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Southern Illinois University Press. Distributor rentals: It is also important to know and recognize the difference between the distributor's gross receipts and the gross rentals.
The term "rentals" refers to the aggregate amount of the film distributor's share of monies paid at theatre box offices computed on the basis of negotiated agreements between the distributor and the exhibitor.
Note that gross receipts refers to amounts actually received and from all markets and media, whereas gross rentals refers to amounts earned from theatrical exhibition only, regardless of whether received by the distributor.
Thus, gross receipts is the much broader term and includes distributor rentals. The issue of film rentals i. Again, however, such an average is based on widely divergent distributor rental ratios on individual films.
Focal Press ]. Marketing to moviegoers: a handbook of strategies used by major studios and independents 2 ed. Rentals are the distributors' share of the box office gross and typically set by a complex, two-part contract.
The American film industry. University of Wisconsin Press. Film Rentals as Percent of Volume of Business : To rekindle interest in the movies, Hollywood not only had to compete with television but also with other leisure-time activities Movies made a comeback by , but audiences had changed.
Moviegoing became a special event for most people, creating the phenomenon of the big picture. The Bible—in the Beginning It was the last biblical epic to be released by any major Hollywood studio for nearly twenty years.
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Dorling Kindersley. This became its standard policy in , when the advent of war in Europe persuaded the American film industry temporarily, as it turned out that it should be wholly reliant on the home market for profitability.
Where specific rentals data are reported in Variety before this which tended to be only sporadically they were often for worldwide rather domestic performance.
This was also the case with other trade sources, such as Quigley ' s annual Motion Picture Almanac , which published its own all-time hits lists from the early s onward.
The subsequent confusion of domestic and worldwide figures, and of rental and box-office figures, has plagued many published accounts of Hollywood history sometimes including those in Variety itself , and we have attempted to be diligant in clarifying the differences between them.
Retrieved July 14, February 2, Retrieved September 15, Gone with the Wind includes initial release plus four rereleases ,, and since foreign rental revenues were available only cumulative through September 23, The Register-Guard.
Eugene, Oregon. Retrieved August 11, Griffiths and the banks: a case study in film financing". In Kerr, Paul ed. This reflects the total amount paid to the distributor, not box-office gross.
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Ellensburg, Washington. United Press International. July 21, It became the biggest hit of the sound era and the largest-grossing movie since The Birth of a Nation — until the release of independent producer David O.
Selznick's Gone with the Wind just two years later. Oxford University Press. Since it's rarely seen today, The Singing Fool is frequently confused with The Jazz Singer ; although besides Jolson and a pervasively maudlin air the two have little in common.
In the earlier film Jolson was inordinately attached to his mother and sang "Mammy"; here the fixation was on his young son, and "Sonny Boy" became an enormous hit.
Some sources give it as the highest gross of any film in its initial release prior to Gone with the Wind. Still, by the standards of the time it's an amazing amount.
American silent film. Da Capo Press. Putting The Birth of a Nation in fifth place is open to question, since it is generally conceded to be the top-grossing film of all time.
However, it has always been difficult to obtain reliable box-office figures for this film, and it may have been even more difficult in the mids.
After listing it until the mids as the top-grosser, though finding it impossible to quote exact figures, Variety , the trade journal, suddenly repudiated the claim but without giving specific details or reasons.
On the basis of the number of paid admissions, and continuous exhibition, its number one position seems justified. The Columbus Dispatch.
Retrieved January 31, Reading Eagle. Associated Press. GWTW had hitherto maintained its lead through several reissues and was soon to regain it through another in Toledo Blade.
Retrieved November 17, The Robesonian. The Free Lance—Star. The Palm Beach Post. Chicago Sun-Times.
Archived from the original on June 6, Taylor Trade Publishing. The prints were battered, but the studio believed one final fling for GWTW was possible.
The film returned to movie theaters for the third time in the spring of and stayed in release until late When MGM finally pulled the film from exhibition, all worn-out prints were destroyed, and GWTW was at last declared out of circulation.
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Crown Publishing Group. Archived from the original on July 8, Way Down East : p. This figure was based on the amounts earned from its roadshow run, coupled with its playoff in the rest of the country's theaters.
In fact, if its foreign grosses followed the usual 40 percent of domestic returns, the film would have lost money. The parade's gone by. Douglas Fairbanks.
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Volume 5 of History of the American Cinema. Cavalcade : p. A personality-centered musical, Whoopee! Hughes did not have the "Midas touch" the trade press so often attributed to him.
The production cost estimate is probably correct. Hughes worked on the picture for over two years, shooting it first as a silent and then as a talkie.
Lewis Milestone said that in between Hughes experimented with shooting it in color as well. But Variety' s earnings report must be the fabrication of a delirious publicity agent, and Keats' the working of a myth maker.
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Manchester University Press. Mrs Miniver was a phenomenon. It was the most popular film of the year from any studio in both North America and Britain, and its foreign earnings were three times higher than those of any other MGM film released in the —42 season.
Random Harvest was also the most popular film of the year in Britain, where it proved to be even more popular than Britain's most acclaimed war film, In Which We Serve.
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Leading the pack of postwar sex hygiene films was Mom and Dad , which would become not only the most successful sex hygiene film in history but the biggest pre exploitation film of any kind.
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