ONE WAY ANOVA<\/p>\n
TITLE:- COMPARISON OF FOUR ACTRESSES OF INDIA.
\nAUTHOR NAME:- SADHANA GUPTA (MBA FINANCE)<\/p>\n
INTRODUCTION:
\nBollywood cinema is almost entirely star-driven. Nowhere else in the world are movie stars so idolized and allowed to grow so powerful as to control an entire industry\u2014from filmmaking to distribution to exhibition to casting (oftentimes their own sons or daughters). Belonging to a \u201cfilm family\u201d or having a \u201cBollywood godfather\u201d who is familiar with the industry may help you to get a foot in the door, but that\u2019s just about it. The audience is the final arbiter and it does not distinguish between the kids of stars and an \u201coutsider.\u201d<\/p>\n
OBJECTIVE:
\nT0 Compare four Actresses of India.<\/p>\n
LITERATURE REVIEW
\n1) CONSUMER\u2019S FAN RELATIONSHIP WITH A FILM ACTRESS
\nThe latter is essentially the consumer’s private intersexual reading of what s\/he perceives to be relevant and \u2018reliable\u2019 media texts, which can result in a feeling of \u2018knowing\u2019 the celebrity like a personal friend \u2014 or even of \u2018love\u2019. Drawing on narrative transportation theory, the study finds that a consumer’s fan experiences may derive from one’s personal engagement with the celebrity’s artistic work and public persona. However, scant attention has been paid to how the relationship between fans and celebrities expresses itself in everyday consumer behaviour. Thus, in order to explore celebrity fandom as a holistic lived experience from a fan’s insider perspective, the lead author uses subjective personal introspection to provide insights into his private fan relationship with the actress Jena Malone.
\n2) Women- Led Films
\nTo achieve the objectives and hypotheses, this paper uses two methods? Quantitative method with a designed coding sheet in content analysis; and a qualitative method with film reviews for textual analysis. These two methods are expected to test out and evaluate the cinematic feminism through on-screen characters? Gender representations and the storyline\u2019s interpretations in selected films. This study assumes that modern high budget productions are portraying feminism conventionally through unrealistic characters and masculine domination stories; while the non-blockbuster productions are portraying feminism progressively through reflective characters and self-determination stories. Blockbuster films? Actresses are commonly created as recognisable female superheroes with strong masculine traits but living in a men-ruled world, or princesses that living in fairy tales.<\/p>\n
DATA COLLECTION
\nFor the purpose of this project, four Actresses were taken.
\nONE WAY ANOVA WAS CARRIED OUT.<\/p>\n
DATA ANALYSIS<\/p>\n
ONLY ANOVA TABLE<\/p>\n
Anova:<\/p>\n
Single Factor SUMMARY<\/p>\n
Groups Count Sum Average Variance
\n10 31 230 7.419354839 10.51827957
\n7 31 171 5.516129032 9.324731183
\n7 31 169 5.451612903 5.855913978
\n8 31 238 7.677419355 9.092473118
\nANOVA
\nSource of
\nVariation SS df MS F P-value F crit
\nBetween
\nGroups 133.2258065 3 44.40860215 5.105699098 0.002325247 12 2.680167578
\nWithin
\nGroups 1043.741935 120 8.697849462
\nTotal 1176.967742 123<\/p>\n
H0: All are the same.
\nH1: Any of them is different.
\nDegree of Freedom between groups=k-1 which is number of groups 4-1=3
\nDegrees of freedom within groups = N – k, where N is the total sample size and k is the number of groups (in this case, N = 60 and k = 3, so df = 57).
\nLet’s assume \u03b1 = 0.05 (5%). .
\nLook up the critical value of F with df1 = 2 and df2 = 57 in a table or calculator.
\nFor \u03b1 = 0.05, the critical value is 3.11. The calculated F-test statistic is 5.10. Since 5.10 > 3.11, we reject the null hypothesis and conclude that there is a significant difference between the means of the groups.<\/p>\n
CONCLUSION
\nThe results using ONE WAY ANOVA indicate that there is a significant difference between the means of the groups.<\/p>\n
REFERENCES<\/p>\n
1) Wohlfeil, Markus & Whelan, Susan, 2012. “\u201cSaved!\u201d by Jena Malone: An introspective study of a consumer’s fan relationship with a film actress,” Journal of Business Research, Elsevier, vol. 65(4), pages 511-519.<\/p>\n
2) Fei Jiun Kik, 2019. “Women-Led Films: Different Female Representations in Popular Cinemas,” Proceedings of International Academic Conferences 9110632, International Institute of Social and Economic Sciences.<\/p>\n","protected":false},"excerpt":{"rendered":"
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