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1.
This study investigates audience acceptance of foreign movies in an import-dominated exhibition market—Singapore. The characteristics of home cinema markets and the cultural distances of the film-exporting countries are operationalized in an empirical model to explain the highly varied demand in this import market for international films from various sources. We show that during 2002–2004 release frequencies and box-office performance for films originating in different countries are significantly accounted for by both economic and cultural factors. Films from countries with larger domestic markets and from countries culturally more similar to Singapore experience greater box-office success. Furthermore, an individual foreign film's Singapore box-office performance is explained by its box-office success in its home market and the intercountry cultural distance.  相似文献   

2.
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.  相似文献   

3.
The United States is by far the leading exporter of video media goods in the world. It is also the biggest investor in theatrical films, spending over $63 million per theatrical production and leading the world in box-office receipts. This article investigates the host country factors that have influenced the export of U.S.-based video media products, including film and television programs. It was found that economic environment, geographical proximity, technological infrastructure, and market size influenced the purchase of motion pictures and video programming from the United States. In addition, countries with better economic environments, implementation of intellectual property rights, political rights, larger market size and cultural differences, and language similarity seemed to import more heavily broadcasting content products from the United States.  相似文献   

4.
Abstract

This article reviews the test of a home market model of international trade in media products using a movie industry database covering 6 major countries (the United States, Japan, Germany, Italy, France, and the United Kingdom) over the 1950 to 2003 period. In support of the model, this study finds a consistently positive relation between domestic theater box-office market shares and various measures of domestic movie spending or domestic movie attendance, and negative relations between domestic movie spending and the market shares of imported American film products. Based on these results, declining domestic film production industries in Europe and Japan after about the 1970s, along with growing dominance of the world film market by the United States, is attributed to a relatively rapid growth of domestic consumer spending on movies in the United States.  相似文献   

5.
《媒体管理杂志》2013,15(3):125-133
With a strong domestic film market in Korea, many foreign films are losing share, including Hollywood films that dominate the global market. In fact, Hollywood films that once dominated the Korean market with 70%–80% market share until 1998 witnessed a decrease in market share to 40% in 2005. Within 7 years, almost half of the Korean market share has decreased. The South Korean film market has been characterized by competition between domestic and Hollywood films where the combined market share exceeds 95% (KOFIC, 2005). What is the strategy of Hollywood films in competing with Korean films? What are some of the reasons why Hollywood films make up half of the top Korean market, whereas Korean films still face the challenge of reducing the huge gap between a blockbuster and failed films? This article examines the distribution strategy of Hollywood's major studios as witnessed recently in the Korean market based on the number of screens and the release date.  相似文献   

6.
In the international motion picture market, when making strategic decisions about the timing of release, it is important to consider the product's country of origin as well as demand seasonality because of their cultural orientation. However, the fluctuation patterns of underlying demand for international market have not been distinguished from that of U.S. domestic market. Here, we analyze patterns of the decay effect, which represents the diminishing attractiveness of a movie over the product life cycle, and the seasonality of underlying demand for Hollywood and non-U.S. local movies in a non-U.S. market. We find a positive effect of U.S. holidays on the seasonality of underlying demand for Hollywood movies in the non-U.S. movie market, and a negative effect for non-U.S. local movies. The authors also find that the decay effect for Hollywood movies in the non-U.S. market is greater than that for non-U.S. local movies. These findings contribute to our understanding of the effect of country of origin on product life cycle and the seasonality of underlying demand, especially in movie-importing countries where local and Hollywood movies compete.  相似文献   

7.
The international appeal of Hollywood films through the twentieth century has been a subject of interest to economic and film historians alike. This paper employs some of the methods of the economic historian to evaluate key arguments within the film history literature explaining the global success of American films. Through careful analysis of both existing and newly constructed data sets, the paper examines the extent to which Hollywood's foreign earnings were affected by: film production costs; the extent of global distribution networks; and also the international orientation of the films themselves. The paper finds that these factors influenced foreign earnings in quite distinct ways, and that their relative importance changed over time. The evidence presented here suggests a degree of interaction between the production and distribution arms of the major US film companies in their pursuit of foreign markets that would benefit from further archival-based investigation.  相似文献   

8.
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.  相似文献   

9.

The authors explore the competitive advantage of the U.S. film industry in the world market in light of current trends in revenue streams, exhibition outlets, costs, and changes in production, distribution, marketing, and promotion. The article discusses key legal and trade concerns, and the film markets in selected regions and countries in relation to their impact on the future performance of the U.S. film industry abroad.  相似文献   

10.
Using a home market economic model, this article explains the changing competitive balance between the U.S. and Japanese film industries. I test the hypothesis that the domestic movies' market share in Japan has decreased because consumer movie spending has increased more rapidly in the United States than in Japan. The results of using information from a database (1955-2000) of media industry development in the United States and Japan generally support the economic hypothesis.  相似文献   

11.
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。  相似文献   

12.
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.  相似文献   

13.
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.  相似文献   

14.
杨扬  孙宰瑛 《出版科学》2016,24(4):111-113
指出对于跨国企业而言,要获得消费者青睐,必须在全球化的基础上兼顾在地化,一方面采用顶尖科技和优质服务来提升产品品质,同时又要以入乡随俗的销售方式获取消费者信任。深入分析日本纪伊国屋书店这一跨国文化企业的典型代表,其在扩张进程、商品选择、促销方式和全球运营等方面的经验和特色,在全球化扩张与本地化实践基础上实现的文化创新,能为我国文化企业走出国门、走向世界提供借鉴经验。  相似文献   

15.
Conclusion Children’s books are cultural products that face unique challenges when crossing cultural boundaries. Among these challenges are the translation into a new language, the cost of the translation both in terms of money and content, and the culture of the destination market. The main consumers of translations of children's books are currently developed countries such as France, Germany, and Italy. Less developed countries such as China and Korea, though, are experiencing a growth in their children's book markets. Although international boundaries are becoming less defined in today's market place and although there is an emphasis on multiculturalism within the United States, more children's books are licensed for translation in foreign markets than in the domestic American market. American publishers need to feel more secure in their ability to publish translations of children's books profitably. Only then will American children be able to have this important tool to help prepare them for a growing international environment.  相似文献   

16.
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.  相似文献   

17.
The structure, funding, and audience size of public service broadcasting (PSB) revealed in the four countries examined in the articles in this issue of The Journal of Media Economics differ markedly from one another but exhibit few surprises. PSB in the United Kingdom, Australia, and Canada is highly centralized, but relatively decentralized in the United States. The United Kingdom devotes the largest proportion of its gross national product to PSB, and the United States devotes the smallest. Similarly, PSB in the United Kingdom attracts the largest share of the television audience among the four countries, and U.S. public television attracts the smallest. Although the future relevance of PSB in Canada may be at risk, the provision of PSB in the United Kingdom, Australia, and the United States seems likely to continue in its present form for the foreseeable future.  相似文献   

18.
As the world becomes increasingly international and new markets open up for business, questions arise for small, niche publishers: what makes a book sell well internationally? Can niche titles sell well abroad? And, more importantly: How can I find and publish a book that will be a global success? To answer these questions in this article, Scottish publishing companies will be used as examples to illustrate the ways in which even region-specific niche publishers can successfully sell and market abroad.  相似文献   

19.
石真珍 《出版科学》2011,19(6):64-66
相关分析指出,高校教材存量市场不断扩大,品种逐年增加,供给过剩与需求旺盛并存。在数字化时代激烈的市场竞争中,高校教材巡展这一成熟的营销手段暴露出一些弊端,本文结合笔者多年参与教材推广的经验,总结高校教材巡展面临的四大主要问题,并提出五点对策。  相似文献   

20.
This article provides a historical and critical review of the extensive debate in China over the government's policy of importing Hollywood blockbusters from 1994 to 2007. The debate suggests a fundamental divide in China along the different ideological lines. I argue that China's debate over Hollywood cinema actually serves as a site for the Chinese people to make sense of their own modernization process and national identity. The debate, in a large sense, has little to do with the connotation of Hollywood cinemas in the US context, but has much to do with their implications for China. The whole debate is in fact China's quest for a new, modern national identity, and how the Chinese could draw on the American experience to build a modern China. Therefore, China's case foregrounds the fundamental issue of globalization theories regarding cultural homogenization versus heterogenization, or modernity versus alternative modernities. The debate not only speaks to the complexity of the global–local dialectic, but also reflects China's contradictory perspective on globalization.  相似文献   

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