scholarly journals A Data Set for US Horror Film Trailers

2021 ◽  
Vol 6 (1) ◽  
pp. 1-12
Author(s):  
Nick Redfern
Keyword(s):  
Motion Picture ◽  
Horror Films ◽  
Horror Film ◽  
Data Set ◽  
Creative Commons ◽  
Box Office ◽  
The Us ◽  
Length Data ◽  
Film Style ◽  
Existing Data

Abstract This article presents a new data set comprising audio, colour, motion, and shot length data of trailers for the fifty highest grossing horror films at the US box office from 2011 to 2015. This data set is one of the few available for computational film analysis that includes data on multiple elements of film style and is the only existing data set for motion picture trailers suitable for formal analyses. Data is stored in csv files available under a Creative Commons Attribution 4.0 International license on Zenodo: www.doi.org/10.5281/zenodo.4479068.

The Cultural Politics of Remaking Spanish Horror Films in the Twenty-first Century: Quarantine and Come Out and Play

2017 ◽  
Author(s):  
Andy Willis
Keyword(s):  
Cultural Politics ◽  
21St Century ◽  
North American ◽  
Horror Films ◽  
First Century ◽  
Horror Film ◽  
Film Production ◽  
The North ◽  
The Us ◽  
Transnational Film

The 21st century revival in Spanish horror film production has seen both a resurgence of interest in the genre’s Iberian past and an interest in transnational film remakes for North American audiences. This chapter will consider the cultural politics of remaking Spanish horror through two case studies - Quarantine (2008), the US remake of [REC] (2007), and Come Out and Play (2012), the Mexican remake of Who Can Kill a Child? (1976). The chapter argues that Who Can Kill a Child? might profitably be read as an engagement with the legacy of Francoist Spain, and that [REC] could be productively understood in relation to Spain’s recent tensions surrounding immigration. Through a discussion of the potential political readings of these films, the chapter argues that the North American remakes are divested of the most urgent political aspects of their Spanish counterparts in an endeavour to create globally marketable horror films.

The business model of Chinese movies

2019 ◽  
Vol 2 (3) ◽  
pp. 246-261
Author(s):  
Man Chen ◽  
Xiaomin Han ◽  
Xinguo Zhang ◽  
Feng Wang
Keyword(s):  
Business Model ◽  
Motion Picture ◽  
New Product ◽  
Motion Picture Industry ◽  
Bass Model ◽  
Product Diffusion ◽  
Content Type ◽  
Box Office ◽  
New Product Diffusion ◽  
The Us

Purpose The motion picture industry is a cultural and creative industry. Unlike its US counterpart, the Chinese motion picture industry is still developing. Therefore, learning from the US market, the purpose of this paper is to analyze the business model of Chinese movies from the perspective of new product diffusion. Design/methodology/approach Based on 66 movies released in the US and 21 movies released in China, this paper first compares the diffusion curves of Chinese and US movies through the movie life cycle and box office trends. Next, it analyzes the moviegoing behaviors of Chinese and US audiences based on the innovation and imitation coefficients in the Bass model. Finally, it compares the attention to information of Chinese and US audiences from the perspective of interpersonal word-of-mouth (WOM). Findings In the USA, a movie’s highest weekly box office is usually in its opening week, followed by a weekly decline in revenue; in China, there is no difference in box office performance between the first two weeks, but a weekly decline in revenue similarly follows. US audiences pay more attention to advertisements for movies than WOM recommendations, while Chinese people pay more attention to WOM recommendations. Neither the Chinese nor the US market differs in the volume of WOM between the first week before release and the opening week, and these two weeks are the most active period of WOM in both markets. Practical implications During the production phase for Chinese movies, we should satisfy opinion leaders’ needs. During the distribution phase, we should not only focus on market spending before the movie’s release, but also increase market spending in the opening week. During the theater release phase, we should stimulate WOM communication between moviegoers and thereby attract many more opinion seekers. Originality/value Few studies have investigated the Chinese motion picture industry from the perspective of new products. This paper compares and analyzes the diffusion of Chinese and US movies using the Bass model of new product diffusion, providing systematic theoretical guidelines for the commercial operation of the Chinese motion picture industry.

English Gothic

2019 ◽  
pp. 79-98
Author(s):  
Bryan Turnock
Keyword(s):  
Film Industry ◽  
Source Material ◽  
Horror Films ◽  
Horror Film ◽  
Film Production ◽  
Box Office ◽  
The World ◽  
Iconic Images ◽  
1960S And 1970S ◽  
The 1960S

This chapter evaluates the British horror film industry. Given the country's input in the success of the Hollywood horror films of the 1930s, in terms of source material as well as technicians and actors, horror film production in Britain was remarkably slow to emerge. This was due in no small part to the stringent censorship rules of the British Board of Film Censorship/Classification (BBFC), who did their best to dissuade British studios from making such films. The chapter investigates how one studio took up the reins of the genre and went on to dominate it for almost two decades. Matched only by the golden age of Universal in the 1930s and 1940s, Hammer Films produced some of the genre's most iconic images and characters through dozens of productions, while breaking box-office records around the world. The chapter looks at Terence Fisher's The Curse of Frankenstein (1957), the company's first foray into the genre, one which would lay the foundations for their success and set the template for the English Gothic horror film as it flourished into the 1960s and 1970s.

scholarly journals File Sharing and Film Revenues: Estimates of Sales Displacement at the Box Office

2016 ◽  
Vol 16 (1) ◽  
pp. 25-57 ◽  
Author(s):  
Jordi McKenzie ◽  
W. David Walls
Keyword(s):  
Fixed Effects ◽  
File Sharing ◽  
P2p Networks ◽  
Partial Explanation ◽  
Displacement Effect ◽  
Data Set ◽  
Box Office ◽  
Structural Progression ◽  
The Us ◽  
The Impact

Abstract This study examines the impact of peer-to-peer (P2P) file sharing on the Australian theatrical film industry. Using a large data set of torrent downloads observed on three popular P2P networks, we find evidence of a sales displacement effect on box office revenues. However, although statistically significant, the economic significance of this displacement appears relatively small. To establish causality, we make use of the state-day-level panel data structure permitting the use of film fixed effects to help mitigate the endogeneity between film revenues and downloads. To further assist identification, we propose a downloading cost function that considers other states’ downloading activities as a proxy for the number of peers in the download swarm; the US DVD release date as a supply shock to P2P networks; and the substantial structural progression within the Australian internet service provision industry that occurred over the sample period. We observe that the release gap between the US and Australian markets is a key contributor to piracy early in a film’s theatrical life. This finding provides a partial explanation for the industry’s move towards coordinated worldwide releases.

scholarly journals The Uncanny Child in Transnational Cinema

2018 ◽  
Author(s):  
Jessica Balanzategui
Keyword(s):  
Horror Films ◽  
First Century ◽  
Horror Film ◽  
Turn Of The Millennium ◽  
Transnational Cinema ◽  
Culturally Specific ◽  
Child Characters ◽  
The Uncanny ◽  
The Us ◽  
Twenty First Century

The Uncanny Child in Transnational Cinema illustrates how global horror film depictions of children re-conceptualised childhood at the turn of the twenty-first century. By analysing an influential body of transnational horror films, largely stemming from Spain, Japan, and the US, Jessica Balanzategui shows how millennial uncanny child characters resist embodying growth and futurity, unravelling concepts to which the child's symbolic function is typically bound. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in these potent cinematic renegotiations of the concept of childhood. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century.

Flashback Face: ‘Do You Like Scary Movies?’ Scream and Revitalisation

Scream ◽  
2019 ◽  
pp. 7-12
Author(s):  
Steven West
Keyword(s):  
Horror Films ◽  
Horror Film ◽  
Horror Genre ◽  
Box Office

This chapter introduces Wes Craven, a film director who has an initial reticence against making one more to-the-wall horror film that was born of his enduring battle against genre typecasting. It describes the horror genre that was widely considered to be in a state of flux during Craven's time. It also analyses Craven's Scream, which experienced a more prestigious release than most from Dimension Films and had specialised in formulaic sequels to established horror franchises. The chapter recounts Dimension's faith in Scream that reflected the confidence in the material and script that possessed aspirations to commence a trilogy and deconstruct and revitalise a genre that was perceived as obsolete. It examines horror films that are renowned for being front-loaded in the realm of the American box office.

The Terrible, Horrible Desire to Know: Post-9/11 Horror Remakes, Reboots, Sequels and Prequels

2016 ◽  
Author(s):  
James Kendrick
Keyword(s):  
Market Share ◽  
Horror Films ◽  
First Century ◽  
Horror Film ◽  
Political Climate ◽  
Horror Genre ◽  
Box Office ◽  
Cultural Anxiety ◽  
American Horror Film

Chapter Twelve remains with the horror genre, but takes a broader overview of one of the defining trends of the American film industry which has progressively gathered pace in the first years of the twenty-first century: the increasing prevalence of the remake. In "The Terrible, Horrible Desire to Know: Post-9/11 Horror Remakes, Reboots, Sequels, and Prequels" James Kendrick analyses the rising cultural and commercial fortunes of the American horror film which experienced between the years of 1995 and 2005 increases of more than 80% in terms of production and 106% in terms of market share (“Horror: Year-by-Year Market Share”). In this decade 2007 was the biggest year for American horror films (it was also the year of the release of The Mist discussed in the previous chapter) with thirty-one releases accounting for 7.16% of the total market share of the US domestic box office (“Horror: Year-by-Year Market Share”) as opposed to just sixteen releases in 1995. Yet Kendrick does not dismiss this development as being purely economically motivated, rather he asks what can these modern horror films, very often remakes of classic horror films of the 1950s and the 1970s, tell us about the cultural and political climate they emerge from? In an incisive analysis of the recurrent tropes in post-9/11 American horror films Kendrick points out that horror's persistent ties to cultural anxiety provide an intriguing insight into their times as they become increasingly darker, more graphic and deny their characters any sense of hope or redemption. Most interestingly, Kendrick observes, the contemporary horror film replaces the ambiguity of the defining horror films of the 1970s with a desire to explain and understand which he suggests parallels American society's need to understand following the terrorist attacks on 11 September 2001. Kendrick then turns to Rob Zombie's 2007 remake of John Carpenter's original Halloween (1978) as an articulation of many of the tropes discussed in the first part of the essay offering some surprising conclusions concerning the power of the horror film to reflect cultural unease.

Avenues to News and Diverse News Exposure Online: Comparing Direct Navigation, Social Media, News Aggregators, Search Queries, and Article Hyperlinks

2021 ◽  
pp. 194016122110091
Author(s):  
Magdalena Wojcieszak ◽  
Ericka Menchen-Trevino ◽  
Joao F. F. Goncalves ◽  
Brian Weeks
Keyword(s):  
Social Media ◽  
Search Engines ◽  
Direct Access ◽  
Data Set ◽  
Individual Level ◽  
News Sources ◽  
Internet Users ◽  
News Websites ◽  
The Us ◽  
Social Media Platforms

The online environment dramatically expands the number of ways people can encounter news but there remain questions of whether these abundant opportunities facilitate news exposure diversity. This project examines key questions regarding how internet users arrive at news and what kinds of news they encounter. We account for a multiplicity of avenues to news online, some of which have never been analyzed: (1) direct access to news websites, (2) social networks, (3) news aggregators, (4) search engines, (5) webmail, and (6) hyperlinks in news. We examine the extent to which each avenue promotes news exposure and also exposes users to news sources that are left leaning, right leaning, and centrist. When combined with information on individual political leanings, we show the extent of dissimilar, centrist, or congenial exposure resulting from each avenue. We rely on web browsing history records from 636 social media users in the US paired with survey self-reports, a unique data set that allows us to examine both aggregate and individual-level exposure. Visits to news websites account for about 2 percent of the total number of visits to URLs and are unevenly distributed among users. The most widespread ways of accessing news are search engines and social media platforms (and hyperlinks within news sites once people arrive at news). The two former avenues also increase dissimilar news exposure, compared to accessing news directly, yet direct news access drives the highest proportion of centrist exposure.

scholarly journals Relative Astrometry with Imaging Transit Telescopes

1995 ◽  
Vol 166 ◽  
pp. 9-12
Author(s):  
G. F. Benedict ◽  
J. T. McGraw ◽  
T. R. Hess
Keyword(s):  
Standard Errors ◽  
The Moon ◽  
Data Set ◽  
Existing Data

A CCD/Transit Instrument (CTI) has produced relative astrometry with standard errors less than 2.6% of a 1.55 arcsecond pixel for stars with V ≤ 17. Additional astrometric studies with existing data are required to better understand the ultimate contribution these devices can make to our science.The CTI is presently dismantled, awaiting a move to a new site. We briefly discuss the potential astrometric scientific returns from the exisiting data set, from a refurbished CTI, and from a similar device emplaced on the Moon.

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