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This research investigates the impacts of movie consumers' willingness, measured by the number of people who want to watch a movie, on the relationship between event marketing and box office revenue. This study aims to provide marketers with practical event marketing strategies and tactics to improve box office revenue.

Panel data was collected for 1,141 movies released in China from year 2014–2018 for a total of 12 weeks, spanning 4 weeks before and 8 weeks after release. The mediating effect of consumers' willingness on the relationship between event marketing and box office revenue was tested through a stepwise method and the generalized least squares method based on random effects.

Movie consumers' willingness mediates the effect of event marketing and box office revenue. Both movie consumers' willingness and box office revenue follow an inverted U-shaped distribution against the intensity of event marketing. From the second week before release to the first week after release, intensified event marketing enhances box office revenue. Various types and intensities of event marketing should be employed in different periods of time to increase the total box office revenue.

This research ignores the costs of various types of event marketing for different movies. Future research could consider the cost-effectiveness of event marketing.

The findings of this paper provide meaningful insights on event marketing strategies for practitioners.

This study contributes to the field by verifying movie consumers' willingness as a mediator between event marketing and box office revenue. The study also provides empirical evidences on effective types and reasonable intensities of event marketing over the whole lifecycle of movies.

The motion picture industry is a cultural and creative industry. Unlike its US counterpart, the Chinese motion picture industry is still developing. Therefore, learning from the US market, the purpose of this paper is to analyze the business model of Chinese movies from the perspective of new product diffusion.

Based on 66 movies released in the US and 21 movies released in China, this paper first compares the diffusion curves of Chinese and US movies through the movie life cycle and box office trends. Next, it analyzes the moviegoing behaviors of Chinese and US audiences based on the innovation and imitation coefficients in the Bass model. Finally, it compares the attention to information of Chinese and US audiences from the perspective of interpersonal word-of-mouth (WOM).

In the USA, a movie’s highest weekly box office is usually in its opening week, followed by a weekly decline in revenue; in China, there is no difference in box office performance between the first two weeks, but a weekly decline in revenue similarly follows. US audiences pay more attention to advertisements for movies than WOM recommendations, while Chinese people pay more attention to WOM recommendations. Neither the Chinese nor the US market differs in the volume of WOM between the first week before release and the opening week, and these two weeks are the most active period of WOM in both markets.

During the production phase for Chinese movies, we should satisfy opinion leaders’ needs. During the distribution phase, we should not only focus on market spending before the movie’s release, but also increase market spending in the opening week. During the theater release phase, we should stimulate WOM communication between moviegoers and thereby attract many more opinion seekers.

Few studies have investigated the Chinese motion picture industry from the perspective of new products. This paper compares and analyzes the diffusion of Chinese and US movies using the Bass model of new product diffusion, providing systematic theoretical guidelines for the commercial operation of the Chinese motion picture industry.

This study aims to identify the factors that influence box office performance in the specific context of the adaptation of science fiction (SF) to film in Hollywood.

Fifty-one film adaptation cases were collected and empirically analyzed with two-stage least-squares (2SLS) regression.

Empirical analysis demonstrates that the adaptation of the title, the popularity of the original novel and the director's experience in film adaptation have significant impacts on box office performance.

The study contributes to the literature by bridging the gap between two separate streams of the research literature on film performance and film adaptation. Moreover, the study has extended the literature on the prediction of film performance by examining important factors in the special context of SF film adaptation.

In the case of film adaptation, recruiting an experienced director will be a good choice. Author power is also required for attracting more investment and increasing audience share in the short term. From a marketing perspective, pointing out in the title that the film is an adaptation of an original novel would be an advantageous approach.

This is among the pioneering research related to the effects of film adaptation on box office performance. The approach and results of this study direct future studies in many aspects.

This study investigates the impact of cultural distance on foreign box office performance of East Asian cinematic production in European markets. Predicated on two dimensions of a film's cultural specificity, namely content- and aesthetics-based components, this research advances current knowledge on the moderating effects of cultural specificity.

The authors compile a data set of 515 East Asian films released in European countries during the 2010–2018 period. Data are analyzed by hierarchical linear modeling.

Results show that cultural distance plays a negative role in affecting foreign box office performance and that aesthetics specificity of films weakens such a relationship, while content specificity of films can further strengthen the relationship.

The findings suggest that cultural specificity is a crucial element and a relevant marketing tool in the cross-country film trade. Film producers and distributors need to consider both distribution strategy and intercultural context in order to align effectively with differing cultural distance and specificity.

This study proposes a new categorization framework of cultural specificity and demonstrates the moderating roles of content and aesthetics specificity on the relationship between cultural distance and films' foreign box office performance. It offers implications for both theory and practice in global film marketing and trade.

Strategy.

This case can be used on a strategic management course in the second year of an MBA programme, any special elective course on the media and entertainment industry and in executive education programmes to demonstrate the application of strategic management concepts and frameworks.

The Indian film industry was the largest in the world and the seventh largest in terms of revenue. Significant number of movies were made in languages such as Bengali, Marathi, Telugu, Tamil, Malayalam and Kannada, with Hindi commanding the highest number. The film industry in Karnataka made movies in the Kannada language. The industry was plagued by a host of issues with the industry contributing just 2 per cent of the revenues and box office success rate at just around 25 per cent. The state government had set up Karnataka Chalanachitra Academy with the objective of promotion and development of the movie industry in Karnataka. The Chairman of the academy, Shailesh Singh, was extremely concerned about the poor success rate of Kannada movies and was contemplating various options of reviving the ailing Kannada movie industry.

The expected learning outcomes are as follows: application of strategic management frameworks in the context of the movie industry; analysis of industry issues from the long-term and short-term perspectives; study of different entities in the movie industry and the roles they play and their interdependence; applying learning to suggest survival strategies in an extremely competitive market; and insights into the role of government in the media/entertainment industry.

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CSS 11: Strategy.

This study aims to examine the “external effect” of a migrated star player on their domestic sport industries. By exploring the new aspect of star power, this study provides important insight and critical implication to many relevant stakeholders in the professional sports league. Particularly, this is critical under the recent circumstance where the globalization of sports products becomes the central strategic issue of the world-class leagues.

In this paper, the external effect of star players migrated from three Asian leagues (Japan, Korea and Taiwan) to Major League Baseball in the USA, the world-class baseball league, on their domestic league attendance demand was empirically investigated. For the analysis, comprehensive historical data from various reliable sources from each league were collected.

The findings of the paper strongly support the external effect of migrated stars significantly existing in all the three leagues. The effect is consistent across various measurements of migrated star players. More interestingly, the effect was found to be mixed across different leagues; for example, migrated star players increases in domestic league attendance in Japan, while it decreases in Korea and Taiwan. This indicates that the external effect of migrated star players depends on the characteristics of the domestic leagues. In addition, it was found that the external effect was substantial enough to compare to the effect of major demand drivers such as team winning, competitive balance and star power. For managerial implications, this study also provides revenue projections induced by the impact of migrated star players.

This study opens a new chapter related to star power topic and immediately calls for future studies regarding this external effect, particularly, theoretical and behavioral approaches.

The purpose of this paper is to examine both the Latino/Hispanic entrepreneurs’ social media adoption (SMA) for business purposes and the influence of culture on personal versus business social network platform (SNP) selection.

The Technology Acceptance Model’s (TAM) factors of perceived usefulness (PU) and perceived ease of use (PEU) as drivers of Latino/Hispanic entrepreneurs’ social network platform selection are examined as well as the effect of SMA on revenue. Data was collected from 633 small business owners across the United States via an online survey administered in English and Spanish.

Results indicate that Latino/Hispanic business owners use personal SNP more than business SNP for business purposes. PU and PEU were not found to predict personal SNP for Latino/Hispanic entrepreneurs. However, for Non-Latino/Hispanics, PU was significant while PEU was marginally significant. Findings for PU and PEU as predictors of business SNP indicate similar results for both Latino/Hispanic and non-Latino/Hispanic entrepreneurs, where only PEU was significant. Finally, there was no relationship between either business or personal SNP and revenue for either Latino/Hispanic or non-Latino/Hispanic entrepreneurs.

This research provides more insight into Latino/Hispanic entrepreneurs’ self-directed engagement in personal SNP (Facebook) and business SNP (LinkedIn) for business purposes and invites future research in this population to further examine cultural influence and business performance. The findings support the need for Latino/Hispanic entrepreneurs’ strengthening their competency in social media usage to remain competitive, as doing so will enhance their capability for building customer relationships, brand development, and equity financing.

This investigation 1) examines SMA’s role in Latino/Hispanic small and medium enterprises (SMEs); 2) distinguishes between personal and business social network platforms; 3) investigates TAM’s relevance for Latino/Hispanic entrepreneurs’ use of social media for business; and 4) explores SME social media usage as a predictor of revenue. We seek to provide practitioners with a greater understanding of how they may influence business success and sustainability through better competency development and usage of social media platforms.

The purpose of this paper is to consider whether successful subsidised arts organisations are more likely to apply a relationship rather than transactional marketing approach to overcome the tendency of not‐for‐profit organisations generally, and subsidised arts organisations particularly, to use marketing for short‐term, tactical purposes.

Research was undertaken to identify whether “successful” subsidised performing arts organisations were indeed more strategic in their focus, whether they had applied a relationship marketing approach and whether such an approach had been influential in the development of their “success”. Preliminary research led to the production of a conceptual framework that identifies major partnerships and specific stakeholder types that need to be considered by a subsidised performing arts organisation if an effective relationship marketing approach is to be developed. This was used as the basis for subsequent research involving a multiple case study approach studying two “successful” theatres and one “unsuccessful” theatre in depth. The strengths of relationship between the various key stakeholder roles and artistic directors within the three theatres were analysed.

Although this research is limited to a case study analysis of three theatres, it does seem to provide evidence to suggest that building strong relationships with stakeholders other than end users can be advantageous to subsidised performing arts organisations.

It is likely that this approach could be successful for the subsidised arts generally and indeed for all those organisations in the not‐for‐profit sector where those who pay do not necessarily receive the service.

This article provides a discussion on successful subsidised arts organisations.

Contemporary copyright infringement has significantly changed in the digital era, and because of the unique attributes of internet piracy and method of exchange, traditional regulatory approaches are ineffective. The characteristics of digital goods enable users to almost costlessly copy and exchange content. Much of the contemporary research fails to incorporate the necessary components of exchange that are central to digital piracy. This paper aims to examine the role of peer-to-peer network hosts and the often-omitted cyberlocker.

A simple framework is constructed that describes how these entities how these entities facilitate digital piracy and operate financially. This framework illustrates the objectives of piracy mediators, highlighting the avenues by which regulation can craft policy. Additional examination of online piracy highlights the challenges of contemporary policy to combat digital piracy due to the secondary consequences.

Recent policies, aimed at diminishing piracy, would infringe on consumers’ privacy, hurt business finances or strategically used by rivals to hurt the operations of legal entities. Trying to prevent illegal sources (or facilitators) of pirate goods from providing access to files continues to be challenging. In many instances, the blurry line between a legal platform for file exchange and a piracy haven creates significant regulatory problems. For known piracy promoters (host sites or cyberlockers), location and revenue streams continue to limit direct intervention.

This paper discusses the necessary path for piracy to occur by including previously omitted agents necessary for communication and/or distribution. My analysis incorporates these entities that facilitate piracy and the unique features of digital exchange, which has industrial and regulatory implications. Furthermore, my results highlight why regulators have been ineffective in crafting meaningful anti-piracy policy.