As we all know blockbusters are the bane of the film industry: a recent article in The Telegraph quoted Steven Spielberg’s opinion that contemporary Hollywood has produced few films that will still be viewed in 20 years time. The article can be read here. I think that in general, Spielberg has a point about the general quality of Hollywood films since the mid-1990s. Personally, I just do not find the cinema of the past few years as exciting as I did when I was 18 and going to Canterbury to study film, and the endless repetition and extension of comic book adaptations is evidence of a great amount tedium that I just do not want to watch. (And it’s not like I don’t own scores of comics books and graphic novels). However, much of the blame can be laid at Spielberg’s feet for encouraging big-budget franchise films (Indiana Jones, Jurassic Park). Some of Spielberg’s comments are remarkably self-serving and more than a little disingenuous:
Attacking the prevalence of film franchises – movies based on toys, or video games, that are intended to sell a product as much as they are to entertain – Spielberg said: “I think producers are more interested in backing concepts than directors and writers.
“I don’t think that’s the right way of making a decision about whether you’re going to back a film or not, but a lot of these hedge funds – these independent groups that are coming up with the money – are looking at the big idea more than who the director or writer is. And of course, they all want the guarantee of a big actor.
“My whole career has survived without big movie stars. Yes, I’ll do movies with Tom Cruise and Tom Hanks, and I enjoy that, but most of my movies have had unknowns in them. And they’ve done pretty well.”
Make of that what you will.
The problem isn’t ‘blockbusters’ per se, but rather the lack of diversity in the film industry. As I showed here, the action/adventure, family, and fantasy/science fictions films have become increasingly dominant at the US box office at the expense of crime/thriller films, dramas, and (to a lesser extent) comedies.
But we shouldn’t always be disappointed with blockbusters – they can be great movies, and the scale of the cinema is one thing that makes experiencing a film on the big screen so thrilling. They are also the focus of a number interesting research papers that cover many different aspects of the cinema, and a selection are set out below.
As ever, the version linked to may not be the final published version.
Aldred J 2006 All aboard The Polar Express: a ‘playful’ change of address in the computer-generated blockbuster, Animation: An Interdisciplinary Journal 1(2): 153-172.
Following Tom Gunning’s assertion that each change in film history implies a change in its address to the spectator, this article closely analyses The Polar Express (Robert Zemeckis, 2004) in order to interrogate what kinds of changes are at stake for the contemporary spectator of the wholly computer generated blockbuster. The article also considers the extent to which the immersive, video game-like visual aesthetic and mode of address present in The Polar Express strive to naturalize viewer relations with digital spaces and characters such as those inherent to both computer-generated films and the ‘invisible’ virtual realm of cyberspace. Finally, the article argues that The Polar Express functions as a compelling historical document of an era when cinema and video games have never been more intertwined in terms of aesthetics, character construction, and narrative, and raises compelling questions about whether video games have begun to exert the type of formative influence upon cinema that cinema previously exerted on video games.
Elsaesser T 2001 The blockbuster: everything connects, but not everything goes, in J Lewis (ed.) The End of Cinema as We Know It. New York: New York University Press: 11-22.
… What characterizes a blockbuster? First, a big subject and a big budget (world war, disaster, end of the planet, monster from the deep, holocaust, death battle in the galaxy). Second, a young male hero, usually with lots of firepower, or secret knowledge, or an impossibly difficult mission. The big movie is necessarily based on traditional stories, sometimes against the background of historical events, more often a combination of fantasy or sci-fi, with the well-known archetypal heroes from Western mythology on parade. In one sense, this makes blockbusters the natural, that is, technologically more evolved, extension of fairy tales. In another sense, these spectacle “experiences,” these “media events,” are also miracles, and not at all natural. Above all, they are miracles of engineering and industrial organization. They are put together like supertankers, aircraft carriers or skyscrapers, office blocks, shopping malls. They resemble military campaigns, and that’s one of the main reasons they cost so much to make. …
Fernandez-Blanco V, Ginsburgh V, Prieto-Rodriguez J, and Weyers S 2011 As good as it gets? Blockbusters and the inequality of box office results since 1950, in J Kaufman and D Simonton (eds.) The Social Science of the Cinema. Oxford: Oxford University Press.
This paper analyses how success, measured by box office revenues, is distributed in the movie industry. The idea that “the winner takes all” is pervasive in describing the high degree of inequality in revenues, since we are all subject to the cognitive bias known as “recency effect,” and have myopic perceptions which make us think that recent events are more relevant. This makes us believe that inequalities are much more important today than they used to be. Blockbusters such as Avatar, The Black Knight, Pirates of the Caribbean, Dead Man’s Chest or even Titanic lead us to overestimate revenue inequality. As is the case with many simplifications, this one is also misleading.
Glastein J, Ludomirsky O, Lyettefi D, Vaish P, Joglekar NR 2003 Blockbusters: building perceptions and delivering at the box office, 21st System Dynamics Conference, 20-24 July 2004, New York.
The Hollywood Stock Exchange (HSX) is an on-line market that tracks the perceived value of movie talent and their product: the movies themselves, while they are in development or production. We model the decision rules that drive this market place and estimate the underlying decision parameters by calibrating the evolution of a selected sample of 23 movies released in 2001-2002. Our results show systematic differences in the decision rules followed by the market for the eventual winners (a.k.a. the blockbusters) and the losers at the box office. Regression analysis of combined decision parameters for winners and losers cannot explain the variance in the box office performance. However, segmenting these data between winners and losers provides selective insights about how the aggregate market perceptions evolve.
Mélat H 2007 Order and disorder in contemporary Russian blockbusters, Przeglad Rusycystyczny 120: 90-98.
One of the most striking phenomena in the Russian culture at the turn of the 21st century is the explosion of popular culture (detective literature and cinema, romance, fantasy) and its diversification. For a scholar, popular culture is interesting because, on the one hand, it reflects the state of mind of the population and, on the other hand, it helps to create a special ‘populous’ state of mind. It is a powerful tool for the political establishment that helps to convey an ideology because it is both entertaining and easily accessible. In this vein, modern fairy tales for adults can tell us a lot about the Russian society of our days.
Due to the powerful changes within the Russian society at the beginning of the 1990s, the market for literature and cinema was heavily influenced by the Western type bestsellers and blockbusters. For example, first introduced in translation, the crime fiction became an almost universally celebrated genre, and by the middle of the 1990s, Russia’s own crime fiction, represented by the novels by Aleksandra Marinina, Dar’a Dontsova, and Boris Akunin, dominated the literary scene. The television and cinema adaptations of these books only further promoted this genre.
In this paper, I intend to focus on the few Russian blockbusters and their sequels that are traditionally qualified as thrillers. My analyses will deal with the direct correlation between those films and their sequels, and, first and foremost, how the artistic universe created in these first films evolves and changes in their sequels. I would like to suggest that this evolution is highly reflective of the ideological changes within the Russian society itself.
Ravid SA 1999 Information, blockbusters, and stars: a study of the film industry, Journal of Business 72 (4): 463-492.
This article presents two alternative explanations for the role of stars in motion pictures. Either informed insiders signal project quality by hiring an expensive star, or stars capture their expected economic rent. These approaches are tested on a sample of movies produced in the 1990s. Means comparisons suggest that star-studded films bring in higher revenues. However, regressions show that any big budget investment increases revenues. Sequels, highly visible films and ‘‘family oriented’’ ratings also contribute to revenues. A higher return on investment is correlated only with G or PG ratings and marginally with sequels. This is consistent with the ‘‘rent capture’’ hypothesis.
Riegg RM 2009 Opportunism, uncertainty, and relational contracting – antitrust rules in the film industry, unpublished article.
For a long time, economists and investors have been baffled as to why Studios continue to produce movies with “blockbuster”-sized budgets (i.e. movies with budgets over $100 million) when producing those movies expose Studios to considerable economic risk.
By explaining the unique economics of the Film industry, and the effect of the Paramount (antitrust) rules on Film distribution contracts, this article provides an explanation to the puzzle of the blockbuster that is confirmed by recent trends in Film industry. Additionally, by using the Film industry as a model, this article also demonstrates how relational contracting can be understood as a means of coping with extreme uncertainty and under what circumstances relational contracting can be more efficient than formal contracts.
As a practical resource, this article has several uses. First, the article can provide support to attorneys concerned about a revival of stiff antitrust rules in the Film industry. Second, it can provide a potential guide to investment for Studio executives deciding how to best allocate their resources. Third, it can provide a model of contracting for businesses concerned with preventing opportunism in those industries marked by extreme uncertainty.