Box Office Research Articles

Shaw in America (Bernard Shaw on the American Stage: A Chronicle of Premieres and Notable Revivals)

Shaw in America (Bernard Shaw on the American Stage: A Chronicle of Premieres and Notable Revivals)

Promosi Pariwisata Bali dan Queensland melalui Film “Ticket to Paradise”

The film industry and tourism have a very strong relationship, which can benefit one another. Various tourist destinations use films to promote their area and attract tourists. There are also many films made in tourism destinations and showcase these destinations, so as to attract tourists to visit them. As a world popular destination, Bali has been choosen by several film producers to make film here such as the international box office movie “Eat Pray Love” (2010) and the most recent one is “Ticket to Paradise” (2022). The story of “Ticket to Paradise” sets in Bali but did not shoot here, instead in Queensland Australia because of the Pandemic Covid-19. This study aims to analyze the benefits of film "Ticket to Paradise" for Bali and Queensland tourism tourism industry The analysis was carried out using interpretive qualitative methods in investigating the tourism symbols contained in the film. In terms of the storyline, dialogue and visuals contained in this film, this study concludes that the film "Ticket to Paradise" both promotes the tourism industry in Bali and Queensland, although the promotional impact will be more optimal if the film is made and shot in Bali.

Film Marketing in the Age of the Mobile Media How the Chinese Effectively Promote Their Films Through Douyin (Tik Tok)

Hailed as one of Chinas most profitable blockbusters to date, Changjin Lake is a film about the Peoples Volunteer Army fighting in North Korea. The combat troops on the eastern front pursued the enemy with iron-like will and heroic fighting spirit in a cold and harsh environment. They fought heroically and reversed the situation on the battlefield, showing their military strength and national prestige. Released in 2021, it has been reported that Changjin Lake underwent a box office gross of 5.694 billion nation-wide. Given its box office success, it is obvious that Changjin Lake has a pretty good audiovisual quality. However, its stunning audiovisual quality does not account for the only reason behind its domestic success. According to public information released by Changjin Lakes publicity team in October 2021, the films official Douyin account had 2.64 million fans, and its three Douyin videos had more than 100 million views in a single stream while the film was widely shown in cinemas. In total, Douyin videos about Changjin Lake has been viewed more than 11.25 billion times. As exemplified by Changjin Lakes extraordinary market performance, with the popularization of short video genres, Douyin and other platforms in recent years have become an important publicity channel for the promotion of commercial films.

Future Development Direction of Chinese Musical Film-By Comparing with the American Musical Film

With the emergence of musical films in mainland China in recent years, the narrative logic, story, song and dance of musical films cannot attract audiences. This paper is to discuss the future development trend of Chinese musical film. This research compares the advantages and disadvantages of the Chinese musical film The Day We Lit Up The Sky and the American classic musical film Chicago via case studies and literature review. Aiming at the aesthetic analysis of these two musical films, this paper discusses the content, theme, song and dance, awards, box office, audience analysis and so on. The research results show that the development of Chinese film industry is later than the United States and Europe, so there is still a lot of room for progress. This paper only analyzes two musical films with different area styles. Chinese musical films should break out of the conventional plot and use a lot of star cameos to attract audiences. The use of truly high standards of music, high quality dance, high level of art and unique film content to produce Chinese song and dance film, but also need to integrate its unique Chinese characteristics, culture and thought. The development trend of Chinese musical films in the future is to walk out of a road belonging to Chinese characteristics and find a positioning and direction that belongs to China, so as to make them different from Hollywood musical films and Bollywood.

Improving box office projections through sentiment analysis: Insights from regularization-based forecast combinations

The increasing reliance on box office revenue as a real activity tracker necessitates a deeper understanding of how sentiment affects this micro-level indicator. Although previous research has attempted to model the nonlinear relationship between sentiment and box office performance, the issue of model uncertainty remains unresolved. In this study, we analyze data from the North American film market between October 1, 2010, and June 30, 2013, to examine the potential benefits of adopting forecast combination approaches for predicting box office performance using sentiment data. Our results indicate that regularization-based forecast combination significantly improves predictions compared to individual forecasters and alternative combination methods. Furthermore, we propose a novel predictor ranking approach utilizing bootstrap resampling, which reinforces the significance of all five sentiment measures as top predictors, thereby offering valuable insights into the correlation between sentiment and box office revenue.

The Analysis of the Factors that Influence the Film Revenue

As the rapid development of the economy in this era, in response to the needs of people in modern society, people are also demanding more and more movies. the film industry is also in constant development. Firstly, summarizing the results of other domestic and foreign scholars' research on the analysis of factors influencing box office revenues by reviewing national and international academic websites for information related to the topic of this paper. Afterwards, in this paper, analysis of the factors that influence movie revenue with respect to the data set on movies provided by Kaggle website which contains the information of more than 10,000 movies. By choosing the characteristics from the data set which are revenue, popularity, runtime and vote average followed by performing visual analysis showing the relationship between the response variables and independent variables and building the linear regression model. The result shows that the popularity, budget and vote average have significant effects on the revenue. Finally, the suggestions are made on the factors influencing each film's box office revenue and also expressed positive thoughts on the future development of the film industry.

Acting like an Actress

The new edition of a book about the box office failure of the 1990 movie Bonfire of the Vanities provides a chance to consider the representation of offensive, scurrilous, and sensitive subjects in art.

Spectator Experience Goes Over-the-Top during the Pandemic: From Cinema House to the Home Box Office

Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsAnupama A. P.Dr. Anupama A. P, Assistant Professor, School of Social Sciences and Humanities, VIT-AP University, Amaravati, Andhra Pradesh.Vinod BalakrishnanDr. Vinod Balakrishnan, Professor, Department of Humanities and Social Sciences, National Institute of Technology, Tiruchirappalli, Tamil Nadu.

The dynamic impact of electronic word‐of mouth on movie box office sales: Based on innovation diffusion theory

AbstractElectronic word of mouth (eWOM) is one of the most influential forms of information and strongly affects customers' willingness to adopt new innovations. Using four metrics of eWOM from YouTube—the numbers of likes, dislikes, views, and comments—this study empirically investigates the dynamic relationships between eWOM and movie box office sales based on innovation diffusion theory. The results show that the innovation diffusion process is applicable in the movie industry. That is, the impacts of the number of views, likes, dislikes, and comments for movie trailers on YouTube on movie box office revenue are first increasing and then gradually decreasing.

What reviews foretell about opening weekend box office revenue: the harbinger of failure effect in the movie industry

We empirically investigate the harbinger of failure phenomenon in the motion picture industry by analyzing the pre-release reviews written on movies by film critics. We find that harbingers of failure do exist. Their positive (negative) pre-release movie reviews provide a strong predictive signal that the movie will turn out to be a flop (success). This signal persists even for the top critic category, which usually consists of professional critics, indicating that having expertise in a professional domain does not necessarily lead to correct predictions. Our findings challenge the current belief that positive reviews always help enhance box office revenue and shed new light on the influencer-predictor hypothesis. We further analyze the writing style of harbingers and provide new insights into their personality traits and cognitive biases.

Effectiveness and Reflection: Short Video Marketing Explodes the Market of Domestic Literary Films-- A Case Study of Return to Dust

The audience spontaneously acted as "tap water" to initiate short video marketing, successfully triggering the box office market of the domestic literary film Return to Dust, making it a typical case of the film industry with great significance. The "tipping point" of the film at the box office is not only due to the combined effect of the dissemination of the short video of secondary creation and the live streaming of the traffic stars but also due to the topic sense created by the spiritual core of the film itself. At the same time, it benefits from the cross-media communication environment created by the UGC (user-generated content) model and the precise push of big data. With the combined force of these three parties, a breakthrough effect was formed, creating a "box office miracle" for domestic literary films. The short video explosion of the domestic literary film market is quite enlightening: only by taking quality as the core to create excellent films and taking traffic as a gripper to promote film cross-media marketing, can we get out of the film development road of "traffic + quality" with Chinese characteristics.

An Exploration of the Dynamics Between Social Media and Box Office Performance

An Exploration of the Dynamics Between Social Media and Box Office Performance

Wakanda’s ‘digital colonialism’: looking to Africa to re-form Hollywood’s gaze

With the box office success of the recent Black Panther films it may seem that Hollywood’s approach to such films is slowly accommodating a domestic audience’s demand for diversity. Yet, there is a danger in assuming that these films are still largely made for white audiences, since these audiences and their representatives in Hollywood boardrooms may become convinced that films like this are proof of Hollywood having engaged with Africa and done enough about diversity. This paper argues that to ensure the continued success of diverse artists in Hollywood and elsewhere the focus should extend beyond a study of the domestic market and look toward the formal ‘alien esthetic’ engagements and structure of the colonial gazing at spectacle that Hollywood demands all its audiences invest in. This paper presents Africa’s established experience of super diversity and its recognized authority in the arts – particularly the way its formal esthetics of spectacle and fantasy exceed the visual and are entwined with the lived-conditions of its audiences – as central to approaching a deeper understanding of diversity in cinema. Drawing upon this “progressive African aesthetic” to expand Hollywood’s formal engagement with fantasy and visual spectacle, opens an opportunity to decolonize Hollywood’s gaze and understand diversity in cinema more deeply.

Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases

Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases

Building a Timeline for LGBTQ+ Global Cinemas (1910–2019): Movie Production Trends from a Collaborative Internet Cinema Database

Building a Timeline for LGBTQ+ Global Cinemas (1910–2019): Movie Production Trends from a Collaborative Internet Cinema Database

‘The Billings verdict’:Kine Weeklyand the British Box Office, 1936–62

This article analyses the annual surveys of the British box office compiled by chief film reviewer R. H. (‘Josh’) Billings for the trade paper Kinematograph Weekly between 1936 and 1962. Billings's surveys, known as the ‘Book of Form’, came to be accepted as an authoritative guide to the performance of films at the British box office despite the absence of any actual revenue figures. The article considers how the ‘Book of Form’ was compiled and compares it to various archival sources that provide hard evidence of film revenues in Britain. It concludes that, despite some anomalies, the ‘Billings verdict’ provides a broadly accurate overall summary of the ‘winners’ at the British box office over a period of a quarter of a century.

Towards Data-Driven Decision-Making in the Korean Film Industry: An XAI Model for Box Office Analysis Using Dimension Reduction, Clustering, and Classification

The Korean film market has been rapidly growing, and the importance of explainable artificial intelligence (XAI) in the film industry is also increasing. In this highly competitive market, where producing a movie incurs substantial costs, it is crucial for film industry professionals to make informed decisions. To assist these professionals, we propose DRECE (short for Dimension REduction, Clustering, and classification for Explainable artificial intelligence), an XAI-powered box office classification and trend analysis model that provides valuable insights and data-driven decision-making opportunities for the Korean film industry. The DRECE framework starts with transforming multi-dimensional data into two dimensions through dimensionality reduction techniques, grouping similar data points through K-means clustering, and classifying movie clusters through machine-learning models. The XAI techniques used in the model make the decision-making process transparent, providing valuable insights for film industry professionals to improve the box office performance and maximize profits. With DRECE, the Korean film market can be understood in new and exciting ways, and decision-makers can make informed decisions to achieve success.

The Ripple Effect of Firm-Generated Content on New Movie Releases

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.

A Case Study of Hi Mom's Social Media Marketing Strategy

Hi Mom is a movie released in Chinese New Year with widespread publicity and well-known movie stars. It became one of the hottest films in the 2021 Spring Festival Movie. The film grossed more than $5 billion at the box office, which is undoubtedly a huge success. In addition to impressing audiences with a unique "family" storyline and a different narrative approach, the marketing and publicity strategies of a movie are also necessary. The research direction of this paper is mainly content and publicity. For example, the selling points and opportunities of films with a box office of more than 5 billion Yuan are worthy of deep analysis, especially the role production companies play and the way to implement early publicity and promotion. The research adopts qualitative analysis by using a case analysis. Comparing the early stage (before the movie is published), the middle stage (during the movie is released) and the late stage (after the movie is dropped), it is found that compared with the first two time stages, the late stage after the movie released is obviously short of play rate in video platform and click number in short videos. The theme of family films in Chinese film market is simple, and some films have some problems in late release. Some suggestions are continuing to promote the relevant elements, deepening the theme to impress the audience and promoting the marketing in more innovative ways.

Netflix’s complicated role as an innovative disruptor in the film industry

This article analyzes specific aspects of industry practice to consider ways in which Netflix has proven itself an innovative disruptor in the film industry. By applying Clayton Christensen’s theory and model of innovative disruption to Netflix, it addresses ways both Netflix and “incumbents” (in this case, legacy film industry businesses, namely the Hollywood studios) epitomize the concept, and what this has meant and might mean in the near future for the industry as a whole.While the streaming platform’s categorization as an innovative disruptor is not new and has drawn plenty of criticism, the author pulls from a combination of academic research and up-to-date coverage in trade journals to analyze four key areas of industry practice where the label could be justified. These four areas are: the skipping and/or collapsing of the usual distribution windows; the traditional lack of clear viewership data to compare with theatrical box office figures; the inclusion in prestige events like Cannes and the Oscars; and the use of metrics and algorithms to track and target users in minute detail.The article also analyzes ways in which Netflix itself has exploited and promoted the ‘innovative disruptor’ label as advantageous for its own business. The steps which have gotten Netflix to where it is today offer insight into film business strategies and industry trends that are actively shaping the future of the industry. This is reflected in how quickly and constantly the film business changes, underscoring how some of the data and information detailed in this article may already be out of date by the time of publication.The article draws conclusions about why Netflix has faced concentrated pushback from legacy businesses in each of the four industry areas analyzed. The article also considers ways the industry and the incumbent business model are themselves adapting as a result. These dual realities demonstrate the full arc of disruption.