Robust estimation of the mAR index of high grossing films at the US box office, 1935 to 2005

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.

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On the long-run interdependence of stock markets: A tale of correlations, autoregressions and decompositions

South African Journal of Economic and Management Sciences ◽

10.4102/sajems.v5i3.2740 ◽

2002 ◽

Vol 5 (3) ◽

pp. 526-548

Author(s):

Elna Moolman ◽

Suzanne McCoskey

Keyword(s):

Time Series ◽

Latin America ◽

Robust Estimation ◽

Stock Markets ◽

Estimation Procedure ◽

Var Model ◽

Long Run ◽

World Markets ◽

The Us ◽

As If

It seems as if national stock markets within certain groups of countries, for example within Europe and Asia, are interdependent. But to what extent are stock markets between these groups interdependent? Is it still possible to diversify among these groups, or have globalization tied world markets together to such an extent that diversification is no longer feasible? In this study we use time series techniques to analyze the interdependence among four of the most important groups of economies, namely Europe, Latin America, Asia and the US. This will show whether it is still possible to diversify between the stock markets of these groups of economies, since stock markets within these groups seem to be interdependent to such an extent that diversification within these groups is no longer possible. On a methodological level, we compare the results of the OLS-VAR with an FM-VAR model, which is a more robust estimation procedure in the presence of non-stationary or cointegrated series.

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Saboteur (1942)

Hitchcock and the Censors ◽

10.5810/kentucky/9780813177427.003.0011 ◽

2019 ◽

pp. 91-97

Author(s):

John Billheimer

Keyword(s):

Box Office ◽

Production Code ◽

Dorothy Parker ◽

Common Enemy ◽

The Us ◽

The Common

This chapter examines the influence of Production Code censors and wartime conditions on the production of Saboteur. War with Germany freed moviemakers from the shackles of the Neutrality Act, so that the common enemy could be identified without fear of censorship. Censors instead focused on several class-conscious remarks inserted in the script by left-leaning author Dorothy Parker suggesting a disdain for the police and the upper classes. The film did well at the box office and less well with critics, but Hitchcock created a memorable finale on the Statue of Liberty and succeeded in his attempt to make a thriller warning the US of the dangers of internal sabotage and the pro-German leanings of the America First Party.

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Considering online consumer reviews to predict movie box-office performance between the years 2009 and 2014 in the US

The Electronic Library ◽

10.1108/el-02-2018-0040 ◽

2018 ◽

Vol 36 (6) ◽

pp. 1010-1026 ◽

Cited By ~ 6

Author(s):

Ya-Han Hu ◽

Wen-Ming Shiau ◽

Sheng-Pao Shih ◽

Cho-Ju Chen

Keyword(s):

Support Vector ◽

Related Factors ◽

Content Type ◽

Box Office ◽

Performance Predictions ◽

The Us ◽

The Usa ◽

Using Data ◽

The One ◽

Box Office Performance

Purpose The purpose of this paper is to combine basic movie information factors, external factors and review factors, to predict box-office performance and identify the most crucial factor of influence for box-office performance. Design/methodology/approach Five movie genres and first-week movie reviews found on IMDb were collected. The movie reviews were quantified using sentiment analysis tools SentiStrength and Stanford CoreNLP, in which quantified data were combined with basic movie information and external environment factors to predict movie box-office performance. A movie box-office performance prediction model was then developed using data mining (DM) technologies with M5 model trees (M5P), linear regression (LR) and support vector regression (SVR), after which movie box-office performance predictions were made. Findings The results of this paper showed that the inclusion of movie reviews generated more accurate prediction results. Concerning movie review-related factors, the one that exhibited the greatest effect on box-office performance was the number of movie reviews made, whereas movie review content only displayed an effect on box-office performance for specific movie genres. Research limitations/implications Because this paper collected movie data from the IMDb, the data were limited and primarily consisted of movies released in the USA; data pertaining to less popular movies or those released outside of the USA were, thus, insufficient. Practical implications This paper helps to verify whether the consideration of the features extracted from movie reviews can improve the performance of movie box-office. Originality/value Through various DM technologies, this paper shows that movie reviews enhanced the accuracy of box-office performance predictions and the content of movie reviews has an effect on box-office performance.

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The business model of Chinese movies

Journal of Contemporary Marketing Science ◽

10.1108/jcmars-02-2019-0015 ◽

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.

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A Guerra Fria e o inimigo comunista nas telas de cinema norte-americanas dos anos 1980

Diálogos ◽

10.4025/dialogos.v22i1.43623 ◽

2018 ◽

Vol 22 (1) ◽

pp. 60

Author(s):

Mariana G. Alves da Silveira ◽

Vágner Camilo Alves

Keyword(s):

Cold War ◽

Power System ◽

Cultural Production ◽

Movie Theater ◽

Box Office ◽

Feature Films ◽

The Us ◽

The 1950S ◽

International Power ◽

The Cold War

A última década da Guerra Fria foi turbulenta. Seu início apresentou tensão comparável àquela existente nos anos 1950 e princípio dos 1960. A partir de meados dos anos 1980, entretanto, houve distensão, o fim da Guerra Fria e a desintegração do próprio sistema internacional bipolar de poder. O cinema, como outras formas de produção cultural, foi instrumento de propaganda e mobilização durante toda a Guerra Fria. O objetivo deste artigo é analisar como a Guerra Fria se apresentou nos filmes de maior bilheteria nos EEUU na década de 1980. O inimigo comunista é examinado nesses longas-metragens tendo como base a retórica reaganista do período. Abstract The Cold War and the Communist Enemy on the US Movie Theater Screens in the 1980s The last decade of the Cold War was a turbulent one. Its beginning showed tension comparable to that of the 1950s and early 1960s. As of the mid-1980s, however, there was a détente, the end of the Cold War and the collapse of the bipolar international power system. Movies, like other forms of cultural production, were tools for propaganda and mobilization throughout the Cold War. The purpose of this paper is to analyze how the Cold War was shown in the 1980s movies with the highest box-office sales in the US. The Communist enemy is examined in these feature films according to the Reaganist rhetoric of the period. Resumen La Guerra Fría y el enemigo comunista en los cines norteamericanos de los años 1980 La última década de la Guerra Fría fue turbulenta. Su inicio presentó una tensión comparable a la existente en los años 1950 y principios de los años 1960. Sin embargo, a partir de mediados de los años 1980, hubo distensión, el fin de la Guerra Fría y la desintegración del propio sistema internacional bipolar de poder. El cine, como otras formas de producción cultural, fue instrumento de propaganda y movilización durante toda la Guerra Fría. El objetivo de este artículo es analizar cómo la Guerra Fría se presentó en las películas de mayor taquilla en EEUU en la década de los 80'. El enemigo comunista es examinado en esos largometrajes, teniendo como base la retórica reaganista del período

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IDEOLOGI PATRIARKI DALAM FILM (SEMIOTIKA JOHN FISKE PADA INTERAKSI AYAH DAN ANAK DALAM FILM CHEF)

ANDHARUPA Jurnal Desain Komunikasi Visual & Multimedia ◽

10.33633/andharupa.v6i02.3502 ◽

2020 ◽

Vol 6 (02) ◽

pp. 251-262

Author(s):

Harry Setiawan ◽

Abdul Aziz ◽

Debby Kurniadi

Keyword(s):

Social Interaction ◽

Semiotic Analysis ◽

Camera Angle ◽

Box Office ◽

Patriarchal Ideology ◽

The Us ◽

Semiotic Approach ◽

Comedy Film ◽

Father And Son

AbstrakFilm Chef yang beraliran drama – komedi ini dirilis pada tahun 2014 dengan menghasilkan US$45 Juta pada dua minggu penayangannya di bioskop seluruh Amerika dan masuk jajaran film box office dengan rating 7,3/10 versi IMDb. Film ini menghadirkan banyak interaksi antara ayah dan anak yang bisa menjadi acuan bagi orang tua dalam membangun interaksi terhadap anak. Interaksi karakter Carl (Ayah) dan Percy (Anak) yang menjadi subjek penelitian ini diulas dengan pendekatan semiotika John Fiske. Hasil penelitian ini tersaji pada tiga level analisis semiotika John Fiske yaitu level realitas yang digambarkan dengan interaksi karakter Carl dan Percy di ruang-ruang sempit dan padat pada area food truck “El Jefe” maupun area lain baik interior (dalam ruang) maupun exterior (luar ruang). Level representasi yang digambarkan dengan sudut pengambilan gambar (angle) dan komposisi yang membawa penonton untuk tetap terlibat dalam setiap interaksi antar karakter. Terakhir level ideologi patriarki yang menjadi temuan dalam penelitian ini bahwa ideologi patriarki yang dihadirkan dalam film ini bisa dijadikan acuan dalam membangun interaksi ayah dan anak sehingga anak tersebut tidak kehilangan sosok orang tuanya. Kata Kunci : interkasi sosial, patriarki, realitas, semiotika AbstractThis drama-comedy film, Chef, was released in 2014 with the US $ 45 million in two weeks of screenings in theaters across America and entered the ranks of box office films with a rating of 7.3/10 of the IMDb version. This film presents many interactions between father and son that can be a reference for parents in building interactions with their children. The interaction of Carl (Father) and Percy (Son) characters are the subjects of this study are reviewed by John Fiske's semiotic approach. The results of this study presented at three levels of John Fiske's semiotic analysis; the level of reality depicted by Carl and Percy's character interaction in narrow and dense spaces in the "El Jefe" food truck area and other areas both interior (inside) and exterior (outside room). The level of representation depicted by the camera angle and the composition that brings the audience to remain involved in every interaction between characters. Finally, the level of patriarchal ideology found in this study that the patriarchal ideology presented in this film can use as a reference in building the interaction of fathers and children so that the child does not lose the figure of his parents. Keywords: patriarchy, reality, semiotics, social interaction

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Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11

10.26686/wgtn.17144420.v1 ◽

2021 ◽

Author(s):

◽

Thor Fadlon

Keyword(s):

September 11 ◽

Cultural Trauma ◽

Historical Background ◽

Trauma Theory ◽

Research Focus ◽

Box Office ◽

The Us ◽

Post Traumatic ◽

Post September 11 ◽

New Millennium

<p>This thesis investigates Hollywood and global Hollywood 3D cinema at the height of its box office success, the early fifties, and from 2009-2014. Discourse surrounding 3D cinema in both periods is governed largely by technological and economic arguments. While this discourse holds some merit, it overlooks the cultural and historical background against which 3D cinema rose to prominence. Shifting research focus from the technological and economic to the cultural, this project uncovers the presence of trauma in 3D cinema of the fifties and D3D of the new millennium, and argues 3D cinema to be a privileged form to engage with traumatic themes. As trauma is uncovered in 3D cinema, connections are drawn between the narratives and poetics of the films discussed and post-traumatic themes prevalent in the US post WWII, and post September 11 respectively. Focusing on questions of representation, embodiment and temporality, which hold a central role both in 3D cinema and trauma theory, this project finds that 3D cinema narratives and poetics of each period resonated with the cultural trauma that preceded it.</p>

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Disney’s boardroom drama

Strategic Direction ◽

10.1108/02580540310794453 ◽

2003 ◽

Vol 19 (4) ◽

pp. 4-7

Keyword(s):

Board Members ◽

Corporate America ◽

Share Prices ◽

Box Office ◽

The Us ◽

The Media ◽

Treasure Island

Although 2002 was a difficult year for most organizations, Disney Corporation has had it tougher than most. Share prices plummeted, films flopped (its updated version of Treasure Island was a box‐office disaster in the US) and the ability of Chairman and CEO Michael D. Eisner was seriously questioned. But it is the drama behind the scenes that is keeping corporate America enthralled at present. Although Disney directors are notorious in their unanimous silence as far as the media is concerned, one insider described the unrest between some board members as “a civilized war”. And not only is there tension within the corporation, but shareholder relations are also far from picture perfect.

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The Big Pictures: Sources of National Competitiveness in the Global Movie Industry

Vikalpa The Journal for Decision Makers ◽

10.1177/0256090920060303 ◽

2006 ◽

Vol 31 (3) ◽

pp. 19-44

Author(s):

Joseph Howse ◽

Carolan McLarney

Keyword(s):

Hong Kong ◽

Distribution System ◽

Film Industry ◽

Mainland China ◽

Market Demand ◽

Barriers To Entry ◽

Box Office ◽

National Competitiveness ◽

The Us ◽

Alternative Means

This paper examines the global film industry through a detailed discussion of four national players (US, Canada, China, and Hong Kong). According to Porter, the international competitiveness of any industry cluster is shaped by four characteristics of the domestic market: demand conditions, factor endowments, firm rivalry, and supporting industries. The authors assess the film industry in these countries in terms of the four factors of national competitiveness and conclude that only the US possesses all of them at this juncture. Moreover, they propose that the exclusivity of US interests in the global distribution system creates competitive dynamics that neither Porter nor critics such as Rugman have fully explored. It is in this context that this paper discusses co-production as an alternative means for nations to develop⁄improve competitiveness through exploitation of overseas markets. Based on their analysis of the film industry of the US, Canada, China, and Hong Kong, the authors make the following observations: There is a need to increase the presence of Canada⁄Canadian film co-productions with other countries as there may be greater opportunities for large Canadian producers to leverage both their US connections and their home country's treaties to create a unique pool of film-making resources. The potential size of the Chinese film audience makes it attractive to other nations. However, the Chinese government's monopoly over film imports, pirated home versions, and denial of access to the official film distribution channels are major barriers to entry. Despite the massive historical price gap between domestic and foreign movies, box office figures would suggest that Chinese audiences prefer the latter. Another popular option is cheap, pirated home versions. Hong Kong's box office size, domestic box office share, and number of domestic productions have been decimated over the past decade and, hence, Hong Kong producers' main option is to find stronger opportunities in mainland China. Being the only external co-production partner nation of China and Hong Kong, Canada has in place the foundations for a powerful competitive position in these regions relative to other foreign entrants. According to the authors, further research in this field could include an analysis of coproductions within Europe or of emerging co-production blocs across other regions. For instance, Canada is currently in the process of concluding a co-production treaty with India which has the potential to clear barriers between the two powerful yet traditionally quite segregated film industries of the subcontinent and North America. This is indicative of the fact that the governments and the movie industries are gaining power to change the global competitive scenario in films.

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