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This study aims to examine the intricate relationships in the making of a box office through a stakeholder lens that considers the influence of filmmakers and theatres on moviegoers' intention to watch a movie at the theatre.

Employing covariance-based structural equation modelling (CB-SEM), this study analyses survey data on cinema-going experience collected from 673 moviegoers in digital era of a new normal.

The findings elucidate that movie branding, movie genre and theatre preference positively influence moviegoers' intention to watch a movie at the theatre. Furthermore, the study unveils that theatre preference is swayed by an array of personal and social factors, including control belief and social companion. Intriguingly, promotional elements, both commercial and non-commercial, were found to influence movie branding, yet not the genre when predicting theatre attendance intentions.

Amid the burgeoning alternatives for watching movies (e.g. cable television and online streaming platforms), this article offers a contemporary exploration of the variables that motivate audiences to partake in the cinema-going experience, thereby serving as a proxy to decipher the factors that drive a movie's box-office success in digital era.

Unlike prior studies relying on archival data, the present study collects and uses survey data to develop a novel stakeholder theory-based marketing framework for the box office and moviegoers. The study also provides seminal insights on the box office and moviegoers in the digital era of a new normal.

The growing interest of the scientific community in film marketing research can be discovered by the large scale published writings on the subject. Although, in this field, comprehensive and systematic research is still lacking. The important aim of this article is to merge the latest research results of film marketing through bibliometric research on articles published from 1976 to 2020, and to examine and introduce the research outcome from the view of the growth trend of the field; the most productive and influential countries, authors, articles, institutions, and research journals; keywords, author patterns, and international linkages. Research outcomes show that film marketing research increased gradually from 1976 to 2020, especially in the last five to 10 years. During this period, all 500 scholarly articles were published in 331 journals and listed in Scopus. Comparison is drawn between institutions from developing countries (in terms of number of articles) and developed countries (in terms of citation rate). On the basis of key points and three-factor examination, a conclusion is drawn that in the last 10 years, ‘film marketing’ as a keyword has attracted widespread attention.

This case was written with publicly available information about Nintendo.

In the 1980s and 1990s, Nintendo dominated the video game industry with a market share of 90%. In 2020, Nintendo’s market share dropped to nearly 31%. This case examines a 40-year history of Nintendo, including its core strategy of video game and video game console development and its growth strategy using its intellectual property. Throughout its history, Nintendo has faced and continues to face stiff competition from Sony, Microsoft and new emerging technologies like virtual reality video games. Nintendo has the challenge of competing in a rapidly changing industry with changing customer preferences where it once had a dominant market share. Can Nintendo continue competing, relying on its core competency of developing new video games and consoles? Or moving forward, should it further define itself more broadly by continuing to leverage its intellectual property in the entertainment industry?

This case is suitable for undergraduate courses in marketing, marketing management and business strategy, or where an instructor focuses on strategic decision-making. This case will provide valuable in-class discussions on the importance of defining what a business should do and how it should grow. Additionally, this case will be useful for courses that include advanced discussions on tradeoffs between focusing on core competencies and growth by expanding into other opportunities that are not necessarily part of a business’s core strategy. A portion of this case was tested in an undergraduate marketing strategy and marketing principles course. The case created an excellent environment for critical thinking and analysis.

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.

This study is based on the heuristic-systematic model (HSM) to dynamically examine the effect of review variance on sales and the boundary conditions that mitigate this effect.

Based on the theoretical domain of HSM, a conceptual model is proposed that analyzes the nonlinear relationship between review variance and sales and the interaction and motivation factors that moderate these relationships. Review data from websites targeting the film industry in the USA and South Korea (Korea) were collected to empirically analyze the authors' hypothesis, and panel regression analysis was used for confirmation.

Moderated by interactive and motivational factors, review variance exhibits an inverse-U-shaped relationship with review variance. Specifically, as an interaction factor, review valence and owned social media (OSM) resulted in positive interaction effects, and as a motivation factor, the number of alternatives exhibited a positive interaction effect with review variance. The effect of review variance was less pronounced in the USA than in Korea.

The study outcomes reveal a nonlinear relationship between review variance and sales, thus supporting the contradictory findings of previous studies. This study contributes to the literature by using the HSM as a theoretical framework to verify various HSM mechanisms using online review data. This exploratory study also contributes to the international marketing literature by showing that the effects of review variance vary across cultures.

Anecdotal evidence suggests that casting actors with similar facial features in a movie can pose challenges in foreign markets, hindering the audience's ability to recognize and remember characters. Extending developments in the literature on the cross-race effect, we hypothesize that facial similarity – the extent to which the actors starring in a movie share similar facial features – will reduce the country-level box-office performance of US movies in East and South-East Asia (ESEA) countries.

We assembled data from various secondary data sources on US non-animation movies (2012–2021) and their releases in ESEA countries. Combining the data resulted in a cross-section of 2,616 movie-country observations.

Actors' facial similarity in a US movie's cast reduces its box-office performance in ESEA countries. This effect is weakened as immigration in the country, internet penetration in the country and star power increase and strengthened as cast size increases.

This first study on the effects of cast's facial similarity on box-office performance represents a novel extension to the growing literature on the antecedents of movies' box-office performance by being at the intersection of the two literature streams on (1) the box-office effects of cast characteristics and (2) the antecedents, in general, of box-office performance in the ESEA region.

According to Yubin et al. (2023), films serve as a medium for conveying visual representations of various elements such as landscapes, buildings, landmarks and monuments, which provide a contextual backdrop for the narrative. According to Vila et al. (2021), the number of global tourists visiting film locations exceeds 80 million. In addition, according to Yubin et al. (2023), the promotion of tourism is facilitated through the utilisation of films, which serve to create novel representations, counteract negative perceptions and enhance the portrayal of underdeveloped destinations. A significant number of individuals engage in the practise of visiting movie sets with the intention of re-experiencing the emotional impact of the film. The devaluation of film marketing has been observed. This method represents a highly indirect approach to enticing tourists. This chapter examines the comprehension of travellers' motivations and the perception of film-exposed locations in Bollywood films (Salnick, 2023). Film tourism provides a tailored and personalised experience for individuals. The difficulty in measuring this concept arises from factors such as the emotional responsiveness, personality traits, background and interpretive abilities of the viewers in relation to media images. According to Castro et al. (2023), the inclusion of a destination on a screen can serve as a means to enhance the diversity of a site's tourist offerings or mitigate the effects of seasonality by providing opportunities for experiential activities, showcasing notable landmarks or serving as a filming location. Film destinations have the potential to gain popularity and benefit from advertising and the perception of spectators.

This study aims to examine the public’s acceptance of film-induced tourism and develops the relationship among placement marketing, involvement, place attachment and travel intention. The film Your Love Song shot in the Hualien and Taitung regions in Taiwan was selected as the case study.

An online sample survey was conducted using a structured questionnaire, and statistical tests and overall structural equation modeling analysis using the SPSS and AMOS statistical software packages, respectively, were performed.

This study results demonstrate that destination placement marketing has a significant positive effect on the level of destination involvement, place attachment and travel intention of viewers. Moreover, the level of involvement has some intermediary effect on the interrelationship between placement marketing and travel intention. Hence, this study suggests that relevant government agencies and tourism operators should promote local tourism through films and television shows and attract more tourists by retaining the original shooting scenes.

While previous studies have only analyzed two or three of the four concepts of film-induced tourism, placement marketing, travel intention, involvement and place attachment, this study completely integrates these four concepts and proves the correlation between them.

Placement prominence is a multidimensional concept. Previous studies have defined and operationalized prominence in different ways, and no studies have tried to systematically examine what should and should not be counted as prominence. This study aims to fill this gap.

Using a content analysis of six short films and a survey study on 129 Chinese young adults, this study systematically examined 13 dimensions of placement prominence on the memory of placed brands.

Factor analysis has reduced the 13 dimensions into five factors: contextual, narrative, sensory, exposure and spatial prominence. Fuzzy-set qualitative comparative analysis (QCA) software was used to conduct a contrarian case analysis and test for predictive validity. This was followed by a QCA to identify the optimal configurations of the five factors that may lead to a high recognition of the placed brands. The optimal configurations were also contrasted across two gender and brand familiarity groups. While the optimal configurations of prominence on brand memory for male and female participants were largely the same, the combinations differed between participants with low and high brand familiarity.

Previous studies in product placement usually operationalize prominence with a few dominant dimensions intuitively though several other dimensions, and their interactions could also affect the prominence level. To the best of authors’ knowledge, this is the first study that used multiple dimensions of prominence configurations to identify paths that may lead to low and high brand memory. The empirical results contribute to the theory and understanding of the effect of prominence on brand memory and provide guidance to brand managers in determining which prominence configuration is the most suitable for achieving their promotional objective.

This research paper aims to investigate detailed relationships between market selection and product positioning decisions and their associated short- and long-term product performance outcomes in the context of the music category: a cultural goods industry with high amounts of product introductions. Market selection decisions are defined by the size, competitiveness and age of market subcategories within an overall product category. Positioning decisions include where a product’s attributes are located spatially in the category (periphery versus the market center), whether a product resides within a single subcategory or spans multiple ones and what brand strategy (single versus co-branding) is used.

Data are from multiple sources for the US music industry (aka product category) from 1958 to 2019 to empirically test the hypotheses: genres (rock, blues, etc.) correspond to subcategories; artists to brands; and songs to products. Regression analyses are used.

A complex set of nuanced results are generated and reported, finding that key marketing decisions drive short-term new product success differently and frequently in opposing ways than long-term success. Launching into very new, well-established or very competitive markets leads to the strongest long-term success, despite less attractive short-run prospects. Positioning a product away from the market center and spanning subcategories similarly poses short-run challenges, but long-run returns. Brand collaborations have reverse effects. Short-run product success is found, overall, to be difficult to predict even with strong data inputs, which has substantial implications for how firms should manage portfolios of products in cultural goods industries. Long-run product success is considerably more predictable after short-run success is observed and accounted for.

While managers and firms in cultural goods industries have long relied on intuition to manage market selection and product positioning decisions, this research tests the hypothesis that objective data inputs and empirical modeling can better predict short- and long-run success of launched products. Specific insights on which song characteristics may be associated with success are found – as are more generalizable, industry-level results. In addition, by distinguishing between short- and long-run success, a more complete picture on how key decisions holistically affect product performance emerges. Many market selection and product positioning decisions have differential impacts across these two frames of reference.