全球最高電影票房收入列表
參考資料

↑   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 Google Books)
↑  Harmetz, Aljean. . New York Times. May 18, 1980  [January 30, 2012]. （原始内容存档于May 20, 2013）. "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.
↑  . Turner Classic Movies.   [July 9, 2011]. （原始内容存档于2013-10-02）.
考慮通貨膨脹的列表、年度最高票房紀錄列表
1 2 3  Pincus-Roth, Zachary. . Variety. 2006-01-08  [2014-02-02]. （原始内容存档于2021-04-20）.
↑  . The Numbers. Nash Information Services.   [2013-11-12]. （原始内容存档于2018-11-25）.
↑  . The Economist. 2011-03-17  [2022-04-06]. （原始内容存档于2017-09-04）.
↑  Vogel, Harold L. . Cambridge University Press. 2010: 224. ISBN 978-1-107-00309-5. Most pictures would likely receive 20% to 25% of theatrical box office gross for two prime-time network runs.
↑  Clark, Emma. . BBC News. 2001-11-12  [2012-04-12]. （原始内容存档于2017-09-08）.
↑  Seymour, Lee. . Forbes. 2017-12-18  [2019-07-28]. （原始内容存档于2023-06-10）.
↑  . Bloomberg. 1998-02-15  [2022-04-06]. （原始内容存档于2017-10-12）.
↑  . Box Office Mojo.   [2012-04-12]. （原始内容存档于2019-08-29）.
↑  Szalai, Georg. . The Hollywood Reporter. 2011-02-14  [2022-04-06]. （原始内容存档于2011-03-19）.
↑  Chmielewski, Dawn C.; Keegan, Rebecca. . Los Angeles Times. 2011-06-21  [2012-04-12]. （原始内容存档于2013-07-09）.
↑  Palmeri, Christopher; Sakoui, Anousha. . Bloomberg News. 2014-11-07  [2015-06-30]. （原始内容存档于2015-07-05）.
↑  . Box Office Mojo.   [2019-10-27] –Wayback Machine.
↑  . Box Office Mojo.   [2020-10-30] –Wayback Machine.
↑  . Box Office Mojo.   [2021-10-26] –Wayback Machine.
↑  . Box Office Mojo.   [2023-02-05] –Wayback Machine.
↑  . The Numbers.   [2014-09-02] –Wayback Machine.
↑  . The Numbers.   [2014-09-13] –Wayback Machine.
↑  . Box Office Mojo.   [2018-01-11].
↑  . Box Office Mojo. （原始内容存档于2016-08-16）.
↑  . Box Office Mojo. （原始内容存档于2016-08-20）.
1 2  Bialik, Carl. . The Wall Street Journal. January 29, 2010  [August 9, 2011]. （原始内容存档于November 1, 2011）.
1 2  Pincus-Roth, Zachary. . Slate. July 6, 2009  [April 6, 2022]. （原始内容存档于April 6, 2022）.
1 2  Anderson, S. Eric; Albertson, Stewart; Shavlick, David. . Proceedings of the Midwest Business Economics Association. Loma Linda University. March 2004  [April 8, 2013]. （原始内容 (DOC)存档于October 29, 2013）.
↑  Gray, Brandon. . Box Office Mojo.   [April 6, 2022]. （原始内容存档于February 7, 2010）.
1 2  Bialik, Carl. . The Wall Street Journal. January 30, 2010  [August 9, 2011]. （原始内容存档于December 18, 2018）.
↑  Kolesnikov-Jessop, Sonia. . The New York Times. May 22, 2011  [January 4, 2012]. （原始内容存档于December 18, 2018）.
↑  Hoad, Phil. . The Guardian. August 11, 2011  [January 4, 2012]. （原始内容存档于June 29, 2023）.
↑  Frankel, Daniel. . The Wrap. May 1, 2011  [April 6, 2022]. （原始内容存档于January 9, 2019）.
1 2  Bialik, Carl. . The Wall Street Journal. December 17, 2007  [August 10, 2011]. （原始内容存档于October 29, 2013）.
1 2  Leonhardt, David. . The New York Times. March 1, 2010  [April 7, 2013]. （原始内容存档于October 16, 2021）.
1 2  Miller, Frank; Stafford, Jeff. . Turner Classic Movies. January 5, 2007. （原始内容存档于September 26, 2013）.
1 2  Shone, Tom. . The Daily Telegraph. February 3, 2010  [March 22, 2012]. （原始内容存档于January 10, 2022）.  含有連結內容需訂閱查看的頁面 (link)
↑  Hill, George F. . The Washington Post. June 25, 2006. （原始内容存档于December 27, 2018）.
1 2   60 2015. Guinness World Records. 2014: 160–161. ISBN 978-1-908843-70-8.
↑  . International Monetary Fund.   [June 16, 2024]. （原始内容存档于May 10, 2019）.
↑  . Box Office Mojo.   [June 16, 2024]. （原始内容存档于2025-02-12）. Gross: $2,176,120
↑  . Box Office Mojo.   [September 10, 2022]. （原始内容存档于May 3, 2021）. 2020 Re-release: $1,281,204; 2021 Re-release: $57,995,770; 2022 Re-release: $76,012,917
↑  Glenday, Craig (编).   [Guinness World Records]. 由Andrianov, P.I.; Palova, I.V.翻译 2012. Moscow: Astrel. 2011: 211. ISBN 978-5-271-36423-5 （俄语）.
↑  . Box Office Mojo.   [November 25, 2012]. （原始内容存档于October 27, 2019）. $343,550,770
↑  . Box Office Mojo.   [November 25, 2012]. （原始内容存档于2019-10-27）. 2017 Re-release: $691,642; 2020 Re-release: $71,352; 25 Year Anniversary: $70,157,472
↑  . Box Office Mojo.   [June 16, 2024]. （原始内容存档于2023-06-29）. 2020 Re-release: $516,969; 2022 Re-release: $2,834,590
1 2  Cones, John W. . Southern Illinois University Press. 1997: 41. ISBN 978-0-8093-2082-0. Distributor rentals: It is also important to know and recognize the difference between the distributor's gross receipts and the gross rentals. The term "rentals" refers to the aggregate amount of the film distributor's share of monies paid at theatre box offices computed on the basis of negotiated agreements between the distributor and the exhibitor. Note that gross receipts refers to amounts actually received and from all markets and media, whereas gross rentals refers to amounts earned from theatrical exhibition only, regardless of whether received by the distributor. Thus, gross receipts is the much broader term and includes distributor rentals. The issue of film rentals (i.e., what percentage of a film's box office gross comes back to the distributor) is of key importance...More current numbers suggest that distributor rentals for the major studio/distributor released films average in the neighborhood of 43% of box office gross. Again, however, such an average is based on widely divergent distributor rental ratios on individual films.
↑  Marich, Robert.  2. Southern Illinois University Press. 2009: 252 [1st. pub. Focal Press:2005]. ISBN 978-0-8093-2884-0. Rentals are the distributors' share of the box office gross and typically set by a complex, two-part contract.
↑  Balio, Tino. . University of Wisconsin Press. 2005: 296. ISBN 978-0-299-09874-2. Film Rentals as Percent of Volume of Business (1939): 36.4
↑  Balio, Tino. . University of Wisconsin Press. 1987: 124–125. ISBN 978-0-299-11440-4. To rekindle interest in the movies, Hollywood not only had to compete with television but also with other leisure-time activities...Movies made a comeback by 1955, but audiences had changed. Moviegoing became a special event for most people, creating the phenomenon of the big picture.
↑  Hall & Neale 2010，第179. "Later epics proved far more disastrous for the backers. Samuel Bronston's The Fall of the Roman Empire, filmed in Spain, cost $17,816,876 and grossed only $1.9 million in America. George Stevens's long-gestating life of Christ, The Greatest Story Ever Told (1965), which had been in planning since 1954 and in production since 1962, earned domestic rentals of $6,962,715 on a $21,481,745 negative cost, the largest amount yet spent on a production made entirely within the United States. 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."頁
↑  Williams, Trey. . MarketWatch. September 25, 2015  [May 12, 2016]. （原始内容存档于June 8, 2016）.
↑  . Box Office Mojo.   [January 6, 2012]. （原始内容存档于July 29, 2015）.
↑  . The Numbers. Nash Information Services. LLC.   [January 6, 2012]. （原始内容存档于December 21, 2011）.
↑  Dirks, Tim. . Filmsite.org. American Movie Classics.   [January 5, 2012].
↑  . Variety. September 5, 1928: 12  [March 21, 2023].
↑  Schickel, Richard. . Limelight Series. Hal Leonard Corporation. 1996: 326. ISBN 978-0-87910-080-3. ...there exists a very precise production accountant's statement, drawn up some time after the picture was finished, previews had been held and release prints struck. This document shows that the negative cost of the picture was precisely $385,906.77...
↑  . The Numbers. Nash Information Services.   [January 5, 2012]. （原始内容存档于2014-08-19）.
1 2  Finler 2003，第358頁
↑   32. 2007. The year's top–grossing movie, Aloma made $3 million in the first three months and brought Gray back to Milwaukee for its opening at the Wisconsin Theatre.  |issue=被忽略 (帮助)
↑  Parkinson, David. . Dorling Kindersley. 2007: 28. ISBN 978-1-84353-650-5. But they had previously succeeded in showing how musicals could centre on ordinary people with Sunny Side Up (1929), which had grossed $2 million at the box office and demonstrated a new maturity and ingenuity in the staging of story and dance.
1 2  Hall & Neale 2010，第6–7頁. "For similar reasons of accountability, Variety has typically used figures for domestic (U.S. and Canadian) rather than worldwide revenue. This became its standard policy in 1940, when the advent of war in Europe persuaded the American film industry (temporarily, as it turned out) that it should be wholly reliant on the home market for profitability. Where specific rentals data are reported in Variety before this (which tended to be only sporadically) they were often for worldwide rather domestic performance. This was also the case with other trade sources, such as Quigley's annual Motion Picture Almanac, which published its own all-time hits lists from the early 1930s onward. The subsequent confusion of domestic and worldwide figures, and of rental and box-office figures, has plagued many published accounts of Hollywood history (sometimes including those in Variety itself), and we have attempted to be diligant in clarifying the differences between them."
↑  McBride, Joseph. . University Press of Mississippi. 2011: 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.
↑  Shearer, Lloyd. . The New York Times. October 26, 1947  [July 14, 2012]. （原始内容存档于2013-05-31）.
↑  . Time. February 2, 1953  [September 15, 2012]. （原始内容存档于December 22, 2008）.
↑  Block & Wilson 2010，第129頁. "Domestic Rentals: $30,015,000 (61%); Foreign Rentals: $18,964,000 (39%)...Gone with the Wind includes initial release plus four rereleases (1941,1942,1947 and 1954) since foreign rental revenues were available only cumulative through 1956."
↑  McDermott, Christine, : 307, 2010, No matter what the billing, the movie became a worldwide hit with $6.5 million in worldwide rentals, from Pappa och vi in Sweden to Vita col padre in Italy, although it booked a net loss of $350,000.  In: Block & Wilson 2010.
↑  Mulligan, Hugh A. . The Register-Guard（英语：） (Eugene, Oregon). September 23, 1956: 7B.
↑  Hall & Neale 2010，第145頁. "The commercial success of the five Cinerama travelogues, which earned an aggregate worldwide box-office gross of $120 million by 1962 (including $82 million in the United States and Canada), nevertheless demonstrated to the mainstream industry the market value of special screen formats."
1 2 3 4 5 6  Dirks, Tim. . Filmsite.org.   [August 11, 2010]. （原始内容存档于2013-10-14）.
1 2  Wasko, Janet. . Kerr, Paul  (编). . Routledge. 1986: 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.
↑  . Variety. June 21, 1932: 1 –Archive.org.  Cited in . Cinemaweb.   [June 25, 2015]. （原始内容存档于November 5, 2011）.
↑  . Daily Record (Ellensburg, Washington). United Press International. July 21, 1989: 16.
↑  Block & Wilson 2010，第237頁. "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".
↑  Finler 2003，第47頁. "Walt Disney took a big risk when he decided to invest $1.5 million in his first feature-length animated film, Snow White and the Seven Dwarfs. It became the biggest hit of the sound era and the largest-grossing movie since The Birth of a Nation – until the release of independent producer David O. Selznick's Gone with the Wind just two years later."
↑  Barrios, Richard. . Oxford University Press. 1995: 49. ISBN 978-0-19-508811-3. Since it's rarely seen today, The Singing Fool is frequently confused with The Jazz Singer; although besides Jolson and a pervasively maudlin air the two have little in common. In the earlier film Jolson was inordinately attached to his mother and sang "Mammy"; here the fixation was on his young son, and "Sonny Boy" became an enormous hit. So did the film, which amassed a stunning world-wide gross of $5.9 million...Some sources give it as the highest gross of any film in its initial release prior to Gone with the Wind. This is probably overstating it—MGM's records show that Ben-Hur and The Big Parade grossed more, and no one knows just how much The Birth of a Nation brought in. Still, by the standards of the time it's an amazing amount.
↑  Everson, William K. . Da Capo Press. 1998: 374 [First published 1978]. ISBN 978-0-306-80876-0. Putting The Birth of a Nation in fifth place is open to question, since it is generally conceded to be the top-grossing film of all time. However, it has always been difficult to obtain reliable box-office figures for this film, and it may have been even more difficult in the mid-1930s. After listing it until the mid-1970s as the top-grosser, though finding it impossible to quote exact figures, Variety, the trade journal, suddenly repudiated the claim but without giving specific details or reasons. On the basis of the number of paid admissions, and continuous exhibition, its number one position seems justified.
↑  Hall & Neale 2010，第163頁. "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."
1 2  du Brow, Rick. . The Columbus Dispatch. September 22, 1965: 12.
↑  Hodgkinson, Will. . The Daily Telegraph. April 12, 2004  [January 31, 2012]. （原始内容存档于January 10, 2022）.  含有連結內容需訂閱查看的頁面 (link)
↑  Thomas, Bob. . Reading Eagle. Associated Press. January 18, 1963: 20.
↑  Klopsch, Louis; Sandison, George Henry; Talmage, Thomas De Witt.  88. 1965: 68. Yet "The Ten Commandments" has earned 58 million dollars in film rentals and is expected to bring in 10 to 15 million each year it is reissued.
↑  Hall & Neale 2010，第160–161頁. "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)."
↑  Oviatt, Ray. . Toledo Blade. April 16, 1961: 67–68.
↑  . Turner Classic Movies.   [November 17, 2012]. （原始内容存档于2015-06-07）.
↑  Thomas, Bob. . The Robesonian. Associated Press. August 1, 1963: 10.
↑  Block & Wilson 2010，第324頁. "Worldwide rentals: $66.1 million (initial release)"
↑  Washington (AP). . The Free Lance–Star. September 13, 1984: 12.
↑  Hiltzik, Michael. . Los Angeles Times. February 24, 2005  [February 2, 2012]. （原始内容存档于2018-10-23）.
↑  Memphis (UPI). . The Palm Beach Post. May 1, 1976: A2.
↑  Ebert, Roger. . rogerebert.com. Chicago Sun-Times. February 11, 2005  [February 2, 2012]. （原始内容存档于June 6, 2011）.
↑  Bartel, Pauline. . Taylor Trade Publishing. 1989: 127. ISBN 978-0-87833-619-7. At the end of the 1941 general release, MGM decided to withdraw GWTW again. The prints were battered, but the studio believed one final fling for GWTW was possible. The film returned to movie theaters for the third time in the spring of 1942 and stayed in release until late 1943 ... When MGM finally pulled the film from exhibition, all worn-out prints were destroyed, and GWTW was at last declared out of circulation. MGM, which by then had sole ownership of the film, announced that GWTW had grossed over $32 million.
↑  Dick, Bernard F. . University Press of Kentucky. 1997: 168. ISBN 978-0-8131-2016-4. Jaws (1975) saved the day, grossing $104 million domestically and $132 million worldwide by January 1976.
↑  Kilday, Gregg. . The Victoria Advocate. July 5, 1977: 6B.
↑  New York (AP). . The StarPhoenix. May 26, 1978: 21.
↑  Fenner, Pat C. . {Evening Independent. January 16, 1978: 11-A.
↑  Cook, David A. . 9 of History of the American Cinema, Charles Harpole. University of California Press. 2002: 50. ISBN 978-0-520-23265-5. 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.
↑  . BBC News (BBC). February 25, 1998  [August 13, 2010]. （原始内容存档于2007-12-18）.
↑  Cieply, Michael. . The New York Times. January 26, 2010  [January 27, 2010]. （原始内容存档于2012-11-07）.
↑  Segers, Frank. . The Hollywood Reporter. January 25, 2010  [December 4, 2010]. （原始内容存档于2019-09-27）.
↑  Whitten, Sarah. . CNBC. July 21, 2019  [July 21, 2019]. （原始内容存档于July 21, 2019）.
↑  Robbins, Shawn. . BoxOffice. July 20, 2019  [July 24, 2019]. （原始内容存档于July 24, 2019）.
↑  Tartaglione, Nancy. . Deadline Hollywood. March 13, 2021  [March 13, 2021]. （原始内容存档于2021-03-13）.
↑  . The Numbers. Nash Information Services.   [January 4, 2012]. （原始内容存档于2012-03-16）.
↑  . The Numbers. Nash Information Services.   [January 4, 2012]. （原始内容存档于2013-08-22）.
↑  . Box Office Mojo.   [January 6, 2012]. （原始内容存档于2008-12-18）.
↑  Anderson, Dave. . The New York Times. November 16, 2003  [January 4, 2012]. （原始内容存档于2011-12-03）.
↑  Schneiderman, R. M. . Forbes. August 10, 2006  [January 4, 2012]. （原始内容存档于2023-10-31）.
↑  Poller, Kenneth G.  (PDF). Mango & Iacoviello. November 12, 2003  [January 4, 2012]. （原始内容 (PDF)存档于October 29, 2013）.
↑  . Box Office Mojo.   [January 6, 2012]. （原始内容存档于2019-01-06）.
↑  . Box Office Mojo.   [January 6, 2012]. （原始内容存档于2019-01-06）.
↑  . The Numbers. Nash Information Services.   [January 4, 2012]. （原始内容存档于2013-02-14）.
↑  . The Numbers. Nash Information Services.   [December 11, 2024]. （原始内容存档于2021-12-16）.
↑  The Economist online. . The Economist. July 11, 2011. （原始内容存档于July 11, 2011）.
↑  Nevins, Jess. . io9. August 23, 2011  [July 19, 2018]. （原始内容存档于2018-12-25）.
↑  Nevins, Jess. . io9. September 9, 2011  [July 19, 2018]. （原始内容存档于2018-12-25）.
↑  . The New York Times. November 6, 2015  [January 7, 2018].