Should sequels differ from original movies in pre-launch advertising schedule? Lessons from consumers' online search activity

Sequels have become a profitable strategy in the U.S. motion picture industry because of their strong name recognition. However, while the established positioning of a sequel may help insulate it from competing firms' advertising messages, its familiarity may cause moviegoers to be more easily satiated with advertising from the sequel. Therefore, this study examines how sequels differ from original concept movies in terms of their ad effectiveness. We focus our analysis on pre-launch periods, given these periods' importance in shaping the financial outcomes of motion pictures. We consider the weekly online search volume of a movie as a measure of consumer interest in it, and thus as an intermediate response to pre-launch advertising. We then develop a model that assumes ad effectiveness can decline, due to copy and repetition wearout, and increase, due to forgetting, over time. We find that copy wearout is greater for original movies, while repetition wearout and forgetting are greater for sequels. These findings suggest that sequels should allocate more in early pre-launch periods and less immediately before release, relative to originals, to maximize pre-launch consumer interest.     

Simultaneous Estimation of Legal and Illegal Supply and Demand: The Case of Motion Pictures

Prior research into illegal goods has typically looked at one-way effects, such as illegal demand on legal demand. This research investigates a previously unexamined component of the market, illegal supply. The authors examine the supply and demand of legal goods and their illegal counterparts as a market system of four interdependent components. This research makes theoretical and empirical contributions by evaluating illegal supply in this system. Simultaneous equations estimate each market component on the others using data from the motion picture industry. The results find illegal supply has no effect on legal supply (movie screens), positive effects on illegal demand (piracy downloads), and some effect on legal demand (box office revenues). Timing effects highlight this: illegal supply has a positive effect on legal demand during a film’s opening week, but no effect post-launch. The other market components have positive effects on illegal supply (except legal supply, which is negative in the opening week). Additionally, illegal demand has a negative effect on legal demand during the opening week of release, but not in the subsequent weeks. This finding alleviates prior research tension as to whether piracy helps or hurts legal sales, as omitting illegal supply could result in biased estimates.     

Impact of star and movie buzz on motion picture distribution and box office revenue

This study contributes to research on the impact that consumer buzz has on movie distribution and box office success by examining the impact of buzz generated about the individual stars and about the movie itself. The results indicate that movie buzz is instrumental in boosting box office revenue throughout the theatrical release, not just in the later run, as has been suggested in previous studies. Star buzz can enhance box office receipts during the opening week and can contribute to the public's anticipation of the movie pre-release. However, early buzz can have a negative impact on revenue during subsequent weeks if the movie fails to resonate with the audiences. Model simulations reveal that, even for poorly received films, the overall impact of star buzz is positive because the initial revenue boost normally outweighs the later decline. Thus, this study empirically demonstrates the positive impact of star buzz on revenue, which helps shed light on the long-standing debate regarding the importance of star participation in the success of a movie.     

浅论苏轼“诗中有画”“画中有诗”命题的学理依据

苏轼从文艺本质、创作、作品三个方面确立了以诗画"一律"、诗画"略同"为核心思想的诗画关系理论体系.他对王维"诗中有画""画中有诗"的评论就是建立在这个理论体系基础之上的.同时.这则评论与苏轼提出的"士人画"这个概念也有着密切的联系.文章通过对苏轼诗画关系理论的梳理和阐释,进而对"诗中有画""画中有诗"的内涵和外延作以全面的界定.     

The U.S. Motion Pictures Industry: An Empirical Approach

We hypothesize that the U.S. motion pictures industry is structured so that star presence increases box office receipts and (less so) admissions, but places Ricardian limits on the output of blockbusters. The few dominant studios (majors) rely on a modified star system to generate supra-normal box office by stimulating admissions at exhibitors. Rising costs (from stars and their promotion) are required for rising revenues; that is, the majors gain revenue only at higher costs. Although the industry has unique features, the empirical results are surprisingly relevant to other industries.     

Clustering at the Movies

Weekly box office revenues for approximately 100 successful motion pictures are analyzed by use of a finite mixture regression technique to determine if regular sales patterns emerge. Based on an exponential decay model applied to market share data, four clusters of movies, varying in opening strength and decay rate, are found. Characteristics of the clusters and implications for future research are discussed.     

Buzz marketing for movies

In today's dynamic entertainment environment, movies are struggling to stay afloat and remain profitable. Challenges such as piracy, digital theft, competition, overlapping movie campaigns, media fragmentation, and audience saturation are forcing marketers to stretch their film budgets and make every dollar as effective as possible. With more and more entertainment options crowding peoples' lives, marketers must search for innovative ways to reach movie audiences. By breaking through the daily clutter and noise, and capturing peoples' attention to the point that talking about a movie becomes an enjoyable experience to share, buzz marketing is one such promotional posture that drives audiences to theaters. In order to achieve success with buzz marketing, however, marketers must recognize the role it plays in the context of movie differentiation strategies to support the company's overall approach. To that end, this article analyzes buzz marketing as it pertains to six movie differentiation strategies (differentiation with cosmetic movie features, differentiation to reach market segments, growing a movie segment, positioning to support the movie image, positioning to extend the movie image, and differentiation via non-traditional channels) and offers steps for its successful implementation.     

Can good marketing carry a bad product? Evidence from the motion picture industry

We examine the relative roles of marketing actions and product quality in determining commercial success. Using the motion picture context, in which product quality is difficult for consumers to anticipate and information on product success is available for different points in time, we model the effects of studio actions and movie quality on a movie’s sales during different phases of its theatrical run. For a sample of 331 recent motion pictures, structural equation modeling demonstrates that studio actions primarily influence early box office results, whereas movie quality influences both short- and long-term theatrical outcomes. The core results are robust across moderating conditions. We identify two data segments with follow-up latent class regressions and explore the degree of studio actions needed to “save” movies of varying quality. We finally offer some implications for research and management.     

A sensemaking perspective on network pictures

This paper examines the concept of network pictures through the lens of the organizational sensemaking perspective. Essentially it develops the concept of network pictures by suggesting we think of them as exercises in sensemaking. It does so by providing an introduction to organizational sensemaking before establishing a degree of commensurability between network pictures and sensemaking. It suggests that what we may then see more clearly is that the concept of network pictures needlessly gets involved in reification when talking of ‘the’ network picture whereas a more dynamic approach leads to ideas of network picturing in which the complete discrediting or collapse of extant sensemaking and network pictures provides a research opportunity that could be jointly explored by both perspectives. The paper concludes that paradoxically ‘finding’ this new sense or new network picture appropriate to radically changed times is facilitated by a process that involves first ‘becoming lost’.     

Promotional Strategies Utilized by the Film Industry

Abstract

With the average cost of a feature motion picture rapidly approaching the $100 million mark, major production studios are turning to greater use of promotions to help guarantee the success of their films. As an entertainment commodity, motion pictures offer unique challenges in terms of promotions. This article briefly reviews some of the major traditional promotional techniques as well as techniques more commonly used in the entertainment industry. The research presented in the second half of the article uses secondary data on critical reviews, awards and box office returns to determine the relationship between critical opinion and motion picture success. The results suggest that there appears to be little or no correlation between the opinion of critics and the success of a motion picture.