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Comparative Film Popularity in Three English Cities—Bolton, Brighton, and Portsmouth: An Exercise in POPSTAT Methodology

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Towards a Comparative Economic History of Cinema, 1930–1970

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Abstract

For 1934, film popularity (POPSTAT) statistics of three small English cities, Bolton, Brighton, and Portsmouth, are derived from daily local newspapers and used to investigate audience preferences. Box-office information for the Regent cinema, Portsmouth, is used to corroborate the POPSTAT Index values of those films screened during the year. A high correlation between the two is found. Comparisons between the POPSTAT charts are conducted using the RelPOP method, and differences in preferences are found for some British films. At the same time, many Hollywood productions are similarly popular across the three cities.

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Notes

  1. 1.

    Richards (1984, p. 18).

  2. 2.

    For other accounts of the British filmgoing culture see McKibbin (1998, Ch. 11) and Sedgwick (2000, Ch. 2).

  3. 3.

    At this time, distributors were commonly referred to as renters in the UK.

  4. 4.

    Low (1985, pp. 267–270).

  5. 5.

    Sedgwick (2000, Table 4.4). Concerning risk, see the discussion on pp. 51–54.

  6. 6.

    Garncarz (2015).

  7. 7.

    These population figures are those given in the Kine Yearbooks of 1935 and 1936.

  8. 8.

    Rowson (1936) found that 43% of admissions paid 7d or less, with another 37% paying no more than 12d.

  9. 9.

    Rowson (1936, p. 76).

  10. 10.

    Daniels and Jewkes (1928).

  11. 11.

    Crafts (1987: Tables 2 and 3).

  12. 12.

    Rowson (1936, Table III).

  13. 13.

    Leif Furhammar (1990) and Joseph Garncarz (2020) include differences in monthly average attendances in their estimates of film popularity.

  14. 14.

    See Harper (2004) and Sedgwick (2006) for a fuller discussion of the ledger and cinemagoing in Portsmouth in general.

  15. 15.

    Sedgwick and Pafort-Overduin (2012).

  16. 16.

    POPSTAT values for all films screened in Portsmouth were calculated using the same billing weights.

  17. 17.

    To maintain compatibility with the Bolton and Brighton datasets, billing weights are simply 1 for single features and 0.5 for films in a double bill.

  18. 18.

    Rowson (1936, p. 83).

  19. 19.

    Rowson (1936, p. 83).

  20. 20.

    For a detailed account of the two organisations and their cinemas, see Eyles (1993, 1996).

  21. 21.

    The table is particular to the three cities and differs substantially from that found in Sedgwick (2000, Appendix 3) for Great Britain in 1934.

  22. 22.

    See Chapter “Introduction: ‘Millions of People Every Day’—Cinema as Part of the Quotidian of Life”, for an explanation of the RelPOP method.

  23. 23.

    Unfinished Symphony was a joint Cine Allianz—Gaumont British joint production and shot in Vienna.

  24. 24.

    Low (1985, pp. 141–142).

  25. 25.

    Glancy (1999).

  26. 26.

    Richards (1984).

  27. 27.

    Sedgwick (2000, Table 4.4).

  28. 28.

    Minutes of Evidence.

  29. 29.

    Miskell (2016).

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Appendix

Appendix

Regression test results

Linear Regression

    

Regression Statistics

    

R

0.94

      

R-square

0.89

      

Adjusted R-square

0.89

      

S

1.32

      

N

79

      

Column U = 7.77E-3 * Column P

ANOVA

    
 

d.f

SS

MS

F

p-level

  

Regression

1

1,111.53

1,111.53

640.41

0

  

Residual

78.

135.38

1.74

    

Total

79.

1,246.92

     
 

Coefficient

Standard Error

LCL

UCL

t Stat

p-level

H0 (5%)

Intercept

0

      

Column P

7.77E-3

3.07E-4

7.15E-3

8.38E-3

25.31

0

rejected

T (5%)

1.99

      

LCL—Lower value of a reliable interval (LCL)

    

UCL—Upper value of a reliable interval (UCL)

    
A graph titled Residuals versus predicted Y relates residuals along the vertical axis to predicted Y along the horizontal axis and represents points that tend to rise from left to right up to 4 and dip after 4.

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Sedgwick, J. (2022). Comparative Film Popularity in Three English Cities—Bolton, Brighton, and Portsmouth: An Exercise in POPSTAT Methodology. In: Sedgwick, J. (eds) Towards a Comparative Economic History of Cinema, 1930–1970. Frontiers in Economic History . Springer, Cham. https://doi.org/10.1007/978-3-031-05770-0_4

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