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全球最高電影票房收入列表 (Chinese Wikipedia)

Analysis of information sources in references of the Wikipedia article "全球最高電影票房收入列表" in Chinese language version.

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263boxofficemojo.com
21st place
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189archive.today
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185web.archive.org
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124books.google.com
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24archive.org
6th place
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21tcm.com
235th place
1,709th place
20the-numbers.com
110th place
235th place
13news.google.com
59th place
494th place
8variety.com
13th place
48th place
8nytimes.com
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7boxoffice.com
5,353rd place
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4hollywoodreporter.com
15th place
49th place
3time.com
61st place
145th place
3deadline.com
10th place
37th place
3wsj.com
79th place
143rd place
2cinemaweb.com
low place
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2turner.com
4,080th place
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2economist.com
254th place
330th place
2bbc.co.uk
8th place
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2forbes.com
54th place
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2bloomberg.com
99th place
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2latimes.com
22nd place
110th place
2telegraph.co.uk
30th place
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2ghostarchive.org
32nd place
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2filmsite.org
1,615th place
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2google.co.uk
504th place
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2gizmodo.com
474th place
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1endata.cn
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6,030th place
1worldcat.org
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1semanticscholar.org
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1doi.org
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1webcitation.org
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1focusfeatures.com
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1archives.gov
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1measuringworth.com
2,465th place
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1thefreelibrary.com
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1pqarchiver.com
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1varietyultimate.com
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1newsbank.com
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1ew.com
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1vanityfair.com
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1newsweek.com
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1slate.com
259th place
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1usi.edu
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1theguardian.com
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1thewrap.com
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1washingtonpost.com
34th place
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1imf.org
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1marketwatch.com
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1wikipedia.org
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1suntimes.com
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1cnbc.com
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1boxofficepro.com
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1mandilaw.com
low place
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archive.org

archive.today

archives.gov

bbc.co.uk

news.bbc.co.uk

bloomberg.com

books.google.com

  • Krämer, Peter. Women First: Titanic, Action-Adventure Films, and Hollywood's Female Audience. Sandler, Kevin S.; Studlar, Gaylyn (编). Titanic: Anatomy of a Blockbuster. Rutgers University Press. 1999: 108–130. ISBN 978-0-8135-2669-0. On page 130, the list has Jurassic Park at number one with $913 million, followed by The Lion King... 
  • Monaco, James. How to Read a Film:Movies, Media, and Beyond. Oxford University Press. 2009: 262. ISBN 978-0-19-975579-0. The Birth of a Nation, costing an unprecedented and, many believed, thoroughly foolhardy $110,000, eventually returned $20 million and more. The actual figure is hard to calculate because the film was distributed on a "states' rights" basis in which licenses to show the film were sold outright. The actual cash generated by The Birth of a Nation may have been as much as $50 million to $100 million, an almost inconceivable amount for such an early film. 
  • Wasko, Janet. D.W. Griffiths and the banks: a case study in film financing. Kerr, Paul (编). The Hollywood Film Industry: A Reader. Routledge. 1986: 34. ISBN 978-0-7100-9730-9. Various accounts have cited $15 to $18 million profits during the first few years of release, while in a letter to a potential investor in the proposed sound version, Aitken noted that a $15 to $18 million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50 million. (This reflects the total amount paid to the distributor, not box-office gross.) This 'trade legend' has finally been acknowledged by Variety as a 'whopper myth', and the amount has been revised to $5 million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2 million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2 million. 
  • Lang, Robert (编). The Birth of a nation: D.W. Griffith, director. Rutgers University Press. 1994: 30. ISBN 978-0-8135-2027-8. The film eventually cost $110,000 and was twelve reels long. 
  • Lang, Robert (编). The Birth of a nation: D.W. Griffith, director. Rutgers University Press. 1994: 30. ISBN 978-0-8135-2027-8. The film eventually cost $110,000 and was twelve reels long. 
  • Birchard, Robert S., Intolerance: 45, 2010, Intolerance was the most expensive American film made up until that point, costing a total of $489,653, and its performance at the box ... but it did recoup its cost and end with respectable overall numbers.  In: Block & Wilson 2010.
  • Hall & Neale 2010，第53頁. "The Four Forsemen of the Apocalypse was to become Metro's most expensive production and one of the decade's biggest box-office hits. Its production costs have been estimated at "something between $600,000 and $800,000." Variety estimated its worldwide gross at $4 million in 1925 and at $5 million in 1944; in 1991, it estimated its cumulative domestic rentals at $3,800,000."
  • Brownlow, Kevin. The parade's gone by ... University of California Press. 1968: 255. ISBN 978-0-520-03068-8. The negative cost was about $986,000, which did not include Fairbanks' own salary. Once the exploitation and release prints were taken into account, Robin Hood cost about $1,400,000—exceeding both Intolerance ($700,000) and the celebrated "million dollar movie" Foolish Wives. But it earned $2,500,000. 
  • Vance, Jeffrey. Douglas Fairbanks. University of California Press. 2008: 146. ISBN 978-0-520-25667-5. The film had a production cost of $930,042.78—more than the cost of D.W. Griffith's Intolerance and nearly as much as Erich von Stroheim's Foolish Wives (1922). 
  • Robertson, Patrick. Guinness Book of Movie Facts and Feats 4. Abbeville Publishing Group. 1991: 30. ISBN 978-1-55859-236-0. The top grossing silent film was King Vidor's The Big Parade (US 25), with worldwide rentals of $22 million. 
  • Hall & Neale 2010，第58–59頁. "Even then, at a time when the budget for a feature averaged at around $300,000, no more than $382,000 was spent on production...According to the Eddie Mannix Ledger at MGM, it grossed $4,990,000 domestically and $1,141,000 abroad."
  • Hall & Neale 2010，第163. "MGM's silent Ben-Hur, which opened at the end of 1925, had out-grossed all the other pictures released by the company in 1926 combined. With worldwide rentals of $9,386,000 on first release it was, with the sole possible exception of The Birth of a Nation, the highest-earning film of the entire silent era. (At a negative cost of $3,967,000, it was also the most expensive.)"頁
  • Finler 2003，第188頁. "At a cost of $2 million Wings was the studio's most expensive movie of the decade, and though it did well it was not good enough to earn a profit."
  • The Jazz Singer and The Singing Fool
    • Block, Hayley Taylor, The Jazz Singer: 113, 2010, The film brought in $2.6 million in worldwide rentals and made a net profit of $1,196,750. Jolson's follow-up Warner Bros. film, The Singing Fool (1928), brought in over two times as much, with $5.9 in worldwide rentals and a profit of $3,649,000, making them two of the most profitable films in the 1920s. 
    • Crafton, Donald. The Talkies: American Cinema's Transition to Sound, 1926–1931. University of California Press. 1999: 549–552. ISBN 978-0-520-22128-4. The Singing Fool: Negative Cost ($1000s): 388 
    • Birchard, Robert S., The Broadway Melody: 121, 2010, It earned $4.4 million in worldwide rentals and was the first movie to spawn sequels (there were several until 1940).  In: Block & Wilson 2010.
    • Block & Wilson 2010，第46頁. "Production Cost: $0.6 (Unadjusted $s in Millions of $s)."
    • Cormack, Mike. Ideology and Cinematography in Hollywood, 1930–1939. Palgrave Macmillan. 1993: 28. ISBN 978-0-312-10067-4. Although costing $1250000—a huge sum for any studio in 1929—the film was a financial success. Karl Thiede gives the domestic box-office at $1500000, and the same figure for the foreign gross. 
    • Hell's Angels
      • Balio, Tino. United Artists: The Company Built by the Stars. University of Wisconsin Press. 1976: 110. Hughes did not have the "Midas touch" the trade press so often attributed to him. Variety, for example, reported that Hell's Angels cost $3.2 million to make, and by July, 1931, eight months after its release, the production cost had nearly been paid off. Keats claimed the picture cost $4 million to make and that it earned twice that much within twenty years. 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. During the seven years it was in United Artists distribution, Hell's Angels grossed $1.6 million in the domestic market, of which Hughes' share was $1.2 million. Whatever the foreign gross was, it seems unlikely that it was great enough to earn a profit for the picture. 
      • Block & Wilson 2010，第163頁. "It drew $1.4 million in worldwide rentals in its first run versus $1.2 million for Dracula, which had opened in February 1931."
      • Sedgwick, John. Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. 2000: 146–148. ISBN 978-0-85989-660-3. Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy... 
      • Sedgwick, John. Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. 2000: 146–148. ISBN 978-0-85989-660-3. Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy... 
      • Finler 2003，第188頁. "The studio released its most profitable pictures of the decade in 1933, She Done Him Wrong and I'm No Angel, written by and starring Mae West. Produced at a rock-bottom cost of $200,000 each, they undoubtedly helped Paramount through the worst patch in its history..."
      • Block, Alex Ben, She Done Him Wrong: 173, 2010, The worldwide rentals of over $3 million keep the lights on at Paramount, which did not shy away from selling the movie's sex appeal.  In: Block & Wilson 2010.
      • Phillips, Kendall R. Controversial Cinema: The Films That Outraged America. ABC-CLIO. 2008: 26. ISBN 978-1-56720-724-8. The reaction to West's first major film, however, was not exclusively negative. Made for a mere $200,000, the film would rake in a healthy $2 million in the United States and an additional million in overseas markets. 
      • Block & Wilson 2010，第135頁. "Total production cost: $274,076 (Unadjusted $s)."
      • Dick, Bernard F. Claudette Colbert: She Walked in Beauty. University Press of Mississippi. 2008: 79. ISBN 978-1-60473-087-6. Although Columbia's president, Harry Cohn, had strong reservations about It Happened One Night, he also knew that it would not bankrupt the studio; the rights were only $5,000, and the budget was set at $325,000, including the performers' salaries. 
      • Snow White and the Seven Dwarfs
        • Monaco, Paul. A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. Scarecrow Press. 2010: 54. ISBN 978-0-8108-7434-3. Considered a highly risky gamble when the movie was in production in the mid-1930s, by the fiftieth anniversary of its 1937 premiere Snow White's earnings exceeded $330 million. 
        • Snow White and the Seven Dwarfs
          • Monaco, Paul. A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. Scarecrow Press. 2010: 54. ISBN 978-0-8108-7434-3. Considered a highly risky gamble when the movie was in production in the mid-1930s, by the fiftieth anniversary of its 1937 premiere Snow White's earnings exceeded $330 million. 
          • Hall & Neale 2010，第283頁 ."The final negative cost of Gone with the Wind (GWTW) has been variously reported between $3.9 million and $4.25 million."
          • Barrier, Michael. Hollywood Cartoons: American Animation in Its Golden Age. New York: Oxford University Press. 2003: 266. ISBN 978-0-19-983922-3. The film's negative cost was $2.6 million, more than $1 million higher than Snow White's. 
          • Schatz, Thomas. Boom and Bust: American Cinema in the 1940s. 6 of History of the American Cinema. University of California Press. 1999: 466 [1st. pub. 1997]. ISBN 978-0-520-22130-7. Boom Town ($4.6 million). 
          • Block & Wilson 2010，第258–259頁. "Production Cost: $2.1 (Unadjusted $s in Millions of $s) ... Boom Town was the biggest moneymaker of 1940 and one of the top films of the decade."
          • Block & Wilson 2010，第267頁. "With worldwide rentals of $7.8 million in its initial release, the movie made a net profit of over $3 million."
          • Finler 2003，第301頁. "The studio did particularly well with its war-related pictures, such as Sergeant York (1941), which cost $1.6 million but was the studio's biggest hit of the decade aside from This is the Army (1943), the Irving Berlin musical for which the profits were donated to the Army Emergency Relief fund."
          • Block & Wilson 2010，第281頁. "Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost."
          • Block & Wilson 2010，第281頁. "Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost."
          • Glancy, Mark. When Hollywood Loved Britain: The Hollywood 'British' Film 1939–1945. Manchester University Press. 1999: 94–95. ISBN 978-0-7190-4853-1. 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 1941–42 season. The production cost ($1,344,000) was one of the highest of the season, indicating the studio never thought of the film as a potential loss-maker. When the film earned a worldwide gross of $8,878,000, MGM had the highest profit ($4,831,000) in its history. Random Harvest nearly matched the success of Mrs Miniver with worldwide earnings of $8,147,000 yielding the second-highest profit in MGM's history ($4,384,000). 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. 
          • Block & Wilson 2010
            • Mrs. Miniver: Burns, Douglas, Mrs. Miniver: 279, 2010, Mrs. Miniver's galvanizing effect on Americans spawned a record-breaking ten-week run at Radio City Music Hall and garnered a $5.4 million take in domestic rentals (making Mrs. Miniver 1942's top grosser), with a $4.8 million profit on worldwide rentals of $8.9 million. 
            • McAdams, Frank, For Whom the Bell Tolls: 287, 2010, Despite the early furor over the novel being "pro-red and immoral," the film opened to strong and favorable reviews and brought in $11 million in worldwide rentals in its initial release.  In: Block & Wilson 2010.
            • Finler 2003，第356–363頁
            • Block & Wilson 2010，第420頁. "(Unadjusted $s) in Millions of $s – Production Cost: $1.0"
            • Block & Wilson 2010，第420頁. "(Unadjusted $s) in Millions of $s – Production Cost: $1.0"
            • Schaefer, Eric. "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. Duke University Press. 1999: 197–199. ISBN 978-0-8223-2374-7. Leading the pack of postwar sex hygiene films was Mom and Dad (1944), which would become not only the most successful sex hygiene film in history but the biggest pre-1960 exploitation film of any kind. At the end of 1947, the Los Angeles Times reported that Mom and Dad had grossed $2 million. By 1949 Time had estimated that Mom and Dad had taken in $8 million from twenty million moviegoers. And publicity issuing from Mom and Dad's production company indicated that by the end of 1956 it had grossed over $80 million worldwide. Net rentals of around $22 million by 1956 would easily place it in the top ten films of the late 1940s and early 1950s had it appeared on conventional lists. Some estimates have placed its total gross over the years at up to $100 million, and it was still playing drive-in dates into 1975...The film was made for around $65,000 with a crew of Hollywood veterans including director William "One Shot" Beaudine, cinematographer Marcel LePicard, and a cast that sported old stalwarts Hardie Albright, Francis Ford, and John Hamilton. 
            • Schaefer, Eric. "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. Duke University Press. 1999: 197–199. ISBN 978-0-8223-2374-7. Leading the pack of postwar sex hygiene films was Mom and Dad (1944), which would become not only the most successful sex hygiene film in history but the biggest pre-1960 exploitation film of any kind. At the end of 1947, the Los Angeles Times reported that Mom and Dad had grossed $2 million. By 1949 Time had estimated that Mom and Dad had taken in $8 million from twenty million moviegoers. And publicity issuing from Mom and Dad's production company indicated that by the end of 1956 it had grossed over $80 million worldwide. Net rentals of around $22 million by 1956 would easily place it in the top ten films of the late 1940s and early 1950s had it appeared on conventional lists. Some estimates have placed its total gross over the years at up to $100 million, and it was still playing drive-in dates into 1975...The film was made for around $65,000 with a crew of Hollywood veterans including director William "One Shot" Beaudine, cinematographer Marcel LePicard, and a cast that sported old stalwarts Hardie Albright, Francis Ford, and John Hamilton. 
            • Gabler, Neal. Walt Disney: the biography. Aurum Press. 2007: 438. Still, the film wound up grossing $3.3 million... 
            • Burns, Douglas, The Best years of Our Lives: 301, 2010, The film made a $5 million profit on worldwide rentals of $14.8 million.  In: Block & Wilson 2010.
            • Hall & Neale 2010，第285 (note 6.56)頁. "The cost of Duel in the Sun has been reported as both $5,255,000 (Haver, David O'Selznick's Hollywood, 361) and $6,480,000 (Thomson, Showman: The Life of David O'Selznick, 472); the latter figure may include distribution expenses. Forever Amber cost $6,375,000 (Solomon, Twentieth Century-Fox: A Corporate and Financial History, 243)."
            • Chopra-Gant, Mike. Hollywood Genres and Post-war America: Masculinity, Family and Nation in Popular Movies and Film Noir. I.B. Tauris. 2006: 18. ISBN 978-1-85043-815-1. Forever Amber: $8 million; Unconquered: $7.5 million; Life with Father: $6.25 million 
            • Street, Sarah. Transatlantic Crossings: British Feature Films in the United States. Continuum International Publishing Group. 2002: 110. ISBN 978-0-8264-1395-6. Although both films had higher than average budgets (The Red Shoes cost £505,581 and Hamlet cost £572,530, while the average cost of the other thirty films for which Rank supplied information was £233,000), they resulted in high takings at home and abroad. 
            • Eisner, Michael D.; Schwartz, Tony. Work in Progress. Pennsylvania State University. 2009: 178. ISBN 978-0-7868-8507-7. Cinderella revived its fortunes. Re-released in February 1950, it cost nearly $3 million to make but earned more than $20 million worldwide. 
            • Barrier, Michael. Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press. 2003: 401. ISBN 978-0-19-516729-0. It cost around $2.2 million, little more than each of the two package features, Melody Time and The Adventures of Ichabod and Mr. Toad (as Tluo Fabulous Characters had ultimately been named), that just preceded it, but its gross rentals—an amount shared by Disney and RKO—were $7.8 million, almost twice as much as the two package features combined. 
            • Zone, Ray. 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky. 2012: 71. ISBN 978-0-8131-3611-0. Produced at a cost of $1 million, This is Cinerama ran 122 weeks, earning $4.7 million in its initial New York run alone and eventually grossed over $32 million. It was obvious to Hollywood that the public was ready for a new form of motion picture entertainment. The first five Cinerama feature-length travelogues, though they only played in twenty-two theaters, pulled in a combined gross of $82 million. 
            • Burns, Douglas, The Greatest Show on Earth: 354–355, 2010, By May 1953, Variety was reporting that the Best Picture winner had amassed $18.35 million in worldwide rentals.  In: Block & Wilson 2010.
            • Hall & Neale 2010，第147–148頁. "To take full advantage of CinemaScope's panoramic possibilities, shooting was delayed for the sets to be redesigned and rebuilt, adding $500,000 to the eventual $4.1 million budget...It ultimately returned domestic rentals of $17.5 million and $25 million worldwide, placing it second only to Gone with the Wind in Variety's annually updated chart."
            • Block & Wilson 2010，第367頁. "It brought in $16.7 million in domestic rentals, $9.4 million in foreign rentals, and made a net profit of $8.1 million."
            • Block & Wilson 2010，第420頁. "Domestic Box Office: $19.6 million; Production Cost: $3.8 million."
            • Hall & Neale 2010，第149頁. "VistaVision was first used for the musical White Christmas (1954), which Variety named the top grosser of its year with anticipated domestic rentals of $12 million."
            • Finler 2003，第320頁. "It was up and running in time to handle Disney's most elaborate expensive feature, 20,000 Leagues Under the Sea, based on the book by Jules Verne, starring James Mason and Kirk Douglas and directed by Richard Fleischer at a cost of $4.5 million."
            • Block & Wilson 2010，第327頁. "Production cost: $13.3 million; Domestic Film Rental: $31.3; Foreign Film Rental: $23.9; Worldwide Box office (estimated): $122.7 (Initial Release – Unadjusted $s in Millions of $s)."
            • Block & Wilson 2010，第327頁. "Production cost: $13.3 million; Domestic Film Rental: $31.3; Foreign Film Rental: $23.9; Worldwide Box office (estimated): $122.7 (Initial Release – Unadjusted $s in Millions of $s)."
            • Hall & Neale 2010，第153頁. "South Pacific also became for a time the most successful film ever released in the United Kingdom, where it earned a box-office gross three times its negative cost of $5,610,000. Anticipated global rentals after three years were $30 million."
            • Ross, Steven J. Hollywood Left and Right: How Movie Stars Shaped American Politics. Oxford University Press. 2011: 278–279. ISBN 978-0-19-991143-1. Costing $15 million to produce, the film earned $47 million by the end of 1961 and $90 million worldwide by January 1989. 
            • Block & Wilson 2010，第324頁. "Worldwide box office: $146.9 million; Worldwide rentals: $66.1 million; Production cost: $15.9 million. (Initial Release – Unadjusted $s in Millions of $s)"
            • Reid, John Howard. America's Best, Britain's Finest: A Survey of Mixed Movies. 14 of Hollywood classics. Lulu. 2006: 243–245. ISBN 978-1-4116-7877-4. Negative cost: around $4 million; Worldwide film rentals gross (including 1968 American reissue) to 1970: $30 million. 
            • Webster, Patrick. Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland & Company. 2010: 298 (note 2.23). ISBN 978-0-7864-5916-2. Spartacus cost $12 million and grossed some $60 million at the box office, figures Kubrick rarely again matched. 
            • Webster, Patrick. Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland & Company. 2010: 298 (note 2.23). ISBN 978-0-7864-5916-2. Spartacus cost $12 million and grossed some $60 million at the box office, figures Kubrick rarely again matched. 
            • Block, Hayley Taylor, West Side Story: 449, 2010, With its three rereleases, it took in over $105 million in worldwide box office ($720 million in 2005 dollars).  In: Block & Wilson 2010.
            • Block, Hayley Taylor, West Side Story: 449, 2010, With its three rereleases, it took in over $105 million in worldwide box office ($720 million in 2005 dollars).  In: Block & Wilson 2010.
            • Hall & Neale 2010，第164頁. "West cost $14,483,000; although it earned $35 million worldwide in just under three years, with ultimate domestic rentals totaling $20,932,883, high distribution costs severely limited its profitability."
            • Hall & Neale 2010，第164頁. "West cost $14,483,000; although it earned $35 million worldwide in just under three years, with ultimate domestic rentals totaling $20,932,883, high distribution costs severely limited its profitability."
            • Burns, Douglas, Mary Poppins: 469, 2010, In its initial run, Poppins garnered an astounding $44 million in worldwide rentals and became the company's first Best Picture Oscar contender.  In: Block & Wilson 2010.
            • Hall & Neale 2010，第188頁. "The negative cost of Warners' adaptation of Edward Albee's play Who's Afraid of Virginia Woolf? (1966)—filmed in widescreen and black-and-white, largely set in domestic interiors and with a cast of only four principal actors—amounted to $7,613,000, in part because stars Elizabeth Taylor and Richard Burton received up-front fees of $1 million and $750,000 respectively, against 10 percent of the gross apiece. (Their participation was presumably added to the budget)."
            • Welles, Chris. Behind the Silence at Columbia Pictures—No Moguls, No Minions, Just Profits. New York 3 (36). 1970-09-07: 42–47. While Columbia, battling Ray Stark over every dollar, did Funny Girl for around $8.8 million, a million or so over budget, Fox spent nearly $24 million on Hello, Dolly!, more than twice the initial budget, and the film will thus have to gross three times as much to break even. 
            • Block, Hayley Taylor, Love Story: 545, 2010, The final cost came in at $2,260,000.  In: Block & Wilson 2010.
            • Block & Wilson 2010，第549頁. "Fiddler had the highest domestic box office of 1971 (it was second in worldwide box office after Diamonds Are Forever), with more than $100 million in unadjusted worldwide box office on its initial release. The soundtrack album was also a huge seller. The 1979 rerelease was not as successful, with the $3.8 million print and ad costs almost as high as the $4.3 million in worldwide rentals."
            • Block & Wilson 2010，第549頁. "Fiddler had the highest domestic box office of 1971 (it was second in worldwide box office after Diamonds Are Forever), with more than $100 million in unadjusted worldwide box office on its initial release. The soundtrack album was also a huge seller. The 1979 rerelease was not as successful, with the $3.8 million print and ad costs almost as high as the $4.3 million in worldwide rentals."
            • Jacobs, Diane. Hollywood Renaissance. Dell Publishing. 1980: 115. ISBN 978-0-440-53382-5. The Godfather catapulted Coppola to overnight celebrity, earning three Academy Awards and a then record-breaking $142 million in worldwide sales. 
            • Stanley, Robert Henry; Steinberg, Charles Side. The media environment: mass communications in American society. Hastings House. 1976: 76. ISBN 978-0-8038-4681-4. ...further reflected by the phenomenal successes of The Sting, Chinatown and The Exorcist. The latter film, which cost about $10 million to produce, has grossed over $110 million worldwide. 
            • New York 8, 1975, ...Jaws should outstrip another MCA hit, The Sting, which had world-wide revenues of $115 million.  (Online copy 互联网档案馆的存檔，存档日期2023-04-04. at Google Books)
            • Block & Wilson 2010，第560頁. "Production Cost: $5.5 (Unadjusted $s in Millions of $s)."
            • Hall & Neale 2010，第206–208頁. "The most successful entry in the disaster cycle was the $15 million The Towering Inferno which earned over $48,650,000 in domestic rentals and about $40 million foreign."
            • Priggé, Steven. Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Company. 2004: 8. ISBN 978-0-7864-1929-6. The budget for the first Jaws was $4 million and the picture wound up costing $9 million. 
            • Hall & Neale 2010，第214頁. "Rocky was the "sleeper of the decade". Produced by UA and costing just under $1 million, it went on to earn a box-office gross of $117,235,247 in the United States and $225 million worldwide."
            • Block, Alex Ben, Rocky: 583, 2010, The budget was $1,075,000 plus producer's fees of $100,000.  In: Block & Wilson 2010.
            • Hall & Neale 2010，第218頁. "Eventually costing $11,293,151, Star Wars was previewed at the Northpoint Theatre in San Francisco on May 1, 1977."
            • Hofler, Robert. Party Animals: A Hollywood Tale of Sex, Drugs, and Rock 'N' Roll Starring the Fabulous Allan Carr. ReadHowYouWant.com. 2010: 145. ISBN 978-1-4596-0007-2. Despite the fact that Grease was well on its way to becoming the highest-grossing movie musical in the world, and eventually grossed over $341 million... 
            • Block & Wilson 2010，第609頁. "Steven Spielberg, by far the most successful director of the decade, had the highest-grossing movie with 1982's E.T.: The Extra-Terrestrial, which grossed over $664 million in worldwide box office on initial release."
            • Block & Wilson 2010，第652頁. "Production Cost: $12.2 (Unadjusted $s in Millions of $s)."
            • Finler 2003，第268頁. "The studio had a record operating income of $212 million in 1982, the year of Spielberg's E.T. The Extra-Terrestrial (which had cost only slightly over $10 million) and $150 million in 1985, mainly due to another Spielberg production, the $22 million Back to the Future, which became the top box office hit of the year."
            • McAdams, Frank, Top Gun: 678–679, 2010, Production Cost: $19.0 (Millions of $s) ... Despite mixed reviews, it played in the top 10 for an extended period and was a huge hit, grossing almost $345 million in worldwide box office.  In: Block & Wilson 2010.
            • Finler 2003，第190–191頁.
            • Finler 2003，第244頁. "Rain Man: 30.0 (cost in million $s)"
            • Block & Wilson 2010，第694–695頁. "Production Cost: $55.4 (Unadjusted $s in Millions of $s) ... The film went on to haul in over $494 million worldwide."
            • Block & Wilson 2010，第776頁. "Production Cost: $30.0 (Unadjusted $s in Millions of $s)"
            • Finler 2003，第123頁.
            • Block & Wilson 2010，第509頁. "Production Cost: $140.0 (Unadjusted $s in Millions of $s)."
            • The Atlantic Monthly 231. 1973: 2. As of the end of 1971, GWTW stood as the all-time money-drawing movie, with a take of $116 million, and, with this year's reissues, it should continue to run ahead of the second place contender and all-time kaffee-mit-schlag spectacle. 
            • New Times 2. 1974. Coppola is King Midas, the most individually powerful U.S. filmmaker ." His credits include directing the first Godfather (worldwide earnings: $142 million, ahead of Gone with the Wind, The Sound of Music and The Exorcist)...  (Online copy at Google Books)
            • Vogel, Harold L. Entertainment Industry Economics: A Guide for Financial Analysis. Cambridge University Press. 2010: 224. ISBN 978-1-107-00309-5. Most pictures would likely receive 20% to 25% of theatrical box office gross for two prime-time network runs. 
            • Cones, John W. The feature film distribution deal: a critical analysis of the single most important film industry agreement. Southern Illinois University Press. 1997: 41. ISBN 978-0-8093-2082-0. 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.e., what percentage of a film's box office gross comes back to the distributor) is of key importance...More current numbers suggest that distributor rentals for the major studio/distributor released films average in the neighborhood of 43% of box office gross. Again, however, such an average is based on widely divergent distributor rental ratios on individual films. 
            • Marich, Robert. Marketing to moviegoers: a handbook of strategies used by major studios and independents 2. Southern Illinois University Press. 2009: 252 [1st. pub. Focal Press:2005]. ISBN 978-0-8093-2884-0. Rentals are the distributors' share of the box office gross and typically set by a complex, two-part contract. 
            • Balio, Tino. The American film industry. University of Wisconsin Press. 2005: 296. ISBN 978-0-299-09874-2. Film Rentals as Percent of Volume of Business (1939): 36.4 
            • Balio, Tino. United Artists: the Company that Changed the Film Industry. University of Wisconsin Press. 1987: 124–125. ISBN 978-0-299-11440-4. 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 1955, but audiences had changed. Moviegoing became a special event for most people, creating the phenomenon of the big picture. 
            • Hall & Neale 2010，第179. "Later epics proved far more disastrous for the backers. Samuel Bronston's The Fall of the Roman Empire, filmed in Spain, cost $17,816,876 and grossed only $1.9 million in America. George Stevens's long-gestating life of Christ, The Greatest Story Ever Told (1965), which had been in planning since 1954 and in production since 1962, earned domestic rentals of $6,962,715 on a $21,481,745 negative cost, the largest amount yet spent on a production made entirely within the United States. The Bible: In the Beginning... (1966) was financed by the Italian producer Dino De Laurentiis from private investors and Swiss banks. He then sold distribution rights outside Italy jointly to Fox and Seven Arts for $15 million (70 percent of which came from Fox), thereby recouping the bulk of his $18 million investment. Although The Bible returned a respectable world rental of $25.3 million, Fox was still left with a net loss of just over $1.5 million. It was the last biblical epic to be released by any major Hollywood studio for nearly twenty years."頁
            • Schickel, Richard. D. W. Griffith: An American Life. Limelight Series. Hal Leonard Corporation. 1996: 326. ISBN 978-0-87910-080-3. ...there exists a very precise production accountant's statement, drawn up some time after the picture was finished, previews had been held and release prints struck. This document shows that the negative cost of the picture was precisely $385,906.77... 
            • Finler 2003，第358頁
            • Parkinson, David. The Rough Guide to Film Musicals. Dorling Kindersley. 2007: 28. ISBN 978-1-84353-650-5. But they had previously succeeded in showing how musicals could centre on ordinary people with Sunny Side Up (1929), which had grossed $2 million at the box office and demonstrated a new maturity and ingenuity in the staging of story and dance. 
            • Hall & Neale 2010，第6–7頁. "For similar reasons of accountability, Variety has typically used figures for domestic (U.S. and Canadian) rather than worldwide revenue. This became its standard policy in 1940, 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 1930s 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."
            • McBride, Joseph. Frank Capra: The Catastrophe of Success. University Press of Mississippi. 2011: 309. ISBN 978-1-60473-838-4. According to the studio's books It Happened One Night brought in $1 million in film rentals during its initial release, but as Joe Walker pointed out, the figure would have been much larger if the film had not been sold to theaters on a block-booking basis in a package with more than two dozen lesser Columbia films, and the total rentals of the package spread among them all, as was customary in that era, since it minimized the risk and allowed the major studios to dominate the marketplace. 
            • Block & Wilson 2010，第129頁. "Domestic Rentals: $30,015,000 (61%); Foreign Rentals: $18,964,000 (39%)...Gone with the Wind includes initial release plus four rereleases (1941,1942,1947 and 1954) since foreign rental revenues were available only cumulative through 1956."
            • McDermott, Christine, Life with Father: 307, 2010, No matter what the billing, the movie became a worldwide hit with $6.5 million in worldwide rentals, from Pappa och vi in Sweden to Vita col padre in Italy, although it booked a net loss of $350,000.  In: Block & Wilson 2010.
            • Hall & Neale 2010，第145頁. "The commercial success of the five Cinerama travelogues, which earned an aggregate worldwide box-office gross of $120 million by 1962 (including $82 million in the United States and Canada), nevertheless demonstrated to the mainstream industry the market value of special screen formats."
            • Wasko, Janet. D.W. Griffiths and the banks: a case study in film financing. Kerr, Paul (编). The Hollywood Film Industry: A Reader. Routledge. 1986: 34. ISBN 978-0-7100-9730-9. Various accounts have cited $15 to $18 million profits during the first few years of release, while in a letter to a potential investor in the proposed sound version, Aitken noted that a $15 to $18 million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50 million. (This reflects the total amount paid to the distributor, not box-office gross.) This 'trade legend' has finally been acknowledged by Variety as a 'whopper myth', and the amount has been revised to $5 million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2 million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2 million. 
            • Block & Wilson 2010，第237頁. "By the end of 1938, it had grossed more than $8 million in worldwide rentals and was ranked at the time as the second-highest-grossing film after the 1925 epic Ben-Hur".
            • Finler 2003，第47頁. "Walt Disney took a big risk when he decided to invest $1.5 million in his first feature-length animated film, Snow White and the Seven Dwarfs. 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."
            • Everson, William K. American silent film. Da Capo Press. 1998: 374 [First published 1978]. ISBN 978-0-306-80876-0. 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 mid-1930s. After listing it until the mid-1970s 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. 
            • Hall & Neale 2010，第163頁. "MGM's silent Ben-Hur, which opened at the end of 1925, had out-grossed all the other pictures released by the company in 1926 combined. With worldwide rentals of $9,386,000 on first release it was, with the sole possible exception of The Birth of a Nation, the highest-earning film of the entire silent era."
            • Klopsch, Louis; Sandison, George Henry; Talmage, Thomas De Witt. Christian Herald 88. 1965: 68. Yet "The Ten Commandments" has earned 58 million dollars in film rentals and is expected to bring in 10 to 15 million each year it is reissued. 
            • Hall & Neale 2010，第160–161頁. "General release began at normal prices in 1959 and continued until the end of the following year, when the film was temporarily withdrawn (the first of several reissues came in 1966). The worldwide rental by this time was around $60 million. In the domestic market it dislodged Gone with the Wind from the number one position on Variety's list of All-Time Rentals Champs. GWTW had hitherto maintained its lead through several reissues (and was soon to regain it through another in 1961)."
            • Block & Wilson 2010，第324頁. "Worldwide rentals: $66.1 million (initial release)"
            • Bartel, Pauline. The Complete Gone with the Wind Trivia Book: The Movie and More. Taylor Trade Publishing. 1989: 127. ISBN 978-0-87833-619-7. At the end of the 1941 general release, MGM decided to withdraw GWTW again. 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 1942 and stayed in release until late 1943 ... When MGM finally pulled the film from exhibition, all worn-out prints were destroyed, and GWTW was at last declared out of circulation. MGM, which by then had sole ownership of the film, announced that GWTW had grossed over $32 million. 
            • Dick, Bernard F. City of Dreams: The Making and Remaking of Universal Pictures. University Press of Kentucky. 1997: 168. ISBN 978-0-8131-2016-4. Jaws (1975) saved the day, grossing $104 million domestically and $132 million worldwide by January 1976. 
            • Cook, David A. Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970–1979. 9 of History of the American Cinema, Charles Harpole. University of California Press. 2002: 50. ISBN 978-0-520-23265-5. The industry was stunned when Star Wars earned nearly $3 million in its first week and by the end of August had grossed $100 million; it played continuously throughout 1977–1978, and was officially re-released in 1978 and 1979, by the end of which it had earned $262 million in rentals worldwide to become the top-grossing film of all time – a position it would maintain until surpassed by Universal's E.T.: The Extra-Terrestrial in January 1983. 

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  • Wuntch, Philip. Return of E.T.需要付费订阅. The Dallas Morning News. 1985-07-19 [2012-03-06]. （原始内容存档于2013-05-17）. Its worldwide box-office gross was $619 million, toppling the record of $530 million set by Star Wars. 

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  • Harmetz, Aljean. The Saga Beyond 'Star Wars'. New York Times. 1980-05-18 [2012-01-30]. （原始内容存档于2013-05-20）. "Star Wars" has brought 20th Century-Fox approximately $250 million in film rentals ... "Star Wars" grossed $410 million, and his share was enough to allow him to finance its sequel, "The Empire Strikes Back," himself. 

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