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1.
《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
2.
W. Wayne Fu 《Journal of Media Economics》2013,26(2):59-80
This article empirically examines the effects of vertical integration and horizontal control on the exhibition of films at competing theaters in a market in which some theater owners are integrated into film distribution and others are not. It analyzes the duration of the exhibition runs of movies released by distributors who owned no theaters in Singapore during 2002 and 2003 through a survival model. The estimation shows that films released by these distributors are exhibited for shorter periods in distributor-owned theaters than in independently owned (i.e., unintegrated) theaters, and in theaters that belong to large theater chains than in the theaters of small theater chains. A spatial aspect of competition among theaters with different owners is revealed in the finding that a film is more likely to stay on at the theater at a given time when an adjacent rival theater still runs the same title. The increase in the probability of screen survival due to the spatial rivalry is greater the nearer the competing theater. These results are found when both film and theater-specific variations are controlled for. 相似文献
3.
Joonhyuk Yang 《Journal of Media Economics》2013,26(1):38-55
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
4.
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. 相似文献
5.
Yu Guoming 《媒体管理杂志》2013,15(1):51-53
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
6.
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
7.
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
8.
Three recent Hollywood films, The Help (2011), Lee Daniels’ The Butler (2013) and Selma (2014), drew attention for depicting the Civil Rights Movement of the 1950s and 1960s. While Hollywood has been scrutinized for its role in racial discourse, less attention has been paid to how film critics discuss race in their reviews. This paper examines the critical response to these films, with an emphasis on the reviewers’ reliance on memory and history in forming their opinions. A textual analysis found that critics were reverential toward the movement and the black experience but still distrustful of the Hollywood system doing a credible job in explaining or understanding the events. The reviewers shaped and shared a memory of nightmarish race relations and prescribed corrections for both Hollywood and America. These reviews illustrate that film critics see themselves as arbiters not only of taste but also of history. 相似文献
9.
《Mass Communication and Society》2013,16(1):23-38
An overwhelming number of American adults have negative impressions of teenagers. Mass media may play a role in these impressions. This article describes results from a content analytic study of images of teenagers in recent popular films aimed at discerning how they are typically depicted. This study inquired about portrayals of teens' behaviors, motivations, and relationships with their parents. The results indicate that modern Hollywood films featuring youth promote an image of teenagers as self-absorbed, violent, disconnected from parents, and disengaged from civic life. Racial and gender stereotyping of teen characters is also evident. Altogether, the image of teens constructed by recent, popular films likely reinforces adults' negative views and possibly works to distance adults from teens. 相似文献
10.
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
11.
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. 相似文献
12.
韩国出版业的显著特点是本土出版产品单一,主要依靠引进国外图书补充国内市场,因此中国图书一直受到广泛的关注。目前,中国图书所占韩国引进图书比例不高,有一定增长空间,缺乏市场判断是影响韩国出版业引进中国图书的重要原因。另一方面,专业翻译和中文编辑的紧缺也制约中国图书在韩国的发展。中国图书所贯彻的中国文化软实力“走出去”战略,要政策推行和市场自觉结合,把握韩国读者需求,才能建立产业国际化模式,进而释放中国图书的内在价值力量。 相似文献
13.
《Journal of Radio & Audio Media》2013,20(1):73-75
"The American Forces Radio and Television Service (AFRTS) provides Stateside radio and television programming, ‘a touch of home,' to U.S. service men and women, DoD civilians, and their families serving outside the continental United States" (AFRTS, 2004). Bagram, Baghdad, Kabul, and Kandahar are the familiar names of conflict zones in 2004. In these faraway operational theaters, the AFRTS provides a homey electronic media touch to the lives of the troops. Guadalcanal, New Georgia, Noumea, and Bougainville-these were the familiar names from another conflict, the Second World War. Exactly 60 years ago, the precursor of the modern-day AFRTS was also providing comfort for troops far from home in these remote Pacific Islands. 相似文献
14.
电影作为一种传播媒介,以其文化性、艺术性和娱乐性影响着大众的生活与思维方式,它是现实的一面镜子,银幕上的许多人与物都能在日常生活中找到其原型。好莱坞电影在世界上有着很强的影响力,各类影片中图书馆员的角色也成为广大观众在观影之余所津津乐道的话题,并冲击着他们的原有观念。电影中所表达的图书馆精神和理念等也是图书馆人在今后实际工作中应学习和具备的知识素养。 相似文献
15.
Paul Donner 《Journal of Informetrics》2018,12(1):330-343
A standard procedure in citation analysis is that all papers published in one year are assessed at the same later point in time, implicitly treating all publications as if they were published at the exact same date. This leads to systematic bias in favor of early-months publications and against late-months publications. This contribution analyses the size of this distortion on a large body of publications from all disciplines over citation windows of up to 15 years. It is found that early-month publications enjoy a substantial citation advantage, which arises from citations received in the first three years after publication. While the advantage is stronger for author self-citations as opposed to citations from others, it cannot be eliminated by excluding self-citations. The bias decreases only slowly over longer citation windows due to the continuing influence of the earlier years’ citations. Because of the substantial extent and long persistence of the distortions, it would be useful to remove or control for this bias in research and evaluation studies which use citation data. It is demonstrated that this can be achieved by using the newly introduced concept of month-based citation windows. 相似文献
16.
韩国收藏中国古籍的现况 总被引：1，自引：0，他引：1
论文介绍了韩国收藏中国古籍的现状、所藏古籍的文献价值以及其整理与利用等问题，旨在为海内外学者提供具体信息，并对相关的学术研究有所裨益。 相似文献
17.
Peter Miskell 《Media History》2016,22(2):174-200
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
18.
Sean Brayton 《传播与批判/文化研究》2017,14(1):66-82
This paper examines representations of mental illness in popular film, particularly Richard Ayoade’s The Double and Dan Gilroy’s Nightcrawler. As I argue, both films trouble typical Hollywood narratives of mental illness by situating schizophrenia and psychopathy, for instance, within a socioeconomic context, specifically relations of production under late capitalism and the unfettered self-interest of neoliberalism. If mental illness is a product of the postindustrial workplace in The Double, it becomes a prerequisite for success in Nightcrawler, providing a cinematic depiction of mental illness at odds with the “personal pathology” paradigm that dominates the current neoliberal landscape. 相似文献
19.
《媒体管理杂志》2013,15(2):84-91
Films have become an essential asset to transnational media corporations (TNMCs) such as Sony, Time Warner, or Disney. Since the 1990s these and other corporations have utilized a strategy called event movie. The central goal of this marketing strategy is to ensure the success of a film, as well as to provide content for the many different divisions owned or controlled by TNMCs, for example home entertainment, cable, and pay-television. The event movie strategy takes advantage of the film industry's macro structure and combines established concepts (blockbuster, high-concept marketing) with new business models, turning the value chain into a value cycle. This article describes an analytical framework for the event movie strategy that is used by the world's leading TNMCs. As a conclusion, the framework of the event movie strategy can be applied to better understand the success of individual films. The concept can also be expanded to describe the individual TNMC's strategy within the field of audiovisual content. 相似文献
20.
This study investigated vertical foreclosure effects in the Korean cable television market. While it focuses mainly on vertical foreclosure, the study also examined reciprocal carriage between large vertically integrated cable operators. From the analysis of cross-sectional data regarding cable operators' carriage information in Korea, two conclusions were derived. First, vertically integrated cable operators tend to carry their affiliated channels and were less likely to carry their rivals' channels. Second, the data suggest that large vertically integrated cable operators were engaged in reciprocal carriage. 相似文献