Audiences discover what films they like and spread the word. Information feedback produces Bose-Einstein dynamics in the motion picture box office revenue distribution. Information cascades generate box office 'hits' and 'flops.' The revenue distribution evolves recursively over the 'run' as a mixture of the 'opening' and a stochastic competition among films. The motion picture run is decentralized, adaptive, and self-organizing: semistationary admission prices, local information, and contingency-rich contracts match the film rental price and the supply of theatrical engagements to demand. Copyright 1996 by Royal Economic Society.
[[abstract]]Movie industry is an example of a typical “experience product” market. The pre-consumpti...
Improving productivity in the entertainment industry is a very challenging task as it heavily depend...
This paper seeks to explain why Hollywood’s dominant firms are narrowing the scope of creativity in ...
Audiences discover what films they like and spread the word. Information feedback produces Bose-Eins...
Audiences discover what movies they like and spread the word. Information feedback produces Bose-Ein...
This chapter is an overview of a new kind of economics of the movies; it also is my attempt to lay a...
Everyone knows that the movie business is risky. But how risky is it? Do strategies exist that reduc...
Everyone knows that the movie business is risky. But how risky is it? Do strategies exist that reduc...
This paper’s aim is to outline a general model of the indicators of box office revenue for the top p...
I analyze how variation in firm boundaries affect economic outcomes in the movie industry. Specifica...
We introduce a simple model to study movie competition in recommender systems. Movies of heterogeneo...
Self-confirming Dynamics 2 Studies have consistently found that social structure influences who tran...
Social learning is thought to be a key determinant of the demand for movies, the decisions about whe...
Movies and other media goods are traditionally distributed across distinct sequential channels (e.g....
Social learning is thought to be a key determinant of the demand for movies. This can be a double-ed...
[[abstract]]Movie industry is an example of a typical “experience product” market. The pre-consumpti...
Improving productivity in the entertainment industry is a very challenging task as it heavily depend...
This paper seeks to explain why Hollywood’s dominant firms are narrowing the scope of creativity in ...
Audiences discover what films they like and spread the word. Information feedback produces Bose-Eins...
Audiences discover what movies they like and spread the word. Information feedback produces Bose-Ein...
This chapter is an overview of a new kind of economics of the movies; it also is my attempt to lay a...
Everyone knows that the movie business is risky. But how risky is it? Do strategies exist that reduc...
Everyone knows that the movie business is risky. But how risky is it? Do strategies exist that reduc...
This paper’s aim is to outline a general model of the indicators of box office revenue for the top p...
I analyze how variation in firm boundaries affect economic outcomes in the movie industry. Specifica...
We introduce a simple model to study movie competition in recommender systems. Movies of heterogeneo...
Self-confirming Dynamics 2 Studies have consistently found that social structure influences who tran...
Social learning is thought to be a key determinant of the demand for movies, the decisions about whe...
Movies and other media goods are traditionally distributed across distinct sequential channels (e.g....
Social learning is thought to be a key determinant of the demand for movies. This can be a double-ed...
[[abstract]]Movie industry is an example of a typical “experience product” market. The pre-consumpti...
Improving productivity in the entertainment industry is a very challenging task as it heavily depend...
This paper seeks to explain why Hollywood’s dominant firms are narrowing the scope of creativity in ...