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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 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.

The purpose of this paper is to investigate two questions. First, are movie-based online community evaluations (CE) on par with film expert evaluations of new movies? Second, which group makes more reliable and accurate predictions of movie box office revenues: film reviewers or an online community?

Data were collected from a movie-based online community Fandango for a 16-month period and included all movies released during this time (373 movies). The authors compared film reviewers’ evaluations with the online CE during the first eight weeks of the movie’s release.

The study finds that community members evaluate movies differently than film reviewers. The results also reveal that CE have more predictive power than film reviewers’ evaluations, especially during the opening week of a movie.

The investigated online community is based in the USA, hence the findings are limited to this geographic context.

The main implication is that film studios and movie-goers can rely more on CE than film reviewers’ evaluation for decision making. Online CE can help film studios in negotiating with distributors, theatre owners for the number of screens. Also, community reviews rather than film reviewers’ reviews are looked upon by future movie-goers for movie choice decisions.

The study makes an original contribution to the motion picture performance research as well as to the growing research on online consumer communities by demonstrating the predictive potential of online communities with regards to evaluations of new movies.

The purpose of this study is to detect these reviews’ complex emotions, visualize and analyze them. Movie reviewers’ moviescores and reviews can be analyzed with respect to their emotion content, aggregated and projected onto a movie, resulting in an emotion map for a movie. It is then possible for a moviegoer to choose a movie, not only on the basis of movie scores and reviews, but also on the basis of aggregated emotional outcome of a movie as reflected by its emotion map displaying certain emotion map patterns desirable for the moviegoer.

The authors use the hourglass of emotion model to find the emotional scores of words of a review, then they use singular value decomposition to reduce the data dimension into singular scores. Once, they have the emotional scores of reviews, the authors cluster them by using k-means algorithm to find similar emotional levels of movies. Finally, the authors use heat maps to visualize four dimensions in a figure.

The authors are able to find the emotional levels of movie reviews, represent them in single scores and visualize them. The authors look the similarities and dissimilarities of movies based on their genre, ranking and emotional statuses. They also find the closest emotion levels of movies to a given movie.

The authors detect complex emotions from the text and simply visualize them.

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.

After the successful release of the first Hunger Games film in 2012, the film's distributor, Lionsgate, was preparing to release the next movie in the series, Hunger Games: Catching Fire. Fan expectations had grown after the success of the first film, and Lionsgate faced the challenge of keeping moviegoers interested and engaged in another Hunger Games movie. In an era marked by the rising popularity of digital and social media, Lionsgate knew that attracting fans to a sequel meant pushing the boundaries of traditional marketing tactics.

Digital brand storytelling is about using digital media in a holistic way to tell a brand story and build excitement for an audience. Brand storytelling seeks to make a connection with the audience by giving them an emotional experience that resonates with them. While Lionsgate was aware that traditional marketing would need to be blended with a digital campaign to bring in moviegoers, it also needed to strike a careful balance between the two and choose the appropriate platforms to tell a cohesive story. Should Lionsgate launch a brand storytelling campaign to appeal to fans? Lionsgate's comparatively small marketing team gathered to brainstorm about how to execute such a campaign and position the film for another big success.

The purpose of this paper is to examine the influence of volume and valence of online movie ratings on consumers’ risk perceptions and purchase intentions, as well as the moderating impact of cultural values, in four emerging Asian markets.

Using a survey questionnaire, data was collected from 204 respondents for Study 1 and 376 respondents for Study 2 in four emerging markets (China, India, Chinese Macau, and the Philippines). The analysis was conducted using analysis of variance.

Results indicate that moviegoers express higher risk perceptions and lower purchase intentions when the volume of online ratings is smaller and when the valence (average rating) is lower. These effects are enhanced for more conservative consumers, but are not influenced by consumers’ self-transcendence. Indian consumers were found to be more conservative than the other Asian consumers in the study.

Taken together, the findings make significant contributions to the literature on services marketing, online ratings, cultural values, risk perceptions, and emerging markets. In contrast to correlational studies, the experimental design controls for potential confounding factors and provides evidence of causality between online ratings and consumer responses. In addition, by using cultural values, the authors avoid the problems associated with using national culture scores to characterize individuals or sub-groups within countries.

The study suggests that despite the geographical proximity of these emerging markets, key discernible differences exist due to the moderating impact of cultural values on consumer responses. When targeting consumers in relatively conservative markets (e.g. India), a large volume of positive online ratings may lower consumers’ risk perceptions and increase their purchase intentions.

This study is one of the pioneering studies examining the impacts of volume and valence of online movie ratings on consumers’ risk perceptions and purchase intentions in emerging Asian markets.

The paper focuses on resistance driven by animosity toward a country due to cultural, political, military and economic reasons. Previous research has linked animosity toward a given country to explicit judgments and purchases of products from that country, thus ignoring the possibility that latent ideological beliefs may reveal themselves behaviorally more subtly. This research focuses on implicit consumption expressions of country‐based consumption resistance.

Cross‐sectional survey data were collected from French moviegoers in seemingly unrelated studies. In study one, respondents reported the movies they had watched at a movie theater over the past month and these movies were subsequently coded by country of origin. Animosity, ethnocentrism, and global openness were measured in study two. Finally, participants selected lottery tickets for either a French or foreign movie. This choice measure captures whether ethnocentric consumption tendencies emerge after animosity is made salient.

Ideological resistance to the US expresses itself in the anti‐consumption of US movies. Further, when animosity toward the US is made salient, high animosity French respondents express an increased preference for domestic consumption choices, even though they are not generally ethnocentric.

The focus on actual consumption data provides an externally valid test of both latent and explicit expressions of ideological resistance to a country in the form of consumption choices.

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.