共查询到20条相似文献，搜索用时 15 毫秒
1.
The Distribution and Predictability of Cinema Admissions 总被引：1，自引：0，他引：1
Chris Hand 《Journal of Cultural Economics》2002,26(1):53-64
Using a time series data set covering the period 1936–1999, this paper investigates the statistical distribution of cinema admissions and attempts to produce a forecasting model using the ARIMA methodology. 相似文献
2.
The cinema exhibition sector in Spain, as well as in the rest of Europe, is a dynamic sector characterised by the present growth of multiplexes and consumer demand after a long period of decline. These changes make it relevant to analyse the cinema attendees' profile from a marketing perspective. To this end, we have developed an exploratory study on segmentation applied to the young cinema attendees. Doing so, we have found three different groups according to benefits sought in their going to the cinema and other demographic and behavioural variables. On the basis of information as such, specific marketing objectives could be set and more efficient strategies designed and implemented. 相似文献
3.
Cinema Demand in Spain: A Cointegration Analysis 总被引：4，自引：3，他引：1
In this paper we explain the decline in cinema attendance in Spain since 1968. We use a cointegration analysis to estimate
an individual demand function for cinema, with annual data and in terms of average attendance per inhabitant. We find that
cinema is a luxury good and that its demand is elastic with respect to its price. We also show that television acts as a deterrent
with regard to cinema attendance.
This revised version was published online in August 2006 with corrections to the Cover Date. 相似文献
4.
Cinema Demand In Germany 总被引：1，自引：0，他引：1
This paper examines the German cinema market using time series data covering the period 1950–2002. Applying estimation techniques such as OLS, 2SLS and SUR, we identify interrelations between the number of seats, the average real prices and the demand for movies per capita. Furthermore, we test for the long-run relationship between demand, prices and real income and estimate the elasticity of demand with respect to these variables.JEL–Classification: C22, C23, L82 相似文献
5.
M. Bjørn von Rimscha 《Journal of Cultural Economics》2013,37(4):433-455
The paper addresses whether the state of the economy impacts the supply of and demand for cinema entertainment. A literature review on the drivers of cinema supply and demand is provided, and two competing hypotheses are extracted. Economic downturns could either lead to a sober mood and drive the interest in serious genres or drive the need for distraction leading to an increased interest in feel-good or action movies. However, characteristics of the movie industry suggest that economic key factors have only limited effects on supply and demand. A time series analysis of supply and demand in three major European markets indicate that demand is unrelated to the state of the economy. In aggregate, the demand does not instruct supply. Fluctuations in individual movie quality superpose potential effects of the economic context on the aggregated demand. Simultaneously, a focus on film as art superposes potential effects of the economic context on the supply. 相似文献
6.
Christian Jansen 《Journal of Cultural Economics》2005,29(3):191-212
This paper pursues three objectives. First, it seeks to identify the determinants of performance of German motion pictures in terms of cinema admissions and producers’ rates of return. Second, against the background of heavy subsidization of the German film industry, it discusses two types of subsidy allocation: committee principle allocation and reference principle allocation. Third, the profitability of the industry is considered as the presumed economic non-viability of the industry constantly recurs in the public debate as an argument for subsidies. 相似文献
7.
Allègre L. Hadida 《Journal of Cultural Economics》2010,34(1):45-80
This article introduces a model derived from the relational view of strategy to investigate (1) the impact of track record
and financial resources on the commercial success and artistic recognition of cinema projects, and (2) the relationship between
the commercial and artistic dimensions of film performance. Structural equation modeling carried out on 2,080 feature films
released in the North-American theatrical market from 1988 to 1997 illustrates the mediating role of financial resources as
catalysts of commercial and artistic track record resources, and unearths important conclusions relative to the specific dynamics
of resource combinations in cinema projects. Results also reveal a novel hierarchy of lead actors, directors, and producers
in the explanation of film performance. Last, they confirm the precedence of commercial success in the USA, and the symbolic
and institutional status of US cinema as being primarily an industry. 相似文献
8.
The last few years have seen a remarkable increase in the number of cultural events and festivals. The increasing competitiveness among them and the need to safeguard their future viability make it necessary to identify factors that not only attract and satisfy new participants, but also retain previous attendees. Accordingly, this article examines the relations between motivation, satisfaction and loyalty in the case of a cinema event the Valdivia International Film Festival (Chile), distinguishing, in turn, between local attendees and visitors. To achieve this goal, a structural equation modelling is performed based on the data obtained through a survey conducted among festival attendees. The results show there are different motivations for attending a festival (leisure, professional motives and cinema) and that some directly affect satisfaction and loyalty. Similarly, satisfaction is presented as an unquestionable antecedent of loyalty, the latter being measured by means of different concepts. Finally, the research highlights some significant differences between residents and tourists and seems to point to the existence of a kind of cultural tourism focused on an interest in the cinema, which contributes to the festival’s continuity and sustainability. All of this allows us to extract some implications for the managers of this type of event and for those responsible for the destination’s cultural and tourist policy. 相似文献
9.
Georgios Alaveras Estrella Gomez-Herrera Bertin Martens 《Journal of Cultural Economics》2018,42(4):645-676
This paper explores new data sources on multilateral trade in films among EU countries and with the USA in offline cinema and in online video-on-demand distribution. We observe variations in trade patterns across countries and films and explore how they affect cultural diversity. We find that the EU film market is highly fragmented and cross-border film availability in cinema is low. We explore different aspects of the cultural discount hypothesis by means of a standard Helpman and Krugman (Market structure and foreign trade. Increasing returns, imperfect competition, and the international economy, MIT Press, Cambridge, 1985) trade model with economies of scale and a two-stage Heckman (Econometrica 47(1):153–161, 1979) estimation procedure. Our results show that cultural distance, success in the home market and the size of the film budget influence trade of films between countries. US films have a lower propensity to get into export markets, relative to their success in the home market. Consumer demand for imported films is relatively smaller in large EU economies, except for films imported from the USA that are only marginally affected. We also show that trade patterns in online film distribution are not fundamentally different. As online distribution occurs downstream from theatrical release, online distributors can benefit from cinema market experience to make a better selection of films. This results in a lower impact of domestic market shares on online trade patterns. 相似文献
10.
Jonathan Beller 《Culture, Theory & Critique》2013,54(1):91-106
Cinema marks a profound shift in the relation between image and text – indeed it is the watershed of the subjugation of language by image. Cinema as an innovative shift in both industrial capitalism and cultural practice marks, therefore, the restructuring of language function in accord with the changing protocols of techno-capitalism. The ‘talking cure’, otherwise known as psychoanalysis, is itself a symptom of cinema. As a precursor for TV and computing and Internet, cinema transacts value transfer across the image utilising a production process that can be grasped as founded under the rubric of what I call ‘the attention theory of value’. The deterritorialised factory that is the contemporary image, is an essential component of globalisation, neo-imperialism, and militarisation, organising, as it were, the consent (ignorance of) and indeed desire for these latter processes. Thus ‘cinema’, as a paradigm for image-mediated social production, implies a cultural turn for political economics. It also implies that it is the interstitial, informal activities that transpire across the entire surface of the socius as well as in the vicissitudes of the psyche and experience that are the new (untheorised) production sites for global capital – and therefore among the significant sites for the waging of the next revolution. 相似文献
11.
《Journal of International and Intercultural Communication》2013,6(2):114-135
Abstract The establishment of the European Union, reunification of Germany, and Germany's extension of dual citizenship to immigrant minorities provided challenges to the country's understanding of itself as a nation. In negotiating these changes, debates on citizenship frequently centered on definitions of German culture. Using the concept of Leitkultur (guiding culture), conservatives argued that Germany should reject multiculturalism and stem immigration. This essay analyzes discourses on cultural policy in Germany through a contextual and textual analysis of the film Mostly Martha. In its alignment with aesthetic conventions of the art house food film, Mostly Martha participates in the debate on cultural citizenship and embodies changes in the German film industry that have moved German cinema toward increased commercialism. The film's main character, Martha, is transformed through an intercultural relationship and a trip to Italy. We argue that the film's citation of this well-known tradition of traveling south to redeem oneself and its treatment of ethnic “Otherness” engages in the Leitkultur debate and participates in the transition from national German to transnational cinema. Through the utopian treatment of Italian food, the film fetishizes cultural difference and reaffirms fixed constructs of nation and gender, thereby avoiding an explicitly politicized engagement with intercultural citizenship and identity. 相似文献
12.
Björn Frank 《Journal of Cultural Economics》1994,18(2):125-133
The optimal time for the release of a film in the video market is derived theoretically and shown to depend on characteristics of its cinema performance and on several other parameters. It is empirically confirmed that the model can explain the changing film release patterns in the years of video market growth. The model can also be applied to other ancillary markets for motion pictures as well as to paperback releases of books. 相似文献
13.
Simone Bignall 《Culture, Theory & Critique》2013,54(1):121-138
The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process? 相似文献
14.
Laikwan Pang 《Culture, Theory & Critique》2013,54(1):19-32
This essay invites readers to re‐examine the cultural meaning of movie piracy in the context of Hollywood's global domination of world cinema. It focuses on VCD piracy in Asia. This popular low‐end technology interrogates and deconstructs the technological fetishism that dominates contemporary Hollywood productions. This essay asks whether and how movie piracy can be theorised to yield a more productive understanding of technology as people's corporeal experience of the material world in a socially constructed political economy. 相似文献
15.
Casey Drosehn 《Culture, Theory & Critique》2017,58(1):107-119
What if World Cinema was a cinema, a global movie theatre called the World Cinema? This is the imaginative leap taken in two works of fiction published in Uruguay at the end of the 1920s: the ‘Prologue’ to Felisberto Hernández’s experimental Books without Covers (1929), and ‘The Cinema Seen from the Screen’ (1930) by Alberto Mario Ferreiro. Both texts construct scenarios of fantastic, impossible cinematic spectatorship that are nevertheless situated within early twentieth-century Uruguay’s unusual political climate and the global phenomenon of the avant-garde. The fantastical points of view constructed by Ferreiro and Hernández work to interrogate both the promises and the perils of spectatorship in a medium whose circulation was becoming increasingly global. 相似文献
16.
17.
Vojislava Filipcevic 《Culture, Theory & Critique》2013,54(1):65-91
Abstract Three New York films of the Great Depression and its aftermath, 42nd Street (1932, Lloyd Bacon), Dead End (1937, William Wyler), and The City (1939, Ralph Steiner and Willard Van Dyke), embodied a new political aesthetics in screening urban democratic spaces during moments of social breakdown. This article draws from urban and cinema studies, as well as from social and cultural theory (Lefebvre, Benjamin, Kracauer), to show how these films contributed to a discourse of urban planning and cinematic democratic aesthetics on the possibility of an egalitarian, inclusive, participatory community in diverse city spaces. The article argues that the reshaping of this cultural discourse, through the films’ emphasis on the conflicting material domains of the skyline and the slum, came at the cost of undermining the metropolis and, in The City, of limiting the urban spaces of democracy. 相似文献
18.
Anthony Enns 《Culture, Theory & Critique》2013,54(1):11-27
The history of spiritualist sound experiments – from nineteenth‐century ‘trumpet manifestations’ to contemporary ‘electronic voice phenomena’ – represents a sustained engagement with electrical noise and its psychic, linguistic, and media‐technological implications. While the study of noise generally focuses on music and cinema sound, in which its transgressive nature is often recuperated back into artistic production, spiritualist efforts to record so‐called transmissions from the dead illustrate the ways in which noise resists conscious mediation or artistic representation. A closer study of their methods and practices shows that the real, physical‐acoustic nature of voice phenomena even resists the spiritualists' own attempts to translate and interpret these noises as coherent ‘messages’. Through an examination of the history of spiritualist sound experimentation in the Nineteenth Century and its continued practice following the development of the radio and tape recorder in the Twentieth Century, this paper argues that the spiritualists' enduring fascination with noise exposes the connections between sound technologies, psychic phenomena and schizophrenic hallucinations which pose a threat to the autonomy and integrity of the listening and speaking subject. 相似文献
19.
We develop a model of theatre demand with learning by consuming, and test some of its implications on a large random sample of theatregoers and non-theatregoers. This seems to be the most comprehensive econometric study of demand for the theatre from individual data. We hypothesize that each time the consumer watches a play, he experiences a degree of pleasant or unpleasant surprise on the basis of which he will revise his future expectations of his own taste. The learning phase is likely to be unusually long for highly differentiated cultural goods. Our set of data contains unique information about the full price and the fixed cost of theatre, the objective quality of the outing, past experience of and taste for the theatre, and consumption of substitute leisure activities such as reading, television and cinema. Our methodology and data enable us to infer price elasticity on survey data from knowledge of theatregoing experience and taste. After controlling for many variables, we conclude that demand for the theatre is price-elastic, which contradicts previous estimates on aggregate time-series data. Moreover, we estimate demand conditional on past attendance after controlling for selectivity bias. Satisfaction reported by consumers after the last play is also estimated and interpreted as an ordinal conditional choice. 相似文献
20.