We develop an econometric model to study a setting in which a new product is launched first in its domestic market and only at a later stage in foreign markets, and where the product's performance ("demand") and availability ("supply") are highly interdependent over time within and across markets. Integrating literature on international diffusion, "success-breeds-success" trends, and the theatrical motion picture industry-the focus of the empirical analysis-we develop a dynamic simultanenous-equations model of the drivers and interrelationship of the behavior of consumers ("audiences") and retailers ("exhibitors"). Our findings emphasize the importance of considering the endogeneity and simultaneity of audience and exhibitor behavior, and challenge conventional wisdom on the determinants of box office performance (which is predominantly based on modeling frameworks that fail to account for the interdependence of performance and availability). Specifically, we find that variables such as movie attributes and advertising expenditures, which are usually assumed to influence audiences directly, mostly influence revenuesindirectly, namely through their impact on exhibitors' screen allocations. In addition, consistent with the idea that the "buzz" for a movie is perishable, we find that the longer is the time lag between releases, the weaker is the relationship between domestic and foreign market performance-an effect mostly driven by foreign exhibitors' screen allocations. Philadelphia, Pennsylvania 19104-6340 aelberse@hbs.edu • eliashberg@wharton.upenn.edu W e develop an econometric model to study a setting in which a new product is launched first in its domestic market and only at a later stage in foreign markets, and where the product's performance ("demand") and availability ("supply") are highly interdependent over time within and across markets. Integrating literature on international diffusion, "success-breeds-success" trends, and the theatrical motion picture industry-the focus of the empirical analysis-we develop a dynamic simultanenous-equations model of the drivers and interrelationship of the behavior of consumers ("audiences") and retailers ("exhibitors"). Our findings emphasize the importance of considering the endogeneity and simultaneity of audience and exhibitor behavior, and challenge conventional wisdom on the determinants of box office performance (which is predominantly based on modeling frameworks that fail to account for the interdependence of performance and availability). Specifically, we find that variables such as movie attributes and advertising expenditures, which are usually assumed to influence audiences directly, mostly influence revenues indirectly, namely through their impact on exhibitors' screen allocations. In addition, consistent with the idea that the "buzz" for a movie is perishable, we find that the longer is the time lag between releases, the weaker is the relationship between domestic and foreign market performancean effect mostly driven by foreign exhibitors' s...
The primary objective of this paper is to develop a parsimonious model for forecasting the gross box-office revenues of new motion pictures based on early box office data. The paper also seeks to provide insights into the impact of distribution policies on the adoption of new products. The model is intended to assist motion picture exhibitor chains (retailers) in managing their exhibition capacity and in negotiating exhibition license agreements with distributors (studios), by allowing them to project the box-office potential of the movies they plan to or currently exhibit based on early box-office results. It is also of interest to practitioners in other software industries (e.g., music, books, CD-ROMs) where the distribution intensity is highly variable over the product life cycle and is an important determinant of new product adoption patterns. The model and its extensions are of interest to academic researchers interested in modeling distribution effects in new product adoption, as well as forecasters looking for ways to leverage historical data on related products to forecast the sales of new products. We draw upon a queuing theory framework to conceptualize stochastically the consumer's movie adoption process in two steps—the to see the new movie, and the on the adoption decision. The parameter for the time-to-decide process captures the intensity of information intensity flowing from various information sources, while the parameter for the time-to-act process is related to the delay created by limited distribution intensity and other factors. Our conceptualization extends existing new product forecasting models, which assume that consumers act instantaneously on the motivating information they receive about the new product. The resulting model is parsimonious, yet it accommodates a wide range of adoption patterns. In addition, the stochastic formulation allows us to quantify the uncertainty surrounding the expected adoption pattern. In the empirical testing, we focus on the most parsimonious version of the modeling framework. BOXMOD-I, a model that assumes stationarity with respect to the two shape parameters that characterize the adoption process. The model produces fairly accurate early forecasts using at most the first three weeks of data for calibration, and the predictive performance of the model compares favorably with benchmark models. We propose extensions of the basic model that account for more realistic non-stationary distribution intensity patterns—including a “wide release” pattern that relies on intensive distribution and promotion, and a “platform release” pattern that involves a gradual buildup of distribution intensity. Finally, we present an adaptive weighing scheme that combines initial parameter estimates obtained from a meta-analysis procedure with estimates obtained from early data to produce forecasts of box-office revenues for a new movie when little or no box-office data are available. An important finding from the empirical testing is that motion picture box-office revenue pattern...
Critics and their reviews pervade many industries and are particularly important in the entertainment industry. Few marketing scholars, however, have considered the relationship between the market performance of entertainment services and the role of critics. The authors do so here. They show empirically that critical reviews correlate with late and cumulative box office receipts but do not have a significant correlation with early box office receipts. Although still far from any definitive conclusion, this finding suggests that critics, at least from an aggregate-level perspective, appear to act more as leading indicators than as opinion leaders.
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