movie content reviews

movie content reviews

Analyzing Movie Content Reviews: A Scholarly Examination

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1. Introduction to Movie Content Reviews

The Descriptive Analysis of Language in Movie Content documents the normative word count for over two dozen topics in movie content, both count and percentage of the total word count, that is typical of how movies discuss that topic. We illustrate recent uses that utilize the language content of reviews in a manner consistent with broader social science goals: exploring the valence of specific topics (political content; engagement with science, religion, or the climate change debate), defining and applying scales to measure new constructs capturing ranges of behavior (relationship elements), and applying standard content analysis techniques (coding tiers of content) to specific topics (media content in television, movies, and print). Findings on engagement with sex and alcoholic beverage content in the context of these motivations are discussed.

The film industry is not only affecting our culture but is also being used as a laboratory for studying various aspects of human behavior. The release of a new movie typically involves not only tracking the gross revenues but also reviews on movie content: how much violence, sex, profanity, illegal drug use, tobacco use, and alcohol use occurred in the movie and was depicted as having consequences or what eight categories of behaviors were depicted as learned, not learned, viewed positively, viewed negatively, encouraged, discouraged, rewarded, or punished.

2. The Role and Impact of Movie Content Reviews in the Film Industry

Whether movie content reviews originate from media arts departments, faith-bound journalism organizations, individual critics, or product-oriented companies, they benefit a wide array of stakeholders – everyone from parents and teachers to non-profit groups, profit-hungry corporations, and organizations striving toward a diverse viewing market requiring inclusionary efforts when producing and marketing their products. The influence and potential profit generation of movie content reviews has become so impressive that failing to anticipate and proactively respond to them on the part of the film industry’s major players, while depending upon the solid operational approach of specialized marketing and advertising companies, may jeopardize the incredible success both specialized film distribution units and stimulus programs in creating, marketing, and selling film as a commercially recognized art form while showcasing diverse human experiences and stories.

Imagine recommending Monsters, Inc., not just to an adult without children, but rather, specifically to a knowing parent seeking a memorable animated feature they can enjoy with their wide-eyed youngster. There is little doubt on the parents’ part they’ll be able to safely share splendid storytelling rooted in a rich and beautifully illustrated mythological landscape with their vividly engaged child. It’s a promise inextricably woven into the words of a formal content review – even when a subsequent view of the clever tale, with its warmly parent/child relationship links and broader plot subtleties, seems to suggest the earlier reviewer may have missed the enchanting movie entirely. Yet that is, indeed, the considerable promise movie content reviewers extend individuals, companies, and organizations eager to smoothly entertain while nonetheless avoiding mature audience’s inappropriate attitudes, behaviors, and scenes for the particular demographic or to craft special interest marketing and advertising efforts directly targeting those demographics.

3. Methods and Approaches in Analyzing Movie Content Reviews

In movie content reviews, the objective of the reviewer must be regarded as crucial, as reviews could be traced to the intentions of the creator (e.g., filmmakers) as well as some of the possible objections of various affective audiences. This is a considerable influence on the reviewer, for critics revolt when they are restricted to the normative performing of moral duties, and various moviegoers may seize upon a critical review as buttressing an opinion of a movie. It is the consilient movement of these elements within the corpus of a review that through argumentation the legitimacy or illegitimacy of a movie’s assertive content, and its implications for moral order within society, lends support to or diverts a realization of the implied cinematic meaning. A review, at its simplest, can be regarded as constituting an external critique of a text – an informal essay or treatise that comments upon a movie’s content in terms so broad as to encompass all cultural, historical, social, and cinematic elements related to the film.

4. Ethical Considerations in Conducting Movie Content Reviews Research

Certainly, business studies, particularly research conducted in economics, marketing, and production/operations management, are ruled by high standards of scholarly ethics. These standards ensure the protection of human subject matters, animal welfare and informed consent, as well as scholarly honesty and objectivity in academic research studies. For scholarly papers that include analysis from databases, professional associations and publishers mandate the submission of a research ethics report. The purpose of the report is to ensure that high standards of scholarly ethics have been upheld for the scientific papers. Compliance with professional ethical standards in facilitating research sponsored by professional associations, publishing companies, and individuals is essential if academic scholars are to properly execute scientific studies.

In implementing social science research proposals intended for journal publication, there is an ethical obligation to follow the principles of research ethics explicitly in the studies conducted. A variety of disciplines have developed guidelines for scientific research that ensure the rights and welfare of subjects they experiment on. These disciplines consist of, but are not limited to: business, communications, education, environmental studies, feminist studies, gerontology, human development, legal studies, library science, pharmaceutical science, psychological science, public affairs, public health, romance languages and literature, social work, sociology, and women’s studies.

5. Case Studies and Findings in Movie Content Reviews Analysis

5.2. The Little Dictator (1940) The Great Dictator, a film made by Charlie Chaplin in 1940, tells the story of Adenoid Hynkel and a simple Jewish barber. The two looked incredibly similar, but their ideologies, priorities, and ways of acting were extremely distant. The character also tries to portray Adolf Hitler with features similar to the real dictator; however, “The Little Dictator, from 1940, does not tell the story of the great dictator of all time, but of another dictator who lived at that time in Italy: Benito Mussolini.” The plot shows that the barber, in addition to maintaining a general resemblance to the dictator Adenoid Hynkel, is also his main opponent, a fighter against oppression, and the one most interested in peace in the world, at the expense of his own life.

5.1. Case Study 1: Citizen Kane (1941) In Citizen Kane (1941), Charles Foster Kane is rich, influential, and difficult to understand. That is why when his last word was simply “Rosebud,” a press suite got together to find out the meaning of this word. The film, lasting almost two hours, is a narration of the pursuit of the staff who are able to find the meaning of that word through the life of the legendary figure of Charles Foster Kane: his ideals and his decadences. It is possible to have different interpretations about it. Its director, Orson Welles, when he was finishing it, did not know the dimension it would reach. Nevertheless, the film is known for its advances: it was the first to use the sequence language – showing multiple scenes at the same time – and to adopt bold positions, including against the press and some magnates who existed at that time.

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