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Theatrical feature film trade and me...

Lee, Sang-Woo.

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Theatrical feature film trade and media policies in Japan, Korea, and the United States.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Theatrical feature film trade and media policies in Japan, Korea, and the United States./
作者:	Lee, Sang-Woo.
面頁冊數:	185 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-05, Section: A, page: 1611.
Contained By:	Dissertation Abstracts International63-05A.
標題:	Mass Communications. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3054448
ISBN:	0493698078

Theatrical feature film trade and media policies in Japan, Korea, and the United States.
Lee, Sang-Woo.

Theatrical feature film trade and media policies in Japan, Korea, and the United States. - 185 p.

Source: Dissertation Abstracts International, Volume: 63-05, Section: A, page: 1611.

Thesis (Ph.D.)--Indiana University, 2002.

Many studies have tried to explain patterns of international trade in theatrical feature films, especially the tendency for American products to dominate that trade. Among a variety of different academic perspectives that these studies have taken, some economic studies have relied upon a “home market” economic model. Basically, the home market model contends that countries having relatively large and wealthy domestic markets for movies, notably the United States, tend to produce larger numbers of movies with higher production values, thus tending to dominate the box-office market both in foreign countries and at home.

ISBN: 0493698078Subjects--Topical Terms:

1017395
Mass Communications.

Theatrical feature film trade and media policies in Japan, Korea, and the United States.
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245 1 0 $a Theatrical feature film trade and media policies in Japan, Korea, and the United States.
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500 $a Source: Dissertation Abstracts International, Volume: 63-05, Section: A, page: 1611.
500 $a Chair: David Waterman.
502 $a Thesis (Ph.D.)--Indiana University, 2002.
520 $a Many studies have tried to explain patterns of international trade in theatrical feature films, especially the tendency for American products to dominate that trade. Among a variety of different academic perspectives that these studies have taken, some economic studies have relied upon a “home market” economic model. Basically, the home market model contends that countries having relatively large and wealthy domestic markets for movies, notably the United States, tend to produce larger numbers of movies with higher production values, thus tending to dominate the box-office market both in foreign countries and at home.
520 $a The main objective of this dissertation is to test the home market economic model in both Japan and Korea and to understand historical trends in their film trade, especially with the United States. In order to test the model, the present study primarily uses time series data since the 1950s to examine the relationship between the market shares of locally produced movies (as well as the market share of U.S. movies) and various measures of domestic consumer spending on movies. The components of these measures include box-office ticket sales, premium pay television revenues, pay-per-view (PPV) revenues, prerecorded videocassette rentals and sales revenues, and cable and satellite television subscriptions.
520 $a For Japan, where market shares of U.S. movies have increased steadily during most the period from the 1950s, results strongly support the home market model. In the case of Korea, where U.S. market shares have generally increased, but recently the trend has reversed, results only partly support the model. These weaker results for Korea might be explained by the high degree of Korean government interference with the motion picture production and trade process, such as its import quota system. In general, a slower diffusion of movie support media in both Japan and Korea (in comparison with that of the U.S.) might be attributed to misdirected government protection and other media policies.
520 $a The above findings underscore the importance of building a domestic infrastructure of pay-supported media to support theatrical film production. The future diffusion of PPV, pay television, cable television, satellite television, and home video may be the main future determinants of the box-office market share of domestic films in these countries.
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