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Examines the phenomenon of price signalling whereby consumer goods manufacturers attempt to signal higher quality via a higher price when objective product quality is, in fact, not demonstrably higher. Shows that higher price alone does not succeed in signalling higher quality, but that higher price accompanied by premium‐quality signals in the other elements of the marketing mix does succeed. Concludes that a premium pricing strategy cannot be successful if price is the only marketing variable emphasised and brand managers should think in terms of premium quality positioning that requires the right marketing mix.

Examines the phenomenon of “price signalling”, whereby consumer goods manufacturers attempt to signal higher quality via a higher price when objective product quality is, in fact, not demonstrably superior. A study of two similar facial moisturizers showed that higher price alone did not succeed in signalling higher quality, but that higher price accompanied by premium‐quality signals in the other elements of the marketing mix (advertising, packaging, in‐store location) does succeed. To put it more generally, a “premium pricing strategy” cannot be successful if price is the only marketing variable emphasized. Brand managers should therefore think in terms of a “premium quality positioning” that requires the application of quality cues across the marketing mix.

The purpose of this paper is to investigate the beliefs of undergraduate business students studying in Canada and partners in China about the quality of the program; what they consider effective signals of quality; and their willingness to pay to improve the quality.

A survey was designed and distributed to 481 students in the transnational program during the 2009 and 2011 academic years. Statistical tests were conducted to examine mean differences in the perception of quality, different signals of quality and willingness to pay to improve quality.

The findings of the study indicate that Canadian University and Chinese partner students, mostly in their final years of study, have similar beliefs about the quality of the program. They consider the program as good quality but not top rated. Chinese partners' students in their earlier years of study have a lower perception of quality but this gets better as they progress through the program. Students perceive high quality reputation and professional accreditation as equally important in terms of signalling quality. Finally, many students are willing to pay more to improve the quality of the program.

Some limitations of the study include convenience sample selection and size, translation of survey, the framing of the survey questions and controlling for factors such as grade point average, gender and other factors.

The paper provides important information to monitor quality and to place a value on pursuing accreditation and tuition fee increases.

Students' perception of quality has remained under‐examined in the literature. The research establishes a framework which can lead to future explorations.

The purpose of this paper is to develop and empirically test a new framework that shows how different signals of movie quality along with key control variables affect consumers’ post-consumption evaluations, critics’ reviews (CR), and movie box office revenues.

The data set consists of a sample of 332 movies released between 2000 and 2008. Regression was used to test the study hypotheses.

The results suggest that the three signals of movie quality exhibit different effects on three movie performance measures. Of the three cues, the peripheral quality signal is positive related to movie box, moviegoers’ evaluations (ME), and CR. Furthermore, star performance quality is positive related to both ME and CR. Surprisingly, overall quality signal does not display any influence on movie performances.

The primary limitation is the use of cross-sectional study design and future research should apply for time-series technique to test the relationships between movie quality signals and movie performances.

The findings suggest that consumers and critics evaluate movie qualities based on various movie quality signals. Furthermore, the characteristics of movies also have mixed impacts on movie performances. Movie studios may take these findings into account to produce better movies.

This study proposes and empirically tests the impacts of three groups of movie signals – peripheral quality signal, star performance quality signal, and overall quality signal on motion picture performance. This study contributes to service quality literature and signal theory by categorizing different Academy Awards into three groups of quality signals and by empirically testing the proposed relationships.

This paper aims to explore consumer perceptions of product design awards (PDAs) and their impact on consumer product evaluation and attitude formation about the award-winning product, the award-winning organization and the award-granting organization.

Based on the grounded theory approach, an exploratory qualitative study is conducted, using 16 semi-structured in-depth interviews with Turkish consumers through discussions on real-world examples.

Results show that consumers develop emotional responses to PDAs (e.g. interest, curiosity and confusion), hypothesize reasons for products receiving awards and cite rewards as confirmation of their existing judgments about products. PDAs are perceived as extrinsic cues signaling quality and price, and their impact is increased when consumers feel that the award is based on functional feature superiority. Consumer responses to PDAs are also influenced by the perceived expertise of the award-granting organization and beliefs about the award-granting process. Finally, PDAs can lead to positive brand-perception outcomes, influencing consumer perceptions of the product company as resourceful, competent and prominent.

This study shows that it is critical for companies to inform consumers about the specific features that resulted in a given product receiving a design award, as well as to provide information about the PDA itself.

To the best of the authors’ knowledge, this study is the first attempt to explore consumer perceptions of and reactions to PDAs, with significant implications for both the marketing managers of PDA-winning products and award-granting organizations.

Quality has been widely recognised as an important source of competitive edge in the tourism industry. Much of the focus of research to date has been on the individual firm. However, there has been a shift from interfirm competition to interdestination competition, resulting in a lacuna in the research and a need for more attention to be afforded to management of quality at the destination level. Given the fragmented and diverse nature of the tourism destination, many researchers have underlined the need for co-operation in any effort to improve quality at the destination. However, there is often a reluctance among tourism businesses, particularly small- and medium-sized tourism enterprises (SMTEs) to cooperate. This paper sheds light on the impact of training on interfirm dynamics within a destination quality management network. The findings revealed that training of network members influenced the development of a referral system, which in turn helped to create a tourism quality value chain for the visitor.

The ISO 9000 series of standards has formalised systems for evaluating the ability of organisations to consistently design, produce and deliver quality products and services. Total quality management (TQM) is seen as a relatively new concept and a way for organisations to improve the quality of their products and services, but it may well be the key to survival and achieving competitive advantage in today’s turbulent business environment. However, there are mixed views in the literature concerning whether ISO 9000 and TQM complement or contradict each other. The primary objective of this paper is to address the competing views on both concepts in an attempt to show that both concepts complement each other and ISO 9000 should be used in association with TQM to secure organisational success.

Are radically novel practices more likely to attract recognition when the evaluating audience is composed of external evaluators? Our baseline argument asserts that radical novelty is more likely to be positively evaluated by an external audience and that peripheral (rather than core) producers have higher incentives to adopt novel practices that depart from tradition. Yet, because peripheral producers often lack the necessary support and legitimacy to promote novelty, audiences play a critical role in recognizing their innovative efforts. How can peripheral producers mitigate the challenges associated with novelty recognition? To answer this question, we explore how peripheral producers’ collaboration with acclaimed consultants affects the process of external audience recognition in the context of the Italian wine field from 1997 to 2006. Our findings suggest that radical novelty is positively received by an external audience composed of critics, although we do not find a significant difference between core and peripheral producers. However, external audiences are more open to recognizing peripheral producers’ use of novel practices when they collaborate with well-connected consultants. We find that the use of central consultants produces a “boosting” effect that accentuates the differences between evaluations of peripheral producers who embrace novelty and evaluations of those that follow the tradition. Our study thus advances theory by providing empirical evidence of the value of considering third-party actors such as consultants, who sit at the nexus between the agency required for innovation and external audiences’ recognition of novelty, when studying novelty evaluation and recognition.

While audiences play a key role in the implementation and ultimate success of novel ideas, how audiences are reflected in negotiations about quality within the creative process remains undertheorized. We examine this question through a comparative ethnography of two settings where digital technology use magnifies the countless micro-decisions involved in producing a creative output and considerations of audience evaluation throughout the creative process – Nashville music production and systems biology cancer research. We find that actors encounter a fundamental tension between two competing standards of quality: the technically perfect, processed and ideal versus the empirically grounded, unprocessed and real. We show how actors navigate this tension vis-á-vis three different audiences – internal peers, extended community, and external reviewers – and how this manifests differently across audiences and the arts and sciences, depending on the audience’s expertise. Our study illuminates the tension between the “ideal versus real” in creative processes that is brought to the fore when creating with digital technology, extends extant research on audiences and organizing for creativity, and offers unique insights from our comparative ethnography across the arts and sciences.

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.