Market Research on Attitude towards Commercial Cinema vis-à-vis Art Cinema Among Youth in Metro Cities. Analysis done in SPSS. Research Questionnaire enclosed within.
The document discusses the evolution of multiplex cinemas. It notes that the first indoor two-screen theatre opened in 1947 in Canada, and the first six-screen theatre opened in the US in 1969. PVR Cinemas introduced the first multiplex concept in India in 1997 in Delhi. It then provides details on the various PVR multiplex locations in Delhi and their screen counts. The rest of the document discusses the 7 P's of marketing - Product, Price, Place, Promotion, People, Physical Evidence, and Process for PVR Cinemas.
Movie Positioning in India - ADVT ProjectRajesh Shetty
The document discusses various components of the Indian film industry including Bollywood, regional, and English language films. It describes the 6 Ps of movie positioning as product, placement, positioning, people, public relations, and partner. Various media used for film publicity are discussed such as radio, mobile phones, internet, print media, promotional tours, and alternative methods like teasers and trailers. Maslow's hierarchy of needs is applied to different types of movies and their promotional strategies. Current trends in the film industry like growth, collaborations, and technological developments are also summarized along with case studies of international films like The Dark Knight and The Hunger Games and Indian films Talaash, Barfi, and Gangs of Wasseypur
International Film Festivals Around the World – Cool facts about film festivals like Cannes, Sundance, Toronto, Berlin, London, Rio, Tokyo, Venice, India and more
National Cinema vs Hollywood Industry - EssayBeatriz Cebas
In the following essay I will explain if the idea of national cinema can be maintained
in an era of global cultural production. To explore this theory I will focus on the power
of Hollywood and the pressures of global film industry versus the difficulties of
national and art cinema of getting a niche in the film market.
The document discusses various techniques used to market films, including traditional above-the-line advertising methods like trailers, websites, and tie-ins as well as below-the-line publicity methods. It notes that the goal is to create a cohesive marketing campaign across different media platforms to build buzz leading up to a film's release. Successful marketing is crucial as most films do not break even from cinema revenue alone and require strong word-of-mouth to drive DVD sales. The document also outlines how marketers measure success and where marketing budgets are typically allocated.
In the course Entertainment and Marketing Promotion, each student was assigned to a student film to create a marketing plan for. This project taught me how to create a marketing plan for a film both as a major Hollywood film and a student film.
The document provides information on movies from 1990-2000. It discusses the rise of independent films in the early 1990s and Disney's acquisition of Miramax. Pixar released the first computer animated feature film Toy Story in 1995. Some of the highest grossing and most acclaimed films of the decade are listed, including Titanic, Jurassic Park, and The Silence of the Lambs. Blockbuster movies from each year that made over $200 million are also highlighted. The document concludes with brief profiles of several animated Disney films from the late 1990s, including Tarzan, The Lion King, and Toy Story 2.
This document outlines the marketing plan for the film "Rocket" across four phases:
1) The film focuses on a young woman who takes over her late father's dirt track racing legacy. Marketing opportunities include the racing community and female director/producer.
2) The film festival strategy includes submissions to Sundance, SXSW, and Toronto film festivals to gain exposure.
3) The B-2-B distribution strategy targets Universal Pictures and Fox Searchlight for their experience with similar sports/female-led films. Screenings will introduce the film to distributors.
4) The consumer strategy is a spring 2016 release. Marketing includes social media, a TV appearance, and sponsorships to promote the film's
The document discusses the evolution of multiplex cinemas. It notes that the first indoor two-screen theatre opened in 1947 in Canada, and the first six-screen theatre opened in the US in 1969. PVR Cinemas introduced the first multiplex concept in India in 1997 in Delhi. It then provides details on the various PVR multiplex locations in Delhi and their screen counts. The rest of the document discusses the 7 P's of marketing - Product, Price, Place, Promotion, People, Physical Evidence, and Process for PVR Cinemas.
Movie Positioning in India - ADVT ProjectRajesh Shetty
The document discusses various components of the Indian film industry including Bollywood, regional, and English language films. It describes the 6 Ps of movie positioning as product, placement, positioning, people, public relations, and partner. Various media used for film publicity are discussed such as radio, mobile phones, internet, print media, promotional tours, and alternative methods like teasers and trailers. Maslow's hierarchy of needs is applied to different types of movies and their promotional strategies. Current trends in the film industry like growth, collaborations, and technological developments are also summarized along with case studies of international films like The Dark Knight and The Hunger Games and Indian films Talaash, Barfi, and Gangs of Wasseypur
International Film Festivals Around the World – Cool facts about film festivals like Cannes, Sundance, Toronto, Berlin, London, Rio, Tokyo, Venice, India and more
National Cinema vs Hollywood Industry - EssayBeatriz Cebas
In the following essay I will explain if the idea of national cinema can be maintained
in an era of global cultural production. To explore this theory I will focus on the power
of Hollywood and the pressures of global film industry versus the difficulties of
national and art cinema of getting a niche in the film market.
The document discusses various techniques used to market films, including traditional above-the-line advertising methods like trailers, websites, and tie-ins as well as below-the-line publicity methods. It notes that the goal is to create a cohesive marketing campaign across different media platforms to build buzz leading up to a film's release. Successful marketing is crucial as most films do not break even from cinema revenue alone and require strong word-of-mouth to drive DVD sales. The document also outlines how marketers measure success and where marketing budgets are typically allocated.
In the course Entertainment and Marketing Promotion, each student was assigned to a student film to create a marketing plan for. This project taught me how to create a marketing plan for a film both as a major Hollywood film and a student film.
The document provides information on movies from 1990-2000. It discusses the rise of independent films in the early 1990s and Disney's acquisition of Miramax. Pixar released the first computer animated feature film Toy Story in 1995. Some of the highest grossing and most acclaimed films of the decade are listed, including Titanic, Jurassic Park, and The Silence of the Lambs. Blockbuster movies from each year that made over $200 million are also highlighted. The document concludes with brief profiles of several animated Disney films from the late 1990s, including Tarzan, The Lion King, and Toy Story 2.
This document outlines the marketing plan for the film "Rocket" across four phases:
1) The film focuses on a young woman who takes over her late father's dirt track racing legacy. Marketing opportunities include the racing community and female director/producer.
2) The film festival strategy includes submissions to Sundance, SXSW, and Toronto film festivals to gain exposure.
3) The B-2-B distribution strategy targets Universal Pictures and Fox Searchlight for their experience with similar sports/female-led films. Screenings will introduce the film to distributors.
4) The consumer strategy is a spring 2016 release. Marketing includes social media, a TV appearance, and sponsorships to promote the film's
This presentation was designed for a high school film production class - it provides a visual accompaniment to a lecture presentation on production design for feature films
Fun and practical film workshop learning for teenagers and adults. The guide is designed as a presentation to teach about shot types and film language as well as a 'how to' in creating films in a workshop environment. The guide covers many technical features of film such as frame rate, 180 degree rule, lesson ideas, composition, photography and shutter speed, focal length, DOF, IOS, colour temperature, white balance and more.
Constantin Stanislavski was a Russian actor and director who developed an influential system for actor training and character development. His system strives to make performances feel "real" rather than artificial by drawing on actors' own experiences and imagination to develop their characters from the inside. It involves techniques like analyzing a character's objectives, determining their inner motivations, using imagination and concentration to fully inhabit the character, and connecting physically and emotionally. Stanislavski's system had a major impact on modern acting and is still widely used today.
How does your product engage with audiences and how would it be distributed a...ramsha khawaja
Our product targets teenagers aged 16-22. We conducted surveys to understand their preferences, which informed our music video. It includes a mix of performance and narrative, with minimal artist focus. Most access music on mobile phones. The video relates to the song's message of overcoming struggles. It received positive feedback on social media and views. To distribute the product, we will sell hard copies and make it available online, on TV and social media. Merchandise will also help promote it.
This document provides a glossary of common terms used in movie marketing, defining words that can help describe and analyze a film's promotional campaign. It defines over 20 terms concisely, including awareness, buzz, distributor, exhibitor, interactive marketing, junkets, key art, merchandising, platform releases, press kits, primary and secondary audiences, taglines, trailers, tie-ins, viral marketing, and word-of-mouth. The glossary serves as a useful reference for understanding the different strategies and channels involved in marketing movies to audiences.
The document discusses the history and development of the British and US film industries. It notes that the British film industry has experienced booms and recessions since the 1930s. Some of Britain's earliest successes included Alfred Hitchcock films in the 1930s. The industry then experienced a recession from the 1970s to 1990s. The 1990s saw a resurgence in successful British costume dramas and comedies such as Four Weddings and a Funeral and The Full Monty. Government support through organizations like the UK Film Council and National Lottery also contributed to the industry's renaissance. The document outlines ongoing debates around the type of films Britain should produce and discusses factors that define a "British film."
This document discusses the concept of mise-en-scène in filmmaking. Mise-en-scène refers to the overall look and feel of a movie, and includes elements such as setting, costumes, lighting, and composition. The document explains that setting establishes where the action takes place and how it relates to other settings. It notes that the human figure includes aspects like casting, acting style, costumes, and makeup. Lighting is discussed as a way to set mood, while composition arranges visual elements in the frame to present action and themes. Examples are provided of how these mise-en-scène elements function in specific films.
Filmmakers aim to elicit emotional responses from audiences. However, individuals may experience different emotions to the same film due to personal experiences and social/cultural backgrounds. While some shared responses are possible within social or ideological groups, each person brings private memories and desires to their viewing experience.
This document summarizes the history of stardom in Hollywood from the silent film era to contemporary times in 3 pages. It discusses [1] how the advent of sound exposed the artifice of silent films and established stars as economic drivers for studios. It then [2] analyzes the construction of different star personas and images across different decades from the 1920s to the 1960s/70s, how they reflected and shaped social norms. Finally, it [3] notes that stars continue to be commodities manufactured primarily for economic purposes but that also provide pleasure to audiences through their performances.
The 12 stages of film production are:
1. The idea - where original ideas for films come from books or other inspirations.
2. Development and financing - turning ideas into scripts which requires funding support.
3. Script development - further developing the script with input from the producer, writer, and director.
4. Packaging and securing financing - creating a budget and securing stars to help attract funding to make the film.
Feminist film theory views representations of women in film as culturally constructed and often unrealistic. Early feminist criticism examined the stereotyped portrayals of women in classic Hollywood films and their negative effects. These portrayals were seen as reflecting a male perspective since films were written and directed by men. Feminists called for more positive representations of women that were not defined by a male gaze or passive roles in narratives centered around male characters and their desires.
The idea behind this booklet is essentially to cover a broad range of topics and ideas related to both GCSE Film Studies exams but in a way that is very much revision: this booklet works best when you already have studied the individual films and topics needed and just need to revise those key ideas in a practical manner.
If you'd like to buy a copy please find here: https://iandoublem.sellfy.store/p/armbcq/
or here: https://www.tes.com/teaching-resource/-12649950
Throughout you will see references to ’30 Days of Film Revision’: the original plan was to include 30 different tasks that could be completed one day at a time leading up to the day of the Component 1 exam. There are actually 31 activities in total now, in part because I added an extra day to relax, but also to include additional material that focuses on each exam in specific focus; these are the final “exam on a page’ resources you will find on pages 31 and 32.
When designing this booklet, I have done so with the methodology of recalling more generic, broad ideas at the beginning and then eventually becoming more focused and nuanced on specific films and possible exam questions. I also incorporated techniques related to spaced learning, interleaving and dual encoding and for this reason it may seem as though the tasks and ideas are being repeated or are revised once and then pop up again later on.
Finally, I find this booklet works best when printed and photocopied to A3 size allowing for more space to write, but it was designed and therefore works well, at A4 size, ideally as one complete booklet with a page completed each day.
The document discusses film marketing strategies through social media platforms like Facebook, Orkut, and Twitter. It analyzes why these platforms are effective for reaching the target audiences of 18-23 year old students and people who are academically uninclined. Marketing techniques would include applications on Facebook and Orkut, movie trailers and behind-the-scenes videos on YouTube. Games would also be created themed around the movie to generate buzz pre-release. Statistics are presented on user demographics and traffic for major social networks in India to justify choices. A marketing strategy and applications are proposed for sample movies to engage customers and spread the word through social sharing.
The document discusses realism in film through various time periods and movements, including Italian Neorealism of the 1940s-50s known for using non-professional actors and location shooting to depict poor and working class conditions, British "Kitchen Sink Realism" of the 1950s-60s showing dissatisfied working class characters and societal critique, Soviet films of the late 1950s-early 1960s like The Cranes Are Flying that brought realistic depictions of war to the screen, and more contemporary realist films from China and the Dardenne Brothers known for gritty portraits of everyday life.
The document discusses the thriller genre in film and its conventions. It notes that thrillers create tension, anticipation, and suspense through their fast pacing and use of sound and editing techniques. Common thriller conventions include the use of black and white color schemes, lighting and shadows, and flashbacks. It also discusses several subgenres of thrillers and provides examples of codes and conventions commonly used, such as lighting, shadows, and mirrors to create mystery and suspense. Alfred Hitchcock is highlighted as a famous director known for suspenseful thrillers like Psycho that utilize techniques like unexpected music and hidden identities through shadowy lighting.
Marxist film criticism is based on Karl Marx's theoretical ideas about society being defined by class struggles. Marxist critics analyze how cinema supports or subverts dominant ideologies. Films can support the ideology that individuals can change the world through hard work and good behavior, or they can attack ideology by discussing political issues or satirizing messages. Marxist critics evaluate films based on how they relate to ideology, whether directly supporting it, attacking it, operating against the grain to subvert it, appearing to endorse it but showing critique through flaws, or setting out to attack it but ultimately reinforcing it.
The document recommends buying shares of PVR Limited, India's largest movie exhibition company. It trades at a valuation of 9.3x FY17E EV/EBITDA, below the target price of Rs. 933 set by the 18% upside potential over 12 months. PVR has strengthened its market leadership through acquiring DT Cinemas and Cinemax, and is well positioned to benefit from growth in discretionary spending and a strong film content pipeline. Key risks include changes to the revenue sharing model with distributors and lower footfalls.
This survey template provides examples that can be used to collect information from customers at a grocery store. The survey includes questions about shopping frequency, store preferences, attribute importance when choosing a store, ratings of store characteristics, opinions on various lifestyle topics, and demographic information. It also includes an observation form that can be used to evaluate the customer service and store environment at a specific grocery store location.
This presentation was designed for a high school film production class - it provides a visual accompaniment to a lecture presentation on production design for feature films
Fun and practical film workshop learning for teenagers and adults. The guide is designed as a presentation to teach about shot types and film language as well as a 'how to' in creating films in a workshop environment. The guide covers many technical features of film such as frame rate, 180 degree rule, lesson ideas, composition, photography and shutter speed, focal length, DOF, IOS, colour temperature, white balance and more.
Constantin Stanislavski was a Russian actor and director who developed an influential system for actor training and character development. His system strives to make performances feel "real" rather than artificial by drawing on actors' own experiences and imagination to develop their characters from the inside. It involves techniques like analyzing a character's objectives, determining their inner motivations, using imagination and concentration to fully inhabit the character, and connecting physically and emotionally. Stanislavski's system had a major impact on modern acting and is still widely used today.
How does your product engage with audiences and how would it be distributed a...ramsha khawaja
Our product targets teenagers aged 16-22. We conducted surveys to understand their preferences, which informed our music video. It includes a mix of performance and narrative, with minimal artist focus. Most access music on mobile phones. The video relates to the song's message of overcoming struggles. It received positive feedback on social media and views. To distribute the product, we will sell hard copies and make it available online, on TV and social media. Merchandise will also help promote it.
This document provides a glossary of common terms used in movie marketing, defining words that can help describe and analyze a film's promotional campaign. It defines over 20 terms concisely, including awareness, buzz, distributor, exhibitor, interactive marketing, junkets, key art, merchandising, platform releases, press kits, primary and secondary audiences, taglines, trailers, tie-ins, viral marketing, and word-of-mouth. The glossary serves as a useful reference for understanding the different strategies and channels involved in marketing movies to audiences.
The document discusses the history and development of the British and US film industries. It notes that the British film industry has experienced booms and recessions since the 1930s. Some of Britain's earliest successes included Alfred Hitchcock films in the 1930s. The industry then experienced a recession from the 1970s to 1990s. The 1990s saw a resurgence in successful British costume dramas and comedies such as Four Weddings and a Funeral and The Full Monty. Government support through organizations like the UK Film Council and National Lottery also contributed to the industry's renaissance. The document outlines ongoing debates around the type of films Britain should produce and discusses factors that define a "British film."
This document discusses the concept of mise-en-scène in filmmaking. Mise-en-scène refers to the overall look and feel of a movie, and includes elements such as setting, costumes, lighting, and composition. The document explains that setting establishes where the action takes place and how it relates to other settings. It notes that the human figure includes aspects like casting, acting style, costumes, and makeup. Lighting is discussed as a way to set mood, while composition arranges visual elements in the frame to present action and themes. Examples are provided of how these mise-en-scène elements function in specific films.
Filmmakers aim to elicit emotional responses from audiences. However, individuals may experience different emotions to the same film due to personal experiences and social/cultural backgrounds. While some shared responses are possible within social or ideological groups, each person brings private memories and desires to their viewing experience.
This document summarizes the history of stardom in Hollywood from the silent film era to contemporary times in 3 pages. It discusses [1] how the advent of sound exposed the artifice of silent films and established stars as economic drivers for studios. It then [2] analyzes the construction of different star personas and images across different decades from the 1920s to the 1960s/70s, how they reflected and shaped social norms. Finally, it [3] notes that stars continue to be commodities manufactured primarily for economic purposes but that also provide pleasure to audiences through their performances.
The 12 stages of film production are:
1. The idea - where original ideas for films come from books or other inspirations.
2. Development and financing - turning ideas into scripts which requires funding support.
3. Script development - further developing the script with input from the producer, writer, and director.
4. Packaging and securing financing - creating a budget and securing stars to help attract funding to make the film.
Feminist film theory views representations of women in film as culturally constructed and often unrealistic. Early feminist criticism examined the stereotyped portrayals of women in classic Hollywood films and their negative effects. These portrayals were seen as reflecting a male perspective since films were written and directed by men. Feminists called for more positive representations of women that were not defined by a male gaze or passive roles in narratives centered around male characters and their desires.
The idea behind this booklet is essentially to cover a broad range of topics and ideas related to both GCSE Film Studies exams but in a way that is very much revision: this booklet works best when you already have studied the individual films and topics needed and just need to revise those key ideas in a practical manner.
If you'd like to buy a copy please find here: https://iandoublem.sellfy.store/p/armbcq/
or here: https://www.tes.com/teaching-resource/-12649950
Throughout you will see references to ’30 Days of Film Revision’: the original plan was to include 30 different tasks that could be completed one day at a time leading up to the day of the Component 1 exam. There are actually 31 activities in total now, in part because I added an extra day to relax, but also to include additional material that focuses on each exam in specific focus; these are the final “exam on a page’ resources you will find on pages 31 and 32.
When designing this booklet, I have done so with the methodology of recalling more generic, broad ideas at the beginning and then eventually becoming more focused and nuanced on specific films and possible exam questions. I also incorporated techniques related to spaced learning, interleaving and dual encoding and for this reason it may seem as though the tasks and ideas are being repeated or are revised once and then pop up again later on.
Finally, I find this booklet works best when printed and photocopied to A3 size allowing for more space to write, but it was designed and therefore works well, at A4 size, ideally as one complete booklet with a page completed each day.
The document discusses film marketing strategies through social media platforms like Facebook, Orkut, and Twitter. It analyzes why these platforms are effective for reaching the target audiences of 18-23 year old students and people who are academically uninclined. Marketing techniques would include applications on Facebook and Orkut, movie trailers and behind-the-scenes videos on YouTube. Games would also be created themed around the movie to generate buzz pre-release. Statistics are presented on user demographics and traffic for major social networks in India to justify choices. A marketing strategy and applications are proposed for sample movies to engage customers and spread the word through social sharing.
The document discusses realism in film through various time periods and movements, including Italian Neorealism of the 1940s-50s known for using non-professional actors and location shooting to depict poor and working class conditions, British "Kitchen Sink Realism" of the 1950s-60s showing dissatisfied working class characters and societal critique, Soviet films of the late 1950s-early 1960s like The Cranes Are Flying that brought realistic depictions of war to the screen, and more contemporary realist films from China and the Dardenne Brothers known for gritty portraits of everyday life.
The document discusses the thriller genre in film and its conventions. It notes that thrillers create tension, anticipation, and suspense through their fast pacing and use of sound and editing techniques. Common thriller conventions include the use of black and white color schemes, lighting and shadows, and flashbacks. It also discusses several subgenres of thrillers and provides examples of codes and conventions commonly used, such as lighting, shadows, and mirrors to create mystery and suspense. Alfred Hitchcock is highlighted as a famous director known for suspenseful thrillers like Psycho that utilize techniques like unexpected music and hidden identities through shadowy lighting.
Marxist film criticism is based on Karl Marx's theoretical ideas about society being defined by class struggles. Marxist critics analyze how cinema supports or subverts dominant ideologies. Films can support the ideology that individuals can change the world through hard work and good behavior, or they can attack ideology by discussing political issues or satirizing messages. Marxist critics evaluate films based on how they relate to ideology, whether directly supporting it, attacking it, operating against the grain to subvert it, appearing to endorse it but showing critique through flaws, or setting out to attack it but ultimately reinforcing it.
The document recommends buying shares of PVR Limited, India's largest movie exhibition company. It trades at a valuation of 9.3x FY17E EV/EBITDA, below the target price of Rs. 933 set by the 18% upside potential over 12 months. PVR has strengthened its market leadership through acquiring DT Cinemas and Cinemax, and is well positioned to benefit from growth in discretionary spending and a strong film content pipeline. Key risks include changes to the revenue sharing model with distributors and lower footfalls.
This survey template provides examples that can be used to collect information from customers at a grocery store. The survey includes questions about shopping frequency, store preferences, attribute importance when choosing a store, ratings of store characteristics, opinions on various lifestyle topics, and demographic information. It also includes an observation form that can be used to evaluate the customer service and store environment at a specific grocery store location.
customer's prefrences for multiplexes in lucknowSACHIN AWASTHI
The document provides information about a marketing research project conducted on customer perceptions and preferences for multiplexes in Lucknow, India. The objectives of the research were to understand customer opinions and satisfaction levels, and identify customer perception and preferences. Data was collected through questionnaires distributed at four multiplexes between December 2008 and January 2009. The research involved defining the problem, determining the research design, identifying data collection methods, analyzing the data collected, and preparing a report of the findings. Key findings from the data analysis included information on which multiplex was considered the best and customer preferences for show times and ticket pricing.
Market Research on Indian Market for Hair OilYatish Dasari
The document provides a market research report on the Indian hair oil market. Some key points:
- The Indian hair care market is dominated by hair oil, which accounts for over half of the total market. Coconut oil makes up the majority of hair oil sales.
- Younger consumers are looking for customized products that address both styling and specific hair needs, leading to growth in niche hair oil segments.
- The hair care industry is growing at 14% annually, higher than the overall FMCG industry growth rate of 13.4%. Coconut oil and non-greasy perfumed oils are the main types of hair oil available.
- Key findings from the consumer research include coconut oil and al
This document is a project report on consumer behavior towards consumption of fast food submitted to Matrix Business School by Gulab Ch. Sharma. It includes an executive summary that provides an overview of the research methodology used, which was a descriptive survey approach involving collection of primary data through questionnaires. The report outlines the objectives, scope, theoretical background and findings of the study. Key findings include that most respondents visit fast food joints in the evening with friends, spend around 15% of their monthly income on fast food, and prefer outlets like McDonald's due to convenience, pricing and taste of food.
Alamo Drafthouse Cinema Marketing Plan Report ProjectRicky Erling
This document provides a marketing plan for an Alamo Drafthouse Cinema location in Richardson, Texas. It begins with an executive summary that outlines the history and goals of Alamo Drafthouse Cinema and identifies the challenge of increasing brand recognition for the new Richardson location. It then performs a situation analysis that includes an analysis of the company, customers, competitors, context, and a SWOT analysis. The marketing strategy section outlines the market segmentation focusing on frequent moviegoers ages 18-39, and discusses targeting and positioning strategies. The plan proposes focusing initial efforts on enhancing products/services, broadening the customer base through advertising, and offering promotions to build recognition and retention in the short term. [END SUMMARY]
The document discusses how UK film distributors obtain films to release and factors they should consider. There are four main sources distributors can obtain films from: a third party sales agent, continuous output from another studio, an output deal with a studio/producer, or acquiring a single title. Distributors should consider if a film is original, appeals to the target audience, and will be profitable given costs. Once a film is chosen, the distributor signs a contract specifying distribution rights and plans the film's release.
The document discusses how UK film distributors obtain films to distribute and the factors they consider when deciding whether to acquire a film. Distributors get films from sales agents, output deals with studios, or acquiring single titles. They consider whether a film is original, appeals to the target audience, and will be profitable based on the costs and potential box office revenues. Once a film is acquired, distributors sign contracts detailing distribution rights and then plan the release, targeting specific audiences. Competition and other market factors like stars, awards potential, and sequels are also considered when distributing a film.
The document discusses how UK film distributors obtain films to distribute and the factors they consider when deciding whether to acquire a film. Distributors get films from sales agents, output deals with studios, or acquiring single titles. They consider whether a film is original, appeals to the target audience, and will be profitable based on the audience size and release costs. Once a film is acquired, distributors sign contracts detailing distribution rights and then plan the release, targeting specific audience demographics. Competition from other films is also a key consideration. Distributors use various marketing techniques like screenings, partnerships, and merchandising to promote films.
The document discusses how UK film distributors obtain films to release and factors they should consider. There are four main sources distributors can obtain films from: a third party sales agent, continuous output from another studio, an output deal with a studio/producer, or acquiring a single title. Distributors should consider if a film is original, appeals to the target audience, and will be profitable given costs. Once a film is chosen, the distributor signs a contract specifying distribution rights and plans the film's release.
Impact of cinema on youth dessertation final cutsuraj13b
This document provides an overview of the Indian film industry and discusses the impact of cinema on youth. It begins with background on the large size and cultural importance of the Indian film industry. It then discusses how films from Bollywood and other regional industries shape youth culture through influencing fashion, language, and ideas of romance. Films also provide a sense of belonging for young people who emulate styles portrayed. The document thus examines cinema's role in socializing youth and introducing new concepts.
The document discusses the relationship between the film industry and audiences. It examines how the industry both creates meaning through film production and relies on audiences to interpret and process films in various ways. The industry aims to bring films to audiences to maximize success and profits, not just at the box office but through diverse distribution platforms. The relationship is dynamic, with the industry needing to listen to and respond to audiences while audiences also develop behaviors beyond the industry's control.
The primary audiences for a social realism film would be niche online communities and specialty cinemas. Platforms like MUBI, IMDb, and LoveFilm have dedicated social realism sections that allow fans to discuss and discover such films. Art house cinemas like Cornerhouse in Manchester and Arcolfini also regularly screen social realism films. Television channels like BBC4 and Film4 show social realism films but have limited viewership. Research targeting A-level media students found they were interested in social realism and felt there was space in the market for more films in this genre. Overall, the audiences are small and specialized, focusing on online communities and art house cinemas rather than mainstream theaters or
The document discusses audiences for films and how they are defined, categorized, and analyzed. It notes that audiences are important for commercial success and profitability. It also describes how technology has led to audience fragmentation as people can now view films in many different ways. Film producers conduct research to understand who comprises their audiences so they can best target their marketing. This includes using demographics like age, income, and gender, as well as psychographics about lifestyle and personality. Test screenings can also provide feedback to potentially alter a film.
Sasha Production House is launching a new biographical film titled "Painting Hussain" about the life of Indian artist M.F. Hussain. The film aims to portray Hussain's childhood, career and the controversies surrounding him. It is targeted towards an artistic niche market and those interested in Hussain. The film will debut in India and international film festivals. Market research was conducted to select this biographical story over others considered. While biopics have generally not done well financially in India, this film may find greater success internationally given Hussain's fame abroad and sympathetic Western audiences.
Q3. How Do Your Products Engage With The Audience And How Would They Be Distr...Max Behan
This document discusses how independent films are distributed as real media products. It explains that independent distributors like Warp Films, Verve, and Vertigo specialize in distributing independent films in theaters and on DVD. These distributors identify the target audience for a film, develop marketing campaigns, and get the film in front of audiences. Social media is also discussed as an important way to engage audiences and distribute film marketing like trailers. The role of distributors in identifying the audience and getting a film shown to theaters is summarized.
The document provides guidance for a case study on the production cycle of a film made by a British film institution. It outlines various aspects of the filmmaking process to research, from initial development through production, distribution, marketing, exhibition, and audience reception. Key points to analyze include the film's genre, budget, casting, technology used, distribution deals, marketing strategy, box office performance, and critical and audience reactions. The goal is to understand how the chosen institution approached filmmaking and targeted audiences.
Recipe for Hindi Cinema Blockbuster: Research for Marketing DecisionsVishrut Shukla
The document provides a final project report submitted to a professor analyzing factors that determine the success of Hindi movies in different genres. It begins with an executive summary outlining the objectives to identify success factors for genres like action, thriller, drama and romance, and develop statistical models to predict if a new movie will be a blockbuster, hit, or flop. It then describes the methodology used, including contextual research on the Hindi film industry and exploratory research through questionnaires. The report findings identified key parameters affecting viewers' decisions and developed discriminant analysis models to predict a new movie's success based on audience ratings of factors for each genre.
This document provides guidelines for a case study analysis of a film's production from concept to audience reception. It includes questions to consider about the film's production company history and genres, how the idea was developed, issues during production and distribution, the impact of new technologies, how the film was marketed and distributed, and audience reactions. The analysis should tie all aspects back to the film's institutions from initial idea through box office performance and impact on future productions.
This document is a research paper abstract about innovative marketing campaigns used by Bollywood films. The author conducted a qualitative content analysis of case studies and articles on successful films like "Barfi", "Chennai Express", and "Yeh Jawaani Hai Deewani" that utilized new media marketing techniques. The paper finds that Bollywood has adopted digital and social media strategies in recent years, which have played a big role in films' box office success by bonding with audiences online and reducing piracy.
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2. Table of Contents
S.No Topic
1 Abstract
2 Introduction
3 Literature Review
4 Exploratory Study
5 Pilot Survey
6 Questionnaire Reliability
7 Final Questionnaire and Data Collected
8 Analysis of Data in SPSS and Results
9 Conclusion
10 References
3. 1.Abstract
In India, Art Film or Parallel Cinema emerged as an alternative to the mainstream Indian
cinema as a precise movement in Indian cinema, acknowledged for its serious content,
realism and naturalism. This research aims at examining the ‘Attitude towards
Commercial Cinema vis-à-vis Art Cinema among Youth in Metro Cities’. The
objective of the survey is to find ‘Why Commercial Cinema is more popular in India
than Art Cinema among youth in Metro cities’.
To carry on the research, literature from past papers on the similar topic was reviewed.
The questions for present research were designed using the findings from literature
review. A pilot survey of sample size 20 was conducted using this questionnaire, which
helped us modify and reform it. The questionnaire was then tested for validity using
Cronbach alpha and factor analysis to prove that the questionnaire is reliable. The final
research was done using 38 research items, all on likert scale, on a sample size of 100.
Other research analysis like correlation, discriminant analysis, factor analysis and
cluster analysis were conducted to derive the final research results. All the analysis has
been done in SPSS 16.0.
2.Introduction
The Cinema of India consists of films produced across India, which includes the
cinematic cultures of various states. Cinema as a medium gained popularity in the
country and as many as 1,600 films in various languages of India were produced
annually. In the 20th century, Indian cinema, along with the Hollywood and Chinese film
industries, became a global enterprise. Directors such as Satyajit Ray, Ritwik
Ghatak, Mrinal Sen have made significant contributions to Parallel Cinema and won
global acclaim. Following India's independence, the period from the late 1944s to the
1960s are regarded by film historians as the 'Golden Age' of Indian cinema. Some of the
most critically acclaimed Indian films of all time were produced during this period.
Bollywood is the sobriquet of the Hindi language film industry, based in Mumbai, India.
The term is often incorrectly used to refer to the whole of Indian cinema; however, it is
only a part of the large Indian film industry, which includes other production centres
producing films in multiple languages. Bollywood is one of the largest film producers in
India and one of the largest centres of film production in the world. It is more formally
referred to as Hindi Film cinema.
Parallel Cinema or Art Cinema is a film movement in Indian cinema that originated in
the state of Bengal in the 1950s as an alternative to the mainstrea commercial Indian
cinema, represented especially by popular Hindi cinema, known today as Bollywood.
Inspired by Italian Neorealism, Art Cinema began just before the French New
Wave and Japanese New Wave, and was precursor to the Indian New Wave of the 1960s.
The movement was initially led by Bengali cinema and produced internationally
4. acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and
others. It later gained prominence in other film industries of India. It is known for its
serious content, realism and naturalism, with a keen eye on the sociopolitical climate of
the times, and for the rejection of the dance-and-song numbers that are typical of
mainstream commercial cinema.
Rise and Decline of Art cinema
During the 1970s and the 1980s, art cinema entered into the limelight of Hindi
cinema to a much wider extent. By the early 1990s, the rising costs involved in film
production and the commercialisation of the films had a negative impact on the art
films. The fact that investment returns cannot be guaranteed made art films less
popular amongst filmmakers. Underworld financing, political and economic turmoil,
television and piracy proved to be fatal threat to art cinema, as it declined. One of the
major reasons for the decline of the art cinema in India is that the F.F.C. or the National
Film Development Corporation of India did not seriously look into the distribution or
exhibition of these films. The Art Cinema in its true sense was always on the fringes of
the mainstream cinema. Since most of the art cinema rejected the regressive worldview
that was largely embodied the mainstream cinema they never found acceptance in the
mainstream production, distribution and exhibition system.
3.Literature Review
Past studies have found that some people consume films as part of their appreciation
for the art, while others relish the big-budget, mass-marketed productions that thrill
them on the big screen and send them from the movie theatre with the desire to
recommend an exciting cinematic experience to others. Estimation results indicate that
cinema tastes diverge into different patterns, meaning that some people are more
exclusive in their attitudes toward entertainment films, while others look at films as art
work.
Understanding the determinants of the consumers’ demand for cinema films has been
the object of research by many scholars in various domains. Researchers on consumer
behaviour interested in the experiential aspect, attempted to understand what drives
movie consumption, that is, the reasons for selecting films. These studies suggest a
positive relation between the films’ performance and their budget, reviews and star-
drawing power. In the same industry-related line, other studies include exclusively box
office data to assess the power of the actors, filmmakers, critics and awards achieved in
the choice of a certain type of movie.
Researches on art cinema and commercial cinema over the years have found various
individual factors, industry-related factors and cultural-social factors that determine the
decision of a cinema-goer to choose a particular movie.
5. 3.1 Individual factors: Consumption patterns and Experiential
motivation
Cinema films are experiential goods that consumers engage in for fun, enjoyment and
leisure. This approach suggests that the consumer’s experiential needs, such as
emotional arousal, result in motivations for film demand and that consumption and
needs are associated with perceptions concerning gratifications provided by the
cinema. Motives for cinema demand included entertainment and relaxation, learning
and gaining new experiences, and a desire to admire art. Frequent cinema-goers
reported a greater level of identification with these motives than occasional or
infrequent ones.
For some people, motion pictures are more than just another form of entertainment
through which one can spend some quality time alone or in the company of friends. For
frequent cinema-goers or fans, fascination with movies meets pretty much the
definition of product enthusiasm where the product an important role and is a source of
excitement and pleasure along sensory and aesthetic dimensions in a consumer’s life.
If the cinema-goers have high consumption patterns that are they are frequent movie
goers, an intense level of demand is a necessary condition for the consumption of the
two different types of film. Intense demand maximizes the chance that each film
supplied will be consumed.
3.2 Industry-related factors: Production, Distribution and Marketing
The market success of motion pictures can be expected to be influenced by the
consumers’ assessment of a movie’s quality. Quality, however, is difficult to ascertain
prior to viewing, thus, audiences can interpret production budgets as signals of a
movie’s high quality, i.e., professionalism of concept and execution.
Distribution is also a great factor in the success of a movie. U.S. film producers were the
first to sink endogenous costs into large-scale marketing and distribution which meant
that Hollywood became and has remained comparatively more efficient at serving mass
markets than film clusters in other large film producing countries. They were thus able
to overcome liabilities of foreignness by participating in local distribution and locally
adapted marketing campaigns in a high number of export markets, by dubbing films,
and, in some export markets, creating cultural preferences for Hollywood-style
aesthetics and narrative, as well as English-language films rather than other
domestic/foreign films.
For experiential products, such as cinema films, consumers search for two types of
information sources: experiential and non-experiential sources. Previews, television
and internet advertisement are experiential sources: they provide a chance to try the
6. film. Friends who have seen the film can describe it and are hence another experiential
source. The same applies to reviews. Non-experiential sources such as printed and radio
advertising, are less useful because they do not illustrate or mimic consumption. That is
why film marketers have pioneered “buzz marketing”, by giving opinion leaders free
access to previews, with a view to stimulating positive word-of-mouth so as to sustain
the film in the market. Marketing expenditure is itself determined by production cost,
the presence of a star, and film genre. Informing people about the star’s presence in the
film through advertising is one way to make use of that.
3.3 Cultural-social factors: Education, Occupation and Cultural status
Past studies have examined the link between social class and types of audiovisual
consumption, and their findings demonstrated that it is easier to find film and
audiovisual fans in higher classes than in any other category. Still pursuing the
descriptive side of film research, this link between class status and the cultural
hierarchy has received attention in numerous empirical studies.
Social-structural factors such as income, education, and occupation/field of graduation,
are likely to constitute important ‘predictors’ of the demand for a certain type of cinema
films, namely mainstream versus art house. The higher the social and cultural status of a
population, the higher the demand for art house films.
4.Exploratory Study
4.1 Questionnaire Development
Using the theory from the literature reviewed, common concepts and factors
determining the decision to watch an art film or a commercial film were extracted and a
questionnaire was prepared to do the research. The questionnaire accommodates
various individual factors, industry-related factors and cultural-social factors that
determine the decision of a cinema-goer to choose a particular movie.
4.2 Market Segmentation and Targeting
With help of the Literature, the following segmentation was done of the market:
Gender: Male, Female
Age Group: 15 to 24 yrs, 25 to 34 yrs, 35 to 44 yrs, 45 to 54 yrs, 55 to 64 yrs
Area: City, Town, Suburbs, Village
Frequency of watching a movie: Weekly, Monthly, Quarterly, Yearly
Of this people, people of both genders, in the age group of 15 to 34 years, living in a city or
suburb and watching at least one movie in a month were targeted for the research.
7. 5.Pilot Survey
5.1 Aim of the Pilot Survey
A pilot survey of sample size 20 was conducted before the main survey with an aim to
refine the questionnaire. The respondents were made to fill the questionnaire on paper
and were interviewed to find out the following:
Time taken to fill the questionnaire
If any question was irrelevant, invalid or unreliable
If any question was illogical or confusing
If any other parameter was needed to be tested in the survey
Grammar errors, spelling mistakes, if found
5.2 Modifications after Pilot Survey
After the Pilot survey, it was found that the questionnaire took at an average 6 to 8
minutes by the respondents to be filled. Also, a few refinements were found.
In Gender, ‘Transgender’ was added as it is now an official gender in our country.
On the second page of the print out of the survey, likert scale column headers
were added, as its absence before was creating confusion for the respondent.
The factor ‘I remember seeing a film several times’ was split into two factors, ‘I
remember seeing an art film several times’ and ‘I remember seeing a commercial
film several times’ as the initial factor stood irrelevant for the research.
6.Questionnaire Reliability
Using the data from the Pilot survey, the questionnaire was tested in SPSS for Validity
and Reliability. Cronbach’s Alpha and Factor analysis were used to do so.
6.1 Cronbach’s Alpha
This technique tells if a research instrument measures what it is supposed to measure.
The Cronbach’s Alpha should be greater than 0.7 for all instruments to be reliable.
Reliability Statistics
Cronbach's Alpha
Cronbach's Alpha
Based on
Standardized
Items N of Items
.922 .922 38
8. In SPSS, the Cronbach’s Alpha value for all 38 items is found to be 0.922 which is greater
than 0.7, hence no item needs to be excludes and all are reliable. This proves validity of
our questionnaire.
6.2 Validity Using Factor Analysis
Factor analysis is the most reliable way to measure validity. Hence we crosscheck the
questionnaire’s validity using Factor Analysis in SPSS. This technique showed the items
were reliable though a few items could be clubbed together to reduce the number of
items. This will be explained in detail in the later sections of the report.
7.Final Questionnaire and the Data collected
7.1 The Final Questionnaire
The following questionnaire was floated to a sample of 100, in hard copy as well as
online through email, social media and messaging applications. The online form was
created using Google Docs.
Attitude towards Commercial Cinema vis-à-vis Art Cinema
Among Youth in Metro Cities
Dear Respondent,
We are conducting a research on ‘Attitude towards Commercial Cinemavis-à-vis ArtCinema among Youth in
Metro Cities’. The objective of the survey is to find ‘WhyCommercial Cinemais morepopular in India than Art
Cinema among youth inMetro cities’. We request you to kindly take out a fewminutes from your busy schedule
and fill this small questionnaire.
1. Gender: a. Male b. Female c. Transgender
2. Age Group: a. 15 to 24 yrs b. 25 to 34 yrs c. 35 to 44 yrs d. 45 to 54 yrs e. 55 to 64 yrs
3. Where do you live? a. City b. Town c. Suburbs d. Village e. Others _____________
4. How often do you visit the cinema to watch movies? a. Weekly b.Monthly c. Quarterly
5. In which language doyou watch movies? a. Hindi b. English c. Punjabi d. Gujarati
e. Bengali f. Marathi g.Others ______________
6. Who doyou like to go to movies with? a. A Date b. Spouse c. Family members d. Children
e. Friends f. Others_____________
Rate the followingstatements onthe basis of the options given:
Strongly
Disagree
Partially
Disagree
Neither
Agree nor
Disagree
Partiall
y Agree
Strongly
Agree
1. Too much logic, reality and layers of thought
are boring.
2. Movies are an effective media to convey
different messages to its audiences in an
entertaining story telling style.
9. 3. Movies reflect and portray social realities to
its audiences.
4. I like movies with fast temperament.
5. I like movies involving comedy, action and
romance.
6. I like movies involving drama.
7. I like movies showcasing social issues.
8. I like movies with a happy ending that leave
me with a happy feeling at the end.
9. I don’t like movies which make me realize
how harsh society is.
10. I like watching movies released by famous
directors.
11. I like watching movies with a catchy
storyline.
12. Trailers of movies are a great tool to attract
audiences.
13. I like to have my brain engaged with what is
going to happen next in the movie.
14. I like to be surprised at the end of the movie.
15. I remember seeing an art film several times.
16. I remember seeing a commercial film several
times.
17. I have preference for a film being shot in a
particular country.
18. I prefer going to cinema hallrather than
buying a DVD and watching it at home.
19. I like movies which I can watch with my
family.
20. Entertainment is the main purpose I go to
watch a film.
21. I would rather watch Dabbang or Singham
rather than Udaan or Black Friday.
22. The only reason why commercial cinema is
widely accepted is because it is star studded.
23. Commercial cinema today lacks innovation
and creativity.
24. Commercial cinema in India concentrates
more on screenplay,music, choreography,
production and direction rather than the
script.
25. Commercial cinema has higher audience
involvement than art cinema.
26. Commercial movies have high recognition in
the cinema industry through awards.
27. Commercial movies sometimes get
undeserved acclaim from critics.
28. While art cinema has its share in western
countries, it is still not accepted by Indian
audience
29. Script is the main herowhen it comes to art
cinema.
30. Arts Movies donot have the means to be
promoted on a large scale as compared to
commercial cinemas.
31. Arts cinema deserves the mainstream
10. acclaim and recognition and more
importantly the public acclaim just like
commercial cinemas.
32. Art films can hurt sentiments of people.
33. Art movies failto reach entire audience.
34. People perceive art films as documentary
because such films do not have songs, dance,
melodrama, exaggerated emotions and
loudness.
35. People who only watch art films are just
trying to be elitists.
36. Art films often have characters that you can't
relate to nor sympathize with. They often are
immoral or amoral.
37. Art films do not uplift the audience.
38. Arts movie with great content are liked all
the time.
Thankyou for your time. Your response would be of great importance for us and will be kept confidential.
7.2 Data Collected
Of the total sample size of 100:
56.5% of the respondents were male while 43.5% were female.
64.7% belonged to the age group of 15 to 24 years, 28.2 % to 25 to 34 years and
the rest older than these age groups.
92.9% respondents lived in the city.
45.9% respondents watch a movie monthly, 30.6% watch it quarterly while the
others are not very frequent in watching movies.
Around 95.2% watch a movie in Hindi or English while the other watches it in
other languages.
A good percentage of respondents watch a movie with a friend or a family
member.
The following Results were obtained:
40% of the sample does not believe that too much logic, reality and layers of
thought are boring.
58.8% of the sample says that Movies are an effective media to convey different
messages to its audiences in an entertaining story telling style.
45.9% of the sample believes that Movies reflect and portray social realities to its
audiences.
34.1% of the samples say that they like movies with fast temperament.
11. 40% of the sample says that they like movies involving comedy, action and
romance.
32.9% of the sample says that they like movies involving drama.
34.1% of the sample says that they like movies showcasing social issues.
35.3% of the sample says that they like movies with a happy ending that leave
them with a happy feeling at the end.
40% of the sample says that they like movies which make them realize how
harsh society is.
24.7% of the sample is not affected by watching movies released by famous
directors while another 23.5% agrees to it.
42.4% of the sample says that they like watching movies with a catchy story line.
55.3% of the sample believes that The Trailers of movies are a great tool to
attract audiences.
55.3% of the sample says that they like to have their brain engaged with what is
going to happen next in the movie.
55.3% of the sample agrees that they would like to be surprised at the end of the
movie.
28.2% of the sample says that they remember seeing a Commercial film several
times.
24.7% of the sample says that they remember seeing an Art film several times.
44.7% of the sample does not have preference for a film being shot in a
particular country.
24.7% of the sample says that they prefer going to cinema hall rather than
buying a DVD and watching it at home.
32.9% of the sample feels neutral about watching a film with their family.
24.7% of the sample believes that Entertainment is the main purpose they go to
watch a film.
50.6% of the sample disagrees with the fact that they would rather watch
Dabbang or Singham rather than Udaan or Black Friday
32.9% of the sample believes that the only reason why commercial cinema is
widely accepted is because it is star studded.
28.2% of the sample believes that Commercial cinema today lacks innovation
and creativity.
36.5% of the sample believes that Commercial cinema in India concentrates
more on screenplay, music, choreography, production and direction rather than
the script.
51.8% of the sample believes that Commercial cinema has higher audience
involvement than art cinema.
40% of the sample believes that Commercial movies have high recognition in the
cinema industry through awards.
36.5% of the sample believes that Commercial movies sometimes get
undeserved acclaim from critics.
12. 41.2% of the sample says that while art cinema has its share in western
countries, it is still not accepted by Indian audience.
34.1% of the sample believes that Script is the main hero when it comes to art
cinema.
31.8% of the sample believes that Arts Movies do not have the means to be
promoted on a large scale as compared to commercial cinemas
40% of the sample believes that Arts cinema deserves the mainstream acclaim
and recognition and more importantly the public acclaim just like commercial
cinemas.
30.6% of the sample does not believe that Art films can hurt sentiments of
people.
34.1% of the sample says that Art movies fail to reach entire audience.
37.6% of the sample believes that People perceive art films as documentary
because such films do not have songs, dance, melodrama, exaggerated emotions
and loudness.
28.2% of the sample disagrees with the fact that people who only watch art films
are just trying to be elitists.
41.2% of the sample does not believe that Art films often have characters that
you can't relate to nor sympathize with. They often are immoral or amoral.
44.7% of the sample disbelieves that Art films do not uplift the audience.
30.6% of the sample believes Arts movie with great content are liked all the time
8.Analysis of Data in SPSS and Results
8.1 Correlation
On the obtained data we test correlation, using Pearson’s correlation coefficient in SPSS
to see if any two variables are linearly related. The strength of the correlation, or effect
size, is the magnitude or strength of the association, and can be assessed by these
general guidelines:
.1 < | r | < .3 - small / weak correlation
.3 < | r | < .5 - medium / moderate correlation
.5 < | r | - large / strong correlation
In the 38x38 Correlation produced by SPSS, a few factors have a correlation coefficient
between 0.5 and 6.5 with a significance of 0.01, but none exceeds 6.5. Hence a very high
correlation is not found between any two factors. Hence all the factors can be
maintained to conduct the survey.
13. 8.2 Determinant Analysis
Here Discriminant analysis is done to find variables which differentiate between people
who like art cinema and who do not like art cinema. The Eigenvalues show a canonical
correlation of 0.817. Thus the value of R square and hence Goodness of fit is high ie.
81.7%. The Wilk’s Lambda value is 0.333. Hence the Badness of fit is low. This implies
that the data fits in the model. Seeing the discriminate loadings in the Structure matrix,
the discriminate loading cut off can be set to 0.25 considering the large sample size of
100.
Hence three discriminant factors are found
Script is the main hero when it comes to art cinema. Factor Loading: 0.344
Arts cinema deserves the mainstream acclaim and recognition and more importantly the
public acclaim just like commercial cinemas. Factor Loading: 0.310
The only reason why commercial cinema is widely accepted is because it is star studded.
Factor Loading: 0.273
Using the Canonical Discriminant Fuctional Coefficients, the following discriminant
function coefficient can be obtained:
D = 0.469(X1) + 0.778(X2) + 0.731(X3)
Where,
X1= Score for - Script is the main hero when it comes to art cinema.
X2= Score for - Arts cinema deserves the mainstream acclaim and recognition and more
importantly the public acclaim just like commercial cinemas.
X3= Score for - The only reason why commercial cinema is widely accepted is because it is star
studded.
14. Now, According to the Functions at Group centroids table, if the value of D is near -1.790
then the respondent does not like art movies and if the value of D is near 1.097, then the
respondent likes art movies.
Functions at Group
Centroids
If you
like art
movies
Function
1
No -1.790
Yes 1.097
8.3 Factor Analysis
We do Factor analysis for this research to see which factors can be clubbed together to
reduce the number of factors for any future surveys on the same topic. The KMO value
for this analysis is 0.709 which is greater than 0.5 and hence the sample is adequate for
the test. According to the Bartlett’s test of sphercity, the significant value is 0.000, hence
there is correlation between the factors and the factors can be reduced. According to the
total variance explained table, 10 variables account for 71.996% variance of the total 38
factors. Hence a total of 10 factors can be extracted using Factor analysis. From the
Component Matrix table, it is confirmed that a total of 10 factors can be extracted.
Factor loading cut off is kept greater than 0.4. Here varimax rotation is used to avoid
cross-loading. By looking at the Rotated component matrix table, we conclude that the
following 10 factors can be formed:
1. I like watching movies with happy endings that keep my brain engaged.
2. I like to watch movies with fast temperament that involve comedy, action and
romance.
3. I like entertaining movies which I can watch with my family.
4. Commercial cinema today lacks innovation and good storyline, and is only
accepted because it is star studded
5. I like watching movies with a good production and a good storyline.
6. Arts movie with great content, showcasing social issues are liked all the time.
7. Art films are immoral and do not uplift the audience.
8. Arts Movies fail to reach the entire audience because they do not have the means
to be promoted on a large scale as compared to commercial cinemas.
9. Art movies are boring and are perceived as documentaries.
10. Arts movie with great content are liked all the time.
15. 8.4 Cluster Analysis
We have used Cluster analysis for market segmentation for finding out sub segments
among our segment that is youth living in metro cities. Using the Dendogram, we cannot
clearly see that how many clusters can be obtained, as the sample size is large. Hence
we only use Agglomeration schedule to find the number of clusters. Using the
Agglomeration schedule, it can be found that a total of 3 clusters can be obtained.
The Cluster membership table shows the cluster membership of each research item and
its distance from the centroid in the Dendogram. By looking at the Final cluster centera
table, the following 3 clusters can be formed:
1. People who like a lot of drama in their life: These are the people who like
watching movies involving comedy, action, romance with fast temperament and
lot of drama.
2. People who are serious minded and are emotional: These are the people who
like watching movies showcasing social issues that portray social realities.
3. People who are casual and frequent cinema goers: These are the people who
like movies with both drama and social realities.
9.Conclusion
The purpose of this study was to analyze the determinants of the demand for art cinema
vs commercial cinema at theoretical and empirical levels. It was found that the main
reason why commercial cinema is widely accepted is because it is star studded though
they lack a good script. When it comes to art cinema, Script is the main hero. Script is
the main reason why the fans of Art cinema like Art movies because they involve social
issues and lack unwanted drama. Arts cinema deserves the public acclaim and
recognition just like commercial cinema.
Also the research items in the questionnaire were proved to be valid and hence the
above survey stands reliable to find out why Commercial Cinema is more popular in
India than Art Cinema among youth in Metro cities. Also for further studies, the number
of factors or research items can be reduces to 10 to obtain the same/similar findings.
For deeper research on the issue, the segment ‘Youth in Metro cities’ can be sub
segmented into clusters- People who like a lot of drama in their life; People who are
serious minded and are emotional; and People who are casual and frequent cinema
goers.
16. 10. References
Past Researches:
“Comparative analysis of Art and Commercial Indian Cinema” by Anam Muzamill
“Superman vs Shrödinger’s Cat: Taste, Etiquette and Independent Cinema
Audiences as Indirect Communities” by Elizabeth Jane Evans, University of
Nottingham, UK
“Neo-Wave in Indian Cinema: A Chronological Evaluation” by Piyali Chakraborty
and Santanu Banerjee, Vidyasagar University
“A cross-country analysis of the demand for art house vs. mainstream cinema
films” by Fernando Governo, Universidade do Porto
Website references:
www.wikipedia.com
www.acemedia.edu
www.questia.com
www.businessofcinema.com
www.planetbollywood.com