| Beteiligte: | , |
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| veröffentlicht: | Cham Springer International Publishing AG 2018 ©2019 |
| Medientyp: | Buch, E-Book |
| Umfang: | 1 online resource (879 pages) |
|---|---|
| ISBN: |
9783319892924
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| Sprache: | Englisch |
| Kollektion: | Filmuniversität Konrad Wolf Babelsberg |
| Intro Preface and Acknowledgements Contents 1 Forget the "Nobody-Knows-Anything" Mantr It's Time for Entertainment Science! The "Nobody-Knows-Anything" Mantra in Entertainment Why Entertainment Science Should Be the New Mantra of the Entertainment Industry Avoiding the "Nobody-Knows-Anything" Trap with Data Analytics Avoiding the "False-Precision" Trap with Theory Understanding (and Overcoming) the Persistent Forces of the "Nobody-Knows-Anything" Mantra How This Book is Organized: Entertainment Science as a Cross-Product Approach to Knowledge Generation Before We (Really) Get Started: Some Words on the Empirical Methods Employed by Entertainment Science Scholars Regression Analysis as the Econometric "Mother" of Entertainment Science Methods Some Challenges-and a Quick Glance at Methodological Approaches to Master Them Concluding Comments References Part I Products, Markets, & Consumers-The Business and Economics of Entertainment Entertainment Products are Cultural Products Entertainment Products Express Attitudes and Values Entertainment Products Constitute Cultures and Influence Their Choices Managerial Consequences of the Cultural Character Entertainment Products are Difficult to Judge The Experience (and Quasi-Search) Good Character of Entertainment Entertainment Choices Depend on Taste The Trouble with Taste Judgments Do Consumers Have Taste, After All? Where Do Differences in Taste Stem From? Managerial Consequences of the Difficulty to Judge Entertainment Entertainment Products are Creative Products The "Art-for-Art's-Sake" Property of Entertainment The "Motley Crew" Property of Entertainment The "Infinite Variety" Property of Entertainment Managerial Consequences of the Creative Character Entertainment Products are Information Goods The "First-Copy Cost" Property of Entertainment Managerial Consequences of the Information Good Character Enterta Direct Network Effects Indirect Network Effects and How They Influence the Success of Entertainment Products Managerial Consequences of Entertainment Markets' Characteristics Concluding Comments References 5 Creating Value, Making Mone Essential Business Models for Entertainment Products A Value Creation Framework for Entertainment Who are Those Who Create Entertainment Value and How They Do It: A Snapshot of Players, Products, and Trends Major Studios, Labels, and Publishers: The Entertainment Conglomerates The Market for Filmed Content: Movies and TV Productions The Market for Written Content: Recreational Books The Market for Recorded Content: Music The Market for Programmed Content: Electronic Games The Dynamics of Entertainment: Some Words on Integration and Transformation Processes Transforming Value into Money: Approaches for Managing Revenues and Risk Generating Revenues from Consumers Direct Distribution of Entertainment 6 The Consumption Side of Entertainment Why We Love to Be Entertaine The Sensations-Familiarity Framework of Entertainment Consumption The Specific Motivational Values that Lead Us to Consume Entertainment Of Sensations and Familiarity The Emotional Facet of Entertainment Consumption How Emotions Work What Kinds of Emotions Exist? A Simple (but Meaningful) Typology of Consumer Emotions Looking Forward: Adding a Time Dimension to Our Understanding of Emotions Which Emotions Affect Entertainment Decisions-and How? General Findings on Emotions in Entertainment The Fascination (and Relevance) of Negative Emotions The Imagery Facet of Entertainment Consumption On Event Models, Images, and Imagery Some Imagery Basics Types of Entertainment Imagery The Drivers of Imagery The Power of Imagery: Narrative Transportation, Immersion, and Flow Narrative Transportation Immersion Flow A Process Model of Entertainment Consumption C Signals of Quality for Entertainment Products Entertainment Genres and Themes What, Exactly, is a Genre? Are Some Genres More Successful Than Others? The More Genres the Merrier?! International Difference Not Everyone Loves Baseball Culture is a Dynamic Phenomenon: The Zeitgeist Factor Entertainment Ratings and the Controversial Content on Which They Are Based Linking Entertainment Ratings with Product Success Disentangling the "Appeal Effect" of Radical Content and the "Restriction Effect" The Appeal of Radical Content, Contextualized. Or: Nobody Wants to See Sex (in a Galaxy Far, Far Away) Finally, a Few Words on Risk and Radicalness Entertainment's Country of Origin "Made in Hollywood" as a Quality Signal Empirical Findings on How Entertainment's Country of Origin Influences Success Both Sides Matter: Cultural Discount The Production Budget Concluding Comments References 9 Entertainment Product Decisions, Episode 3: Brand A Closer Look at the Factors that Make a Successful Entertainment Line Extension |