Search results

The purpose of this paper is to build a symbiotic evolution model to analyze the symbiotic modes and dynamic equilibrium of mobile internet platform innovation ecosystem (MIPIE) in order to explore its evolutionary path.

From a symbiosis theory perspective, the authors studied the dynamic evolution stages and symbiotic mode of MIPIE. By adopting logistic model, the symbiotic evolution model of MIPIE is established. After calculating the steady conditions and equilibrium point of this model, numerical simulation was done with MATLAB software to illustrate the impact of symbiotic parameters on evolution path in this ecosystem.

The symbiotic evolution mode of MIPIE experienced parasitism, commensalism to asymmetric mutualism, and symmetry mutualism or independence. In given conditions, the dynamic evolution of MIPIE eventually tends to a steady equilibrium point. The evolutionary consequence of innovative subjects is not only determined by the natural growth rate, but symbiotic modes can also affect the evolutionary path. Different symbiotic modes result in different evolutionary paths.

Improved understanding of symbiosis in MIPIE could help policy makers to promote value co-creation and dynamic interests balance while facilitating the cooperation of others for successful platform ecosystem management.

The logistic model introduced here bridge theory and practice while establishing a stronger link between symbiosis theory and platform ecosystem management.

Investigates TV on the Internet, acknowledging it cannot rewrite the economic rulebook, stating it will be under great pressure to syndicate entertainment to and from other media. Concludes that, so far, Internet‐original entertainment programming shows great creative promise, but the economic challenges will not be easy to overcome.

Television became a possible medium for advertising in the late 1930s but its emergence as a major medium dates from 1947. Arguments about the likely effectiveness of television as a source of entertainment attracting large numbers of viewers were coloured by fears of responses to ill‐devised uses by advertisers of the presentation of products or services. The profitability of television selling was forshadowed in 1947.

The purpose of this paper is automatic classification of TV series reviews based on generic categories.

What the authors mainly applied is using surrogate instead of specific roles or actors’ name in reviews to make reviews more generic. Besides, feature selection techniques and different kinds of classifiers are incorporated.

With roles’ and actors’ names replaced by generic tags, the experimental result showed that it can generalize well to agnostic TV series as compared with reviews keeping the original names.

The model presented in this paper must be built on top of an already existed knowledge base like Baidu Encyclopedia. Such database takes lots of work.

Like in digital information supply chain, if reviews are part of the information to be transported or exchanged, then the model presented in this paper can help automatically identify individual review according to different requirements and help the information sharing.

One originality is that the authors proposed the surrogate-based approach to make reviews more generic. Besides, they also built a review data set of hot Chinese TV series, which includes eight generic category labels for each review.

This exploration of management history focuses on mass entertainment media to determine the history of the efficiency expert in popular culture. It reviews the history of the image of the efficiency expert in film and on American‐produced television programs. The review shows that this profession is a universal and pervasive one, permanently embedded in our culture and catholic in background, occupation and workplace. It is generally a man’s job. The most significant historical trend is a sharp change from the efficiency expert as an amusing and relatively harmless character to a malevolent one who is to be feared. Although television has only existed for about half as long as motion pictures, the depiction of the efficiency expert on TV is similar to his movie image. This widely recognized profession needs no introduction to the viewer. He is a negative figure, often laughed at but never admired.

This paper focuses on the problems that arise when there is a power asymmetry between buyers and suppliers that is further complicated by risk and uncertainty. The case study analyses the film or movie industry supply chain and the power regime within it. The paper shows that relationships and contracts in the industry are structured to reflect the dominance of key players seeking to protect their own interests at the expense of others. It is argued that this problem of supplier self‐interest is reinforced for buyers in circumstances of uncertainty with high levels of pre‐ and post‐contractual risk. Buyers must enter into collaborative relationships with their suppliers to minimize risk and uncertainty, but the suppliers can appropriate a disproportionate share of value if a project is successful with the buyer taking all of the upfront risk.

This paper aims to examine the dramatically different markets for over-the-top (OTT) TV services that have emerged in the USA, and other leading markets such as Japan and Korea. Whereas OTT TV services emerged as extensions of mainstream audiovisual providers in Korea and Japan, further entrenching their dominance, they emerged in the USA as market-disrupting newcomers such as Netflix. This paper seeks to explain why, putting forward four explanations: lower resistance to disruptive innovation in public TV dominant systems; higher production costs; lower penetration of broadband-capable devices; and more expensive mobile pricing plans.

This comparative case study examines news and trade press articles, industry surveys and government reports to identify the reasons behind these contrasting experiences of Japan, South Korea and the USA in the deployment of OTT TV services.

To explain why events in the three countries took such dramatically different paths, four explanations were put forward, all complementing one another: lower resistance to disruptive innovation in public TV dominant systems; higher audiovisual production costs in the USA making market-disruptive moves to new technological platforms more risky; lower penetration of broadband-capable devices reducing the profit potential of new OTT-based platforms; and more expensive mobile pricing plans, making it harder for users to access OTT content.

The global trend in the growth of OTT TV services masks significant differences in growth trends and business initiatives at the national level. This paper aims to examine and understand why OTT TV services have shown such different patterns across countries.

Publishers are producing new reference sources on film at an astonishing rate. Each week reviews and advertisements appear to announce yet another book. Books vary in scope, subject emphasis, size, price, and of course, quality, and represent both new works and revised or added editions. Not only are American publishers active, but European firms are getting on the bandwagon, too.

Consumers often search for movie information and purchase tickets on the go. A synopsis is often provided by producers and theatres in mobile apps and websites. However, to the best of the authors’ knowledge, little research has investigated whether the synopsis has an impact on a movie’s box office. This research uses computerized text analysis in examining the influence of linguistic cues of a synopsis on the movie’s financial performance. This paper aims to show that language choice in a synopsis is a significant factor in predicting box office performance.

A total usable sample of 5973 movies was collected using a web crawler. Computerised text analysis using linguistic inquiry and word count was adopted to analyse the movie synopses data. The empirical study comprises two phases. Phase 1 used exploratory factor analysis on 50 per cent of the sample (Sample 1) to establish the dimensionality of psychological processes as reflected in the linguistic expressions. The analysis identified 11 linguistic variables that loaded on four dimensions. The factor structure was replicated on an independent sample (Sample 2) using confirmatory factor analysis. Phase 2 tested the hypotheses using structure equation modelling.

Results show that consistency between movie genres and linguistic cues in a film synopsis promotes movie box office revenue when linguistic cues shown in the synopsis confirm a consumer’s expectancies about a focal movie genre. Conversely, a synopsis reduces the movie box office revenue when the linguistic cues shown disconfirm the genre-based expectancies. These linguistic cues exert similar effects on action and crime films but different effects on comedies and drama films.

It is likely that consumer tastes and linguistic styles of film synopses have evolved over time. As a cross-sectional study, such changes were not taken into consideration in the current research. A longitudinal study in the future can reveal the dynamic relationship between film synopses and audience.

Managerially, the findings show that a synopsis is an effective communication touch point to position a movie. This research provides concrete guidelines in crafting synopses with the “rights words’ aligned with movie-goers’ expectations within each specific genre. Beyond movie consumption, the research findings can be applied to other entertainment products, such as TV series and books.

To our knowledge, this research is the first in studying the linguistic cues in synopses and its relation to box office performance. It addresses this knowledge gap by answering the basic question of whether movie synopses matter. Methodically, the paper marks the first attempt to use the two-step structural equation modelling method on computerised content analysis data.

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.