Digital companies have invested the film industry by imposing their economic models. Meanwhile, a less disruptive “Art and Science” model of innovation has also emerged, with balanced relations with the players in place. These new technical intermediaries in the cinema are empowering themselves around skills and innovation platforms affecting all segments of the industry.Continue reading ““IN THE MOOD FOR TECHNOLOGY?”: DIGITAL AND CINEMA”
By Caroline Elliott and Sayantan Ghosh Dastidar
India has a longstanding reputation for its acclaimed film industry and continues to be by far the world’s largest producer of films. Nevertheless, domestic demand for films appears to be waning as in a number of developed countries with mature film industries. Results of the econometric analysis are used to demonstrate how the Indian film market can continue to have a significant positive impact on the Indian economy.
By Georgios Alaveras, Estrella Gomez-Herrera and Bertin Martens
This paper explores new data sources on multilateral trade in films among EU countries and with the USA in offline cinema and in online video-on-demand distribution. We observe variations in trade patterns across countries and films and explore how they affect cultural diversity.
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.
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”