“And the Oscar goes to . . .”: Integrative complexity’s predictive power in the film industry.

2018 ◽  
Vol 12 (4) ◽  
pp. 392-398 ◽  
Author(s):  
Hayley McCullough ◽  
Lucian Gideon Conway
2016 ◽  
Vol 10 (1) ◽  
pp. 30-52 ◽  
Author(s):  
Samrat Gupta ◽  
Saurabh Kumar ◽  
Pradeep Kumar

The Indian motion picture industry has experienced phenomenal growth during the last few decades and plays an important role in emerging economy of India. This paper integrates three analytical models in order to address the intriguing problem of revenue prediction of movies in Indian film industry. The paper attempts to investigate the determinants leading to the success of indigenous movies in Indian context. Ensemble model has been constructed by integrating the three analytical models (Neural Network, Classification and Regression Tree and Robust Regression) using linear optimization approach. Further, a four-way comparative analysis of these three models along with Ensemble model has been carried out. The predictive power of the models has been evaluated using four performance metrics namely root mean squared error (RMSE), mean absolute error (MAE), mean absolute percentage error (MAPE) and large prediction error (LPE). Analyzing novel and original data of 120 Indian movies released during the period August’06-October’15, this paper inspects the nitty-gritties of Indian film industry and seeks to explain the nuances. The study revealed that factors like hype generated on web by a movie, screens on which the movie is released, rating garnered by movie and its genre are the most influential variables in deciding the box-office performance of a movie. Further we observed, that the neural network model closely competes with ensemble model in terms of predictive accuracy. The ensemble model considerably reduces the predictive errors and yields better results on two of the performance metrics.


Author(s):  
G. M. Brown ◽  
D. F. Brown ◽  
J. H. Butler

The term “gel”, in the jargon of the plastics film industry, may refer to any inclusion that produces a visible artifact in a polymeric film. Although they can occur in any plastic product, gels are a principle concern in films where they detract from the cosmetic appearance of the product and may compromise its mechanical strength by acting as local stress concentrators. Many film gels are small spheres or ellipsoids less than one millimeter in diameter whereas other gels are fusiform-shaped and may reach several centimeters in length. The actual composition of gel inclusions may vary from miscellaneous inorganics (i.e. glass and mineral particles) and processing additives to heavily oxidized, charred or crosslinked polymer. The most commonly observed gels contain polymer differing from the bulk of the sample in its melt viscosity, density or molecular weight.Polymeric gels are a special concern in polyethylene films. Over the years and with the examination of a variety of these samples three predominant polymeric species have been observed: density gels which have different crystallinity than the film; melt-index gels in which the molecular weight is different than the film and crosslinked gels which are comprised of crosslinked polyethylene.


2008 ◽  
Author(s):  
Sara Cooper ◽  
Nathan Kuncel ◽  
Kara Siegert
Keyword(s):  

2020 ◽  
pp. 83-108
Author(s):  
Moon Hwy-Chang ◽  
Wenyang Yin

Although North Korea is one of the most closed countries in the world, it has long been pursuing international cooperation with other countries in order to upgrade the quality of its film industry to international standards. Preceding studies on this topic have mainly focused on the political influences behind filmmaking in general and very few studies have exclusively dealt with North Korea’s international co-productions. In this respect, in order to develop a comprehensive understanding of the internalization strategy of North Korea’s film productions, this paper uses the global value chain as a framework for analysis. This approach helps understand the internationalization pattern of each value chain activity of film co-productions in terms of the film location and the methods for collaborating with foreign partners. By dividing the evolution of North Korea’s international co-productions into three periods since the 1980s, this paper finds that although North Korea has shown mixed results with different aspects of the film value chain, it has generally improved its internationalization over the three periods. This paper further provides strategic directions for North Korea by learning some of the successful Chinese experiences in the film sector regarding collaboration with foreign partners—to foster a win-win situation for all involved parties.


Author(s):  
Sarah Atkinson

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.


2020 ◽  
Vol 22 (1) ◽  
pp. 35-52
Author(s):  
Jeffrey Escoffier

After the publication of his pioneering book Sexual Excitement in 1979, Robert Stoller devoted the last 12 years of his life to the study of the pornographic film industry. To do so, he conducted an ethnographic study of people working in the industry in order to find out how it produced ‘perverse fantasies’ that successfully communicated sexual excitement to other people. In the course of his investigation he observed and interviewed those involved in the making of pornographic films. He hypothesized that the ‘scenarios’ developed and performed by people in the porn industry were based on their own perverse fantasies and their frustrations, injuries and conflicts over sexuality and gender; and that the porn industry had developed a systematic method and accumulated a sophisticated body of knowledge about the production of sexual excitement. This paper explores Stoller's theses and shows how they fared in his investigation.


Sign in / Sign up

Export Citation Format

Share Document