Category: Films

CONSUMER AND EXPERT REVIEWS EFFECTS ON THE LENGTH OF TIME A FILM IS KEPT ON SCREENS

By Thaís Luiza Donega e Souza, Marislei Nishijima and Ana Cláudia Polato e Fava

We evaluate the effect of critical reviews by consumers and experts on a film’s running time at movie theaters in the United States. In addition to the usual expert critics’ reviews, we employ the consumer reviews rating and their affectivity about films as a measure for the consumer influence effect. We find evidence of consumer rating matter in keeping a film running longer at the theaters, but experts’ ratings have a larger influence on the movie market as a whole.

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TWO INFORMATION AGGREGATION MECHANISMS FOR PREDICTING THE OPENING WEEKEND BOX OFFICE REVENUES OF FILMS

By David Court, Benjamin Gillen, Jordi McKenzie and Charles R. Plott

Many entertainment and, more generally, cultural products are characterised by significant levels of uncertainty regarding their ultimate appeal to consumers. This is perhaps no place better observed than in the theatrical film industry, where the famous ‘nobody knows anything’ quote of William Goldman has often been used to support this idea. We present two aggregation mechanisms to predict the opening weekend box office success of films and show they are able to provide useful predictions of box office revenues. Continue reading “TWO INFORMATION AGGREGATION MECHANISMS FOR PREDICTING THE OPENING WEEKEND BOX OFFICE REVENUES OF FILMS” →

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EXPLAINING THE CONTROVERSIAL APPEAL OF MOVIE FRANCHISES

An Application of ‘Consumption Capital Theory’ to Serial Media Content

By Christian Opitz and Kay H. Hofmann

sequel movie eta

The appeal of movie continuations clearly is in the eye of the beholder. While loyal fans tend to praise them, the average cineaste is often skeptical of sequels and other serial media content. Nevertheless, leveraging proven storylines in the form of so-called ‘franchises’ has become an omnipresent phenomenon in Hollywood. We study the determinants of sequel success off the beaten track by applying ‘consumption capital theory’ to movie franchises. Our empirical results point to the explanatory power of the proposed framework and may help industry executives to improve the profitability of sequel projects. Continue reading “EXPLAINING THE CONTROVERSIAL APPEAL OF MOVIE FRANCHISES” →

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CAN TWO HEADS LEAD? THE ART VERSUS THE COMMERCE ORIENTED MANAGER IN FILM PROJECTS

By Joris Ebbers and Nachoem Wijnberg

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Film projects have a dual-leadership structure, based on a division of tasks between the director and the producer, with the former predominantly responsible for the artistic and the latter for the commercial aspects of the film. The 1st Assistant Director (1st AD), who is positioned hierarchically below and between these dual leaders, plays an important role in managing conflicts between art and commerce.

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FILM AND THE CITY: SYMBIOTIC ASSOCIATION BETWEEN RIO DE JANEIRO AND BRAZIL’S MOVIE INDUSTRY

By João Luiz de Figueiredo and Rodrigo Carvalho

Brasil_Animado

Creative activities tend to materialize within the landscape of large cities as agglomerations of specialized firms and skilled labour, which offer extremely innovative resources. Major cities have been the site of the vast expansion of commercial cultural production that has occurred in recent decades. They are the locus of a range of creative industries such as fashion, music, architecture, advertising, graphic arts, and film. Cultural industries are able to contribute to the evolution of cities while playing a crucial role in the social reproduction of economic systems that are essential elements in the formation of competitive advantages in a given territory. In Brazil, Rio de Janeiro created and benefited from the Brazilian’s film industry. Continue reading “FILM AND THE CITY: SYMBIOTIC ASSOCIATION BETWEEN RIO DE JANEIRO AND BRAZIL’S MOVIE INDUSTRY” →

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SOMEBODY MUST KNOW SOMETHING!

By John Sedgwick and Mike Pokorny

film

William Goldman, the screenwriter of Butch Cassidy and the Sundance Kid, posited that ‘nobody knows anything’ about the financial risks associated with the film industry, elevated by the Harvard professor Richard Caves to the ‘nobody knows’ principle.  Our research suggests otherwise: analysis of the tremendous economic success of film studios over the past 100 years suggests to us that film making is not such a risky business and that somebody would seem to know something!

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