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Chapter 1. Introduction: 'Millions of People Every Day' – Cinema as part of the quotidian of life (John Sedgwick) -- Chapter 2. Managing Risk - Key Concepts and Methods (John Sedgwick) -- Chapter 3. How did the Department of Justice Get it so Wrong? Philadelphia 1935-36: the Stanley Warner Chain, competitive practices, and consumer welfare (Andrew Hanssen) -- Chapter 4. Comparative Film Popularity in Three English Cities - Bolton, Brighton, and Portsmouth: an exercise in POPSTAT methodology (John Sedgwick) -- Chapter 5. Popular films in Stockholm during the 1930s: a presentation and discussion of the pioneering work of Leif Furhammar (John Sedgwick) -- Chapter 6. Dutch films in the Dutch market in the 1930s: A characteristics approach to film popularity (Clara Pafort-Overduin) -- Chapter 7. Unravelling Australia's "Infamous 'contract' system." Evidence from Adelaide, 1942-3. (Dylan Walker) -- Chapter 8. Film exhibition, distribution, and popularity in German-occupied Belgium (1940-1944): Brussels, Antwerp, and Liege (John Sedgwick) -- Chapter 9. Five Italian Cities: Comparative analysis of cinema-types, film circulation, and relative popularity in the mid-1950s (John Sedgwick) -- Chapter 10. Cinemagoers should '…learn from progressive movies, again and again.' Cinemagoing in Czechoslovakia, 1949-52 (John Sedgwick) -- Chapter 11. 'It seems to me that the most popular films in the West are very harmful to us': Film Popularity in Poland during the years of 'High Stalinism' (John Sedgwick) -- Chapter 12. Americanisation in reverse? Hollywood films, international influences, and US audiences, 1946-1965 (Peter Miskell).

Prologue: A tale of two cities -- Introduction: A very personal war -- The raton pass. On the train to El Moro ; The wild west ; Beware the prairie lilies ; The grid ; Where to go ; Seeking Uncle Dick ; Santa Fe, Inc. ; Enter the queen ; The battle is joined -- The royal gorge. Precious metals ; "A game of bluff" ; Haw ; The dead-line ; This means war ; Bad men ; Gould ; A whiskey salute ; Harvey houses -- Los Angeles. The pueblo ; The big four ; "A terrible, single-handed talker" ; Guaymas ; "This is hard" ; The A&P ; The end of the line ; Ightham mote ; California for a dollar ; Boom! ; Home -- Epilogue: The frontier thesis.

This article presents an overview of the development of the US film industry from 1929 to 1999. Notwithstanding a volatile film production environment, in terms of rate of return and market share variability, the industry has remained relatively stable and profitable. Film production by the film studios is interpreted as analogous to the construction of an investment portfolio, whereby producers diversified risk across budgetary categories. In the 1930s, high‐budget film production was relatively unprofitable, but the industry adjusted to the steep decline in film‐going in the postwar period by refining high‐budget production as the focus for profitability.

The film business in the United States and Britain during the 1930s. Film was a most important product in the lives of the people during the 1930s. This article sets out to analyse the underlying economic arrangements of the film industries of the United States and Britain during the decade for producing and diffusing this commodity type to the population at large. It finds a highly competitive industry that was built around showing films that audiences wanted to see, irrespective of the extent of vertical integration. It also examines the nature of the relationship between the two industries and finds an asymmetry between the popularity of British films in the American market and that of American films in the British market. The explanation offered is that the efforts of British firms in the American market were not sufficiently sustained to make a significant impact on American audiences.

Intro -- Description -- About Thomas J. Foley -- Title Page -- Copyright Page -- Dedication -- Contents -- Part One: Where I'm Coming From -- Chapter 1 -- Chapter 2 -- Chapter 3 -- Chapter 4 -- Chapter 5 -- Chapter 6 -- Chapter 7 -- Chapter 8 -- Part Two: Getting Whitey -- Chapter 9 -- Chapter 10 -- Chapter 11 -- Chapter 12 -- Chapter 13 -- Chapter 14 -- Chapter 15 -- Chapter 16 -- Chapter 17 -- Part Three: The Big Reveal -- Chapter 18 -- Chapter 19 -- Chapter 20 -- Chapter 21 -- Chapter 22 -- Chapter 23 -- Chapter 24 -- Part Four: Bodies of Evidence -- Chapter 25 -- Chapter 26 -- Chapter 27 -- Chapter 28 -- Chapter 29 -- Chapter 30 -- Chapter 31 -- Chapter 32 -- Part Five: The Big Picture -- Chapter 33 -- Chapter 34 -- Chapter 35 -- Chapter 36 -- Epilogue -- Appendix -- Acknowledgments -- Index -- Endnotes.

The postwar market for films in Italy resembles those found in other developed capitalist economies, in which supply adjusts to demand through a set of institutional arrangements designed to maximize revenue for the film distributor. The outcome is a statistical distribution of revenues that manifests extreme levels of inequality, indicating that the hits of the day were "giants" in relation to the median film and enjoyed throughout the territory. By drawing upon film industry–sourced box-office data for five cities, Milan and Turin in the north, Naples and Bari in the south, and Rome in the center, we can observe the market mechanism operating at the city level, allowing the exploration of differences in preferences between the cities. A relative popularity index (RelPOP) is introduced to measure variation in film popularity across the five cities, and clear evidence is found to support the coexistence of national and local taste. This phenomenon is examined with respect to those films that were exceptionally popular throughout, and those with particular geographically specific audiences. The example of the many films that starred Totò, appealing in particular to southern Italian audiences, is highlighted and contrasted with the Don Camillo series of films that were set in Emilia Romagna and appealed differentially to filmgoers in the north.