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1.
《Journal of Media Economics》2013,26(3):153-169
Consistent with predictions of an economic model of international trade in media products, we show that in countries that have relatively high consumer spending on movies-notably the United States-domestically produced movies account for relatively large shares of theater box office receipts. We also find that American-produced movies account for relatively small market shares of the box office in high movie-spending foreign countries. We also find that English language fluency, or a dummy variable for non-U.S. countries whose native language is English, generally has an insignificant or marginally significant effect on these results. 相似文献
2.
Does Hollywood dominate world cinema markets with American taste, culture, and values through the exportation of films produced mainly for its domestic (US and Canada) market? Or does Hollywood supply the films that world audiences demand and, because of the logistics of distribution, screen these films first in the domestic market prior to exhibition in foreign markets? In this article, the authors empirically analyzed the global market for motion pictures to provide statistical evidence that can speak to these questions. They examined data on nearly 2,000 films exhibited from 1997–2007, inclusive, in the United States and Canada, Australia, France, Germany, Mexico, Spain, and the United Kingdom—markets that today collectively account for over 75% of worldwide cinema box-office revenue. The empirical evidence provides support for the hypothesis that the supply of Hollywood films has accommodated global demand as the relative size of the U.S. domestic market has decreased. There is no evidence that box-office success in the United States creates a contagion that spreads to other film exhibition markets; however, box-office success in international markets appears to be less uncertain for films that have been successful in their U.S. releases. 相似文献
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4.
F M Campbell 《Bulletin of the Medical Library Association》1990,78(4):376-382
It is hypothesized that health professionals in the United States and the United Kingdom are nationally biased in their citation practices. Articles published in the New England Journal of Medicine and Lancet were used to study citation practices of U.S. and U.K. authors. Percentages of cited references to material published in a specific country were calculated for both the New England Journal of Medicine and Lancet. Using a variation of a citation publication ratio based on Frame and Narin's original ratio, an attempt was made to quantify author bias. To calculate these ratios, values from SERLINE* and the British Library Lending Division were employed to find world journal counts. The results suggest that U.S. authors publishing in the New England Journal of Medicine and U.K. authors publishing in Lancet tend to cite material produced in their own countries more than would be warranted by the amount of material produced by these countries. In addition, these authors cited material produced in non-U.S. and non-U.K. countries far less than the amount of material produced by these countries would indicate. 相似文献
5.
Abstract This article reviews the test of a home market model of international trade in media products using a movie industry database covering 6 major countries (the United States, Japan, Germany, Italy, France, and the United Kingdom) over the 1950 to 2003 period. In support of the model, this study finds a consistently positive relation between domestic theater box-office market shares and various measures of domestic movie spending or domestic movie attendance, and negative relations between domestic movie spending and the market shares of imported American film products. Based on these results, declining domestic film production industries in Europe and Japan after about the 1970s, along with growing dominance of the world film market by the United States, is attributed to a relatively rapid growth of domestic consumer spending on movies in the United States. 相似文献
6.
Eun-mee Kim 《媒体管理杂志》2013,15(3-4):207-216
The market shares of Hollywood movies in European and Asian markets are so large that policymakers around the world are concerned about the import domination not only in theaters but also in the subsequent windows. Media economists acknowledge that domestic producers have an advantage in terms of a "cultural discount," referring to the unavoidable disadvantage of imported films. However, expenditure on a film's production also determines the extent of popular appeal, thus creating an advantage for films that have a large and wealthy home market base such as Hollywood. In this article, I aim at understanding the dynamics of these 2 seemingly opposing forces in the motion picture market in Korea. I review the film market in Korea, explore the relation between performances of 2 windows, theaters and home video, over the two countries-the United States and Korea-and compare the determinants of performance of Hollywood and local films in Korean box offices. A strong hit orientation and preference for local content was empirically found. 相似文献
7.
Evren Bay Sengul Sarah C. Emery Cheryl Torok Fleming Lacy Hartman Cara B. Stone 《Public Library Quarterly》2013,32(4):352-362
This research compares the fifty top-rated movies for 2000–2009 recommended by the Internet Movie Database (IMDb) with the holdings of ten medium-sized public libraries. The study shows that there was no relation between a movie's rank in the IMDb listing and the number of copies held. Relationships appeared between number of library holdings and country of production (U.S. productions favored), genre (family, sci-fi, animation, adventure favored), and Motion Picture Association of America (MPAA) rating (G, PG, PG-13 preferred). Library holdings seem to reflect preferences of IMDb raters aged 30 and older, not popular movie tastes. 相似文献
8.
Julie Uldam 《广播与电子媒介杂志》2013,57(3):431-434
This study examines the attitudes and the selection criteria of U.S. television journalists toward international news. Q factor analysis of 3I journalists from major national networks and local television stations reveals that journalists select international news based on market demands and local relevance. The findings strikingly delineate along the line between network versus local television. Network journalists manifest a global view, selecting international news with diverse themes, while local television journalists adopt a more pragmatic stance due to business pressures and audience demands, choosing international news with a local angle. All, however, emphasize timeliness and U.S. involvement in news selection. 相似文献
9.
This article examines the economic effect of the 3D feature on movie success by using secondary data from all movies released in digital 3D between 2004 and 2011, and a 2D control sample. Using propensity score matching, the authors provide evidence for a sample selection bias that leads to an overestimation of the 3D effect if not accounted for. Matching results show that 3D movies are, on average, not economically advantageous when compared with 2D “twins.” However, subsequent weighted least squares regression analyses find that the impact of 3D on movie success varies in a non-linear, inverted U-shaped way with a “trend” variable that measures the point in time of a movie release and with a number of movie genres. A post-hoc analysis shows that a consumer's decision to attend a 3D screening of a 3D movie (instead of a 2D screening) is influenced by several factors, including whether the film is originally shot in 3D or the 3D element is added during postproduction. 相似文献
10.
In this study, the relationships among the different, measurable aspects of media diversity (source, content and exposure) were examined. The aim was to look at how changes in the market environment affect the diversity of movies that are exhibited. The Korean movie market since the late 1980s provides a fruitful example of how an increased exhibition outlet affects the source, content and exposure diversity. An analysis of movies that were exhibited in movie theaters between 1990 and 2006 reveals that the increase in movie screens does not affect each dimension of diversity equally; and the relationship among the three distinct dimensions of diversity does not necessarily have a consistent pattern. The Korean market is the case where the expansion in the exhibition market benefits consumer diversity but not necessarily the source diversity. 相似文献
11.
《Journal of Media Economics》2013,26(2):125-127
Using a home market economic model, this article explains the changing competitive balance between the U.S. and Japanese film industries. I test the hypothesis that the domestic movies' market share in Japan has decreased because consumer movie spending has increased more rapidly in the United States than in Japan. The results of using information from a database (1955-2000) of media industry development in the United States and Japan generally support the economic hypothesis. 相似文献
12.
《Journal of Media Economics》2013,26(4):39-58
Due to technological development and economic pressures, deregulation of the West European broadcasting market during the 1980s has led to an enormous increase in the number of television channels. The opening of the markets to commercial interests and the demand for TV software (programming material) at the same time give media companies diverse opportunities to become active across frontiers. Being the biggest broadcasting and advertising market in Western Europe, Germany has become an interesting target for foreign companies. The introduction of digital television in the summer of 1996 and further liberalization of ownership regulations have made entry into the German broadcasting market even more attractive. This article describes the development of the German TV sector and analyzes opportunities, restrictions, and consequences of international and particularly U.S. activities in the German market. 相似文献
13.
Yu Guoming 《媒体管理杂志》2013,15(1):51-53
The globalization phenomenon has reopened the debate on the concentration of media and entertainment industries, particularly in the film distribution market. Some authors consider that the dominant position of U.S. companies comes from the higher identification of American films with the tastes of the European audience. Others argue that the Hollywood success is mainly due to its control of the distribution system. U.S. films account for an average of 63.4% of the European market. In return, European films represent 3.6% of the North American box office. There are around 450 active film distribution companies in Europe, the majority of them being nationally controlled firms, and only a small percentage of them belong to U.S. majors. Nevertheless, these U.S. subsidiaries are ranked among the top 10 leading film distributors in Europe according to market share. This article attempts to make a further contribution in market concentration analysis, looking at the situation of film distribution in the 5 biggest Western European countries. It also explores if the success of American companies is due to their management and marketing skills or if, by the contrary, it is the consequence of their dominant market positions. 相似文献
14.
This study adopts a network analytic approach to understand media audiences in relation to media markets, bridging the literature on audience behavior and media economics. Using audience data in the Chinese and U.S. markets, we apply multi-level measures to compare audience fragmentation patterns, a key indicator of market structure, across television channels. Drawing on McQuail's four–stage fragmentation model, we find the Chinese television market exhibits the Core-Peripheral model where a few channels dominate the marketplace and the rest are viewed by niche segments of the audience. In contrast, the U.S. market represents the Pluralism model with extremely high levels of audience duplication across channels, suggesting overlapping patterns of exposure throughout the market rather than isolated segments. 相似文献
15.
Managers predict the sales of new entertainment products prior to their release using comparables, such as similar books from the same author or movies with the same actors. In this study, the authors analyze whether diffusion models for media products provide helpful support in the management task of predicting prelaunch sales of the first distribution channel for three different product categories. They compare the performance of predictions based on (a) simple success factor regressions (OLS) and (b) diffusion models against real management predictions. Based on samples covering the German music, film, and the literary market, we show that model-based forecasts outperform the forecasts of management teams for the majority of the products. In contrast, management is superior in forecasting top sellers. This is due to unobserved factors arising from more management attention attached towards super stars. The authors do not find substantial prediction differences between simple success factor regressions and more complex diffusion models. Thus, managers interested in total sales estimates can easily rely on OLS based success factor predictions. Advertising and product differentiation factors with respect to quality (e.g., star power, critics, or country of origin) are across all 3 industries highly relevant for sales predictions, whereas others variables (e.g., price, distribution power, season, or competition) differ across industries. 相似文献
16.
Serials are a familiar academic job responsibility, but serials librarians are becoming difficult to identify. While serials continue to exist, the transition from print to electronic resources contributes to a trend in which the job titles of librarians who manage serials no longer include the word “serials.” A content analysis was conducted to examine the prevalence of the word “serials,” as well as common synonyms including “continuing resources” and “periodicals,” in U.S. and non-U.S. academic library job titles. In a sample of 98 U.S. national and regional universities and colleges, 18 librarian and 98 staff job titles were found that included the word “serials” or a synonym for serials. By comparison, a sample of 71 universities from 8 non-U.S. countries revealed 17 librarian and 85 staff job titles that included the word “serials” or a synonym for serials. 相似文献
17.
John W. Houghton 《Learned Publishing》2001,14(3):167-176
This paper explores the scholarly communication ‘industry’ using a product systems approach, scopes and sizes the Australian scholarly communication product system, and examines the economics behind its operation. We find that the set of interrelationships between the market characteristics of information and cost structures, patterns of demand and acquisition practices, and the forces encouraging increasing scholarly output go a long way towards explaining the operation of the system and the genesis of the crisis. Based on our economic analysis of the system, we outline broad market conforming and market distorting approaches to alleviating the crisis. 相似文献
18.
This study investigates audience acceptance of foreign movies in an import-dominated exhibition market—Singapore. The characteristics of home cinema markets and the cultural distances of the film-exporting countries are operationalized in an empirical model to explain the highly varied demand in this import market for international films from various sources. We show that during 2002–2004 release frequencies and box-office performance for films originating in different countries are significantly accounted for by both economic and cultural factors. Films from countries with larger domestic markets and from countries culturally more similar to Singapore experience greater box-office success. Furthermore, an individual foreign film's Singapore box-office performance is explained by its box-office success in its home market and the intercountry cultural distance. 相似文献
19.
Although many factors affecting a movie's success lie outside a television network's control, on-air promotion is produced by the network and can be utilized to varying degrees of effectiveness. This study measured the impact of 10 promotional variables on broadcast movie ratings by analyzing 813 prime-time promos for 137 televised movies. Results showed how the effectiveness of promotion differed according to a movie's familiarity, popularity, and compatibility. The ratings for made-for-television movies were most affected by the promotion's audience reach, frequency of exposure, and close distance in time to movie airdates; in contrast, theatrical movies aired on television were more affected by promotional reach and the construction of the promotional spot. The findings supported the general salience model of on-air program promotion but also demonstrated that the factors affecting television movie promotion differ markedly from those affecting dramatic and comedy series promotion. 相似文献
20.
William S. Lofquist 《Publishing Research Quarterly》1996,12(3):22-27
The year 1996 should be another good one for U.S. printers and publishers. The cost pressures of 1994–95 should ease, and
a stable economy with low inflation should support growth in demand for printed products. The impact of the electronic media
may become further apparent in some product sectors, but a severely adverse impact on any of these sectors is unlikely. Total
shipments of U.S. products printed on paper has spawned an industry of well over $200 billion, and the growth prospects for
U.S. printers and publishers remain undiminished. 相似文献