Quantitative approaches for evaluating the influence of films using the IMDb database

[EN] Why do films certain remain influential throughout film history? The purpose of this paper is to attempt to answer this question. To do so, we adopt some quantitative approaches that facilitate an objective interpretation of the data. The data source we have chosen for this study is the Internet Online Movie Database (IMDb), and in particular, one of its sections called "Connections", which lists references made to a film in subsequent movies and references made in the film itself to previous ones. The extraction and analysis of these networks of citations allows us to draw some conclusions about the most influential movies in film history, identifying their distinguishing features, and considering how their popularity has evolved over time.This work is part of the Project "Active Audiences and Journalism. Interactivity, Web Integration and Findability of Journalistic Information". CSO2012-39518-C04-02. National Plan for R+D+i, Spanish Ministry of Economy and CompetitivenessCanet Centellas, FJ.; Valero Navarro, MA.; Codina Bonilla, L. (2016). Quantitative approaches for evaluating the influence of films using the IMDb database. Communication & Society. 29(2):151-172. https://doi.org/10.15581/003.29.2.151-172S15117229

The statistical laws of popularity: Universal properties of the box office dynamics of motion pictures

Are there general principles governing the process by which certain products or ideas become popular relative to other (often qualitatively similar) competitors? To investigate this question in detail, we have focused on the popularity of movies as measured by their box-office income. We observe that the log-normal distribution describes well the tail (corresponding to the most successful movies) of the empirical distributions for the total income, the income on the opening week, as well as, the weekly income per theater. This observation suggests that popularity may be the outcome of a linear multiplicative stochastic process. In addition, the distributions of the total income and the opening income show a bimodal form, with the majority of movies either performing very well or very poorly in theaters. We also observe that the gross income per theater for a movie at any point during its lifetime is, on average, inversely proportional to the period that has elapsed after its release. We argue that (i) the log-normal nature of the tail, (ii) the bimodal form of the overall gross income distribution, and (iii) the decay of gross income per theater with time as a power law, constitute the fundamental set of {\em stylized facts} (i.e., empirical "laws") that can be used to explain other observations about movie popularity. We show that, in conjunction with an assumption of a fixed lower cut-off for income per theater below which a movie is withdrawn from a cinema, these laws can be used to derive a Weibull distribution for the survival probability of movies which agrees with empirical data. The connection to extreme-value distributions suggests that popularity can be viewed as a process where a product becomes popular by avoiding failure (i.e., being pulled out from circulation) for many successive time periods. We suggest that these results may apply to popularity in general.Comment: 14 pages, 11 figure

How a "Hit" is Born: The Emergence of Popularity from the Dynamics of Collective Choice

In recent times there has been a surge of interest in seeking out patterns in the aggregate behavior of socio-economic systems. One such domain is the emergence of statistical regularities in the evolution of collective choice from individual behavior. This is manifested in the sudden emergence of popularity or "success" of certain ideas or products, compared to their numerous, often very similar, competitors. In this paper, we present an empirical study of a wide range of popularity distributions, spanning from scientific paper citations to movie gross income. Our results show that in the majority of cases, the distribution follows a log-normal form, suggesting that multiplicative stochastic processes are the basis for emergence of popular entities. This suggests the existence of some general principles of complex organization leading to the emergence of popularity. We discuss the theoretical principles needed to explain this socio-economic phenomenon, and present a model for collective behavior that exhibits bimodality, which has been observed in certain empirical popularity distributions.Comment: 17 pages, 14 figures, A version of the work is published in Econophysics and Sociophysics: Trends and Perspectives, (eds.) Bikas K. Chakrabarti, Anirban Chakraborti, Arnab Chatterjee; Wiley-VCH, Berlin (2006); Chapter-15, pages: 417-44

Global cinema distribution: a large-scale data-driven study of film screenings

This interdisciplinary study combined the fields of digital humanities, new cinema history, and cultural economics. It used innovative visualisation and computational techniques to engage with big data from the global film industry. The study established a method for investigating and analysing the temporal and spatial nature of contemporary cinema distribution

Identification of key films and personalities in the history of cinema from a Western perspective

Abstract The success of a film is usually measured through its box-office revenue or through the opinion of professional critics; such measures, however, may be influenced by external factors, such as advertisement or trends, and are not able to capture the impact of a film over time. Thanks to the recent availability of data on references among movies, some researchers have started to use citations patterns as an alternative method for ranking movies. In this paper, we propose a novel ranking method for films based on the network of references among movies, calculated by combining four well known centrality indexes: in-degree, closeness, harmonic and PageRank. Our objective is to measure the success of a movie by accounting how much it has influenced other movies produced after its release, from both the artistic and the economic point of view. We apply our method on a subset of the IMDb (Internet Movie Database) citation network consisting of around 47,000 international movies, and we derive a list of films that can be considered milestones in the history of cinema. For each movie we also collect data on its year of release, genres and countries of production, to analyze trends and patterns in the film industry according to such features. We also collect data on 20,000 directors and almost 400,000 performers (actors and actresses), and we use the network of references and our score of movies for evaluating their career, and for ranking them. Since the IMDb dataset we employ is highly biased toward European and North American movies and personalities, our findings can be considered relevant principally for Western culture