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By John Sedgwick, Michael Pokorny

The motion picture boomed within the 20th century, and remains to be going robust this present day. although, the economics of films has been interestingly less than explored previously. leading edge and informative, this obtainable ebook, consisting of contributions from a few of the best specialists within the quarter, is a giant leap forward in our figuring out of this crucial subject.

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Additional resources for An Economic History of Film (Routledge Explorations in Economic History)

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De Vany, A. D. (1997) ‘The market for motion pictures: rank, revenue, and survival’, Economic Inquiry, 35: 783–797. De Vany, A. D. ’, Journal of Cultural Economics, 23: 285–318. De Vany, A. and Lee, C. (2004) ‘Stochastic market structure: concentration measures and motion picture antitrust’, in A. ) Hollywood Economics: How Extreme Uncertainty Shapes the Film Industry, London: Routledge. Fine, B. and Leopold, E. (1993) The World of Consumption, London: Routledge. Fuller, K. (1996) At the Picture Show: Small-Town Audiences and the Creation of Movie Fan Culture, Washington, DC: Smithsonian Institution Press.

The commodity aspect to radio and television is the airtime purchased by advertisers, the price of which is related to the size and The characteristics of film as a commodity 21 8 9 10 11 12 type of audience listening to (or viewing) programmes around and within which adverts are placed. Accordingly, it can be argued that (in the absence of public service provision made fully available by the state – such as the BBC in the UK) films shown on ‘free-to-air’ commercial TV can be regarded as quasi gifts to its audiences.

Moreover, since the film market did not decrease dramatically, European film companies could always temporarily overcome a lack of films by buying rights to foreign films. Had the war really ruined the film companies of the belligerent countries, then the film industry of neutral countries should have remained strong. An interesting case is Sweden. 3 clearly shows that the American market share skyrocketed in the war years, while the Swedish share declined. In contrast, the market shares of domestic films in Britain and France remained remarkably stable, at the expense of foreign non-US films (Bakker 2001b).

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