The Effects of Vertical Integration on the Release of New Films

This article both theoretically and empirically addresses how a vertical structure in the motion pictures industry determines the number of prints a distributor releases of a new film. A simple theoretical model shows that the optimal number of copies is increasing on the expected demand for the film and the revenue share of the distributor and decreasing on the cost of each copy. The model also predicts that the optimal number of copies will decrease with the number of theaters that are vertically integrated with the distributor, as long as running a cinema requires financing a non-negligible cost of capital. The theoretical results are empirically tested using a very rich dataset of films' exhibition patterns in the major Chilean markets. The empirical results show that, on average, a non-integrated distributor releases 8 more copies than an integrated distributor.     

Market Competition and Cultural Tensions Between Hollywood and the Korean Film Industry

The market shares of Hollywood movies in European and Asian markets are so large that policymakers around the world are concerned about the import domination not only in theaters but also in the subsequent windows. Media economists acknowledge that domestic producers have an advantage in terms of a "cultural discount," referring to the unavoidable disadvantage of imported films. However, expenditure on a film's production also determines the extent of popular appeal, thus creating an advantage for films that have a large and wealthy home market base such as Hollywood. In this article, I aim at understanding the dynamics of these 2 seemingly opposing forces in the motion picture market in Korea. I review the film market in Korea, explore the relation between performances of 2 windows, theaters and home video, over the two countries-the United States and Korea-and compare the determinants of performance of Hollywood and local films in Korean box offices. A strong hit orientation and preference for local content was empirically found.     

Stanley Kubrick in the Museum: Post‐cinematic Conditions,Limitations, and Possibilities

This paper contextualizes the Stanley Kubrick exhibition, a worldwide exhibition tour program dedicated to showcasing the complete oeuvre of the filmmaker Stanley Kubrick, within ‘post‐cinematic’ conditions. Since the mid‐1990s, the formal and experiential components of the cinema in the 20th century have increasingly become displaced from the traditional apparatus and site and ‘relocated’ within new technological and institutional platforms, and museums have become one of those new sites for content consumption. The paper discusses both the limitations and possibilities of the exhibition as it is considered to represent the migration of cinema into the art museum context as one salient phenomenon of post‐cinematic conditions. The Kubrick exhibition is explored to uncover the underlying tensions of the ‘exhibition of cinema’ as a key trend of major international museums, between the movie theater as black box and the art museum's exhibition space as white cube. It considers the difference between these two institutional platforms and their conceptions of objecthood, artifact and the temporal economy of the viewing experience. The author argues that this event succeeds in realizing the possibilities for revivifying three constants of cinema: film auteur, cinematic apparatus, and intermediality. The ambivalence demonstrates that while the museum's exhibition of cinema inevitably removes some of its ontological essences, it also preserves and revivifies others.     

Chinese Media: Higher Value Than Bigger Size

The globalization phenomenon has reopened the debate on the concentration of media and entertainment industries, particularly in the film distribution market. Some authors consider that the dominant position of U.S. companies comes from the higher identification of American films with the tastes of the European audience. Others argue that the Hollywood success is mainly due to its control of the distribution system. U.S. films account for an average of 63.4% of the European market. In return, European films represent 3.6% of the North American box office. There are around 450 active film distribution companies in Europe, the majority of them being nationally controlled firms, and only a small percentage of them belong to U.S. majors. Nevertheless, these U.S. subsidiaries are ranked among the top 10 leading film distributors in Europe according to market share. This article attempts to make a further contribution in market concentration analysis, looking at the situation of film distribution in the 5 biggest Western European countries. It also explores if the success of American companies is due to their management and marketing skills or if, by the contrary, it is the consequence of their dominant market positions.     

Market change and diversity in the Korean movie market

In this study, the relationships among the different, measurable aspects of media diversity (source, content and exposure) were examined. The aim was to look at how changes in the market environment affect the diversity of movies that are exhibited. The Korean movie market since the late 1980s provides a fruitful example of how an increased exhibition outlet affects the source, content and exposure diversity. An analysis of movies that were exhibited in movie theaters between 1990 and 2006 reveals that the increase in movie screens does not affect each dimension of diversity equally; and the relationship among the three distinct dimensions of diversity does not necessarily have a consistent pattern. The Korean market is the case where the expansion in the exhibition market benefits consumer diversity but not necessarily the source diversity.     

The Changing Role of Hollywood in the Global Movie Market

Does Hollywood dominate world cinema markets with American taste, culture, and values through the exportation of films produced mainly for its domestic (US and Canada) market? Or does Hollywood supply the films that world audiences demand and, because of the logistics of distribution, screen these films first in the domestic market prior to exhibition in foreign markets? In this article, the authors empirically analyzed the global market for motion pictures to provide statistical evidence that can speak to these questions. They examined data on nearly 2,000 films exhibited from 1997–2007, inclusive, in the United States and Canada, Australia, France, Germany, Mexico, Spain, and the United Kingdom—markets that today collectively account for over 75% of worldwide cinema box-office revenue. The empirical evidence provides support for the hypothesis that the supply of Hollywood films has accommodated global demand as the relative size of the U.S. domestic market has decreased. There is no evidence that box-office success in the United States creates a contagion that spreads to other film exhibition markets; however, box-office success in international markets appears to be less uncertain for films that have been successful in their U.S. releases.     

Class markers in the mass movie audience: A case study in the cultural geography of moviegoing, 1926‐1932

In the 1920s, Hollywood moved to normalize a vertically integrated industrial structure based on centralized control over film production, distribution, and exhibition. The intensity of this effort at greater corporate rationalization increased dramatically between 1926 and 1932, as major studios aggressively assumed ownership of key first‐run movie palaces in cities and towns across America. Current studies of moviegoing during this period often suggest that studio control over exhibition helped standardize the contexts of film reception, thereby pressing pre‐existing class specificities of moviegoing into a more easily managed and legitimized middle‐class form of cultural practice. The case study presented here offers a theoretically‐informed but empirically grounded investigation of film exhibition and moviegoing during this period, and argues that film exhibition and moviegoing continued to be marked by cultural distinctions that helped articulate class relations in the wider social formation.     

Framing the Revolution: Circulation and Meaning of The Revolution Will Not Be Televised

This article analyzes the circulation and contingent social production of meaning of The Revolution Will Not Be Televised, the documentary film that chronicles the 2002 coup d'état in Venezuela and its dramatic reversal. Drawing on interviews and observations with distributors and activists in New York City in 2004 and ethnographic fieldwork with community media producers in Caracas between 2003 and 2007, I explore how social actors contribute to the ongoing production of Revolution's impact. In this multisited account, I argue that the work of activists and distributors to frame the importance and authenticity of Revolution has been vital in molding debates and facilitating public discussion not only about Venezuelan politics but also about the role of media producers in shaping truth. This article draws attention to the ironies and complexities that filmmakers, distributors, and activists face when they use documentary film to challenge mediated depictions of the historical world.     

Spectacular Design in Museum Exhibitions

Abstract Intrigued by the crowd‐pleasing effects of “the spectacle,” some museums and exhibition designers have begun to enlist the principles used by theaters, theme parks, and public attractions in order to turn museum venues into awe‐inspiring experiences — thereby elevating this inclination into a principle we call Spectacular Design. This article summarizes the results of a year‐long study that compared and contrasted two categories of spectacle: museum and non‐museum. The concept of spectacle is here examined, and a formula is identified, so we can see the commonalities present in Spectacular Design both in public attractions and in museum exhibitions. The hope is to redefine the model for the museum field.     

Internet Reference Sources in the Performing Arts

Abstract

There are an enormous number of web-based Internet resources available in the performing arts. They have been created by hobbyists, amateurs, professionals, and corporations for commercial and recreational purposes. With proper evaluation, a number of sites can be useful in the provision of reference services in libraries. Collected here are Internet sites in the areas of music, dance, film/cinema, and theater/drama that are useful when answering typical reference questions in these performing arts.     

影视反哺与出版创新

当前,媒体融合成为文化经济发展中的新常态。影视与出版这两大文化行业之间的合作,逐渐从图书影视化进阶到影视图书化的新阶段,这一转变彰显了影视对出版创新的反哺作用。从媒介视角看,影视反哺是媒体融合时代的一种文化互利;从受众视角看,影视反哺现象的盛行离不开粉丝型受众的参与,粉丝们在情感逻辑的支配下演绎多样化的趣缘传播行为,以强大的传播力和消费力推动影视向图书顺利转化;从产业视角看,影视反哺现象彰显了 IP 经济的发展潜能,出版行业应围绕图书 IP 进行多维度的产业开发,建设以出版文化为基础的产业融合生态,致力于全民阅读的复兴与书香社会的建设。     

博物馆展览双线索叙事的表达——以“征程——从鱼到人的生命之旅”主题展览为例

在博物馆的展览策划中,双线索或多线索的展览并不少见。很多展览会选择一条线索作为主线,另一条线索作为副线,两线交织并行。本文以深圳博物馆“征程——从鱼到人的生命之旅”主题展览为例,探讨了展览双线索叙事的另一种表达方法,即可以将不同的线索分开放置于不同的展场空间进行表达,两条线索既不重合又相互关联。     

Employee‐owned dailies: The triumph of economic self interest over journalistic ideals

Abstract

Employee‐owned dailies appear to be an ideal concept for the newspaper industry. While fulfilling journalists’ dreams of ownership, the dailies might solve a multitude of problems. This paper examines the concept, which is important because 260 dailies remain independent, and some owners want their publications to remain locally owned. Still, as the United States moves into the 21st century, few owners seem likely to turn their dailies over to their employees, and this paper analyzes the reasons for the concept's apparent failure. During the 20th century, 14 dailies were acquired by their employees, and only four survived. Many of the others were sold, often in just a few years.     

A film program in a teaching hospital

The Martland Hospital Medical Library has for more than a year been conducting a 16mm film program for interns, residents, attending physicians, and nurses as an adjunct to continuing education. It was possible to run this project on a minimal budget because many films are available at little or no cost from governmental agencies, pharmaceutical companies, medical associations, and universities. The program is run on a departmental basis. Films for a department are selected by the chief resident in that department from a list which the librarian has prepared of available films in the specialty involved. The library orders and publicizes the films and transacts all business in connection with them. Films pertinent to clinical practice are preferred. The administration of this program is described in this paper, and a number of film catalogs are evaluated. Criteria for film selection are discussed.     

Applying social science research to film ratings: A shift from offensiveness to harmful effects

The Motion Picture Association of America (MPAA) provides ratings for the majority of commercially released films. The MPAA system is based largely on estimates of what types of film content may be offensive to most parents. We identify four assumptions that underlie the current rating system and show how these assumptions are inconsistent with social science research regarding the impact of media portrayals on young viewers. Finally, we offer an alternative scheme based on what is harmful to children rather than what is offensive to parents.     

数字时代版权授权方式比较研究与图书馆适用

对数字时代下的几种版权授权方式,即合理使用与许可使用、授权要约模式、版权补偿金制度、交叉许可模式、集体管理制度等进行比较分析,认为集公共信息传播者、版权作品使用者、版权作品创作者三大利益角色于一身的图书馆,为适应版权作品尤其是数字作品的海量授权需要适用的授权方式,进而指出集体管理制度是图书馆版权授权模式中的核心制度。     

The Effect of Screen Quotas on the Self-Sufficiency Ratio in Recent Domestic Film Markets

This study examined the impact of the screen quota system and other determinants on the self-sufficiency ratio. The regression models show the quota system is not a significant predictor of the self-sufficiency ratio, suggesting the system may not be an effective mechanism to limit the number of foreign film screenings in domestic theaters. Gross domestic product, box office revenue, and production investment were found to be strong predictors, and cultural discount and English-speaking language are not significant determinants.     

Communication and Persuasion in a Didactic Exhibition: The Power of Maps Study

This article describes a study of The Power of Maps, an exhibition presented in 1992 at the Cooper-Hewitt, National Design Museum, in New York City. The study compared the result of surveys administered to visitors at the Cooper-Hewitt as they entered and exited the exhibition with a control group of surveys administered to visitors at the National Portrait Gallery in Washington, DC, who had not seen The Power of Maps exhibition. It was found that visitors who were surveyed as they entered the exhibition were closer in agreement with the message of the exhibition than the control group. It was also found that visitors surveyed upon exiting The Power of Maps exhibition were in closer agreement with the message of the exhibition than with visitors who were surveyed as they entered the exhibition. The study demonstrates that it is possible to document a change in visitors' conceptions about a topic as a result of hearing about or visiting an exhibition and reliably determine the degree to which exhibitions can influence visitors.     

俄罗斯国家形象的影像书写——2019年“一带一路”国际电影交流活动的文本研究

2019年"一带一路"国际交流研讨活动的主题因为建立在中俄建交70周年的历史背景下,所以展映遴选了2018年最有代表性和研究价值的六部俄罗斯电影。这六部电影从类型到风格、从题材到表现手法都迥然不同,却恰好在另一个层面呈现出俄罗斯电影在好莱坞电影占领市场的背景下逐渐被边缘化并日渐式微的现实情境。俄罗斯所面临的现实困境和其电影中所呈现出的隐秘而又复杂的主流价值形态,非常值得关注和思考。本文以此次展映的六部作品为例,管窥俄罗斯电影作品中国家形象的构建,以期对中国电影的发展带来启示。     

Predicting the Performance of Motion Pictures

I examined the performance of motion pictures released in the United States and Canada between October 1987 and October 1989. Performance was measured by two dependent variables: domestic rentals (RENTs) and the length of run (LOR) of each film. In addition, a new independent variable designed to measure the impact of competition on motion picture performance was hypothesized. LOR was found to be a reliable proxy for RENTs in predicting performance and will allow researchers to expand the base of films that can be included in future studies. Further, the independent variable for competition was found to have a significant negative relation with RENTs as a predictor of performance. That is, as the concentration ratio for a specific film increases, the competition that film faces increases; as a result, the RENTs for that specific film decrease.