Australian films at large: expanding the evidence about Australian cinema performance

Abstract

International markets have in recent years become a critical component of the business model for Hollywood cinema, opening up a renewed interest in the global dimensions of film diffusion. Smaller film-producing nations such as Denmark have similarly emphasised global distribution as a key component of the industry's success. Typically, however, claims for Australian film industry success rely almost exclusively on a film's domestic box office performance. This paper considers the possibilities for an expanded approach to measuring success and failure in the Australian film industry. Adopting analytic methods from cinema studies, cultural economics and geo-spatial sciences, this paper will examine the international theatrical circulation of Australian films using a unique global database of cinema showtimes. This data set captures all formal film screenings in 47 countries over an 18-month period ending 1 June 2014 and enables detailed empirical study of the locations visited by Australian-produced films. In conjunction with relevant box office data and contextual critical commentary, we propose a revised and expanded ‘film impact rating’ for assessing the reported performance of Australian films.

Disclosure statement

No potential conflict of interest was reported by the authors.

Notes on contributors

Deb Verhoeven is Chair and Professor of Media and Communication at Deakin University, and Deputy Director of the Centre for Memory, Imagination and Invention. She is a leading proponent of the digital humanities in Australia. She currently serves as the International Chair of the 2015 Association of Digital Humanities Organisations (ADHO) Program Committee.

Alwyn Davidson is an early Career Researcher specialising in the analysis of Cultural Datasets, and the Application of GIS and Spatial Techniques. Alwyn is currently a Digital Humanities Coordinator at Deakin University.

Bronwyn Coate is an early Career Researcher specialising in Cultural Economics. She currently holds a Research Fellowship with the Centre for Memory, Imagination and Invention at Deakin University.

Additional information

Funding

This work was supported by The Australian Research Council [DP120101940].