The effects of having more than one good reputation on distributor investments in the film industry

Ebbers, Joris J.; Wijnberg, Nachoem M.

doi:10.1007/s10824-012-9160-z

Cited by 22 publications

(20 citation statements)

References 69 publications

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“…A commonly held view is that reputation involves "being known for something" (Jensen & Roy, 2008;Lange et al, 2011) and is based on an actor's accomplishments and history (Barron & Rolfe, 2012;Weigelt & Camerer, 1988). 1 Previous studies that have examined the external signals of reputation (Anand & Peterson, 2000;Carter et al, 1998;Ebbers & Wijnberg, 2012;Philippe & Durand, 2011) suggest that reputation reduces uncertainty about an actor's future behavior, which enables evaluators (i.e., an audience) to assess actors (Spence, 1973). A positive reputation is beneficial because it reduces uncertainty and provides reassurance of an actor's value.…”

Section: Audience-specific Reputationsmentioning

confidence: 99%

“…Researchers examining various contexts, ranging from product and service markets (Diekmann, Jann, Przepiorka, & Wehrli, 2014;Rindova, Williamson, Petkova, & Sever, 2005) to corporate financing (Carter, Dark, & Singh, 1998;D'Aveni, 1990), stock markets (Pfarrer, Pollock, & Rindova, 2010), entrepreneurial efforts (Pollock & Gulati, 2007;Shane & Cable, 2002), and cultural industries (Delmestri, Montanari, & Usai, 2005;Ebbers & Wijnberg, 2012), have shown that reputation is a valuable intangible asset that increases reputation holders' success (Raub & Weesie, 1990;Shapiro, 1983). Most of this research operates under the assumption that actors have a single overall reputation and, furthermore, that reputation holders interact with an audience with homogenous concerns (Fombrun, 1996;Fombrun & Shanley, 1990;Fombrun & Van Riel, 1997).…”

Section: Introductionmentioning

confidence: 99%

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The Art of Representation: How Audience-specific Reputations Affect Success in the Contemporary Art Field

Ertug

Yogev

Lee

et al. 2016

AMJ

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AcknowledgmentWe would like to thank Tim Pollock and the three anonymous reviewers for their excellent suggestions and guidance. We would also like to thank Martin Gargiulo, Matteo Prato, Heeyon Kim, Abhijith G. Acharya, Fabrizio Castellucci, Yi Tang, and Francois Collet for their valuable feedback, as well as participants at presentations at the Oxford University Centre for Corporate Reputation and at Singapore Management University. We would also like to express our gratitude for the financial support we have received from the Oxford University Centre for Corporate Reputation. The research leading to these results has received funding from the European Research 2 THE ART OF REPRESENTATION: HOW AUDIENCE-SPECIFIC REPUTATIONS AFFECT SUCCESS IN THE CONTEMPORARY ART FIELD ABSTRACTWe study the effects of actors' audience-specific reputations on their levels of success with different audiences in the same field. Extending recent work that has emphasized the presence of multiple audiences with different concerns, we demonstrate that considering audience specificity leads to an improved understanding of reputation effects. Using data on emerging artists in the field of contemporary art from 2001 to 2010, we investigate the manner in which artists' audience-specific reputations affect their subsequent success with two distinct audiences: museums and galleries. Our findings suggest that audience-specific reputations have systematically different effects with respect to success with museums and galleries. Our findings also illuminate the extent to which audience-specific reputations are relevant for emerging research on the contingent effects of reputation. In particular, our findings support our predictions that audiences differ from one another in terms of the extent to which other signals (specifically, status and interaction with other audiences) enhance or reduce the value of audience-specific reputations. Our study thus advances theory by providing empirical evidence for the value of incorporating audience-specific reputations into the general study of reputation.3

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Section: Audience-specific Reputationsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

The Art of Representation: How Audience-specific Reputations Affect Success in the Contemporary Art Field

Ertug

Yogev

Lee

et al. 2016

AMJ

View full text Add to dashboard Cite

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“…A seemingly non‐biased method of selection in the music industry is to use success in the singles market to determine whether an artist is qualified to enter the more cost‐intensive albums market (Fox and Kochanowski ). There is also evidence that different funders apply different criteria in their selection processes as to whether artistic or financial reputation is emphasized (Ebbers and Wijnberg , ). Moreover, the power to select may transfer between actors in a value chain (Grantham and Kaplinsky ).…”

Section: Product−market Characteristicsmentioning

confidence: 99%

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Peltoniemi

2014

Int J Management Reviews

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During the last decade cultural industries have grown in economic importance, and research interest in them has increased. Despite prolific research, there is a lack of a comprehensive view on the subject. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. This is achieved through a review of 314 cultural industries studies, whereby a classification system of three main and six sub-categories is constructed. On the basis of the review, a framework for future research is presented. Most importantly, future research should examine selection criteria and selection performance, and explore the relationships between tastes, sales, diversity and quality. In this way, researchers might be able to create some order in the extreme uncertainty that cultural industries managers face. 2 INTRODUCTIONResearch on cultural industries has become increasingly popular. This has been motivated by the growth of the economic importance of such sectors (see e.g. United Nations 2010), by the introduction of cultural and creative industries policies (e.g. DCMS 2008), and perhaps also by researchers' passion for and interest in sectors like film, music and video games.Despite increasing popularity, we lack a comprehensive view of the subject. Some cultural industries researchers emphasize the selection system cultural goods need to pass through to reach audiences (e.g. Hirsch 1972), while others highlight the inherent uncertainty concerning the success potential of any cultural good when they do so (e.g. De Vany 2004). For yet others cultural goods are defined by their non-utilitarian value (e.g. , while many have expressed interest in the conflicts between artistically-motivated creatives and financiallymotivated managers (e.g. Eikhof and Haunschild 2007). Despite a vast and varied body of work, it remains unclear what characteristics make industries cultural, which industries belong under the cultural umbrella, and what phenomena are specific to them. The purpose of the present paper is to offer a reconceptualization of cultural industries by tracing their boundaries, their features and the dynamics that follow from these features. Based on this, a framework for future research is presented.Based on a review of 314 cultural industries studies we propose the following definition: Cultural industries are those that produce experience goods with considerable creative elements and aim these at the consumer market via mass distribution. The creative elements consist of stories and styles, and they serve the purposes of entertainment, identity-building and social display. Mass distribution refers to storage and delivery where economies of scale play an important role. On the basis of this definition, the activities belonging under the cultural 3 industries concept include film, music, book and magazine publishing, TV and radio, fashion and video games.There are two features that are specific to cultural...

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“…This is done mostly through articles in the mass media, events, or conversations about culture and intellectual society. For example, in the movie industry, because such organizations provide works both that are relevant to this domain of activity and that can make society think and react, expert reputation of movie directors is based on film critics' reviews in mass newspapers that inform and guide the general public (Ebbers and Wijnberg, 2011).…”

Section: Perspectives On Selection Systemmentioning

confidence: 99%

Reputational spillovers: Evidence from French architecture

Boutinot

Ansari

Belkhouja

et al. 2015

Strategic Organization

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While the notion of reputation has attracted much scholarly interest, few studies have addressed the strategic issue of reputational multiplicity and managing the interactions among different types of reputations. We suggest that an organization can have several stakeholder-specific reputations-peer, market, and expertand that reputational spillover effects (the continued influence of one reputation on another) matter at the organizational level. We test reputational spillovers on 42 French architecture companies over a period of 30 years. Our results show that over time, the three reputations interact with each other, generating positive spillovers, with the exception of market and expert reputations. We contribute by explaining how interconnected organizational reputations among different stakeholders can interact over time, how companies can strategically manage reputational spillovers, and how such spillovers influence organizations in creative and professional industries.

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The effects of having more than one good reputation on distributor investments in the film industry

Cited by 22 publications

References 69 publications

The Art of Representation: How Audience-specific Reputations Affect Success in the Contemporary Art Field

The Art of Representation: How Audience-specific Reputations Affect Success in the Contemporary Art Field

Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics

Reputational spillovers: Evidence from French architecture

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