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1.
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2.
In recent years, Australian films have failed to capture the public’s attention at the Australian box office. Why? Do Australians have an aversion to their own films? Or does the release strategy—advertising/publicity expenditure and opening number of screens—explain the lacklustre performance? We find that even though Australian films are generally advertised more heavily and released more widely than non-Australian films, ceteris paribus, they earn less at the box office. We also analyse a subsample of our data for which Film Finance Corporation funding information is available and find that government subsidies have no impact on a film’s financial success at the box office.  相似文献   

3.
The relationship between the judgments of professional reviewers and the economic success of cultural products, such as motion pictures, has been the topic of controversial debates involving both scholars and industry experts. This study builds on previous research that distinguishes an ??influencer effect?? of reviews from a ??predictor effect.?? By empirically separating consumers?? and reviewers?? perceptions of movie quality through an auxiliary regression approach (and thus effectively controls for consumers?? quality perceptions), this study advances the discussion by investigating whether and how isolated reviewer quality perceptions are associated with box office results. The authors empirically test a non-linear effect of reviewers?? quality perceptions on box office returns, including a comprehensive investigation of the moderating forces of this relationship, using regression and simple slope analyses. Data from all 1,370 narrative films released in the United States between 1998 and 2006 reveal that though the short-term box office generally is not influenced by isolated reviewer quality perceptions, a non-linear relationship exists between reviews and long-term box office returns, such that films rated highly by reviewers are more strongly influenced than those that are not. In terms of moderators, the authors find evidence for several arthouse and mainstream characteristics to moderate the relationship between isolated reviewer quality perceptions and box office results.  相似文献   

4.
In a market characterized by a very large number of consumers, irregularly and infrequently choosing from a constantly changing menu of possibilities, widely available impartial information and advice would be expected to make a significant impact on demand. In the U.S. in 2003, however, there was zero correlation between critical ratings for films and gross box office earnings. For movies released on more than 1,000 screens, critical ratings were indeed positively related to gross earnings, and, together with production budgets and the number of opening screens, explained more than half the variance. But films with only limited opening release received higher average ratings. This is especially the case for foreign movies and documentaries but also true for American films, whose ratings, though positively related to the box office, seldom have enough influence to propel a movie into later wide exhibition or high earnings.
Timothy KingEmail:
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5.
Most research into the film industry focuses on aggregate level market analysis of a range of devices used by the industry to ensure the success of its films. In contrast, in this paper, we experimentally test how individual cinema-goers are influenced by two variables that have aroused considerable interest in the literature: critical reviews and the role of box office stars. As regards the former, the results of our experiment indicate that negative reviews by film critics are cues that affect cinema-goers’ pre-film assessment of a film yet fail to exert any effect on post-film assessment. As regards the latter, a cast of box office stars is not seen to be an indication of quality per se for our experimental subjects. Nor do box office stars help to mitigate the potential effects of negative reviews.  相似文献   

6.
Reputations of organizations and its individual members are valuable resources that help new organizations to get access to investment capital. Reputations, however, can have different dimensions. In this paper, we argue that an individual??s reputation along a particular dimension will have a positive effect on the behavior of investors when it is role congruent. In addition, we argue that also scoring favorably on the role-incongruent dimension at the same time??or, in other words, engaging in reputational category spanning??will weaken the positive effect of the role-congruent reputation. Our empirical setting is the film industry where we study the effect of the two main dimensions of reputation in cultural industries, artistic and commercial, of both directors and producers on the size of the investment by distributors. In this study, artistic reputation is based on professional critics?? reviews and commercial reputation on box office performance of the films in which individuals were involved in the past. We find that the commercial reputation of a film producer based on past box office performance has a positive effect on the size of the investment by film distributors. In addition, we find that directors who at the same time combine both a favorable commercial as well as an artistic reputation actually receive a lower investment from film distributors.  相似文献   

7.
许颜 《文化交流》2013,(9):62-65
中国电影事业的一位奠基者,在其53年短暂的人生里,共编导了31部电影和7部话剧,代表作《八千里路云和月》和《新儿女英雄传》,被誉为"为战后中国电影艺术奠下了基石"。他生于杭州,祖居海宁硖石横头街,小名"三宝",大名史东山。影片《八千里路云和月》,创造了当时中国电影的最高票房纪录;1951年编导的影片《新儿女英雄传》,获捷  相似文献   

8.
Abstract

The study critically reviews China's cultural policy and counterhegemony strategy against global Hollywood from 1994 to 2000. The central argument is that the Chinese government's strategy of using the so-called main melody propagandistic films to battle against Hollywood from 1994 to 2000 is ineffective in terms of film market recouped and quality films produced, but may be considered partially successful in terms of the technological renovation of film exhibition infrastructure. The reason lies in the conflict between a planned production and a market demand, plus an ambivalent explanation of the function of the film industry and an unclear definition of the cultural policy. This conflict not only speaks to the complexity of global-local interplay, but also reflects the fundamental dilemma of China's “one-party market economy” (Kahn, 2002, ¶ 2), and its contradictory perspective on globalization. The study also revisits the thesis of “cultural imperialism” and calls for a more synthesized way to explain the complex global-local dialectic.  相似文献   

9.
This study uses the Academy Awards as a window to look into how cultural differences influence the reception of U.S. movies in East Asia. Following the recent research on the concept of cultural discount and the argument that the Academy Awards are indicators of cinematic qualities and achievement, the research questions focus on whether different types of cinematic qualities and achievement would be discounted by cultural differences to different extents. More specifically, a distinction between drama and non-drama awards is made, and it is argued that the cinematic qualities and achievement indicated by the drama awards are likely to be relatively more culturally specific and hence more likely to be discounted by cultural differences. The empirical analysis examines the box office performance of 585 U.S. movies from 2002 to 2007 in nine East Asian markets. It shows that non-drama awards relate positively to box office receipts, but drama awards relate negatively to box office receipts. Moreover, the negative relationship between drama awards and box office receipts is stronger in countries more culturally distant from the U.S. The findings are therefore highly supportive to the conceptual arguments. Other implications of the findings are also discussed.  相似文献   

10.
This paper examines the relationship between star power and box office revenues using box office data from nine countries and a continuous measure of star power based on the number of visits to a star’s web page on IMDB, the most popular web site for movie-related information. The degree of star power is computed for the top star, top three stars, and the director for the films in our sample. The results indicate that replacing an average star with a top star would increase revenues by an average of 16,618,570, while replacing three average stars with three top stars would increase revenues by an average of16,618,570, while replacing three average stars with three top stars would increase revenues by an average of 64,410,381.  相似文献   

11.
This article looks carefully at the making of the tax gap as a calculative practice at the Swedish Tax Agency. It points to the challenges with assessing tax gap numbers and reveals examples of its careless usage by various stakeholders in Swedish society in order to impact the discourse on tax compliance. Based on an ethnographic study of documents, it is an example of a number that performs a dual function: on the one hand mobilizing people’s morals and subsequent commitments and on the other hand measuring such commitments. On a more general level, the tax gap is an example of how a number that describes a complicated reality is calculated with many caveats attached to it, yet used with certainty in society. I thus challenge the metaphor of the ubiquitous ‘black box’. The Swedish tax gap number is a calculated device and can be unpacked as a specific number. But if we think about what a tax gap ought to contain, we have to think outside the box and beyond: what was not included in the published tax gap number and why there was no room for it.  相似文献   

12.
How does the market react to news regarding large uncertain projects? We analyze stock market reactions to information about changes in opening dates of movies, and present two main findings. First, we find systematic negative stock price responses to the scheduling changes we consider, suggesting that any changes are interpreted as bad news by the market. Second, we find that the market reaction is greater for movies with higher production costs, but is unrelated to subsequent box office revenues. This may point to a limited ability of the market to predict the box office performance of a movie, and to increased sensitivity of the market to cost effects, which are easier to forecast.  相似文献   

13.
The cross-linking processes of three drying oils (poppy, linseed, walnut), a class of organic compounds very important in the field of artworks, were studied by means of 1H-NMR spectroscopy, following the change of the protons signals when oils are heated at 60 °C in the presence of air or nitrogen gas. This preliminary information is particularly important to identify the presence of drying oils within a solid painting film. We demonstrated that it was possible to study these films by swollen-state NMR, an innovative spectroscopy method that can directly analyze very small semisolid samples instead of solutions. The main advantages of this method are the short time of analysis, the possibility to analyze samples without any preliminary treatment, and the small quantity of the sample required. Therefore, swollen-state NMR technique was used to characterize three real painting films: in this way, we succeeded in recognizing in real paintings specimens the presence of drying oils employed as binders, avoiding any interferences due to other organic compounds acting as binding agents, like waxes or egg-yolk media.  相似文献   

14.
Due to sensitivity of historic papers and their conservation importance, it is necessary to produce appropriate environment condition for preservation purposes. TiO2 nanoparticles have been evaluated for multiple applications in the conservation of paper because of TiO2 nanoparticles special characteristics for UV filtration, decomposing of air pollutants and their antifungal and antibacterial properties. Firstly, TiO2 nanoparticles synthesized in sol-gel process, and then have been coated on glass surface with spray-pyrolysis method. Then, coated glass used for preparing display box for protecting paper-art-works. Also, non-coated glass was used as a blank sample and assessments have been done on the filter paper (Whatman®) as a standard for paper-art-works. Temperature, humidity and light accelerated aging were done on samples in both coated and uncoated boxes. Results showed more tension strength and lower oxidation of paper and also, lower growth of fungi and bacteria in coated glassy box. Furthermore, madder dyed papers into coated box showed lower fading after UV exposure.  相似文献   

15.
This paper advances the ongoing discussion of methods for predicting movie box office revenues with two contributions to the methodology and an out-of-sample test of the model. The first innovation is the development of a two-stage model using publicly available pre-release indicators to predict (1) initial week and (2) subsequent run box office revenues. To incorporate the experience-good nature of movies, the second stage is estimated by incorporating a proxy variable for box office success during the first week relative to predicted first week success. The second contribution is an empirical test of De Vany and Walls’ (J Econ Dyn Control 28:1035–1057, 2004) finding that the distribution of movie revenues has “heavy tails” and follows a non-Gaussian stable distribution with infinite variance. We estimate the two-stage model of a movie’s box office success on all general release movies in 1 year with both the Gaussian and stable distribution with heavy tails and infinite variance and find no evidence for the stable distribution in either stage of the estimation. This two-stage model is validated by comparing all general release movies in 3 future years (out-of-sample data) to the model’s predictions.  相似文献   

16.
3D reconstructions of small objects are more and more frequently employed in several disciplines such as medicine, archaeology, restoration of cultural heritage, forensics, etc. The capability of performing accurate analyses directly on a three-dimensional surface allows for a significant improvement in the accuracy of the measurements, which are otherwise performed on 2D images acquired through a microscope. In this work we present a new methodology for the 3D reconstruction of small sized objects based on a multi-view passive stereo technique applied on a sequence of macro images. The resolving power of macro lenses makes them ideal for photogrammetric applications, but the very small depth of field is their biggest limit. Our approach solves this issue by using an image fusion algorithm to extend the depth of field of the images used in the photogrammetric process. The paper aims to overcome the problems related to the use of macro lenses in photogrammetry, showing how it is possible to retrieve the camera calibration parameters of the sharp images by using an open source Structure from Motion software. Our approach has been tested on two case studies, on objects with a bounding box diagonal ranging from 13.5 mm to 41 mm. The accuracy analysis, performed on certified gauge blocks, demonstrates that the experimental setup returns a 3D model with an accuracy that can reach the 0.05% of the bounding box diagonal.  相似文献   

17.
From corporations to occupied factories, a growing number of widely accessible books and documentary films have emerged to represent an array of economic concerns and the groups gathered around them. Viewed as a new form of political association, these representations offer a lens to contemporary social change. This article draws on theories of performativity to explore the ways in which such diversely constituted assemblies might transform the economy. Representation has a number of different meanings; it relates to how economic concerns are discursively represented and thereby made real while also referring to the political representation of different groups gathered around that concern. Putting these two senses of representation together, this article examines the temporal and spatial composition of two alternative economic representations, the documentary films The Take and Les Glaneurs et la Glaneuse [The Gleaners and I]. Through The Take I explore the way in which alternative economies are performatively brought into being. I argue that The Gleaners and I illustrates how one might go about representing and reassembling the geography of economy through the idea of the periperformative. Together these films offer a way of broadening economy that has implications for the performative potential of research more generally.  相似文献   

18.
Previous studies of the movie industry have raised questions concerning the problematic relationship between the success-related aspects of artistic excellence and commercial appeal. The present article proposes that—when the former is measured by industry recognition (Oscars and other awards) and the latter by market performance (box office and video rentals) and when the former hinges on the evaluative judgments of reviewers and consumers (ratings of excellence) and the latter on the level of buzz among these audience members (amount of attention, word of mouth, or click of mouse)—the two phenomena are essentially separable as independent paths to conceptually distinct and empirically uncorrelated aspects of motion-picture success. An analysis of data for 190 movies from the year 2003 shows that reviewer-and-consumer evaluations and buzz respond differently to a film’s marketing clout (production budget, opening screens, and opening box office) and that these audience responses contribute independently to a film’s industry recognition and market performance along two separable paths. These findings suggest various implications for movie marketers, film producers, actors or actresses, and other members of the motion-picture industry.
Michela AddisEmail:
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19.
This paper examines the film production performance of Warner Bros. during the 1930s, placing particular emphasis on the manner in which Warners invested in stars. Warners are shown to have acted rationally in the sense of having consistently invested in previously successful actors. An assessment is then made of how successful such a strategy proved to be. Drawing a distinction between high and medium/low budget production, the deployment of established stars in high budget productions did not appear to have constituted a successful strategy. The production of medium/low budget films, by contrast, provided a more stable environment, in which there were clear returns to the deployment of previously successful actors.  相似文献   

20.
What determines the market value of a star? This paper examines the size of fixed payments to leading actors in the U.S. motion picture industry from a sample of contracts between 1959 and 1989. Competing explanations for the size of compensation, including rent capture, risk sharing, signalling, and portfolio optimization by studio executives are explored. The size of fixed payment across all contract types moves with an actor's history of participating in top-20 grossing films over the past five, ten, fifteen, and twenty films. Further, the impact of past top-20 successes is enhanced by the length of the actor's career. When contracts are divided into those with both fixed payments and share payments and those with only fixed payments, the fixed payment in two-part share contracts is influenced to some extent by risk concerns, in addition to the actor's star power. Fixed-payment-only contracts are most strongly influenced by measures of signalling and star power. Data on both types of contract provide strong support for the rent-capture theory: actors are paid rents upfront for the star value they add to the production.  相似文献   

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