Chapter 27

2020 ◽  
pp. 376-392
Author(s):  
Mark Glancy
Keyword(s):  
Childhood Memories ◽  
Star Power ◽  
Box Office ◽  
Hallucinogenic Drug ◽  
Working Together ◽  
Screwball Comedy ◽  
Unconscious Mind

By the time Cary Grant and Betsy Drake announced their separation in 1958, Grant had followed Drake’s lead by embarking on an intensive form of psychotherapy using the hallucinogenic drug LSD. In clinically supervised sessions, he took the drug, which was not yet illegal, and explored his unconscious mind. This, he maintained, allowed him to peer into his past and overcome the childhood memories and experiences that haunted him. He revealed this to a prominent journalist, Joe Hyams, and then vehemently denied the story when it made headlines across the country. Yet the story did not dent his popularity with audiences. Operation Petticoat (1959), directed by Blake Edwards, became his biggest box-office success. Its humour is dated now, but it is still notable as the film that paired Grant with Tony Curtis, the actor who imitated him so memorably in Some Like It Hot (1959). The Grass is Greener (1960), directed by Stanley Donen, tried to repeat the success of the sophisticated comedy-romance Indiscreet (1958), but fell short of that mark. The screwball comedy A Touch of Mink (1962) paired Grant with Doris Day, the most popular screen actress of the period. They did not enjoy working together, but the film’s star power ensured that it was a hit. These successes, together with Grant’s lucrative contract with Universal-International Pictures, led the trade weekly Variety to declare that he was the “richest actor” and “most astute businessman” working in Hollywood.

scholarly journals Goodwill and System Dynamics Modeling for Film Investment Decision by Interactive Efforts

2018 ◽  
Vol 2018 ◽  
pp. 1-10
Author(s):  
Jian Feng ◽  
Bin Liu
Keyword(s):  
Simulation Analysis ◽  
Investment Decision ◽  
Market Performance ◽  
Academic Research ◽  
Dynamics Modeling ◽  
Star Power ◽  
Box Office ◽  
Film Producer ◽  
The Cost ◽  
Film Making

Academic research pertaining to the marketing of film industry has identified advertising, film-making, and star power as the important factors influencing a movie’s market performance. Prior research, however, has not investigated the joint influences of these factors. The current study has extended previous research by analyzing the investment decision of studios or investors. In order to analyze the optimal film investment decision in advertising, film-making, and stars power, this paper develops a goodwill model and system dynamic (SD) model, which allow us to disentangle the effects of advertising, film-making, and star power on film market performance. The results show that the film producer should increasingly lay emphasis on investing in advertising to absorb moviegoers’ attention. Then the film producer should focus on investing in film-making when film quality has a great impact on the movie's reputation and audience's viewing decision. Furthermore, the film producer should pay more attention to the higher cost-performance stars who have more reasonable remuneration, better acting skills, and bigger box-office guarantee. Moreover, the numerical analysis reveals that rational audience contribute more than fans to a movie's box-office and bankable stars contribute more than high-profile stars to a movie's returns. Through SD simulation analysis, the film series yields higher profits than new theme movies although the cost of investment is the same.

A comparative study of the online film ratings of US and Chinese audiences: An analytical approach based on big data

2018 ◽  
Vol 81 (3) ◽  
pp. 283-302 ◽  
Author(s):  
Guangchao C Feng
Keyword(s):  
Big Data ◽  
Analytical Approach ◽  
Future Research ◽  
The Internet ◽  
True Story ◽  
Star Power ◽  
Box Office ◽  
The Us ◽  
Main Effects ◽  
Motion Picture Association

Many movies have influenced many societies in various ways, but the factors that affect films’ ratings remain understudied. This article goes beyond examining a variety of factors that determine such ratings by focusing on the interaction effect of the country difference with other predictors of film ratings between the world’s top two movie markets, the US and China, using big data gathered from the Internet. The country difference significantly moderates the effect of predictors such as the film’s year of release, its Motion Picture Association of America ratings, country of origin, and its awards. Predictors such as whether it was adapted from a novel, whether it was based on a true story, its production budget, and its ‘star power’ exert the consistent main effects on film ratings across the countries. However, box office success and sequels were found to be insignificant predictors of film ratings. The article then discusses the implications of these findings and suggests directions for future research.

How Critical are Critical Reviews? The Box Office Effects of Film Critics, Star Power, and Budgets

2003 ◽  
Vol 67 (4) ◽  
pp. 103-117 ◽  
Author(s):  
Suman Basuroy ◽  
Subimal Chatterjee ◽  
S. Abraham Ravid
Keyword(s):  
Star Power ◽  
Box Office ◽  
Critical Reviews

Chapter 22

2020 ◽  
pp. 295-310
Author(s):  
Mark Glancy
Keyword(s):  
Box Office ◽  
Political Drama ◽  
Screwball Comedy ◽  
Howard Hawks ◽  
War Bride

When Cary Grant coaxed Betsy Drake to join him in Hollywood in 1948, he did everything he could to kickstart her career as a film star. He used his own leverage with the powerful gossip columnists Hedda Hopper and Louella Parsons to win favourable coverage for Drake, and he agreed to co-star with Drake in her first film, Every Girl Should Be Married (1948). He turned down several other promising films, including Alfred Hitchcock’s Rope (1948), to make this feeble comedy. His next film was Howard Hawks’ screwball comedy I Was a Male War Bride (1949). Filming began on location in Europe, but Grant developed hepatitis and nearly died. It was several months before he could complete filming in Hollywood. The film turned out to be a huge box-office success, but the grim political drama Crisis (1950), was a box-office disaster that marked the beginning of a downturn in his career fortunes. By this time, however, he had married Betsy Drake, in a ceremony arranged by Howard Hughes, and he was looking forward to his new life with her.

Star power and box office revenues: evidence from China

2018 ◽  
Vol 43 (2) ◽  
pp. 247-278 ◽  
Author(s):  
Fei Peng ◽  
Lili Kang ◽  
Sajid Anwar ◽  
Xue Li
Keyword(s):  
Star Power ◽  
Box Office

Chapter 20

2020 ◽  
pp. 263-279
Author(s):  
Mark Glancy
Keyword(s):  
Michael Curtiz ◽  
Box Office ◽  
Popular Songs ◽  
Night And Day ◽  
Post War ◽  
Screwball Comedy ◽  
First Time ◽  
The City

The immediate post-war years saw Cary Grant’s box-office drawing power stronger than ever before. Jack Warner had bought out his contract with Columbia so that Grant could play the songwriter Cole Porter in the musical biopic Night and Day (1946). His first Technicolor film, Night and Day is bright and breezy, and it is filled with popular songs. The production, however, was troubled. Grant and director Michael Curtiz were in constant conflict. Grant was much happier working with Alfred Hitchcock and co-star Ingrid Bergman on the next film, Notorious (1946). These three became lifelong friends while making this wonderfully dark, gothic, spy story. Hitchcock was so keen on the darker side of the Cary Grant star persona that he proposed making a film of Hamlet with him, but legal complications prevented this. Grant then had a hiatus from filmmaking that allowed him to travel to Bristol for the first time since 1939. There, he saw his mother and also the terrible damage the city suffered during the blitz. He returned to make one of his most frivolous films, The Bachelor and the Bobby-Soxer (1947), with Myrna Loy and the child-star turned teenager Shirley Temple. This light-as-a-feather screwball comedy continued his box-office winning streak.

Project BRAIN: Working Together to Improve Educational Outcomes for Students With Traumatic Brain Injury

2012 ◽  
Vol 22 (3) ◽  
pp. 106-118 ◽  
Author(s):  
Paula Denslow ◽  
Jean Doster ◽  
Kristin King ◽  
Jennifer Rayman
Keyword(s):  
Traumatic Brain Injury ◽  
At Risk ◽  
Brain Injury ◽  
Educational Outcomes ◽  
School Personnel ◽  
Department Of Education ◽  
Health Providers ◽  
Accurate Identification ◽  
Transition Intervention ◽  
Working Together

Children and youth who sustain traumatic brain injury (TBI) are at risk for being unidentified or misidentified and, even if appropriately identified, are at risk of encountering professionals who are ill-equipped to address their unique needs. A comparison of the number of people in Tennessee ages 3–21 years incurring brain injury compared to the number of students ages 3–21 years being categorized and served as TBI by the Department of Education (DOE) motivated us to create this program. Identified needs addressed by the program include the following: (a) accurate identification of students with TBI; (b) training of school personnel; (c) development of linkages and training of hospital personnel; and (d) hospital-school transition intervention. Funded by Health Services and Resources Administration (HRSA) grants with support from the Tennessee DOE, Project BRAIN focuses on improving educational outcomes for students with TBI through the provision of specialized group training and ongoing education for educators, families, and health professionals who support students with TBI. The program seeks to link families, hospitals, and community health providers with school professionals such as speech-language pathologists (SLPs) to identify and address the needs of students with brain injury.

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