Skip to main content

Film and Cinema in the Age of Media Convergence

  • Living reference work entry
  • First Online:
Handbook of Media and Communication Economics

Abstract

This chapter outlines the essential characteristics of the film market. First, the characteristics of films as an economic media and as a cultural good are introduced. Subsequently, the most important parameters of the recipient market and the essential procurement markets are dealt with. In this context, the differences to other media genres will be highlighted. The project-based value creation in the film industry is presented as a network. Current trends in the industry with regard to changes in production and distribution in the course of digitalization are also considered. Finally, the chapter looks at the cinema as a traditional distribution channel for feature films and highlights its opportunities.

This chapter is a translation of a German text written in 2016.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Institutional subscriptions

Notes

  1. 1.

    Sections 2 and 3 are largely based on chapters “The History of Media Economic Thought in the German-Speaking World Up to the Year 2000” and “Classical Political Economy” in von Rimscha (2010), condensed and updated to the time of writing this chapter in 2016.

  2. 2.

    Exact figures are hard to come by, as many employees work in both the cinema and TV production markets.

  3. 3.

    The figures refer to the data stock in November 2016.

  4. 4.

    The value refers to the period 2000–2013.

  5. 5.

    For German films in 2000, the revenue share of theatrical exploitation was 22% according to Seufert (2002, p. 90) – less than TV (28%) and funding share (33%). More recent figures are not available.

  6. 6.

    139 million cinema admissions according to the German Federal Film Board (Filmförderungsanstalt (FFA), 2016) vs. 21 million theater admissions according to the German Stage Association (Bühnenverein, 2016).

  7. 7.

    This ideal-typical sequence applies in particular to major productions. In addition, there are many other “informal” ways for recipients to obtain films or for providers to distribute their films (Lobato, 2012).

  8. 8.

    However, the German (§ 20 FFG) and Austrian film funding laws (§ 11a Filmförderungsgesetz) continue to prescribe blocking periods for funded films, also to protect cinemas from competition. There is no such regulation in Switzerland.

Literature

  • Ainslie, A., Drèze, X., & Zufryden, F. S. (2005). Modeling movie life cycles and market share. Marketing Science, 24(3), 508–517.

    Article  Google Scholar 

  • Alberstat, P. (Ed.). (2004). The insider’s guide to film finance. Elsevier.

    Google Scholar 

  • Albert, S. (2006). Some people know some things. Do some people know how to avoid absolute failures in the US film industry? In ACEI, 14th international conference on cultural economics.

    Google Scholar 

  • Altmeppen, K.-D., Lantzsch, K., & Will, A. (2007). Flowing networks in the entertainment business. Organizing international TV format trade. International Journal on Media Management, 9(3), 94–104.

    Article  Google Scholar 

  • Amdur, M. (2003). Sharing pix is risky business. https://variety.com/article/VR1117895718.html?categoryid=10&cs=1. Accessed 30 Apr 2022.

  • Andersson, Å. E., & Andersson, D. E. (2006). The economics of experiences, the arts and entertainment. Edward Elgar.

    Google Scholar 

  • Arrese, Á. (2006). Issues in media product management. In A. B. Albarran, S. M. Chan-Olmsted, & M. O. Wirth (Eds.), Handbook of media management and economics (pp. 181–202). Lawrence Erlbaum.

    Google Scholar 

  • Balázs, B. (2001). Der Geist des Films. Suhrkamp (first published 1930).

    Google Scholar 

  • Berauer, W. (2019). Filmstatistisches Jahrbuch: 2019. Nomos. https://doi.org/10.5771/9783748904182.

  • Bilton, C., & Leary, R. (2002). What can managers do for creativity? Brokering creativity in the creative industries. International Journal of Cultural Policy, 8(1), 49–64.

    Article  Google Scholar 

  • Blair, H. (2001). ‘You’re only as good as your last job’. The labour process and labour market in the British film industry. Work, Employment & Society, 15, 149–169.

    Article  Google Scholar 

  • Bloore, P. (2009). Re-defining the independent film value chain. http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/redefining-the-independent-film-value-chain.pdf. Accessed 26 Aug 2016.

  • Bourdieu, P. (1985). The market of symbolic goods. Poetics, 14(1–2), 13–44.

    Article  Google Scholar 

  • Bühnenverein, D. (2016). Theaterstatistik 2014/2015. Die wichtigsten Wirtschaftsdaten der Theater, Orchester und Festspiele. Deutscher Bühnenverein.

    Google Scholar 

  • Bundesamt für Statistik BFS. (2013). Statistik Schweiz des Filmes und des Kinos: Die Filmproduktion in der Schweiz 2013. Unternehmen, Umsatz und Angestellte. https://www.bfs.admin.ch/bfs/de/home/statistiken/kultur-medien-informationsgesellschaft-sport/kultur/film-kino/schweizer.assetdetail.331658.html. Accessed 17 Nov 2016.

  • Bundesamt für Statistik BFS. (2016). Indikatoren zur Schweizer Film- und Kinolandschaft. https://www.bfs.admin.ch/bfs/de/home/statistiken/kultur-medien-informationsgesellschaft-sport/kultur/film-kino/kinoeintritte-und-privat-filme.assetdetail.268337.html. Accessed 17 Nov 2016.

  • Castendyk, O., & Goldhammer, K. (2012). Produzentenstudie 2012. Daten zur Film- und Fernsehwirtschaft in Deutschland 2011/2012. Vistas.

    Google Scholar 

  • Caves, R. E. (2000). Creative industries. Contracts between art and commerce. Harvard University Press.

    Google Scholar 

  • Caves, R. E. (2003). Contracts between art and commerce. The Journal of Economic Perspectives, 17(2), 73–84.

    Article  Google Scholar 

  • Chhabra, E. (Forbes). (2016). Kickstarter is helping filmmakers at sundance film festival with more than funding. http://www.forbes.com/sites/eshachhabra/2016/01/31/kickstarter-is-helping-filmmakers-at-sundance-film-festival-with-more-than-funding/. Accessed 07 Oct 2016.

  • Cineplexx. (2014). Neu: Cineplexx Bonus Card. http://www.cineplexx.at/news/artikel/neupunkte-sammeln-mit-der-cineplexx-bonus-card/. Accessed 17 Nov 2016.

  • CineStar-Gruppe. (2014). Treue lohnt sich! CineStar präsentiert umfangreiches KundenCARD-Programm. http://www.presseportal.de/pm/81477/2791592. Accessed 17 Nov 2016.

  • Clasart Classic. (2016). Turandot – neuer Box Office Rekord: 38.000 Opernfans sorgen fär Rekord an der Kinokasse [Press release]. München. http://www.metimkino.de/news/newsdetailsansicht/news/turandot-neuer-box-office-rekord/?tx_news_pi1%5Bcontroller%5D=News&tx_news_pi1%5Baction%5D=detail&cHash=05c7a1152144491e59b100b249e70d14. Accessed 17 Nov 2016.

  • Clevé, B. (2004). Gib niemals auf. Filmökonomie in der Praxis (Praxis Film, Bd. 20). UVK.

    Google Scholar 

  • Clevé, B. (2005). Produktion von Kinofilmen: Produktion und Management. In H. Krömker & P. Klimsa (Eds.), Handbuch Medienproduktion. Produktion von Film, Fernsehen, Hörfunk, Print, Internet, Mobilfunk und Musik (pp. 73–85). VS.

    Google Scholar 

  • Collins, A., & Hand, C. (2005). Analyzing moviegoing demand. An individual-level cross-sectional approach. Managerial and Decision Economics, 26(5), 319–330.

    Article  Google Scholar 

  • Collins, R., Garnham, N., & Locksley, G. (1988). The economics of television. The UK case. Sage.

    Google Scholar 

  • Conant, M. (1981). The paramount decrees reconsidered. Law and Contemporary Problems, 44(4), 79–107.

    Article  Google Scholar 

  • Cooper-Martin, E. (1991). Consumers and movies. Some findings on experiential products. Advances in Consumer Research, 18(1), 372–378.

    Google Scholar 

  • Davenport, J. (2006). UK film companies. Project-based organizations lacking entrepreneurship and innovativeness? Creativity and Innovation Management, 15(3), 250–257.

    Article  Google Scholar 

  • Dekom, P. J. (2004). Movies, money and madness. In J. E. Squire (Ed.), The movie business book (3rd ed., pp. 100–116). Fireside.

    Google Scholar 

  • Delmestri, G., Montanari, F., & Usai, A. (2005). Reputation and strength of ties in predicting commercial success and artistic merit of independents in the Italian feature film industry. Journal of Management Studies, 42(5), 975–1002.

    Article  Google Scholar 

  • Dietl, H., & Franck, E. (2000). Free-TV, Abo-TV, Pay per View-TV – Organisationsformen des privaten Fernsehangebotes als Arrangements zur Vermarktung von Unterhaltung. Zeitschrift für Betriebswirtschaftliche Forschung, 52, 592–603.

    Google Scholar 

  • DiMaggio, P. J. (1977). Market structure, the creative process, and popular culture. Toward an organizational reinterpretation of mass-culture theory. The Journal of Popular Culture, 11(2), 436–452.

    Article  Google Scholar 

  • Die Zeit. (2015). Aufstand gegen Disney. Filmmieten sind zu teuer (2015). http://www.zeit.de/news/2015-04/21/film-aufstand-gegen-disney—filmmieten-sind-zu-teuer-21174208. Accessed 17 Nov 2016.

  • Dowideit, A. (2013). Warum das Popcorn in Kinos sieben Euro kostet. Die deutschen Kinobetreiber nehmen mehr Geld ein, obwohl sie immer weniger Besucher haben. Überleben geht nur dank teurer Extras. http://www.morgenpost.de/berlin-aktuell/article113308447/Warum-das-Popcorn-in-Kinos-sieben-Euro-kostet.html. Accessed 6 Sep 2016.

  • Einav, L. (2007). Seasonality in the US motion picture industry. The Rand Journal of Economics, 38(1), 127–145.

    Article  Google Scholar 

  • Einav, L., & Ravid, S. A. (2009). Stock market response to changes in movies’ opening dates. Journal of Cultural Economics, 33(4), 311–319.

    Article  Google Scholar 

  • Eisenegger, M. (2005). Reputation in der Mediengesellschaft. Konstitution, issues monitoring, issues management. VS.

    Google Scholar 

  • Eliashberg, J., Elberse, A., & Leenders, M. A. (2006). The motion picture industry. Critical issues in practice, current research, and new research directions. Marketing Science, 25(6), 638–661.

    Article  Google Scholar 

  • Eliashberg, J., Jonker, J.-J., Sawhney, M. S., & Wierenga, B. (2000). MOVIEMOD. An implementable decision-support system for prerelease market evaluation of motion pictures. Marketing Science, 19(3), 226–243.

    Article  Google Scholar 

  • Epstein, E. J. (2005). The big picture. The new logic of money and power in Hollywood. Random House.

    Google Scholar 

  • European Audiovisual Observatory. (2016). Focus 2016. World film market trends. European Audiovisual Observatory.

    Google Scholar 

  • Faulkner, R. R., & Anderson, A. B. (1987). Short-term projects and emergent careers. Evidence from Hollywood. The American Journal of Sociology, 92(4), 879–909.

    Article  Google Scholar 

  • Filmförderungsanstalt (FFA). (2010). FFA info. Aktuelle Informationen aus der Filmwirtschaft 1/10. Filmförderungsanstalt.

    Google Scholar 

  • Film Fernseh Fonds Bayern. (2015). Richtlinien für die Bayerische Film- und Fernsehförderung (Vergaberichtlinien). http://www.fff-bayern.de/fileadmin/user_upload/downloads/FFF/Richtlinien_FFF_Bayern__Stand_15.6.2015.pdf. Accessed 12 Aug 2016.

  • Filmförderungsanstalt (FFA). (2016). FFA info. Zahlen aus der Filmwirtschaft 1/2016. Filmförderungsanstalt.

    Google Scholar 

  • Finney, A. (2015). The international film business. A market guide beyond Hollywood (2nd ed.). Routledge.

    Google Scholar 

  • Frank, B. (1994). Optimal timing of movie releases in ancillary markets. The case of video releases. Journal of Cultural Economics, 18(2), 125–133.

    Article  Google Scholar 

  • Frank, R., & Cook, P. J. (1995). The winner-take-all society. Why the few at the top get so much more than the rest of us. Free Press.

    Google Scholar 

  • Gaitanides, M. (2001). Ökonomie des Spielfilms. Reinhard Fischer.

    Google Scholar 

  • Galician, M.-L., & Bourdeau, P. G. (2004). The evolution of product placements in Hollywood cinema. Embedding high-involvement ‘heroic’ brand images. Journal of Promotion Management, 10(1/2), 15–36.

    Article  Google Scholar 

  • Gans, H. J. (1974). Popular culture and high culture. An analysis and evaluation of taste. Basic Books.

    Google Scholar 

  • Garey, N. H. (2004). Elements of feature financing. In J. E. Squire (Ed.), The movie business book (3rd ed., pp. 115–127). Fireside.

    Google Scholar 

  • Gitlin, T. (1983). Inside prime time. Pantheon Books.

    Google Scholar 

  • Gläser, M. (2014). Medienmanagement (3rd ed.). Vahlen.

    Google Scholar 

  • Gomery, D. (2000). The Hollywood film industry. Theatrical exhibition, pay TV, and home video. In B. M. Compaine & D. Gomery (Eds.), Who owns the media? Competition and concentration in the mass media industry (3rd ed., pp. 359–436). Lawrence Erlbaum.

    Google Scholar 

  • Greenberg, C. (1969). Art and culture. Critical essays. Beacon Press.

    Google Scholar 

  • Hacker, T. (1999). Vernetzung und Modularisierung – (Re-)Organisation von Medienunternehmen. In M. Schumann & T. Hess (Eds.), Medienunternehmen im digitalen Zeitalter. Neue Technologien – Neue Märkte – Neue Geschäftsansätze (pp. 155–175). Gabler.

    Chapter  Google Scholar 

  • Hahn, A., & Schierse, A. (2004). Filmverleih. Zwischen Filmproduktion und Kinoerlebnis. UVK.

    Google Scholar 

  • Hancock, D. (2015). Event cinema: A sector in full swing. https://technology.ihs.com/544992/event-cinema-a-sector-in-full-swing. Accessed 7 Sep 2016.

  • Hancock, D. (2016). The global digital conversion of cinemas is almost over. https://technology.ihs.com/577835/the-global-digital-conversion-of-cinemas-is-almostover. Accessed 7 Sep 2016.

  • Hand, C. (2002). The distribution and predictability of cinema admissions. Journal of Cultural Economics, 26(1), 53–64.

    Article  Google Scholar 

  • Hayes, D., & Bing, J. (2004). Open wide. How Hollywood box office became a national obsession. Miramax Books.

    Google Scholar 

  • Heinrich, J. (2001). Medienökonomie. Band 1: Mediensystem, Zeitung, Zeitschrift, Anzeigenblatt (2nd ed.). Westdeutscher Verlag.

    Book  Google Scholar 

  • Heinrich, J., & Lobigs, F. (2003). Neue Institutionenökonomik. In K.-D. Altmeppen & M. Karmasin (Eds.), Medien und Ökonomie 1. Band 1/1: Grundlagen der Medienökonomie: Kommunikations- und Medienwissenschaft, Wirtschaftswissenschaft (pp. 245–268). Westdeutscher Verlag.

    Google Scholar 

  • Hennig-Thurau, T., Henning, V., Sattler, H., Eggers, F., & Houston, M. B. (2007). The last picture show? Timing and order of movie distribution channels. Journal of Marketing, 71(4), 63–83.

    Article  Google Scholar 

  • Hernández-Pérez, M., & Ferreras Rodríguez, J. G. (2014). Serial narrative, intertextuality, and the role of audiences in the creation of a franchise. An analysis of the Indiana Jones saga from a cross-media perspective. Mass Communication and Society, 17(1), 26–53.

    Article  Google Scholar 

  • Hirsch, P. M. (1972). Processing fads and fashions. An organization-set analysis of cultural industry systems. The American Journal of Sociology, 77(4), 639–659.

    Article  Google Scholar 

  • Horkheimer, M., & Adorno, T. W. (1996). Dialektik der Aufklärung. Philosophische Fragmente (Vol. 3, 3rd ed.). Suhrkamp (first published 1969).

    Google Scholar 

  • Hoskins, C., & Mirus, R. (1988). Reasons for the US dominance in the international trade in television programs. Media, Culture & Society, 10, 499–515.

    Article  Google Scholar 

  • Houcken, R. (1999). The international feature film industry. National advantage and international strategies for European film companies. Verlag für Berlin-Brandenburg.

    Google Scholar 

  • Jarothe, S. (1998). Die Filmpolitik der Europäischen Union im Spannungsfeld zwischen nationaler staatlicher Förderung und US-amerikanischer Mediendominanz. Peter Lang.

    Google Scholar 

  • Jenkins, H. (2003). Transmedia storytelling. Moving characters from books to films to video games can make them stronger and more compelling. https://www.technologyreview.com/s/401760/transmedia-storytelling/. Accessed 25 Aug 2016.

  • Jenkins, H. (2007). Transmedia Storytelling 101. http://henryjenkins.org/2007/03/transmedia_storytelling_101.html. Accessed 25 Aug 2016.

  • Katz, E., & Foulkes, D. (1962). On the use of the mass media as ‘escape’. Clarification of a concept. The Public Opinion Quarterly, 26(3), 377–388.

    Article  Google Scholar 

  • Kehoe, K., & Mateer, J. (2015). The impact of digital technology on the distribution value chain model of independent feature films in the UK. International Journal on Media Management, 17(2), 93–108.

    Article  Google Scholar 

  • Kiefer, M. L. (2001). Medienökonomik. Einführung in eine ökonomische Theorie der Medien. Oldenbourg.

    Google Scholar 

  • Küng, L. (2008). Strategic management in the media. From theory and practice. Sage.

    Book  Google Scholar 

  • Lampel, J., Lant, T. K., & Shamsie, J. (2000). Balancing act. Learning from organizing practices in cultural industries. Organization Science, 11(3), 263–269.

    Article  Google Scholar 

  • Lazarus, P. N. (2005). Produced by … Balancing art and business in the movie industry. Silman-James Press.

    Google Scholar 

  • Lee, J. J. (2000). The producer’s business handbook. Focal Press.

    Google Scholar 

  • Lins, G. (2002). Strategien der Filmstoffauswahl bei deutschen Film- und Fernsehproduktionen. Nomos.

    Google Scholar 

  • Litman, B. R. (2000). The structure of the film industry. In A. N. Greco (Ed.), The media and entertainment industries. Readings in mass communications (pp. 99–121). Allyn & Bacon.

    Google Scholar 

  • Lobato, R. (2012). Shadow economies of cinema. Mapping informal film distribution. bfi.

    Book  Google Scholar 

  • Lubbers, C. A., & Adams, W. J. (2004). Merchandising in the major motion picture industry. Creating brand synergy and revenue streams. Journal of Promotion Management, 10(1/2), 55–63.

    Article  Google Scholar 

  • Maltby, R. (2004). Hollywood cinema (2nd ed.). Blackwell.

    Google Scholar 

  • McFadyen, S. M., Hoskins, C., & Finn, A. (2000). Cultural industries from an economic/business research perspective. Canadian Journal of Communication, 25(1), 127–144.

    Article  Google Scholar 

  • Moran, A. (1996). Film, Hollywood, national cinema, cultural identity and film policy. In A. Moran (Ed.), Film policy. International, national and regional perspectives (pp. 1–19). Routledge.

    Google Scholar 

  • Mortsiefer, H. (2014). “Es sieht mau aus mit dem deutschen Film”. Christian Gisy, der Cinemaxx-Chef im Interview. http://www.tagesspiegel.de/wirtschaft/der-cinemaxx-chef-im-interview-es-sieht-mau-aus-mit-dem-deutschen-film/9421804.html. Accessed 6 Sep 2016.

  • Motion Picture Association. (2014). Theatrical market statistics 2013. http://www.mpaa.org/wpcontent/uploads/2014/03/MPAA-Theatrical-Market-Statistics-2013_032514-v2.pdf. Accessed 12 Aug 2016.

  • Motion Picture Association. (2016). Theatrical market statistics 2015. http://www.mpaa.org/wpcontent/uploads/2016/04/MPAA-Theatrical-Market-Statistics-2015_Final.pdf. Accessed 12 Aug 2016.

  • Neckermann, G., & Blothner, D. (2010). Das Kinobesucherpotential 2010 nach soziodemographischen und psychologischen Merkmalen. Filmförderungsanstalt.

    Google Scholar 

  • O’Connor, J. (1999). The definition of ‘cultural industries’. Manchester Institute for Popular Culture, Manchester Metropolitan University.

    Google Scholar 

  • Österreichisches Filminstitut (ed.). (2015). Facts + figures. Filmwirtschaftsbericht Österreich 2015. http://www.filmsupport.at/download_Seiten/download/ff-14_web.pdf. Accessed 17 Nov 2016.

  • Palmgreen, P., & Lawrence, P. A. (1991). Avoidances, gratifications, and consumption of theatrical films. The rest of the story. Current Research in Film: Audiences, Economics and Law, 5, 39–55.

    Google Scholar 

  • Picard, R. G. (1989). Media economics. Concepts and issues. Sage.

    Google Scholar 

  • Picard, R. G. (2002). The economics and financing of media companies. Fordham University Press.

    Google Scholar 

  • Picot, A. (1997). Mehrwert von Information – betriebswirtschaftliche Perspektiven. In H. Kubicek, D. Klumpp, G. Müller, W. Neu, E. Raubold, & A. Roßnagel (Eds.), Jahrbuch Telekommunikation und Gesellschaft (pp. 42–59). von Decker’s.

    Google Scholar 

  • Porter, M. E. (1985). Competitive advantage. Creating and sustaining superior performance. Free Press.

    Google Scholar 

  • Powell, W. W. (1990). Neither market nor hierarchy: Network forms of organization. Research in Organizational Behavior, 12, 295–336.

    Google Scholar 

  • Prasad, A., Bronnenberg, B., & Mahajan, V. (2004). Product entry timing in dual distribution channels: The case of the movie industry. Review of Marketing Science, 2(1), 1–18.

    Article  Google Scholar 

  • Prindle, D. F. (1993). Risky business. The political economy of Hollywood. Westview Press.

    Google Scholar 

  • Radas, S., & Shugan, S. M. (1998). Seasonal marketing and timing new product introductions. Journal of Marketing Research, 35(3), 296–315.

    Article  Google Scholar 

  • Schmitt, D. (2003). Alternative content. The new cinema profit engine. Screen Digest.

    Google Scholar 

  • Scolari, C. A. (2009). Transmedia storytelling. Implicit consumers, narrative worlds, and branding in contemporary media production. International Journal of Communication, 3, 586–606.

    Google Scholar 

  • Screen Digest. (2002). Screen Digest report on the implications of digital technology for the film industry. www.culture.gov.uk/PDF/Screen_Digest_Report.pdf. Accessed 22 Jul 2009.

  • Seufert, W. (2002). Film- und Fernsehwirtschaft in Deutschland 2000/2001. Beschäftigte, wirtschaftliche Lage und Struktur der Produktionsunternehmen. Vistas.

    Google Scholar 

  • Siegert, G. (2006). Vertrauen ist gut – ist Kontrolle besser? Die Rolle des Vertrauens in den Marktbeziehungen der Medien. In K. Pühringer & S. Zielmann (Eds.), Vom Wissen und Nicht-Wissen einer Wissenschaft. Kommunikationswissenschaftliche Domänen, Darstellungen und Defizite (pp. 135–151). Lit.

    Google Scholar 

  • Sinclair, J. (1992). Media and cultural industries: An overview. CIRCIT Newsletter, 4(5), 3–4.

    Google Scholar 

  • Sommer, C. (2009). Veränderungen in der Kinowertschöpfungskette durch das digitale Kino. In M. Hülsmann & J. Grapp (Eds.), Strategisches Management für Film- und Fernsehproduktionen. Herausforderungen, Optionen, Kompetenzen (pp. 39–52). München.

    Chapter  Google Scholar 

  • Spitzenorganisation der Filmwirtschaft SPIO. (2016). Filmstatistisches Jahrbuch 2016. Nomos.

    Book  Google Scholar 

  • Squire, J. E. (2004). Introduction. In J. E. Squire (Ed.), The movie business book (3rd ed., pp. 1–12). Fireside.

    Google Scholar 

  • Statistik Austria. (2016). Leistungs- und Strukturstatistik 2014. Produktion und Dienstleistungen. https://www.statistik.at/wcm/idc/idcplg?IdcService=GET_NATIVE_FILE&RevisionSelectionMethod=LatestReleased&dDocName=109517. Accessed 17 Nov 2016.

  • Storper, M., & Christopherson, S. (1987). Flexible specialization and regional industrial agglomerations. Annals of the Association of American Geographers, 77(1), 104–117.

    Article  Google Scholar 

  • Swami, S., Eliashberg, J., & Weinberg, C. B. (1999). SilverScreener. A modeling approach to movie screens management. Marketing Science, 18(3), 352–372.

    Article  Google Scholar 

  • Sydow, J. (1992). Strategische Netzwerke. Evolution und Organisation. Gabler.

    Book  Google Scholar 

  • Sydow, J., & Windeler, A. (2003). Dienstleistungsproduktion in Projektnetzwerken – Implikationen für Dienstleistungsmanagement und -forschung. In M. Bruhn & B. Stauss (Eds.), Dienstleistungsnetzwerke (pp. 343–359). Gabler.

    Chapter  Google Scholar 

  • The Numbers. (2016). Market share for each distributor 1995–2016. http://www.the-numbers.com/market/Distributors/. Accessed 9 Sep 2016.

  • Thiermeyer, M. (1994). Internationalisierung von Film und Filmwirtschaft. Böhlau.

    Google Scholar 

  • Turow, J. (1992). Media systems in society. Understanding industries, strategies, and power. Longman.

    Google Scholar 

  • Ulin, J. (2014). The business of media distribution. Monetizing film, TV and video content in an online world (2nd ed.). Focal Press.

    Google Scholar 

  • Valenti, J. (1993). Hollywood, the rating system and the movie going public. USA Today Magazine, 122(2580), 87.

    Google Scholar 

  • Vogel, H. L. (2015). Entertainment industry economics. A guide for financial analysis (9th ed.). Cambridge University Press.

    Google Scholar 

  • von Rimscha, M. B. (2006). Movie release strategies across time space and media. In 7th world media economics conference.

    Google Scholar 

  • von Rimscha, M. B. (2008). Kino. In G. Frey-Vor, G. Siegert, & H.-J. Stiehler (Eds.), Mediaforschung (pp. 211–222). UVK.

    Google Scholar 

  • von Rimscha, M. B. (2010). Risikomanagement in der Entwicklung und Produktion von Spielfilmen. Wie Produzenten vor Drehbeginn Projektrisiken steuern. VS.

    Book  Google Scholar 

  • von Rimscha, M. B. (2013). It’s not the economy, stupid! External effects on the supply and demand of cinema entertainment. Journal of Cultural Economics, 37(4), 433–455.

    Article  Google Scholar 

  • Wasko, J. (2003). How Hollywood works. Sage.

    Book  Google Scholar 

  • Weber, W., & Kabst, R. (2003). Einführung in die Betriebswirtschaftslehre (5th ed.). Gabler.

    Book  Google Scholar 

  • Wildman, S. S., & Siwek, S. E. (1993). The economics of trade in recorded media products in a multilingual world. Implications for national media policies. In E. M. Noam & J. C. Millonzi (Eds.), The international market in film and television programs (pp. 13–40). Ablex.

    Google Scholar 

  • Windeler, A. (2008). Unterhaltungsproduktion in Netzwerken. In G. Siegert & M. B. von Rimscha (Eds.), Zur Ökonomie der Unterhaltungsproduktion (pp. 124–150). von Halem.

    Google Scholar 

  • Wirtschaftskammer Österreich. (2015). Besucherzahlen laut AKM 2015. https://www.wko.at/Content.Node/branchen/oe/Kino—Kultur-und-Vergnuegungsbetriebe/Besucherzahlen-2015.pdf. Accessed 17 Nov 2016.

  • Wirtz, B. W. (2016). Medien- und Internetmanagement (9th ed.). Springer Gabler.

    Book  Google Scholar 

  • Wolf, M. J. (1999). The entertainment economy. How mega-media forces are transforming our lives. Times Books.

    Google Scholar 

  • Zu Hüningen, J. (2016). Aktualitätenkinos, Christian-Albrechts-Universität zu Kiel. Lexikon der Filmbegriffe. http://filmlexikon.unikiel.de/index.php?action=lexikon&tag=det&id=490. Accessed 12 Sep 2016.

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to M. Bjørn von Rimscha .

Editor information

Editors and Affiliations

Rights and permissions

Reprints and permissions

Copyright information

© 2022 Springer Fachmedien Wiesbaden GmbH, part of Springer Nature

About this entry

Check for updates. Verify currency and authenticity via CrossMark

Cite this entry

von Rimscha, M.B., Ehrlich, G.L. (2022). Film and Cinema in the Age of Media Convergence. In: Krone, J., Pellegrini, T. (eds) Handbook of Media and Communication Economics. Springer, Wiesbaden. https://doi.org/10.1007/978-3-658-34048-3_40-2

Download citation

  • DOI: https://doi.org/10.1007/978-3-658-34048-3_40-2

  • Received:

  • Accepted:

  • Published:

  • Publisher Name: Springer, Wiesbaden

  • Print ISBN: 978-3-658-34048-3

  • Online ISBN: 978-3-658-34048-3

  • eBook Packages: Springer Reference Economics and FinanceReference Module Humanities and Social SciencesReference Module Business, Economics and Social Sciences

Publish with us

Policies and ethics