قائمة أعلى الأفلام دخلا

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 حرب النجوم 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 الخارقون 2، وحكاية لعبة 3 و4، والبحث عن دوري وكانت بين الأفلام الأفضل أداءً. وبعيدًا عن ديزني وبيكسار حققت سلسلة أفلام أنا الحقير، 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 النجوم وسوبرمان لا يزال يجري عرض أفلام جيمس بوند وغودزيلا 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.

 أعلى الأفلام دخلا عالميا 
180px|تصغير|يسار|فيلمين من الأفلام الثلاثة الأعلى دخلاً (أفاتار وتيتانيك) من تأليف وإخراج جيمس كاميرون.

فيلم أفاتار هو «أعلى الأفلام دخلاً» باجمالي إيرادات شباك التذاكر العالمي الذي تجاوز 2,9 مليار دولار، لكن مثل هذه الإدعائات قد تشير إلى عائدات صالات السينما فقط دون احتساب الدخل القادم من الإصدارات المنزلية والتلفزيون، والتي يمكن أن تشكل جزءًا كبيرًا 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 2,2 مليار دولار التي حصدها فيلم تيتانيك خلال عرضه في السينما، فقد حصد ايضاً 1,2 مليار دولار إضافية من مبيعات الأشرطة والدي في دي. في حين أن بيانات المبيعات الكاملة غير متوفرة لفيلم أفاتار، إلا أنه كسب 345 مليون دولار من بيع 26 مليون نسخة من الدي في دي والبلوراي في أمريكا الشمالية، وفي النهاية باع ما مجموعه ثلاثين مليون نسخة من الدي في دي والبلوراي في جميع أنحاء العالم. بعد احتساب الدخل القادم من الإصدارات المنزلية، حقق كلا الفيلمين أكثر من 3 مليارات دولار لكل منهما. 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؛ حقق فيلم تيتانيك 55 مليون دولار إضافية من حقوق البث على شبكتي إن بي سي وإتش بي أو، وهو ما يعادل حوالي 9% من إجمالي إيراداته 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.BBC News | BUSINESS | How films make money  فيلم سيارات من إنتاج بيكسار وصلت إيراداته في دور العرض إلى 461 مليون$Cars (2006) - Box Office Mojo  — رقم متواضع مقارنة بإيرادات أفلام بيكسار الأخرى — لكنه ولد مبيعات بضائع وصلت إلى 10 مليار$ في الستة سنوات التي أعقبت صدوره في 2006،'Cars,' Pixar: Merchandise sales drive Pixar's 'Cars' franchise - latimes  وهي أكبر عائدات متولدة من قبل فيلم واحد.Pixar's $6 billion playthings - Telegraph 

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.

+أعلى الأفلام دخلا عالميا"All Time Worldwide Box Office Grosses". بوكس أوفيس موجو. مؤرشف من الأصل في 22 مايو 2019. اطلع عليه بتاريخ August 7, 2011.  الترتيب القمة العنوان الدخل الإجمالي العالمي العاممصادر11 أفاتار $2,923,706,026 2009 21 المنتقمون: نهاية اللعبة $2,797,501,328 2019 33 أفاتار: درب المياه $2,320,250,281 2022 41 تيتانيك $ 1997 53 حرب النجوم: القوة تنهض $2,068,223,624 2015"Star Wars: The Force Awakens (2015)". بوكس أوفيس موجو. مؤرشف من الأصل في 24 سبتمبر 2019. اطلع عليه بتاريخ August 15, 2016. "All Time Worldwide Box Office". بوكس أوفيس موجو. مؤرشف من الأصل في April 5, 2016. 64 المنتقمون: الحرب اللانهائية $2,048,359,754 2018"Avengers: Infinity War (2018)". بوكس أوفيس موجو. مؤرشف من الأصل في 28 أغسطس 2019. اطلع عليه بتاريخ January 13, 2019. "All Time Worldwide Box Office". بوكس أوفيس موجو. مؤرشف من الأصل في April 1, 2019. 76 سبايدرمان: لا عودة إلى الديار $1,922,598,800 2021 88 ني زا 2 $1,699,000,000 2025 98 قلبا وقالبا 2 $1,698,863,816 2024 103 العالم الجوراسي $1,671,537,444 2015 117 الأسد الملك $1,656,943,394 2019 123 المنتقمون $1,518,815,515 2012 134 الغضب 7 $1,515,341,399 2015 1411 توب غان: مافريك $1,495,696,292 2022 1510 ملكة الثلج 2 $1,450,026,933 2019 1614 باربي $1,447,038,421 2023 175 المنتقمون: عصر ألترون $1,402,809,540 2015 1815 سوبر ماريو بروس، الفيلم $1,362,566,989 2023 199 النمر الأسود $1,347,280,838 2018 203 هاري بوتر ومقدسات الموت – الجزء 2 $ 2011 2120 ديدبول وولفيرين $1,338,073,645 2024 229 حرب النجوم: الجيداي الأخير $1,332,539,889 2017"Star Wars: The Last Jedi". بوكس أوفيس موجو. مؤرشف من الأصل في 18 سبتمبر 2019. اطلع عليه بتاريخ May 21, 2018. "All Time Worldwide Box Office". بوكس أوفيس موجو. مؤرشف من الأصل في April 27, 2018. 2312 العالم الجوراسي: المملكة الساقطة $ 2018 245 ملكة الثلج $ 2013 2510 الجميلة والوحش $1,263,521,126 2017"Beauty and the Beast (2017)". بوكس أوفيس موجو. مؤرشف من الأصل في 26 أغسطس 2019. اطلع عليه بتاريخ September 5, 2017. "All Time Worldwide Box Office". بوكس أوفيس موجو. مؤرشف من الأصل في December 11, 2017. 2615 أبطال خارقون 2 $1,242,805,359 2018"Incredibles 2 (2018)". بوكس أوفيس موجو. مؤرشف من الأصل في 28 يوليو 2019. اطلع عليه بتاريخ March 25, 2019. 2711 فاست أند فيوريس 8$1,238,764,765 2017"The Fate of the Furious (2017)". بوكس أوفيس موجو. مؤرشف من الأصل في August 22, 2017. 285 آيرون مان 3 $1,214,811,252 2013"Iron Man 3 (2013)". بوكس أوفيس موجو. مؤرشف من الأصل في 28 يوليو 2019. اطلع عليه بتاريخ October 28, 2013. "All Time Worldwide Box Office". بوكس أوفيس موجو. مؤرشف من الأصل في February 21, 2014. 2910 المينيون $1,159,444,662 2015 3012 كابتن أمريكا: الحرب الأهلية $1,153,337,496 2016 3120 أكوا مان $1,148,528,393 2018 322 سيد الخواتم: عودة الملك $1,147,997,407 2003 3324 سبايدرمان: بعيدا عن الوطن $1,132,679,685 2019 3423 كابتن مارفل $1,128,274,794 2019"Captain Marvel (2019)". بوكس أوفيس موجو. مؤرشف من الأصل في 12 أغسطس 2019. اطلع عليه بتاريخ July 21, 2019. "All Time Worldwide Box Office". بوكس أوفيس موجو. مؤرشف من الأصل في July 23, 2019. 355 المتحولون: الجانب المظلم للقمر $1,123,794,079 2011"Transformers: Dark of the Moon (2011)". بوكس أوفيس موجو. مؤرشف من الأصل في 7 أغسطس 2019. اطلع عليه بتاريخ January 18, 2014. 367 سكايفول $1,108,594,137 2012 3710 المتحولون: عصر الانقراض $1,104,054,072 2014"Transformers: Age of Extinction". بوكس أوفيس موجو. مؤرشف من الأصل في 26 مارس 2017. اطلع عليه بتاريخ May 17, 2015. "All Time Worldwide Box Office". بوكس أوفيس موجو. مؤرشف من الأصل في November 2, 2014. 387 نهوض فارس الظلام $1,081,169,825 2012 3931 جوكر $1,074,458,282 2019 4032 حرب النجوم الجزء التاسع: ذا رايز أوف سكايووكر $1,074,144,248 2019 4130 حكاية لعبة 4 $1,073,394,593 2019 424 حكاية لعبة 3 $1,066,970,811 2010 433 قراصنة الكاريبي: صندوق الرجل الميت $1,066,179,747 2006 4420 روج ون: قصة من حرب النجوم $ 2016 4534 علاء الدين $1,050,693,953 2019 4646 موانا 2  $1,049,975,621 2024 472 حرب النجوم الجزء الأول: تهديد الشبح $1,046,515,409 1999 486 قراصنة الكاريبي: في بحار غريبة $1,045,713,802 2011"Pirates of the Caribbean: On Stranger Tides". بوكس أوفيس موجو. مؤرشف من الأصل في 7 يوليو 2019. اطلع عليه بتاريخ August 22, 2011. 491 الحديقة الجوراسية $ 1993 5024 أنا الحقير 3 $1,034,800,131 2017 

 أعلى الأفلام دخلاً بعد احتساب التضخم 
القائمة التالية تحتوي على الافلام الأعلى أدخلاً بعد احتساب التضخم، الأمر الذي يسبب زيادة في أسعار تذاكر دور عرض السينما بمرور الزمن.

+ الترتيب العنوان الدخل الإجمالي العالمي   العام 1 ذهب مع الريح $ 1939 2 أفاتار $ 2009 3 تيتانيك $2,516,000,000$ 1997 4 حرب النجوم $ 1977 5 المنتقمون: نهاية اللعبة $ 2019 6 صوت الموسيقى $ 1965 7 إي تي $ 1982 8 الوصايا العشر $ 1956 9 دكتور جيفاغو $ 1965 10 حرب النجوم: القوة تنهض $ 2015

 أعلى سلسلات الأفلام دخلا 
 مفتاح:


 آخر تحديث: 10 أكتوبر 2019

+ Highest-grossing franchises and film series+ highest=Skyfall|gross=1108561013highest=Skyfall|gross=1108561013}}}}

 أعلى الأفلام دخلا حسب السنة 
 ملاحظة: الفيلم باللون الأخضر الفاتح يعني أنه يعرض حالياً بدور العرض.
 آخر تحديث: 10 أكتوبر 2019

+أعلى الأفلام دخلا حسب سنة الإصدار"Yearly Box Office". بوكس أوفيس موجو. مؤرشف من الأصل في 16 أبريل 2019. اطلع عليه بتاريخ January 6, 2012. "Movie Index By Year". The Numbers. Nash Information Services. LLC. مؤرشف من الأصل في 03 أبريل 2019. اطلع عليه بتاريخ January 6, 2012. Dirks، Tim. "All-Time Box-Office Hits By Decade and Year". Filmsite.org. شبكة إيه إم سي التلفزيونية. مؤرشف من الأصل في 14 أبريل 2019. اطلع عليه بتاريخ January 5, 2012.  السنة  عنوان الفيلم الإيرادات الميزانية المصدر ولادة أمة–+ ()Monaco، James (2009). How to Read a Film:Movies, Media, and Beyond. دار نشر جامعة أكسفورد. صفحة 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 (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. 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. </ref>Lang، Robert، المحرر (1994). The Birth of a nation: D.W. Griffith, director. Rutgers University Press. صفحة 30. ISBN 978-0-8135-2027-8. The film eventually cost $110,000 and was twelve reels long. 
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 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)."  In: . 
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| style="text-align:center;" |Coons، Robin (June 30, 1939). "Hollywood Chatter". The Daytona Beach News-Journal. صفحة 6. 
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| style="text-align:center;" |Shipman، David (1970). The great movie stars: the golden years. مجموعة كراون للنشر. 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. 
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|الطريق إلى الشرق| align="right" | ()
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| style="text-align:center;" |"Biggest Money Pictures". فارايتي. June 21, 1932. صفحة 1. Cited in "Biggest Money Pictures". Cinemaweb. مؤرشف من الأصل في July 8, 2011. اطلع عليه بتاريخ July 14, 2011. 
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| style="text-align:center;" |. "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." 
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| style="text-align:center;" |Brownlow، Kevin (1968). The parade's gone by .. دار نشر جامعة كاليفورنيا. صفحة 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 (2008). Douglas Fairbanks. دار نشر جامعة كاليفورنيا. صفحة 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). 
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| style="text-align:center;" |"Business: Film Exports". Time. July 6, 1925. مؤرشف من الأصل في November 5, 2010. اطلع عليه بتاريخ July 12, 2011. 
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|العرض الكبير| align="right" |–  ()
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| style="text-align:center;" |Robertson، Patrick (1991). Guinness Book of Movie Facts and Feats (الطبعة 4). Abbeville Publishing Group. صفحة 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. . "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." 
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|بن هور| align="right" | ()
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| style="text-align:center;" |"Ben-Hur (1925) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ December 19, 2017.  
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|For Heaven's Sake| align="right" | 
| align="right" |
| style="text-align:center;" |Miller، Frank. "For Heaven's Sake (1926) – Articles". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ January 15, 2012. 
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|أجنحة| align="right" |
| align="right" |
| style="text-align:center;" |. "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." 
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|The Singing Fool| align="right" |
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| style="text-align:center;" |The Jazz Singer and The Singing Fool
  In: . Crafton، Donald (1999). The Talkies: American Cinema's Transition to Sound, 1926–1931. دار نشر جامعة كاليفورنيا. صفحات 549–552. ISBN 978-0-520-22128-4. The Singing Fool: Negative Cost ($1000s): 388 
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|لحن برودواي| align="right" |–
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| style="text-align:center;" | In: . Bradley، Edwin M. (2004) [1st. pub. 1996]. The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927 Through 1932. مكفارلاند وشركاه. ISBN 978-0-7864-2029-2.
 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." 
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|Sunny Side Up| align="right" | 
| align="right" |
| style="text-align:center;" |. "Production Cost: $0.6 (Unadjusted $s in Millions of $s)." 
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|كل شيء هادىء على الجبهة الغربية| align="right" |
| align="right" |
| style="text-align:center;" |Cormack، Mike (1993). Ideology and Cinematography in Hollywood, 1930–1939. بلغريف مكميلان. صفحة 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. <ref group="#" name="Balio (1976)">Hell's Angels 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 Varietys 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. </ref>
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|فرانكنشتاين
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| style="text-align:center;" |Feaster، Felicia. "Frankenstein (1931)". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 6 أبريل 2019. اطلع عليه بتاريخ July 4, 2011.. "It drew $1.4 million in worldwide rentals in its first run versus $1.2 million for Dracula, which had opened in February 1931." 
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|أضواء المدينة
| align="right" |
| align="right" |
| style="text-align:center;" |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. 
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|The Sign of the Cross
| align="right" |
| align="right" |
| style="text-align:center;" |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) Shanghai Express
 . "Shanghai Express was Dietrich's biggest hit in America, bringing in $1.5 million in worldwide rentals." 
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|كينغ كونغ
| align="right" | ()
| align="right" |
| style="text-align:center;" |King Kong
 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
 "King Kong (1933) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ January 7, 2012. 1952 release: $2,500,000; budget: $672,254.75 
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|I'm No Angel
| align="right" |+
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| style="text-align:center;" |"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. . "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..." 
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|الموكب
| align="right" |–
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| style="text-align:center;" |Solomon، Aubrey (2011). The Fox Film Corporation, 1915–1935: A History and Filmography. مكفارلاند وشركاه. ISBN 978-0-7864-6286-5.
 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." Balio، Tino (1996). Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939. Volume 5 of History of the American Cinema. دار نشر جامعة كاليفورنيا. ISBN 978-0-520-20334-1.
 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)." 
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|أساءت التصرف معه
| align="right" |+
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| style="text-align:center;" | In: . Phillips، Kendall R. (2008). Controversial Cinema: The Films That Outraged America. أي بي سي-كليو. صفحة 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. . "Total production cost: $274,076 (Unadjusted $s)." 
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|الأرملة المرحة
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|حدث ذات ليلة
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| style="text-align:center;" |McBride، Joseph (2011). Frank Capra: The Catastrophe of Success. University Press of Mississippi. صفحة 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. Dick، Bernard F. (2008). Claudette Colbert: She Walked in Beauty. University Press of Mississippi. صفحة 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. 
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|تمرد على السفينة باونتي
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|سان فرانسيسكو
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| style="text-align:center;" |Turk، Edward Baron (2000) [1st. pub. 1998]. Hollywood Diva: A Biography of Jeanette MacDonald. دار نشر جامعة كاليفورنيا. ISBN 978-0-520-22253-3.
 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.] Sedgwick، John (2000). Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. صفحات 146–148. ISBN 978-0-85989-660-3. 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. 
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|سنو وايت والأقزام السبعة
| align="right" |+ ()
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| style="text-align:center;" |<ref group="#">Snow White and the Seven Dwarfs
 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. 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.
 Wilhelm، Henry Gilmer؛ Brower، Carol (1993). The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. Preservation Pub. صفحة 359. ISBN 978-0-911515-00-8. In only 2 months after the 1987 re-release, the film grossed another $45 million—giving it a total gross to date of about $375 million!
 "Snow White and the Seven Dwarfs (1987 Re-issue)". Boxoffice. اطلع عليه بتاريخ May 29, 2016. North American box-office: $46,594,719
 "Snow White and the Seven Dwarfs (1993 Re-issue)". Boxoffice. مؤرشف من الأصل في 25 ديسمبر 2018. اطلع عليه بتاريخ May 29, 2016. North American box-office: $41,634,791 </ref>Snow White and the Seven Dwarfs and Pinocchio

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 Whites $4.2 million) and $1.9 million in foreign rentals (compared with Snow Whites $4.3 million)." 
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|لا يمكنك أن تأخذها معك| align="right" |
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| style="text-align:center;" |1938
 You Can't Take It With You:. 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:  In: .
 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:  In: .
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|ذهب مع الريح| align="right" |–  () 
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| style="text-align:center;" |"Gone with the Wind". The Numbers. Nash Information Services. LLC. مؤرشف من الأصل في 6 نوفمبر 2013. اطلع عليه بتاريخ February 8, 2013. "Gone with the Wind". Boxoffice. مؤرشف من الأصل في 25 ديسمبر 2018. اطلع عليه بتاريخ May 29, 2016.  ."The final negative cost of Gone with the Wind (GWTW) has been variously reported between $3.9 million and $4.25 million." 
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|بينوكيو| align="right" | ()
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| style="text-align:center;" |"Pinocchio (1940)". Boxoffice. مؤرشف من الأصل في 25 ديسمبر 2018. اطلع عليه بتاريخ May 29, 2016. Barrier، Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. New York: دار نشر جامعة أكسفورد. صفحة 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. 
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|Boom Town| align="right" |
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| style="text-align:center;" |Schatz، Thomas (1999) [1st. pub. 1997]. Boom and Bust: American Cinema in the 1940s. Volume 6 of History of the American Cinema. دار نشر جامعة كاليفورنيا. صفحة 466. ISBN 978-0-520-22130-7. Boom Town ($4.6 million). . "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." 
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|الرقيب يورك| align="right" |
| align="right" |
| style="text-align:center;" |. "With worldwide rentals of $7.8 million in its initial release, the movie made a net profit of over $3 million." . "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." 
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|بامبي| align="right" | ()
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| style="text-align:center;" |"Bambi". Boxoffice. مؤرشف من الأصل في 25 ديسمبر 2018. اطلع عليه بتاريخ May 29, 2016. . "Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost." .
 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)" 
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|السيدة مينيفر| align="right" |
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| style="text-align:center;" |Glancy، Mark (1999). When Hollywood Loved Britain: The Hollywood 'British' Film 1939–1945. . صفحات 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. <ref group="#">
 Mrs. Miniver: {{استشهاد|الأخير=Burns |الأول=Douglas |عنوان=Mrs. Miniver |سنة=2010 |صفحة=279 |اقتباس=Mrs. Minivers 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."  لمن تقرع له الأجراس In: . "For Whom the Bell Tolls (1943) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ June 24, 2012. "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. هذا جيشيBergreen، Laurence (Summer 1996). "Irving Berlin: This Is the Army". Prologue. 28 (2). Part 3. اطلع عليه بتاريخ August 22, 2012. "This Is the Army (1943) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ July 9, 2011.  ذاهب في طريقي. "(Unadjusted $s) in Millions of $s – Production Cost: $1.0"  Mom and Dad/Schaefer، Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. Duke University Press. صفحات 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. أجراس القديسة مريم p. 296. "Production Cost: $1.6 (Unadjusted $s in Millions of $s)"
  أغنية الجنوب ()"Song of the South". The Numbers. Nash Information Services. LLC. مؤرشف من الأصل في 29 أكتوبر 2013. اطلع عليه بتاريخ July 10, 2011. Gabler، Neal (2007). Walt Disney: the biography. Aurum Press. صفحات 438. Still, the film wound up grossing $3.3 million... "Song of the South (1946) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ July 25, 2012. أجمل سنوات العمر 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."  In: . Duel in the Sun Forever AmberSolomon، Aubrey (2002) [First published 1988]. Twentieth Century-Fox: a corporate and financial history. Filmmakers series. 20. . ISBN 978-0-8108-4244-1.

 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."
 p. 256. "$3,300,00".
 . "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)." Unconquered 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. ISBN 978-1-85043-815-1. Forever Amber: $8 million; Unconquered: $7.5 million; Life with Father: $6.25 million "Unconquered (1947) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ January 10, 2012.  عرض عيد الفصح.
 Mrs. Miniver: "Domestic Rentals: $5,358,000; Foreign Rentals: $3,520,000 (Unadjusted $s)"
 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)" Miller، Frank. "Easter Parade (1948) – Articles". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ July 19, 2012. الحذاء الأحمر ()Street، Sarah (2002). Transatlantic Crossings: British Feature Films in the United States. Continuum International Publishing Group. صفحة 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. Officer، Lawrence H. (2011). "Dollar-Pound Exchange Rate From 1791". MeasuringWorth. مؤرشف من الأصل في 21 يوليو 2019. اطلع عليه بتاريخ November 18, 2012. 1947–1948: $4.03 (per British pound) بيت الأفعى"The Snake Pit". The Numbers. Nash Information Services. LLC. مؤرشف من الأصل في December 28, 2011. "'Snake Pit' Seen No Problem After All". فارايتي. January 19, 1949. صفحة 7.  شمشون ودليلة سندريلا(/)"Cinderella (1950)". The Numbers. Nash Information Services. مؤرشف من الأصل في 5 يونيو 2019. اطلع عليه بتاريخ January 2, 2017. Eisner، Michael D.؛ Schwartz، Tony (2009). Work in Progress. جامعة ولاية بنسلفانيا. صفحة 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 (2003). Hollywood Cartoons: American Animation in Its Golden Age. دار نشر جامعة أكسفورد. صفحة 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. كنوز الملك سليمانThe E. J. Mannix ledger. Margaret Herrick Library, أكاديمية فنون وعلوم الصور المتحركة: Howard Strickling Collection. 1962. الوضع الراهن– 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." .
 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)."  This Is CineramaMulligan، Hugh A. (September 23, 1956). "Cinerama Pushing Ahead As Biggest Money-Maker". The Register-Guard. Eugene, Oregon. صفحة 7B. Zone، Ray (2012). 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky. صفحة 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. أعظم العروض على وجه الأرض  In: . "The Greatest Show on Earth (1952) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ January 8, 2012. Birchard، Robert S. (2009). Cecil B. DeMille's Hollywood. University Press of Kentucky. ISBN 978-0-8131-3829-9.

 ch. 45. The Ten Commandments (1923). "Cost: $1,475,836.93; Gross: $4,169,798.38"
 ch. 56. The Sign of the Cross. "Cost: $694,064.67; Gross: $2,738,993.35 (to 1937)"
 ch. 68. Samson and Delilah. "Cost: $3,097,563.05"
 ch. 69. The Greatest Show on Earth. "Cost: $3,873,946.50; Gross receipts: $15,797,396.36 (to December 29, 1962)"
 ch. 70. The Ten Commandments (1956). "Cost: $13,272,381.87; Gross receipts: $90,066,230.00 (to June 23, 1979)"  بيتر بان ()–"Peter Pan (1953) – Notes". تيرنر كلاسيك موفيز. مؤرشف من الأصل في 24 يوليو 2019. اطلع عليه بتاريخ July 24, 2011.  الرداء–. "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 Varietys annually updated chart." . "It brought in $16.7 million in domestic rentals, $9.4 million in foreign rentals, and made a net profit of $8.1 million."  النافذة الخلفية ()"Rear Window". Boxoffice. مؤرشف من الأصل في 8 يناير 2019. اطلع عليه بتاريخ May 29, 2016. Lev، Peter (2006). Transforming the Screen, 1950–1959. Volume 7 of History of the American Cinema. دار نشر جامعة كاليفورنيا. ISBN 978-0-520-24966-0.
 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." White Christmas ()"White Christmas". Boxoffice. مؤرشف من الأصل في 25 ديسمبر 2018. اطلع عليه بتاريخ May 29, 2016. . "Domestic Box Office: $19.6 million; Production Cost: $3.8 million." . "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." 20000 فرسخ تحت الماء(–)–. "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."  النبيلة والشارد ()Cinerama Holidayالسيد روبرتس p. 382. "Production Cost: $2.4 (Unadjusted $s in Millions of $s)"
  الوصايا العشر(/). "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)."  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."  جسر على نهر كواي جنوب المحيط الهادىء. "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."  بن هور(/). "Worldwide box office: $146.9 million; Worldwide rentals: $66.1 million; Production cost: $15.9 million. (Initial Release – Unadjusted $s in Millions of $s)"  عائلة روبنسون السويسريةسبارتاكوس ().
 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." سايكو+ () مئة مرقش ومرقش–قصة الحي الغربي () In: .  لورنس العرب ()Lawrence of Arabia
 1962 release: 
 U.S. total (including reissues):  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." كيف غلب الغرب. "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." أطول يوم كليوباترامن روسيا مع الحب/() 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..."
 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)" سيدتي الجميلة 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." إصبع الذهب ()ماري بوبينز– In: .  صوت الموسيقى ().
 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)."  The Bible: In the Beginningهاواي () من يخاف من فرجينيا وولف؟ (). "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)."  كتاب الأدغال ()–الخريج 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."  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."  2001: ملحمة الفضاء–()2001: A Space Odyssey
 Total: 
 As of 2006: 
 2013 re-release: 
 2014 re-release: 
 2018 re-release: الفتاة المرحة– بوتش كاسيدي وساندانس كيد ()Butch Cassidy and the Sundance Kid
 United States and Canada: 
 Outside North America:  قصة حب In: . المطار. "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."  الرابط الفرنسيعازف الكمان على السقف  (/). "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." الماس للأبد () 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)"  العراب–  (–)The Godfather
 1974: 
 1991: 
 1997 re-release: 
 As of 2010: . "Domestic Box Office: $135.0; Foreign Box Office: $110.1 (Unadjusted $s in Millions of $s)."
 Total:  طارد الأرواح الشريرة ()اللدغة. "Production Cost: $5.5 (Unadjusted $s in Millions of $s)."  الجحيم المرتفع. "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." هوليوود ريبورتر. January 27, 1976. "Foreign rentals: $43 million". "Production Cost: $14.3 (Unadjusted $s in Millions of $s)."بلازينج سادلس+. "Production Cost: $2.6 (Unadjusted $s in Millions of $s)."  Jaws () روكي (). "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." .
 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)."  In: .  حرب النجوم  (/). "Eventually costing $11,293,151, Star Wars was previewed at the Northpoint Theatre in San Francisco on May 1, 1977."   غريس () حاصد القمرKramer vs. Kramer

 روكي 2 حرب النجوم الجزء الخامس: الإمبراطورية تعيد الضربات ()–The Empire Strikes Back
 Total up to 2014: 
 Special edition: 
 2015 re-release: .
 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)."   سارقو التابوت الضائع  (–)–Raiders of the Lost Ark

 . Domestic Box office: $180.1; "Production Cost: $22.8 (Initial Release – Unadjusted $s in Millions of $s)." إي تي  (–)–. "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." . "Production Cost: $12.2 (Unadjusted $s in Millions of $s)."  حرب النجوم الجزء السادس: عودة الجيداي ()–Return of the Jedi
 Total: 
 Special edition:  إنديانا جونز ومعبد الهلاك–. "Production Cost: $28.2 (Unadjusted $s in Millions of $s)."  العودة إلى المستقبل ()–Back to the Future
 Original release: 
 2010 reisue: 
 2014 reisue: . "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."  توب غان ()– In: . .  جاذبية قاتلةFatal Attraction

  رجل المطر. "Rain Man: 30.0 (cost in million $s)"  إنديانا جونز والحملة الأخيرة––. "Production Cost: $55.4 (Unadjusted $s in Millions of $s) ... The film went on to haul in over $494 million worldwide."  شبح تيرميناتور 2: يوم الحساب ($519,843,345)Terminator 2
 Original release: 
 3D re-release:  علاء الدين  الحديقة الجوراسية$ ($)–Jurassic Park
 Total: 
 Original release: 
 2011 re-release: 
 As of 2010: . "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." الأسد الملك ()–The Lion King
 Total: 
 Lifetime grosses (US & Canada): 
 Lifetime grosses (outside U.S. & Canada): 
 As of 2010: . "Production Cost: $79.3 (Unadjusted $s in Millions of $s)." حكاية لعبة ()Toy Story
 Total: 
 3D release: . "Production Cost: $30.0 (Unadjusted $s in Millions of $s)" موت قاسي مع انتقام.  يوم الاستقلال تيتانيك$ ($)Titanic
 Total: 
 Original release:  أرمجدون. "Production Cost: $140.0 (Unadjusted $s in Millions of $s)."  حرب النجوم الجزء الأول: تهديد الشبح$ ($)–Star Wars Episode I: The Phantom Menace
 Total: 
 Original release:  مهمة مستحيلة 2– هاري بوتر وحجر الفلاسفة ()Harry Potter and the Philosopher's Stone
Total: 
 Re-release (2018):  2002سيد الخواتم: البرجان ()The Lord of the Rings: The Two Towers
 Total: 
 Re-release (2003): 
 Re-release (2011): 
 Re-release (2017):  2003سيد الخواتم: عودة الملك$ ($)The Lord of the Rings: The Return of the King
 Total: 
 Re-release (2011): 
 Re-release (2017):  2004شريك 2 2005هاري بوتر وكأس النار ()Harry Potter and the Goblet of Fire
Total: 
Re-release (2018):  2006قراصنة الكاريبي: صندوق الرجل الميت$ 2007قراصنة الكاريبي: في نهاية العالم 2008فارس الظلام$ ($)The Dark Knight
 Total: 
 Original release (excluding 2009 IMAX reissue): 
 2009 IMAX re-release: 
 First-run gross and IMAX reissue:  2009أفاتار$ ($)Avatar
 Total: 
 Total as of 2013: 
 Special edition:  2010حكاية لعبة 3$ 2011هاري بوتر ومقدسات الموت – الجزء 2$ ($)Harry Potter and the Deathly Hallows – Part 2
 Total: 
 Re-release (2018): 
 Production cost:  2012 المنتقمون$ 2013 ملكة الثلج$ ($)Frozen


Total as of August 3, 2014: $247,650,477
Total as of August 31, 2014: $249,036,646

Total as of August 17, 2014: $167,333

Total as of July 27, 2014: $21,668,593
Total as of November 2, 2014: $22,492,845

Total as of June 8, 2014: £39,090,985
Total as of November 30, 2014: £40,960,083 ($1 = £0.63866)
Total as of December 7, 2014: £41,087,765 ($1 = £0.64136)
Total as of December 14, 2014: £41,170,608 ($1 = £0.636)
Total as of November 26, 2017: £42,840,559 ($1 = £0.7497)
Total as of December 3, 2017: £42,976,318 ($1 = £0.742)

Total as of March 30, 2014: €35,098,170
Total as of October 18, 2015: €42,526,744
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: $1 is used here to give a lower-bound.  2014المتحولون: عصر الانقراض$ 2015حرب النجوم: القوة تنهض$  2016كابتن أمريكا: الحرب الأهلية$  2017 حرب النجوم: الجيداي الأخير$  2018 المنتقمون: الحرب اللانهائية$–  2019 المنتقمون: نهاية اللعبة$ 

 الترتيب الزمني لأعلى الأفلام دخلاً 
+ Timeline of the highest-grossing film record الأول منذ عنوان الفيلم الأرباح القياسية المصدر 1915 ولادة أمة $5,200,000 1940$15,000,000  1940 ذهب مع الريح$32,000,000 1963$67,000,000  1966 صوت الموسيقى$114,600,000 1971 ذهب مع الريح $116,000,000  1972 العراب $127,600,000–142,000,000 1976 Jaws $193,700,000 1978 حرب النجوم$410,000,000/$268,500,000 1982$530,000,000  1983 إي تي $619,000,000–664,000,000 1993 $701,000,000  1993 الحديقة الجوراسية $914,691,118 1998 تيتانيك $1,843,201,268 2010 أفاتار $ $2,789,679,794 2019 المنتقمون: نهاية اللعبة $2,796,274,401

 مراجع 

 مصادر الBoxOffice 

تصنيف:قوائم أعلى الأفلام دخلا
تصنيف:قوائم أفلام