This study examines the aggregate bandwagon effect of popularity cues on the viewership of online usergenerated videos. Cognitive and behavioral theories of information processing suggest that Web users, overwhelmed by information and quality uncertainty, will gravitate toward the popular choices made by earlier decision makers, which appear via indicators such as hit counts to forge quality impressions. Building on the theories, we hypothesize that how much viewer exposure videos will attract at any future time depends on their viewership accumulated individually; furthermore, this viewership cascade is moderated by pictorial and verbal preview because such information reduces quality uncertainty for content shoppers. Our longitudinal model tests these hypotheses using an extensive real-life dataset on video clips retrieved from a video-sharing site.In 2006, the "Magibon" videos took the online-video world by storm. Posted on YouTube, the clips showed a teenage girl of unknown age, motivations, or identity staring out blankly and innocently while reciting simple Japanese greeting phrases. These mysterious videos unexpectedly set off a surge of online attention and remained a magnet over a long period, eventually attracting as many as 50 million views. 1 Such episodes of "click rush" are not uncommon, although most online videos receive a low and short audience inflow. How could clips of a girl doing virtually nothing spread so widely and quickly, when usually only a tiny size of audience can be captured as a rule? In a broader sense, how does usercreated content attract attention in the highly competitive

This study investigates audience acceptance of foreign movies in an import-dominated exhibition market—Singapore. The characteristics of home cinema markets and the cultural distances of the film-exporting countries are operationalized in an empirical model to explain the highly varied demand in this import market for international films from various sources. We show that during 2002-2004 release frequencies and box-office performance for films originating in different countries are significantly accounted for by both economic and cultural factors. Films from countries with larger domestic markets and from countries culturally more similar to Singapore experience greater box-office success. Furthermore, an individual foreign film's Singapore box-office performance is explained by its box-office success in its home market and the intercountry cultural distance.

BackgroundElderly adults are at particular risk of sustaining a traumatic brain injury (TBI), and tend to suffer worse outcomes compared to other age groups. Falls are the leading cause of TBI among the elderly.MethodsWe examined nationwide trends in TBI hospitalizations among elderly adults (ages 65 and older) between April 2006 and March 2011 using a population-based database that is mandatory for all hospitals in Canada. Trends in admission rates were analyzed using linear regression. Predictors of falls and in-hospital mortality were identified using logistic regression.ResultsBetween 2006 and 2011, there were 43,823 TBI hospitalizations resulting in 6,939 deaths among elderly adults in Canada. Over the five-year study period, the overall rate of TBI admissions increased by an average of 6% per year from 173.2 to 214.7 per 100,000, while the rate of fall-related TBI increased by 7% annually from 138.6 to 179.2 per 100,000. There were significant trends towards increasing age and comorbidity level (p<0.001 and p = 0.002). Advanced age, comorbidity, and injury severity were independent predictors of both TBI-related falls and mortality on multivariate analysis.ConclusionPrevention efforts should be targeted towards vulnerable demographics including the “older old” (ages 85 and older) and those with multiple medical comorbidities. Additionally, hospitals and long-term care facilities should be prepared to manage the burgeoning population of older patients with more complex comorbidities.

This study examines the cross-country homogeneity of audience tastes in theatrical consumption of Hollywood films. It constructs empirical schemes to measure and explain similarities between national cinema audiences in box-office acceptance of common sets of Hollywood movies, using annual 2002-2007 panel data of ticket-sales receipts worldwide at the country-by-film level. The results show that countries more culturally like the United States tend to have box-office tastes more closely resembling those of American audiences for the same Hollywood titles than other countries do. The similarity in movie taste is also positively related to an importing country's cinema market size. Moreover, the tastes of individual countries have converged with those of American audiences over the years. Also, correlational statistics calculated from the country-by-film cross-tabulations of box-office sales uncover the trend that the world's tastes have become increasingly homogeneous.

This study examines the source diversity of the global film trade by assessing the profiles of individual countries’ imported films. Theatrical movie imports to 94 countries from 1970 to 1999, sorted by production origin (i.e., USA, Italy, France, U.K., India, Russia, Germany, Japan, Hong Kong, and others), are tested, using United Nations Educational, Scientific, and Cultural Organization data, against hypotheses of centralization and homogenization among these major import sources. An empirical model is devised to quantify and explain such situations and their trends over the country panel. Regressions show that the interexporter share concentration of film imports within countries increased significantly over the period of study and that this trend is mediated by language, economic, and regional variables. It is further shown that the changes of the global shares of different exporters are dependent on their relative positions. Dominant exporters’ shares escalated but those of the small counterparts dropped over time. The importers’ source profiles had become more alike, as indicated by the statistics.