Top

Published in:

2018 | OriginalPaper | Chapter

3. Is Studio Size Important to Box Office Success?

Author : Barrie Gunter

Published in: Predicting Movie Success at the Box Office

Publisher: Springer International Publishing

Activate our intelligent search to find suitable subject content or patents.

search-config

AI-assisted search

Off

Abstract

Studio size has also been found to predict a movie’s success in cinemas. Big studios have better facilities and better established promotional and distribution networks. They can negotiate better deals through distributors with exhibitors. Studio size often means they can hire bigger stars and get the best directors and crew. These are additional factors, of course, that will also be separately examined in the book. However, despite the prevalence of many small independent producers, the market is dominated by a relatively small number of big players. Even big studios must make the right decisions in relation to their movie commitments and sometimes they can get it wrong.

Dont have a licence yet? Then find out more about our products and how to get one now:

Springer Professional "Wirtschaft+Technik"

Online-Abonnement

Mit Springer Professional "Wirtschaft+Technik" erhalten Sie Zugriff auf:

über 102.000 Bücher
über 537 Zeitschriften

aus folgenden Fachgebieten:

Automobil + Motoren
Bauwesen + Immobilien
Business IT + Informatik
Elektrotechnik + Elektronik
Energie + Nachhaltigkeit
Finance + Banking
Management + Führung
Marketing + Vertrieb
Maschinenbau + Werkstoffe
Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

inform now

Springer Professional "Wirtschaft"

Online-Abonnement

Mit Springer Professional "Wirtschaft" erhalten Sie Zugriff auf:

über 67.000 Bücher
über 340 Zeitschriften

aus folgenden Fachgebieten:

Bauwesen + Immobilien
Business IT + Informatik
Finance + Banking
Management + Führung
Marketing + Vertrieb
Versicherung + Risiko

Jetzt Wissensvorsprung sichern!

inform now

previous chapter Are the Most Expensive Movies the Most Successful?

next chapter What About Distribution, Exhibition and Timing Factors?

Ainslie, A., Dreze, X., & Zufryden, F. (2005). Modeling movie lifecycles and market share. Marketing Science, 24(3), 508–517.CrossRef

Berglund, C., & Brayton, J. (2012). Move attendance way down for 2011. NBC Los Angeles. Available at: www.nbclosangeles.com/news/local/Movie-Attendance-Way-Down-for-2011-136407628.html. Accessed 16th October 2017.

Cicchetti, C. (1995). The economic consequence of independent film making. American Film Marketing Association. Available at: http://www.pacificeconomicsgroup.com/jad/Other%20Reports/2909.pdf. Accessed 25th August 2016.

Dale, M. (1997). The movie game. London, UK: Cassell.

De Vany, A., & Walls, W. D. (1997). The market for motion pictures: Rank, revenue and survival. Economic Inquiry, 35(4), 783–797.CrossRef

Dergarabedian, P. (2011). The box office year in review—2011. Hollywood.com . Available at: www.hollywood.com/news/The_Box_Office_Year_in_Review_2011/12394979. Accessed 16th October 2017.

Dickson, A. (2001, August 20). The state of the cinema. Available at: http://www.independent.co.uk/sport/tennis/wimbledon-2016-serena-williams-bbc-twitter-tweet-criticised-appear-to-question-equal-pay-semi-final-a7126581.html. Accessed 25th August 2016.

Eller, C. (2014, January 15). The costliest box office flops of all time. Los Angeles Times. Available at: http://www.latimes.com/entertainment/envelope/cotown/la-et-box-office-flops-pictures-photogallery.html. Accessed 1st September 2016.

European Audiovisual Laboratory. (2014). World film market trends. Strasbourg, France. Available at: http://www.obs.coe.int/en/contact

Filson, D., Switzer, D., & Besocke, P. (2005). At the movies: The economics of exhibition contracts. Economic Inquiry, 43(2), 354–369.CrossRef

Gibbs, S. (2016, February 2). What is the best TV and movies streaming service? The Guardian. Available at: https://www.theguardian.com/technology/2016/feb/02/which-is-the-best-streaming-service-netflix-amazon-google-play-itunes. Accessed 17th October 2017.

Gill, R. (2009). Revenue sharing distortions and vertical integration in the movie industry. Journal of Law, Economics and Organization, 25(2), 579–610.CrossRef

Gill, R., & Lafontaine, F. (2012). Using revenue sharing to implement flexible prices; Evidence from movie exhibition contracts. Journal of Industrial Economics, 60(2), 187–219.CrossRef

Goettler, R. L., & Leslie, P. (2005). Cofinancing to manage risk in the motion picture industry. Journal of Economics and Management Strategy, 14(2), 231–261.CrossRef

Goldsmith, J. (1999, October 25). ShowEast: Who picks up the digital check? Variety, p.9.

Gomery, D. (1986). The Hollywood studio system. London: Palgrave Macmillan.

Hadida, A. (2009). Motion picture performance: A review and research agenda. International Journal of Management Reviews, 11(3), 297–335.CrossRef

Henig-Thurau, T., Walsh, G., & Wruck, O. (2001). An investigation into the factors determining the success of service innovations: The case of motion pictures. Academy of Marketing Science Review, 6. Available at: http://www.amsreview.org/articles/henning06-2001

Hoyle, B. (2012, October 1). Heaven’s Gate: Box office turkey that sank a studio is a modern masterpiece. The Times, p.4. Available at: http://www.thetimes.co.uk/tto/arts/film/article3554129.ece. Accessed 1st September 2016.

Huettig, M. (1944). Economic control of the motion picture industry: A study in industrial organization. Philadelphia, PA: University of Pennsylvania Press.CrossRef

Klein, C. (2004). Martial arts and the globalization of US and Asian film industries. Comparative American Studies, 2(3), 360–384.CrossRef

Mas-Colell, A. (1999). Should cultural goods be treated differently? Journal of Cultural Economics, 23(1–2), 87–93.CrossRef

McCormick, R. (2014, June 4). Video streaming services could make more money than the US box office by 2017. The Verge. Available at: https://www.theverge.com/2014/6/4/5781104/netflix-and-peers-will-make-more-money-than-box-office-by-2017. Accessed 17th October 2017.

Moul, C., & Shugan, S. M. (2005). Theatrical release and the launching of motion pictures. In C. Moul (Ed.), A concise handbook of movie industry economics (pp. 80–137). Cambridge, UK: Cambridge University Press.CrossRef

Pafort-Overduin, C., & Gomery, D. (2011). Move history: A survey (2nd ed.). London, UK: Routledge.

Palia, D., Ravid, S. A., & Reisel, N. (2008). Choosing to cofinance: Analysis of project-specific alliances in the movie industry. Review of Financial Studies, 21(2), 483–511.CrossRef

Pelts, S. (2017, March 31). Netflix’s impact on movie studios’ earlier no-demand releases. Market Realist. Available at: http://marketrealist.com/2017/03/netflixs-impact-on-movie-studios-earlier-on-demand-releases/. Accessed 16th October 2017.

Perenson, M. J. (2001, June 9). Focus check. Hollywood Reporter, p.12.

Prieto-Rodriguez, J., Gutierrez-Navratil, F., & Ateca-Amestoy, V. (2015). Theatre allocation as a distributor’s strategic variable over movie runs. Journal of Cultural Economics (Special Issue on Motion-Pictures Economics), 39, 65–83.

Puttnam, D. (1997). The undeclared war: Struggle for control of the world’s film industry. London: Harper Collins.

Queenan, J. (2008, March 21). From hell. The Guardian. Available at: https://www.theguardian.com/film/2008/mar/21/1. Accessed 1st September 2016.

Silver, J., & Alpert, F. (2003). Digital dawn—A revolution in movie distribution? Business Horizons, 46(5), 57–66.CrossRef

Zipin, D. (2015, September 16). Movie vs TV industry: Which is most profitable? Investopedia. Available at: http://www.investopedia.com/articles/investing/091615/movie-vs-tv-industry-which-most-profitable.asp. Accessed 17th October 2017.

Title: Is Studio Size Important to Box Office Success?
Author: Barrie Gunter
Publisher: Springer International Publishing
Book: Predicting Movie Success at the Box Office
Print ISBN: 978-3-319-71802-6

Electronic ISBN: 978-3-319-71803-3

Copyright Year: 2018
DOI: https://doi.org/10.1007/978-3-319-71803-3_3