Blogs, Advertising, and Local-Market Movie Box Office Performance

2013 ◽  
Vol 59 (12) ◽  
pp. 2635-2654 ◽  
Author(s):  
Shyam Gopinath ◽  
Pradeep K. Chintagunta ◽  
Sriram Venkataraman
Keyword(s):  
Local Market ◽  
Box Office ◽  
Box Office Performance

Blogs and Local-market Movie Box-office Performance

2010 ◽  
Author(s):  
Shyam Gopinath ◽  
Pradeep K. Chintagunta ◽  
Sriram Venkataraman
Keyword(s):  
Local Market ◽  
Box Office ◽  
Box Office Performance

scholarly journals Hollywood movies and China: Analysis of Hollywood globalization and relationship management in China’s cinema market

2018 ◽  
Vol 3 (3) ◽  
pp. 177-194 ◽  
Author(s):  
Xu Song
Keyword(s):  
Relationship Management ◽  
Revenue Sharing ◽  
Box Office ◽  
Management Perspective ◽  
Hollywood Movies ◽  
To Receive ◽  
Box Office Performance

China’s cinema market has been growing dramatically in recent years. Hollywood exports revenue-sharing movies to China to receive additional box-office revenues. Although globalization accelerates Hollywood movies’ domination in most global film markets, that is not the case in China. Hollywood studios encounter cultural and political complications in China’s cinema market. This research reviews the interplay of Hollywood globalization and the complexity of China’s cinema market, applies a relationship management perspective in analyzing Hollywood studios’ China-focused endeavors, identifies and discusses five key relations, and analyzes why and how Hollywood studios have strategically managed the key relations to boost their revenue-sharing movies’ box-office performance in China.

Winning box office with the right movie synopsis

2020 ◽  
Vol 54 (3) ◽  
pp. 594-614 ◽  
Author(s):  
Yu-Chen Hung ◽  
Chong Guan
Keyword(s):  
Factor Analysis ◽  
Text Analysis ◽  
Structural Equation ◽  
Phase 1 ◽  
Basic Question ◽  
Content Type ◽  
Box Office ◽  
Equation Modelling ◽  
Linguistic Cues ◽  
Box Office Performance

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.

scholarly journals The impact of online review helpfulness and word of mouth communication on box office performance predictions

2020 ◽  
Vol 7 (1) ◽  
Author(s):  
Sangjae Lee ◽  
Joon Yeon Choeh
Keyword(s):  
Word Of Mouth ◽  
Nearest Neighbor ◽  
Prediction Performance ◽  
Box Office ◽  
Performance Predictions ◽  
Review Helpfulness ◽  
Product Sales ◽  
Word Of Mouth Communication ◽  
The Impact ◽  
Box Office Performance

Abstract While electronic word-of-mouth (eWOM) variables, such as volume and valence have been posited in previous studies to consistently affect product sales, there is a lack of studies on the different contexts and outcomes that affect the importance of eWOM variables. In order to fill this gap, this study attempts to use the helpfulness of reviews and reviewers as moderators to predict box office revenue, comparing the prediction performances of business intelligence (BI) methods (random forest, decision trees using boosting, the k-nearest neighbor method, discriminant analysis) using eWOM between high and low review or reviewer helpfulness subsample in the Korean movie market scrawled from the Naver Movies website. The results of applying machine learning methods show that movies with more helpful reviews or those that are reviewed by more helpful reviewers show greater prediction performance, and review and reviewer helpfulness improve the prediction power of eWOM for box office revenue. The prediction performance will improve if the characteristics of eWOM are likely to be combined to contribute to box office revenue to a greater extent.

scholarly journals The long-term box office performance of sequel movies

2011 ◽  
Vol 23 (1) ◽  
pp. 13-29 ◽  
Author(s):  
Tirtha Dhar ◽  
Guanghui Sun ◽  
Charles B. Weinberg
Keyword(s):  
Box Office ◽  
Box Office Performance

scholarly journals UK/European Co-productions: The Case of Ken Loach

2016 ◽  
Vol 13 (3) ◽  
pp. 368-389
Author(s):  
Huw David Jones
Keyword(s):  
Statistical Analysis ◽  
Cultural Identity ◽  
Film Festivals ◽  
Transnational Cinema ◽  
Box Office ◽  
Media Distribution ◽  
Film Making ◽  
Ken Loach ◽  
Box Office Performance

Ken Loach stands out as one of the few British directors whose films are regularly co-produced with European partners. Of the nineteen films he has directed since 1990, fourteen have been UK/continental European co-productions. This article draws on interviews with Loach's long-term producer Rebecca O'Brien, content analysis of his films and the statistical analysis of box-office data to examine how and why Loach came to work with continental European co-production partners and how these partnerships have affected the cultural identity of his films and their box-office performance. It argues that while some of Loach's co-production partnerships were initiated for creative reasons, most have proceeded on a ‘finance-only’ basis, whereby the partners have had very little creative input into his films. Co-production has therefore allowed Loach to continue making ‘culturally British’ films without the creative interference which often comes with this mode of film-making. This creative freedom has been vital in terms of maintaining Loach's reputation as one of Europe's leading auteurs and attracting the attention of film festivals like Cannes and Berlin, which in turn has played a key role in the marketing of his films and increasing their admissions in key continental European territories. Co-production has also boosted the performance and circulation of Loach's films in mainland Europe by making it easier to access EU MEDIA distribution support. These findings not only offer new insights into Loach's films in terms of their production, content and reception, but also contribute to wider debates surrounding co-production and transnational cinema.

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