On the perceived quality of movies
AbstractWe address the question of the quality of movies produced between 1950 and 1970. A first outcome of our analysis is that the quality assessments made during the Cannes Festival, and to a lesser degree, by the U.S. Academy are short-lasting. In contrast to this, consumers seem consistent over time. There is, however, one issue on which experts agree as well as consumers: American movies dominate both in terms of commercial success and in terms of quality. There is less agreement, and sometimes there is even dissent concerning other dimensions. This does not come as a surprise and merely indicates that there is hardly a common yardstick along which the quality of a movie can be measured. Therefore, decomposing a work of art into quantifiable characteristics â even in a subjective but possibly unanimous way â would make it possible to explain the divergences between audiences and changes of appreciation over time. Copyright Kluwer Academic Publishers 1999
Download InfoIf you experience problems downloading a file, check if you have the proper application to view it first. In case of further problems read the IDEAS help page. Note that these files are not on the IDEAS site. Please be patient as the files may be large.
Bibliographic InfoPaper provided by ULB -- Universite Libre de Bruxelles in its series ULB Institutional Repository with number 2013/1697.
Date of creation: 1999
Date of revision:
Publication status: Published in: Journal of Cultural Economics (1999) v.23,p.269-283
Other versions of this item:
Please report citation or reference errors to , or , if you are the registered author of the cited work, log in to your RePEc Author Service profile, click on "citations" and make appropriate adjustments.:
- De Vany, Arthur & Walls, W David, 1996. "Bose-Einstein Dynamics and Adaptive Contracting in the Motion Picture Industry," Economic Journal, Royal Economic Society, vol. 106(439), pages 1493-1514, November.
- De Vany, Arthur S & Walls, W David, 1997. "The Market for Motion Pictures: Rank, Revenue, and Survival," Economic Inquiry, Western Economic Association International, vol. 35(4), pages 783-97, October.
- GABSZEWICZ, Jean J. & THISSE, Jacques-François, .
"On the nature of competition with differentiated products,"
CORE Discussion Papers RP
-685, Université catholique de Louvain, Center for Operations Research and Econometrics (CORE).
- Gabszewicz, Jean Jaskold & Thisse, Jacques-Francois, 1986. "On the Nature of Competition with Differentiated Products," Economic Journal, Royal Economic Society, vol. 96(381), pages 160-72, March.
- Kelvin J. Lancaster, 1966. "A New Approach to Consumer Theory," Journal of Political Economy, University of Chicago Press, vol. 74, pages 132.
- Mohanbir S. Sawhney & Jehoshua Eliashberg, 1996. "A Parsimonious Model for Forecasting Gross Box-Office Revenues of Motion Pictures," Marketing Science, INFORMS, vol. 15(2), pages 113-131.
- Jose Ignacio Azuela Flores & Victor Fernandez-Blanco & Maria Jose Sanzo-Perez, 2012. "Movie reviews: Who are the readers?," ACEI Working Paper Series AWP-03-2012, the Association for Cultural Economics International, revised May 2012.
- Sangho KIM & Donghyun PARK, 2010. "Addictive behavior in cinema demand: evidence from Korea," Economic Growth centre Working Paper Series 1002, Nanyang Technolgical University, School of Humanities and Social Sciences, Economic Growth centre.
- Alexis Dantec & Florence Levy, 2005. "Stars et box office : un état des approches théoriques et empiriques," Documents de Travail de l'OFCE 2005-13, Observatoire Francais des Conjonctures Economiques (OFCE).
- Elisabetta Lazzaro, 2006. "Assessing Quality in Cultural Goods: The Hedonic Value of Originality in Rembrandt's Prints," Journal of Cultural Economics, Springer, vol. 30(1), pages 15-40, March.
- Cuccia, Tiziana, 2009. "A Contingent Ranking Study on the Preferences of Tourists across Seasons/A Contingent Ranking Study on the Preferences of Tourists across Seasons," Estudios de Economía Aplicada, Estudios de Economía Aplicada, vol. 27, pages 161-176, Abril.
- M. Rimscha, 2013. "It’s not the economy, stupid! External effects on the supply and demand of cinema entertainment," Journal of Cultural Economics, Springer, vol. 37(4), pages 433-455, November.
- Dewenter, Ralf & Westermann, Michael, 2003.
"Cinema demand in Germany,"
125, University of Duisburg-Essen, Faculty for Economics and Business Administration.
- Allègre Hadida, 2010. "Commercial success and artistic recognition of motion picture projects," Journal of Cultural Economics, Springer, vol. 34(1), pages 45-80, February.
- Fernanda Gutierrez-Navratil & Victor Fernandez-Blanco & Luis Orea & Juan Prieto-Rodriguez, 2011.
"How do your rivals' releasing dates affect your box office?,"
ACEI Working Paper Series
AWP-04-2011, the Association for Cultural Economics International, revised Nov 2011.
- Fernanda Gutierrez-Navratil & Victor Fernandez-Blanco & Luis Orea & Juan Prieto-Rodriguez, 2014. "How do your rivals’ releasing dates affect your box office?," Journal of Cultural Economics, Springer, vol. 38(1), pages 71-84, February.
- Haan, Marco & Dijkstra, Gerhard & Dijkstra, Peter, 2003.
"Expert judgment versus public opinion - evidence from the Eurovision Song Contest,"
03F12, University of Groningen, Research Institute SOM (Systems, Organisations and Management).
- Marco Haan & S. Dijkstra & Peter Dijkstra, 2005. "Expert Judgment Versus Public Opinion – Evidence from the Eurovision Song Contest," Journal of Cultural Economics, Springer, vol. 29(1), pages 59-78, February.
- Haan, Marco & Dijkstra, Gerhard & Dijkstra, Peter, 2003. "Expert judgment versus public opinion : evidence from the Eurovision Song Contest," CCSO Working Papers 200305, University of Groningen, CCSO Centre for Economic Research.
For technical questions regarding this item, or to correct its authors, title, abstract, bibliographic or download information, contact: (Benoit Pauwels).
If references are entirely missing, you can add them using this form.