Finding Nemo: Analysis of Box Office Figures
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Finding Nemo was created by Walt Disney Pictures and Pixar Animation Studios as the most recent in a string of successful films created by this partnership (Catch the funą, 2003). The film follows the comedic and adventurous journeys of two fish ū Marlin and his son, Nemo ū who become separated in the Great Barrier Reef. Along with a companion named Dory (who is friendly, helpful and forgetful), Marlin sets out on a dangerous trek to find his son, becoming a hero in the process. In this report, Finding Nemo will be analyzed with respect to its box office appeal and success. The report will drawn upon concepts and criteria advanced by Olen J. Earnest (1985), who has suggested that some huge box office filmsū i.e., audience and financial success stories ū are not easily visualized from the written word as potential blockbusters, a combination of marketing, advertising, and promotional activities conducted before and during release of the film can foster critical and financial success alike. Judging box office success for any film requires an understanding of the conditions that must be met to claim such success. Earnest (1985, p. 3) noted that "A motion picture is a rather unique product confronted with unique marketing problems." Motion pictures are essentially luxury products rather than necessities; consequently, audiences must be motivated to spend their funds on viewing a film (and, later, on purchasing a video copy for a home lib
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th (and free) advertising would occur. As Earnest )1995) noted, this type of free publicity is invaluable. Not only does it surround the opening day of a film with anticipation which in turn leads to record crowds; it is boosts box office receipts are people who might otherwise have not impulsively "purchased" the film via a ticket responded to the word-of-mount support for the film. This kind of audience response, which is difficult to predict, can nevertheless make an important difference in box office performance (Earnest, 1985).
The audience response to Finding Nemo also may be attributed in part to the release data assigned to the film by its creators. Earnest (1985) argued that films released in the key summer months tend to do particularly well because key market segments ū including the natural audience for this film ū are out of school and looking for entertainment. With a May 30 release date, Disney and Pixar clearly recognized that they were likely to capture audience interest and to provide an entertainment vehicle on the Memorial Day weekend ū a time when family-oriented entertainment is in high demand. This was a savvy choice, but one that would be expected from a company like Disney, which has made its reputa
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