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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 movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.

This paper aims to empirically examine how atmospherics affect word of mouth (WOM) about the brand. The authors focus primarily on uncovering the causal mechanism in which such effect is serially mediated by both perceived positive emotions evoked by atmospherics and attitude toward the brand.

To test the research hypotheses, 314 Greek moviegoers were drafted to participate in a survey. Data were analysed using confirmatory factor analysis (AMOS) and the SPSS macro (PROCESS tool). The model was applied to motion pictures, as they provide a particularly good example of short life-cycle products.

Findings indicate that atmospherics are related to WOM about the brand through perceived emotions evoked by atmospherics and, in turn, attitude toward the brand.

The present study extends the relevant literature by providing both direct and indirect links between atmospherics and WOM about a brand.

The model of the present study could be applied to other short life-cycle products that share key characteristics with motion pictures. Moreover, the present study increases movie producers and exhibitors’ understanding of the effects of theatre atmospherics on WOM about the movie and leads to practical suggestions and implications.

WOM is one of the key variables that can affect the profitability of short life-cycle products. To date, there was no evidence that atmospherics can influence WOM about a short life-cycle product.

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.

The purpose of this article is to examine US cinema audiences' reactions to advertising. Cinema advertising and other failures of customer relations management by movie exhibitors explains how consumers are discouraged from going to a cinema to see newly released movies. To avoid commercials, consumers increasingly turn to VCR rentals, DVD purchases and computer downloads, all of which feed production company profits at the expense of the movie theater owners.

Historical observations on the origins and growth of cinema advertising in the USA, coupled with notes on the overall decline of the cinema viewing experience.

Cinema advertising swiftly grew from “underused” to commonplace in the early 1980s, while losing track of theater owners' early concerns for potential harm to the viewing experience for ticket purchasers. The presence of advertising is not in itself the cause for consumer dislike of the theater experience, but the increasing quantity of messages are often poorly written or produced, previously seen by audiences ad nauseam on television and written for a small target group of cinema audiences while boring or offending the rest.

There are limits to consumer tolerance of ambush media vehicles, and a failure to take this consumer abuse into account contributes to a loss of customers. In a similar vein, over commercialization of over‐the‐air radio encourages consumers to use subscription systems, satellite radio or other forms of in‐car entertainment. Increasing television advertising clutter is a major factor in declining ratings for programs, as well as decreased attention to advertising messages by audiences that remain.

A call to action for movie theaters to see ticket sales as a function of factors other than the appeal of the latest blockbusters, with overuse of advertising discouraging repeat customers.

The purpose of this paper is to investigate the impact of the importance, assigned by audiences, of factors such as people, movie features, script, price, promotion, and distribution channels (defined as a movie marketing mix) on the audience’s buying intentions, as well as the impact of their buying intentions on word of mouth (WOM). In addition, the intention is to explore the relationship between the preference and frequency of people’s cultural event attendance with their buying intention and the relationship between people with extroverted personalities and WOM.

The data were collected from 904 valid surveys conducted in Beyoglu, one of the important centres for the culture and art life of the Istanbul.

The results show that promotion, actor or actress, and diversity of distribution channels have a positive effect on people’s purchase intention. In addition, the frequency of attendance to cultural events can be determinative of the audience and helpful for industry professionals.

Although there have been a number of studies that examine the simple relationships among some of these variables (movie marketing mix, attendance, purchase intention, WOM, extraversion), there is still a gap in the literature with regard to these variables in an integrated framework. Considering these variables in the same model and analysing the effects of each dimension individually provides a better explanation of consumer purchase intention and post-purchase behaviour in the movie industry. This study extends the previous research by incorporating the concept of movie marketing and consumption by improving the scale with data collected in Istanbul, Turkey.

In July 2004, J.P. Morgan Partners (JPMP), the private equity arm of JPMorgan Chase & Co., was in the midst of formulating the final terms of a public-to-private buyout proposal for AMC Entertainment Inc. (AMCE), a publicly traded movie theater company.

COVID-19 preventive measures disrupted the media and entertainment business ecosystem, increased over the top (OTT) consumption, brought new OTT players, thus increased competition, and shaped consumer behaviour and habits. Despite this knowledge, in-depth insights into OTT's consumer behaviour, new usage habit and strategies used by subscription-based OTT platforms to maintain resilience during the COVID-19 pandemic are unknown. This paper aims to fill the two gaps in the extant OTT literature.

This study used Eisenhardt's multiple case studies approach to derive the strategies used by the top-performing subscription-based OTT platforms in India. Moreover, a purposive semi-structured Google survey was used to explore consumers' OTT experience during the pandemic. This study analysed data using NVivo 12 (survey) and MS Excel 2010 (case studies).

This study derived seven resilient OTT strategies; competitive low pricing, enhancing customer experience, launching innovative service plans, content localisation, strategic collaboration, flexibility in technology adoption and proactive sales promotion. Consequent to adopting these strategies, consumers' usage of OTT evolved from occasional to habitual. Convenience, ease of accessibility, risk of contracting COVID-19, variety and quality of content, online reviews and affordability drive consumer preference for OTT. Also, this study revealed consumers' varied OTT experiences.

The contribution is two-fold; the derived strategies for maintaining resilience and the in-depth insights into habit formation and consumer behaviour during and after the COVID-19 pandemic. This study is valuable for media and entertainment stakeholders like streaming service providers, OTT services, cable operators, etc.

The purpose of this paper is to categorize customer‐to‐customer (C2C) interaction as a sub‐component of relational capital and conceptualize C2C interaction adding value to business‐to‐customer (B2C) relational capital.

This work empirically tests the concept of C2C interaction and its added value to a firm's B2C relationship within the movie industry. Both business data and consumer interaction from blockbuster movies are collected to test their impact on movie sales.

The results support the hypotheses that C2C interaction (user messages on Yahoo movie message board) adds more explanation to movie sales than B2C interaction (advertising budget) alone, and that there is an inverse relationship between the impact of a firm's B2C interaction and C2C interaction on a firm's sales performance, with the former diminishing over time and the latter increasing over time.

For intellectual capital (IC) researchers, the main implication from the results of this paper is that the value of C2C is “in addition” to the existing customer relations already managed by the firm. The results of this paper confirm C2C relational capital within the movie context. Future research should use more textual‐based data to evaluate the positive and negative consumer interactions and their impact on IC value.

The findings of this paper stress the importance of practitioners, including the voice of customers in their financial reporting. Managers can now extract and incorporate the content of C2C interaction to a firm's day‐to‐day decision‐making process.

The originality of this paper resides in extending relational capital conceptual framework by dividing relational capital into B2C and C2C subcomponents, hypothesizing the added value of C2C interaction to B2C relational capital and the inverse relationship between B2C and C2C relational capital over time, and empirically providing a reference sample for practitioners for future IC reporting.

The purpose of this paper is to combine basic movie information factors, external factors and review factors, to predict box-office performance and identify the most crucial factor of influence for box-office performance.

Five movie genres and first-week movie reviews found on IMDb were collected. The movie reviews were quantified using sentiment analysis tools SentiStrength and Stanford CoreNLP, in which quantified data were combined with basic movie information and external environment factors to predict movie box-office performance. A movie box-office performance prediction model was then developed using data mining (DM) technologies with M5 model trees (M5P), linear regression (LR) and support vector regression (SVR), after which movie box-office performance predictions were made.

The results of this paper showed that the inclusion of movie reviews generated more accurate prediction results. Concerning movie review-related factors, the one that exhibited the greatest effect on box-office performance was the number of movie reviews made, whereas movie review content only displayed an effect on box-office performance for specific movie genres.

Because this paper collected movie data from the IMDb, the data were limited and primarily consisted of movies released in the USA; data pertaining to less popular movies or those released outside of the USA were, thus, insufficient.

This paper helps to verify whether the consideration of the features extracted from movie reviews can improve the performance of movie box-office.

Through various DM technologies, this paper shows that movie reviews enhanced the accuracy of box-office performance predictions and the content of movie reviews has an effect on box-office performance.