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.
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.