Everyone gravitates toward a particular movie genre. Some people enjoy being swept up by romance and others prefer being transported to another world with fantasy films. Regardless of your preference, personality experts have studied how movies reflect your personality
The comedy genre remains one of the most popular movie genres. It is a movie genre beloved by both children and adults alike.
Sci-Fi, Adventure, Animation appear to be least favorite genres among the others.
Drama movies can sometimes feel fast-paced and it can be based upon real-life people and situations. These types of films can be emotional to watch.
Drama is the third highest most watched genres across the world.
Genres like western, family, mystery, thriller, romance are the least preferred by most people.
On the other hand, adventure, horror, crime and biography genres are having 20% more preference than the above.
40% of the American's prefer Comedy genre followed by action having a similar percentage of preference i.e 34%.
Other genres include crime, documentary, horror, adventure which covers only 2% of the population in America
While in India, there are 47% of Indians who are action lovers and they like it more than comedy which is liked by 30%
Meanwhile, science fiction and horror content became less popular.
It is a highly experimental genre, and not many people have shown interest on that genre
Comedy genre is liked by 44% of people where was sci-fi and other genres are preferred by only 1% of the crowd in UK
Drama followed by action is liked by 32% and 10% of the people. Less percentage of people are fascinated with Sci-fi and what outer space may hold
Film genres are vital to making your film, as they are a way of categorizing it, as well as a vital form of marketing the movie once it has been made. This allows the cinema audience to decide whether the genre of movie would be something of interest to them.
In summary, it is hard to conclude that OTT’s impact in today's generation overall is not positive. Although, perhaps, it is not as positive in every area as everyone might like.
The removal of barriers to distribution and the resulting explosion in new kinds of content, as well as new ways of viewing it, are all boons for consumers. While there is concentration of share at the top of the OTT market, the opening of new markets to producers has led to greater revenues and value. There are legitimate concerns about the potential impact of globalized OTT programming on local culture, but these may be partially counterbalanced by the ability of anyone anywhere to become a content producer and showcase his or her local culture on a global stage.
The output of a billion content creators representing all manner of backgrounds, societies, cultures, and points of view in a way that was unimaginable 20 years ago—cannot be ignored. In this context, OTT has democratized both the production and the consumption of content to an extent never before seen. Is that sufficient to serve local societal and cultural needs and fulfill the objectives of policymakers? If not, how can policymakers support local content when the traditional regulations on supply don’t effectively apply to OTT? These are tough questions to answer, but it is absolutely clear that the evolution of consumers’ viewing habits and sources of content means that the traditional thinking about content creation needs to evolve as well.
All in all, OTT is an evolving story that bears close watching.
