A test of Rosen’s and Adler’s theories of superstars

Abstract

Regional cultural policy, Stardom and popularity, Multilevel analysis, Recorded music consumption, C13, D12, M38, Z11,

On Rosen’s and Adler’s hypotheses in the modern and contemporary visual art market

“…Empirical studies testing Rosen's and/or Adler's hypotheses have provided mixed results. 1 Most present evidence for mass markets such as music (Hamlen 1991;Hamlen 1994;Crain and Tollison 2002;Krueger 2005;Filimon et al 2011) and sports (Lucifora and Simmons 2003;Franck and Nüesch 2008;Lehmann and Schulze 2008;Nüesch 2012, Bryson et al 2014) 2 , while empirical studies on the visual art market are still scarce since testing the theories of superstar formation would require a perfect (or nearly perfect) reproducibility of artworks. Nevertheless, it is possible to test these theories if we assume that 1 By the expressions 'Rosen's hypothesis' and 'Adler's hypothesis', we do not mean the theoretical assumptions underlying 'Rosen's theory' and 'Adler's theory', but their implications to be tested empirically.…”

“…Nevertheless, it is possible to test these theories if we assume that 1 By the expressions 'Rosen's hypothesis' and 'Adler's hypothesis', we do not mean the theoretical assumptions underlying 'Rosen's theory' and 'Adler's theory', but their implications to be tested empirically. As Filimon et al (2011) note, the main problem in testing Rosen's and Adler's hypotheses is due to the difficulty to measuring artist talent and fame. 2 Ehrmann et al (2009) provide an interesting analysis of superstar effects in the 'deep-pocket' market of gastronomy (deluxe cuisine) in German quality restaurants.…”

Artist Names as Human Brands: Brand Determinants, Creation and co-Creation Mechanisms

“…Talent and fame were the initial artist characteristics studied in cultural economics, starting from the theories on superstars by Rosen (1981) and Adler (1985). More recently, these two characteristics have been studied in different cultural markets, such as the visual art market (Candela, Castellani, Pattitoni, & Di Lascio, 2016), the music industry (Filimon, López-Sintas, & Padrós-Reig, 2011), the motion picture and theatre markets (Hofmann & Opitz, 2019; Han & Ravid, 2020). Popularity is also a critical variable, mainly investigated in the context of the motion picture industry (Bagella & Becchetti, 1999; Xu & Fu, 2014; Carrillat, Legoux, & Hadida, 2018), singing contests (Atsu Amegashie, 2009; Cho, Lee, Yoo, & Chu, 2019), and the music market (Gayer & Shy, 2006; Ordanini, Nunes, & Nanni, 2018; McKenzie, Crosby, & Lenten, 2021).…”

Ordinal classification/regression for analyzing the influence of superstars on spectators in cinema marketing

“…In the case of superstars, the central aspects are related with their talent (Rosen, 1981) while the peripheral aspects are a result of their popularity (Adler, 2006). Previous studies have shown that talent and popularity are imperfectly correlated (Filimon et al, 2011). This duality in stardom facets does not show a lack of rationality in spectators' behavior.…”