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Inferring Social Structure From Digital Trace Data : = Applications to Organizations and Markets.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Inferring Social Structure From Digital Trace Data :/
其他題名:	Applications to Organizations and Markets.
作者:	Oshotse, Abraham O.
面頁冊數:	1 online resource (136 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-04, Section: A.
Contained By:	Dissertations Abstracts International86-04A.
標題:	Film studies. -
電子資源:	click for full text (PQDT)
ISBN:	9798342113144

Inferring Social Structure From Digital Trace Data : = Applications to Organizations and Markets.
Oshotse, Abraham O.

Inferring Social Structure From Digital Trace Data :Applications to Organizations and Markets. - 1 online resource (136 pages)

Source: Dissertations Abstracts International, Volume: 86-04, Section: A.

Thesis (Ph.D.)--Stanford University, 2023.

Includes bibliographical references

A distinguishing property of cultural industries1 is that although consumers maintain a strong appreciation for the familiar, they also harbor a deep desire for the neoteric (Lampel, Lant, and Shamsie 2000). Competition between producers in cultural markets is characterized by a search for novelty, whereby the products offered aspire towards creativity and differentiation, while simultaneously attempting to bear qualities that consumers are already known to be fond of (Becker 1982; Hutter 2011; de Vaan, Vedres, and Stark 2015). But differentiation, while necessary, is inherently risky. When it comes to creating products and understanding why they succeed or fail, managers primarily rely on "educated conjecture" (Lampel et al. 2000). In the film industry, "gut feeling" is a favored approach to deciding the content of products (Hennig-Thurau and Houston 2019), and some of the most successful writers of motion pictures remain convinced that when it comes to understanding the formula for a successful product, "nobody knows anything" (Goldman 1983).Despite the fact that stylistic departures from tradition often fall flat, producers are driven to innovate. In 2011, rock singer-songwriter Lou Reed and metal band Metallica released a collaboration album, Lulu. Blending spoken-word with heavy-metal instrumentals, it represented an attempt at novelty by spanning both genres. The endeavor received polarized reviews from critics and extremely negative responses from many fans, despite both collaborators being beloved artists with independently successful careers. Similarly, the 2020 superhero film The New Mutants attempted to strategically differentiate itself by borrowing from the horror genre. A star-studded cast and major-studio production notwithstanding, it grossed far less than it cost to make, resulting in one of the biggest box-office bombs of all time (The-Numbers 2020). The caustic responses and failed investments serve as case studies of the notion that pursuit of novelty comes with appreciable risk. At the same time, however, stylistic innovation can often result in a substantial degree of success. Consider the rap-musical Hamilton, or the rock ballad Bohemian Rhapsody. Both of these productions represent marked deviations from the prevailing conventions of their genres, and like the aforementioned pair, both are characterized by genre blending innovation on their target category. Yet these works have enjoyed lasting acclaim and enshrinement in their respective fields. Why is this the case? In particular, why is it that some genre-blending innovations are well-received while others are found to be weird, off-putting, or otherwise ineffectual?In this paper I demonstrate that genre-spanning innovation is most beneficial when it is done in a more conspicuousmanner rather than inconspicuously. I argue that this mechanism hinges on consumers' simultaneous appreciation for novelty and familiarity; conspicuous cultural elements are those which are popular within a non-label or non-target category, and by virtue of this popularity are familiar to consumers. However, when placed within an unusual categorical context, they represent innovative departure from the norm, supplying added experiential benefits. Furthermore, I show that these benefits are more pronounced when such elements are drawn from more obscure categories, because audiences grow wary of elements they associate with saturated niches (Barroso, Giarratana, Reis, and Sorenson 2016).

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798342113144Subjects--Topical Terms:

1179264
Film studies.
Index Terms--Genre/Form:

554714
Electronic books.

Inferring Social Structure From Digital Trace Data : = Applications to Organizations and Markets.
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