New Forms Of Cinema Exhibition

John Sedgwick

Joined Mar 6 2012
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65 years old
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New Forms Of Cinema Exhibition

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Reply John Sedgwick
6:52 AM on March 6, 2012 
Hello everybody. Good luck with the project.
This is a brief biographical note that goes on to detail current research concerns

John researches into the economics and economic history of film and has authored and co-authored with Mike Pokorny, and Clara Pafort Overduin and Jaap Boter, articles published in the journals Business History, Economic History Review, Enterprise and Society, Explorations in Economic History, Historical Journal of Film, Radio and Television, Journal of Cultural Economics, and Journal of Economic History, as well as numerous book chapters. He has also published a monograph on the Film Industry in Britain during the 1930s Popular Filmgoing in 1930s Britain: a Choice of Pleasures, (Exeter, Exeter University Press, 2000) and with Mike Pokorny edited an anthology of papers (An Economic History of Film, (London, Routledge, 2005). John was a Leverhulme Research fellow in 2000-01, a Sir Robert Menzies Research Fellow in 2006 and a RMIT/AFTRS Visiting Research Fellow in 2007.

He is currently engaged in three research projects, all of which showcase an analytical approach to film risk, and lead to the claim that the film industry is not as myopic as is sometimes presented - indeed somebody seems to know something! These are described in some detail in a Briefing Note which can be accessed through the link

Film Profitability
In a paper published in 2010, Michael Pokorny and John Sedgwick demonstrated that once non-theatrical revenues are accounted for, film production during the 1990s was much more profitable than during earlier periods in film history, particularly with respect to big budget films. On-going work involving these researchers indicates that this is even more the case for the opening decade of the 21st Century. Figure 2 in the Briefing Note provides evidence of the remarkably high level of profitability enjoyed by the Majors during this decade.

Film Risk
In a paper to be published in 2012, a team of colleagues at Londonmet demonstrate a highly novel model for reliably estimating theatrical release film revenues from opening week box-office, based upon estimates of the probability density of each film in the dataset. Although there are many risk metrics in circulation, the model provides a powerful way to estimate ?Value at Risk?. Using the probability centiles it generates, it is possible to estimate the maximum revenue loss that would need to be covered from working capital for any given level of probability. Figures 3 and 4 in the Briefing Note illustrate our findings

Film Consumption
Through survey methods, a separate team of colleagues at Londonmet is investigating the extent to which consumers entertain risk when making film consumption decisions and in so doing examining the efficacy of concepts commonly deployed in film research such as word-of-mouth and social learning. With over 1,000 interviews soliciting data on the characteristics and expectations of pre-viewing audiences conducted in London?s West End and a 200 on-line respondent feed-back questionnaires completed, we expect to be able to say something substantial about the risk environment, as perceived by audiences.