The film industry is hugely profitable. "Titanic," the highest grossing film to date grossed $1.8 billion in cinemas, just an indication of the huge amount of money involved in the industry. Mobile companies of all description are taking notice of the revenue generation potential possibilities that movies on mobile can bring them. Can you afford to miss out on this lucrative opportunity? Mobile TV has shown that moving video images can work on the handset. But will longer times, action features and potentially greater costs?

Film studios do not just achieve their income through ticket sales at cinemas. Revenue is also generated from other sources such as the sale of associated merchandise, DVD sales, the rental market and licensing rights amongst others. Through utilizing the mobile industry’s expansive network of users, the film industry will be eager to benefit from the new format, but will they work industry-wide or have select partners? Mobile can play a significant role in shaping its own mobile film future today.

There is a range of different film-based products and services already available, with there set to be even more to be offered as technology improves and consumers requirement’s change. Decisions therefore must be made by operators, film studios, content distributors and content aggregators alike as to how it is best to offer their content on mobile. Which content delivery methods will prove the most successful and the most popular and which will not be able to engross the attention of mobile users?

Reading this exclusive management report will tell you the following:

• What film content will be successful on mobile? And what will not?
• How can those in the film industry benefit from mobile?
• What technologies will be implemented to facilitate mobile film content?
• Which technologies will be the most successful?
• What problems will emerge from mobile film content?

The latest report Mobile Film Content is one of the first on the market to provide you with valuable insight in to the ever expanding and ever influential film industry. For many mobile users, their handset is a vital tool, with such functions as email, web browsing and MP3 player. The mobile phone therefore is an ideal device for the individual to watch film content whilst on the move or to plan which titles they wish to see at cinema or on rental. How can your service be adapted for mobile? By ordering and reading this report you will understand the methods that film content can be transferred to mobile.

Who needs to read this report?

• Mobile operators
• Handset manufacturers
• Content distributors and aggregators
• Advertisers
• Film studios
• Cinema chains

Table of Contents :-
 
1. Introduction
Table 1.1. Highest Grossing Movies
Chart 1.1: Average Movie Worldwide Gross per Decade, 1970s-2000s
1.1. Focus of Report

2. Film Industry
Chart 2.1: Worldwide 2007 Box Office Revenues
Chart 2.2: Distribution of Ticket Sales, 2007.
Chart 2.3: UK Cinema Admissions Forecast, 2007-2008
2.1. US Market
Chart 2.4: Revenue Grossed by the Top 5 Movies in the US, 2008
2.2. European Markets
Chart 2.5: Percentage Change
2.2.1.UK
2.3. Australia
2.4. Bollywood
Chart 2.5: Hollywood v Bollywood, Highest Grossing Films
2.5. China
2.6. The Rental Market
Chart 2.6: Worldwide Distribution of Movie Rentals, end 2007
Chart 2.7: Worldwide Distribution of Movie Rentals, 2010
2.6.1. Netflix
Chart 2.8: Netflix Subscribers, Q2 2005-Q2 2008
2.6.2. Apple iTunes
Chart 2.9: Apple iPhone Sales’ Q2 2007-Q2 2008
2.7. Film Industry Overview

3. Film Studios
3.1. US Film Studios
3.1.1. US Top Six
3.1.1.1.  20th Century Fox
3.1.1.1.1. Nokia
3.1.1.1.2. Loews Theatres and WideRay
3.1.1.1.3. DIDMO
3.1.1.2. Sony Pictures (formerly Colombia Pictures)
3.1.1.2.1. PIX
3.1.1.2.2. Mobile Streams
3.1.1.2.3. Movies Compatible on Memory Cards
3.1.1.3. Paramount Pictures
3.1.1.3.1. Vindigo
3.1.1.3.2. Crisp Wireless
3.1.1.3.3. Hungamama Mobile
3.1.1.3.4. BlueZones
3.1.1.3.5. Cellempower
3.1.1.4. Walt Disney
3.1.1.4.1. SoftBank
3.1.1.4.2. UK Portal
3.1.1.5. Warner Bros
3.1.1.5.1. Think Jam
3.1.1.6. Universal Studios
3.1.1.6.1. I-play
3.1.1.6.2. Minick
3.1.1.6.3. MovieSeer
3.1.2. Bollywood
3.1.2.1. Bollywood and Hungama Mobile
3.1.3. Other Film Studios
3.1.4. Individual Mobile Campaigns
3.2. Film Studio Overview

4. Operators and Manufacturers
4.1. Apple
4.1.1. Problems Posed by Video
4.1.2. iTunes Rentals
4.2. LG
4.3. Motorola
4.3.1. Full Length Movies
4.3.2. Earlier Services
4.4. Nokia
4.4.1. Nokia Video Centre
4.4.2. Medeo
4.5. Samsung
4.5.1. Simpsons Movie Phone
4.5.2. Other Independent Deals
4.6. Sony Ericsson
4.7. 3
4.8. Orange
4.8.1.  Orange Wednesdays
4.8.2. Icewhole.com
4.8.3. Orange in France
4.8.4. Orange Overview
4.9. mSpot
4.10. SK Telecom
4.10.1. Mobile Tickets
4.10.1.1. NFC
4.11. Spice
4.12. Telstra
4.13. Pix
4.14. Operators and Manufacturers Overview

5. Content Distributors and Aggregators
5.1. Arvato
5.1.1. 20th Century Fox
5.2. ConVisual
5.3. DIDMO
5.4. uVuMobile
5.5. Actimagine
5.6. Candyspace Media
5.7. Other Markets Around The World
5.7.1. Mobileklub
5.7.2. Red Planet Media
5.8. Content Distributors and Aggregators Overview

6. Outlook For Mobile Film Content
6.1. How Successful Will Movie Formats Be?
6.1.1. Film Trailers
6.1.2. Film Streaming
6.1.3. Uploading of Films
6.1.4. Film Channels
6.1.5. Film Advertising
6.1.6. Film Rentals
6.1.7. Pre-loaded Memory Cards
6.1.8. Purpose-built Handsets
6.2. Recommendations
6.2.1. For Film Studios
6.2.2. For Operators
6.2.3. For Manufacturers
6.2.4. For Content Distributors
6.2.5. For Content Aggregators