Sex, spies and celluloid: Movie content preference, choice, and involvement

Abstract

This study empirically tests the congruity between movie-content preference and choice on television, video, and at the cinema; and the impact of consumer involvement on this relationship. The results support the need to treat preference and choice differentially. Media type added little in way of explanation of changes in preferencechoice congruence. Involvement with movie choice was found to vary by medium, yet correlational analysis showed that it did not unequivocally change the nature of preference -choice congruence. Nonetheless, further enquiry into the role of involvement is warranted before it is dismissed as irrelevant in the choice of leisure media products. ᭧ 2002 Wiley Periodicals, Inc.Understanding why, when, and what people watch on visual media has been of interest to practitioners and academics alike for a long time. Practitioners use research focusing on dimensions such as the rate and frequency of a medium's use, as well as broad demographic audience profiles to assist with such functions as network programming, timing of movie releases, and advertising placement. Academics from a range of disciplines have largely concentrated on television-viewing phenomena, exploring relationships between an individual's viewing behavior and various demographic, psychographic, and psychological variables. Comparatively little academic research has been conducted into the viewing behaviors associated with media other than television. One aim of this study is to extend the work concerned with television-viewing behavior to additional media -video and cinema.

Commercial success and artistic recognition of motion picture projects

“…However, existing research has already shown that movie consumption is more spontaneous on television compared to video in Australia (Garlin and McGuiggan 2002) and on the cheaper video (VHS and DVD) rental channel, where customers also pay less attention to critics' reviews and Oscars, in the USA (Hennig-Thureau et al 2006). In line with this extant line of study, more systematic comparative analyses of consumer responses to track record and financial resources across distribution channels may lead industry professionals and cultural managers to new insights into film consumption and film finance.…”

Interactive influence of genre familiarity, star power, and critics' reviews in the cultural goods industry: The case of motion pictures

“…Correspondingly, marketing and economic scholars have started paying increasing attention to the many facets of these industries-Broadway shows and theaters (Caves, 2000;Holak, Havlena, & Kennedy, 1986;Reddy, Swaminathan, & Motley, 1998;Vogel, 2001), recorded music (Caves, 2000;Moe & Fader, 2001;Vogel, 2001), book publishing (Caves, 2000;Greco, 1997;Vogel, 2001), and movies (Elberse & Eliashberg, 2003;Eliashberg & Shugan, 1997;Garlin & McGuiggan, 2002;Krider & Weinberg, 1998;Lehmann & Weinberg, 2000;Vogel, 2001). Each year, approximately half a trillion dollars is spent globally on various forms of entertainment, and more than $200 billion of that total is spent in the United States (Vogel, 2001).…”

Analyzing repeat consumption of identical cultural goods: some exploratory evidence from moviegoing

“…They found that 'doing what friends were doing', 'doing something to match the mood the respondent was in', and 'doing something for a change' were the main tactics used. Garlin and McGuiggan (2002) found that choosing a film to watch at the cinema, as opposed to watching a film on video or television entailed a higher level of involvement. Involvement in this context refers to the importance of the purchase to the consumer and the risks entailed in the decision.…”