The market for films in postwar Italy: evidence for both national and regional patterns of taste
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1 The market for films in postwar Italy: evidence for both national and regional patterns of taste Article Supplemental Material Sedgwick, J., Miskell, P. and Nicoli, M. (2018) The market for films in postwar Italy: evidence for both national and regional patterns of taste. Enterprise and Society. ISSN doi: Available at It is advisable to refer to the publisher s version if you intend to cite from the work. To link to this article DOI: Publisher: Cambridge University Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement.
2 CentAUR Central Archive at the University of Reading Reading s research outputs online
3 Figure 1. City box-office characteristics in the season, in lire Box-office 000s Rome Milan Turin Naples Bari ,
4 Figure 2. Scatter plot of the Coefficient of Variation of RelPOP values: annual Top 100 films, to Coeffic ent of Varia on Note: observations = 1,000. RelPOP 2
5 Table 1. Assorted Cinema Statistics Year performances tickets sold (thousands) Box-office in 000s (1957 prices) Cinema tickets sold per thousand inhabitants Box-office as a proportion of all paid-forleisure ,509, ,549 83,503,358 14, ,616, ,666 87,917,305 14, ,735, ,099 96,390,342 15, ,844, , ,786,946 16, ,927, , ,689,363 16, ,009, , ,859,080 16, ,039, , ,225,557 16, ,028, , ,780,786 15, ,029, , ,700,472 14, ,039, , ,723,714 15, ,037, , ,966,118 14, ,070, , ,916,723 14, ,075, , ,297,657 14, ,035, , ,877,100 13, ,058, , ,468,948 13, ,031, , ,526,352 12, ,001, , ,655,285 12, ,929, , ,630,278 10, ,881, , ,586,356 10, ,868, , ,113,733 10, ,831, , ,005,334 9, Sources: Table 8.4, Italian Historical Statistical Repository Lo Spettacolo in Italia, SIAE (annual publication) 3
6 Table 2. Selected cinema statistics for five cities, 1962 City Cinemas open Films days Ticket sales (millions) Ticket sales per capita Box-office (millions of lire) Expenditure per capita (lire) Mean admission price (lire) Roma ,623 46, ,005,204 5, Milano ,603 36, ,059,756 7, Torino ,862 22, ,595,520 6, Napoli ,853 18, ,743,314 3, Bari 24 8,365 5, ,062 3, Italy 2,492 2,075, , ,470,984 2, Source: Tables 29 and 38, Annuario dello Spettacolo for
7 Table 3. Top 10 films in season RelPOP (1) Rome Milan Turin Naples Bari BO / Median (3) BO / Median (5) BO / Median (7) BO / Median (9) BO / Median (11) Mean RelPOP (12) Five cities Standard Deviation (13) Coefficient of Variation (14) English Titile (2) (4) (6) (8) (10) Doctor Zhivago The Bible: in the Beginning The Good, the Bad and the Ugly The Treasure of San Gennaro Grand Prix The Pawnbroker A Man and a Woman Seven Golden Men Strike Again Arabesque The Taming of the Shrew Notes: The RelPOP rank (col. 1) is drawn from the Mean RelPOP (12). It is derived by suming the RelPOP (Box-office/Median) scores for each city (cols. 3,5,7,9,11) and dividing by 5. The Standard Deviation (col. 13) is a measure of variance across these scores and is standardised by dividing it by the mean to form the Coefficient of Variation (col. 14). 5
8 Table 4. Correlation of City Popularity Index values, to Correlation Correlation Correlation Correlation Correlation with Rome with Milan with Turin with Naples with Bari Rome Milan Turin Naples 0.86 Note: The correlations are drawn from the annual Top 100 films and thus based on 1,000 observations. 6
9 Table 5. National origins of Annual Top10, 20, 50 and100 films, to Country of orgin Top 10 films Top 20 films Top 50 Films Top 100 films USA Italy France UK Other Total Note: To simplify the table, the count includes the first country listed in films classified as co-productions Table 6. Films with a Comparative Popularity Index (RelPOP) greater than 5, to
10 Popularity ing Popuarity in Year of release Year of Release Film title in Italy English title Distributor Nationality RelPOP Il Dottor Zivago Doctor Zhivago Metro Goldwyn Mayer USA-Italy I Dieci Comandamenti Ten Commandments Paramount USA Guerra Pace War And Peace Lux Film USA Ben.Hur Ben Hur Metro Goldwyn Mayer USA Cleopatra Cleopatra Dear-Fox USA La Dolce Vita The Sweet Life Cineriz Italy A 007 Thunderball Thunderball Dear-United Artists UK La Bibbia The Bible: In The Beginning Dear-De Laurentiis Italy La Conquista Del West How The West Was Won Metro Goldwyn Mayer USA Agente 007 Missione Goldfinger Goldfinger Dear-United Artists UK Matrimonio All'Italiana Marriage Italian Style Interfilm Italy-France Ieri Oggi Domani Yesterday, Today And Tomorrow Interfilm Italy-France Il Gattopardo The Leopard Titanus Italy-France Per Qualche Dollaro In Piu' For A Few Dollars More Produzioni Europee Associate Italy Germany-Spain Lawrence D'Arabia Lawrence Of Arabia Ceiad-Columbia USA-UK La Tempesta Tempest De Laurentiis Italy-France Il Giorno Piu Lungo The Longest Day 20Th Century Fox USA Questo Pazzo,Pazzo,Pazzo Mondo It'S A Mad, Mad, Mad, Mad World Dear-United Artists USA Il Ponte Sul Fiume Kway Bridge On The River Kwai Ceiad-Columbia UK/USA Il Giro Del Mondo In 80 Giorni Around The World In 80 Days Dear Film USA Spartacus Spartacus Universal USA Il Buono, Il Brutto, Il Cattivo The Good The Ugly The Bad Produzioni Europee Associate Italy My Fair Lady My Fair Lady Warner Bros. USA Per Un Pugno Di Dollari A Fistful Of Dollars Unidis Italy Germany-Spain Barabba Barabbas De Laurentiis Italy A Qualcuno Piace Caldo Some Like It Hot Dear Film USA 8
11 Table 7. Example of the two methods for selecting 100 most variable films Title (English) Year Overall Popularity Index (RelPOP) Rome: difference Milan: difference Turin: difference Naples: difference Bari: difference Coefficient of Variation (CofV) Last Days of Pompei Pillow Talk Four Days of Naples Secret Life of Walter Mitty Table 8. The 100 most variable films: a) by national origin; and b) city of greatest popularity a) Films selected by CoV score Films selected by single city difference United States Italy Italian-French co-production 18.5* 21 Italian-Spanish co-production 8.5* 5 Other TOTAL b) Rome 9 9 Milan Turin Naples Bari TOTAL Note: One film from the list generated by the coefficient of variation method, Totò, Vittorio e la Dottoressa (The Lady Doctor) was a co-production between Italy, France and Spain. That film is shared between the categories marked *. 9
12 Table 9. Variable films: by national origin and city of strongest reception films in Rome films in Milan films in Turin films in Naples films in Bari a) By Co-efficient of Variation United States Italy Italian-French co-production Italian-Spanish co-production Other Total b) By single city difference United States Italy Italian-French co-production Italian-Spanish co-production Other Total Source: Gionale dello Spetacolo Table 10. City Differences in the 28 films starring Totò, to , in contrast to two Don Camillo films RelPOP Index in Year of release Rome: Difference Milan: Difference Turin: Difference Naples: Difference Bari: Difference Coefficient of Variation Year Film title Totò films Totò, Vittorio E La Dottoressa Totò Peppino E Le Fanatiche Totò E Marcellino Totò A Parigi I Tartassati La Legge E' Legge Totò Nella Luna La Cambiale Arrangiatevi Totò, Fabrizi E I Giovani D'Oggi Totò Peppino E La Dolce Vita Totòtruffa ' Letto A Tre Piazze Risate Di Gioia Chi Si Ferma E' Perduto Sua Eccellenza Si Fermo' A Mangiare I Due Marescialli Totò Diabolicus Totò Contro Maciste I Due Colonnelli Il Monaco Di Monza Totò Di Notte N Lo Smemorato Di Collegno Totò Contro I Quattro Totò E Peppino Divisi A Berlino Gli Onorevoli Totò E Cleopatra Il Comandante Mean films with negative differences Don Camillo films Don Camillo Monsignore Ma Non Troppo Il Compagno Di Don Camillo
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