Movie Consumption Research Articles

Cinema in China: A Bibliometric Journey Through Three Decades of Movie Consumption (1997 - 2024)

The entertainment industry, particularly movie consumption, plays a crucial role in cultural diffusion and economic growth. However, with the rapid evolution of media platforms and the changing dynamics of consumer behaviour, understanding the trends, drivers, and impacts of movie consumption in China has become paramount. This study employs a bibliometric analysis of 68 publications from the years 1997 to 2024, utilizing VOSviewer to investigate research publication trends in movie consumption within China. We aim to identify dominant journals, prolific researchers, and leading research organizations in the field, highlight the most cited research publications and their societal impacts, and develop thematic research clusters around the prevalent terms associated with movie consumption behaviour. Using the Web of Science database, we extracted data to fulfill these objectives. Our findings reveal a significant uptick in research interest post-2011, correlating with China’s cinema boom and digital transformation in entertainment consumption. The analysis reveals that "Hollywood," "Media," and "Ecommerce" emerge as predominant themes, reflecting the nuanced relationship between movie consumption and societal changes in China. The study not only charts the academic landscape but also connects movie consumption trends with broader societal and technological shifts, providing a foundation for future research aimed at understanding and leveraging the dynamics of movie consumption in China.

Naive Bayes Algorithm for Sentiment Analysis on Spider-Man Movie: No Way Home

The rapid development of streaming platforms has significantly changed the landscape of movie consumption. The ease of access and social interaction in online communities has led to the creation of a new pop culture around movies. One interesting phenomenon is the movie Spider-Man: No Way Home, which sparked heated and viral conversations on various social media platforms. This research aims to analyze audience sentiment towards the movie Spider-Man: No Way Home using Naïve Bayes algorithm. Review data collected from online platforms was processed to identify positive and negative sentiments. The choice of Naïve Bayes algorithm is based on its efficiency and ability to classify text. The results showed that the model built was able to classify sentiment with an accuracy of 72.34%. The model is more effective in identifying positive reviews than negative, indicating a positive response from the majority of viewers. However, the model still needs to improve its performance in classifying negative sentiments. This research makes an important contribution in understanding audience preferences and evaluating the success of a movie, especially in the context of the digital era. The results can be utilized by the film industry to improve production quality, marketing strategies, and content development that is more relevant to audience preferences. In addition, this research also opens up opportunities for further development, such as the use of more complex algorithms or combining with other sentiment analysis techniques, as well as application to various types of social media content.

The effects of removing gender-based price discrimination on movie demand: Estimates using smartphone location data

Since 2021, an increasing number of movie complex firms in Japan have eliminated long-standing gender-based price discrimination by replacing discounts for only women with discounts for all customers. This study examines the impact of this discount change on movie demand. Using theater-level visit data by gender and a difference-in-differences strategy, I find increased movie demand for both males and females, indicating inter-gender interdependence of movie demand. A profit analysis shows that the average movie theater profit remains at the same level as that before the discount adjustment. Lastly, combining the difference-in-differences estimates with a random utility model reveals that joint movie consumption enhances paired customers' movie-watching utility.

Prospective associations between Sleep, Sensation-Seeking and Mature Screen Usage in Early Adolescents: Findings from the Adolescent Brain Cognitive Development (ABCD) Study.

Early exposure to mature content is linked to high-risk behaviors. This study aims to prospectively investigate how sleep and sensation-seeking behaviors influence the consumption of mature video games and R-rated movies in early adolescents. A secondary analysis examines the bidirectional relationships between sleep patterns and mature screen usage. Data were obtained from a subsample of 3,687 early adolescents (49.2% female; mean age: 11.96 years) participating in the Adolescent Brain and Cognitive Development study. At Year 2 follow-up, participants wore Fitbit wearables for up to 21 nights to assess objective sleep measures and completed a scale about sensation-seeking traits. At Year 3 follow-up, they answered questions about mature screen usage. Of the sample, 41.8% of the sample reported playing mature-rated video games and 49% reported watching R-rated movies. Sensation-seeking traits were associated with R-rated movie watching one year later. Shorter sleep duration, later bedtime, more bedtime variability, and more social jetlag (discrepancy between the mid-sleep on weekdays and weekends) were associated with mature-rated video gaming and R-rated movie watching one year later. Sleep duration variability was associated with mature-rated video gaming. There was also an interaction effect: those with higher sensation-seeking scores and shorter sleep duration reported more frequent R-rated movie usage than those with longer sleep duration. Secondary analyses showed bidirectional associations between later bedtimes, more variability in bedtimes, and more social jetlag with mature screen usage. Early adolescents with sensation-seeking traits and poorer sleep health were more likely to engage in mature screen usage.

Return of the Movie Night? Analyzing the Impact of Netflix Subscriptions on Offline Movie Spending

The advent of streaming services, like Netflix and Prime Video by Amazon, has led to the expectation that demand for offline movie consumption is likely to die (i.e., consumers will simply stop going to the movies). We study this question in our work, and instead, we find that although streaming services provide value to customers in terms of comfort, convenience, and price, they do not lead to a reduction in offline movie consumption. Instead, we show that the offline movie consumption actually increases because streaming services do not fully substitute for the social aspects of going to the movies or the pleasure that is received from watching movies on the “big screen.” Our work thus speaks to the policies implemented in some countries where streaming platforms have been restricted given the concerns about disruption of the offline movie industry. We believe that these policies are potentially misguided because they assume perfect substitution between the two services. Our work also helps inform managers of movie theaters and streaming platforms by providing arguments for the specific types of service offerings that are more likely to be enjoyed at home versus at the movie theater. As we show in the paper, social and hedonic needs are more likely to be met at the movie theater rather than through streaming services. We reiterate the sentiments expressed by Steven Spielberg from 2019: “I hope all of us really continue to believe that the greatest contributions we can make as filmmakers are to give audiences the motion picture theatrical experience. I am a firm believer that movie theaters need to be around forever.”

Sentiment Analysis of Oppenheimer Movie Reviews: Naïve Bayes Algorithm for Public Opinion

The development of information and communication technology has revolutionized the way people consume and engage with media, particularly in the realm of film. Online platforms such as Netflix, Amazon Prime Video, and YouTube have transformed movie consumption habits, providing a vast array of options for viewers to explore and enjoy. A crucial aspect of this digital landscape is the proliferation of movie reviews, which serve as valuable guides for users seeking to discover films aligned with their preferences. However, the abundance of reviews, often varying in quality and objectivity, necessitates tools capable of effectively processing and understanding these textual data. This research delves into sentiment classification of Oppenheimer movie reviews, utilizing the Naive Bayes algorithm to categorize reviews into positive, negative, and neutral sentiments. The dataset comprising audience reviews and numerical ratings undergoes preprocessing using the TF-IDF method to facilitate numerical representation. Subsequently, the Naïve Bayes algorithm is trained on this processed data to accurately classify sentiments. The model demonstrates exceptional performance, achieving an accuracy rate of 97.45% in distinguishing between positive, negative, and neutral sentiments within Oppenheimer movie reviews. This study underscores the efficacy of the Naive Bayes algorithm in sentiment classification and emphasizes the significance of employing techniques like TF-IDF for enhancing sentiment analysis in the domain of movie reviews.

Influence of movie-related online consumer reviews on movie choice: are there generational differences in processing information cues?

PurposeTo understand how three features of online consumer reviews - the strength of persuasiveness in online consumer reviews (argument quality), the number of online consumer reviews (volume of reviews), and source credibility – are related to the behavioural intentions in the movie consumption context. Besides, the present study aims to explore intergenerational differences (X, Y, and Z) in the patterns of association between three characteristics of online consumer reviews (argument quality, volume of reviews, and source credibility) and an individual’s choice of a movie intended to be watched.Design/methodology/approachThe study sample (n = 518) was recruited from a population of users of IMDb living in Bosnia and Herzegovina. Structural equation modelling and multi-group analysis were used to test the proposed hypotheses.FindingsThe results revealed that argument quality, the volume of reviews, and source credibility of movie-related online consumer reviews are positively related to the intention to watch a movie for all three generational cohorts (X, Y, and Z). Regarding biases in processing information cues, our findings indicate that movie viewers from all three generations (X, Y, and Z) make inferences between source credibility and argument quality. However, biases in the relation between the volume of reviews and the argument quality were found only among X-ers and Y-ers but not among Z-ers.Originality/valueThe present study contributes to the eWOM research stream by examining the role of different characteristics of online consumer reviews (argument quality, the volume of reviews, and the source credibility) in movie consumption. Moreover, it sheds light on how argument quality, the volume reviews and the source credibility interact with the behavioural intentions of different generations and whether these interactions exhibit similarities or differences across three distinct generation cohorts: X-ers, Y-ers, and Z-ers.

Adoption and regular use of portable devices for movie consumption purposes among University of Salamanca students

El presente trabajo estudia el caso de los hábitos de consumo de cine entre los nativos digitales, tomando como punto de partida una muestra de estudiantes universitarios de entre 18 y 24 años de edad. El objetivo principal de este artículo es mostrar la importancia creciente que están adquiriendo los dispositivos portátiles en el consumo de cine y cuáles son sus implicaciones sobre el consumo de los jóvenes adultos. Para ello, se analizarán dos objetivos específicos a través del análisis estadístico de los datos obtenidos de una encuesta de preguntas cerradas, con el fin de conocer qué tipo de cine prefieren consumir los jóvenes adultos y a través de qué dispositivos realizan dicho consumo. Los resultados reflejan la creciente importancia que en este contexto ha adquirido la portabilidad en los últimos años, constituyéndose como un factor clave a la hora de consumir contenidos cinematográficos fragmentados y fragmentarios, un aspecto que tiene como efecto que el usuario joven vea películas y series principalmente a través de plataformas de vídeo bajo demanda (en adelante VOD). Este hecho se explica debido a que el consumo audiovisual se realice en la actualidad a la carta, dónde, cómo y cuándo el usuario quiere, algo típico de nuestra sociedad actual, en la que predomina la cultura de la inmediatez y la velocidad.

Strategies for launching streaming content: Assessing movie-country relatedness and its impact on international popularity.

The study proposes a way to measure the relatedness between countries and movies (movie-country relatedness density) and to test whether this relatedness is an important factor in predicting the popularity of a movie in a certain country. The results show that both movie-country relatedness density and movie ubiquity (i.e., popularity across many countries) are positively associated with a movie appearing in a country's top 20 list even after considering other covariates. Based on these findings, we suggest an OTT (Over-the-tops) movie launching strategy with regard to movie-country relatedness density for both global and local OTT companies. Our study contributes to a growing body of research on movie consumption patterns and provides insights into the factors that determine a movie's success on a global scale. The importance of cultural similarity in adopting films and television shows is widely recognized, but the concept of movie-country compatibility is introduced to take into account the content attributes that cannot be explained by cultural differences. The results suggest that movies that are related to other popular movies in a given country and movies that are popular across many countries are more likely to appear in a country's top 20 list.

콘텐츠 소비 회복력 차이 분석

This study analyzed the change in consumption of theater movies and popular music concerts and the difference in resilience with an ordinal logit model using survey data. The resilience of off-line content consumption was found to be weak in those with low household income and income generation potential. Consumption of theater movies recovers faster with age, and consumption of popular music concerts recovers faster in the Gangwon and Honam areas compared to the metropolitan area. These results suggest that it is necessary to expand policy support, focusing on those who lack economic resources such as income and economic activity rather than age and region in order to increase the resilience of off-line content consumption and bridge the consumption gap. In addition, the difference between the analysis results between all respondents and the actual viewer sample shows that the gap in off-line content consumption among experienced users may be widening.

IP电影：符号消费、异化符号消费及意义构建

IP movies are the mainstream of Chinese film and television today, and they are purely commercial films from the operation mode to the measurement standards. The rapid development of IP films is mainly driven by the commercial market, but the cultural logic behind it is mainly the added value carried by the symbolization of goods. The consumption of IP films is actually symbolic consumption. Therefore, the consumption of IP movies will inevitably show a tendency to consume alienated symbols. In order to better develop IP films, it is necessary to carry out new symbolic meaning construction in the creation process of Chinese IP films.

Motivating factors that lead to consumption of Nigerian movies

This study sought to explore the motivating factors that lead to the consumption of Nigerian Movies, Nollywood. The researcher collected data by interviewing residents of the Shauri Moyo estate using a self-administered questionnaire and a focused group discussion using the FGD interview schedule. Key informants' interviews were also conducted with program production managers from Citizen TV. The Kenyan audience used uses and gratifications theory to analyse different motivations for watching Nigerian movies. The study revealed that Nigerian movies have audiences of all people of all ages, gender, levels of education and living standards of people. It was established that 40 per cent of the respondents were motivated by the entertainment aspect of Nigerian movies, 25 per cent watch them because they are educative, 20 per cent watch because they project African culture such as attire and the foods, 10 per cent confessed that they watched Nigerian movies because they idolise the Nigerian movie actors and actresses. Lastly, 5 per cent watched Nigerian movies for reasons like the accent. In conclusion, this study indicated that Television channels in Kenya air Nigerian movies to entertain their audiences educate them and, at the same time, transmit African culture. This study recommends that, by all means, the Nigerian industry is not perfect. However, it is part of development, so in future, the audience themselves should have some kind of consumer association to be in a position to demand better quality and standard movies.

Motivating factors that lead to consumption of Nigerian movies

This study sought to explore the motivating factors that lead to the consumption of Nigerian Movies, Nollywood. The researcher collected data by interviewing residents of the Shauri Moyo estate using a self-administered questionnaire and a focused group discussion using the FGD interview schedule. Key informants' interviews were also conducted with program production managers from Citizen TV. The Kenyan audience used uses and gratifications theory to analyse different motivations for watching Nigerian movies. The study revealed that Nigerian movies have audiences of all people of all ages, gender, levels of education and living standards of people. It was established that 40 per cent of the respondents were motivated by the entertainment aspect of Nigerian movies, 25 per cent watch them because they are educative, 20 per cent watch because they project African culture such as attire and the foods, 10 per cent confessed that they watched Nigerian movies because they idolise the Nigerian movie actors and actresses. Lastly, 5 per cent watched Nigerian movies for reasons like the accent. In conclusion, this study indicated that Television channels in Kenya air Nigerian movies to entertain their audiences educate them and, at the same time, transmit African culture. This study recommends that, by all means, the Nigerian industry is not perfect. However, it is part of development, so in future, the audience themselves should have some kind of consumer association to be in a position to demand better quality and standard movies.

Exploring reasons Kenya television broadcasts Nollywood movies

This paper sought to explore why Kenya television airs Nollywood movies. The study adopted a qualitative research method. It targeted Citizen and Kiss Televisions’ production managers, focus groups and Nigerian Movie fans. The households were selected randomly. The research consulted documentary sources on Nigerian movies in Kenya. This included gathering information from the internet, Newspapers and research was done by Synovate on Nigerian movie audiences. The obtained data were analysed using descriptive statistics such as mean, mode, percentages, and frequencies. The study concludes that given Nollywood’s great influence over African culture, such an effect is reinforced by the massive consumption of Nigerian movies by Kenyans and Africa as a whole. Many Nigerian video films are filled with religious overtones; therefore, many Africans see most Nigerian movies. These films portray values rooted in their countries of origin. Nigerian video films, as a representation of Nigerian culture, greatly influence an entire population of Africans due to similar cultural practices. The study recommends that Nigerian moviemakers emphasise African culture’s positive sides in their movies. This should be inclusive of marriage ceremonies, the bride prize, family dissolutions, the place of girl/boy child in the African context, African foods and so on. On the other hand, filmmakers should have fewer films on barbaric themes like witchcraft, human sacrifice, and blood thirst vampires. These kinds of movies portray Africa in a Negative way.

Shaping OTT Movie Consumption through Immersive Cinema: A Qualitative Investigation of Consumer Perspectives

Due to the COVID-19 pandemic, the entertainment sector saw a worldwide disruption with restrictions on outdoor activities. Consequently, consumers turned towards video and music streaming services for their entertainment consumption. Several film studios have taken the digital release route on over-the-top (OTT) sites to avoid revenue losses and indefinite delays. However, these non-theatrical OTT film releases need to experiment with different strategies to bring the experiences to par with theatrical ones. This exploratory study aims to provide insights on whether Immersive Cinema can be used to imitate the physical world through digital simulation on OTT platforms to gain credibility in a competitive entertainment market. We conducted semi-structured, qualitative interviews with 21 consumers and Focus Group Discussions with 14 MBA students to understand perspectives about Immersive Cinema consumption on OTT platforms and its potential when compared to traditional theatrical releases. Using the findings of this study, OTT platforms can curate their new films as a direct alternative to theatrical releases.

Parents' involvement on teen's movie consumption in the pandemic era

Abstract Watching movies at home through movie applications now has become a trend in this pandemic era. Adolescents who have online learning at home are forced to entertain themselves with indoor activities; spending more time watching movies is one example. As one of the online movie platforms, Netflix has gained 204 million subscribers in January 2021, following Amazon Prime with 150 million subscribers. This situation becomes a concern where adolescents seemingly have more freedom and access to select movies without parents' awareness. Adolescents are given trust in their competence to be conscious, critical, and analyse their content despite their age. This research's objects were to acknowledge how adolescents gain access to online movies despite the television content rating system and their parents' involvement in the adolescents' selection of movies. The research was conducted using a qualitative method with a case study approach. Informants were adolescents in the range of 11-14 years old and some parents. Results showed that most adolescents gained access to movies through online applications, namely Netflix, YouTube, Telegram, and illegal websites. These adolescents gained this information from friends and the TikTok application. Regarding the parents' involvement, most adolescents claimed that their parents did not contribute to their selection of movies, seemingly ignorant, and some parents even did not know what their children watch and do in their bedrooms. However, a few of them stated that their parents contributed to their selection of movies but sometimes gave adolescents some permission to watch unsuitable movies based on the television content rating system.
 
 

Immersion and Socio-Emotional Experiences During a Movie - Polish Adaptation of the Movie Consumption Questionnaires.

The aim of the article is to present a description of the psychometric properties of the Polish adaptation of the Movie Consumption Questionnaires (MCQ) - Immersion and MCQ - Experience. The instrument, created by Fornerino, Helme-Guizon and Gotteland (2008) allows measuring movie consumption in terms of immersion, the intensity of emotions and the intensity of social interactions during the screening. The Polish adaptation of the tool involved two stages, whose participants were movie-goers attending screening events at a cinema (N=577). The factor structure of the adapted instrument strongly resembles that obtained in the original study (RMSEA<0.08, CFI>0.95, SRNR<0.08) and has demonstrated very good internal consistency (α>0.8, ω>0.8). Criterion validity was also verified through the use of questionnaires that examine the following: affect - PANAS-X (Fajkowska & Marszał-Wiśniewska, 2009), emotionality - HEXACO (Szarota et al., 2007) and mindfulness - Mindful Attention Awareness Scale (Skala Świadomej Obecności; Radoń, 2014). Results of the analyses suggest that the adapted scales may be used as satisfactory tools for measuring movie consumption. By the same token, they may be useful in further psychological exploration of the movie screening phenomenon, with particular regard to immersion, emotional reactions and social interactions of the viewer.

Linking Positive Psychology and Intercultural Competence by Movies: Evidence From Brunei and Romania.

Cultural consumption provides numerous benefits for individuals, especially for younger generations. Imaginary travel narratives can shape people’s perceptions about other cultures thus are useful tools for developing intercultural competences. On the other hand, positive psychology provides an approach to understand different aspects of students/youngsters’ wellbeing. This study investigates the wellbeing associated with learning the meanings of being different and growing in emotional resilience, flexibility, and openness to other cultures through movies. The positive psychology approach was used to examine the benefits of movie consumption in order to investigate the activation of five domains of wellbeing: positive emotions, engagement, relationships, meaning, and accomplishment (PERMA). The research methodology consisted of the experiment and questionnaire survey. The students’ scores on the wellbeing and intercultural competences were measured before and after the intervention. The intervention consisted of sessions of watching two example movies, Eat Pray Love and Hotel Transylvania 2, and subsequent group discussions about the movies’ respective messages. The participants’ group was formed by 236 university students from Brunei and Romania, ages between 18 and 49years old. The results showed an increase in students’ openness to other cultures and across some of the wellbeing PERMA dimensions. The study makes a theoretical contribution by connecting positive psychology and the intercultural competence constructs and the influences of movies.

Sustainable Moviegoer Intention to Attend Cinemas Based on the Theory of Planned Behavior

The present research aims to determine which factors of the theory of planned behavior most influence the intention to watch Mexican movies, and, at the same time, to measure the impact of eWOM and the level of audience involvement in the intention. For this purpose, an online questionnaire was applied through social networks, obtaining a sample of 334 Mexican people over 18 years old. The data were analyzed using a partial least squares structural equation model (PLS-SEM). The results confirmed that the variables that explained the intention to watch Mexican movies were attitude, perceived purchase control, and involvement, with the latter being the attitude variable the one that contributed the most to intention. The present research contributes to the literature on movie consumption in Mexico with an empirical perspective from the marketing field.

Nostalgia, nation and bollywood: second-generation Indian-Americans and the consumption of movies

ABSTRACT A study of Bombay Cinema, or the so-called Bollywood, will no longer be complete without looking at the consumption of Bollywood movies because this cinema is now global in a specifically diasporic sense. This paper is an attempt to unveil the nature of engagement between Bollywood movies and second-generation Indian diaspora. This study is based on the coming of age of the second generation of the Indian-American diaspora and their engagement with twenty-first century Bollywood movies. A group of young Indian Americans were interviewed over the telephone to find out the ways in which second-generation consume movies in comparison to that of the first-generation migrants. This article shows how their readings of Bollywood movies converge on themes of nostalgia, nation, and feminism, along with how their situational identities play out to resolve their sometimes contradictory cultural expectations.