Jacks of All Trades and Masters of None: Audiences' Reactions to Spanning Genres in Feature Film Production

By Greta Hsu. 2006

623 citations recorded by the source corpus.

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

View Paper: https://www.semanticscholar.org/paper/a307046e0e1249aea8a6fe0595ac69ed29902e21

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Citations in the corpus

Two Sides of the Same Coin (2012, methodology): “The studies cited above investigate consumers (Rosa et al., 1999; Hsu, 2006; Hsu, Hannan, and Kocxak, 2009; Kovács and Hannan, 2010) and critics or gatekeepers (Zuckerman, 1999; Zuckerman et al., 2003; Hsu, 2006; Ruef and Patterson, 2009).”
Categorical contrast and audience appeal: niche width and critical success in winemaking (2010, background): “Hsu (2006) and Hsu et al. (2009) frame the issue of category straddling as an instance of the broadening of a niche.”
Hybrid Vigor: Securing Venture Capital by Spanning Categories in Nanotechnology (2014, background): “By locating meaning in category combinations, we dispute the notion that clear identities are associated with single category focus (Hsu, 2006; Hsu & Hannan, 2005; Hsu, Hannan, & Koçak, 2009; Zuckerman & Kim, 2003).”
Audience Heterogeneity and the Effectiveness of Market Signals: How to Overcome Liabilities of Foreignness in Film Exports? (2014, neutral): “Second, the director of a film and its lead actors are uniquely positioned to affect the actual and the perceived quality of a film (De Vany, 2004; Hsu, 2006; Sorenson & Waguespack, 2006).”
Categories and Competition (2017, background): “…research on third parties utilizes some form of sales or revenues as the key dependent variable indexing third-party effects on market outcomes (e.g., Pontikes, 2012; Hsu, 2006; Paolella and Durand, 2016; Smith, 2011; Archak, Ghose, and Ipeirotis, 2011; Chevalier and Mayzlin, 2006; Luca, 2011).”
Synthesizing and Extending Resource Dependence Theory (2013, positive): “Third, the confusion focal organizations with partial membership of multiple producer categories tend to create in the eyes of their audiences may be attenuated when they cooperate with actors who are singularly affiliated with one of these producer categories (Hsu, 2006; Rindova, Pollock, & Hayward”
Category Spanning, Evaluation, and Performance: Revised Theory and Test on the Corporate Law Market (2016, neutral): “Past research suggests that clients prefer typical products and focused producers (Hsu, 2006; Hsu, Koçak, & Hannan, 2009).”
Learning in Hybrid-Project Systems: The Effects of Project Performance on Repeated Collaboration (2008, background): “, what genres audiences preferred (Hsu, 2006)).”
Category Stretching: Reorienting Research on Categories in Strategy, Entrepreneurship, and Organization Theory (2013, background): “Hence (according to the prototypical view), a film that spans multiple movie industry genres cannot fit neatly into any one of them, and will therefore be less appealing to audiences (Hsu, 2006).”
From Synchronizing to Harmonizing: The Process of Authenticating Multiple Work Identities (2018, background): “One benefit of enacting a single, specialized role is that it facilitates categorization for oneself (i.e., ‘‘I am a photographer’’) and for others (‘‘He is a photographer’’) (Hsu, 2006).”
What Does It Mean to Span Cultural Boundaries? Variety and Atypicality in Cultural Consumption (2016, background): “The problem is that many cultural objects get classified as belonging to more than one genre (see Hsu 2006).”
Asset Divestment as a Response to Media Attacks in Stigmatized Industries (2014, background): “Other works on organizational similarity and categorization have confirmed that firms are further classified in subgroups, depending on core attributes labeled under a same category (Hsu, 2006; Wry and Lounsbury, 2013; Wry, Lounsbury, and Jennings, Forthcoming).”
Legitimating Nascent Collective Identities: Coordinating Cultural Entrepreneurship (2011, background): “For example, whereas the core cultural elements that define “action movies” have remained quite constant over time, their associated practices have changed dramatically (Hsu 2006).”