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Academic literature on the topic 'Movie Box Office'

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Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Movie Box Office"

Hu, Ya-Han, Wen-Ming Shiau, Sheng-Pao Shih, and Cho-Ju Chen. "Considering online consumer reviews to predict movie box-office performance between the years 2009 and 2014 in the US." Electronic Library 36, no. 6 (December 10, 2018): 1010–26. http://dx.doi.org/10.1108/el-02-2018-0040.

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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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Feng, Kaicheng, and Xiaobing Liu. "Adaptive Attention with Consumer Sentinel for Movie Box Office Prediction." Complexity 2020 (December 7, 2020): 1–9. http://dx.doi.org/10.1155/2020/6689304.

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To improve the movie box office prediction accuracy, this paper proposes an adaptive attention with consumer sentinel (LSTM-AACS) for movie box office prediction. First, the influencing factors of the movie box office are analyzed. Tackling the problem of ignoring consumer groups in existing prediction models, we add consumer features and then quantitatively analyze and normalize the box office influence factors. Second, we establish an LSTM (Long Short-Term Memory) box office prediction model and inject the attention mechanism to construct an adaptive attention with consumer sentinel for movie box office prediction. Finally, 10,398 pieces of movie box office dataset are used in the Kaggle competition to compare the prediction results with the LSTM-AACS model, LSTM-Attention model, and LSTM model. The results show that the relative error of LSTM-AACS prediction is 6.58%, which is lower than other models used in the experiment.

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Lee, Sangjae, and Joon Yeon Choeh. "Movie Production Efficiency Moderating between Online Word-of-Mouth and Subsequent Box Office Revenue." Sustainability 12, no. 16 (August 14, 2020): 6602. http://dx.doi.org/10.3390/su12166602.

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The studies are almost nonexistent regarding production efficiency of movies which is determined based on the relationship between movie resources powers (powers of actors, directors, distributors, and production companies) and box office. Our study attempts to examine how efficiency moderates the relationship between eWOM (online word-of-mouth) and revenue, and to show the difference in prediction performance between efficient and inefficient movies. Using data envelopment analysis to suggest efficiency of movies, movie efficiency negatively moderates the effects of review depth and volume on subsequent box office revenue compensating negative effects of smaller box office in previous period while efficiency exert a positive moderating effect on the influences of review rating and the number of positive reviews on revenue. This shows that review depth and volume are affected by the slack of movie resources powers for inefficient movies, and high rating and positive response for efficient movies to affect revenue. The results of decision trees, k-nearest-neighbors, and linear regression analysis based on ensemble methods using eWOM or movie variables indicate that the movies with the inefficient movie resources powers are providing greater prediction performance than movies with efficient movie resources powers. This show that diverse variation in the efficiency of movie resources powers contributes to prediction performance.

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Barranco, Raymond E., Nicole E. Rader, and Anna Smith. "Violence at the Box Office." Communication Research 44, no. 1 (July 8, 2016): 77–95. http://dx.doi.org/10.1177/0093650215614363.

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The negative effects of violent content in movies have recently been a hot topic among both researchers and the general public. Despite growing concern, violence in movies has persisted over time. Few studies have examined why this pattern continues. To fill this gap in the literature, we examine how Motion Picture Association of America (MPAA) movie rating descriptors predict ticket sales of 2,094 movies from 1992 to 2012. We test the validity of three theoretical models: (1) the reflective model, (2) the reactance model, and (3) the market model. We find that violent content is linked neither to violence in the broader U.S. culture (i.e., the reflective model) nor to a psychological reactance by adolescents (i.e., the reactance model). Rather, we find, especially among PG-13 (parents strongly cautioned) movies, that violent content leads to increased ticket sales, suggesting that market demand (i.e., audience preferences) is responsible for continued violent content. We discuss the implications of our findings.

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Hung, Yu-Chen, and Chong Guan. "Winning box office with the right movie synopsis." European Journal of Marketing 54, no. 3 (February 24, 2020): 594–614. http://dx.doi.org/10.1108/ejm-01-2019-0096.

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Purpose Consumers often search for movie information and purchase tickets on the go. A synopsis is often provided by producers and theatres in mobile apps and websites. However, to the best of the authors’ knowledge, little research has investigated whether the synopsis has an impact on a movie’s box office. This research uses computerized text analysis in examining the influence of linguistic cues of a synopsis on the movie’s financial performance. This paper aims to show that language choice in a synopsis is a significant factor in predicting box office performance. Design/methodology/approach A total usable sample of 5973 movies was collected using a web crawler. Computerised text analysis using linguistic inquiry and word count was adopted to analyse the movie synopses data. The empirical study comprises two phases. Phase 1 used exploratory factor analysis on 50 per cent of the sample (Sample 1) to establish the dimensionality of psychological processes as reflected in the linguistic expressions. The analysis identified 11 linguistic variables that loaded on four dimensions. The factor structure was replicated on an independent sample (Sample 2) using confirmatory factor analysis. Phase 2 tested the hypotheses using structure equation modelling. Findings Results show that consistency between movie genres and linguistic cues in a film synopsis promotes movie box office revenue when linguistic cues shown in the synopsis confirm a consumer’s expectancies about a focal movie genre. Conversely, a synopsis reduces the movie box office revenue when the linguistic cues shown disconfirm the genre-based expectancies. These linguistic cues exert similar effects on action and crime films but different effects on comedies and drama films. Research limitations/implications It is likely that consumer tastes and linguistic styles of film synopses have evolved over time. As a cross-sectional study, such changes were not taken into consideration in the current research. A longitudinal study in the future can reveal the dynamic relationship between film synopses and audience. Practical implications Managerially, the findings show that a synopsis is an effective communication touch point to position a movie. This research provides concrete guidelines in crafting synopses with the “rights words’ aligned with movie-goers’ expectations within each specific genre. Beyond movie consumption, the research findings can be applied to other entertainment products, such as TV series and books. Originality/value To our knowledge, this research is the first in studying the linguistic cues in synopses and its relation to box office performance. It addresses this knowledge gap by answering the basic question of whether movie synopses matter. Methodically, the paper marks the first attempt to use the two-step structural equation modelling method on computerised content analysis data.

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Garcia-del-Barrio, Pedro, and Hugo Zarco. "Do movie contents influence box-office revenues?" Applied Economics 49, no. 17 (August 27, 2016): 1679–88. http://dx.doi.org/10.1080/00036846.2016.1223828.

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Ahmad, Ibrahim Said, Azuraliza Abu Bakar, Mohd Ridzwan Yaakub, and Mohammad Darwich. "Sequel movie revenue prediction model based on sentiment analysis." Data Technologies and Applications 54, no. 5 (October 8, 2020): 665–83. http://dx.doi.org/10.1108/dta-10-2019-0180.

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PurposeSequel movies are very popular; however, there are limited studies on sequel movie revenue prediction. The purpose of this paper is to propose a sentiment analysis based model for sequel movie revenue prediction and to propose a missing value imputation method for the sequel revenue prediction dataset.Design/methodology/approachA sequel of a successful movie will most likely also be successful. Therefore, we propose a supervised learning approach in which data are created from sequel movies to predict the box-office revenue of an upcoming sequel. The algorithms used in the prediction are multiple linear regression, support vector machine and multilayer perceptron neural network.FindingsThe results show that using four sequel movies in a franchise to predict the box-office revenue of a fifth sequel achieved better prediction than using three sequels, which was also better than using two sequel movies.Research limitations/implicationsThe model produced will be beneficial to movie producers and other stakeholders in the movie industry in deciding the viability of producing a movie sequel.Originality/valuePrevious studies do not give priority to sequel movies in movie revenue prediction. Additionally, a new missing value imputation method was introduced. Finally, sequel movie revenue prediction dataset was prepared.

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Mohanty, Saurav, Nicolle Clements, and Vipul Gupta. "Investigating the Effect of eWOM in Movie Box Office Success Through an Aspect-Based Approach." International Journal of Business Analytics 5, no. 1 (January 2018): 1–15. http://dx.doi.org/10.4018/ijban.2018010101.

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This study examines the influence of Electronic Word of Mouth (eWOM) on the box office revenue generation of movies in the U.S domestic market using the technique of Aspect-Based Sentiment Analysis (ABSA) and aspect identification. The analysis was conducted on the sentiment score and frequency of five movie aspects from the user reviews collected from high grossing 2014 movies. This study revealed a significant dependence on the aspect-based sentiment frequency of the movie's Story aspect. Surprisingly, the data also showed a strong dependence of movie success on the negative sentiment frequency on the Casting aspect. The findings of the study suggest that the eWOM present in online movie reviews can be used to predict the performance of a movie at the box office by monitoring the aspect's frequency of sentiment, which can be referred to as a metric of the online “buzz” of the movie.

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Lee, O.-Joun, Seung-Bo Park, Daul Chung, and Eun-Soon You. "Movie Box-office Analysis using Social Big Data." Journal of the Korea Contents Association 14, no. 10 (October 28, 2014): 527–38. http://dx.doi.org/10.5392/jkca.2014.14.10.527.

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Powers, Robert A. "Activities for Students: Big Box—Office Bucks." Mathematics Teacher 94, no. 2 (February 2001): 112–18. http://dx.doi.org/10.5951/mt.94.2.0112.

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One of the challenges that teachers face when they teach data analysis to their students is getting them to see the “big picture.” Using multiple representations is one way to help students make sense out of a large amount of data. For example, the data can be recorded in a table, graphed in a rectangular-coordinate system, and analyzed for an equation of best fit. These techniques are standard practice in data analysis. However, furnishing an interesting context for teaching these methods is sometimes difficult. One way to motivate students to see the big picture of data analysis is to explore an example from the motion-picture business. Since the release of James Cameron's movie Titanic in December 1997, the film has become a part of the popular culture. It earned more than $1 billion worldwide at the box office, which makes it the highest-grossing film of all time. Inevitable articles and programs documented and commented on the success of this epic film. One article, in particular, in Newsweek was titled “Our Titanic Love Affair” (Ansen 1998). A simple statement of earnings trends appeared in a caption next to a graph showing the longevity of the weekend revenues generated by the movie. It read as follows: “Most hit movies enjoy big opening weekend sales, then revenues decline quickly.” Both the graph and the caption raise two interesting questions: What do the graphs and trends of “most hit movies” look like? And how are the weekend earnings of Titanic different?

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Dissertations / Theses on the topic "Movie Box Office"

Doshi, Lyric (Lyric Pankaj). "Using sentiment and social network analyses to predict opening-movie box-office success." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61284.

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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 59-60).
In this thesis, we explore notions of collective intelligence in the form of web metrics, social network analysis and sentiment analysis to predict the box-office income of movies. Successful prediction techniques would be advantageous for those in the movie industry to gauge their likely return and adjust pre- and post-release marketing efforts. Additionally, the approaches in this thesis may also be applied to other markets for prediction as well. We explore several modeling approaches to predict performance on the Hollywood Stock Exchange (HSX) prediction market as well as overall gross income. Some models use only a single movie's data to predict its future success, while other models build from the data of all the movies together. The most successful model presented in this thesis improves on HSX and provides high correlations/low predictive error on both HSX delist prices as well as the final gross income of the movies. We also provide insights for future work to build on this thesis to potentially uncover movies that perform exceptionally poorly or exceptionally well.
by Lyric Doshi.
M.Eng.

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Tesař, Tomáš. "Analýza výnosnosti 3D ve filmu." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-114436.

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The main hypothesis of this dissertation says that movies which are shown in cinemas in 2D and also 3D version have greater box office than movies which are shown only in 2D version. The model with two simultaneous equations was constructed to confirm or reject this hypothesis. Data set includes movies which had wide release between January 2009 and December 2011 in the USA. The results show that 3D has no influence in the first week but there are negative significant effect on the number of screens, which could be connected with insufficient capacity of technologically equipped screens, and positive significant effect on revenues in the next nine weeks. The model includes other important and significant factors influencing revenues and the thesis compares these results with recent literature dealing with this topic.

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Somburanasin, Monsicha. "Risky Business : Does recognition reduce uncertainty of the movie industry global box office revenue? * of the movie as a one-liner to reflect the characteristics of the movie industry. notifies that Risky Business (1983) is a comedy-drama movie starring Tom Cruise. The writer intentionally uses the name Master Thesis." Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Nationalekonomi, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12795.

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Introduction Movies are considered entertainment goods. Entertainment is one of the experience industries. Intangibility, perishability and heterogeneity are the most significant characteristics of the movie industry. An emotional reaction of consumers cannot be calculated in the same sense that most other physical goods can. If the movie succeeded in meeting the expectations, ticket price decreases will not necessarily indicate further purchases in the future. There are high risks and uncertainty in the movie industry. Purpose The purpose of this paper is to define through a hedonic price theory establishing whether the recognition is a significant factor to the global success of movies. The global success of the movies is determined by the global box office revenue. There are eight independent variables tested in this paper: global movie popularity, global popularity of the directors, global popularity of the authors, fame (determined by wining Academy Award), major studios, sequel, family genre and animation genre. Only one control variable, which is year of release, is included. Method The paper uses empirical model and the data set along with the results of the empirical analysis to achieve the purpose. Only secondary data were collected for the paper. Conclusion To reduce uncertainty in movie industry box office revenue, according to the data collected, recognition is significant to the consumers’ willingness to pay. The willingness to pay is determined by the global box office revenue. Only four independent variables, namely: sequels, Academy Award, the global popularity of the directors and the global popularity of the authors of the original script, are significant recognition factors to the global box office revenue. Movie producers shall be aware that consumers have to make sure utility gained from the consumption exceeds the costs in order to make purchases. Based on the sample collected, it can be summarized that consumers of the movie industry in general rely on previous consumption and recognition to reduce risks and uncertainty in terms of making purchases.

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Yao, Kathryn S. "The Future of Chollywood: The Imminent Rise of China's Film Industry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/776.

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The research in this thesis will focus on China’s increasingly important role in the global film industry, including the dynamic between the Chinese government, the Chinese film industry, and Hollywood. The first chapter gives a comprehensive overview of the history of artistic trends in postsocialist Chinese film since 1979. The following chapter provides a history of the commercial and economic developments regarding the Chinese film industry after Deng Xiaoping’s economic reforms and open door policy. In the third chapter, a detailed analysis of the different Chinese state entities and their functions provide insight into the history of the political and regulatory framework of the Chinese film industry. The fourth chapter examines Hollywood’s role and response to China’s burgeoning film industry and market including case studies of top western film companies that have been heavily involved with China. It also focuses on the challenges the domestic Chinese film industry faces in response to government censorship and competition from Hollywood. Finally, the conclusion offers predictions for the future state of the Chinese film industry, and discusses the implications surrounding the growing relationship between the China and Hollywood.

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Cassam-Chenaï, Arnaud. "Représentations et réception des films sur la Seconde Guerre mondiale en France à la Libération (1944-1950) : la concurrence des victimes." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30023.

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Dès les premiers jours de la Libération, de nombreux films sur la Seconde Guerre mondiale vont être projetés dans les salles de cinéma françaises. Entre la fin de l’année 1944 et 1950, ce sont 302 films qui prennent le conflit comme sujet. Pourtant, ces films qui sortent en France ne sont pas issus des mêmes pays, ne datent pas tout à fait de la même période, et n’abordent pas la guerre de la même façon. Surtout, ces films ne vont pas traiter des mêmes victimes de la guerre. Il y a des différences importantes entre une chronique française de l’Occupation, un film de guerre américain, la vision du retour des prisonniers italiens, une histoire de résistants soviétiques ou le récit de vie de citoyens britanniques. Le public français et la presse de l’époque qui commente ces sorties ne reçoivent pas ces différentes visions de la Seconde Guerre mondiale de la même façon. Étudier ces films et l’accueil qui leur a été réservé au lendemain du conflit permet de mieux comprendre la mise en place d’une mythologie de l’évènement en France. Mon étude analyse en trois parties ces représentations des différentes victimes de la guerre, et leur réception dans l’immédiat après-guerre. La première présente les concepts théoriques de l’histoire au cinéma, et l’histoire de la Seconde Guerre mondiale telle qu’elle est visible durant la période, en prenant en compte des statistiques générales élaborées pour cette étude. Les deux parties suivantes proposent des études de cas, sélectionnés pour leur représentativité. On se concentre d’abord sur les différents types de victimes combattantes – les militaires à la guerre, les militaires hors du front, les résistants et enfin les espions et assimilés. Ensuite, on étudie les victimes non-combattantes – les civils occupés, les civils libres, les prisonniers et déportés, les prisonniers de retour, les Juifs et victimes de l’antisémitisme et enfin les enfants
In the immediate aftermath of the French liberation, theaters across the country began to project movies centered around the recent conflict. Between 1944 and 1950, World War II was the central theme of more than 302 films. However, these films came from different countries; they were not produced at the exact same time; they did not depict the conflict through the same angle; and more importantly, they did not cover the same class of war victims. Wide differences exist between a French chronicle of the Occupation and a U.S. war movie, a depiction of the homecoming of Italian prisoners and the story of soviet resistance or a narration of British citizens’ everyday life during the war. At the time, the response of the French audience and critics to these diverse movie releases varied greatly too. By studying these movies and their reception at the time of their releases, the present study informs our understanding of the emergence of the French mythology surrounding this major conflict. In three chapters, I analyze the cinematographic depictions of various groups of war victims in movies of this era, as well as the audience and critics’ response at the time. In the first chapter, I describe the theoretical underpinnings of the cinema history, as well as the narration of World War II as presented by these movies, using statistics specifically collected for this study. The two following chapters offer a series of representative case studies. I first focus on different groups of victims actively involved in the conflict: militaries on and off the front-lines, members of the resistance, and spies and assimilated individuals. I then study the non-fighting victims: civilians under the occupation, civilians living in the free zone, homecoming prisoners, members of the Jewish community and other victims of antisemitism, and finally, the children

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FLORÊNCIO, João Carlos Procópio. "Análise e predição de bilheterias de filmes." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17639.

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Prever o sucesso de um filme e, por consequência, seu sucesso nas bilheterias tem uma grande importância na indústria cinematográfica, desde a fase de pré-produção do filme, quando os investidores querem saber quais serão os filmes mais promissores, até nas semanas seguintes ao seu lançamento, quando se deseja prever as bilheterias das semanas restantes de exibição. Por conta disso, essa área tem sido alvo de muitos estudos que tem usado diferentes abordagens de predição, seja na seleção das características dos filmes como nas técnicas de aprendizagem, para atingir uma maior capacidade de prever o sucesso dos filmes. Neste trabalho de mestrado, foi feita uma investigação sobre o comportamento das principais características dos filmes (gênero, classificação etária, orçamento de produção, etc), com maior foco nos resultados das bilheterias e sua relação com as características dos filmes, de forma a obter uma visão mais clara de como as caracaterísticas dos filmes podem influenciar no seu sucesso, seja ele interpretado como lucro ou volume de bilheterias. Em seguida, em posse de uma base de filmes extraída do Box-Office Mojo e do IMDb, foi proposto um novo modelo de predição de box office utilizando os dados disponíveis dessa base, que é composta de: meta-dados dos filmes, palavras-chaves, e dados de bilheterias. Algumas dessas características são hibridizadas com o objetivo evidenciar as combinações de características mais importantes. É aplicado também um processo de seleção de características para excluir aquelas que não são relevantes ao modelo. O modelo utiliza Random Forest como máquina de aprendizagem. Os resultados obtidos com a técnica proposta sugerem, além de uma maior simplificação do modelo em relação a estudos anteriores, que o método consegue obter taxas de acerto superior 90% quando a classificação é medida com a métrica 1-away (quando a amostra é classificada com até 1 classe de distância), e consegue melhorar a qualidade da predição em relação a estudos anteriores quando testado com os dados da base disponível.
Predicting the success of a movie and, consequently, its box office success, has a huge importance in the motion pictures industry. Its importance comes since from the pre-production period, when the investors want to know the most promising movies to invest, until the first few weeks after release, when exhibitors want to predict the box office of the remaining weeks of exhibition. As result, this area has been subject of many studies which have used different prediction approaches, in both feature selection and learning methods, to achieve better capacity to predict movies’ success. In this mastership work, a deep research about the movie’s main features (genre, MPAA, production budget, etc) has been done, with more focus on the results of box offices and its relation with the movie’s features in order to get a clearer view of the organization of information and how variables can influence the success of a film, whether this success be interpreted as profit or revenue volumes at the box office. Then, in possession of a movie database extracted from Box-Office Mojo and IMDb, it was proposed a new box office prediction model based on available data from the database composed of: movie meta-data, key-words and box office data. Some of these features are hybridized aiming to emphasize the most important features’ combinations. A features’ selection process is also applied to exclude irrelevant features. The obtained results with the proposed method suggests, besides a further simplification of the model compared to previous studies, that the method can get hit rate of more than 90% when classification is measured with the metric 1-away (when the sample is classified within 1 class of distance from the right class), and achieve a improvement in the prediction quality when compared to previous studies using the available database.

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Goetomo, Desmond. "Hollywood redux: A comparative study of film remake performance in the foreign and domestic box office." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1888.

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In the eyes of Hollywood producers, film remakes are popular endeavors to undertake. Part of the logic behind remakes is that they will likely perform successfully in the domestic box office because of the tried-and-tested formula that was the remake’s source material as well as the pre-existing fanbase. In addition, over the past two decades the international box office, particularly countries like China and Russia, are overtaking the United States in generating box office revenue. Hence, with the increasing popularity of producing remakes, as well as the growing significance of foreign markets for the entertainment industry, I test whether the international share of the box office is higher for remakes compared to other types of films. I control for several standard variables including type of film, genre, production budget, critical review score, recency of film, and number of installments in the film franchise. In conclusion, I find that although film remakes do not achieve significantly higher foreign box office shares, factors like sequel films, the horror genre, production budget and critical review scores play a significantly positive role in determining foreign box office share, thus indicating the preferences of foreign film audiences.

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Polyakov, Daniel M. "Estimating the Effects of Integrated Film Production on Box-Office Performance: Do Inhouse Effects Influence Studio Moguls?" Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/245.

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Each year well over one billion movie tickets are sold to an audience who knows very little about what they are getting themselves into. Why is it that despite the uncertainty, people return to the theaters to see what Hollywood has in store for them? In efforts to provide answers regarding the driving forces behind Hollywood’s blockbuster hits, this study takes into account the integration levels of the studios. Specifically, does a movie produced in-house at a large studio have a better chance of being a blockbuster hit than one which is outsourced to an independent production company? Further, I discuss the motivation behind the studios’ decision. While considering the embedded integration within the motion picture industry, this study aims to provide insight regarding the extent of internal studio productions and the effects of these films on the box-office.

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Johansson, Jesper. "Success at the box office in the age of streaming services : An examination of how streaming services have impacted the dynamics of successful movies in the cinema." Thesis, Internationella Handelshögskolan, Jönköping University, IHH, Nationalekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-50486.

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Netflix and other streaming services have grown immensely since they started offering online streaming. In this paper I present a correlation matrix using ticket sales at the domestic box office and the number of Netflix subscribers. They are shown to be negatively correlated with one another, supporting many previous researchers’ thoughts on the topic. I also show using two OLS regressions with data from movies released in 2006-2007 and 2017-2018 that being a part of a franchise has a stronger correlation with increased revenue in the latter model compared to the previous one. In the models one can also see that the general quality of a movie, as measured by IMDb rating, is associated with a higher increase in revenue in the latter model. I argue that this is due to consumers being inclined to watch what they perceive to be high-quality movies in the theaters in the latter model as they can conveniently watch movies of a poorer quality on their streaming service, an option that was not available to the same extent previously. I also argue that consumers are more willing to commit to going to the cinema for a franchise movie, especially in the Marvel cinematic universe, as they are often effects driven movies which are better experienced on a large screen. The budget variable is significant in both models, but the coefficient is much smaller in the second model. I argue that this is due to the fact that a higher budget is required for movies released in 2017-2018 to maintain the same level of revenue as in 2006 and 2007 due to the competition that have come from streaming services. However, I conclude that more research is necessary before drawing definite conclusions as the market for cinema is highly uncertain and difficult to estimate accurately.

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Enting, Staffan. "Politisk kommunikation genom film : En studie kring hur den realpolitiska agendan speglas i den moderna spelfilmen." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76679.

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The aim of this study is to explore the correlation between contemporary political agenda and film themes, how and if the antagonists’ behavior is depicted in relation to whom the political opponent was at the time of the making of the film. The literature is concurrent: movies are used to spread norms and political messages. There are several examples; during the Cold War people and antagonist behavior could clearly be linked to the Soviet Union. During the Gulf War the antagonists was often depicted as Arabic terrorists, but after the war the villain character became unclear and was often represented by natural disasters, organized crime, corruption etc. Following the September 11, 2001 terrorist attacks on the United States, Arabic terrorists once again became the new antagonists. The film selection is made out of the five most profitable movies (adjusted for inflation) that take place in our world that was produced during the Cold War, and five films that fill the same criteria that was produced after the Cold War. My goal was to see if I could see a correlation between the political agenda at the time of the making of the movie, how the antagonists are portrayed and what political themes were addressed. Unexpectedly, I found no such correlation in my film selection. However, I could see similarities in certain genres, such as action, thrillers and adventure movies, that support the theories in the literature.
Jag studerar huruvida man kan dra en parallell mellan den rådande politiska agendan och filmens politiska teman samt hur skurkgestaltningen ter sig i relation till vem den politiska motståndaren var då filmen gjordes. Litteraturen är tydlig kring att film används för att sprida normer och politiska budskap. Det finns flera exempel kring hur man under kalla kriget främst hade Sovjet eller personer och beteenden som tydligt kunde kopplas till Sovjet som skurkar. Efter kalla kriget, i samband med Gulfkriget, blev det under en tid araber för att därefter vara en mer oklar skurkroll (ofta naturkatastrofer, organiserad brottslighet, korruption, etc.). Efter terrorangreppen mot USA den 11:e september 2001 fick man återigen en tydlig motståndare och den arabiske terroristen blev den nya antagonisten. I min studie utgår jag från de fem filmer som drog in mest pengar (justerat för inflation), som utspelar sig i vår värld och som kom under kalla kriget, samt de fem filmer inom samma kategorier som kom därefter. Detta för att se om jag kan se en tydlig parallell mellan den rådande politiska agendan och hur skurkarna gestaltas samt vilka politiska teman som tas upp. Oväntat nog finner jag att ingen sådan tydlig koppling finns i de exemplen. Jag finner liknande paralleller inom vissa genres, såsom actionfilm, thrillers och äventyrsfilm, men ingen direkt koppling till filmen generellt kan göras.

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Books on the topic "Movie Box Office"

Gunter, Barrie. Predicting Movie Success at the Box Office. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3.

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Collection, Kobal, ed. Box-office champs: The most popular movies of the last 50 years. New York: Portland House, 1990.

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Kay, Eddie Dorman. Box-office greats: The most popular movies of the last 50 years. London: Tiger, 1990.

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Thomas, Lennon, ed. Writing movies for fun and profit!: How we made a billion dollars at the box office and you can, too! New York, NY: Touchstone, 2011.

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Cuellar, Carol. Box Office Blockbusters: Fifty-Five Movie Songs & Themes. Alfred Publishing Company, 1994.

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Cuellar, Carol. Box Office Blockbusters: Fifty-Five Movie Songs & Themes. Alfred Publishing Company, 1994.

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Hassler-Forest, Dan. Roads Not Taken in Hollywood’s Comic Book Movie Industry. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.23.

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Chapter 23 approaches the phenomenon of the comic book movie as a complex and dynamic adaptation process. While superhero movies and other comics-inspired franchises now dominate the global box office, it is rare that they adapt comic books’ formal features in a meaningful way. By foregrounding three comic book movies that have largely been considered failures, the essay discusses innovative ways of adapting comics to film through a media-archaeological approach to the genre. The films Popeye (1980), Dick Tracy (1990), and Hulk (2002) can be read, each in its own way, as provocative “roads not taken” by the Hollywood film industry.

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Anders, Kindem Gorham, ed. The international movie industry. Carbondale: Southern Illinois University Press, 2000.

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Townsend, Sylvia. Bumpy Road. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.001.0001.

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In meticulous detail, the book describes the filming, release, and influence of the 1971 film Two-Lane Blacktop. In 1970 the urbane producer Michael Laughlin asked the hippy filmmaker Monte Hellman to direct a script called Two-Lane Blacktop. The cult author Rudy Wurlitzer rewrote the script, the story of two scruffy hot rodders who pick up a girl hitchhiker and race their classic ’55 Chevy against a rich guy’s “factory –made hot rod,” a ’70 GTO Judge. In three of the four lead roles Hellman cast nonactors – the rock stars James Taylor and Dennis Wilson, and the director’s girlfriend, Laurie Bird. Hellman made an existentialist car-racing movie; nobody wins or even finishes the race, the protagonists are doomed to drive around endlessly. The film was slow-paced, the rock stars didn’t sing (and barely spoke), the movie had little music, and Hellman ignored other traditional crowd-pleasing conventions. When he resisted studio pressure to make the movie more conventional and commercial, it flopped at the box office. Universal failed to release the film on video, making it scarce and sought-after, and three of the four lead actors – Wilson Bird and Warren Oates, had untimely deaths, conferring mystique on the film. Many years after its release, the film gained wide acclaim, was released by the prestigious Criterion Collection and was preserved in the National Film Registry. In the book, the directors Wes Anderson, Richard Linklater and others tell how the movie influenced their work. Although Two-Lane Blacktop was a harbinger of the demise of New Hollywood films, brought about by the financial costs to Hollywood studios that allowed auteur directors to make non-commercial movies, had Hellman caved in to pressure to make the movie commercial, it would not have become a classic.

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Box-office greats: The most popular movies of the last 50 years. Tiger Books, 1990.

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Book chapters on the topic "Movie Box Office"

Sachdev, Shaiwal, Abhishek Agrawal, Shubham Bhendarkar, Bakshi Rohit Prasad, and Sonali Agarwal. "Movie Box-Office Gross Revenue Estimation." In Advances in Intelligent Systems and Computing, 9–17. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8633-5_2.

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Gunter, Barrie. "Is Box Office Still Relevant?" In Predicting Movie Success at the Box Office, 1–20. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_1.

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Gunter, Barrie. "Is Studio Size Important to Box Office Success?" In Predicting Movie Success at the Box Office, 35–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_3.

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Gunter, Barrie. "Does Marketing and Promotion Create Box Office Success?" In Predicting Movie Success at the Box Office, 71–87. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_5.

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Gunter, Barrie. "How Important Is It to Get Movie-Goers Onside?" In Predicting Movie Success at the Box Office, 227–41. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_14.

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Gunter, Barrie. "Why are Sequels and Remakes So Popular with Movie Studios?" In Predicting Movie Success at the Box Office, 161–74. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_10.

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Gunter, Barrie. "How Significant Is Star Power?" In Predicting Movie Success at the Box Office, 175–94. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_11.

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Gunter, Barrie. "Do Awards Make a Difference?" In Predicting Movie Success at the Box Office, 195–207. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_12.

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Gunter, Barrie. "What Is the Role of Critics’ Reviews?" In Predicting Movie Success at the Box Office, 209–25. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_13.

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Gunter, Barrie. "Is There a Formula for Success?" In Predicting Movie Success at the Box Office, 243–59. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71803-3_15.

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Conference papers on the topic "Movie Box Office"

Wu, Shuangyan, YuFan Zheng, Zhikang Lai, Fujian Wu, and Choujun Zhan. "Movie box office prediction based on ensemble learning." In 2019 IEEE Symposium on Product Compliance Engineering - Asia (ISPCE-CN). IEEE, 2019. http://dx.doi.org/10.1109/ispce-cn48734.2019.8958631.

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Zhang, Zhenlong, Jianping Chai, Bo Li, Yan Wang, Min An, and Zhougui Deng. "Movie Box Office Inteval Forecasting Based on CART." In 2015 8th International Symposium on Computational Intelligence and Design (ISCID). IEEE, 2015. http://dx.doi.org/10.1109/iscid.2015.165.

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Cheang, Yee Mun, and Tan Chye Cheah. "Predicting Movie Box-Office Success and The Main Determinants of Movie Box Office Sales in Malaysia using Machine Learning Approach." In ICSCA 2021: 2021 10th International Conference on Software and Computer Applications. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3457784.3457793.

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Rhee, Travis Ginmu, and Farhana Zulkernine. "Predicting Movie Box Office Profitability: A Neural Network Approach." In 2016 15th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2016. http://dx.doi.org/10.1109/icmla.2016.0117.

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Oh, Sehwan, Joongho Ahn, and Hyunmi Baek. "Viewer Engagement in Movie Trailers and Box Office Revenue." In 2015 48th Hawaii International Conference on System Sciences (HICSS). IEEE, 2015. http://dx.doi.org/10.1109/hicss.2015.207.

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Zhou, Yao, and Gary G. Yen. "Evolving Deep Neural Networks for Movie Box-Office Revenues Prediction." In 2018 IEEE Congress on Evolutionary Computation (CEC). IEEE, 2018. http://dx.doi.org/10.1109/cec.2018.8477691.

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Zhang, Zhenlong, Bo Li, Zhougui Deng, Jianping Chai, Yan Wang, and Min An. "Research on Movie Box Office Forecasting Based on Internet Data." In 2015 8th International Symposium on Computational Intelligence and Design (ISCID). IEEE, 2015. http://dx.doi.org/10.1109/iscid.2015.228.

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Quader, Nahid, Md Osman Gani, Dipankar Chaki, and Md Haider Ali. "A machine learning approach to predict movie box-office success." In 2017 20th International Conference of Computer and Information Technology (ICCIT). IEEE, 2017. http://dx.doi.org/10.1109/iccitechn.2017.8281839.

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Subramaniyaswamy, V., M. Viginesh Vaibhav, R. Vishnu Prasad, and R. Logesh. "Predicting movie box office success using multiple regression and SVM." In 2017 International Conference on Intelligent Sustainable Systems (ICISS). IEEE, 2017. http://dx.doi.org/10.1109/iss1.2017.8389394.

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Ruan, Dong-ru, Tao Liu, and Kai Gao. "Modelling on movie box-office prediction based on LFM algorithm." In 2015 7th International Conference on Modelling, Identification and Control (ICMIC). IEEE, 2015. http://dx.doi.org/10.1109/icmic.2015.7409369.

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