The role of actors and actresses in the success of films: how much is a movie star worth?

Wallace, Wanda T.; Seigerman, Alan; Holbrook, Morris B.

doi:10.1007/bf00820765

Cited by 222 publications

(155 citation statements)

References 4 publications

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“…No evidence Strong evidence for a relationship with revenues (Litman 1982, Litman and Kohl 1989, Litman and Ahn 1998, Prag and Casavant 1994, Wallace et al 1993, Zufryden 2000 6. The higher a movie's star power: (a) the higher its number of screens in the opening week.…”

Section: Hypotheses Regarding Dynamics Within Marketsmentioning

confidence: 99%

“…• Strong evidence (Levin and Levin 1997, Litman and Kohl 1989, Sochay 1994, Neelamegham and Chintagunta 1999, Sawhney and Eliashberg 1996, Wallace et al 1993 • Limited or no evidence (Austin 1989, De Vany and Walls 1999, Litman 1983, Litman and Ahn 1998, Ravid 1999 7. The higher a movie's director power: (a) the higher its number of screens in the opening week.…”

Section: Hypotheses Regarding Dynamics Within Marketsmentioning

confidence: 99%

“…• Some evidence for a U-shaped relationship with cumulative rentals (Wallace et al 1993) 10. A movie distributed by one of the "majors" opens on a higher number of screens than a movie not distributed by a "major.…”

Section: Hypotheses Regarding Dynamics Within Marketsmentioning

confidence: 99%

“…First, as indicated, conventional wisdom reported in the table is largely based on studies based on single-equation analyses that fail to account for the interplay between screens and revenues (e.g., Litman 1982, Litman and Kohl 1989, Sochay 1994, Prag and Casavant 1994, Wallace et al 1993). This may have led to incorrect conclusions about the role and significance of determinants.…”

Section: Hypotheses Regarding Dynamics Within Marketsmentioning

confidence: 99%

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Demand and Supply Dynamics for Sequentially Released Products in International Markets: The Case of Motion Pictures

Elberse¹,

2003

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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...

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Section: Hypotheses Regarding Dynamics Within Marketsmentioning

confidence: 99%

Section: Hypotheses Regarding Dynamics Within Marketsmentioning

confidence: 99%

Section: Hypotheses Regarding Dynamics Within Marketsmentioning

confidence: 99%

Section: Hypotheses Regarding Dynamics Within Marketsmentioning

confidence: 99%

See 2 more Smart Citations

Demand and Supply Dynamics for Sequentially Released Products in International Markets: The Case of Motion Pictures

Elberse¹,

2003

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“…The collaboration of different professions with divergent objectives (see DeFillippi's article (2009) in this issue for further details) can lead to complications. Artists, technicians, and movie managers follow different ideals that need to be coordinated and unified towards a common goal (Prindle, 1993;Wallace et al, 1993;Caves, 2000). Although the general audience might not reward artistic and technical perfection, it seems short-sighted to opt for short-term profit whenever these interests conflict.…”

Section: Production Risksmentioning

confidence: 99%

Managing Risk in Motion Picture Project Development

Rimscha

2009

Journal of Media Business Studies

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Movies are produced as unique prototypic media content to serve a highly uncertain demand. Film producers have to address the consumption risk while their projects are still in their development phase. This paper provides a literature review of key risk dimensions of movie projects and how to control them. The interviews conducted with movie producers have made it possible to compare the industry's risk control strategies. Content attributes, personnel, and funding emerge as key project resources and risk reducing elements both in theory and practice. Three distinct risk control strategies are identified and assigned to different resource configurations and market constraints of individual producers. Managing Risk in Motion Picture Project Development M. Bjørn von RimschaUniversity of Zurich ABSTRACT Movies are produced as unique prototypic media content to serve a highly uncertain demand. Film producers have to address the consumption risk while their projects are still in their development phase. This paper provides a literature review of key risk dimensions of movie projects and how to control them. The interviews conducted with movie producers have made it possible to compare the industry's risk control strategies. Content attributes, personnel, and funding emerge as key project resources and risk reducing elements both in theory and practice. Three distinct risk control strategies are identified and assigned to different resource configurations and market constraints of individual producers.KEY WORDS: project management, project selection, movie producer, industry structure, project resources This paper focuses on the development phase of movie production in which projects are selected rather than on movie distribution; it concentrates on producers developing a movie package rather than production companies building a portfolio of several movie projects.

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Branded entertainment: Gender differences in reactions to star ratings

Kim

Chanmo

Yoon

et al. 2019

J of Consumer Behaviour

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The consumer behavior literature shows that men are externally focused and women are internally focused consumers. The authors conduct three studies to test gender differences in the use of media‐posted public ratings for deciding whether to recommend branded entertainment films. The Study 1 results indicate that men are more (less) likely to recommend films that have high (low) star ratings, but women are equally likely to recommend films regardless of star ratings. In an interesting twist, Study 2 results show that if women are momentarily distracted by being made more aware of their surroundings, they process information similarly to men and are more persuaded by public ratings. In Study 3, the authors replicate and extend the findings by including a no‐star control group and examining additional variables—film and brand attitudes and recommendations—with a no star rating control group. The overall results show that men (women) are more (less) likely to look to public ratings for forming film and brand attitudes and recommendations.

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The role of actors and actresses in the success of films: how much is a movie star worth?

Cited by 222 publications

References 4 publications

Demand and Supply Dynamics for Sequentially Released Products in International Markets: The Case of Motion Pictures

Demand and Supply Dynamics for Sequentially Released Products in International Markets: The Case of Motion Pictures

Managing Risk in Motion Picture Project Development

Branded entertainment: Gender differences in reactions to star ratings

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