The critical trade‐off: identity assignment and box‐office success in the feature film industry

By Ezra W. Zuckerman, Tai-Young Kim. 2003

237 citations recorded by the source corpus.

Subfields: Economics and Econometrics, Urban Studies, Visual Arts and Performing Arts

View Paper: https://www.semanticscholar.org/paper/7c2824377180ff5d35cb7bcf2ebdd03fa30d9ec6

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Citations in the corpus

Jacks of All Trades and Masters of None: Audiences' Reactions to Spanning Genres in Feature Film Production (2006, background): “In recent years, however, a number of empirical studies have focused on how audiences’ perceptions and reactions discipline producers (Zuckerman, 1999; Zuckerman and Kim, 2003; Carroll and Swaminathan, 2000; Rao, Monin, and Durand, 2003, 2005; Dobrev, Ozdemir, and Teo, 2005).”
Multiple Category Memberships in Markets: An Integrative Theory and Two Empirical Tests (2009, background): “When categories are oppositional (Carroll and Swaminathan 2000; Zuckerman and Kim 2003) or involve moral imperatives (Douglas 1966; Durkheim [1912] 1965), category spanning violates cultural codes and, therefore, meets with sharp punishment.”
Audience Heterogeneity and the Effectiveness of Market Signals: How to Overcome Liabilities of Foreignness in Film Exports? (2014, unknown): “…available for the film, the higher the marketing budget for the film, and the more likely the film is to be viewed as a mainstream film—all of which may affect the perceived quality of a film and contribute to its commercial performance (Gemser et al., 2007; Hsu, 2006; Zuckerman & Kim, 2003).”
The Economics of Movies: A Literature Survey (2012, unknown): “19 Zuckerman and Kim (2003) investigate another aspect of the relationship between reviewer and financial success of a film by considering what they term ‘identity assignment’ for a sample of 396 films released in 1997 in the U.”
Market mediators and the tradeoffs of legitimacy-seeking behaviors in a nascent category (2014, unknown): “Identity movements in the beer and wine industries as well as the film and beef industries created “systems of binary opposition” (Zuckerman and Kim 2003, p. 29) that make it difficult to straddle the two opposing categories (Carroll and Swaminathan 2000, Weber et al. 2008).”
Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics (2015, unknown): “Critics, however, define products as either highbrow or lowbrow (Zuckerman and Kim 2003).”
Toward a Behavioral Theory of Strategy (2012, background): “underlying a form is viable, and that multiple, potentially contradictory conceptions can coexist at any given point in time (Zuckerman and Kim, 2003), the ways in which schemas are formed is complex and only partially understood.”
Betrayal as Market Barrier: Identity-Based Limits to Diversification among High-Status Corporate Law Firms1 (2013, background): “Moreover, the ideal performer in many contexts is the Renaissance man who displays skill in many areas of work ðsee Zuckerman et al. 2003Þ.”
Why Some Awards Are More Effective Signals of Quality Than Others: A Study of Movie Awards† (2008, background): “…such as the number of screens on which the film opened (Reinstein & Snyder, 2005), the way the films are financed (Rusco & Walls, 2004), or the market identity of the film distributor or film theater in which the film is released (Delre et al., 2006; Gemser et al., 2007; Zuckerman & Kim, 2003).”
Border Crossing: Bricolage and the Erosion of Categorical Boundaries in French Gastronomy (2005, background): “According to this line of reasoning, critics make judgments of similarity first, and then make judgments of taste (Phillips and Zuckerman 2001; Zuckerman 1999; Zuckerman et al. 2003).”