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Motion pictures constituted a revolutionary new technology that transformed entertainment—a rival, labor-intensive service—into a non-rival commodity. Combining growth accounting with a new output concept shows productivity growth in entertainment surpassed that in any manufacturing industry between 1900 and 1938. Productivity growth in personal services was not stagnant by definition, as current understanding has it, but instead was unparalleled in some cases. Motion pictures' contribution to aggregate GDP and TFP growth was much smaller than that of general purpose technologies steam, railways, and electricity, but not insignificant. An observer might have noted that "motion pictures are everywhere except in the productivity statistics.""So long as the number of persons who can be reached by a human voice is strictly limited, it is not very likely that any singer will make an advance on the £10,000 said to have been earned in a season by Mrs. Billington at the beginning of the last century, nearly as great as that which the business leaders of the present generation have made on the last."1Alfred Marshall

Die Arbeit ist mit den ökonomischen Auswirkungen von Regulierungen, die für die deutsche Filmwirtschaft relevant sind, befasst. Es werden die ökonomischen Effekte dreier Regulierungsfelder, die in der öffentlichen Debatte diskutiert werden, betrachtet. Diese sind: Das deutsche Filmförderungsgesetz (FFG), das Urheberrechtsgesetz (UrhG) und der Rundfunkstaatsvertrag (RStV). Im Zentrum der Analyse steht die Frage, wie die jeweiligen Regulierungen die ökonomische Effizienz beeinflussen. Darüber hinaus werden wesentliche institutionelle und marktliche Charakteristika der deutschen Filmwirtschaft betrachtet. Teile der Untersuchung sind in eine breit angelegte Regressionsanalyse über die Determinanten des Erfolges deutscher Kinofilme eingebettet. Die Arbeit zeigt, dass die betrachteten Regulierungen im Allgemeinen negative Auswirkungen auf die ökonomische Effizienz haben. ; This work deals with the economic impact of regulations on the German film industry, focusing in particular on the effects of three pieces of legislation central to Germany's public debate on film politics. The legislation considered is the Film Act (Filmförderungsgesetz - FFG), the amendments to the Copyright Law (Urheberrechtsgesetz - UrhG), and the Inter-State Agreement on Broadcasting (Rundfunkstaatsvertrag - RStV). The inquiry examines how these statutes affect economic efficiency. In addition, major market and institutional characteristics of the German motion picture industry are studied. The analysis is partly embedded in a broadly disposed regression analysis of the determinants of performance of German movies in the theatrical market. The work indicates that the regulations considered generally detract from economic efficiency.

The observed seasonality of box‐office revenues reflects both seasonality in underlying demand for movies and seasonality in the number and quality of available movies. I separately identify these aspects by estimating weekly demand for movies, using movie fixed effects, a long panel of movies' weekly revenues, and restrictions on their decay pattern. I find that the estimated seasonality in underlying demand is much smaller and slightly different from the observed seasonality of sales. The biggest movies are released at times when demand is highest, amplifying the underlying seasonality. Price rigidities in the industry may facilitate this amplification effect.

"This first book-length study of state film censorship examines the unique political, social, and economic factors that led to its implementation in Kansas, taking a look at why censorship legislation was enacted, what the attitudes of Kansans were toward censorship, and why it lasted for half a century"--Provided by publisher

Youth involved in Extension activities were portrayed on film as early as 1913. This paper provides a summary of the earliest motion pictures in which 4-H and 4-H members were a part. From the more than 400 early Extension films made by USDA, 22 4-H films were located and described. Hollywood films, with 4-H themes, were found. Reflections on film preservation and availability are addressed as well as the role of film and other media in the early twentieth century.

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.

The purpose of South Carolina motion picture incentives is to bring economic benefit to the State of South Carolina by using South Carolina as a site for film and television production, promoting the hiring of South Carolina residents as staff, cast, and crew, and promoting the purchase of supplies and services from South Carolina companies.