Movie Consumers Research Articles

Movie Success Prediction Using Data Mining

The movie industry is arguably one of the biggest entertainment sectors. Nollywood, the Nigerian movie industry produces tons of movies for public consumption, but only a few make it to box-office or end up becoming blockbusters. The introduction of movie success prediction can play an important role in the industry not only to predict movie success but to help directors and producers make better decisions for the purpose of profit. This study proposes a movie prediction model that applies data mining techniques and machine learning algorithms to predict the success or failure of an upcoming movie (based on predefined parameters). The parameters needed for predicting the success or failure of a movie include dataset needed for the process of data mining such as the historical data of actors, actresses, writers, directors, marketing and production budget, audience, location, release date, and competing movies on same release date. This model also helps movie consumers to determine a blockbuster, hit, success rating and quality of upcoming movies before deciding on a movie ticket. The data mining techniques was applied to Internet Movie Database MetaData which was initially passed through cleaning and integration process.

A multimodal approach for multi-label movie genre classification

Movie genre classification is a challenging task that has increasingly attracted the attention of researchers. The number of movie consumers interested in taking advantage of automatic movie genre classification is overgrowing, thanks to media streaming service providers’ popularization. In this paper, we addressed the multi-label classification of movie genres in a multimodal way. To this end, we created a dataset composed of trailer video clips, subtitles, synopses, and movie posters from 152,622 movie titles of the Movie Database (TMDb). Such a large dataset was carefully curated, organized, and made available as a contribution of this work. We labeled each movie of the dataset according to a set of eighteen genre labels. In the experimental evaluation performed in this paper, we computed different kinds of descriptors, such as Mel Frequency Cepstral Coefficients (MFCCs), Statistical Spectrum Descriptor (SSD), Local Binary Pattern (LBP) from spectrograms, Long-Short Term Memory (LSTM), and Convolutional Neural Networks (CNN). With these descriptors, we trained different monolithic classifiers using BinaryRelevance and ML-kNN techniques. Besides, we also explored the combination of classifiers/features using a late fusion strategy. The fusion of a LSTM trained on synopses and another LSTM trained on the movie subtitles provided our best results in F-Score (0.674) and AUC-PR (0.725) metrics. These results corroborate the existence of complementarity among classifiers trained on different sources of information in this field of application. As far as we know, this is the most comprehensive study developed in terms of diversity of multimedia sources of information to perform movie genre classification.

Event marketing, movie consumers' willingness and box office revenue

PurposeThis research investigates the impacts of movie consumers' willingness, measured by the number of people who want to watch a movie, on the relationship between event marketing and box office revenue. This study aims to provide marketers with practical event marketing strategies and tactics to improve box office revenue.Design/methodology/approachPanel data was collected for 1,141 movies released in China from year 2014–2018 for a total of 12 weeks, spanning 4 weeks before and 8 weeks after release. The mediating effect of consumers' willingness on the relationship between event marketing and box office revenue was tested through a stepwise method and the generalized least squares method based on random effects.FindingsMovie consumers' willingness mediates the effect of event marketing and box office revenue. Both movie consumers' willingness and box office revenue follow an inverted U-shaped distribution against the intensity of event marketing. From the second week before release to the first week after release, intensified event marketing enhances box office revenue. Various types and intensities of event marketing should be employed in different periods of time to increase the total box office revenue.Research limitations/implicationsThis research ignores the costs of various types of event marketing for different movies. Future research could consider the cost-effectiveness of event marketing.Practical implicationsThe findings of this paper provide meaningful insights on event marketing strategies for practitioners.Originality/valueThis study contributes to the field by verifying movie consumers' willingness as a mediator between event marketing and box office revenue. The study also provides empirical evidences on effective types and reasonable intensities of event marketing over the whole lifecycle of movies.

Understanding How Chinese Consumers Engage in Electronic Word-of-Mouth Communication (eWOM) on Social Media

Examining a sample of 510 Chinese movie consumers, this study found that social benefits, utilitarian, venting negative feelings, and entertainment are the main reasons that motivate consumers to engage in eWOM activities. In addition, though social media offers consumers an equal access to participate in eWOM communication, people with higher opinion leadership can make better use of ICTs. They showed stronger trust on eWOM information, more willing to seek for and contribute eWOM content, and gratifying more from participating in eWOM activities on social media.

Attracting Younger Millennials:, Lifting Bond Out Of A Transitional Sinkhole

This study critically explores why the four latest installments in the Bond franchise do not resonate well with younger millennial audiences who are poised to constitute a considerable size of movie consumers in the near future. Using an inductive approach, four CinemaSin videos criticizing the four Bond movies under study are analyzed, described and categorized. 10 categorical criticisms alongside four common preferences of millennial movie goers: authenticity, creativity, diversity and ease at which content can be related to, are used to develop six propositions that are associated with a potential to increase the appeal of future Bond movies among younger millennials.

Dissecting movie performance across multiple distribution channels: An elastic justification theory perspective

The recent emergence of multiple channels such as Internet protocol television (IPTV) and online video-on-demand (VOD) has transformed sequential movie distribution structures into simultaneous ones. We analyze the drivers of movie performance success in terms of box office, IPTV, and online VOD services amid these changed market conditions. We use elastic justification theory and consider diverse consumer risks to explain how movie consumers exhibit different behaviors for different movie channels when facing different degrees and types of risk. We classify the antecedents of movie selection into justifiable (risk-hedging) factors such as viewer rating, scenario familiarity, star power, and country of origin and unjustifiable (tempting and appealing) factors, including expert rating and genre. By considering various types and degrees of risk in each channel based on elastic justification theory, this study offers insights that should lead to more effective movie distribution across channels. This study is a first step toward paving the way for advanced movie distribution strategies for producers and distributors.

Social Learning and Social Spillovers: Evidence from Movie Sales

This paper uses data on exit polling during a movie's opening weekend to test for the presence of both social spillovers and social learning in movie consumption. In the presence of social spillovers, agents will see a movie if a sufficient number of their peers have seen the movie since agents derive utility from sharing the same experiences. In the presence of social learning, agents will see a movie if good word-of-mouth convinces them it is of high-enough quality. Data on 1,875 wide-release movies between 1995 and 2014 reveal evidence of social spillovers for consumers of movies appealing to younger and more mature audiences. However, these data only reveal evidence of social learning for consumers of movies aimed at mature audiences. These findings help to explain the weak relationship between movie quality and advertising expenditures, particularly for movies aimed at younger audiences.

Consumption Habits Regarding Movies

Purpose – This paper aims to explore the main characteristics of the home cinema as well as to study the various influences on the choices regarding watching movies at home. All the while the paper also seeks the answer to find out what opportunities could be pursued for the sake of leading the consumers back to the legal territory. Methodology – Apart from the literature review, the study contains a secondary research that was conducted by collecting torrent tracker data from an aggregating website for a five-year period, from which the user base data was separated and highlighted. Findings – The paper presents an overview of some literature regarding movie consumption and points out the main classical behavior tropes that are also applicable to the case of watching movies as well as some potential alternative method – which could prove to be viable even with users who commonly tend to use illegal downloads to obtain movies – that could switch up the current ones. Research limitations – The goal is to expose the main theoretical correlations, while the primary research is not part of the paper, thus, further primary research is needed in the future to provide more insight into the thought process behind the choices of movie consumers. Value – The paper explores the movie related decision making process as well as it tries to gain an understanding about the main mechanisms behind movie industry related phenomena. Classification – Conceptual paper.

Social context and advertising effectiveness: a dynamic study

Consumers of movies, videos, and television programmes enjoy sharing the experience with groups of family and friends. Group consumption or co-viewing of audiovisual entertainment helps make co-exposure to advertisements fairly common across media vehicles and technologies. Research in marketing and psychology has consistently shown that the presence of, and/or the interactions with, others affects cognition. Therefore, co-exposure should sway advertising effects. Still, most media planning assumes that the value of reach and frequency for advertisers does not change over social contexts. The present study investigates co-exposure to programme ‘promos’ as an antecedent of individual consumption of the advertised programmes on people meter panel data. Our findings support and extend those reported in the sparse experimental literature, provide the basis for a theoretical model of social context of exposure, and point to possible research directions for practitioners and academics.

Substitution or Promotion? The Impact of Price Discounts on Cross-Channel Sales of Digital Movies

Technology is transforming the marketing function in many ways, and this transformation is particularly apparent for information goods such as movies where digital technologies provide marketers with new distribution channels, which in turn create new opportunities for cross-channel effects. However, these digital channels also provide researchers with new opportunities to measure micro-level customer behavior to understand the impact of cross-channel effects in real-world settings.In this paper, we study cross-channel effects between movies sold in digital purchase (commonly known as Electronic Sell Through or EST) and digital rental (commonly known as Video-On-Demand or VOD) markets. We do this using a unique sales dataset from a major digital movie retailer provided by a major movie studio. Our analysis takes advantage of a 14-week field experiment that allows us to measure the impact of price discounts on own- and cross-channel sales. We use this experiment to estimate own and cross price elasticities, whether price discounts cannibalize future sales, and most importantly whether price discounts in one channel affect sales for the same product in a presumably competing channel.Our analysis indicates that digital movie consumers are highly sensitive to price promotions. However, we also find that, contrary to expectations, price promotions in a digital sales channel for a movie do not seem to cannibalize digital rentals. Indeed, our results suggest that, if anything, price promotions for digital movie sales can increase digital rentals. We explore a variety of explanations for this counterintuitive result, including the possibility that the ease of information transmission online through third-party websites, blogs, and online discussion areas may create information spillovers such that price discounts in one channel may increase product awareness in other competing sales channels. From a managerial perspective, our results suggest that cross-channel cannibalization can be reduced or even reversed in the presence of information spillovers, and that there are many new opportunities for marketers to directly measure these cross-channel effects using experimental data from online platforms.

“The Taste of Others”: Divergences in Tastes between Professional Experts and Ordinary Consumers of Movies in France

The omnipresence of professional experts in the debates and marketing strategies around movies raises the question of the proximity of their judgments with those of the “ordinary consumer”. Two theoretical perspectives compete on this matter: Divergence or convergence of tastes. Based on a sample of 622 popular films released between 2005 and 2009 in France, this research confirms the divergence of tastes: Professional experts grant no special value to movies that ordinary consumers prefer. However, our results also suggest that publication on the Internet of “hybrid” tastes (those of web users and media critics) builds an artificial form of convergence which can be useful for the market's actors.

An Analysis Study on the Levels and Determinants of Trust about the Online Word-of-Mouth in Movie Consumers

An Analysis Study on the Levels and Determinants of Trust about the Online Word-of-Mouth in Movie Consumers

Characteristics of buyers and renters of cultural goods: the case of movies

This article identifies the characteristics of consumers of movies, watched on videotapes, in their homes. Models of the frequency of movie video buying and renting by individuals are estimated using data from the Spanish Cultural Consumption Habits Survey (Encuesta sobre Hábitos de Consumo Cultural). This survey featured information about videotapes rented and bought in Spain throughout 1998. Applying a multinomial probit modelling framework, this study analyses whether there are two different video markets (renting and buying) and any discernible socio-economic characteristics for their respective consumers. The influence of film genres on the renting of movie videotapes is also considered.