The economics of movies (revisited): A survey of recent literature

McKenzie, Jordi

doi:10.1111/joes.12498

Cited by 22 publications

(6 citation statements)

References 520 publications

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“…Our intuition is that standard errors are likely to be correlated at this level, in particular as certain titles attract a large number of clicks when they are released on Netflix. 34 We estimate our model using the PPMLHDFE Stata command developed by Correia, Guimarães and Zylkin (2019). This package automatically removes 31 Imagine for example Canada and France.…”

Section: Estimation Strategymentioning

confidence: 99%

Gravity and trade in video on demand services

Studnicka,

Broocks

2023

Preprint

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Over the last decade, watching videos online has become one of the primary uses of the internet, with streaming services accounting for more than 60% of global internet traffic. In this paper, we use a novel data set on Netflix, the largest streaming platform worldwide, to estimate the patterns of catalogue availability (extensive margin) and the number of clicks per title (intensive margin) across twenty countries. This data set also gives us a unique opportunity to estimate the importance of quality in viewing patterns. Our results show evidence of the gravity framework explaining both margins of Netflix watching. In addition, we find that there is a strong preference for domestic content, better-rated titles, and Netflix Original productions. These findings suggest that as Netflix produces more content, this will interact with its streaming dominance to provide a significant advantage in reaching viewers and promoting specific content. JEL Classification: F10, L82, Z10

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Section: Estimation Strategymentioning

confidence: 99%

Gravity and trade in video on demand services

Studnicka,

Broocks

2023

Preprint

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“…While the global film industry has attracted numerous quantitative, data-driven studies (see [23] for an overview from movie economics), international film festivals surprisingly remain quantitatively understudied [8,24], except for recent contributions [25][26][27]. Most film and media research on festivals employs qualitative methods, including textual, ethnographic, and archival analyses [24], or produces monographic case studies, with a clear need for conceptual generalizations and systematic comparative analysis of film festivals [8].…”

Section: Introductionmentioning

confidence: 99%

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Zemaityte,

Karjus,

Rohn

et al. 2024

PLoS ONE

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Film festivals are a key component in the global film industry in terms of trendsetting, publicity, trade, and collaboration. We present an unprecedented analysis of the international film festival circuit, which has so far remained relatively understudied quantitatively, partly due to the limited availability of suitable data sets. We use large-scale data from the Cinando platform of the Cannes Film Market, widely used by industry professionals. We explicitly model festival events as a global network connected by shared films and quantify festivals as aggregates of the metadata of their showcased films. Importantly, we argue against using simple count distributions for discrete labels such as language or production country, as such categories are typically not equidistant. Rather, we propose embedding them in continuous latent vector spaces. We demonstrate how these “festival embeddings” provide insight into changes in programmed content over time, predict festival connections, and can be used to measure diversity in film festival programming across various cultural, social, and geographical variables—which all constitute an aspect of public value creation by film festivals. Our results provide a novel mapping of the film festival circuit between 2009–2021 (616 festivals, 31,989 unique films), highlighting festival types that occupy specific niches, diverse series, and those that evolve over time. We also discuss how these quantitative findings fit into media studies and research on public value creation by cultural industries. With festivals occupying a central position in the film industry, investigations into the data they generate hold opportunities for researchers to better understand industry dynamics and cultural impact, and for organizers, policymakers, and industry actors to make more informed, data-driven decisions. We hope our proposed methodological approach to festival data paves way for more comprehensive film festival studies and large-scale quantitative cultural event analytics in general.

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“…The shift from traditional cinema to digital streaming represents a huge shift in how we consume and understand visual narratives. It's not just about changing reels for the convenience of instant access; this change touches the heart of the filmmaking process, from the initial spark of an idea to how it reaches our screens [2]. Gone are the days when movies were limited to opening weekends to draw audiences in brick-and-mortar theaters.…”

Section: Introductionmentioning

confidence: 99%

The Evolution of Film Technology in the Streaming Media Era: A Comparative Analysis of Traditional Movies and Internet TV Series

Shao

2024

LNEP

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With the rise of streaming platforms such as Netflix, Amazon Prime, Hulu, and others, there has been a profound transformation in the landscape of visual storytelling. The emergence of streaming media has ushered in a transformative era for the film and television industry. This essay conducts a comparative analysis of traditional cinema and internet television series, unveiling the evolution of film technology and its impact in the era of streaming media. This study examines the distinctions between the traditional film production process and the innovative approaches adopted by Internet TV series. Traditional film production is characterized by its reliance on theatrical releases and linear narrative. It also investigates the role of advanced digital tools and technologies, as well as the impact of streaming algorithms on content recommendations and audience engagement. Furthermore, this essay is intended to provide a comprehensive overview of the ever-evolving landscape of film technology in the era of streaming media. It underscores the creative autonomy and adaptability offered by internet television series, as well as the challenges and opportunities they encounter.

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The economics of movies (revisited): A survey of recent literature

Cited by 22 publications

References 520 publications

Gravity and trade in video on demand services

Gravity and trade in video on demand services

Quantifying the global film festival circuit: Networks, diversity, and public value creation

The Evolution of Film Technology in the Streaming Media Era: A Comparative Analysis of Traditional Movies and Internet TV Series

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