In red, the box office business earned by American distributors (the 6 majors + the main other smaller distributors). I believe the stat combines the business made by American movies both at home and internationally.
In black, the domestic box office business for various countries other than the USA.
Understand that these two sets of figures overlap. The blacks are confined to a geographical area (and include some of the title distributed by the American studios). The reds are confined to a given distributor's property (some of its BO is earned in the black columns and other overseas territories).
Understand that these two sets of figures overlap. The blacks are confined to a geographical area (and include some of the title distributed by the American studios). The reds are confined to a given distributor's property (some of its BO is earned in the black columns and other overseas territories).
The red figure on top is the number of films distributed by that studio. For the comparison, I wish I had the number of films distributed by the countries on their national market for 2011. Roughly this number goes between 1500 (India), to 300 for the smaller distribution markets (Malaysia, Russia). So we can appreciate the huge gap between the money a few Hollywood movies make (between 1 and 39 titles for each American studio) and the much lower business made by an entire country (including the dominant share of Hollywood movies on these markets). The 6 major American studios are all bigger in term of business than any full-scale country (about 40% of the BO in Japan comes from the sales of Hollywood imports). And the so-called "indie" studios (which are either a "specialty division" of a major studio or a fun-sized miniature of a Hollywood distibutor) stand on their own along the medium-sized countries. No wonder that the sum of all American studios/distributors coalesce into a Gulliver in Lilliput on a world-wide global market. How could non-American countries compete with Hollywood? One single American studio could take on alone any country (or several of them) on the planet and still win.
Now for those who wish to champion and protect cultural diversity in the world couldn't do otherwise but to demolish the isolationist wall in the USA and defend protectionist quotas outside of the USA, for as long as the survival of non-American films (specifically non-English, and non-European) is threatened by the indifferent emotionless hegemony of Hollywood across the world markets.
- India (2009) : 1571
- Japan (2010) : 716
- France (2009) : 588
- USA (2010) : 560
- Germany (2009) : 513
- UK (2009) : 503
- Taiwan (2009) : 431
- South Korea (2010) : 388
- Italy (2009) : 355
- Singapore (2009) : 352
- Australia (2009) : 349
- Malaysia (2009) : 320
Note also on the graph the gap between the major studios and the so-called "indie" distributors in the USA. The vast majority of the movie business on the North-American market (USA+Canada) is ran by the major studios and their blockbusters (56 titles earn over m$500 each). The vast majority of the films made in the USA (550+ titles including imports earn less than m$50 each) are not blockbuster types and only generate an insignificant business in comparison. The American public doesn't support the production of alternative content... it's all about mainstream blockbusters. Mass demand / Mass supply. The "indie" offer is barely marginal, it's not even a substantial niche. There is a standardisation of a uniform taste on an industrial scale.
Related :
- Despite The Avengers figures, the American box-office still looks stagnant (Phil Hoad; The Guardian; 8 May 2012)
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