Organizational improvisation is increasingly recognized as a relevant area of management research. However, the cumulativeness of research on improvisation in organizations remains low. This paper organizes existing contributions on organizational improvisation within a new consolidating framework combining degrees (minor, bounded and structural) and levels (individual, interpersonal and organizational) of improvisation. The proposed degree/level framework allows for reviewing the existing literature on organizational improvisation in the management disciplines of strategy, organizational behaviour, organizational theory, innovation and marketing in a systematic manner. It also exposes potential areas for future research across management disciplines, research areas, organizational settings and industries, and beyond existing metaphors, most notably of jazz and improvisational theatre.

This paper provides a comprehensive literature review of empirical studies of motion picture performance published from 1977 to 2006 inclusive in the following five disciplines of the social sciences: strategy, organization theory, marketing, cultural economics and sociology. It introduces a novel framework which organizes the various dimensions and explanatory factors of movie performance into five distinct categories and underscores their relationships. The paper, which uses this model as a roadmap for discussions of film success, serves two complementary purposes. First, it clarifies the current state of the literature, stresses core contributions and exposes limitations in existing research by emphasizing hitherto neglected independent explanatory factors, dependent dimensions and correlations between them. Second, it introduces five conceptual, methodological and empirical suggestions for further cinema performance research aimed at addressing these limitations and, accordingly, at providing better accounts of motion picture performance in view of the fast-changing conditions of cinema production, marketing and consumption.

Relational view, Track record, Financial resources, Structural equation modeling, Artistic recognition, Commercial success, Cinema,

We study the conditions that influence judgmental forecasting effectiveness when predicting demand in the context of fashion products. Human judgment is of practical importance in this setting. Our goal is to investigate what type of decision support, in particular historical and/or contextual predictors, should be provided to human forecasters to improve their ability to detect and exploit linear and nonlinear cue-criterion relationships in the task environment. Using a field experiment on new product forecasts in the music industry, our analysis reveals that when forecasters are concerned with predictive accuracy and only managerial judgments are employed, providing both types of decision support data is beneficial. However, if judgmental forecasts are combined with a statistical forecast, restricting the decision support provided to human judges to contextual anchors is beneficial. We identify two novel interactions demonstrating that the exploitation of nonlinearities is easiest for human judgment if contextual data are present but historical data are absent. Thus, if the role of human judgment is to detect these nonlinearities (and the linearities are taken care of by some statistical model with which judgments are combined), then a restriction of the decision support provided would make sense. Implications for the theory and practice of building decision support models are discussed.Abstract. We study the conditions that influence judgmental forecasting effectiveness when predicting demand in the context of fashion products. Human judgment is of practical importance in this setting. Our goal is to investigate what type of decision support, in particular historical and/or contextual predictors, should be provided to human forecasters to improve their ability to detect and exploit linear and nonlinear cue-criterion relationships in the task environment. Using a field experiment on new product forecasts in the music industry, our analysis reveals that when forecasters are concerned with predictive accuracy and only managerial judgments are employed, providing both types of decision support data is beneficial. However, if judgmental forecasts are combined with a statistical forecast, restricting the decision support provided to human judges to contextual anchors is beneficial. We identify two novel interactions demonstrating that the exploitation of nonlinearities is easiest for human judgment if contextual data are present but historical data are absent. Thus, if the role of human judgment is to detect these nonlinearities (and the linearities are taken care of by some statistical model with which judgments are combined), then a restriction of the decision support provided would make sense.Implications for the theory and practice of building decision support models are discussed.

Online streaming services are challenging long-standing decision-making processes in the traditional motion picture industry, thus placing Hollywood major studios at a crossroads. We use the institutional logics perspective to examine how both traditional studios and online streaming services make strategic decisions on which films to produce and how these films are to be distributed. We then apply scenario analysis to explore how their interaction will likely evolve. We argue that the key criteria that studio executives use to make production and distribution decisions are shaped by what we define as a commitment institutional logic: decision-making heuristics that focus their attention on theatrical release and box-office intakes. In contrast, online streaming services follow a convenience institutional logic, the product of advanced data analytics to increase subscriptions. In the convenience institutional logic, the need to drive online traffic by providing users with an extensive catalogue of movies guides film production and distribution decisions. Whereas the commitment logic aims for mass-market hits in cinemas, the convenience logic seeks to reach a wide range of subscribers at home with micro-segmented offerings. We compare the two logics, develop four scenarios of how the interaction between them may shape the film industry, and offer recommendations.

Across the many studies of motion picture box office success, unresolved debates and untested assumptions about the contributing factors persist. Using an accessibility-diagnosticity framework and a meta-analysis of 634 effect sizes from 150 studies, the current article seeks to clarify the relationships of star brand equity and product reviews (from consumers and critics) with box office success. The popularity of stars (market and media appeals) exerts a stronger impact on box office success than their artistic recognition (as per award nominations and wins) at the moment of a movie's release but not over its extended theatrical run. Whereas the impact of popular stars on box office success decreases over time, the influence of artistically recognized stars remains steady. The findings also identify a dual role for critics, who influence consumers' movie choice and predict box office performance by merely reflecting moviegoers' tastes. Finally, this study refutes the assumption that the impact of users' reviews strengthens over time, relative to critics' reviews.

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Do entrepreneurs construct new cognitive frameworks or adapt existing ones in unstable, transforming industry contexts, and what importance do existing mental models, in particular the value chain, take on for them? The official discourses, mission and vision statements of the 21 most visible online music ventures were analyzed using mixed methods to capture the representations of the digital music industry of the entrepreneurs at their helm. The managerial cognition of digital music entrepreneurs challenges all the dominant logics and industry recipes of the traditional music industry and encounters no cognitive barriers. The cognitive frame of the value chain remains prevalent however in the representations of digital music entrepreneurs, and restrains them from embracing the specificities of the creative industries.