Entertainment science: data analytics and practical theory for movies, games, books, and music
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cham, Switzerland
Springer
[2019]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xxiv, 865 Seiten Illustrationen, Diagramme (teilweise farbig) |
| ISBN: | 9783319892900 |
Internformat
MARC
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| 245 | 1 | 0 | |a Entertainment science |b data analytics and practical theory for movies, games, books, and music |c Thorsten Hennig-Thurau, Mark B. Houston |
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| 999 | |a oai:aleph.bib-bvb.de:BVB01-030601207 | ||
Datensatz im Suchindex
| _version_ | 1804178924770426880 |
|---|---|
| adam_text | Contents
1 Forget the “Nobody-Knows-Anything” Mantra: It’s Time for
Entertainment Sciencel 1
The “Nobody-Knows-Anything” Mantra in Entertainment 3
Why Entertainment Science Should Be the New Mantra of the
Entertainment Industry 6
Avoiding the “Nobody-Knows-Anything” Trap with Data
Analytics 6
Avoiding the “False-Precision” Trap with Theory 9
Understanding (and Overcoming) the Persistent Forces of the
“Nobody-Knows-Anything” Mantra 15
How This Book is Organized: Entertainment Science as a
Cross-Product Approach to Knowledge Generation 17
Before We (Really) Get Started: Some Words on the Empirical
Methods Employed by Entertainment Science Scholars 23
Regression Analysis as the Econometric “Mother” of
Entertainment Science Methods 23
Some Challenges—and a Quick Glance at Methodological
Approaches to Master Them 27
Concluding Comments 33
References 34
xv
xvi
Contents
Part I Products, Markets, Consumers—The Business and
Economics of Entertainment
2 The Fundamentals of Entertainment 41
Whats Entertainment? 41
Why is Entertainment Important After All? 43
Entertainment Generates Substantial Economic Value! 44
Entertainment is a Pioneering Industry! 45
Entertainment Defines Our (and Your) World! 48
Concluding Comments 56
References 56
3 Why Entertainment Products are Unique; Key Characteristics 59
Entertainment Products Offer Hedonic Benefits 62
The Pleasure Principle 62
Holistic Judgment 65
Hedonic Does Not Rule Out Utilitarian 66
Managerial Consequences of the Hedonic Character 68
Entertainment Products Are Prone to Satiation Effects 69
Of Utilities and Satiation 69
Levels of Satiation in Entertainment 72
Managerial Consequences of the Satiation Effect 75
Entertainment Products are Cultural Products 76
Entertainment Products Express Attitudes and Values 77
Entertainment Products Constitute Cultures and Influence
Their Choices 82
Managerial Consequences of the Cultural Character 85
Entertainment Products are Difficult to Judge 86
The Experience (and Quasi-Search) Good Character of
Entertainment 86
Entertainment Choices Depend on Taste 89
Managerial Consequences of the Difficulty to Judge
Entertainment 97
Entertainment Products are Creative Products 98
The “Art-for-Art s-Sake” Property of Entertainment 99
The “Motley Crew” Property of Entertainment 101
The “Infinite Variety” Property of Entertainment 103
Managerial Consequences of the Creative Character 104
Entertainment Products are Information Goods 106
Contents xvií
The “First-Copy Cost” Property of Entertainment 106
Managerial Consequences of the Information Good Character 108
Entertainment Products Have Short Life Cycles 109
The “Perishability” Property of Entertainment 109
Managerial Consequences of Entertainment s Short Life
Cycles 112
Entertainment Products (Potentially) Have Externalities 113
The “Two-Sided” Property of Entertainment 113
Managerial Consequences of Entertainment Products’
Externalities 116
Concluding Comments 117
References 118
4 Why Entertainment Markets Are Unique: Key
Characteristics 125
The Big Entertainment Picture: Two Sub-Markets
Characterized by High Innovation and Partial Concentration 125
High Innovation Frequency in Entertainment Markets 128
A Tendency Toward Concentration: High Entry Barriers
in Entertainment Markets 129
Production and Marketing Resources 130
Distribution Resources 132
Access to and Control of Creatives and Their Works
as Resources 135
Technological Resources 137
Even More Concentration: Network Effects 139
Direct Network Effects 139
Indirect Network Effects and How They Influence the
Success of Entertainment Products 141
Managerial Consequences of Entertainment Markets’
Characteristics 145
Concluding Comments 147
References 147
5 Creating Value, Making Money: Essential Business Models
for Entertainment Products 151
A Value Creation Framework for Entertainment 152
Who are Those Who Create Entertainment Value and How
They Do It: A Snapshot of Players, Products, and Trends 157
xviii
Contents
Major Studios, Labels, and Publishers: The Entertainment
Conglomerates 157
The Market for Filmed Content: Movies and TV Productions 164
The Market for Written Content: Recreational Books 169
The Market for Recorded Content: Music 171
The Market for Programmed Content: Electronic Games 174
The Dynamics of Entertainment: Some Words
on Integration and Transformation Processes 176
Transforming Value into Money: Approaches for Managing
Revenues and Risk 182
Generating Revenues from Consumers 183
Generating Revenues from Advertisers 194
Generating “Revenues” from Third Parties: The Case of
Subsidies and Other Public Benefits 202
Managing the Risk of Entertainment Products 206
Concluding Comments 224
References 225
6 The Consumption Side of Entertainment 233
Why We Love to Be Entertained: The Sensations-Familiarity
Framework of Entertainment Consumption 234
The Specific Motivational Values that Lead Us to Consume
Entertainment 237
Of Sensations and Familiarity 241
The Emotional Facet of Entertainment Consumption 244
How Emotions Work 245
What Kinds of Emotions Exist? 249
Which Emotions Affect Entertainment
Decisions—and How? 253
The Imagery Facet of Entertainment Consumption 259
On Event Models, Images, and Imagery 260
The Power of Imagery: Narrative Transportation,
Immersion, and Flow 264
Narrative Transportation 264
A Process Model of Entertainment Consumption 275
Concluding Comments 281
References 282
Contents xix
Part II Managing Marketing Entertainment—What Makes
an Entertainment Product a Hit?
7 Entertainment Product Decisions, Episode Is The Quality
of the Entertainment Experience 295
Linking (Experience) Quality with Product Success 296
What Makes High-Quality (a.k.a. “Great”) Entertainment? 299
Getting Closer to the Products Core: What Makes a “Great”
Storyline? 302
Using Analytics and Theory to Understand “Great”
Storytelling 302
Can Computers Craft “Great” Stories? 306
Concluding Comments 310
References 311
8 Entertainment Product Decisions, Episode 2s Search
Qualities and Unbranded Signals 313
Technology as a Search Attribute in Entertainment 314
Technology and the Quality of Games 316
Technology and the Quality of Movies 319
Technology and the Quality of Books 325
Technology and the Quality of Music 326
Signals of Quality for Entertainment Products 328
Entertainment Genres and Themes 329
Entertainment Ratings and the Controversial Content on
Which They Are Based 343
Entertainment’s Country of Origin 351
The Production Budget 357
Concluding Comments 360
References 361
9 Entertainment Product Decisions, Episode 3: Brands
as Quality Signals 369
The Fundamentals of Entertainment Branding 371
What’s in an Entertainment Brand? 371
Strategic Options of Entertainment Branding 373
Brand Elements: What is a Good Brand Name (and Does it
Matter Financially)? 382
Entertainment Line Extensions: The Case of Sequels and
Remakes 386
XX
Contents
What Sequels and Remakes Have in Common—and What
Sets Them Apart 386
“Average” Return and Risk Effects for Entertainment Line
Extensions 388
A Closer Look at the Factors that Make a Successful
Entertainment Line Extension 395
The Dynamics of Line Extension Similarity: Of Thresholds
that Vary with Time 403
Entertainment Category Extensions 404
Why Do a Category Extension? 405
How Category Extensions Affect Revenues and Risk:
Averages and Contingencies 406
Stars as Human Entertainment Brands 409
How Do Stars Generate Value for Consumers? 410
The Financial Impact of Stars on Product Success 415
When You Wish to be a Star: The Controversial Roles
of Talent and Serendipity 424
Franchise Management: A Holistic Look on Entertainment
Brands 429
How Thinking in Franchises Shapes the Economic Logic 429
When the Extension Affects the Original Brand: Reciprocal
Spillover Effects 434
From Star Wars to Marvel: The Rise of Entertainment
Universes 438
What’s an Entertainment Brand Worth? Using Econometric
Approaches for Measuring Brand Equity in Entertainment 446
Going Beyond Averages and Subsets: On the Valuation of
Individual Entertainment Brands 446
Valuing the Next Spider-Man Sequel 447
Concluding Comments 452
References 453
10 Entertainment Product Decisions, Episode 4: How
to Develop New Successful Entertainment Products 463
The Strategic Dimension of Entertainment Innovations 465
Artistic Versus Economic Innovation Goals 465
The “Right” Degree of Innovativeness 469
Make, Cooperate, or Buy? 473
Some Threats to Systematic Innovation Management
in Entertainment 476
Contents xxi
The Cultural Dimension of Entertainment Innovation 482
Theme 1: Autonomy and Responsibility 483
Theme 2: Adherence to a Shared Core Goal 485
Theme 3: Entrepreneurial Orientation 486
Theme 4: Peer Culture Built on Candor and Trust 487
The Organizational Dimension of Entertainment Innovation 488
The “Who” Question: The Importance of Human Resources 489
The “How” Question: Creativity Needs Freedom 492
The Product Level: How to Forecast the Success of New
Entertainment Products 497
Some Words on the Essentials of Success Prediction 498
Prediction Methods: Feature-Based Versus Diffusion-Based
Success Prediction 501
The “When” of Success Predictions: Early Versus Later
Approaches 509
So, Better to Wait for the Fanny to Squirm or Use
Prediction Models? 514
Concluding Comments 516
References 517
11 Entertainment Communication Decisions, Episode 1:
Paid and Owned Channels 523
To Control or Not to Control: Some Words on the Three Basic
Communication Categories 523
What to Communicate: Designing the Content that Fuels
Entertainment Communication Channels 526
What Makes a Powerful Trailer? 527
What Makes a Powerful Poster Ad? 531
The “How-Much” Question: Can There Be Too Much of a
Good Thing? 532
Attracting Consumers via Paid Media: The Role of Advertising 538
The Functions of Advertising 538
How Much to Spend—and When: Some Introductory
Comments on Advertising Budgets and Timing 540
Some General Insights on the Effectiveness
of Entertainment Advertising 544
The Effectiveness of Pre-Release Advertising 547
The Effectiveness of Post-Release Advertising 553
Balancing Advertising Timing Within and Between
Sequential Distribution Channels 555
xxii
Contents
Attracting (and Keeping) Audiences via Owned Media: Playing
Pinball 558
The Pinball Framework of (Entertainment) Communication 560
Content that Matters 562
Managing Consumer Engagement: Co-Creation and
Moderation 567
How Effective is Communication Through Owned Media? 574
A Different Kind of Owned Media: Packaging as a
Communication Instrument 577
Concluding Comments 580
References 581
12 Entertainment Communication Decisions, Episode 2:
“Earned” Channels 587
Informed Cascades: The Power of Word of Mouth 588
What Makes Us Articulate Word of Mouth? 590
Does Word of Mouth Influence Entertainment Product
Success? Yes. But Its Complicated 593
Uninformed Cascades: The Power of Herds 606
Post-Release Action-Based Cascades: When Entertainment
Success Breeds Entertainment Success 607
Pre-Release Action-Based Cascades: Buzz 618
Automated Personalized Recommendations 630
How Recommender Systems Work: A Look at Their
Algorithmic Logic 632
Recommenders are Way More Than Algorithms: Beyond
Matrix Completion 642
How “Good” are Recommender Systems? 647
Professional Reviews 648
Review(er) Effects on Consumers: The “Influencer Versus
Predictor” Controversy 649
Toward an Even Richer Understanding of Professional Reviews:
Moderators and Mediators of Their Impact 655
Managerial (Mis-)Use of Professional Reviews 659
Awards as Recognitions of Excellence in Entertainment 661
Some Essentials of Entertainment Awards 661
Awards and Success: What Entertainment Science Can Tell Us
About Their Link 662
Managerial (Mis-) Use of Awards 666
Concluding Comments 668
References 669
Contents xxiii
13 Entertainment Distribution Decisions 679
The Timing Challenge: When is the Right Time for an
Entertainment Product? 681
Isolated Timing Effects 681
Competitive Timing 692
The Multi-Channel Challenge: Orchestrating the Multiple
Formats of Entertainment 698
What’s to be Considered When Designing the Optimal
Channel Mix 700
Valuing Alternative Distribution Models Empirically 715
The Piracy Challenge: How to Deal with Competitors
Who Offer One’s Own Products for Free 720
The Impact of Piracy 723
How to Fight Entertainment Piracy 727
Concluding Comments 736
References 737
14 Entertainment Pricing Decisions 745
A Primer on Pricing Theory: Customer Value as the True
Foundation of Pricing 747
The Uniform Versus Differential Pricing Puzzle
of Entertainment 751
Theoretical Arguments for Differential Pricing—and
Against It 753
Consumer Reactions to Entertainment Product Prices in
General 755
What We Know About Consumer Reactions to Differential
Pricing for Entertainment Products 758
Price Discrimination: Different Prices for Different Customers
(and Products) 760
First-Degree Discrimination: “Perfect” Price Discrimination 760
Second-Degree Discrimination: Versioning and Bundling 764
Third-Degree Discrimination: Segment Pricing 778
Concluding Comments 780
References 781
15 Integrated Entertainment Marketing: Creating Blockbusters
and Niche Products by Combining Product, Communication,
Distribution, and Pricing Decisions 785
The “Pre-Sales Approach”: The Blockbuster Concept 787
Defining the Blockbuster Concept 787
xxiv
Contents
“The Monster that Ate Hollywood”: A Short Blockbuster
History 790
Blockbuster Diffusion: Innovators and Buzz are What
It Takes! 796
The “Experience Approach”: The Niche Concept 800
Defining the Niche Concept 800
Niche Diffusion: Imitators and Quality are What It Takes! 801
The Long Tail: Using the Opportunities of Digital Media 803
Blockbusters Versus Niche Products: Where We Stand Today
and the “Too-Much-of-a-Good-Thing” Problem 806
Living in a Blockbuster World! 806
The “Too-Much-of-a-Good-Thing” Trap 811
Concluding Comments 817
References 818
Now Unlock the Power of Entertainment Sciencel 821
Entertainment Science Scholar Index 825
Industry Index 831
Subject Index 851
About the Authors 863
|
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| discipline | Allgemeines Informatik Wirtschaftswissenschaften |
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| illustrated | Illustrated |
| indexdate | 2024-07-10T08:11:42Z |
| institution | BVB |
| institution_GND | (DE-588)1064344704 |
| isbn | 9783319892900 |
| language | English |
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| spelling | Hennig-Thurau, Thorsten 1967- Verfasser (DE-588)120103362 aut Entertainment science data analytics and practical theory for movies, games, books, and music Thorsten Hennig-Thurau, Mark B. Houston Cham, Switzerland Springer [2019] © 2019 xxiv, 865 Seiten Illustrationen, Diagramme (teilweise farbig) txt rdacontent n rdamedia nc rdacarrier Entscheidungsunterstützung (DE-588)4202171-6 gnd rswk-swf Unterhaltungsindustrie (DE-588)4186999-0 gnd rswk-swf Datenanalyse (DE-588)4123037-1 gnd rswk-swf Unterhaltungsindustrie (DE-588)4186999-0 s Datenanalyse (DE-588)4123037-1 s Entscheidungsunterstützung (DE-588)4202171-6 s DE-604 Houston, Mark B. ca. 20. Jh. Verfasser (DE-588)1169072496 aut Springer International Publishing (DE-588)1064344704 pbl Erscheint auch als Online-Ausgabe, eBook 978-3-319-89292-4 (DE-604)BV045270374 Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030601207&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hennig-Thurau, Thorsten 1967- Houston, Mark B. ca. 20. Jh Entertainment science data analytics and practical theory for movies, games, books, and music Entscheidungsunterstützung (DE-588)4202171-6 gnd Unterhaltungsindustrie (DE-588)4186999-0 gnd Datenanalyse (DE-588)4123037-1 gnd |
| subject_GND | (DE-588)4202171-6 (DE-588)4186999-0 (DE-588)4123037-1 |
| title | Entertainment science data analytics and practical theory for movies, games, books, and music |
| title_auth | Entertainment science data analytics and practical theory for movies, games, books, and music |
| title_exact_search | Entertainment science data analytics and practical theory for movies, games, books, and music |
| title_full | Entertainment science data analytics and practical theory for movies, games, books, and music Thorsten Hennig-Thurau, Mark B. Houston |
| title_fullStr | Entertainment science data analytics and practical theory for movies, games, books, and music Thorsten Hennig-Thurau, Mark B. Houston |
| title_full_unstemmed | Entertainment science data analytics and practical theory for movies, games, books, and music Thorsten Hennig-Thurau, Mark B. Houston |
| title_short | Entertainment science |
| title_sort | entertainment science data analytics and practical theory for movies games books and music |
| title_sub | data analytics and practical theory for movies, games, books, and music |
| topic | Entscheidungsunterstützung (DE-588)4202171-6 gnd Unterhaltungsindustrie (DE-588)4186999-0 gnd Datenanalyse (DE-588)4123037-1 gnd |
| topic_facet | Entscheidungsunterstützung Unterhaltungsindustrie Datenanalyse |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030601207&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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