Network analysis: Understanding consumers' choice in the film industry and predicting pre-released weekly box-office revenue

2016 ◽  
Vol 32 (4) ◽  
pp. 409-422 ◽  
Author(s):  
Inbal Yahav
Keyword(s):  
Network Analysis ◽  
Film Industry ◽  
Box Office

From Conan the Barbarian to Gunan il guerriero: Re-contextualizing spaghetti sword and sorcery

2021 ◽  
Vol 9 (2) ◽  
pp. 225-243 ◽  
Author(s):  
Alfio Leotta
Keyword(s):  
Crucial Role ◽  
Film Industry ◽  
Violent Conflict ◽  
Critical Examination ◽  
Box Office ◽  
Production And Distribution ◽  
Sword And Sorcery ◽  
Italian Film ◽  
The Aesthetic

The release of Conan the Barbarian (1982) played a crucial role in the emergence of the sword and sorcery film, a subgenre of fantasy cinema featuring muscular heroes in violent conflict with wizards and other supernatural creatures. Italian genre filmmakers attempted to capitalize on the international popularity of sword and sorcery by quickly producing a number of low-budget films, which emulated the stylistic and narrative features of Conan. Over a period of six years, between 1982 and 1987, the Italian film industry produced almost two dozen sword and sorcery films, which achieved mixed results at the box office. Although recently an increasing number of international film scholars have focused on the critical examination of Italian genre cinema, to date, little attention has been devoted to the study of Italian sword and sorcery. By examining the aesthetic features of four Italian sword and sorcery films (Gunan il guerriero [1982], Ator l’invincibile [1982], Hercules [1983] and The Barbarians [1987]), as well as their modes of production and distribution, this article proposes the first comprehensive critical examination of this filone.

Eleonora Duse: An Actress-Manager for the Italian Film Industry in the 1910s

2018 ◽  
Vol 45 (1) ◽  
pp. 81-95
Author(s):  
Maria Pia Pagani
Keyword(s):  
Nobel Prize ◽  
Film Industry ◽  
Silent Film ◽  
White Hair ◽  
Point Of View ◽  
Artistic Creation ◽  
Box Office ◽  
Original Case ◽  
Italian Film

From a historiographical point of view, the Italian diva Eleonora Duse (1858–1924) as an actress-manager offers an original case study in relation to her only film performance in Cenere ( Ashes, 1916). This is a film adapted from the eponymous novel by Grazia Deledda (Nobel Prize for Literature in 1926). In the 1910s, when Duse decided to work in the Italian film industry, she was a celebrity and her name was a guarantee of success for the Ambrosio Company in Turin. The film producers wanted to use her celebrity in order to ensure success at the box office. As an actress-manager with a long and acclaimed international career in the theatre, Duse knew this mechanism very well, but her position was contrary to their expectations. In fact, she aimed to present herself as an anti-diva, with her wrinkle-furrowed face and white hair, proposing a fascinating artistic creation based on the ‘mother roles’ that she had created for the theatre. This paper explores new elements concerning the position of Duse as an actress-manager for the Italian film industry in the 1910s. It is focused on her strategy of reiterating her stage success in playing a mother. On film, she did not want to be an instrument used for commercial purposes, and she did not want to create a common popular diva film. With Cenere, Duse's capability as an actress-manager can be seen in her creation of this non-conventional, poetic role for the silent film industry in wartime Italy.

Roads Not Taken in Hollywood’s Comic Book Movie Industry

2017 ◽  
Author(s):  
Dan Hassler-Forest
Keyword(s):  
Comic Books ◽  
Film Industry ◽  
Comic Book ◽  
Dynamic Adaptation ◽  
Adaptation Process ◽  
Movie Industry ◽  
Hollywood Film ◽  
Box Office ◽  
Archaeological Approach ◽  
Formal Features

Chapter 23 approaches the phenomenon of the comic book movie as a complex and dynamic adaptation process. While superhero movies and other comics-inspired franchises now dominate the global box office, it is rare that they adapt comic books’ formal features in a meaningful way. By foregrounding three comic book movies that have largely been considered failures, the essay discusses innovative ways of adapting comics to film through a media-archaeological approach to the genre. The films Popeye (1980), Dick Tracy (1990), and Hulk (2002) can be read, each in its own way, as provocative “roads not taken” by the Hollywood film industry.

scholarly journals Brugbouer tussen generasies: Koos Roets se samewerkingsnetwerk in die Afrikaanse filmbedryf

Literator ◽  
2018 ◽  
Vol 39 (1) ◽  
Author(s):  
Burgert A. Senekal ◽  
Cornelia Geldenhuys
Keyword(s):  
Network Analysis ◽  
Film Industry ◽  
Collaboration Network ◽  
Cooperation Network ◽  
Role Players

Bridge builder between generations: Koos Roets’s cooperation network in the Afrikaans film industry. Koos Roets’s contribution to the Afrikaans film industry is widely recognised. Nevertheless, very little has been published specifically about his role in the Afrikaans film industry, although many studies exist about his collaborators such as Jans Rautenbach and Katinka Heyns. This article investigates Roets’s collaboration network by means of a network analysis, and identifies the persons with whom he collaborated the most, indicating his varied roles on different films. It is also indicated that he not only is and was an important role-player in his own right in this industry, but has also collaborated with many other important role-players in the Afrikaans film industry. He has contributed to Afrikaans films in collaboration with more than a 1000 persons throughout his career of nearly six decades. The directors, producers, sound operators, actors and crew with whom he has collaborated the most are highlighted, and the films on which they worked together are mentioned.

scholarly journals The Success of Motion Pictures

2012 ◽  
Author(s):  
Klaus Keil ◽  
Tobias Mosig
Keyword(s):  
Potential Risk ◽  
Film Industry ◽  
Intrinsic Value ◽  
Motion Pictures ◽  
Film Festivals ◽  
Commercial Success ◽  
Box Office ◽  
Film Stars ◽  
The One

THE SUCCESS OF MOTION PICTURES – AN ECONOMIC GAMBLE: SELECTED MOVIE EXPLOITATION PHENOMENA More than 5,000 marketable movies are produced worldwide every year - a risky economic gamble running into billions. Despite the potential risk of commercial failure, film producers still try to achieve outstanding box-office results. There are also special movies that are able to preserve or even increase their intrinsic value due to the longevity of their commercial success. This article focuses on distinctive movie exploitation phenomena, which can be observed worldwide. These phenomena show the unpredictability of film success due to the fact that the cycles, the duration, and the progress of film exploitation are unforeseeable. MythSuccess is the big myth of the international film industry: on the one hand enormous profits, glamour, film stars, red carpet shows at Cannes, Berlin, and Venice - the big film festivals. And as climax - the Oscars in...

scholarly journals ASSESSING MALAYSIA’S CREATIVE INDUSTRY: PROGRESS AND POLICIES IN THE CASE OF THE FILM INDUSTRY

2019 ◽  
Vol 12 (2) ◽  
pp. 224-245
Author(s):  
Lee Yoong Hon ◽  
Ruth Lim Sheau Yen
Keyword(s):  
Film Industry ◽  
Objective Assessment ◽  
Domestic Market ◽  
The State ◽  
Creative Industry ◽  
Movie Industry ◽  
Box Office

This paper explores the performance of local movies at the Malaysian box-office circuit to ascertain and analyse the extent of the reported improvements of the sector – it is hoped that the findings can provide a more objective assessment of the state of local films and the policies that have been aimed at cultivating improvements in the sector. Overall, the findings indicate that the local movie industry is still a long way from establishing a strong foothold even in its own domestic market.

scholarly journals Implementasi Metode Improved K-Means dengan Algoritma Dbscan untuk Pengelompokan Film

2020 ◽  
Vol 6 (01) ◽  
pp. 1-8
Author(s):  
Muhammad Muhajir ◽  
Annisa Ayunda Permata Sari
Keyword(s):  
Film Industry ◽  
Optimal Number ◽  
Optimum Number ◽  
Number Of Clusters ◽  
The Past ◽  
Box Office ◽  
Dbscan Algorithm ◽  
The People ◽  
The World ◽  
Optimal Number Of Clusters

The Indonesian film industry continues to experience an increase seen from the number of films that appear in theaters today with a box office increase of 28 percent each year in the past four years. Internet Movie Database (IMDb) is a website that provides information about films around the world, including the people involved in it from actors, directors, writers to makeup artists and soundtracks. In this case the researcher wants to conduct research on the characteristics of the film and the factors that make a film to be included in the IMDb Top 250. The data used in this study uses scraped data from the website. The method used is a non-hierarchical clustering method, namely kmeans and Dbscan. Where the Dbscan algorithm is used to determine the optimum number of clusters then proceed by grouping data based on centroids with k-means algorithm. From the analysis it was found that the factors that could influence a film included in the IMDB Top 250 were duration, number of votes, and films directed by Rajkumar Hirani and the optimal number of clusters using Dbscan algorithm obtained six clusters. With the improved k-means algorithm, the accuracy value for the cluster results is 87.2%.

scholarly journals A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry

2021 ◽  
Vol 18 (1) ◽  
pp. 34-49
Author(s):  
Laura Mayne
Keyword(s):  
Film Industry ◽  
New Wave ◽  
Scholarly Work ◽  
Box Office ◽  
The Press ◽  
British Cinema ◽  
1960S And 1970S ◽  
Business Acumen ◽  
The 1960S

Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona.

scholarly journals From Box Office to Memory: Telling Stories is not an Innocent Act

2018 ◽  
Vol 7 (1) ◽  
pp. 72-90
Author(s):  
Ayla Kanbur
Keyword(s):  
Conceptual Framework ◽  
Cultural Memory ◽  
Film Industry ◽  
Human History ◽  
Box Office ◽  
History Narratives ◽  
Ken Loach

Throughout human history narratives have had crucial function to construct a society with meanings culturally binding its members and to sustain them for generations in society. Epic stories, proverbs, historical tales are such narratives which, in particular, form patterns for the “shared conceptual framework” of members of a culture. Thus narratives, in a broadest sense, circulate within a society through individual memories of its members and serve to communicate and create meanings by operating like language.Films Bread and Roses by Ken Loach (2000) and Maid in Manhattan (2002) by Wayne Wange intersect with their narrative tools indicating how individual and cultural memory overlap and contested globally within international film industry.

scholarly journals Analysis of China’s Film Industry in 2020

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Hong Yin ◽  
Yanbin Sun
Keyword(s):  
New Media ◽  
Film Industry ◽  
Market Structures ◽  
Chinese Film ◽  
Window System ◽  
Box Office ◽  
Leading Position ◽  
The Matthew Effect ◽  
The Government ◽  
Film Market

Abstract The influence of the coronavirus disease 2019 pandemic impacted the global film market in 2020. Across the world, the Chinese film market was the first to recover and, as a result, assumed a leading position. This was because the government launched a return-to-work policy, the capital market became more rational, the integration of film companies accelerated, the film industry model trended toward centralization, and market structures underwent deep adjustments. Despite shrinking market space and declining film production during 2020, the industry produced films that remained diverse in genre and subject. Where the “Matthew effect” of accumulated advantage is much more acute in the film industry, a more diverse distribution approach has emerged in the field of new media. With box office returns approaching a ceiling, it has become more urgent to stabilize the quality of top films, enrich and enhance the competitiveness of genre films, and strengthen the theatricality of art films. It also became urgent to improve the film industry system, the product system, the market system, and the box office window system.

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