Demand For Cinema Research Articles

Management Structure in the Film Industry

Introduction. The scientific and technological revolution and digitalisation introduced into various spheres of life also bring with them opportunities for creating completely new film content. The demand for cinema is constantly growing, as it is one of the most popular and profitable industries in the world. Purpose and methods. The purpose of the article is to identify the stages of contemporary film production organisation, determine the sequence of processes for creating a film product, analyse employees’ functions in the field of cinema, and substantiate a typical scheme of a film project organisational structure. The methodological basis of the study is the systemic and interdisciplinary approaches, as well as terminological, historical, calculation and constructive, structural and functional, and expert methods. Results. The stages of modern film production organisation are identified. The sequence of creating a film product processes on the way from creation to consumption is determined. The employees' functions in the field of cinema are analysed. A typical scheme of a film project's organisational structure for the perspective is substantiated. Conclusions. Summarising the scientific theoretical provisions on the organisation of management and a team of specialists in the field of cinematography, the article substantiates a flexible adaptive standard system for organising the filming process, which ensures effective interaction between various participants in the film making process, helps to avoid mistakes and delays in production, ensure compliance with the budget and deadlines, and deliver a high-quality film product that will be commercially viable for producers. In terms of scientific novelty, this study has significant potential for the development of management theory and practice, as well as for improving film production efficiency.

Validity of Rational Addiction Model for Cinema Demand in Turkey

This study examines the demand for cinema in Turkey using economic and other explanatory variables. The study includes annual data for the period 2009-2017 on 26 sub-regions of Turkey and a dynamic panel data analysis was performed. Furthermore, the validity of the rational addiction model developed by Becker and Murphy (1988) has been investigated for the Turkish cinema market and the role of addiction in cinema demand has been discussed. Estimation results from the dynamic panel data model show that the number of screen and the share of domestic films in total films are an important component in explaining cinema demand. Furthermore, the results showed that the demand for cinema is compatible with the rational addiction model.

Cheap Tuesdays and the Demand for Cinema

Many movie markets are characterised by extensive uniform pricing practices, hampering the ability to estimate price elasticities of demand. Australia presents a rare exception, with most cinemas offering cheap Tuesday ticket prices. We exploit this feature to estimate a random coefficients discrete choice model of demand for the Sydney region in 2007. We harness an extensive set of film, cinema, and time-dependent characteristics to build a rich demand system. Our results are consistent with a market expansion effect from the practice of discounted Tuesday tickets, and suggest that cinemas could profit from price dispersion by discounts based on observable characteristics.

Cinema Publishing in the Ottoman Empire and First Known Turkish Cinema Newspaper: Turkish Cinema

Osmanlı’da ilk Türkçe sinema gazeteleri 1914’te yayın hayatına girmiştir. Bununla birlikte Osmanlı dönemi sinema yayıncılığı ve yayınları az çalışılmış bir konudur ve bu nedenle büyük oranda meçhul kaldığı söylenebilir. Bu makalede Osmanlı sinema ve basın tarihinin – şimdilik bilindiği kadarıyla – en eski ama kuvvetle muhtemelen ilk sinema yayını olan Türk Sineması ilk kez gün ışığına çıkarılmış, tanıtılmış ve tahlil edilmiştir. İkinci olarak bu makalede, Türkçe sinema yayıncılığını doğuran toplumsal, iktisadi, siyasi ve ideolojik dinamikler tartışılmıştır. Diğer bir deyişle, ilk Türkçe sinema gazetesini/gazetelerini neyin/nelerin doğurduğu ve şekillendirdiği sorusu cevaplandırılmaya çalışılmıştır. Bu minvalde Osmanlı’da yerleşik sinema salonlarının doğuşu ve gelişimi, Balkan Savaşları ve 1913-1914 Boykotajı, Türk milliyetçiliği ve onun iktisadi boyutu olan “milli iktisat”, sinemaya yönelik seyirci rağbeti ve sinemanın ticari bakımdan kazançlı bir işkolu hâline gelişi temas edilen bazı konulardır.

The Demand for Cinema in Sweden: An Application of Proportional Odds Model

ABSTRACTThis article examines the determinants of demand for cinema using a randomly drawn sample of the movie-going population in Sweden. A proportional odds model is applied to capture the natural ordering of dependent variables and any inherent nonlinearities. The findings show that individual demand for cinema depends on gender, age, educational attainment, income, marital status, critical reviews, word of mouth, and willingness to pay. The fact that cinema demand is correlated with economic and socio-demographic variables has important implications for theoretical and empirical research in cultural economics and human decision-making processes.

Demand for cinema and diverging tastes of critics and audiences

Cinema is an experience good and consumers will use reviews by professional critics to reduce the inherent uncertainty of consumption. Two aspects of demand for cinema is analyzed; the demand of critics and the demand of the audience. Estimations are done in two steps on a set of Swedish data covering cinema ticket sales and review scores. I conclude that there is a great deal of discrepancy between which characteristics the audience favor and which ones professional critics value. On average it is however concluded that there is a positive relationship between review scores and ticket sales. Due to data limitations one cannot conclude whether this is a case of predication or influence.

English

This article seeks to identify the various factors affecting the demand for cinema and effectiveness degree of each factor. In this paper we seek to answer the main question that how much economic, cultural, social, individual and environmental factors affect demand of going to the cinema. In order to find the answer to the aforesaid question through survey, information about a sample of 800 who go to cinema in Tehran is collected. These people are selected through simple random sampling. The collected data have been analyzed via factor analysis and path analysis method. The results show: demand for going to cinema follows economic, cultural, social, individual and environmental factors and with consideration to amount of standard coefficient, it should be said that economical factors and environmental factors respectively have the highest and lowest impact on demand for going to cinema.     Key words: demand for cinema, economic factors, social factors, cultural factors, environmental factors, Individual factors, factor analysis.

Cheap Tuesdays and the demand for cinema

Many movie markets are characterised by extensive uniform pricing practices, hampering the ability to estimate price elasticities of demand. Australia presents a rare exception, with most cinemas offering cheap Tuesday ticket prices. We exploit this feature to estimate a random coefficients discrete choice model of demand for the Sydney region in 2007. We harness an extensive set of film, cinema, and time-dependent characteristics to build a rich demand system. Our results are consistent with a market expansion effect from the practice of discounted Tuesday tickets, and suggest that cinemas could profit from price dispersion by discounts based on observable characteristics.

Performing Arts and Cinema Demand: Some Evidence of Linder's Disease

This study presents some results for performing arts demand in Norway, obtained by means of a complete demand system with performing arts (dance, theatre and concert performances) and cinema as two of several cultural/media goods. The calculations are carried out on the basis of consumer survey data for more than 21,600 households from the period 1986–2002. The results provide a fairly firm basis for concluding that the demand for performing arts in Norway is income elastic while cinema is income inelastic. However, since both are time-intensive in consumption, they are subject to Linder's disease which is due to a shadow value of leisure increasing with income. This implies a negative bias in the income elasticity as estimated by us. Our calculations suggest that the bias has become bigger in the period analyzed, i.e., that Linder's disease has become more serious for both performing arts and cinema over time. The results for other cultural/media goods support this finding. The results do also indicate that the demand for both the performing arts and cinema is price inelastic, and that they generally are substitutes to each other as well as to other cultural/media goods. One notable exception is performing arts and audio-visual media which, according to our findings, seem to be complements suggesting that decreases in the prices of AV media stimulate the demand for performing arts. JEL Classification: D1, Z1

Le cinéma est-il devenu un loisir de luxe ? Une étude économétrique de la demande Française

Cet article analyse la demande française de films en salle entre 1975 et 2004. L’article étudie le rôle de chacune de ces variables explicatives dans cette évolution (prix des places, revenu des consommateurs, concurrence du petit écran et de la vidéo), et mesure la sensibilité de la demande de cinéma à leurs variations de court et long terme. L’élasticité-prix obtenue montre que le cinéma est relativement proche des « higher performing arts » de Throsby [1994]. Les élasticité-revenu du modèle viennent confirmer ce point de vue, puisqu’elles classent le cinéma parmi les biens de luxe. Pour ce qui est de l’impact de la télévision et de la vidéo, les résultats significatifs à long terme confortent leur impact négatif sur la consommation de films en salle. Regarder un film à la télévision ou avec la vidéo est devenu, semble-t-il, un moyen plus populaire que d’aller le voir dans les salles de cinéma. Le cinéma serait devenu un bien de luxe, perdant le statut de bien « forain » puis populaire qui fut jusqu’ici son apanage.

Rethinking rational addictive behaviour and demand for cinema: a study using Japanese panel data

In this article, I explore the extent to which the rational addiction model developed by Becker and Murphy (1988) can account for cinema attendance, using panel data from 47 Japanese prefectures for the years 1994–1998. Controlling for unobserved prefecture-specific fixed effects and an endogeneity bias of the lagged and lead-dependent variables (the volume of cinema attendance), by using a fixed effect two-stage least squares estimation, I find that people in Japan are likely to be addictive. This finding is contrary to that found in the United Kingdom (Cameron, 1999). Further results suggest that the younger the people are, the more video is a favoured substitute for the cinema. If other factors are equal, the past accumulated consumption of young people is, of course, smaller than that of older people. Hence, the addictive behaviour is more attenuated for younger people because of their lesser past consumption. The complementary effect of past consumption is more likely to outweigh the substitution effect of preferring video as people become older. These findings are in accord with the Becker and Murphy (1988) model of rational addiction.

Cinema Demand in Korea

This study analyzes the determinants of cinema demand in Korea for 1963 to 2004. The study specifies a time series-based simultaneous-equations model and considers some variables that have not been included in other studies of cinema demand at the national level. The estimation results indicate that cinema demand increases with an increase in the variety and quality of movies but decreases with an increase in admission price and television diffusion. Moreover, cinema services are a substitute for trips to cultural facilities and a complement to cable television services. The results also indicate that attendance and income are significant determinants of cinema supply.

Cinema and TV: An Empirical Investigation of Italian Consumers☆

A number of papers have empirically investigated the demand for cinema by applying the rational addiction model proposed by Becker and Murphy (1988). However, they fail to take account of the relationship between movie and television consumption. The purpose of this paper is to extend previous works on cinema demand by including both cinema and television movie consumption. To this aim a panel-data generalized method of moments (GMM) methodology is used to estimate a dynamic model of double rational addiction as proposed by Bask and Melkersson (2004) using a sample of monthly time- and cross-sectional series covering the 20 Italian regions over the period 2000–2002.

Cinema Demand In Germany

This paper examines the German cinema market using time series data covering the period 1950–2002. Applying estimation techniques such as OLS, 2SLS and SUR, we identify interrelations between the number of seats, the average real prices and the demand for movies per capita. Furthermore, we test for the long-run relationship between demand, prices and real income and estimate the elasticity of demand with respect to these variables.

The Lure of the Multiplex? The Interplay of Time, Distance, and Cinema Attendance

Models of cinema demand have tended to employ aggregate data and focus on price and income as key variables. Surprisingly, the effects of travel time and location have not been formally investigated. The authors do so, following developments in the environmental economics literature, by presenting estimates of individual travel cost models for multiplex and nonmultiplex cinemas. A key finding is that travel time has a significant negative effect on nonmultiplex cinema trips, but that this does not hold for multiplex trips; reasons for this are advanced. In the case of multiplex cinema trips, a range of phenomena relating to minimising time-cost uncertainty are shown to be significant. The authors also contribute to an explanation for the ‘overscreening’ phenomenon observed in the United Kingdom and the USA, which has led to the closure of some relatively recently built multiplexes.

Rational addiction and the demand for cinema

This paper estimates Becker's rational addiction model using a demand for cinema equation. The results do not seem to be strongly supportive of the rational addiction model. As in Becker, Murphy, Grossman we find a significant coefficient on the lead consumption term and a quite plausible discount rate in OLS estimation with significant price effects. However the IV estimates preferred by Becker et al. fails to give support for any elements of the model.

Cinema demand in Spain: a cointegration analysis.

In this paper we explain the decline in cinema attendance in Spain since 1968. We use a cointegration analysis to estimate an individual demand function for cinema, with annual data and in terms of average attendance per inhabitant. We find that cinema is a luxury good and that its demand is elastic with respect to its price. We also show that television acts as a deterrent with regard to cinema attendance.

The demand for cinema in the United Kingdom

J^emand functions for leisure activities such as sport (Cairns, Jennett & Sloane, 1986) and theatre-going (Moore, 1968, Withers, 1980, Kelejian & Lawrence, 1980) have been estimated by economists. Relatively little work has been done on the cinema (Spraos, 1962, Cameron, 1986, Cameron, 1988). Cinema attendances have fallen rapidly since the 1950's. As this accompanied a rapid growth in incomes we might suspect that the cinema is an inferior good. Higher income may have caused a switch to activities such as opera and ballet which might be superior goods (Browning & Sorrell, 1954, Halsey, 1972, Throsby and Withers, 1979). Household expenditure survey data for Australia (Throsby & Withers, 1979, p.104) and Great Britain (Cameron, 1986, p.52) shows a consistent increase in spending on cinema attendance as income rises suggesting that it is a normal good. Attempts to isolate the income elasticity of demand for cinema, using econometric methods, have failed to find anything of statistical significance whether using cross-section data (Spraos, 1962) or time series (Cameron, 1986, 1988). This paper uses pooled cross-section time-series data which provides a well defined positive income elasticity so long as a log-linear functional form is used.