So, continuing the topic of comparing the number of downloads with aOnline platform rating, we approached a new stage, when the analysis is carried out on top-250 films that have the maximum user ratings (by the way, this top-250 is called “250 best films”, which in itself is characteristic).
The whole preamble can be read in the previous post, so go directly to the results:
The total number of points is about 120 – these are foreign films until 2001. Here, in the analysis of the top-250 films were removed after 2000, because the degree of their downloadability is strongly influenced by the advertising campaign, domestic films were also removed (and these are mostly Soviet hits), because as it turned out, they were distributed to the audience in specific conditions, so that as a result, they all know and appreciate, but no one shakes. For the new globe theatre this is the best deal.
Which films received the maximum ratings can, again, be seen in the previous post, here we decided not to litter the schedule.
Well, if in essence, then we can say that when taking into account a larger number of data, the dependence of the number of jumps on the rating has become more pronounced.
We made a list of possible factors at the seminars a few weeks ago that have an impact on the number of races from the torrent tracker (among which there is also a subjective assessment of the film, however it is far from the only one). In general, the analysis of these factors may be the subject of a separate large-scale study (and maybe several). However, based on the obvious nature of the resulting dependence, it is possible to adhere to the working hypothesis that the film’s assessment by Online platform users in the first approximation reflects the film’s popularity among viewers.
What film critics think about this choice of audience. They think the exact opposite:
You can certainly go into the details of the www.rottentomatoes.com rating methods of your rating and discuss the flaws there. However, one can confidently assume that no other methods of calculating the rating of critics will fundamentally change the picture.
So If you generally talk about various movie ratings that supposedly reflect the list of 100 or 250 best films of all times and peoples, then you need to take into account the phenomenon of popular cinema, which significantly distorts all ratings. The phenomenon is that the main interest of the public is directed to films of a rather short period – the last couple of decades. And this interest is reflected not only in the number of downloads of a certain film, or the votes cast for it, or the purchased discs, this interest is also reflected in the ratings given by viewers when voting, which is clearly at odds with those of film critics.
Electronic periodical aggregators have such a thing as a moving wall, “moving walls” the principle of opening access to a resource after a certain period of time. The meaning of this term is certainly not suitable, but if it is somewhat altered, it may well describe what happens in cinema.