標(biāo)題: Titlebook: Entertainment Science; Data Analytics and P Thorsten Hennig-Thurau,Mark B. Houston Textbook 2019 Springer International Publishing AG, part [打印本頁(yè)] 作者: 帳簿 時(shí)間: 2025-3-21 19:18
書目名稱Entertainment Science影響因子(影響力)
作者: VOK 時(shí)間: 2025-3-21 21:52 作者: Desert 時(shí)間: 2025-3-22 01:08 作者: Adjourn 時(shí)間: 2025-3-22 04:33
Rob Haelterman,Alfred Bogaers,Joris Degrootef these characteristics provides the foundation for developing a marketing mix for entertainment products that takes their uniqueness into account. Their hedonic and cultural nature makes it difficult for consumers to judge the quality of entertainment products when deciding whether or not to buy th作者: 內(nèi)向者 時(shí)間: 2025-3-22 10:32 作者: outskirts 時(shí)間: 2025-3-22 13:17
https://doi.org/10.1007/978-981-15-9209-6ss that connects producers with consumers. We then overview the major studios, labels, and publishers that have dominated entertainment for decades and key transformational strategies, as well as the economic developments for key forms of entertainment—films, games, books, and music. We then isolate作者: outskirts 時(shí)間: 2025-3-22 18:05
Transactions on Engineering Technologies chapter is the sensations-familiarity framework that argues that the success of an entertainment product always hinges on the delicate balance between offering enough fresh sensations to be intriguing to the consumer while connecting to things that the consumer already cares about (i.e., familiarit作者: conformity 時(shí)間: 2025-3-23 01:14
Sabuj Mallik,Ahmed Z. El Mehdawidency of the concept. We then study what makes an entertainment product a “high quality” one, and how such quality ultimately relates to product success. Because many entertainment products rely on a storyline, we also take a look at what makes a narrative “great”—including an examination of whether作者: 嬉耍 時(shí)間: 2025-3-23 04:09 作者: CON 時(shí)間: 2025-3-23 09:08 作者: Orthodontics 時(shí)間: 2025-3-23 10:25
Alex W. H. Choy,Daniel P. K. Lunsis. Finding a way to respectfully balance artistic and economic goals is the foundation for the chapter; our analysis shows that this can only be achieved by creating a culture that combines autonomy and responsibility. Such a culture must be supported by an organizational structure that attracts p作者: Ointment 時(shí)間: 2025-3-23 16:38
Edoardo Marconi,Franco Gatto,Matteo Massaro “Paid” channels refer to traditional advertising in all of its forms; the firm crafts a message and then pays a channel for delivering that message to consumers. Key questions we address in this chapter include what messages to emphasize and how much to reveal of an exciting storyline, how much to 作者: 密碼 時(shí)間: 2025-3-23 20:49 作者: fatuity 時(shí)間: 2025-3-23 22:31 作者: 尾隨 時(shí)間: 2025-3-24 05:49 作者: consent 時(shí)間: 2025-3-24 08:39 作者: Myosin 時(shí)間: 2025-3-24 11:28
Naoto Emori,Tomoko Izumi,Yoshio Nakatanivenues, but it also has a pioneering influence on culture, in many ways. Entertainment shapes how our views of the world around us, impacts our language, can provide meaning to our human existence, and can motivate us to do better.作者: 伙伴 時(shí)間: 2025-3-24 16:16 作者: 晚間 時(shí)間: 2025-3-24 19:16 作者: 發(fā)現(xiàn) 時(shí)間: 2025-3-25 02:16
Thorsten Hennig-Thurau,Mark B. HoustonBuilds a definitive guide to learning, understanding and implementing Entertainment Science?.Brings a fresh and exhaustive approach to using data analytics in the entertainment industry.Includes many 作者: prick-test 時(shí)間: 2025-3-25 06:01 作者: 搖曳 時(shí)間: 2025-3-25 10:52 作者: heterogeneous 時(shí)間: 2025-3-25 14:12 作者: defuse 時(shí)間: 2025-3-25 19:12 作者: AWE 時(shí)間: 2025-3-25 21:31
Alex W. H. Choy,Daniel P. K. Lunoduct’s commercial potential. We review the different econometric prediction methods that are available for such a purpose and discuss concrete scientific prediction models for new product success and their use at different stages of the innovation process.作者: GEN 時(shí)間: 2025-3-26 00:13 作者: artifice 時(shí)間: 2025-3-26 06:44 作者: SUGAR 時(shí)間: 2025-3-26 08:41
Edward Chern Jinn Gan,Salim Mohamed Salimes of price discrimination approaches and illustrating their applications in the context of entertainment. When doing so, we dedicate particular attention to “freemium” pricing models, a special kind of versioning.作者: 消散 時(shí)間: 2025-3-26 13:34
,Forget the “Nobody-Knows-Anything” Mantra: It’s Time for ,!,s. We show that analytics also needs powerful theory to be effective, as empirical results and predictions will otherwise be misleading and useless. . fuses managerial intuition with data analytics and theory, suggesting a new path for the thoughtful entertainment manager.作者: indifferent 時(shí)間: 2025-3-26 18:48
Why Entertainment Products are Unique: Key Characteristicse “first copy,” with each additional copy being low- or no-cost), and tend to have short life cycles. Entertainment products can acquire revenues not only from consumers, but also from advertisers and other parties, and “externalities” exist between these parties. This chapter provides a critical foundation for the rest of the book.作者: 滔滔不絕的人 時(shí)間: 2025-3-26 22:31
The Consumption Side of Entertainmentw. To conclude the chapter, we tie all of these concepts into a unified process model to help managers understand how consumers make decisions about the consumption of entertainment, either in isolation or as part of a group.作者: Processes 時(shí)間: 2025-3-27 04:38 作者: ornithology 時(shí)間: 2025-3-27 07:55
Entertainment Communication Decisions, Episode 1: Paid and Owned Channelsis essential: the firm puts a message (like a pinball) into play, but the message is alive and is batted about by bumpers and spinners by consumers and traditional media. We discuss the main challenges for successfully playing pinball marketing for entertainment products.作者: 異常 時(shí)間: 2025-3-27 12:04
Entertainment Communication Decisions, Episode 2: “Earned” Channelsommender systems that process information about consumers’ liking of certain products into an information source that is considered to be valuable by others. The cultural nature of entertainment assigns further importance to judgments by professional reviewers and industry peers, as reflected in reviews and awards, such as the Oscar.作者: Allege 時(shí)間: 2025-3-27 13:41 作者: CAMEO 時(shí)間: 2025-3-27 18:49 作者: BLOT 時(shí)間: 2025-3-28 01:55 作者: 甜得發(fā)膩 時(shí)間: 2025-3-28 04:57
Transactions on Engineering Technologies by frequent innovations that are required to stay in business and a tendency toward concentration. The latter derives from the existence of certain strategic resources that function as high entry barriers and from direct and indirect network effects that facilitate even higher concentration levels.作者: 新手 時(shí)間: 2025-3-28 09:14 作者: frenzy 時(shí)間: 2025-3-28 12:22 作者: 敘述 時(shí)間: 2025-3-28 15:38
data analytics in the entertainment industry.Includes many .The entertainment industry has long been dominated by legendary screenwriter William Goldman’s “Nobody-Knows-Anything” mantra, which argues that success is the result of managerial intuition and instinct. This book builds the case that com作者: rectum 時(shí)間: 2025-3-28 22:13 作者: 手榴彈 時(shí)間: 2025-3-28 23:15 作者: Coma704 時(shí)間: 2025-3-29 05:11
Why Entertainment Markets Are Unique: Key Characteristics by frequent innovations that are required to stay in business and a tendency toward concentration. The latter derives from the existence of certain strategic resources that function as high entry barriers and from direct and indirect network effects that facilitate even higher concentration levels.作者: ostracize 時(shí)間: 2025-3-29 08:20
Entertainment Product Decisions, Episode 2: Search Qualities and Unbranded Signalss chapter, we explore technology as a major search quality of entertainment, followed by a discussion of several signals, namely the product’s genre or theme, any age restrictions and the critical content that underlies them, and the country of origin.作者: GRAIN 時(shí)間: 2025-3-29 13:17
Entertainment Product Decisions, Episode 3: Brands as Quality Signalsperspective requires a unique perspective of brand management; we discuss it and link it with recent meta-franchises such as Marvel’s Cinematic Universe. We conclude the chapter with a look at how the financial value of entertainment brands can be calculated, based on existing data.作者: Directed 時(shí)間: 2025-3-29 15:58 作者: follicle 時(shí)間: 2025-3-29 20:00
Transactions on Engineering Technologiese macro- and micro-level factors that need to be considered when valuing alternative distribution models and report results from empirical scholarly experiments on sequential distribution. Finally, we study the piracy threat: its importance, its determinants, and the effectiveness of anti-piracy measures.作者: 禍害隱伏 時(shí)間: 2025-3-30 01:37 作者: Mindfulness 時(shí)間: 2025-3-30 05:31
Integrated Entertainment Marketing: Creating Blockbusters and Niche Products by Combining Product, Ccept carries industry-wide risk, potentially driving consumers away from traditional forms of entertainment to new ones such as social media, and thus implies the danger of massive, very expensive failures.作者: 秘傳 時(shí)間: 2025-3-30 08:56 作者: Synchronism 時(shí)間: 2025-3-30 14:55
I. C. Demetriou,P. C. Tzitziriscept carries industry-wide risk, potentially driving consumers away from traditional forms of entertainment to new ones such as social media, and thus implies the danger of massive, very expensive failures.作者: 心神不寧 時(shí)間: 2025-3-30 16:34
in theentertainment industry. Entertainment Science is poised to inspire fresh new thinking among managers, students of entertainment, and scholars alike..Thorsten Hennig-Thurau and Mark B. Houston – two of ou978-3-030-07733-4978-3-319-89292-4作者: avarice 時(shí)間: 2025-3-30 22:15 作者: 推測(cè) 時(shí)間: 2025-3-31 03:59
The Fundamentals of Entertainmentvenues, but it also has a pioneering influence on culture, in many ways. Entertainment shapes how our views of the world around us, impacts our language, can provide meaning to our human existence, and can motivate us to do better.作者: Interstellar 時(shí)間: 2025-3-31 06:36 作者: 污點(diǎn) 時(shí)間: 2025-3-31 11:33
Why Entertainment Markets Are Unique: Key Characteristics mix. In this chapter, we take a closer look at the two key sub-markets that exist for any form of entertainment: a market for products targeted to consumers with artistic tastes and one for commercial products targeted to the mainstream consumer. We show that entertainment markets are characterized
