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The purpose of this paper is to explore different tagging behaviours between Chinese and Americans by analysing the movie tags, and explore the feasibility of applying cultural differences to tag recommendations.

This paper introduced hypotheses based on several well-established psychological theories and tested them with social tags for the same movies generated by Chinese and Americans. And to prove the utility of the cultural factor consideration, this paper conducted a cross-cultural tag recommendation experiment.

The results show that compared with Americans, Chinese users tend to add more tags about movies’ background information (e.g. release year) and global contextual characteristics (e.g. genre); they also prefer to add tags about production countries and factual tags, and cultural factors can be applied for recommending more accurate tags.

Other reasons for tagging differences beyond cultural factors have not be explored. Tags for some sample movies in MovieLens might be unstable, as they had been tagged by a small scale of users; as a result, the tags’ type distribution might be influenced.

The results and conclusion of this study will be beneficial for the cross-cultural applications of social tags and mining users’ interests based on tags.

This paper provided a deeper investigation of the cross-cultural effect in people’s social tagging behaviours from cognitive perspective, and an empirical analysis has been performed to explore proper approaches of incorporating cultural differences for tag recommendation.

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.

Electronic word-of-mouth (eWOM) is very important for consumer decision making; previous international product diffusion studies have investigated eWOM and cultural factors that influence consumers’ acceptance of new products, but they have not adequately compared the differences in these factors between the USA and China. Therefore, the purpose of this paper is to compare the impact of eWOM on consumer choices in China and the USA. The authors addressed the following questions: What are the cross-cultural differences in consumers’ eWOM behavior between the USA and China: Which genres of Hollywood movies have better cross-culture predictability in terms of box office performance; and What factors affect the success of Hollywood movies in entering the Chinese market?

Real eWOM data were collected from two online movie review websites, IMDb.com (the USA) and Douban.com (China), from January 2010 to December 2015. In addition, box office revenue information was collected from BoxOfficeMojo.com. The authors used an independent sample t-test to check whether the differences in consumers’ eWOM behavior between China and the USA and different types of movie lead to cultural discount differences. Furthermore, a log-linear regression model is used to examine which factors influence the commercial success of new movies.

There are specific similarities and differences between the American and Chinese movie markets. First, the results show that American consumers are more engaged in online review systems and tend to submit extreme reviews, but Chinese consumers tend to submit moderate reviews on movies, and the eWOM variance there is smaller than in the USA. Second, genres are useful variables as indicators of movie content; the genres of comedy and drama are not popular in the Chinese market. Finally, eWOM variance has a positive impact on box office in China, but eWOM variance has no impact on the US box office. In addition, the interactive effect of the average rating and eWOM variance on sales is positively significant in China. Importantly, the one-star reviews have a negative impact on the Chinese box office, but it has no impact on US box office.

Understanding how cultural factors influence consumer eWOM communication will help managers to better apply this new marketing communication tool to create more aggressive and targeted promotional plans. Marketers may use eWOM behavior to better respond to and target consumers to overcome barriers to the selection of their products by consumers. Therefore, more effective management of eWOM can improve the acceptance of and preference for products in different cultural consumer groups.

This study expands the existing body of knowledge on eWOM and international marketing literature. Clearly, culture is an important determinant of eWOM’s impact on sales. In addition, it provides strategic direction and practical implications for eWOM communication management in cross-cultural settings.

The Wanda Case offers an overview of Wanda Group’s transition from a real estate firm in China to a global leader in the movie industry. Wanda Group, a Chinese conglomerate headquartered in Beijing, caused a major commotion in the US movie industry when it acquired AMC Entertainment in 2012. The AMC acquisition was the largest acquisition by a Chinese firm in the USA up to that time, costing $2.6 billion. Following that, a series of acquisitions had made Wanda Group the largest movie theater company, respectively, in the USA, Europe, and the World by the end of 2016. In order to fully comprehend the transition of the Wanda Group, the case begins by introducing the group’s origins and its original business model. It then discusses the challenges in the Chinese real estate market and factors that played a role in Wanda Group’s shift toward the movie industry. The authors further introduce the trends in movie theaters/production, recognized on a global scale in China and the USA, including key competitors in the industry. Last, the authors discuss Wanda Group’s global expansion efforts through major acquisitions in the USA and Europe, and the challenges that Wanda Group faced.

The case was written with publicly available information, such as newspaper articles, databases and corporate websites. The authors did not disguise any details.

This case can fulfill various learning goals in international business and strategy courses. First, this case offers detailed information about the diversification process of Wanda Group. It first diversified from real estate development into the movie cinema and production business in China (i.e. product diversification). More recently, Wanda Group diversified into the USA and Europe (i.e. geographical diversification). With the information provided in the case, students will be able to evaluate the costs and benefits of diversification strategies. Second, students can examine pros and cons of available entry modes for international expansions. Particularly, students will be able to evaluate the costs and benefits of acquisitions to Wanda Group’s international expansion. The authors also believe that this case can be used for introducing a relatively less-known emerging-market conglomerate, especially from China. Last, considering the rich information this case contains, the authors may use it as an exam case to evaluate students’ comprehensive knowledge gained from the course.

The case discusses corporate strategy, particularly diversification, the resource-based view, and institutional theory.

The purpose of this paper is automatic classification of TV series reviews based on generic categories.

What the authors mainly applied is using surrogate instead of specific roles or actors’ name in reviews to make reviews more generic. Besides, feature selection techniques and different kinds of classifiers are incorporated.

With roles’ and actors’ names replaced by generic tags, the experimental result showed that it can generalize well to agnostic TV series as compared with reviews keeping the original names.

The model presented in this paper must be built on top of an already existed knowledge base like Baidu Encyclopedia. Such database takes lots of work.

Like in digital information supply chain, if reviews are part of the information to be transported or exchanged, then the model presented in this paper can help automatically identify individual review according to different requirements and help the information sharing.

One originality is that the authors proposed the surrogate-based approach to make reviews more generic. Besides, they also built a review data set of hot Chinese TV series, which includes eight generic category labels for each review.

With the increasing number of online multilingual resources, cross-language information retrieval (CLIR) has drawn much attention from the information retrieval (IR) research community. However, few studies have examined how and why multilingual searchers seek information in two or more languages, specifically how they switch and mix language in queries to get satisfying results. The purpose of this paper is to focus on Chinese–English bilinguals’ intra-sentential code-switching behaviors in online searches. The scenarios and reasons of code-switching, factors that may affect code-switching, the patterns of mixed language query formulation and reformulation and how current IR systems and other search tools can facilitate such information needs were examined.

In-depth semi-structured interviews were used as the research method. In total, 30 participants were recruited based on their English proficiency, location and profession, using a purposive sampling method.

Four scenarios and four reasons for using Chinese–English mixed language queries to cover information needs were identified, and results suggest that linguistic and cultural/social factors are of equivalent importance in code-switching behaviors. English terms and Chinese terms in queries play different roles in searches, and mixed language queries are irreplaceable by either single language queries or other search facilitating features. Findings also suggest current search engines and tools need greater emphasis in the user interface and more user education is required.

This study presents a qualitative analysis of bilinguals’ code-switching behaviors in online searches. Findings are expected to advance the theoretical understanding of bilingual users’ search strategies and interactions with IR systems, and provide insights for designing more effective IR systems and tools to discover multilingual online resources, including cross-language controlled vocabularies, personalized CLIR tools and mixed language query assistants.

Counter-hedonic entertainment, characterized by evoking negative emotions in consumers, has emerged as one of the most popular and profitable forms of entertainment in Western countries. However, this entertainment type is not as popular in China as in Western countries. This study examines whether the free trial of counter-hedonic entertainment can promote the consumption of such entertainment and explores the moderating effect of contextual factors on this relationship.

This study investigates the promotional effectiveness of the free trial strategy on counter-hedonic entertainment through a quasi-experiment involving the broadcasting of a large-scale free counter-hedonic program. This study has analyzed the counter-hedonic consumption data from 31 major cities in China and employed econometric modeling to test the hypotheses.

Results show that the free trial of counter-hedonic entertainment can promote the sales of entertainment with similar categories. The follow-up moderation analyses show that the positive effect is amplified on days with less sunlight and for consumers with abundant (vs scarce) financial resources, thereby providing evidence to support the underlying drivers of the positive effect – the need for arousal and confidence frame. Meanwhile, the free trial of counter-hedonic entertainment also has a long-term effect after airing.

Based on existing research on consumers’ counter-hedonic consumption motivation, this study confirms the effectiveness and boundary conditions of the free trial strategy in promoting counter-hedonic entertainment consumption for the first time. The results also offer actionable insights for counter-hedonic entertainment marketers and practitioners.

The Internet is full of resources on China and Chinese studies. However, many new users are often overwhelmed by the vast amount of information on the Web. This paper is to offer a starting point for inexperienced users interested in finding information over the Internet on Chinese culture, art, language, literature, history, philosophy and current affairs, etc. It focuses on the World Wide Web resources only, and choices of entry are selective rather than exhaustive.

Regarding human resource and labour relations management, academia focuses mainly on cities; however, rural areas are an integral part of China's economic structure. This study focuses on the movie projection industry in China's rural areas and explores how human resource practices (HRPs) are transformed and the labour process is reconstructed in digital transformation.

We adopt a case study of a rural movie projection company. The company's HRPs reconstructed the labour process of movie projection, and they have been promoted as national standards. Data were collected from in-depth interviews, files and observations.

Rural movie projection companies combine high-performance and paternalistic HRPs in the media industry's digital transformation. HRPs and digital technology jointly reconstruct the labour process. First, the HRPs direct labour process practices towards standardisation. Second, the digital supervision platform guides the control style from simple to technical, placing projectionists under pressure while increasing management efficiency. Third, rural movies made using digital technology have disenchanted rural residents. Accordingly, the conventional relationships between the “country and its citizens,” “individuals themselves,” and “models and individuals” have been removed, and a new relationship between “individuals themselves” is formed thanks to the novel HRPs.

This research plays a crucial role in exposing researchers to the labour process of rural movie projection, which is significant in China but often ignored by Western academia and advances the Chinese contextualisation of research on labour relations.

During the centennial anniversary of Xinhai Revolution in 2011, the Chinese People’s Political Consultative Conference and the State Administration of Radio, Film, and Television supported the production of 1911 for celebrating such an important event that lead to the rise of the Republic of China in the contemporary Chinese history. This paper aims to reflect upon this film in relation to China’s propagation of “Greater China” for the Empire-building project.

By scrutinizing the film text and following the strait controversies over the film, this paper demonstrates how the Chinese Communist agents employed the coproduction model with Hong Kong for globalizing a cinematic discourse of Greater China in part of their Empire-building project.

The study challenges how contemporary Chinese history is ideologically and politically manipulated for advancing the Chinese Communist propaganda over Taiwan. The overall objective is to reflect upon the longstanding historical divergences that stand on the current geopolitical envision and strategy of China for reunification.

This paper provides an interdisciplinary reflection upon the intricate post-Cold War politics in part of the contemporary Chinese cinema under the China–Hong Kong coproduction model. The findings advance novel and timely insights into China’s current envision and strategy for reunification.