The romance genre at the box office in five European countries, 2006 to 2010

Assuming I have not been defeated by the rivers Wharfe, Aire, and Ouse I shall today be presenting a paper at the International Association for the Study of Popular Romance conference in York (though it is entirely possible that I’m stuck in York railway station). Below is the basic text of my presentation from which I will have inevitably digressed enormously. The pdf file is below. This is based on the same data I used in earlier post on genre and European box office although it has been cleaned up a little so the results are slightly different, though this does not have any impact on the conclusions.

Nick Redfern – The romance film at the box office in five European countries

We analyze the box office performance of romance films in five European countries – France, Germany, Italy, Spain, and the United Kingdom – from 2006 to 2010, inclusive, based on the top 50 grossing films in each country in each year. The results show that romance films account for only a small proportion of the films to reach the top 50 highest grossing films, and that there is no statistically significant variation in the proportion of romance films among the highest grossing films in each country. However, few romance films achieve a high box office ranking in more than one of these countries, indicating a lack of commonality across different markets with different audiences watching different romance films. Romance films achieving top 50 rankings in Germany, Spain, and the UK originate almost exclusively from outside these countries, whereas domestically produced films account for a larger proportion of romance films in France and Italy. Romance films perform consistently at the box office in three of the five countries, albeit lacking the very high grosses achieved by action/adventure, family, and fantasy/science fictions films; while this genre performs particularly poorly in Italy and Spain. Romance films emerge as a fixed part of the exhibition market in all five countries, but the variation in the films viewed, source of productions, and box office grosses indicates some important national differences.

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About Nick Redfern

I graduated from the University of Kent in 1998 with a degree in Film Studies and History, and was awarded an MA by the same institution in 2002. I received my Ph.D. from Manchester Metropolitan University in 2006 for a thesis title 'Regionalism and the Cinema in the United Kingdom, 1992 to 2002.' I have taught at Manchester Metropolitan University and the University of Central Lancashire. My research interests include regional film cultures and industries in the United Kingdom; cognition and communication in the cinema; anxiety in contemporary Hollywood cinema; cinemetrics; and film style and film form. My work has been published in Entertext, the International Journal of Regional and Local Studies, the New Review of Film and Television Studies, Cyfrwng: Media Wales Journal, and the Journal of British Cinema and Television.

Posted on September 27, 2012, in British Cinema, Film Industry, Film Studies, French Cinema, Genre, German Cinema, Italian Cinema, Motion Picture Distribution, Motion Picture Exhibition, Romance Films, Spanish Cinema and tagged , , , , , , , , , , . Bookmark the permalink. 3 Comments.

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