Cinematic success criteria and their predictors: The art and business of the film industry

Abstract

The author reviewed the empirical research on the factors underlying the success of feature-length narrative films. After specifying some methodological caveats, the review examined the three main criteria by which a film's success can be evaluated: critical evaluations (both early and post-theatrical run), financial performance (including first weekend and gross), and movie awards (including dramatic, visual, technical, and music categories). To what extent do these criteria represent distinct aesthetic and economic assessments? The review then turned to the various predictors of these success criteria. How is success connected with the film's production and distribution characteristics? To what extent do the predictors converge and diverge across alternative criteria? The article then closes with a discussion of some psychological issues raised by the reviewed findings.

The effects of film trailers on shaping consumer expectations in the entertainment industry—A qualitative analysis

“…It is visible that "the majority of the time, they [the directors] don't influence me, it's only with certain directors that there is any influence at 13 all" (Rachel). Whilst this finding is somewhat incongruent with other research which establishes that directors have an important effect on consumers' expectations, it highlights the need for film marketers to overcome this potential limitation in their film trailers (Moul, 2007;Simonton, 2009). …”

“…This does not imply that consumers base their expectations solely on the film trailer. Previous research shows that people base their expectations of films on word of mouth (Liu, 2006;Moul, 2007), critic reviews and previous knowledge of parties involved in the production of the film, for example, actors or directors (Moul, 2007;Simonton, 2009), posters and viral marketing attempts (Elberse and Anand, 2007;Joshi and Hanssens, 2009), the country of origin of the film (d 'Astous et al, 2007), box-office performance and award nominations and wins (Simonton, 2009). 7 Much of the extant literature on the motion picture industry relates to the idea that film marketers should create interactive online universes (Stapleton and Hughes, 2005) or target their film promotional campaigns to specific consumer segments in order to be successful (Hixson, 2006); whilst other film researchers focus on the content and overall tone of the trailers as a way of targeting audiences (Bridges, 1993) as well as the amount and appropriateness of music in the trailer; yet none of them investigates whether it is possible to produce an enhanced promotional campaign that is suitable for a wide range of consumers.…”

“…This is particularly evident throughout the interviews when the interview participants constantly refer to the films' actors by name. As highlighted by Simonton (2009), actors are very influential for one major reason; they have a proven track record that allows consumers to form pre-determined expectations of their acting ability as their "previous bodies of work are a good indication of what you can expect from them in a movie" (Stu). This influence has positive and negative repercussions; some participants indicate that they will have higher expectations of a film due to the actors' previous body of work; because, as Tess puts it, "Really good actors won't waste their time with an average or bad film"; whilst others participants point out that if particular actors are in a film then they will avoid it regardless of its storyline.…”

“…The overarching aim of this research is to explore how consumers shape their expectations about films based on their exposure to film trailers, a topic that has not yet had any extensive academic research (d 'Astous et al, 2007;De Vany and Walls, 1999;Elberse and Anand, 2007;Hixson, 2006;Joshi and Hanssens, 2009;Liu, 2006;Moul, 2007;Simonton, 2009;Stapleton and Hughes, 2005). 5 Moul (2007) finds that the motion picture industry has been the subject of much research, but since the cessation of the publications "Current Research in Film: Audiences, Economics, and Law" in 1991, the number of topics in the area has decreased substantially.…”

Behind film performance in China’s changing institutional context: The impact of signals

“…Therefore, their survival in cinemas is also an important measure of performance. Although films must Bsurvive^on screens to gather box office revenues and box office revenues are necessary to ensure film survival, these two performance measures are conceptually distinct, representing distinct performance outcomes (Sapienza, Autio, George, & Zahra, 2006;Simonton, 2009). Empirically, film survival and box office revenues do not necessarily co-vary.…”