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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.

Despite almost 50% of the Indian population being women, there is a significant gap between the genders in movie production. Although there might be several reasons attributed to the underrepresentation of women in the role of a movie entrepreneur, it is a fact that female movie entrepreneurs are few and far between. Most of the female movie producers in Indian movie industry tend to be spouses or children of leading male actors who have taken up the mantle to assist their husbands or fathers. This chapter, using interviews and life history analysis, examines reasons for low numbers of female entrepreneurs in the Indian movie industry, a domain that has largely been overlooked.

Over the past years – because of the huge impact of companies such as Airbnb and Uber – the concept of the platform became extremely popular in the business world. Still, the concept of the platform has been evolving for a long time in the management field, from internal platforms (like the famous case of Sony Walkman) to industry-wide platforms (like the case of computers with external software developers), up to transaction and two or multi-sided platforms (such as Airbnb and all the companies with a similar business model). Platforms are often considered disruptors in several industries, from accommodations to mobility to entertainment. Still, the disruptors in the creative world usually deal with the way in which they distribute content (Netflix or Spotify), rather than with the content itself. The purpose of this paper is to understand if and how platforms trategies can also be used in the creative industries.

This paper digs into the movie industry, studying the three most successful Superheroes sagas of the past two decades as follows: the Marvel Cinematic Universe (MCU), DC Comics and X-Men using a narrative approach. The three sagas are studied through network analysis to understand their “platform approach”.

The results show how platform strategies are relevant also in creative industries – defining the concept of “knowledge platform strategy” – and how they have a significant impact in terms of market performance. The MCU builds on a common knowledge through the various movies that enable the chance to rely on many of the platforms’ characteristics emerging from the literature.

This research extends the concept of “platforms,” relying on the three kinds of platform defined in the managerial literature and introducing the “knowledge platform strategy” for creative industries. The main contribution is related to the extension of platforms in research fields where it has not been exploited. This opens up avenues for research both from a knowledge platform and creative industries perspectives.

Managers, working not only in creative industries but also in industries where a common knowledge basis may be leveraged to develop new products over time, may use the concept of “knowledge platform strategy” to rethink the new development process or knowledge management from a customer perspective.

This study explores a mature and relevant concept – the platforms – in a new filed, the creative industries using the case of Superheroes sagas, proposing a new perspective to explain the success of MCU while proposing a new platform strategy.

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 to examine how movie studios develop an integrated social media strategy to achieve box office success. Departing from prior studies which focus on single social media platforms, this study examines the role of integrated social media promotion strategy using multiple social media platforms on movie success in the Bollywood movie industry.

This study adopts an in-depth and comprehensive case study approach to examine the promotional strategies adopted through YouTube, Facebook and Twitter throughout the life cycle of the movie and its impact on the box office success of the movie.

The study provides three major findings. First, the social media promotional strategy was centred on developing appropriate content to match the unique characteristics of the social media platforms. While Facebook was utilised primarily to connect audiences through organising fun events, Twitter was used to retweet the positive word-of-mouth generated from the audiences. Second, emphasis on promotional strategy through social media platforms in the post-release stage of the movie was found to be equally important as the pre-release stage. Finally, the social media platforms were utilised to develop emotional connection with the audience by promoting the content through which the audience identified themselves with the main protagonist of the movie.

This study is among the very few studies which examines the role of integrative social media strategy on the box office success in the movie industry. This study emphasises the way firms can utilise the synergies across different social media platforms to achieve success in the movie industry.

We examine the role of financial and nonfinancial performance measures in managing revenues derived from life cycles of a type of intellectual property products − motion pictures.

Our study focuses on the first two markets in which audiences can watch a motion picture – the upstream theatrical market and the downstream home video market. We combine data collected from numerous public and proprietary sources and form a final sample of 654 motion pictures. Then we perform regression analysis on the data.

First, three measures of a movie’s performance in the theatrical market, opening box office revenue, peak rank, and weeks at the peak rank, have positive effects on subsequent revenues in the home video market. Second, the same set of performance measures also predicts the motion picture’s life span in the theatrical market. Third, when the actual life span of a motion picture in the theatrical market deviates from its predicted value, the total return on investment in the motion picture decreases.

We do not have data on other downstream markets related to motion pictures, such as pay-per-view and online video streaming.

This study suggests that the public and proprietary data can be used to inform managerial decisions regarding intellectual property product life cycles.

This is the first accounting study that directly examines life cycle revenues of intellectual property products. We also extend literature on revenue driver and revenue management research to the product level.

Previous literature on WOM has consistent findings on the positive and significant effect of WOM volume on product sales, but the literature on WOM valence has been mixed. In this study, the authors aim to explain the reason for the mixed effect of WOM valence on product sales by considering heterogeneous characteristics of products, especially in the movie market, by segmenting products into mainstream and non‐mainstream movies.

This study uses empirical data from the motion picture industry, such as box office revenue, WOM volume and valence, and other variables of movie characteristics. The hypothesis is tested using OLS and panel data analysis in econometric methods.

The authors find a significant effect of WOM valence on box office revenue only in the case of non‐mainstream movies, which have relatively smaller marketing budgets than mainstream movies. The findings suggest that as marketing communication channels become more diverse, with larger marketing budgets, the effect of online WOM valence on product sales can be diluted. In addition, it is found that the effect of WOM volume on box office revenue is greater for mainstream movies, suggesting that consumers build higher credibility on products with larger sales or WOM volume, especially for experience goods with uncertain quality.

The findings explain the weak relationship between WOM valence and product sales, which has been controversial in the WOM literature, and broaden the understanding of the effect of WOM on product sales.

The relationship between WOM valence and sales and, consequently, the revenue of a good has not been clearly understood, considering the heterogeneous characteristics of consumers in previous literature. In this study, it is found that WOM volume and valence have different effects on product sales, corresponding to differences in product category. The findings suggest a reason for the weak relationship between WOM valence and product sales, which has been controversial in the WOM literature.

The aim of this paper is to analyze the interrelationship between film-induced tourism and visits to theme parks by tourists and examine the most viewed movies worldwide (2010–2022) which are related with theme parks and their attractions.

The methodology used in this study is a set of qualitative and quantitative indicators for measuring the most visited theme parks worldwide and the most viewed movies that have allowed to answer the research questions.

This research provides a new contribution to tourism and entertainment industries. Results have shown that film-induced tourism can be the perfect marketing tool to attract more tourists to theme parks through movies and their real or fictional characters represented in films such as Marvel, Minions, Avatar, Harry Potter and Disney, amongst many others. These famous characters are part of theme park’s rides to attract tourists to visit film theme parks These rides allow users to travel in a fantasy experience and interact with film characters of cartoons or fictions. There is a high correlation between film-induced tourism and theme parks’ attractions. Film-induced tourism provides great benefits to the society, theme parks, cinemas and tourist destinations. Indeed, movies help to increase the number of visitors to theme parks. In 2019, 215 million people visited the top 20 theme parks worldwide analyzed in this study, this figure is quite lucrative to entertainment and tourism sectors, local and regional economies where these theme parks are localized.

This study presents the importance of theme parks at tourist destinations because theme parks are an extension of movies, thus is, the end of the physical perfect experience at theme parks which began in a movie seat or on your TV/videogame/PC screens.

本文的主要目的是分析电影引起的旅游和游客参观主题公园之间的相互关系, 并研究与主题公园及其景点有关的全球最受欢迎的电影（2010-2022年）。

本研究使用的方法是一套定性和定量的指标来衡量全球访问量最大的主题公园和观看次数最多的电影, 使我们能够回答本研究中提出的问题。

这项研究为旅游和娱乐业提供了新的贡献, 结果表明, 电影引起的旅游可以成为完美的营销工具, 通过电影及其影片吸引更多的游客到主题公园。通过电影和他们在电影中所代表的真实或虚构的人物, 如漫威、小人、阿凡达、哈利波特、迪斯尼等, 主题公园。这些著名人物是主题公园景点的一部分, 以吸引游客参观与电影有关的景点。这些景点让游客有一个幻想的体验, 并与卡通人物互动。电影引起的旅游和主题公园景点之间存在着高度的相关性。我们必须认识到, 电影引发的旅游为社会、主题公园、电影院和旅游目的地提供了巨大的利益。事实上, 电影有助于增加主题公园的游客数量。2019年, 有2.15亿人参观了本研究中分析的世界前20大主题公园, 这个数字对于娱乐和旅游部门、这些主题公园所在的地方和区域经济来说是相当有利可图的。

本研究揭示了主题公园在旅游目的地的重要性, 因为这些旅游景点是电影的延伸, 也就是说, 主题公园及其基于电影和动画的景点是游客在主题公园生活体验的最后一部分, 而这种体验是从电影院的座位上、电视、视频游戏或电脑屏幕前开始的。

El principal desafío de este artículo es analizar la interrelación entre el turismo inducido por las películas y las visitas a los parques temáticos por parte de los visitantes, y examinar las películas más vistas en todo el mundo (2010-2022) relacionadas con los parques temáticos y sus atracciones.

La metodología utilizada en este estudio es un conjunto de indicadores cualitativos y cuantitativos para medir los parques temáticos más visitados a nivel mundial y las películas más vistas que nos han permitido responder a las preguntas planteadas en esta investigación.

Esta investigación proporciona una nueva contribución a las industrias del turismo y el entretenimiento. Los resultados han demostrado que el turismo inducido por el cine puede ser la herramienta de marketing perfecta para atraer más visitantes a los parques temáticos a través de películas y sus personajes reales o ficticios representados en películas como Marvel, Minions, Avatar, Harry Potter, Disney, entre muchos otros. Estos personajes famosos son parte de las atracciones de los parques temáticos para atraer a los visitantes a visitar las atracciones relacionadas con las películas. Estas atracciones permiten a los visitantes tener una experiencia de fantasía e interactuar con personajes de películas de dibujos animados o ficción. Existe una alta correlación entre el turismo inducido por el cine y las atracciones de los parques temáticos. Debemos reconocer que el turismo inducido por el cine ofrece grandes beneficios a la sociedad, parques temáticos, cines y destinos turísticos. De hecho, las películas ayudan a aumentar el número de visitantes a los parques temáticos. En 2019, 215 millones de personas visitaron los 20 parques temáticos más importantes del mundo analizados en este estudio, esta cifra es bastante lucrativa para los sectores de entretenimiento y turismo, y la economía local y regional donde se encuentran estos parques temáticos.

Este estudio revela la importancia de los parques temáticos en los destinos turísticos, dado que estas atracciones turísticas son una extensión de las películas, es decir, los parques temáticos y sus atracciones basadas en películas y animaciones son la parte final de una experiencia vivida por los visitantes en dichos parques y que comenzó en un asiento de cine, frente a su TV, un videojuego, o pantalla de ordenador.

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.