Box Office

Notable for the second-person Twitter narrative, Jennifer Egan's 2012 short science fiction Black Box is one of the most triumphant and fully-fledged fictions written in the form of new media. This paper mainly explores the second-person narrative employed in Black Box, pointing out that the second-person narrative leads the reader to participate in the story, allowing the reader to sense the same feelings as the protagonist does. From the second person's perspective, Egan expresses her concerns and worries about the security of the American security as well as the whole world in the post-"9•11" period and at the same time she embraces the virtues and pleasures of traditional storytelling delivered through a wholly new digital format. This paper concludes that Black Box is perhaps one of the boldest experiments of narrative form and it is a direct exploration into the contemporary image culture.

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Работая в разных жанрах, итальянский режиссер Марко Феррери (1928-1997) был одним из самых известных кинематографистов Европы («Диллинджер мертв», «Большая жратва», «Последняя женщина», «Прощай, самец» и др.). В книге киноведа Александра Федорова впервые в отечественном искусствоведении рассказывается обо всех игровых полнометражных фильмах Марко Феррери. Для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для широкого круга читателей, которые интересуются итальянским кинематографом.

Работая в разных жанрах, итальянский режиссер Этторе Скола (1931-2016) был одним из самых известных кинематографистов Европы («Мы так любили друг друга», «Отвратительные, грязные, злые», «Терраса», «Бал», «Любовная страсть», «Семья» и др.). В книге киноведа Александра Федорова впервые в отечественном искусствоведении рассказывается обо всех игровых полнометражных фильмах Этторе Сколы. Для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для широкого круга читателей, которые интересуются итальянским кинематографом.

Кинорежиссер Флорестано Ванчини и все его фильмы Москва, 2026 Федоров А.В. Кинорежиссер Флорестано Ванчини и все его фильмы. М.: ОД «Информация для всех», 2026.
Работая в разных жанрах, итальянский режиссер Флорестано Ванчини (1926-2008) был одним из самых известных кинематографистов Европы («Долгая ночь сорок третьего года», «Времена нашей любви», «Убийство Маттеотти», «Горькая любовь», «Спрут-2» и др.). В книге киноведа Александра Федорова впервые в отечественном искусствоведении рассказывается обо всех игровых полнометражных фильмах Флорестано Ванчини. Для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для широкого круга читателей, которые интересуются итальянским кинематографом.

Web series are shortmeaning shorter than televisionnarrative, episodic series distributed via online and social media platforms. Despite originally being a medium heralded for its independence from legacy media and public institutions, web series have increasingly become a more institutionalised form supported within publicly funded film and television production ecosystems in various countries worldwide, including Australia. This raises questions about the policy rationales justifying government support for scripted web series. Using Australia as a case study, what objectives does the federal screen agency, Screen Australia, aim to achieve by funding web series? What do these policies reveal about current support for online content and digital formats in Australia more broadly? And how do these objectives compare with the rationales driving film and television policy? The study offers an improved understanding of why and how governments support scripted online series and the evolution of online policy alongside broader film and television policies. I analyse institutional policies, funding programs and rationales for web series funding evident in national policy documents, funding announcements and media statements between 2012 and 2024. Insights are also drawn from an interview with Screen Australia's Head of Online Content between 2021 and 2025. The article argues that, in contrast to economic and cultural policy objectives behind public support for film and television production, Screen Australia's online content policy is deliberately developmental and principally focused on generating social value and contributing to industry sustainability through long-term talent development rather than immediate economic returns or employment gains.

Работая в разных жанрах, итальянский режиссер Франческо Мазелли (1930-2023) был одним из самых известных кинематографистов Европы («Дофины», «Равнодушные», «Подозрение», «История любви» и др.). В книге киноведа Александра Федорова впервые в отечественном искусствоведении рассказывается обо всех игровых полнометражных фильмах Франческо Мазелли. Для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для широкого круга читателей, которые интересуются итальянским кинематографом. Рецензенты: профессор М. Целых, профессор А. Левицкая.

from Tape aids for the Blind Pietermaritzburg, for reading research material onto audio cassette; Nafisa, Charles and Jabu at the Disability Office, University of KwaZulu-Natal, who scanned much of the reading material onto computer to make it accessible to me Carol Bailey, my research assistant for her devotion, hard work and friendship through both the birth of my thesis and the coinciding birth of my second baby boy; The Ian Fraser Memorial Bursary Fund, the Carl and Emily Fuchs Foundation and the National Research Foundation for their financial support; The members of the Y2Kids Youth Theatre Company for their time, enthusiastic participation and sincere feedback; The staff at the Drama Studies Department and the Hexagon Theatre for the opportunity and especially Hazel Barnes and Veronica Baxter for their professional and personal support.; My husband, Gerhi, for his love and validation, for keeping me grounded, and for helping me solve practical problems; My two boys, Benjamin and Daniel, who were both born during the 3 and a half years it took to finish this research and who reminded me of my priorities throughout that time; My mother, Cornelia Kirsten, for unconditional support and counsel; My father, Hendrik Kirsten, who taught me never to use my weaknesses as excuses not to achieve.

from Tape aids for the Blind Pietermaritzburg, for reading research material onto audio cassette; Nafisa, Charles and Jabu at the Disability Office, University of KwaZulu-Natal, who scanned much of the reading material onto computer to make it accessible to me Carol Bailey, my research assistant for her devotion, hard work and friendship through both the birth of my thesis and the coinciding birth of my second baby boy; The Ian Fraser Memorial Bursary Fund, the Carl and Emily Fuchs Foundation and the National Research Foundation for their financial support; The members of the Y2Kids Youth Theatre Company for their time, enthusiastic participation and sincere feedback; The staff at the Drama Studies Department and the Hexagon Theatre for the opportunity and especially Hazel Barnes and Veronica Baxter for their professional and personal support.; My husband, Gerhi, for his love and validation, for keeping me grounded, and for helping me solve practical problems; My two boys, Benjamin and Daniel, who were both born during the 3 and a half years it took to finish this research and who reminded me of my priorities throughout that time; My mother, Cornelia Kirsten, for unconditional support and counsel; My father, Hendrik Kirsten, who taught me never to use my weaknesses as excuses not to achieve.

Работая в разных жанрах, итальянский режиссер Стено (1917-1988) был одним из самых известных комедиографов Европы («Полицейские и воры», «Американец в Риме», «Женщина-полицейский», «Мои любимые», «Горячая картошка», «Золотые руки» и др.). В книге киноведа Александра Федорова впервые в отечественном искусствоведении рассказывается обо всех игровых полнометражных фильмах Стено. Для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для широкого круга читателей, которые интересуются итальянским кинематографом. Рецензенты: профессор М. Целых, профессор А. Левицкая.

In the aftermath of the civil war, memory and trauma are a prominent thema in Lebanese cinema. This study aims to explore how the civil war is remembered through cinema in contemporary Lebanese cinema, based on an analysis of the films Where Do We Go Now?, Tramontane, The Insult and Memory Box. These films, selected from among the films made in Lebanon after 2010 by Lebanese directors and dealing with the civil war, were analysed through descriptive analysis under the themes of past, identity, trauma and space. The films under scrutiny serve as conduits for the articulation of remembrance, both as a means of confronting past traumas and of reflecting upon the present. The act of remembering the past and confronting traumas is rendered through the medium of personal recollections by the directors, thus creating a narrative of collective memory. When the subject of the civil war is represented in films, it is commonly remembered as "the past in the present".

Федоров А.В. Кинорежиссер Альберто Латтуада и все его фильмы. М.: ОД «Информация для всех», 2026. 72 с.


Работая в разных жанрах, итальянский режиссер Альберто Латтуада (1914-2005) был одним из самых известных кинематографистов Европы («Анна», «Шинель», «Буря», «Собачье сердце» и др.).
В книге киноведа Александра Федорова впервые в отечественном искусствоведении рассказывается обо всех игровых полнометражных фильмах Альберто Латтуады.
Для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для широкого круга читателей, которые интересуются итальянским кинематографом.

Рецензенты: профессор М. Целых, профессор А. Левицкая.

© Александр Викторович Федоров, 2026.


Fedorov, A.V. Film Director Alberto Lattuada and All His Films. Moscow: SM Information for All, 2026. 72 p.

Working in various genres, Italian director Alberto Lattuada (1914-2005) was one of Europe's most important filmmakers.
This book by film historian Alexander Fedorov to cover all of Alberto Lattuada's feature full-length films.
This book is intended for film and media researchers, film critics and scholars, journalists, university professors, students, postgraduate students, and a general readership interested in Italian cinema.

The short film medium is fundamentally different from feature films in terms of narrative structure. One of the most common mistakes made by students, beginners, and even professional filmmakers is using the three-act structure in short screenwriting-a structure designed for feature-length films and incompatible with the brevity, focus, and moment-based nature of short films. This article demonstrates that the proper structure for a short film is the two-act model, built on "Situation/ Crisis" and "Action/ Result." By examining common mistakes in short-film screenwriting, the necessity of recognizing the independent structure of short films is emphasized.

This study examines the reception of the Swedish film I am Curious (Yellow) in America. As a mixture of political satire and a chronicle of a sexual affair, with fictional and documentary material, the film was referred to by a U.S. government official as “the most explicit movie ever imported” when it arrived in America in 1968 and was released only after a federal appeals court reversed a lower-court verdict that had found it legally obscene. Although cleared for importation, I am Curious (Yellow) continued to be dogged by whether its sex scenes violated local and state obscenity laws. While the legal actions at times impeded distribution of the film, they also generated publicity for it, eventually making it one of the most profitable foreign-language films in U.S. motionpicture history. This paper discusses several court cases where the film’s social value—or lack thereof—was the factor deciding whether it could be shown, and it also looks at critical reaction to the film. Notin...

Mount Ruapehu, locally known as Matua Te Mana, is the metaphorical ancestor of Māori living around the rural community of Raetihi. Matua Te Mana has a significant presence and is pivotal to the health and wellbeing of local iwi. Whānau are leading Te Puāwai o Te Ahi Kaa innovation project, based at Te Puke Marae, in partnership with Te Oranganui. The latter is the Whanganui regional Māori health and social services provider. This Ministry of Health-funded, 3-year, Whānau Ora-focused and innovative model of care seeks to enhance the wellbeing of whānau who maintain Te Puke Marae's ahi kā. Whakauae Research for Māori Health and Development is evaluating the project alongside the project partners. Using a kaupapa Māori approach to evaluation, this article explores how Whakauae has contributed to project outcomes being achieved. A key challenge to the successful conduct of the evaluation was Whakauae's lack of an immediately available senior Māori lead evaluator. This challenge, and the strategies adopted to address it, are explored by including a strong focus on both internal and external evaluation capability building. Capability building spanned internal "Outside the box but kinda in the box": Evaluating with a rural Māori community

Mount Ruapehu, locally known as Matua Te Mana, is the metaphorical ancestor of Māori living around the rural community of Raetihi. Matua Te Mana has a significant presence and is pivotal to the health and wellbeing of local iwi. Whānau are leading Te Puāwai o Te Ahi Kaa innovation project, based at Te Puke Marae, in partnership with Te Oranganui. The latter is the Whanganui regional Māori health and social services provider. This Ministry of Health-funded, 3-year, Whānau Ora-focused and innovative model of care seeks to enhance the wellbeing of whānau who maintain Te Puke Marae's ahi kā. Whakauae Research for Māori Health and Development is evaluating the project alongside the project partners. Using a kaupapa Māori approach to evaluation, this article explores how Whakauae has contributed to project outcomes being achieved. A key challenge to the successful conduct of the evaluation was Whakauae's lack of an immediately available senior Māori lead evaluator. This challenge, and the strategies adopted to address it, are explored by including a strong focus on both internal and external evaluation capability building. Capability building spanned internal "Outside the box but kinda in the box": Evaluating with a rural Māori community

Режиссер Жак Дониоль-Валькроз (Jacques Doniol-Valcroze) поставил два десятка фильмов и сериалов и сыграл примерно столько же ролей в кино, но ни одна его режиссерская работа и ни один фильм с его участием не шли в советском кинопрокате. Как и многие иные режиссеры французской «новой волны» Жак Дониоль-Валькроз пришел в кино из кинокритики и киноведения. Вместе с Андре Базеном (1918-1958) и Эриком Ромером (1920-2010) он основал в 1951 году журнал Cahiers du cinéma и одновременно публиковал свои статьи о кино в популярных изданиях France Observateur, Cinémonde и La Revue du cinéma.

Hollywood has often been called the land of hunches and wild guesses. The uncertainty associated with the predictability of product demand makes the movie business a risky endeavor. Therefore, predicting the box-office receipts of a particular motion picture has intrigued many scholars and industry leaders as a difficult and challenging problem. In this study, with a rather large and feature rich dataset, we explored the use of data mining methods (e.g., artificial neural networks, decision trees and support vector machines along with information fusion based ensembles) to predict the financial performance of a movie at the box-office before its theatrical release. In our prediction models, we have converted the forecasting problem into a classification problem-rather than forecasting the point estimate of box-office receipts; we classified a movie (based on its box-office receipts) into nine categories, ranging from a "flop" to a "blockbuster." Herein we present our exciting prediction results where we compared individual models to those of the ensamples.

Predicting box office receipts of a particular movie has intrigued many researchers, domain experts and industry leaders as a challenging problem. In this paper, we report on the current status of a prediction system being built at the Institute for Research in Information Systems (IRIS) at Oklahoma State University since 1998. In our model, the forecasting problem is converted into a classification problem, that is, rather than forecasting the pinpoint estimate of box office receipts, a movie is classified into one of nine financial success categories, ranging from a "flop" to a "blockbuster." The prediction results of different datasets representing different time windows and different combination of predictors are presented using average percent hit rate of bingo and oneaway predictions. In the latest tests the prediction results of artificial neural networks improved to almost 50% on "bingo" and close to 90% on "one-away".

Fedorov A.V. 1000 & 1 Foreign Leaders of Soviet Film Distribution (1945-1990). Moscow: SM "Information for All", 2026. 1001 р.


What foreign films were popular in the Soviet film distribution? How did the press and the audience estimate these films?
This monograph is the first attempt to provide a panorama of 1000 popular (in USSR) foreign films, based upon the opinions of cinema critics, historians and spectators.
The monograph is intended for teachers of higher school, students, graduate students, researchers, film critics and historians, journalists, as well as for the readers who are interested in the problems of cinema, film criticism and film sociology.

Какие зарубежные фильмы пользовались популярностью в советском кинопрокате? Как кинопресса и зрители оценивали и оценивают эти ленты? В данной монографии впервые делается попытка дать панораму тысячи популярных в СССР зарубежных фильмов в зеркале мнений кинокритиков, киноведов и зрителей. Монография предназначена для преподавателей высшей школы, студентов, аспирантов, исследователей, кинокритиков, киноведов, журналистов, а также для круга читателей, которые интересуются проблемами кинематографа, кинокритики и киносоциологии. Рецензенты: профессор М. Целых, профессор А. Левицкая.

A film audience is made up of a group of individuals, each with her/his own unique set of personality traits, attitudes, needs, motivations and expectations. Movie preferences can offer an insight into the range of individual differences that lie underneath personal film choices, and, conversely, viewers’ profiles can help to predict their movie preferences. Research into such correlations offers a complex and fascinating view both of the individual variables that affect different cinema uses and of the specific features of film genres that attract different cinema audiences, thus exploring what people do with the media instead of (or in addition to) what the media do to people.

The rise of streaming platforms has thrown a glittering grenade into Hollywood's velvet-lined halls, forcing an age-old industry to either evolve or expire. This thesis investigates whether traditional theatrical releases remain financially viable in an era dominated by Netflix, Hulu, Disney+, and Amazon Prime, or if the grand cinema experience has simply become a bougie luxury from a bygone age. Through the lens of profitability, audience reach, and long-term revenue, we analyze how streaming-first films are reshaping the economic and cultural fabric of cinema-and whether the popcorn-scented nostalgia of theaters can survive this digital eclipse.

Any aid granted by a Member State or through State resources in any form whatsoever which distorts or threatens to distort competition by favouring certain undertakings or the production of certain goods shall, in so far as it affects trade between Member States, be incompatible with the internal market" (Art.107, European Treaty, 2012). An exception to this law is public aid for movies, which is permitted for cultural goals, that is, to promote culture and heritage conservation where such aid does not affect trading conditions and competition in the Union to the extent that is contrary to the common interest. As remarked by Katsarova (2014), in 2010, the European film industry was rather dynamic, accounted for over 75,000 companies, and made 60 billion euros in revenue. Amongst the EU countries, France, Germany, the UK, Italy, and Spain accounted for approximately 80% of releases, industry turnover, and persons employed (more than 370,000 people). Considering these main European countries, in terms of movie production, direct public subsidies from government agencies are an important source of film funding. In 2012, the governments of Germany, France, Italy, and the UK provided funding in the amounts of 201.3 million euros, 720.1 million euros, 75.8 million euros, and

This paper examines the influence of social media engagement on box office performance, using quantitative analysis in Microsoft Excel to assess data from multiple social platforms. By analyzing metrics such as likes, shares, comments, and hashtag frequency, alongside box office revenue, this study seeks to identify statistical correlations between social media activity and movie performance outcomes. Key objectives include evaluating the predictive power of specific engagement metrics, mapping trends over time, and assessing variations in social media impact across genres and demographics. The findings provide actionable insights for studios to refine marketing strategies, optimize audience targeting, and enhance revenue forecasting.

In the global film market, China is gaining more and more importance. The Chinese box office and film admissions are growing year after year and Chinese film and related companies are able to make business more and more abroad. On the contrary, US and European film markets are flat and the production costs of their film are growing. Both are trying to enter the Chinese film market and cooperate with Chinese film companies. The article reviews the Hollywood strategies towards China and analyses the advantages and problems that will be found following this way and the reason why China is interested to cooperate with Hollywood. But also, in that case, there are advantages and problems to analyse. The place of European film industry and market is different because Europe has a lot of problems to deal with: industry and market fragmentation, little cooperation among member states, lacking distribution of European film outside national markets and too large box office share of Hollywood films. European companies would like to improve cooperation with China, but they have few financial resources to invest in co-productions, they do not have blockbusters to push the China box office and they have no know-how to offer for gaining on the global film market. They can only offer cultural, artistic and creative competences, but is that what Chinese film industry is looking for?

This paper aims to determine the power of social media data (Facebook and Twitter) in predicting box office sales, which platforms, data types and variables are the most important and why. To do so, we compare several models based on movie data, Facebook data, and Twitter data. We benchmark these model comparisons using various prediction algorithms. Next, we apply information-fusion sensitivity analysis to evaluate which variables are driving the predictive performance. Our analysis shows that social media data significantly increases the predictive power of traditional box office prediction models. Facebook data clearly outperform Twitter data and including user-generated content next to marketer-generated always improves predictive power. Our sensitivity analysis reveals that volume and valence based combination variables pertaining to Facebook comments are the most important variables. Furthermore, we provide an in-depth analysis of the potential mechanisms driving differential predictive ability of Facebook and Twitter. Our findings suggest that Twitter has less of an impact on box office sales than Facebook because Twitter users have less source credibility than Facebook users. Our results are important for practitioners, marketers and academics who want to employ social media data for box office sales predictions.

Previous studies of the movie industry have raised questions concerning the problematic relationship between the success-related aspects of artistic excellence and commercial appeal. The present article proposes that-when the former is measured by industry recognition (Oscars and other awards) and the latter by market performance (box office and video rentals) and when the former hinges on the evaluative judgments of reviewers and consumers (ratings of excellence) and the latter on the level of buzz among these audience members (amount of attention, word of mouth, or click of mouse)-the two phenomena are essentially separable as independent paths to conceptually distinct and empirically uncorrelated aspects of motion-picture success. An analysis of data for 190 movies from the year 2003 shows that reviewer-and-consumer evaluations and buzz respond differently to a film's marketing clout (production budget, opening screens, and opening box office) and that these audience responses contribute independently to a film's industry recognition and market performance along two separable paths. These findings suggest various implications for movie marketers, film producers, actors or actresses, and other members of the motion-picture industry.

Washington politicians should not be neglected because those opposed to zoos and what they stood for were a strong political lobby. The AZA learned that the wheels of government turn slowly, especially with regard to animal legislation. While the AZA did not always get the exotic animal legislation that they and their zoos needed, they learned how to navigate and negotiate within the American political system. Jesse Donahue and Erik Trump, both political science professors at Saginaw Valley State University, present an unbiased book, well documented with photographs, notes, a selected bibliography, and index. While rather a dense book, it is worth reading to learn how far American zoos have come and how far they have yet to go as an important institution in popular culture.

This study examines Australian domestic film performance under two distinct policy regimes with respect to direct investment strategy. In particular, we contrast film performance under two public funding agencies with noted differences in (i) the number of films financed annually, (ii) the average (and maximum) funding per film, and (iii) the involvement of an expert review panel in funding decisions. In addition to box office returns, we consider performance benchmarks related to major film festival screenings, nominations and awards; critical acclaim based on IMDb user and critic reviews; and whether or not the film received a release in the major UK and/or US markets. Finally, we exploit a subset of our data where a 'two-door' policy was used for investment decisions that allows us to reflect on our more general results.

This study examines Australian domestic film performance under two distinct policy regimes with respect to direct investment strategy. In particular, we contrast film performance under two public funding agencies with noted differences in (i) the number of films financed annually, (ii) the average (and maximum) funding per film, and (iii) the involvement of an expert review panel in funding decisions. In addition to box office returns, we consider performance benchmarks related to major film festival screenings, nominations and awards; critical acclaim based on IMDb user and critic reviews; and whether or not the film received a release in the major UK and/or US markets. Finally, we exploit a subset of our data where a 'two-door' policy was used for investment decisions that allows us to reflect on our more general results.

This review offers an analysis of the Turkish television series Adsız Aşıklar (Lovers Anonymous, 2025), focusing on its portrayal of romantic love. The series represents complex relationships of love and explores the emotional journeys of the characters, highlighting themes of resilience, growth, and understanding. 
The analysis examines how the main characters experience and are affected by the complexities of love, detailing their struggles and development.  Finally, the review considers the series' exploration of the possibility of recovery within the framework presented, and assesses its success in engaging viewers while prompting reflection.

The cultural phenomenon produced in recent years by the Harry Potter books and films has sparked outrage among critics and avid devotion from supporters. This article examines the debate through the implementation of three dichotomies that help to define the approaches people typically take to the Harry Potter stories: 1) fantasy vs. reality, 2) good versus evil, and 3) secular versus religious. As I demonstrate through an examination of these dichotomies and their application, the public debate about Harry Potter encourages us to reexamine the import and meaning of the separation of church and state. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/5 J. K. Rowling's Harry Potter and the Sorcerer's Stone grossed $90.3 million in the first weekend in theatres in 2001, and the sequel, Harry Potter and the Chamber of Secrets, nearly matched that record with $87.4 million in the first weekend. The films are based closely o...

Any aid granted by a Member State or through State resources in any form whatsoever which distorts or threatens to distort competition by favouring certain undertakings or the production of certain goods shall, in so far as it affects trade between Member States, be incompatible with the internal market" (Art.107, European Treaty, 2012). An exception to this law is public aid for movies, which is permitted for cultural goals, that is, to promote culture and heritage conservation where such aid does not affect trading conditions and competition in the Union to the extent that is contrary to the common interest. As remarked by Katsarova (2014), in 2010, the European film industry was rather dynamic, accounted for over 75,000 companies, and made 60 billion euros in revenue. Amongst the EU countries, France, Germany, the UK, Italy, and Spain accounted for approximately 80% of releases, industry turnover, and persons employed (more than 370,000 people). Considering these main European countries, in terms of movie production, direct public subsidies from government agencies are an important source of film funding. In 2012, the governments of Germany, France, Italy, and the UK provided funding in the amounts of 201.3 million euros, 720.1 million euros, 75.8 million euros, and

Successful field tests were conducted on two new Information Aggregation Mechanisms (IAMs). The mechanisms collected information held as intuitions about opening weekend box office revenues for movies in Australia. Participants were film school students. One mechanism is similar to parimutuel betting that produces a probability distribution over box office amounts. Except for "art house films", the predicted distribution is indistinguishable from the actual revenues. The second mechanism is based on guesses of the guesses of others and applied when incentives for accuracy could not be used. It tested well against data and contains information not encompassed by the first mechanism.

Numerical data for all movies released in theaters in the USA during the period 1997-2003 are examined for the distribution of their popularity in terms of (i) the number of weeks they spent in the Top 60 according to the weekend earnings, and (ii) the box-office gross during the opening week, as well as, the total duration for which they were shown in theaters. These distributions show long tails where the most popular movies are located. Like the study of Redner [S. Redner, Eur. Phys. J. B 4, 131 (1998)] on the distribution of citations to individual papers, our results are consistent with a power-law dependence of the rank distribution of gross revenues for the most popular movies with a exponent close to -1/2.

Publisher Rights Statement: This is the accepted version of the following article: Conditions in Prerelease Movie Trailers For Stimulating Positive Word of Mouth Chris Archer-Brown, Julia Kampani, Ben Marder, Anjali S. Bal, Jan Kietzmann Journal of Advertising Research Jun 2017, 57 (2) 159-172; DOI: 10.2501/JAR-2017-023, which has been published in final form at http://www.journalofadvertisingresearch.com/content/57/2/159.

Справочное издание В данном справочном издании приводятся статистические данные посещаемости советских полнометражных игровых фильмов, демонстрировавшихся в кинопрокате с 1950 по 1990 год. К сожалению, прокатные данные не по всем советским полнометражным игровым фильмам (а их было свыше семи тысяч) доступны (есть, к примеру, серьезные пробелы в прокатных данных 1920-х-1960-х годов). Поэтому в данном справочном издании приводятся сведения о количестве зрителей, просмотревших советские игровые фильмы (всего указаны данные посещаемости более чем по трём тысячам названий кинолент) за 12 месяцев демонстрации с 1950 по 1990 год. Данное справочное издание предназначено для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для круга читателей, которые интересуются киностатистикой и киносоциологией. Рецензенты: профессор М. Целых, профессор А. Левицкая.

Справочное издание В данном справочном издании приводятся статистические данные посещаемости польских полнометражных игровых фильмов, демонстрировавшихся в советском кинопрокате в 1960-х-1980-годах. К сожалению, прокатные данные не по всем польским полнометражным игровым фильмам доступны. Данное справочное издание предназначено для исследователей в области кинематографа и медиа, кинокритиков, киноведов, журналистов, преподавателей высшей школы, студентов, аспирантов, а также для круга читателей, которые интересуются киностатистикой и киносоциологией. Рецензенты: профессор М. Целых, профессор А. Левицкая.

In this paper, we study to what extent a movie's box office receipts are affected by the temporal distribution of rival films. We propose a theoretical model that analyses the effects of past, present and future releases on a film's results. Using this model we can analyse how rivals' release dates impact on others' box office revenues. This theoretical model also allows us to carry out some comparative statics by changing some relevant parameters such as time depreciation, film quality or the timeline of exhibition. We have tested the empirical implications of this model using information on the films released in five countries: the USA, the United Kingdom, Germany, France and Spain. In order to maintain a degree of homogeneity, we have constructed an unbalanced panel consisting of films that were released in at least three of these countries. The geographical dimension of our data set allows us to use panel data techniques to control for unobserved heterogeneity among the films released. This allows us to control for one of the most relevant features of the movie market, namely the presence of highly differentiated products.

Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national identify through big screen based sound and imagery. Australia's central film funding agency, Screen Australia has policies, which remain geared around privileging feature films. The advantages of these policies have enabled feature films to conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global film festival circuit. As the pre-eminent filmmaking form, feature films also serve as vital launch pads for the careers of many Australian writers, directors, actors and technical crew. There are however some financial disadvantages raised by key players in the Australian film production sector. In the wake of over a decade of diminished share of local box office obtained by Australian feature films, Australian Feature Films and Distribution: Industry or cottage industry, examines how distribution approaches are becoming critical, in that they may alter the performance of Australian feature films in a spiralling box office.

The movie industry benefits financially from creating sequels with links to previous movies. Sequels build on the success of the original movie and generally attain high box office revenues and generate positive word-of-mouth. In the current study, however, the converse effect is investigated; namely how preadvertising a sequel may lead to bigger success for the current (original) movie. Three studies demonstrate that a preadvertised sequel makes the original movie seem more interesting and produces higher levels of satisfaction and word of mouth. Results suggest that entertainment brands likely benefit from preannouncing sequels and follow-up concepts already at the time of launch of the original movie.

Measuring viewers’ experiences of films has become a critical issue for filmmakers because all kinds of audiences now have access to new releases from all over the world. Some approaches have focused on the cognitive level of the experience, while others have emphasized the structure of films. Additionally, some have used quantitative objective methods to examine audience reactions to short film sequences, while others have applied qualitative approaches to study feature-length films. However, an integrated method that combines the features of these approaches is needed. In this article, we describe a new method that combines quantitative and qualitative data to study viewers’ experiences of different structural features of films. This method involves an online subjective response mechanism that can be used to capture and measure the experiences of different target audiences as they watch movies of different lengths.

This paper discusses the results of a large survey conducted in 2006 on the perception Portuguese movies' audiences have of their own locally produced films. Audience's reception of locally produced films is marked by the rejection of the consumption of these objects as a result of a bias against locally produced cultural artefacts. The prejudice shaping this relationship, not only demands for new cultural and social politics, but also raises a number of questions on local and European media industry's ability to cope with its own audiences' expectations. Finally, broader considerations are made on the different ways contemporary audiences are shaping media technologies, and their respective cultural artefacts, through their own use and reception of those technologies and artefacts.

Marketers frequently create social media content (i.e., firm-generated content; FGC) to ignite interest in new movies. Thus, there is a clear need to understand the magnitude and heterogeneity of the effect of FGC on movie demand and associated user-generated content (UGC). The authors empirically examine the complex interactions among FGC, UGC, and sales using social media (tweet) data that are normally available to firms. They investigate two potential mechanisms by which FGC may drive box office revenues: (1) a direct mechanism, such that users who see FGC directly drive revenue, and (2) an indirect "ripple effect," by which FGC increases movie-related UGC, which then drives consumption. By analyzing 145,502 firm-generated and 5.9 million user-generated Twitter posts associated with 159 movies, the authors find a positive and significant effect of FGC on movie sales, which UGC fully mediates, which supports the indirect ripple effect reasoning. Impressions of FGC by followers of firm accounts, as opposed to nonfollowers of firm accounts, mainly drive the effect of FGC on UGC. In addition, FGC by movie accounts is more effective than that by actors and studios. Firms' regular posts with a movie-specific hashtag are more effective than replies, retweets, and posts without the hashtag. The finding of the ripple effect suggests that movie executives should focus on creating FGC that sparks conversations among followers when new movies are released.

This article traces the development of evangelical Christian ‘rapture films’ from the 1940s to the present day, focusing in particular on the place of the Left Behind series. In doing so, it locates the series within its genre; highlighting the ways in which it drew on, developed, and in some cases rejected earlier tropes, motifs and dramatis personae. Following on from this, the article will discuss the release of Left Behind: The Movie, its failure at the box office and critical panning, and the consequences that these have had on the rapture film industry. Finally, it concludes by discussing two recent releases by the mainstream production company The Asylum/Faith Films and what these mean for the future of the rapture film genre. This article is available in Journal of Religion & Film: http://digitalcommons.unomaha.edu/jrf/vol13/iss2/4

We examine the manner by which market structure restricts the identities available to market participants. We argue that an implication of the boundary between the major and independent segments of the contemporary U.S. feature film industry is that films may be assigned to one or the other segment, but not to both. Such assignments are found in the pattern of reviews received by a film from critics, who specialize in either the major or independent segments of the industry, to a given film. We argue that, because the two segments have been defined in opposition to one another, there is a trade-off associated with gaining recognition as belonging to one or the other. An analysis of the box-office success of 396 feature films released in 1997 shows that a film attracts a larger audience when critics who specialize in major releases review the film. Such classification as a major release is particularly crucial when the industry's primary gatekeepers, the theatrical exhibitors, do not initially grant it access to the mass market. However, while attaining a major identity is necessary for success in the mass market, we show that such an identity is a handicap in the 'art house'. That is, identification with one side of the market entails a corresponding denial of recognition from the other side. This trade-off, which provides a compelling illustration of the identity constraints set by market boundaries, is particularly interesting given the high returns that flow to independents that succeed in 'breaking out' into the wider market. Success at crossing over into the multiplex comes at the expense of success in the art house.

특정 영화의 스크린 독과점이 꾸준히 논란이 되고 있다. 본 논문에서는 영화 스크린 분배의 불평등성을 지적하고 이에 대한 개선을 요구할 근거로 머신러닝 기법을 활용한 영화 관람객 예측 모델을 제안한다. 이에 따라 KOBIS, 네이버 영화, 트위터, 구글 트렌드에서 수집한 3,143개의 영화 데이터를 이용하여 랜덤포레스 트와 그라디언트 부스팅 기법을 활용한 영화 관람객 예측 모델을 구현하였다. 모델 평가 결과, 그라디언트 부스팅 모델의 RMSE는 600,486, 랜덤포레스트 모델의 RMSE는 518,989로 랜덤포레스트 모델의 예측력이 더 높았다. 예측력이 높았던 랜덤포레스트 모델을 활용, 상영관을 크게 확보하지 못 했던 봉준호 감독의 영 화 ‘옥자’의 상영관 수를 조절하여 관람객 수를 예측, 6,345,011명이라는 결과를 제시한다.

In this paper, we study to what extent a movie's box office receipts are affected by the temporal distribution of rival films. We propose a theoretical model that analyses the effects of past, present and future releases on a film's results. Using this model we can analyse how rivals' release dates impact on others' box office revenues. This theoretical model also allows us to carry out some comparative statics by changing some relevant parameters such as time depreciation, film quality or the timeline of exhibition. We have tested the empirical implications of this model using information on the films released in five countries: the USA, the United Kingdom, Germany, France and Spain. In order to maintain a degree of homogeneity, we have constructed an unbalanced panel consisting of films that were released in at least three of these countries. The geographical dimension of our data set allows us to use panel data techniques to control for unobserved heterogeneity among the films released. This allows us to control for one of the most relevant features of the movie market, namely the presence of highly differentiated products.