picture tend to be the more recent releases, which the industry is stagnant at best. They are able to motion picture industry is taking full get away with it since most don’t know how advantage of when promoting new movies. to handle those inflation-adjusting As a result, the motion picture industry has calculations. developed “highest grossing “ movie lists from almost every angle imaginable - opening Inflation-adjusted gross calculations are day, opening weekend, opening day non- inaccurate weekend, opening day during the fall, winter and spring, opening day Memorial weekend, Some tracking companies have begun second weekend of release, fewest screens, reporting box office grosses with the less etc. -
Film Review Aggregators and Their Effect on Sustained Box Office Performance" (2011)
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2011 Film Review Aggregators and Their ffecE t on Sustained Box Officee P rformance Nicholas Krishnamurthy Claremont McKenna College Recommended Citation Krishnamurthy, Nicholas, "Film Review Aggregators and Their Effect on Sustained Box Office Performance" (2011). CMC Senior Theses. Paper 291. http://scholarship.claremont.edu/cmc_theses/291 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. CLAREMONT McKENNA COLLEGE FILM REVIEW AGGREGATORS AND THEIR EFFECT ON SUSTAINED BOX OFFICE PERFORMANCE SUBMITTED TO PROFESSOR DARREN FILSON AND DEAN GREGORY HESS BY NICHOLAS KRISHNAMURTHY FOR SENIOR THESIS FALL / 2011 November 28, 2011 Acknowledgements I would like to thank my parents for their constant support of my academic and career endeavors, my brother for his advice throughout college, and my friends for always helping to keep things in perspective. I would also like to thank Professor Filson for his help and support during the development and execution of this thesis. Abstract This thesis will discuss the emerging influence of film review aggregators and their effect on the changing landscape for reviews in the film industry. Specifically, this study will look at the top 150 domestic grossing films of 2010 to empirically study the effects of two specific review aggregators. A time-delayed approach to regression analysis is used to measure the influencing effects of these aggregators in the long run. Subsequently, other factors crucial to predicting film success are also analyzed in the context of sustained earnings. -
Using Online User-Generated Reviews to Predict Offline Box- Office Sales and Online DVD Store Sales in the O2O Era Chieh Lee1, Xun Xu2, and Chia-Chun Lin3
Journal of Theoretical and Applied Electronic Commerce Research This paper is available online at ISSN 0718–1876 Electronic Version www.jtaer.com VOL 14 / ISSUE 1 / JANUARY 2019 / 68-83 DOI: 10.4067/S0718-18762019000100106 © 2019 Universidad de Talca - Chile Using Online User-Generated Reviews to Predict Offline Box- Office Sales and Online DVD Store Sales in the O2O Era Chieh Lee1, Xun Xu2, and Chia-Chun Lin3 1 Yuan Ze University, Department of Industrial Engineering and Management, Taoyuan, Taiwan, [email protected] 2 California State University, Stanislaus, Department of Management, Operations, and Marketing, College of Business Administration, Turlock, CA, United States, [email protected] 3 Huaying Inc., Taoyuan, Taiwan, [email protected] Received 14 March 2017; received in revised form 30 December 2017; accepted 16 January 2018 Abstract With the rapid growth of e-commerce and social media, customers post online reviews on various online shopping websites and social media after their consumption experience, which generated the electronic word of mouth effect. In the online-to-offline era, companies are using multi-channels to increase customer demand, and the Effect generated by online users’ reviews plays an important role in customer demand both online and offline. Few previous studies focused on using online user-generated reviews to forecast the demand of hyper- differentiated products online and offline, which is particularly hard to predict due to the various preferences of customers and complex relationship between factors. Via predictive global sensitivity analysis, this study uses online user-generated reviews posted on social media to predict customers’ demand for hyper-differentiated products both online and offline, with an example in the film industry. -
The Determinants of Box Office Revenue: a Case Based Study: Thirty, Low Budget, Highest ROI Films Vs. Thirty, Big Budget, Highes
The determinants of box office revenue: a case based study: thirty, low budget, highest ROI films vs. thirty, big budget, highest grossing Hollywood films Yasemin Bozdogan To cite this version: Yasemin Bozdogan. The determinants of box office revenue: a case based study: thirty, low budget, highest ROI films vs. thirty, big budget, highest grossing Hollywood films. Economics and Finance. 2013. dumas-00909948 HAL Id: dumas-00909948 https://dumas.ccsd.cnrs.fr/dumas-00909948 Submitted on 27 Nov 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Université Paris1 UFR 02 Sciences Economiques Master 2 Recherche M2R Economie Appliquee THE DETERMINANTS OF BOX OFFICE REVENUE: A CASE BASED STUDY Thirty, Low Budget, highest ROI Films Vs. Thirty, Big Budget, Highest Grossing Hollywood Films Sous la direcation de : Professeur Xavier GREFF Présentée et Soutenue par : Yasemin BOZDOGAN Date de soutenance : 10 June 2013 Table of Content I. Abstract II. Introduction and Motivation III. Literature review and Hypothesis Development IV. Case Specific Study IV.I ROI Sample IV.II Hollywood Sample V. Methodology, The model, Descriptive Statistics VI. Regression and Results VII. Discussions VIII. Conclusion Remarks IX. Appendix X. -
Factors Affectin the Financial Success of Motion Pictures in Hollywood
Factors Affecting the Financial Success of Motion Pictures: What is the Role of Star Power? Jen-Yuan Yang* Geethanjali Selvaretnam† Abstract In the mid-1940s, American film industry was on its way up to its golden era as studios started mass-producing iconic feature films. The escalating increase in popularity of Hollywood stars was actively suggested for its direct links to box office success by academics. Using data collected in 2007, this paper carries out an empirical investigation on how different factors, including star power, affect the revenue of ‘home-run’ movies in Hollywood. Due to the subjective nature of star power, two different approaches were used: (1) number of nominations and wins of Academy Awards by the key players, and (2) average lifetime gross revenue of films involving the key players preceding the sample year. It is found that number of Academy awards nominations and wins was not statistically significant in generating box office revenue, whereas star power based on the second approach was statistically significant. Other significant factors were critics’ reviews, screen coverage and top distributor, while number of Academy awards, MPAA-rating, seasonality, being a sequel and popular genre were not statistically significant. JEL: C01, L83, Z11 Keywords: star power, motion picture industry, box-office earnings, academy awards * Email: [email protected] † Corresponding author: School of Economics and Finance; University of St Andrews, 1. The Scores, St Andrews, KY16 9AL, UK; email: [email protected]; Tel: 0044(0)1334461956; Fax: 0044(0)1334 464444 1 1. Introduction “’A guy stranded on an island' without Tom Hanks is not a movie. -
THE ULTIMATE SUMMER HORROR MOVIES LIST Summertime Slashers, Et Al
THE ULTIMATE SUMMER HORROR MOVIES LIST Summertime Slashers, et al. Summer Camp Scares I Know What You Did Last Summer Friday the 13th I Still Know What You Did Last Summer Friday the 13th Part 2 All The Boys Love Mandy Lane Friday the 13th Part III The Texas Chain Saw Massacre (1974) Friday the 13th: The Final Chapter The Texas Chainsaw Massacre (2003) Sleepaway Camp The Texas Chainsaw Massacre: The Beginning Sleepaway Camp II: Unhappy Campers House of Wax Sleepaway Camp III: Teenage Wasteland Wolf Creek The Final Girls Wolf Creek 2 Stage Fright Psycho Beach Party The Burning Club Dread Campfire Tales Disturbia Addams Family Values It Follows The Devil’s Rejects Creepy Cabins in the Woods Blood Beach Cabin Fever The Lost Boys The Cabin in the Woods Straw Dogs The Evil Dead The Town That Dreaded Sundown Evil Dead 2 VACATION NIGHTMARES IT Evil Dead Hostel Ghost Ship Tucker and Dale vs Evil Hostel: Part II From Dusk till Dawn The Hills Have Eyes Death Proof Eden Lake Jeepers Creepers Funny Games Turistas Long Weekend AQUATIC HORROR, SHARKS, & ANIMAL ATTACKS Donkey Punch Jaws An American Werewolf in London Jaws 2 An American Werewolf in Paris Jaws 3 Prey Joyride Jaws: The Revenge Burning Bright The Hitcher The Reef Anaconda Borderland The Shallows Anacondas: The Hunt for the Blood Orchid Tourist Trap 47 Meters Down Lake Placid I Spit On Your Grave Piranha Black Water Wrong Turn Piranha 3D Rogue The Green Inferno Piranha 3DD Backcountry The Descent Shark Night 3D Creature from the Black Lagoon Deliverance Bait 3D Jurassic Park High Tension Open Water The Lost World: Jurassic Park II Kalifornia Open Water 2: Adrift Jurassic Park III Open Water 3: Cage Dive Jurassic World Deep Blue Sea Dark Tide mrandmrshalloween.com. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
Success at the Box Office in the Age of Streaming Services
Success at the box office in the age of streaming services An examination of how streaming services have impacted the dynamics of successful movies in the cinema THESIS WITHIN: Economics NUMBER OF CREDITS: 30 PROGRAMME OF STUDY: Civilekonom AUTHOR: Jesper Johansson JÖNKÖPING August 2020 Master Thesis Economics Title: The box office before and after streaming services Authors: Jesper Johansson Tutor: Agostino Manduchi Date: 2020-08-24 Key terms: films, box office, streaming services, the long tail, uncertainty Abstract Netflix and other streaming services have grown immensely since they started offering online streaming. In this paper I present a correlation matrix using ticket sales at the domestic box office and the number of Netflix subscribers. They are shown to be negatively correlated with one another, supporting many previous researchers’ thoughts on the topic. I also show using two OLS regressions with data from movies released in 2006-2007 and 2017-2018 that being a part of a franchise has a stronger correlation with increased revenue in the latter model compared to the previous one. In the models one can also see that the general quality of a movie, as measured by IMDb rating, is associated with a higher increase in revenue in the latter model. I argue that this is due to consumers being inclined to watch what they perceive to be high-quality movies in the theaters in the latter model as they can conveniently watch movies of a poorer quality on their streaming service, an option that was not available to the same extent previously. I also argue that consumers are more willing to commit to going to the cinema for a franchise movie, especially in the Marvel cinematic universe, as they are often effects driven movies which are better experienced on a large screen. -
FILM REVIEW by Noel Tanti and Krista Bonello Rutter Giappone
THINK FUN FILM REVIEW by Noel Tanti and Krista Bonello Rutter Giappone Film: Horns (2013) ««««« Director: Alexandre Aja Certification: R Horns Gore rating: SSSSS Krista: I will first get one gripe out of campy, and with something interesting he embarked on two remakes that are the way. There are two female support- to say, extremely tongue-in-cheek. more miss than hit, Mirrors (2008) and ing characters who fit too easily into the Piranha 3D (2010). Both of them share binary categories of ‘slut’ and ‘pure’. I’d K: The premise is inherently comical the run-of-the-mill, textbook scare-by- like to say that it’s a self-aware critique and the film embraces that for a while. numbers approach as Horns. of the way social perceptions entrap an- It then seems to swing between bit- yone, but the women are simply there to ter-sweet sentimental extended flash- K: Verdict? Like you, I enjoyed the either support or motivate the action, backs and the ridiculous. The tone feels over-the-top aspect interrupted by the leaving boyhood friendship dynamics unsettled. The film was at its best when over-earnestness in the overly extended as the central theme. Unfortunately, the it was indulging the ridiculous streak. I flashback sequences that were too dras- female characters felt expendable. wanted more of the shamelessly over- tic a change of tone. the-top parts and less of the cringe-in- Noel: The female characters are very ducing Richard Marx doing Hazard N: I see it as a missed opportunity. This much up in the air, shallow, and ab- vibe which firmly entrenched the wom- film could have been really good if only stracted concepts that are thinly fleshed an in a sentimentally teary haze.