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Journal articles on the topic 'Movie distribution'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Ocheretko, O. Y., and H. M. Rozorinov. "DIGITAL MOVIE DISTRIBUTION AND PROTECTION TECHNOLOGIES." Scientific notes of Taurida National V.I. Vernadsky University. Series: Technical Sciences 4, no. 2 (2019): 151–58. http://dx.doi.org/10.32838/2663-5941/2019.4-2/25.

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2

Ma, Jingpei, and Wenli Li. "Optimal Distribution Strategy for Movie Product." International Journal of Economics, Finance and Management Sciences 8, no. 1 (2020): 31. http://dx.doi.org/10.11648/j.ijefm.20200801.14.

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3

Silver, Jon, and Frank Alpert. "Digital dawn: a revolution in movie distribution?" Business Horizons 46, no. 5 (September 2003): 57–66. http://dx.doi.org/10.1016/s0007-6813(03)00072-7.

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4

Lehmann, Donald R., and Charles B. Weinberg. "Sales through Sequential Distribution Channels: An Application to Movies and Videos." Journal of Marketing 64, no. 3 (July 2000): 18–33. http://dx.doi.org/10.1509/jmkg.64.3.18.18026.

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This article focuses on the sale of a product across channels that are entered sequentially. Using a two-channel model, the authors derive the optimal time to enter the second channel and then obtain a specific parametric solution for movie distributors regarding theater attendance and subsequent sales to video stores. Using data from 35 movies, the authors estimate exponential sales curves for both theater attendance and video rentals and demonstrate how knowledge of the sales parameters in the first channel (theaters) helps predict sales in the second channel (video rentals). Finally, from the movie distributor's perspective, the authors calculate optimal release times based on the model and its estimated parameters. The results suggest that profits would increase if movies were released to video sooner than is the current practice.

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Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (October 2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.063.

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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets—namely, the United States, Japan, and Germany—and a total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected.

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Bretthauer, Lars. "„Film ab“." PROKLA. Zeitschrift für kritische Sozialwissenschaft 36, no. 145 (December 1, 2006): 497–518. http://dx.doi.org/10.32387/prokla.v36i145.534.

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With the implementation of digital technologies in the movie industry, the established relations of distribution and consumption were partly undermined by peer-to-peer-filesharingnetworks and the private use of CD- and DVD-burners. This process was accompanied by heavy protests and campaigns of the movie industry labelling “movie piracy” as a serious crime. Drawing on the framework of materialist state theories, this article examines the struggles in the legal re-regulation of the German Urheberrecht concerning the accepted use of digital technologies for private use in the process of movie distribution and consumption (forms of intervention), and the institutional selective access of social forces to the political decision process’ in the state apparatus’ (forms of representation). Secondly, this article is concerned with the struggles in the German civil society that are centred around the initiation of a new hegemonic world-view consisting of the acceptance of the industry’s private property rights on digitalised movies: the included the different threat and surveillance strategies pursued by the movie industry and the different forms of protest and resistance against it.

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7

LaRose, Robert, and David Atkin. "Attributes of movie distribution channels and consumer choice." Journal of Media Economics 4, no. 1 (March 1991): 3–17. http://dx.doi.org/10.1080/08997769109358200.

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8

Natividad, Gabriel. "Financial Slack, Strategy, and Competition in Movie Distribution." Organization Science 24, no. 3 (June 2013): 846–64. http://dx.doi.org/10.1287/orsc.1120.0765.

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9

McKenzie, Jordi. "Movie producers and the statistical distribution of achievement." Applied Economics Letters 17, no. 17 (November 2, 2010): 1657–61. http://dx.doi.org/10.1080/13504850903194183.

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10

Seonghee Seo. "A Study on Distribution Market of Korean Movie." Film Studies ll, no. 35 (March 2008): 379–400. http://dx.doi.org/10.17947/kfa..35.200803.013.

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Ciciretti, Rocco, Iftekhar Hasan, and Maya Waisman. "Distribution strategy and movie performance: an empirical note." Eurasian Economic Review 5, no. 1 (May 5, 2015): 179–87. http://dx.doi.org/10.1007/s40822-015-0023-8.

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12

Putri, Olya Octa Devia Putri Devia, Safnil ., and Kasmaini . "LANGUAGE FUNCTION USED IN “NOW YOU SEE ME 2 MOVIE”: PURPOSE ANALYSIS OF LITERARY WORD." Journal of English Education and Teaching 2, no. 1 (June 7, 2018): 42–50. http://dx.doi.org/10.33369/jeet.2.1.42-50.

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The aim of this research was to find out the kinds of language function used and the distributions of the frequency of language function by the main characters in “Now You See Me 2 Movie”. This research was conducted by using mixed method research. The instrument of this research was table checklist. The data were collected by the researcher and co-researcher through deep analysis of movie’s script. The result of the study showed that there were only five language functions found in the movie out of six language functions. They are a referential function, phatic function, emotive function, conative function, and metalingual function. The distribution of language function frequency in “Now You See Me 2 Movie” is referential function (35.2%?), phatic function (25.5%), emotive function (21,0%), conative function (15.8%), metalingual function (2.5%) and poetic function (0%). Based on the explanation, a refrential function is the most dominant language function used in the movie. The distribution was possibly caused by the genre of the movie. The genre of the movie was spy-thriller, in which the most commonly used expression was to the point, imperative, and straightforward

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Ivanov, Oleg Valentinovich, Nadezhda Viktorovna Astakhova, and Danila Olegovich Ivanov. "Movie Distribution Categories in Russia: Sample of Statistical Analysis." Journal of Flm Arts and Film Studies 7, no. 1 (March 15, 2015): 112–27. http://dx.doi.org/10.17816/vgik71112-127.

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The article analyzes the statistical distribution dynamics of domestic film attendance within the territory of the Russian Federation covering a five-year period (from 2009 to 2013). The authors point out four distribution categories and six subcategories for films in accordance with their attendance at cinemas. Comprehensive analysis of the films grouped into each category allows to make conclusions concerning a progression of absolute measure of domestic film attendance and increase its relative share in the total amount of distribution.

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14

Cabral, Luís, and Gabriel Natividad. "Movie release strategy: Theory and evidence from international distribution." Journal of Economics & Management Strategy 29, no. 2 (February 17, 2020): 276–88. http://dx.doi.org/10.1111/jems.12344.

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Papies, Dominik, and Michel Clement. "Adoption of New Movie Distribution Services on the Internet." Journal of Media Economics 21, no. 3 (September 11, 2008): 131–57. http://dx.doi.org/10.1080/08997760802300530.

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Hu, C., X. Wang, X. Wang, K. He, and B. Liu. "Measurements on movie distribution behaviour in peer-to-peer networks." IET Communications 6, no. 12 (2012): 1602. http://dx.doi.org/10.1049/iet-com.2011.0201.

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17

Filson, Darren. "DYNAMIC COMMON AGENCY AND INVESTMENT: THE ECONOMICS OF MOVIE DISTRIBUTION." Economic Inquiry 43, no. 4 (October 2005): 773–84. http://dx.doi.org/10.1093/ei/cbi054.

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18

Calzada, Joan, and Tommaso M. Valletti. "Intertemporal Movie Distribution: Versioning When Customers Can Buy Both Versions." Marketing Science 31, no. 4 (July 2012): 649–67. http://dx.doi.org/10.1287/mksc.1120.0716.

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Zhidqi, Elvan Adam, and Lilia Indriani. "ANALYZE THE USE OF PROGRESSIVE VERB ON SPONGEBOB MOVIES SERIES." MIMESIS 2, no. 2 (July 27, 2021): 126. http://dx.doi.org/10.12928/mms.v2i2.4233.

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Progressive verb or continuous tense is a verb tense that uses to describe an action or activity that still ongoing. This progressive verb can be in past, present, and future tense. This article inspects progressive verbs in SpongeBob SquarePants Movie Series. Descriptive qualitative is the method of this article. It analyzes the distribution of progressive verb on the movie series, and which one from the progressive verb form that most distribution in movie series.

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20

Gaenssle, Sophia, Oliver Budzinski, and Daria Astakhova. "Conquering the Box Office: Factors Influencing Success of International Movies in Russia." Review of Network Economics 17, no. 4 (December 19, 2018): 245–66. http://dx.doi.org/10.1515/rne-2019-0017.

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Abstract This paper empirically examines factors influencing box office success of international movies in Russia between 2012 and 2016. It adds to existing research on national movie markets, by highlighting the relevance of differences in culture, institutions, language, and consumption habits for movie success. Three groups of success factors are distinguished: distribution related (e.g. budget, franchise), brand and star effects (e.g. top actors or directors), and evaluation sources (e.g. critics and audience rating). We add novel region-specific variables like seasonality, time span between the world and local release, attendance of international stars at Russian movie premieres, and title adaptation to Russian culture. The results indicate that budget, franchise, employment of popular actors and directors, electronic word of mouth and audience ratings exert a significantly positive influence on Russian box office success. However, we find significantly negative effects for international critics and, interestingly, the adaption of movie titles. The main contributions of our study are (i) success factors vary between countries with different cultures, (ii) region-specific factors matter, and consequently (iii) results from one market (e.g. the US) cannot easily be generalised.

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Goziyah, Goziyah, Dadang Sunendar, and Yumna Rasyid. "A Meso-levels Critical Discourse Analysis of the Movie Rudy Habibie." Theory and Practice in Language Studies 8, no. 11 (November 1, 2018): 1559. http://dx.doi.org/10.17507/tpls.0811.25.

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Movie and discourse have been an academic concern. Based on the theoretical framework of Fairclough concept (1995), this study attempts to make a meso-level critical discourse analysis of a local movie, Rudy Habibie (2016). It explores how the discursive is formed and legitimized in the process of production, distribution, and consumption by the representation of the movie Rudy Habibie. It validates the effectiveness of CDA as a tool to reveal the relationship between language and ideology. It proves that Fairclough’s framework can be applied in the movie discursive study. Pratically it draws the attention to the ideologies embedded in movie discourse and encourages to improve the critical thinking. The findings described the various behaviors taken from the movie Rudy Habibie which are aimed to reveal stereotypes, presuppositions, hegemony, power and ideological stances. As the consequences, this movie became the best selling movie in 2016. The presented ideology delivered the audience through the story of the movie as the result of the text production, distribution, and consumption. The representation contributes to the construction of social power. Furthermore, the research believed having implications for language teaching, especially in CDA subject. Toward the applying of the CDA approach in the course, the student will be able to achieve the understanding of the writer’s style, finding meaning and reasons for particular stylistic choices.

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22

Kim, Jung-Ho, and Jae Sung Kim. "Analysis on Deciles Distribution Behaviors of Four Major Korean Movie Distribution Companies and the Rest." Journal of the Korea Contents Association 16, no. 6 (June 28, 2016): 305–22. http://dx.doi.org/10.5392/jkca.2016.16.06.305.

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23

Ha, Hyoji, Hyunwoo Han, Seongmin Mun, Sungyun Bae, Jihye Lee, and Kyungwon Lee. "Visualization of movie recommendation system using the sentimental vocabulary distribution map." Journal of the Korea Society of Computer and Information 21, no. 5 (May 31, 2016): 19–29. http://dx.doi.org/10.9708/jksci.2016.21.5.019.

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24

Kim, Beomsoo, and Eun Young Choi. "The Effects of Pirate Movie Distribution on the Number of Audience." Korean Journal of Economics 24, no. 1 (June 30, 2017): 19–42. http://dx.doi.org/10.46228/kje.24.1.2.

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25

Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (October 2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.63.

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26

Zhang, Xin-Jie, Yong Tang, Jason Xiong, Wei-Jia Wang, and Yi-Cheng Zhang. "How Network Topologies Impact Project Alliance Performance: Evidence from the Movie Industry." Entropy 21, no. 9 (September 3, 2019): 859. http://dx.doi.org/10.3390/e21090859.

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In many industries, partners are interconnected in project alliances that have limited lifespans and clearly-defined boundaries. The transparency of the movie industry provides a unique opportunity to study how alliance network topologies impact the performance of project alliances from the perspectives of social networks and organization theories. In this work, we compiled a massive movie dataset and constructed alliance networks for both movie production and distribution companies. Using the box office as the proxy for the financial performance of a movie project alliance, this research investigates how the two alliance networks impact the box office. We introduce the social network properties of degrees, centralities, and structural holes as alliance network variables into empirical regression models. The results show that alliance networks have a significant influence on the box office. The degrees of production companies and the structural holes of distribution companies are especially important to achieve success in the box office. The results add new evidence for the study of the movie economy and alliance networks. Meanwhile, this work also provides implications for the movie industry by revealing that it is essential to wisely choose partners that are appropriately embedded in alliance networks for the success of a movie project.

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Nakamura, A., and A. Fujiwara. "Velocity Distribution of Fragments in Collisional Breakup." International Astronomical Union Colloquium 126 (1991): 379–82. http://dx.doi.org/10.1017/s0252921100067166.

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AbstractOne of the key outcomes of collisional disruptions to the dust system is the velocity distribution of fragments. A series of laboratory impact experiments were carried out to obtain the mass-velocity and the position-velocity relation of the fragments by taking movie films, and films for tow impacts were completely analyzed.

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오윤경. "The Impact of Initial eWOM Growth on the Sales in Movie Distribution." Journal of Distribution Science 15, no. 9 (September 2017): 85–93. http://dx.doi.org/10.15722/jds.15.9.201709.85.

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Shin, Sekyoung. "A Study on Distribution of Profits from Additional Rights in Movie Content." TECHART: Journal of Arts and Imaging Science 2, no. 1 (February 28, 2015): 28. http://dx.doi.org/10.15323/techart.2015.02.2.1.28.

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Song, Kaeun, Hyungjin Kim, Junyeong Lee, and Young-Gul Kim. "Dissecting movie performance across multiple distribution channels: An elastic justification theory perspective." Telematics and Informatics 35, no. 1 (April 2018): 159–67. http://dx.doi.org/10.1016/j.tele.2017.10.009.

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Byers, Simon, Lorrie Faith Cranor, Eric Cronin, Dave Korman, and Patrick McDaniel. "An analysis of security vulnerabilities in the movie production and distribution process." Telecommunications Policy 28, no. 7-8 (August 2004): 619–44. http://dx.doi.org/10.1016/j.telpol.2004.05.007.

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Collins, Alan, Antonello E. Scorcu, and Roberto Zanola. "Distribution conventionality in the movie sector: an econometric analysis of cinema supply." Managerial and Decision Economics 30, no. 8 (December 2009): 517–27. http://dx.doi.org/10.1002/mde.1469.

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Lobato, Ramon, and Mark David Ryan. "Rethinking genre studies through distribution analysis: issues in international horror movie circuits." New Review of Film and Television Studies 9, no. 2 (June 2011): 188–203. http://dx.doi.org/10.1080/17400309.2011.556944.

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Hochschorner, Elisabeth, György Dán, and Åsa Moberg. "Carbon footprint of movie distribution via the internet: a Swedish case study." Journal of Cleaner Production 87 (January 2015): 197–207. http://dx.doi.org/10.1016/j.jclepro.2014.09.012.

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Ulker-Demirel, Elif, Ayse Akyol, and Gülhayat Gölbasi Simsek. "Marketing and consumption of art products: the movie industry." Arts and the Market 8, no. 1 (May 8, 2018): 80–98. http://dx.doi.org/10.1108/aam-06-2017-0011.

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Purpose The purpose of this paper is to investigate the impact of the importance, assigned by audiences, of factors such as people, movie features, script, price, promotion, and distribution channels (defined as a movie marketing mix) on the audience’s buying intentions, as well as the impact of their buying intentions on word of mouth (WOM). In addition, the intention is to explore the relationship between the preference and frequency of people’s cultural event attendance with their buying intention and the relationship between people with extroverted personalities and WOM. Design/methodology/approach The data were collected from 904 valid surveys conducted in Beyoglu, one of the important centres for the culture and art life of the Istanbul. Findings The results show that promotion, actor or actress, and diversity of distribution channels have a positive effect on people’s purchase intention. In addition, the frequency of attendance to cultural events can be determinative of the audience and helpful for industry professionals. Originality/value Although there have been a number of studies that examine the simple relationships among some of these variables (movie marketing mix, attendance, purchase intention, WOM, extraversion), there is still a gap in the literature with regard to these variables in an integrated framework. Considering these variables in the same model and analysing the effects of each dimension individually provides a better explanation of consumer purchase intention and post-purchase behaviour in the movie industry. This study extends the previous research by incorporating the concept of movie marketing and consumption by improving the scale with data collected in Istanbul, Turkey.

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Rismala, Rita, Rudy Prabowo, and Agung Toto Wibowo. "Pairwise Preference Regression on Movie Recommendation System." Indonesian Journal on Computing (Indo-JC) 4, no. 1 (March 22, 2019): 57. http://dx.doi.org/10.21108/indojc.2019.4.1.255.

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Recommendation System is able to help users to choose items, including movies, that match their interests. One of the problems faced by recommendation system is cold-start problem. Cold start problem can be categorized into three types, they are: recommending existed item for new user, recommending new item for existed user, and recommending new item for new user. Pairwise preference regression is a method that directly deals with cold-start problem. This method can suggest a recommendation, not only for users who have no historical rating, but also for those who only have less demographic info. From the experiment result, the best score of Normalized Discounted Cumulative Gain (nDGC) from the system is 0.8484. The standard deviation of rating resulted by the recommendation system is 1.24, the average is 3.82. Consequently, the distribution of recommendation result is around rating 5 to 3. Those results mean that this recommendation system is good to solving cold-start problem in movie recommendation system.

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Taurino, Giulia, and Marta Boni. "Maps, Distant Reading and the Internet Movie Database." Audiovisual Data in Digital Humanities 7, no. 14 (December 31, 2018): 24. http://dx.doi.org/10.18146/2213-0969.2018.jethc151.

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The presence of large-scale data sets, made available thanks to information technology, fostered in the past few years a new scholarly interest for the use of computational methods to extract, visualize and observe data in the Humanities. Scholars from various disciplines work on new models of analysis to detect and understand major patterns in cultural production, circulation and reception, following the lead, among others, of Lev Manovich’s cultural analytics. The aim is to use existing raw information in order to develop new questions and offer more answers about today’s digital landscape. Starting from these premises, and witnessing the current digitisation of television production, distribution, and reception, in this paper we ask what digital approaches based on big data can bring to the study of television series and their movements in the global mediascape.

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Arifianto, Budi Dwi, and Fajar Junaedi. "Distribusi dan Eksibisi Film Alternatif di Yogyakarta, Resistensi atas Praktek Dominasi Film di Indonesia." Jurnal ASPIKOM 2, no. 2 (January 20, 2014): 74. http://dx.doi.org/10.24329/aspikom.v2i2.61.

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This study attempts to describe the strategy and the distribution pattern of “Ngamen” cinema in Yogyakarta. The research methodology that is used is qualitative descriptive with data collection through in-depth interviews involving an offender of cinema in Yogyakarta, the literature study and relevant documents. This study found that was the film community as the basis distributor of short film or alternate in Yogyakarta. This community can come from campus and outside campus. In a line distribution filmmaker of Yogyakarta play the movie from one place to another place by the festival playback on a campus and screening outside campus. The development of the internet technology made it easier for in search of a sac culture and decent it can be used the movie. Through the internet on filmmaker of Yogyakarta looking for another film community who were willing to roll the the movie.

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Choi, Ji-Eun, Minsun Yeu, and Doo-Hee LEE. "Effects of Online Reviews' Volume, Distribution and Consumers' Self-Construal on Movie Purchase Decision." Korean Journal of Advertising 24, no. 7 (October 15, 2013): 87–103. http://dx.doi.org/10.14377/kja.2013.10.15.87.

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Miller, Jade. "Global Nollywood: The Nigerian movie industry and alternative global networks in production and distribution." Global Media and Communication 8, no. 2 (June 13, 2012): 117–33. http://dx.doi.org/10.1177/1742766512444340.

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Karniouchina, Ekaterina V. "Impact of star and movie buzz on motion picture distribution and box office revenue." International Journal of Research in Marketing 28, no. 1 (March 2011): 62–74. http://dx.doi.org/10.1016/j.ijresmar.2010.10.001.

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Walls, W. David. "Modeling Movie Success When ‘Nobody Knows Anything’: Conditional Stable-Distribution Analysis Of Film Returns." Journal of Cultural Economics 29, no. 3 (August 2005): 177–90. http://dx.doi.org/10.1007/s10824-005-1156-5.

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43

Cochrane, Thomas, Laurent Antonczak, and Daniel Wagner. "Post-Web 2.0 Pedagogy." International Journal of Mobile and Blended Learning 5, no. 4 (October 2013): 1–18. http://dx.doi.org/10.4018/ijmbl.2013100101.

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The advent of web 2.0 has enabled new forms of collaboration centred upon user-generated content, however, mobile social media is enabling a new wave of social collaboration. Mobile devices have disrupted and reinvented traditional media markets and distribution: iTunes, Google Play and Amazon now dominate music industry distribution channels, Twitter has reinvented journalism practice, ebooks and ibooks are disrupting book publishing, while television and movie industry are disrupted by iTunes, Netflix, YouTube, and Vimeo. In this context the authors critique the changes brought about in a case study of film and television higher education from initial explorations of student-generated mobile movie production to subsequent facilitation of international student mobile media co-production teams supported by the development of an international Community of Practice, illustrating new forms of post-web 2.0 pedagogy.

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Akopyan, A. R., A. M. Arakelyan, Y. V. Vorontsova, and V. V. Krysov. "Problems of digital transformation of film distribution." E-Management 4, no. 1 (April 30, 2021): 4–12. http://dx.doi.org/10.26425/2658-3445-2021-4-1-4-12.

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The article provides a brief overview of the emergence of the legal market of online cinemas in Russia. The paper reveals that the Governments of many countries have a national policy that is aimed at maintaining internal programming on traditional video platforms. Such policies range from licensing, which requires serving the “public interest” and defines rules for the distribution of certain types of content produced domestically, to requiring content distributors to contribute to the financing of the production of domestic content. The authors investigate that during the implementation of these rules, the Russian government decided on the allocation of limited resources. There was also regulation on whether platforms can solely decide what content to offer their users, or whether viewers should also participate directly. The study concludes that the transition from traditional platforms to online distribution can reduce the effectiveness of existing regulatory regimes and deprive traditional platforms of audience and revenue.The world and Russian experiences of using the Internet prove that today modern information and telecommunications technologies can contain real threats to the violation of fundamental rights and freedoms of citizens, as well as to question the security of society and the state. The only exceptions are progressive or innovative areas related to the provision of new services and the expansion of opportunities for socio-economic development.As a result of the study, the paper identified four problems of Russian film distribution on digital platforms. The authors chose piracy as the first problem of online cinemas. Pirate sites not only illegally copy content from online movie theaters, but they also create copies of their own services to transfer their servers to another platform in case of blocking. The second problem was highlighted by the requirement for foreign owners. The third problem was highlighted by the high cost of online movie theater subscriptions. The authors consider the fourth problem the lack of financial support from the state.

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Anggeliana, Dhea, Muhammad Gunawan Alif, and Christian Haposan Pangaribuan. "The Effectiveness of Gojek’s Product Placement in Keluarga Cemara Movie towards Purchase Intention." Journal of Business, Management, and Social Studies 1, no. 1 (May 19, 2021): 58–68. http://dx.doi.org/10.53748/jbms.v1i1.11.

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Objective – This study explores the influence of product placement towards purchase intention while assessing the effectiveness of the ad determined by aspects of prominence, celebrity endorsement, modality, attitude towards movie and attitude towards brand.Methodology – This type of research was a quantitative method using associative research approach and measured by regression method. The distribution of questionnaires was a non-probability with simple random sampling. The survey was conducted to 184 respondents in Jakarta, Indonesia, in May 2019.Findings – The research found that modality does have a direct and significant effect on attitude towards the movie, attitude towards the brand, and purchase intention. We also find that celebrity endorsement has an impact on attitude towards the brand and purchase intention, not on attitude towards the movie. Prominence does not seem to have any relationship with all dependent variables.Novelty – Although research has investigated product/brand placement, we extend the literature by investigating modality, prominence, and celebrity endorsement.

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Akgülgil Mutlu, Nadide Gizem. "The future of film-making: Data-driven movie-making techniques." Global Journal of Arts Education 10, no. 2 (August 31, 2020): 167–74. http://dx.doi.org/10.18844/gjae.v10i2.4735.

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Since the term ‘big data’ came to the scene, it has left almost no industry unaffected. Even the art world has taken advantage of the benefits of big data. One of the latest art forms, cinema, eventually started using analytics to predict their audience and their tastes through data mining. In addition to online platforms like Netflix, Amazon Prime and many more, which act on a different basis, the industry itself evolved to a new phase that uses AI in pre-production, production, post-production and distribution phases. This paper researches software, such as Cinelytic, ScriptBook and LargoAI, and their working strategies to understand the role of directors and producers in the age of the digital era in film-making. The research aims to find answers to the capabilities of data-driven movie-making techniques and, accordingly, it makes a number of predictions about the role of human beings in the production of an artwork and analyses the role of the software. The research also investigates the pros and cons of using big data in the film-making industry. Keywords: Artificial intelligence, cinema, data mining, film-making.

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Benson-Allott, Caetlin. "Grindhouse: An Experiment in the Death of Cinema." Film Quarterly 62, no. 1 (2008): 20–24. http://dx.doi.org/10.1525/fq.2008.62.1.20.

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Abstract The cinematic double feature Grindhouse (2007) both celebrates cinematic history and typifies post-theatrical distribution practices. The film thematizes this paradox in the aesthetic tension between its two features, Planet Tenor and Death Proof, but each movie also offers a unique reinterpretation of its exploitation genre.

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WATERMAN, DAVID, and ANDREW A. WEISS. "TIME CONSISTENCY AND SELLER COMMITMENT IN INTERTEMPORAL MOVIE DISTRIBUTION: AN EMPIRICAL STUDY OF THE VIDEO WINDOW*." Journal of Industrial Economics 58, no. 3 (September 3, 2010): 717. http://dx.doi.org/10.1111/j.1467-6451.2010.00441.x.

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Kannan, Rajkumar, Sridhar Swaminathan, Gheorghita Ghinea, Frederic Andres, and Kalaiarasi Sonai Muthu Anbananthen. "Movie Video Summarization- Generating Personalized Summaries Using Spatiotemporal Salient Region Detection." International Journal of Multimedia Data Engineering and Management 10, no. 3 (July 2019): 1–26. http://dx.doi.org/10.4018/ijmdem.2019070101.

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Video summarization condenses a video by extracting its informative and interesting segments. In this article, a novel video summarization approach is proposed based on spatiotemporal salient region detection. The proposed approach first segments a video into a set of shots which are ranked with spatiotemporal saliency scores. The score for a shot is computed by aggregating the frame level spatiotemporal saliency scores. This approach detects spatial and temporal salient regions separately using different saliency theories related to objects present in a visual scenario. The spatial saliency of a video frame is computed using color contrast and color distribution estimations and center prior integration. The temporal saliency of a video frame is estimated as an integration of local and global temporal saliencies computed using patch level optical flow abstractions. Finally, top ranked shots with the highest saliency scores are selected for generating the video summary. The objective and subjective experimental results demonstrate the efficacy of the proposed approach.

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Nuria Gil Mariño, Cecilia, Alejandro Kelly-Hopfenblatt, Clara Kriger, and Marina Moguillansky. "Modern routines." Alphaville: Journal of Film and Screen Media, no. 21 (August 5, 2021): 160–77. http://dx.doi.org/10.33178/alpha.21.10.

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The renewal of theoretical and methodological tools, putting the spotlight of film historiography on movie audiences and their movie-going routines, has meant a significant shift for the study of national and regional cinemas. The New Cinema History movement has demonstrated the vital importance of introducing in-depth, data-based studies of exhibition, distribution and programming, considering both individual and collective experiences. One trend in this renewal of cinema history are studies that rely on oral testimonies of the elderly to reconstruct their movie-going practices. This article discusses the ways spatial and temporal perceptions appear in oral narratives of movie-going experiences in Buenos Aires during the 1940s and 1950s. Based on twenty qualitative interviews with elderly men and women who attended cinemas during that period, we explore how through their imaginaries they build a certain place in the past that shows sharp contrasts to the perceived present. We trace the ways in which memories are intertwined with the emergence of modern routines in their environment and the way the cinematographic experience affected the audience’s mental cartography of the different environments of Buenos Aires. Film consumption, which included not only going to the pictures but also a constant presence of its imaginaries in their daily life, led them to develop new sensorial skills, helping them face a changing world.

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