Box Office Films Research Articles

Analysis and Box Office Prediction of Chinese High Box Office Films- Empirical Analysis Based on the Top250 Movies on Maoyan.com

This project focuses on analyzing and predicting box-office performance using data from Maoyan.com. Several key factors, including release year and month, ticket price, movie duration, and the proportion of positive reviews, are examined for their influence on box-office revenue. We begin by employing simple linear regression to investigate the relationship between Maoyan.com ratings for the top 250 movies and their box-office performance. Additionally, we construct an Autoregressive Distributed Lag (ARDL) model to assess the impact of these factors over time. The model parameters are estimated using the least squares regression method, and the Mean Absolute Percentage Error (MAPE) is minimized to achieve optimal prediction accuracy. Extensive data cleaning and preprocessing ensure the reliability of our analysis. The findings from this study provide valuable insights into the determinants of box-office success and offer a robust predictive model for future revenue estimation.

Analisis Wacana Kritis Norman Fairclough Pada Film Barbie 2023 Sebagai Representasi Budaya Patriarki

Film is part of audio-visual mass media communication and aims to convey social messages to the audience in accordance with the reality that is growing and developing in society. One of the films that has this purpose is the film Barbie Live Action 2023. The purpose of this research is to dissect the discourse in three dimensions, namely textual, discourse practice, and sociocultural practice. In this research, the type of research used is qualitative-descriptive research. The paradigm used in this research is the critical paradigm. The appropriate research method used for this research is Norman Fairclough's Critical Discourse Analysis method. In the textual dimension, the linguistic tools of Diction, Cohesion, Modality and figure of speech metaphor are obtained. In the discourse practice dimension, at the production level the Barbie film is produced with two backgrounds, namely Barbieland and the real world, namely the city of Los Angles, United States with English language dialogue. At a text consumption level, the film is the highest-grossing box office film of all time with earnings of $1.45 billion. Sociocultural practices have 3 levels, namely situational, institutional and social levels. Situational Barbie script was written during the pandemic. For example, the film Barbie was a box office success in almost the entire world and became the hope of the global community regarding the end of the pandemic. Furthermore, at the institutional level, which includes the media, is Greta Gerwig herself as a film filmmaker. Warner Bros. is the production house for the 2023 Barbie Live Action film. Then there is Mattel as the company behind the production of Barbie dolls. Finally, at the social level, this film shows how patriarchy persists in reality, the social and cultural system of American society still adheres to patriarchal culture and neglects women's rights and protection.

They Have Never Changed: Accountants in Movies

The purpose of this study is to examine how accountants are portrayed in recent box office films. The samples for this study were movies registered in the Internet Movie Database and Film Indonesia. The study focuses on the accountant who appears in movies as a main character, side character, and/or cameo. Movies with accountant as the character and winning at least one award were chosen in this study. The semiotic analysis of movie data involved three steps: viewing the entire film, focusing on the accountants’ character scene in accordance with the description criteria, and interpreting the characters denotatively, connotatively, and mythically. The findings demonstrate that the stereotype of accountants shown in movies is consistent with societal preconceptions, such as being a man's occupation, having a bean counter, being introverted, and committing money theft. However, in some movies, accountants are portrayed positively. This negative depiction of accountants may cause students to be reluctant to choose accountants as their career choice. Thus, public accounting firms will encounter difficulties in recruiting and sustaining their businesses. Framed with the social representation theory, this study contributes to the accounting literature by focusing on the depiction of the accountant's character shown in the film by using semiotic analysis to investigate the depiction of accountants in films released since 2000.

Indonesia, Islam, and Literature: Phenomenal Popularity of Sastra Islami

The goals of this paper are determined by the relevance of Islam in the light of modern Indonesian culture. For the first time in Russian oriental studies, an attempt has been made to determine the specifics of some literary texts that Indonesians call Muslim (literally “Islamic”) literature or sastra islami, which has been in demand for the local book market for two decades. The demand for this literature comes from the “observing” Muslim public of Indonesia, and is quite easily explained by the long period of neglecting the role of Islam in the sociopolitical life of the country. After the fall of the Suharto regime (since 1998), Islam gradually transformed from a marginalized subculture to its mainstream status, slowly displacing the liberal pro-feminist cluster of sastra wangi literature which was on top of its popularity in the late 1990s and early 2000s. Along with the strengthening of religious discourse, “new classic” works of certain engaged authors help the self-identification of some Indonesian youth (this is especially noticeable among the female audience) through the Muslim metanarrative. The phenomenon of sastra islami is widespread, and its commercial success is confirmed not only by the circulation of numerous re-releases, but also by box-office film adaptations. The main sources for this paper are two novels by the popular Indonesian writer Habiburrahman El Shirazy, also known as Kang Abik (“Verses of Love”, 2004 and “Land of Love”, 2005), the novel used as an additional source is “The Sinking of the ‘Van der Wijk’” (1938) by Haji Abdullah Malik Karim Amrullah, also known as Hamka (an abbreviation of his full name). Significant novels of these authors became “new classic” examples of Muslim modification of mass literature. In its core these books unfold fascinating stories about young Indonesians in outstanding circumstances, according to main plot structure all the good heroes who follow the path of Islam are rewarded, and the unrighteous ones are punished. Constant retelling of the al-Quran and the Hadiths by the characters of the novels helps to popularize the sacred texts for the common reader. Film adaptations provide proselytizing activity — attracting new audiences and involving them in the world of Islam. The main conclusion of this paper is that sastra islami is both a phenomenon of Indonesian pop-culture and strong element of the cultural identity of Muslim Indonesians, since the principle of adab literature “entertaining means teaching” dates back to the times of the entry of Islam into the world of Nusantara and since the very same times of adaptions of the traditional Arabic and Persian texts.

WHAT DO WOMEN SPEAK ABOUT: NARRATIVES OF FEMALE CHARACTERS IN MAINSTREAM CINEMA

The paper focuses on the language of female characters in the top thirty box office films with a leading female character (1999–2023). The research applies the narrative analysis to the turns of heroines to account for their archetypal representation. The paper proposes a view on female archetypal characters popular with large audiences around the globe and presents a typology of widely recognizable female narratives. The received framework reflects the contemporary vision of the female image and role in society. The study employs Jung’s idea of the archetype as a repetitive image of the collective unconscious. Each archetype is governed by several constant motivations and needs, defining the characters’ (verbal) behavior. Maslow’s hierarchy of human needs serves as the basis for the delineation of archetypes. The moral valence of each character depends upon the satisfaction of her aspirations. Recognized and met wants predetermine the protagonist/heroic archetypes, while thwarted needs bring about antagonist/villainous archetypes. The research is based on Schmidt’s typology of forty-five master characters. Among the overwhelming majority of traditional images of the Nurturer and Matriarch archetypes, there appear the representatives of the Female Messiah, Father’s Daughter, and Amazon, respectively, pursuing the goals of improving society and finding self-identity and independence.

Romance cinema for debunking gender bias of non-egalitarian couple relationships in higher education

Romance cinema may recreate cisgender heterosexual couple representations by means of image-making, with the use of gender bias or traditional images that have considerable effects on how women and men are represented or are expected to behave, which may confront egalitarian models of relationships. This study aims to analyze how the traditional model of couples is represented in the 20 romantic highest-grossing movies selected from the years 2000–2010, and whether the reading of non-egalitarian images awakens different meanings and reflections by experts and undergraduates in Higher Education (areas of education and communication). For this aim, a mixed methodology was used, first qualitative (six in-depth interviews with academics and film analyses of the selected movies), then quantitative (questionnaire to 251 undergraduates analyzing films), and then qualitative again (personal reports from the same students). Results confirmed the reflective making of gender bias and non-egalitarian images of couple relationships in six of the box-office films, with moderate percentages in categories of Submission, Dominance, Dependence, and higher percentages of Manipulation, either for/from women or men. The study concludes that romance cinema was positively valued by students and academics as an enabling cultural product for the analysis, reflection, and deconstruction of non-egalitarian images, so that higher education students can be guided to critically seek suitable understandings of gender and couple relationships.

Analysis of top box office film poster marketing scheme based on data mining and deep learning in the context of film marketing.

With the development of science and technology and the continuous changes of social environment, the development prospect of traditional cinema is worrying. This work aims to improve the publicity effect of movie posters and optimize the marketing efficiency of movie posters and promote the development of film and television industry. First, the design concept of high grossing movie posters is discussed. Then, the concept of movie poster analysis based on Deep Learning (DL) technology is analyzed under Big Data Technology. Finally, a movie poster analysis model is designed based on Convolutional Neural Network (CNN) technology under DL and is evaluated. The results demonstrate that the learning curve of the CNN model reported here is the best in the evaluation of model performance in movie poster analysis. Besides, the learning rate of the model is basically stable when the number of iterations is about 500. The final loss value is around 0.5. Meanwhile, the accuracy rate of the model is also stable at the number of iterations of about 500, and the accuracy rate of the model is around 0.9. In addition, the recognition accuracy of the model designed here in movie poster classification recognition is generally between 60% and 85% in performing theme, style, composition, color scheme, set, and product recognition of movie posters. Moreover, the evaluation of the model in the movie poster style composition suggests that the style composition of movie poster production dramatically varies in different films, in which movie posters focus most on movie product, style, and theme. Compared with other models, the performance of this model is more outstanding in all aspects, which shows that this work has achieved a great technical breakthrough. This work provides a reference for the optimization of the design method of movie posters and contributes to the development of the movie industry.

The Malays

Launched on 11th June 2022 by His Royal Highness the Sultan of Perak Darul Ridzuan, Sultan Dr. Nazrin Muizzuddin Shah, this book indeed had brought a new perspective in understanding the Malay history, culture, and civilization. The launching of this book took place not long before the premier screening of Mat Kilau, a box-office film in Malaysia which recently had achieved an unprecedented collection of almost RM100 million (as of 13th September 2022). Although these two phenomena were not directly related, yet the publication of this book and the outburst of Mat Kilau film may be seen as part of the recently growing consciousness among the Malays regarding their identity, history, culture, and civilization. The author himself, for example, stated in his Introduction “Malays are at the crossroads. Is there hope for the Malays to find the way out of these self-inflicting mortal wounds?”. Hence, using history as the reference, the author hoped to present the answer to that question to the Malay people.

Race- and gender-based under-representation of creative contributors: art, fashion, film, and music

Motivated by the well-established benefits to society of artistic creation and of demographic diversity, we investigate the gender and racial/ethnic composition of influential contributors to four creative domains. Women make up 51% of the U.S. population but are underrepresented at influential levels of contemporary art (28%), high fashion (45%), box office film (27%), and popular music (17%). Marginalized racial/ethnic groups make up 39% of the U.S. population yet comprise approximately half that figure in contemporary art (22%), high fashion (22%), and box office film (19%). Black musical artists have higher representation (48%), though higher representation does not equate with equity and inclusion. As for intersecting identities, white men are overrepresented in all four domains by factors ranging from 1.4 to 2 as compared to the U.S. population, and most other gender-racial/ethnic groups are further minoritized. Our study is the first comprehensive, comparative, empirical look at intersecting identities across creative fields. The exclusion of marginalized individuals, including those who are women, American Indian/Alaska Native, Asian, Black, Latinx, and Native Hawaiian/Pacific Islander, is severe. The lack of self-expressed demographic data is a challenge, as is the erasure of certain identity groups from the American Community Survey, including agender, gender noncomforming, nonbinary, and transgender individuals. These are challenges that, if addressed, would enhance our collective understanding of diversity in creative fields.

Tobacco and tobacco branding in films most popular in the UK from 2009 to 2017

BackgroundExposure to tobacco content in films is a cause of smoking uptake in young people. In an earlier study, we reported that tobacco content occurred in 70% of UK box...

The Power of Japanese Film Production Consortia: The Evolution of Inter-Firm Alliance Networks and the Revival of the Japanese Film Indsutry

After long-term downturn of sales of Japanese films and dominance of Hollywood films in the Japanese film market during 1960’s and 1980’s, Japanese film industry revived from the latter part of 1990’s with evolution of interfirm film production and distribution alliances. In Japanese film industry, many of successful box-office films are currently produced and distributed under inter firm alliances across industries, which are called as a “film production consortium. (FPC)” In many of these cases, several major television broadcasting companies tend to form film production consortia, organizing several major firms across media industries including a film distribution company, a publisher of an original text or comic, an ad agency, a talent agency and other supporting companies (i.e. a nation-wide retailer or a videogame company). This chapter attempts to describe origin, main functions, history, current conditions and implications of a production consortium, growth of interfirm alliance networks mainly within media industries and new roles of producers to drive it. It also tries to explain reasons of its evolution and analyzes facing problems. We will argue these topics in following four parts, referring typical cases and major statistical trends. First, film production consortia have formed interfirm film production networks and become valuable social capital for box-office film production, mainly providing original texts and comics, funding money, excellent talents, new moving picture technology, media-mix promotion and multi-use of characters and moving pictures across media for film production. Second, a film production consortium increased from the middle of 1990’s, formed by several major television broadcasting companies, showed outstanding box-office sale and developed new character business. Third, within these interfirm networks, producers learnt new alliance capabilities to sequentially organize different combinations of production consortium. Finally, we will discuss current conditions of film production consortium, arguing that it becomes popular routines and show some difficulties to produce novel film projects. However, in considering global managerial implications, a film production consortium may give new business opportunities of multi-use of films across industries.

Translating irony into Arabic – who’s having the last laugh? Dubbing Monsters Inc.: Egyptian vernacular vs. modern standard Arabic

Monsters Inc., an animated feature film produced by Pixar Animation Studios in 2001, received significant recognition worldwide. The film was nominated in 2002 for the ASCAP Film and Television Music Awards by the Box Office Films. Two dubbed versions of the film were later released with Arabic translations using Egyptian Vernacular, a spoken dialect, and Modern Standard Arabic, used primarily in formal, written communications.This study examines humor in translation and irony as humor which represents a common technique in “Pixar plotting”. The research investigates the strategies, types, and categories of irony as humor within the translations and the success of those translations at accurately transmitting the humorous meaning. Towards exploring the problems of translating irony across languages and cultures, this research examines the shifts in translations between the two Arabic language versions using an interdisciplinary theoretical approach encompassing humor studies, audiovisual translation studies, and descriptive translation studies. Furthermore, the research adopts Muecke’s (1978) classification of irony markers to categorize and identify the strategies used in translating irony as humor. The study finds that the two different versions of Arabic utilize similar strategies at times and divergent ones at others, such as explication, substitution, omission or addition, in translating irony as humor with each succeeding/failing at varied levels of meaning transmission. The research suggests translators’ creativity, or lack thereof, and the language variant used are primarily responsible for the success or failure of transmitting irony as humor for dubbing into Arabic.

ECRANISATION OF LASKAR PELANGI NOVEL AND ITS FUNCTION AS EDUCATIVE MEDIA (STUDY OF LITERATURE RECEPTION)

Purpose: The purpose of this research is to describe the reception of the community about ecranisation of Laskar Pelangi novel and its function as educative media.
 Methodology: This descriptive qualitative research was conducted by the literature reception synchronized approach. The research data was collected through the reference technique, content analysis, and in-depth interviewing. Data validation was checked through a triangulation source. Data analysis was performed by a synchronized analysis in literature reception and then analyzed by an inductive method, with interactive analysis model.
 Results: The results of this research are first, the community has good reception about ecranisation of the best-seller Laskar Pelangi that being box office film. Generally, the community assumes that the beauty of the story in the novel can be well visualized through the image and dialogue of the character’s cast, although there is a slight change in storyline and characterizations. Secondly, Laskar Pelangi film is a product of a successful creative industry both at home and abroad.
 Implications: Thus, the Laskar Pelangi film has functioned as an educative media for people to understand the value of human relationships with themselves, with others and environment, and with God, which is the moral value conveyed by the author. The education process is effective because the values are delivered through a means of beautiful, interesting, and touching stories.

Персоноцентризм и социоцентризм как маркеры символизации успеха в художественной реальности фильмов кинопроката США (Personocentrism and Sociocentrism as Markers of Symbolizing Success in the Artistic Reality of Film Distribution in the United States)

Russian Abstract: В центре исследовательского внимания динамика популярности персоноцентричных и социоцентричных символов успеха, выраженных содержанием популярных фильмов кинопроката США. На примере анализа массива популярных художественных фильмов 1980–2019 гг., представленных в Топ 10 лидеров кассовых сборов по статистике Box Office Mojo, предпринята попытка типологии вырабатываемых массовой культурой США мотиваций деятельности на основе диспозиции символов успеха автономной деятельности (персоноцентризм) и коллективного взаимодействия (социоцентризм). Маркирование персоноцентризма и социоцентризма (двух различных стратегий достижения успеха) в художественной реальности кинофильма предполагает определение транслируемых посредством кинокоммуникации стереотипов поведения. В основе исследования лежит метод типологии кинофильмов как персноцентричных и социоцентричных символов успеха, подразумевающий комплекс неопросных методов качественного и количественного анализа сюжетного содержания. Новизна исследования заключается как в инновационном авторском подходе к анализу социокультурных процессов, так и в интерпретации общедоступных эмпирических данных кассовых сборов кинопроката. Полученные результаты позволяет утверждать, что маркирование популярности социоцентричного либо персоноцентричного содержания фильмов в отличии от идеального образа культурного героя (в отечественной традиции — это коллективист, в американской — индивидуалист) отражает ценностную динамику символов успеха коллективного взаимодействия или автономной деятельности индивида в массовой культуре США. English Abstract: The focus of the research attention is on the dynamics of the popularity of the person-centric and socio-centric symbols of success, expressed by the content of popular films of USA film distribution. On the example of analysis of the corpus of popular feature films from 1980 to 2019, presented in the Top-10 leaders of box-office sales revenue according to Box Office Mojo statistics, the attempt of typology of motivations of activity developed by mass culture of the USA on the basis of a disposition of symbols of success of autonomous activity (personocentrism) and collective interaction (sociocentrism) is made. Marking the personocentrism and sociocentrism (two different strategies of achieving success) in the artistic reality of a movie assumes the determination of stereotypes of behavior, broadcasted by means of movie communication. The research is based on the method of a typology of movies as person-centric and socio-centric symbols of success, implying a set of non-interrogative methods of qualitative and quantitative analysis of the plot content. The novelty of the research is due to both the innovative author's approach to the analysis of sociocultural processes and interpretation of publicly available empirical data of box office film distribution. The obtained results suggest that the marking of the popularity of socio-centric or person-centric content of films in contrast to the ideal image of a cultural hero (in the national tradition - a collectivist, in the American - an individualist) reflects the value dynamics of the symbols of the success of collective interaction or autonomous activity of the individual in the mass culture of the United States.

Las fenzhangpian de animación en China continental (1995-2012). Normas preliminares, operacionales y censura

En este artículo presentaremos el proceso que se siguió en China continental entre 1995 y 2012 para que una determinada película de animación extranjera pudiera ser proyectada en los cines de aquel país. Nos centraremos en unos criterios que pueden enmarcarse en el concepto de normas preliminares de Toury y de las reglas (rules) definidas en el sentido que les otorga este mismo autor. La propia definición jurídica del concepto de «película importada» revela criterios ideológicos. De esta forma, las películas realizadas en Hong Kong y Macao o Taiwán dejaron de ocupar cuota de películas importadas en los años 2003 y 2013 respectivamente. Al mismo tiempo, los filmes extranjeros que se exhiben en las salas comerciales deben seguir una normativa jurídica que regula el proceso de selección de dichas producciones, lo cual es una forma más de censura. Dentro de las películas extranjeras, la regulación favorece el visionado de las películas fenzhangpian (‘películas de taquilla compartida’) enfrente de las maiduanpian (‘películas compradas en su totalidad por las distribuidoras’). Además, se observa un predominio destacado de las producciones estadounidenses. Finalmente, las informaciones extratextuales que hemos recogido de profesionales en relación con la producción del texto meta nos permiten demostrar que las normas operacionales actúan como procesos de censura en la fase propia de traducción.

Exposure to Alcohol Use in Motion Pictures and Teen Drinking in Latin America

Our objective was to assess whether exposure to alcohol use in films (AUF) is associated with alcohol use susceptibility, current alcohol use, and binge drinking in adolescents from 2 Latin American countries. We performed a cross-sectional study with 13,295 middle school students from public and private schools in Mexico and Argentina. Exposure to alcohol use in over 400 contemporary top box office films in each country was estimated using previously validated methods. Outcome measures included current drinking (i.e., any drink in the last 30days), ever binge drinking (i.e., more than 4 or 5 drinks in a row for females and males, respectively) and, among never drinkers, alcohol susceptibility (i.e., might drink in the next year or accept a drink from a friend). Multivariate models were adjusted for age, sex, parental education, peer drinking, sensation seeking, parenting style, and media access. Mean age was 12.5years (SD=0.7), and the prevalence of alcohol consumption and binge drinking was 19.8 and 10.9%, respectively. Mean exposure to alcohol from the film sample was about 7hours in both countries. Adjusted models indicated independent dose-response associations between higher levels of exposure to AUF and all outcomes; the adjusted odds ratios (aORs) comparing quartiles 4 and 1, 1.99 (95% confidence interval [CI] 1.73 to 2.30) for current drinking, aOR 1.68 (CI 1.39 to 2.02) for binge drinking, and aOR 1.80 (1.52 to 2.12) for alcohol susceptibility. Compared to Mexican adolescents, Argentine adolescents were significantly more likely to have engaged in binge drinking (aOR 1.40, 95% CI 1.12 to 1.76) and, among never drinkers, were more susceptible to try drinking (aOR 1.40, 95% CI 1.20 to 1.64). Higher levels of exposure to AUF were associated with higher likelihood of alcohol use, binge drinking, and alcohol susceptibility in Latin American adolescents.

Product placement practices in independent and box-office films in Turkey

Marketing strategies change, evolve and develop together with the advancement of new communication technologies. At the same time, marketing communication efforts also become more important day by day and marketers seek for further opportunities to communicate the changing consumers. The necessity has arisen to reach out the target audience, to whom the advertisement messages cannot be conveyed, by means of different strategies or methods. Though an old method, one of the marketing communication methods needed more as days pass is the product placement. As a technique increasing the brand awareness, product placement is a practice intensely employed in both the global and Turkish cinema since the 1980s. Seen also in the period earlier than 1980’s, this method is beneficial in both material and reality terms for not only the advertiser but also the film producer or director. Regardless of the genre of film, money is needed to realize any film. Co-production, sponsorship and product placement are the primary sources of income for the cinema films. A new era has started following the 1990s in the Turkish cinema, and directors who created their own language of cinema and received numerous awards in national and international arena, like Dervis Zaim, Zeki Demirkubuz and Nuri Bilge Ceylan. Although these directors make films without bearing commercial concerns, yet again they need material resources to shoot their films. This study titled “Product Placement Practices in Independent and Box-office Films in Turkey” examines, through content analysis method, how the box-office films and independent films employ product placement, and qualitatively interprets and compares the obtained results. Keyword Product Placement; Turkish Cinema; Independent Film; Box-office Films; Relationship between Cinema and Advertising.

STRUKTUR ALTERNATIF FILM BOX OFFICE INDONESIA PASCAREFORMASI

This research aims at analyzing Indonesia box office film structure. In this case, the film is Jelangkung. The researcher uses a descriptive comparative method. The result shows Jelangkung film use an alternative structure within the pattern of three segments, using a logical clause on the cause-effect story relationship.

A mathematical model of cinematic box-office dynamics with geographic effects

A new deterministic mathematical model for North American box-office film grosses is presented. The model may be simplified to a set of non-linear ordinary differential equations describing the evolution over time of the film’s gross and exhibited sites. The novel feature of this work is the inclusion of geography-based effects to model moviegoer and exhibitor behaviour. Several key regimes are identified, depending on the popularity of the film, as well as how the screens are divided among geographical regions. Analytical results are presented for several relevant cases. Numerical simulations demonstrate close agreement between the model’s predictions and actual box-office data.

Penerapan Teori Struktur Cerita pada Pembuatan Film

Since it was created in 19th century, film has been developed into one important communication media. The successful of communication depends on how the story was told; therefore many story structure theories were created. Unfortunately, those theories are rarely applied. Literature and field studies were performed to delve deeper in story structure theories and their implementations, starts from 3 acts structure, 8 sequences structures, and hero’s journey. Based on observation, these theories have been used in many box office films. Those theories are flexible, not strict formulas more likely the guidance maps to compose story. Structure story theories are the frameworks. But the content in the framework depends on each individual’s creativity. Therefore, using those theories won’t make our story generic. Story structure theories are tools to provoke, encourage, boost, and develop creativity. By implementing various structure story theories, film industries are expected to produce films with high-quality story that can be better in conveying any particular, messages.