Performance Prediction for IMDB Movies

Filmmakers and other associated people in the fraternity are very much concerned about the performance of their movies on box office. They pay a lot of hard work and invest a big fat amount on their babies to present them in theatre. In return they want reviews from the users, houseful theaters, healthy nominations and award wins and good evaluation from critiques. We decided to predict the performance of the movies which can help producers and filmmakers in making their movies and invest on right place.

Reconfiguration of the Indian Film Industry During the COVID-19 Pandemic

The Indian film industry has consistently performed well across years and has emerged as the largest in the world in terms of the number of movies it produces annually. However, the year 2020 presented a crude shock to the prospects and promises of the industry. The catastrophic effect of the pandemic in the year 2020 led to the drop in the global box office by as much as 72% with a mere $12 billion collections across the world in the form of ticket sales. To understand the factors facilitating the Indian film industry to go beyond theatres during the pandemic and to explore the key challenges faced by the industry in light of its advancement, secondary data was collected from available publications, industry reports, and official websites of various bodies. The chapter aims at exploring the factors which contribute to the recent trends of the Indian film industry, attempts to identify the new and emerging challenges that plague its growth and how this transition can speed the recovery of Indian film industry as this would provide ample input to the various stakeholders of the industry.

The Vampire Lovers and Hammer's Post-1970 Production Strategy

This article firstly examines the artistic and commercial merits of The Vampire Lovers, which was adapted from the Sheridan Le Fanu novella Carmilla. The production of the film was subcontracted by James Carreras at Hammer to Fantale Films, a company established by Harry Fine, Michael Style and Tudor Gates. The article then proceeds by examining various different and competing artistic judgements that have been made about the film, and also the construction of its unusual dreamy atmosphere. It documents both its UK and US box-office performances and goes on to examine Hammer's post-1970 production strategy in more general terms and in relation to the overall financial performance of the company in the period 1967–72, just before and after The Vampire Lovers. Finally, it examines Hammer's receipt of the Queen's Award for Industry in 1968, the effect of its rolling production-line (or ‘pipeline’) model of film-making on the company's general level of profitability, and some of the consequences of Michael Carreras's assumption of managerial control at Hammer after 1970.

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

<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>

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

<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>

Research on box office influencing factors and innovation strategies of Disney (Asian market) theme films

The income of Disney in the Asian region is a very important part because even though they have a great influence in the United States and Canada, it is still not enough because the consumption power of people in the Asian region is still a very large part. Asians still prefer their elements and character traits. This study is related to Disney revenue in Asia in the future and affects Disney income as a whole, as well as the company’s position in the field of film and its impact on the film industry. Using secondary data, we have analyzed Disney movie data in Asia from various aspects, how to increase the profitability of Disney movies. From a cultural perspective, we feel that Disney should focus on improving Chinese culture and even Asian culture to increase their ratings. Not only that, Disney should continue to innovate instead of repeatedly using the same means of consumption. Finally, the significance of this paper is that we have provided Disney movies with very good conditions for increasing profits.

Analysis of China’s Film Industry in 2020

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.

A Data Set for US Horror Film Trailers

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.