"ذهب مع الريح" حمل الرقم القياسي كأعلى الأفلام دخلاً لمدة 25 سنة، ومع أخذ التضخم في عين الاعتبار، فأنه أكثر الأفلام ربحاً على الإطلاق.
تدر الأفلام ربحًا من العديد من مصادر الإيرادات، بما في ذلك العروض السينمائية والفيديو المنزلي وحقوق البث التلفزيوني والترويج. لكن أرباح شباك التذاكر السينمائي هي المقياس الأساسي للعروض التجارية في تقييم نجاح الفيلم، ويرجع ذلك في الغالب إلى توافر البيانات مقارنة بأرقام المبيعات للفيديو المنزلي وحقوق البث، وبسبب التقليد التاريخي أيضًا. وتشتمل القائمة على مخططات بيانية لأفضل عائدات شباك التذاكر (مرتبة حسب القيمة الاسمية والحقيقية لإيراداتهم)، ومخطط بياني للأفلام ذات الدخل المرتفع حسب السنة التقويمية، وجدول زمني يوضح انتقال سجل الفيلم الأعلى دخلًا، ومخطط بياني للعلامات التجارية ومسلسلات الأفلام الأكثر ربحًا. ويجري تصنيف جميع الرسوم البيانية حسب أداء شباك التذاكر السينمائي الدولي حيثما أمكن، باستثناء الدخل المستمد من الفيديو المنزلي وحقوق البث والبضائع.
عادةً كانت الأفلام الحربية والموسيقية والدراما التاريخية هي أكثر الأنواع شعبية، لكن أفلام العلامة التجارية كانت من بين الأفضل أداءً في القرن الحادي والعشرين. وأصبح هناك اهتمام كبير بأفلام الأبطال الخارقين، حيث تظهر عشرة أفلام لعالم مارفل السينمائي بين الفائزين الاسميين. وكان فيلم الأبطال الخارقين الأكثر نجاحًا المنتقمون: نهاية اللعبة هو أيضًا ثاني أعلى فيلم ربحًا على مخطط الأرباح الاسمية، وهناك أربعة أفلام إجمالًا تستند إلى كتب المنتقمون المصورة في أعلى عشرين فيلمًا. وحققت أفلام مارفل المقتبسة عن كتب الرسومات المصورة الأخرى نجاحًا أيضًا مثل سلسلة أفلام سبايدرمان وإكس مان، في حين أن الأفلام التي تستند إلى كتب باتمان وسوبرمان من دي سي كومكس حققت أداءً جيدًا بشكل عام. وتظهر سلسلة حربالنجوم أيضًا في مخطط الأرباح الاسمية بخمسة أفلام، في حين تبرز العلامات التجارية لأفلام هاري بوتر والحديقة الجوراسية وقراصنة الكاريبي بوضوح. على الرغم من أن مخطط الأرباح الاسمية تهيمن عليه أفلام مقتبسة من خصائص وسلاسل موجودة مسبقًا، إلا أن فيلم أفاتار يترأسه وهو عمل أصلي. وحققت أفلام الرسوم المتحركة العائلية أداءً جيدًا باستمرار، حيث تتمتع أفلام ديزني بإعادة إصدار مربحة قبل عصر الفيديو المنزلي. وحظيت ديزني أيضًا بالنجاح اللاحق مع أفلام مثل ملكة الثلج، وملكة الثلج 2، وزوتوبيا، والأسد الملك (مع فيلمه المعاد إنتاجه بالكمبيوتر كأعلى فيلم رسوم متحركة ربحًا)، بالإضافة إلى علامتها التجارية بيكسار، والتي صدرت عنها أفلام الأبطال الخارقون2، وحكاية لعبة 3 و4، والبحث عندوري وكانت بين الأفلام الأفضل أداءً. وبعيدًا عن ديزني وبيكسار حققت سلسلة أفلام أناالحقير، وشريك، والعصر الجليدي أكبر قدر من النجاح.
في حين أدى التضخم إلى تآكل إنجازات معظم الأفلام في الخمسينيات والستينيات والسبعينيات من القرن العشرين، إلا أن هناك علامات تجارية نشأت منذ تلك الفترة لا تزال نشطة. إلى جانب سلسلة أفلام حرب النجوموسوبرمان لا يزال يجري عرض أفلام جيمس بوندوغودزيلا بشكل دوري. والأربعة جميعهم من بين العلامات التجارية الأعلى ربحًا. وبعض الأفلام القديمة التي سجلت الرقم القياسي للفيلم الأكثر ربحًا تتمتع بإيرادات محترمة وفقًا لمعايير اليوم حتى الآن، ولكنها لم تعد تنافس عدديًا ضد أصحاب الدخل المرتفع اليوم في عصر ارتفاع أسعار التذاكر الفردية. وعندما يجري تعديل هذه الأسعار وفقًا للتضخم، فإن فيلم ذهب مع الريح الذي كان الفيلم الأعلى ربحًا لمدة خمسة وعشرين عامًا، لا يزال الفيلم الأكثر ربحًا على الإطلاق. ويجري التعبير عن جميع الإجماليات في القائمة بالدولار الأمريكي بقيمتها الاسمية، ما لم ينص على خلاف ذلك.
فيلمين من الأفلام الثلاثة الأعلى دخلاً (أفاتار وتيتانيك) من تأليف وإخراج جيمس كاميرون.
أفينجرز: نهاية اللعبة هو «أعلى الأفلام دخلاً» بعائدات حوالي 5.8 مليار$ في صالات السينما، لكن مثل هذه الإدعائات قد تشير إلى عائدات صالات السينما فقط دون احتساب الدخل القادم من الإصدارات المنزلية والتلفزيون، التي يمكن أن تعني جزء كبير من أرباح الفيلم. ما إن يتم احتساب الإيرادات من الإصدارات المنزلية، فهذا لا يعني أنه يمكن على الفور تحديد أي فيلم هو الأنجح. إضافة إلى 1.8 مليار$ التي حصدها فيلم تيتانيك خلال عرضه في السينما، فقد حصد ايضاً 1.2 مليار$ إضافية من مبيعات الأشرطة والدي في دي.[1] على الرغم أن معلومات المبيعات كاملة غير متوفر عن فيلم أفاتار، إلا أنه كسب 190 مليون$ من بيع 10 ملايين نسخة من الدي في دي والبلوراي في أمريكا الشمالية،[2] وباع 30 مليون نسخة حول العالم.[3] بعد احتساب الدخل القادم من الإصدارات المنزلية، فأن كلاً من أفاتار وتيتانيك قد كسبا أكثر من 4 مليارت$. حقوق البث التلفزيوني تضاف ايضاً بشكل كبير إلى أرباح الفيلم، عادة الأفلام تربح بقدر 20-25% من عائداتها السينمائية مقابل عدد من العروض في التلفاز علاوة على إيرادات الدفع مقابل المشاهدة؛[4] تيتانيك كسب 55 مليون$ من حقوق البث التلفازي في الولايات المتحدة وحدها (ما يعادل حوالي 9% من إيرادت الفيلم في أمريكا الشمالية).
عندما يستغل الفيلم بشكل كبير كملكية تجارية، فأن الإيرادت الإضافية القادمة من الترويج له قد تتجاوز الدخل القادم من مبيعات الفيلم مباشرة.[5] فيلم سيارات من إنتاج بيكسار وصلت إيراداته في دور العرض إلى 461 مليون$[6] — رقم متواضع مقارنة بإيرادات أفلام بيكسار الأخرى — لكنه ولد مبيعات بضائع وصلت إلى 10 مليار$ في الستة سنوات التي أعقبت صدوره في 2006،[7] وهي أكبر عائدات متولدة من قبل فيلم واحد.[8]
فقط الإيرادات من العروض السينمائية مشمولة هنا، حيث أفاتار في المركز الأول. بحلول يناير 2015، تسعة عشر فيلماً حققوا إيرادات تجاوزت المليار $ حول العالم. جميع الأفلام في هذه القائمة قد صدرت في صالات السينما (حتى إن بعضها قد أعيد إصداره) منذ 1993. الأفلام التي لم تعرض منذ تلك السنة لا تظهر في القائمة بسبب تضخم سعر التذكرة، إضافة إلى أن حجم السكان، وإتجاهات شراء التذكرة لم يتم أخذها بعين الأعتبار.
ملاحظة: الفيلم باللون الأخضر الفاتح يعني أنه يعرض حالياً بدور العرض.
^Vogel، Harold L. (2010). Entertainment Industry Economics: A Guide for Financial Analysis. مطبعة جامعة كامبريدج. صفحة 224. ISBN978-1-107-00309-5. Most pictures would likely receive 20% to 25% of theatrical box office gross for two prime-time network runs. نسخة محفوظة 25 ديسمبر 2018 على موقع واي باك مشين.
^Cook، David A. (2002). Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970–1979. دار نشر جامعة كاليفورنيا. ج. Volume 9 of History of the American Cinema, Charles Harpole. ص. 50. ISBN:978-0-520-23265-5. مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13. 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.{{استشهاد بكتاب}}: |المجلد= يحوي نصًّا زائدًا (مساعدة)
Total as of 2013: "Avatar (2009)". Box Office Mojo. مؤرشف من الأصل في 2013-10-23. $2,782,275,172
Special edition: "Avatar (Special Edition)". Box Office Mojo. مؤرشف من الأصل في 2019-08-17. اطلع عليه بتاريخ 2012-01-10. North America: $10,741,486; Overseas: $22,469,358
"Frozen (2013) – International Box Office Results". بوكس أوفيس موجو. مؤرشف من الأصل في 2014-08-09. Worldwide – $1,274,219,009 (total as of August 8, 2014; including Japanese gross up to August 3, Spanish gross up to July 27, UK gross up to June 8, German gross up to March 30, and omitting Nigerian gross)
nb. the exact euro to dollar conversion rate is unknown for earnings since April 2014, but the euro never fell below parity with the dollar during 2014 and 2015 (as can be verified by comparing the exchange rate on the individual date entries at the provided reference) so an approximate conversion rate of €1: $1 is used here to give a lower-bound.
Original release: "Jurassic Park (1993)". Box Office Mojo. مؤرشف من الأصل في 2013-01-19. اطلع عليه بتاريخ 2013-04-05. $914,691,118
2011 re-release: "Jurassic Park (2011 re-release)". Box Office Mojo. مؤرشف من الأصل في 2019-09-09. اطلع عليه بتاريخ 2015-01-17. United Kingdom: $786,021
As of 2010: Block & Wilson 2010، صفحات 756–757. "Production Cost: $70.0 (Unadjusted $s in Millions of $s) ... Jurassic Park was a smash at the box office, bringing in $920 million in worldwide box office and spawning two sequels."
^ أبKrämer، Peter (1999). "Women First: Titanic, Action-Aventure Films, and Hollywood's Female Audience". In Sandler، Kevin S.؛ Studlar، Gaylyn. Titanic: Anatomy of a Blockbuster. Rutgers University Press. صفحات 108–131. ISBN978-0-8135-2669-0. p. 130: The list has Jurassic Park at number one with $913 million, followed by The Lion King... نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
Original release (excluding 2009 IMAX reissue): "The Dark Knight". The Numbers. Nash Information Services. LLC. مؤرشف من الأصل في 2009-02-08. اطلع عليه بتاريخ 2012-10-28. North America: $531,039,412 (as of January 22, 2009); Overseas: $466,000,000; IMAX re-release: January 23, 2009
2009 IMAX re-release: "Warner Bros. Entertainment Wraps Record-Breaking Year". وارنر برذرز. 8 يناير 2009. مؤرشف من الأصل في 2018-12-25. اطلع عليه بتاريخ 2016-04-22. With worldwide receipts of $997 million, "The Dark Knight" is currently fourth on the all-time box office gross list, and the film is being re-released theatrically on January 23.
First-run gross and IMAX reissue: Gray، Brandon (20 فبراير 2009). "Billion Dollar Batman". بوكس أوفيس موجو. مؤرشف من الأصل في 2019-06-26. اطلع عليه بتاريخ 2014-06-07. The Dark Knight had been hovering just shy of $1 billion for several months and reportedly sat at $997 million when Warner Bros. modestly relaunched it on Jan. 23, timed to take advantage of the announcement of the Academy Awards nominations on Jan. 22.
Lifetime grosses (US & Canada): "The Lion King (1994) – Release Summary". Box Office Mojo. مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2016-05-29. Initial: $312,855,561; IMAX: $15,686,215; 3D: $94,242,001
Lifetime grosses (outside U.S. & Canada): Brevert، Brad (29 مايو 2016). "'X-Men' & 'Alice' Lead Soft Memorial Day Weekend; Disney Tops $4 Billion Worldwide". Box Office Mojo. مؤرشف من الأصل في 2019-08-14. اطلع عليه بتاريخ 2016-05-29. ...the original release of The Lion King made $450.6 million internationally, an additional $3.8 million with the 2002 IMAX reissue, and another $91.3 million from 2011's 3D reissue for an international total of $545.7 million.
As of 2010: Block & Wilson 2010، صفحة 764. "Production Cost: $79.3 (Unadjusted $s in Millions of $s)."
^Monaco، James (2009). How to Read a Film:Movies, Media, and Beyond. دار نشر جامعة أكسفورد. صفحة 262. ISBN978-0-19-975579-0. 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. نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
^ أبWasko، Janet (1986). "D.W. Griffiths and the banks: a case study in film financing". In Kerr، Paul. The Hollywood Film Industry: A Reader. روتليدج. صفحة 34. ISBN978-0-7100-9730-9. 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. نسخة محفوظة 15 يونيو 2019 على موقع واي باك مشين.
Intolerance: "Domestic Rentals: $1.0 (Unadjusted $s in Millions of $s)."
Cleopatra: "Domestic Rentals: $0.5; Production Cost: $0.3 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Birchard، Robert S. (2010)، Intolerance، ص. 45، 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. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Shipman، David (1970). The great movie stars: the golden years. Crown Publishing Group. صفحة 98. It was a low budgeter—$120,000—but it grossed world-wide over $3 million and made stars of Chaney and his fellow-players, Betty Compson and Thomas Meighan. نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
Way Down East: p. 52. "D.W. Griffith's Way Down East (1920) was projected to return rentals of $4,000,000 on an $800,000 negative. This figure was based on the amounts earned from its roadshow run, coupled with its playoff in the rest of the country's theaters. Griffith had originally placed the potential film rental at $3,000,000 but, because of the success of the various roadshows that were running the $4,000,000 total was expected. The film showed a profit of $615,736 after just 23 weeks of release on a gross of $2,179,613."
What Price Glory?: p. 112. "What Price Glory hit the jackpot with massive world rentals of $2,429,000, the highest figure in the history of the company. Since it was also the most expensive production of the year at $817,000 the profit was still a healthy $796,000..."
Cavalcade: p. 170. "The actual cost of Cavalcade was $1,116,000 and it was most definitely not guaranteed a success. In fact, if its foreign grosses followed the usual 40 percent of domestic returns, the film would have lost money. In a turnaround, the foreign gross was almost double the $1,000,000 domestic take to reach total world rentals of $3,000,000 and Fox's largest profit of the year at $664,000."
State Fair: p. 170. "State Fair did turn out to be a substantial hit with the help of Janet Gaynor boosting Will Rogers back to the level of money-making star. Its prestige engagements helped raked in a total $1,208,000 in domestic rentals. Surprisingly, in foreign countries unfamiliar with state fairs, it still earned a respectable $429,000. With its total rentals, the film ended up showing a $398,000 profit." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Hall & Neale 2010، صفحة 53. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Brownlow، Kevin (1968). The parade's gone by .. دار نشر جامعة كاليفورنيا. صفحة 255. ISBN978-0-520-03068-8. 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. نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
^Vance، Jeffrey (2008). Douglas Fairbanks. دار نشر جامعة كاليفورنيا. صفحة 146. ISBN978-0-520-25667-5. 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). نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
^May، Richard P. (Fall 2005)، "Restoring The Big Parade"، The Moving Image، ج. 5، ص. 140–146، DOI:10.1353/mov.2005.0033، ISSN:1532-3978، ...earning somewhere between $18 and $22 million, depending on the figures consulted
^Robertson، Patrick (1991). Guinness Book of Movie Facts and Feats (الطبعة 4). Abbeville Publishing Group. صفحة 30. ISBN978-1-55859-236-0. The top grossing silent film was King Vidor's The Big Parade (US 25), with worldwide rentals of $22 million. نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
^Hall & Neale 2010، صفحات 58–59. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Hall & Neale 2010، صفحة 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.)" "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Finler 2003، صفحة 188. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Block، Hayley Taylor (2010)، The Jazz Singer، ص. 113، 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. In: Block & Wilson 2010. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Birchard، Robert S. (2010)، The Broadway Melody، ص. 121، 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. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Bradley، Edwin M. (2004) [1st. pub. 1996]. The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927 Through 1932. مكفارلاند وشركاه. ISBN978-0-7864-2029-2.
The Singing Fool: p. 12. "Ego aside, Jolson was at the top of his powers in The Singing Fool. The $150,000 Warner Bros. paid him to make it, and the $388,000 it took to produce the film, were drops in the hat next to the film's world gross of $5.9 million. Its $3.8-million gross in this country set a box-office record that would not be surpassed until Walt Disney's Snow White and the Seven Dwarfs (1937)."
The Broadway Melody: p. 24. "The Broadway Melody with a negative cost of $379,000, grossed $2.8 million in the United States, $4.8 million worldwide, and made a recorded profit of $1.6 million for MGM."
Gold Diggers of Broadway: p. 58. "It grossed an impressive $2.5 million domestically and nearly $4 million worldwide." نسخة محفوظة 15 يونيو 2019 على موقع واي باك مشين.
^ أبتSolomon، Aubrey (2002) [First published 1988]. Twentieth Century-Fox: a corporate and financial history. Filmmakers series. 20. Rowman & Littlefield. ISBN978-0-8108-4244-1.
Sunny Side Up: p. 10. "Sunny Side Up, a musical starring Janet Gaynor and Charles Farrell, showed domestic rentals of $3.5 million, a record for the company."
Forever Amber: p. 66. "On the surface, with world rentals of $8 million, Forever Amber was considered a hit at distribution level."
The French Connection
p. 167. "The Planet of the Apes motion pictures were all moneymakers and Zanuck's record would have immediately improved had he stayed through the release of The French Connection, which took in rentals of approximately $75 million worldwide."
"نسخة مؤرشفة". مؤرشف من الأصل في 2020-10-04. اطلع عليه بتاريخ 2020-10-16.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 46. "Production Cost: $0.6 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Cormack، Mike (1993). Ideology and Cinematography in Hollywood, 1930–1939. Palgrave Macmillan. صفحة 28. ISBN978-0-312-10067-4. 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. نسخة محفوظة 26 يونيو 2019 على موقع واي باك مشين.
Cavalcade: p. 182. "Produced by Winfield Sheehan at a cost of $1.25 million, Cavalcade won Academy Awards for best picture, director, art direction and grossed close to $4 million during its first release, much of which came from Great Britain and the Empire."
Whoopee: p. 212. "Produced by Sam Goldwyn at a cost of $1 million, the picture was an adaptation of a smash musical comedy built around Eddie Cantor...A personality-centered musical, Whoopee! made little attempt to integrate the comedy routines, songs, and story. Nonetheless, Cantor's feature-film debut grossed over $2.6 million worldwide and started a popular series that included Palmy Days (1931), The Kid from Spain (1932), and Roman Scandals (1933)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Balio، Tino (1976). United Artists: The Company Built by the Stars. University of Wisconsin Press. صفحة 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. نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
^Block & Wilson 2010، صفحة 163. "It drew $1.4 million in worldwide rentals in its first run versus $1.2 million for Dracula, which had opened in February 1931." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Vance، Jeffrey (2003). Chaplin: genius of the cinema. Abrams Books. صفحة 208. Chaplin's negative cost for City Lights was $1,607,351. The film eventually earned him a worldwide profit of $5 million ($2 million domestically and $3 million in foreign distribution), an enormous sum of money for the time. نسخة محفوظة 21 يوليو 2019 على موقع واي باك مشين.
^Ramsaye، Terry، المحرر (1937). "The All-Time Best Sellers – Motion Pictures". International Motion Picture Almanac 1937–38: 942–943. Kid from Spain: $2,621,000 (data supplied by Eddie Cantor) نسخة محفوظة 10 أغسطس 2019 على موقع واي باك مشين.
^ أبتثSedgwick، John (2000). Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. صفحات 146–148. ISBN978-0-85989-660-3. Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy...
Grand Hotel: Production Cost $000s: 700; Distribution Cost $000s: 947; U.S. box-office $000s: 1,235; Foreign box-office $000s: 1,359; Total box-office $000s: 2,594; Profit $000s: 947.
The Merry Widow: Production Cost $000s: 1,605; Distribution Cost $000s: 1,116; U.S. box-office $000s: 861; Foreign box-office $000s: 1,747; Total box-office $000s: 2,608; Profit $000s: -113.
Viva Villa: Production Cost $000s: 1,022; Distribution Cost $000s: 766; U.S. box-office $000s: 941; Foreign box-office $000s: 934; Total box-office $000s: 1,875; Profit $000s: 87.
Mutiny on the Bounty: Production Cost $000s: 1,905; Distribution Cost $000s: 1,646; U.S. box-office $000s: 2,250; Foreign box-office $000s: 2,210; Total box-office $000s: 4,460; Profit $000s: 909.
San Francisco: Production Cost $000s: 1,300; Distribution Cost $000s: 1,736; U.S. box-office $000s: 2,868; Foreign box-office $000s: 2,405; Total box-office $000s: 5,273; Profit $000s: 2,237. نسخة محفوظة 26 يونيو 2019 على موقع واي باك مشين.
Block & Wilson 2010، صفحة 165. "Shanghai Express was Dietrich's biggest hit in America, bringing in $1.5 million in worldwide rentals." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Jewel، Richard (1994). "RKO Film Grosses: 1931–1951". Historical Journal of Film Radio and Television. 14 (1): 39. 1933 release: $1,856,000; 1938 release: $306,000; 1944 release: $685,000
^"I'm No Angel (1933) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ January 7, 2012. According to a modern source, it had a gross earning of $2,250,000 on the North American continent, with over a million more earned internationally. نسخة محفوظة 17 ديسمبر 2019 على موقع واي باك مشين.
^Finler 2003، صفحة 188. "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..." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-26. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block، Alex Ben (2010)، She Done Him Wrong، ص. 173، 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. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-26. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Phillips، Kendall R. (2008). Controversial Cinema: The Films That Outraged America. أي بي سي-كليو. صفحة 26. ISBN978-1-56720-724-8. 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. نسخة محفوظة 26 يونيو 2019 على موقع واي باك مشين.
^Block & Wilson 2010، صفحة 135. "Total production cost: $274,076 (Unadjusted $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
The Merry Widow: p. 361 Cost: $1,605,000. Earnings: domestic $861,000; foreign $1,747,000; total $2,608,000. Loss: $113,000.
San Francisco: p. 364 Cost: $1,300,000. Earnings: domestic $2,868,000; foreign $2,405,000; total $5,273,000. Profit: $2,237,000. [Reissues in 1938–39 and 1948–49 brought profits of $124,000 and $647,000 respectively.] "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^McBride، Joseph (2011). Frank Capra: The Catastrophe of Success. University Press of Mississippi. صفحة 309. ISBN978-1-60473-838-4. 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. نسخة محفوظة 15 يونيو 2019 على موقع واي باك مشين.
^Dick، Bernard F. (2008). Claudette Colbert: She Walked in Beauty. University Press of Mississippi. صفحة 79. ISBN978-1-60473-087-6. 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. نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
Monaco، Paul (2010). A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. Scarecrow Press. صفحة 54. ISBN978-0-8108-7434-3. 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.
p. 207. "When the budget rose from $250,000 to $1,488,423 he even mortgaged his own home and automobile. Disney had bet more than his company on the success of Snow White."
p. 237. "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".
p. 255. "On its initial release Pinocchio brought in only $1.6 million in domestic rentals (compared with Snow White's $4.2 million) and $1.9 million in foreign rentals (compared with Snow White's $4.3 million)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-12-19. اطلع عليه بتاريخ 2019-12-19.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
You Can't Take It With You:نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.. فوكس فيتشرز. مؤرشف من الأصل في September 13, 2012. You Can't Take It With You received excellent reviews, won Best Picture and Best Director at the 1938 Academy Awards, and earned over $5 million worldwide.
Boys Town: Block، Alex Ben (2010)، Boys Town، ص. 215، The film quickly became a smash nationwide, making a profit of over $2 million on worldwide rentals of $4 million. In: Block & Wilson 2010.
The Adventures of Robin Hood: Glancy، H. Mark (1995). "Warner Bros Film Grosses, 1921–51: the William Schaefer ledger". Historical Journal of Film, Radio and Television. 1 (15): 55–60. doi:10.1080/01439689500260031. $3.981 million.
Alexander's Ragtime Band: Block، Hayley Taylor (2010)، Alexander's Ragtime Band، ص. 213، Once the confusion cleared, however, the film blossomed into a commercial success, with a profit of $978,000 on worldwide rentals of $3.6 million. In: Block & Wilson 2010.
^Hall & Neale 2010، صفحة 283 ."The final negative cost of Gone with the Wind (GWTW) has been variously reported between $3.9 million and $4.25 million." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Barrier، Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. New York: دار نشر جامعة أكسفورد. صفحة 266. ISBN978-0-19-983922-3. The film's negative cost was $2.6 million, more than $1 million higher than Snow White's. نسخة محفوظة 19 ديسمبر 2019 على موقع واي باك مشين.
^Block & Wilson 2010، صفحات 258–259. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 267. "With worldwide rentals of $7.8 million in its initial release, the movie made a net profit of over $3 million." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Finler 2003، صفحة 301. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 281. "Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Bambi: "Worldwide Box Office: $266.8; Production Cost: $1.7 (Millions of $s)"
101 Dalmatians: "Worldwide Box Office: $215.0; Production Cost: $3.6 (Millions of $s)"
The Jungle Book: "Worldwide Box Office: $170.8"; Production Cost: $3.9 (Millions of $s)"
Aladdin: "Worldwide Box Office: $505.1"; Production Cost: $28.0 (Millions of $s)" "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-26. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Glancy، Mark (1999). When Hollywood Loved Britain: The Hollywood 'British' Film 1939–1945. . صفحات 94–95. ISBN978-0-7190-4853-1. 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. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Mrs. Miniver: Burns، Douglas (2010)، Mrs. Miniver، ص. 279، 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.
Yankee Doodle Dandy: p. 275. "It became the second biggest box-office hit of 1942 (after Mrs. Miniver) and was praised by critics, making a profit of $3.4 million on worldwide rentals of $6.5 million." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^McAdams، Frank (2010)، For Whom the Bell Tolls، ص. 287، 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. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^ أب"A Guy Named Joe (1944) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ August 29, 2012. According to M-G-M studio records at the AMPAS Library, the film had a negative cost of $2,627,000 and took in $5,363,000 at the box office. When the picture was re-issued for the 1955–56 season, it took in an additional $150,000. نسخة محفوظة 17 ديسمبر 2019 على موقع واي باك مشين.
^Block & Wilson 2010، صفحة 420. "(Unadjusted $s) in Millions of $s – Production Cost: $1.0" "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Meet Me in St. Louis: "Domestic Rentals: $5,016,000; Foreign Rentals: $1,623,630 (Unadjusted $s)"
Easter Parade: "Domestic Rentals: $4,144,000; Foreign Rentals: $1,774,134 (Unadjusted $s)" "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Schaefer، Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. Duke University Press. صفحات 197–199. ISBN978-0-8223-2374-7. 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. نسخة محفوظة 15 يونيو 2019 على موقع واي باك مشين.
p. 296. "Production Cost: $1.6 (Unadjusted $s in Millions of $s)"
Wasson، Sam (2010)، The Bells of St. Mary's، ص. 297، This was that rare sequel that did even better at the box office than the original, bringing in a $3.7 million profit on $11.2 million in worldwide rentals.{{استشهاد}}: الوسيط |مسار أرشيف= بحاجة لـ |مسار= (مساعدة)
^Gabler، Neal (2007). Walt Disney: the biography. Aurum Press. صفحات 438. Still, the film wound up grossing $3.3 million... نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
p. 132."Best Years was considerably cheaper, costing only $2.1 million, and therefore vastly more profitable."
p. 286 (note 6.70). "Worldwide rentals for The Best Years of Our Lives amounted to $14,750,000." نسخة محفوظة 26 يونيو 2019 على موقع واي باك مشين.
^Burns، Douglas (2010)، The Best years of Our Lives، ص. 301، The film made a $5 million profit on worldwide rentals of $14.8 million. In: Block & Wilson 2010. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^ أبHall & Neale 2010، صفحة 285 (note 6.56). "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)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Chopra-Gant، Mike (2006). Hollywood Genres and Post-war America: Masculinity, Family and Nation in Popular Movies and Film Noir. أي بي توريس. صفحة 18. ISBN978-1-85043-815-1. Forever Amber: $8 million; Unconquered: $7.5 million; Life with Father: $6.25 million نسخة محفوظة 21 يوليو 2019 على موقع واي باك مشين.
^Street، Sarah (2002). Transatlantic Crossings: British Feature Films in the United States. Continuum International Publishing Group. صفحة 110. ISBN978-0-8264-1395-6. 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. نسخة محفوظة 21 يوليو 2019 على موقع واي باك مشين.
Samson and Delilah: "...the film became the highest grosser in the studio's history to date, with domestic rentals of $7,976,730 by 1955 and a further $6,232,520 overseas...For all their spectacle, Samson and David were quite economically produced, costing $3,097,563 and $2,170,000 respectively."
Quo Vadis: "Production costs totaled a record $7,623,000...Worldwide rentals totaled $21,037,000, almost half of which came from the foreign market." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Eisner، Michael D.؛ Schwartz، Tony (2009). Work in Progress. جامعة ولاية بنسلفانيا. صفحة 178. ISBN978-0-7868-8507-7. Cinderella revived its fortunes. Re-released in February 1950, it cost nearly $3 million to make but earned more than $20 million worldwide. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-12-17. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Barrier، Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. دار نشر جامعة أكسفورد. صفحة 401. ISBN978-0-19-516729-0. 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. نسخة محفوظة 21 يوليو 2019 على موقع واي باك مشين.
Quo Vadis: p. 15. "MGM's most expensive film of the period, Quo Vadis (1951) also did extremely well. The cost was $7,623,000, earnings were an estimated $21.2 million (with foreign earnings almost 50 percent of this total), and profit was estimated at $5,562,000."
Rear Window: pp. 203–204. "Rear Window (1954) was an excellent commercial success, with a cost of $1 million and North American rentals of $5.3 million." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
The Robe: "Domestic Rentals: $16.7; Foreign Rentals: $9.4; Production Cost: $4.1 (Unadjusted $s in Millions of $s)."
Quo Vadis: "Domestic Rentals: $11.1; Foreign Rentals: $15.6; Production Cost: $7.5 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Mulligan، Hugh A. (September 23, 1956). "Cinerama Pushing Ahead As Biggest Money-Maker". The Register-Guard. Eugene, Oregon. صفحة 7B. نسخة محفوظة 5 يونيو 2019 على موقع واي باك مشين.
^Zone، Ray (2012). 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky. صفحة 71. ISBN978-0-8131-3611-0. 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. نسخة محفوظة 15 يونيو 2019 على موقع واي باك مشين.
^Burns، Douglas (2010)، The Greatest Show on Earth، ص. 354–355، By May 1953, Variety was reporting that the Best Picture winner had amassed $18.35 million in worldwide rentals. In: Block & Wilson 2010. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^"Top Grossers of 1953". Variety. 13 يناير 1954. ص. 10. مؤرشف من الأصل في 2018-03-30. اطلع عليه بتاريخ 2019-09-12.
^Hall & Neale 2010، صفحة 147–148. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 367. "It brought in $16.7 million in domestic rentals, $9.4 million in foreign rentals, and made a net profit of $8.1 million." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 420. "Domestic Box Office: $19.6 million; Production Cost: $3.8 million." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Hall & Neale 2010، صفحة 149. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Finler 2003، صفحة 320. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^ أبD'Alessandro، Anthony (27 أكتوبر 2003). "Disney Animated Features at the Worldwide Box Office". فارايتي. The Jungle Book $378 million; Lady and the Tramp $187 million
p. 382. "Production Cost: $2.4 (Unadjusted $s in Millions of $s)"
Burns، Douglas (2010)، Mister Roberts، ص. 383، Mister Roberts sailed onto movie screens buoyed by enthusiastic reviews and receptive audiences. For pr, Fonda, Cagney, and lemmon reenacted several scenes on ed sullivan's popular Toast of the Town television variety show. It returned a net profit of $4.5 million on worldwide rentals of $9.9 million, putting it in the top 5 domestic films of 1955.{{استشهاد}}: الوسيط |مسار أرشيف= بحاجة لـ |مسار= (مساعدة)
^Block & Wilson 2010، صفحة 327. "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)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
The Ten Commandments: "No film did more to entrench roadshow policy than The Ten Commandments. While the success of This Is Cinerama, The Robe, and even Eighty Days could be attributed, at least in part, to their respective photographic and projection formats, that of DeMille's film (which cost a record $13,266,491) could not...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)."
The Bridge on the River Kwai: Columbia's Anglo-American war film The Bridge on the River Kwai (1957) opened on a roadshow basis in selected U.S. cities (including New York, Chicago, Boston, and Los Angeles) and in London. Costing only $2,840,000 to produce, it grossed $30.6 million worldwide on first release." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Hall & Neale 2010، صفحة 153. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 324. "Worldwide box office: $146.9 million; Worldwide rentals: $66.1 million; Production cost: $15.9 million. (Initial Release – Unadjusted $s in Millions of $s)" "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Spartacus: "In the case of Spartacus, overseas earnings to 1969 amounted to $12,462,044, while U.S. and Canadian rentals (even including a million-dollar TV sale) were only $10,643,181. But the film failed to show a profit on production costs of $10,284,014 because of the distribution charges and expenses amounting to an additional $15,308,083."
The Bible: "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block، Hayley Taylor (2010)، West Side Story، ص. 449، With its three rereleases, it took in over $105 million in worldwide box office ($720 million in 2005 dollars). In: Block & Wilson 2010. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
The Sound of Music: "Domestic Rentals: $68.4; Foreign Rentals: $46.2; Production Cost: $8.0 (Initial Release – Unadjusted $s in Millions of $s)."
The Dirty Dozen: "Domestic Rentals: $20.1; Foreign Rentals: $11.2; Production Cost: $5.4 (Initial Release – Unadjusted $s in Millions of $s)."
2001: A Space Odyssey: "Domestic Rentals: $16.4; Foreign Rentals: $5.5; Production Cost: $10.3 (Initial Release – Unadjusted $s in Millions of $s)."
Cleopatra: "Domestic Rentals: $22.1; Foreign Rentals: $18.2; Production Cost: $44.0 (Initial Release – Unadjusted $s in Millions of $s)."
West Side Story: "Domestic Rentals: $16.2; Foreign Rentals: $15.6; Production Cost: $7.0 (Initial Release – Unadjusted $s in Millions of $s)."
The Longest Day: "Domestic Rentals: $13.9; Foreign Rentals: $19.3; Production Cost: $8.6 (Initial Release – Unadjusted $s in Millions of $s)."
Butch Cassidy and the Sundance Kid: "Domestic Rentals: $29.2; Foreign Rentals: $7.9; Production Cost: $6.6 (Initial Release – Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
1962 release: "Lawrence of Arabia". The Numbers. Nash Information Services. LLC. مؤرشف من الأصل في 2014-08-10. اطلع عليه بتاريخ 2011-08-15. Worldwide Box Office: $69,995,385; International Box Office: $32,500,000
U.S. total (including reissues): "Lawrence of Arabia". Boxoffice. مؤرشف من الأصل في 2014-08-10. اطلع عليه بتاريخ 2016-05-29. $44,824,852
Lawrence of Arabia: Columbia released the $13.8 million Lawrence of Arabia (1962), filmed in Super Panavision 70, exclusively on a hard-ticket basis, but opened Barabbas (1962), The Cardinal (1963), and the $12 million Joseph Conrad adaptation Lord Jim (1965) as 70 mm roadshows in selected territories only."
The Longest Day: "Darryl's most ambitious independent production was The Longest Day (1962), a three-hour reconstruction of D-Day filmed in black-and-white CinemaScope at a cost of $8 million. It grossed over $30 million worldwide as a roadshow followed by general release, thereby helping the studio regain stability during its period of reorganization."
Cleopatra: "With top tickets set at an all-time high of $5.50,Cleopatra had amassed as much as $20 million in such guarantees from exhibitors even before its premiere. Fox claimed the film had cost in total $44 million, of which $31,115,000 represented the direct negative cost and the rest distribution, print and advertising expenses. (These figures excluded the more than $5 million spent on the production's abortive British shoot in 1960–61, prior to its relocation to Italy.) By 1966 worldwide rentals had reached $38,042,000 including $23.5 million from the United States." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Hall & Neale 2010، صفحة 164. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
From Russia With Love: "Worldwide Box Office: 78.9; Production Cost: 2.0 (in millions of $s)"
Goldfinger: "Worldwide Box Office: 124.9; Production Cost: 3.0 (in millions of $s)"
Diamonds Are Forever: "Worldwide Box Office: 116; Production Cost: 7.2 (in millions of $s)"
Moonraker: "Worldwide Box Office: 210.3; Production Cost: 34.0 (in millions of $s)" "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
From Russia With Love: "The American release of From Russia With Love again followed on some six months after it had been shown in Britain. North American rentals of $9.9 million were an improvement on its predecessor, helped by a slightly wider release, though they were still only half the $19.5 million of foreign rentals... (Online copy at كتب جوجل)"
Diamonds Are Forever: "Diamonds Are Forever marked a return to the box-office heights of the Bond films of the mid-1960s. Its worldwide rentals were $45.7 million..."[بحاجة لرقم الصفحة]
Moonraker: "These figures were surpassed by Moonraker, which earned total worldwide rentals of $87.7 million, of which $33 million came from North America. (Online copy at كتب جوجل)"
From Russia With Love: "The picture grossed twice as much as Dr. No, both domestic and foreign—$12.5 million worldwide (Online copy at كتب جوجل)"
Goldfinger: "Produced on a budget of around $3 million, Goldfinger grossed a phenomenal $46 million worldwide the first time around. (Online copy at كتب جوجل)"
My Fair Lady: "My Fair Lady (1964) cost Warners $17 million to make, including a record $5.5 million just for the film rights to the Alan Jay Lerner and Frederick Loewe stage show and a million-dollar fee for star Audrey Hepburn. By 1967 it was reported to have grossed $55 million from roadshowing worldwide."
Mary Poppins: "Mary Poppins (1964), which cost $5.2 million, was neither a stage adaptation nor a roadshow. But by the end of its first release, it had grossed nearly $50 million worldwide." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Burns، Douglas (2010)، Mary Poppins، ص. 469، 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. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Hall & Neale 2010، صفحة 188. "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)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^"Animals Portray Parts in Disney's "Robin Hood"". Toledo Blade. 18 أكتوبر 1970. Sec. G, p. 7. "The Jungle Book," in it's [sic] initial world-wide release, has grossed $23.8 million to date...
^"The Jungle Book". فارايتي. 31 ديسمبر 1966. مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2018-03-14. It was filmed at a declared cost of $4 million over a 42-month period.
^ أبDenisoff، R. Serge؛ Romanowski، William D. (1991). Risky Business: Rock in Film. Transaction Publishers. ISBN:978-0-88738-843-9.
The Graduate: p. 167. "World net rental was estimated at more than $85 million by January 1971."
Grease: p. 236. "The film was produced for $6 million and Paramount reportedly spent another $3 million on promotion." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
The Graduate: "The Graduate eventually earned U.S. rentals of $44,090,729 on a production cost of $3.1 million to become the most lucrative non-roadshow picture (and independent release) to date."
Butch Cassidy and the Sundance Kid: "None of these films was roadshown in the United States; most were set in contemporary America or had a contemporary "take" on the past (the casting of genuine teenagers to play Romeo and Juliet, the urbane sophistication of the dialogue in Butch Cassidy, the antiauthoritarianism of Bonnie and Clyde and MASH); most were produced on modest or medium-sized budgets (as low as $450,000 for Easy Rider and no higher than $6,825,000 for Butch Cassidy); and all grossed upward of $10 million domestically." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Total: Miller، Frank. "2001: A Space Odyssey (1968) – Articles". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 2020-07-24. اطلع عليه بتاريخ 2011-08-24. 2001: A Space Odyssey made $15 million on its initial U.S. release, and currently shows a worldwide gross of over $190 million.
As of 2006: Palmer، R. Barton (2006). "2001: The Critical Reception and the Generation Gap". في Kolker، Robert Phillip (المحرر). Stanley Kubrick's 2001: a Space Odyssey: New Essays. دار نشر جامعة أكسفورد. ص. 16. ISBN:978-0-19-517452-6. With its initial and subsequent releases, domestic and worldwide, Kubrick's arty, intellectual film earned nearly $138 million, which was, at that time, an astounding figure.
2018 re-release: "2001: A Space Odyssey (2018 re-release)". بوكس أوفيس موجو. مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2018-09-26. Domestic Total Gross: $1,283,820; Australia: $192,457; Greece: $27,510; Netherlands: $159,068; New Zealand: $5,046; Russia: $155,841; United Kingdom: $296,525
^Welles، Chris (7 سبتمبر 1970). "Behind the Silence at Columbia Pictures—No Moguls, No Minions, Just Profits". نيويورك. New York Media. ج. 3 رقم 36. ص. 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.
Outside North America: Vanity Fair. 2008. ص. 388. Butch Cassidy went on to be a huge hit—by the spring of 1970 it had taken in $46 million in North America and grossed another $50 million abroad.{{استشهاد بكتاب}}: الوسيط |مسار أرشيف= بحاجة لـ |مسار= (مساعدة)
^"'Love Story' II: Ryan Redux?". نيويورك. New York Media. ج. 9. 1976. ص. 389. Bring those handkerchiefs out of retirement. ... After all, the first movie made around $80 million worldwide.
^Block، Hayley Taylor (2010)، Love Story، ص. 545، The final cost came in at $2,260,000. In: Block & Wilson 2010. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 541. "Screenwriter and director George Seaton was given a then-whopping production budget of $10 million to make what would be his last big movie after a long career as an actor in radio, a screenwriter, and a director." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-26. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 549. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Star Wars: "Domestic Rentals: $127.0; Foreign Rentals: $141.5; Production Cost: $13.0 (Initial Release – Unadjusted $s in Millions of $s)."
The Godfather: "Domestic Rentals: $85.6; Foreign Rentals: $42.0; Production Cost: $7.2 (Initial Release – Unadjusted $s in Millions of $s)."
Fiddler on the Roof: "Domestic Rentals: $34.0; Foreign Rentals: $11.1; Production Cost: $9.0 (Initial Release – Unadjusted $s in Millions of $s)."
Rocky: "Domestic Rentals: $56.0; Foreign Rentals: $21.1; Production Cost: $1.6 (Initial Release – Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
1974: Newsweek. ج. 84. 1974. ص. 74. The original Godfather has grossed a mind-boggling $285 million...
1991: Von Gunden، Kenneth (1991). Postmodern auteurs: Coppola, Lucas, De Palma, Spielberg, and Scorsese. مكفارلاند وشركاه. ص. 36. ISBN:978-0-89950-618-0. Since The Godfather had earned over $85 million in U.S.-Canada rentals (the worldwide box-office gross was $285 million), a sequel, according to the usual formula, could be expected to earn approximately two-thirds of the original's box-office take (ultimately Godfather II had rentals of $30 million).
^Stanley، Robert Henry؛ Steinberg، Charles Side (1976). The media environment: mass communications in American society. Hastings House. ص. 76. ISBN:978-0-8038-4681-4. مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13. ...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، New York Media، ج. 8، 1975، ...Jaws should outstrip another MCA hit, The Sting, which had world-wide revenues of $115 million. (Online copy at كتب جوجل){{استشهاد}}: روابط خارجية في |اقتباس= (مساعدة)
^Block & Wilson 2010، صفحة 560. "Production Cost: $5.5 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Hall & Neale 2010، صفحات 206–208. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^هوليوود ريبورتر. January 27, 1976. "Foreign rentals: $43 million"
^Block & Wilson 2010، صفحة 568. "Production Cost: $14.3 (Unadjusted $s in Millions of $s)."
^Brooks، Mel (2004). "My Movies: The Collisions of Art and Money". في Squire، Jason E (المحرر). The movie business book (ط. 3). سايمون وشوستر. ISBN:978-0-7432-1937-2. مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13. To their credit, Blazing saddles, opened wide in June to tremendous business around the country. It's done over $80 million in rentals worldwide in 1974 dollars. (Online copy at كتب جوجل){{استشهاد بكتاب}}: روابط خارجية في |اقتباس= (مساعدة)
^Block & Wilson 2010، صفحة 564. "Production Cost: $2.6 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Hall & Neale 2010، صفحة 214. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block، Alex Ben (2010)، Rocky، ص. 583، The budget was $1,075,000 plus producer's fees of $100,000. In: Block & Wilson 2010. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^ أبتثWuntch، Philip (19 يوليو 1985). "Return of E.T."دالاس مورنينغ نيوز. مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2012-03-06. Its worldwide box-office gross was $619 million, toppling the record of $530 million set by Star Wars.
^Hall & Neale 2010، صفحة 218. "Eventually costing $11,293,151, Star Wars was previewed at the Northpoint Theatre in San Francisco on May 1, 1977." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
United & Babson Investment Report. Babson-United, Inc. ج. 72. 1980. ص. 262. Columbia Pictures Industries is continuing to rake in the box office dollars from its Oscar-winning Kramer vs. Kramer, which has topped $100 million in domestic grosses and $70 million overseas. Kramer, which cost less than $8 million to make, is now the second...
The Empire Strikes Back: "Production Cost: $32.0 (Unadjusted $s in Millions of $s)."
Return of the Jedi: "Production Cost: $42.7 (Unadjusted $s in Millions of $s)."
The Phantom Menace: "Production Cost: $127.5 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^ أبBlock & Wilson 2010، صفحة 609. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 652. "Production Cost: $12.2 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Special edition: "Return of the Jedi (Special Edition)". Box Office Mojo. مؤرشف من الأصل في 2019-07-18. اطلع عليه بتاريخ 2012-01-10. North America: $45,470,437; Overseas: $43,790,543
^Block & Wilson 2010، صفحة 664. "Production Cost: $28.2 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-07-21. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Finler 2003، صفحة 268. "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." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^McAdams، Frank (2010)، Top Gun، ص. 678–679، 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. "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Scott، Vernon (15 يونيو 1990). "'Three Men and Baby' Sequel Adds Cazenove to Original Cast". The Daily Gazette. New York. Hollywood (UPI). ص. 9 (TV Plus – The Daily Gazette Supplement). That legacy is the $167,780,960 domestic box-office and $75 million foreign gross achieved by the original...{{استشهاد بخبر}}: الوسيط |مسار أرشيف= بحاجة لـ |مسار= (مساعدة)
^Finler 2003، صفحة 244. "Rain Man: 30.0 (cost in million $s)" "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحات 694–695. "Production Cost: $55.4 (Unadjusted $s in Millions of $s) ... The film went on to haul in over $494 million worldwide." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
3D release: "Toy Story in 3D (2009)". Box Office Mojo. مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2014-11-16. Foreign Total: $8,680,257
^Block & Wilson 2010، صفحات 776. "Production Cost: $30.0 (Unadjusted $s in Millions of $s)" "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
^Block & Wilson 2010، صفحة 509. "Production Cost: $140.0 (Unadjusted $s in Millions of $s)." "نسخة مؤرشفة". مؤرشف من الأصل في 2019-06-05. اطلع عليه بتاريخ 2019-10-13.{{استشهاد ويب}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
Re-release (2003): "The Two Towers (Re-issue)". Box Office Mojo. مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2012-03-04. North America: $1,996,877; Overseas: $1,505,170
^The Atlantic Monthly. ج. 231. 1973. ص. 2. مؤرشف من الأصل في 2019-06-15. اطلع عليه بتاريخ 2020-09-21. 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.{{استشهاد بكتاب}}: تعارض مسار مع وصلة (مساعدة)
^New Times. ج. 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 كتب جوجل){{استشهاد بكتاب}}: روابط خارجية في |اقتباس= (مساعدة)
^Harmetz، Aljean (18 مايو 1980). "The Saga Beyond 'Star Wars'". نيويورك تايمز. مؤرشف من الأصل في 2020-08-05. اطلع عليه بتاريخ 2012-01-30. "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.{{استشهاد بخبر}}: صيانة الاستشهاد: BOT: original URL status unknown (link)
