The Experts below are selected from a list of 360 Experts worldwide ranked by ideXlab platform
Michael Lounsbury - One of the best experts on this subject based on the ideXlab platform.
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overcoming the illegitimacy discount cultural entrepreneurship in the us Feature Film industry
Organization Studies, 2013Co-Authors: Eric Yanfei Zhao, Masakazu Ishihara, Michael LounsburyAbstract:How can organizations spanning institutionalized categories mitigate against the possibility of reduced attention by audiences? While there has been a good deal of research on the illegitimacy discount of category spanning, scant attention has been paid to how organizations might strategically address this potential problem. In this paper, we explore how the strategic naming of products might enhance audience attention despite the liabilities associated with category spanning. Drawing on a sample of Films released in the United States market between 1982 and 2007, we analyze different naming strategies and show that names that simply signal familiarity are not potent enough to offset the illegitimacy discount, while names imbued with known reputations serve as a symbolic device that enhances audience attention to genre-spanning Films.
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overcoming the illegitimacy discount cultural entrepreneurship in the us Feature Film industry
Social Science Research Network, 2013Co-Authors: Zhao Eric, Masakazu Ishihara, Michael LounsburyAbstract:How can organizations spanning institutionalized categories mitigate against the possibility of reduced attention by audiences? While there has been a good deal of research on the illegitimacy discount of category spanning, scant attention has been paid to how organizations might strategically address this potential problem. In this paper, we explore how the strategic naming of products might enhance audience attention despite the liabilities associated with category spanning. Drawing on a sample of Films released in the US market between 1982 and 2007, we analyze different naming strategies and show that names that simply signal familiarity are not potent enough to offset the illegitimacy discount, while names imbued with known reputations serve as a symbolic device that enhances audience attention to genre spanning Films.
Simone Ferriani - One of the best experts on this subject based on the ideXlab platform.
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the structure of consensus network ties legitimation and exit rates of u s Feature Film producer organizations
Administrative Science Quarterly, 2008Co-Authors: Gino Cattani, Simone Ferriani, Giacomo Negro, Fabrizio PerrettiAbstract:Recent research emphasizes that legitimacy depends on consensus among agents (audiences) about the Features and activities of organizations (candidates) that become taken-for-granted elements in a social domain. This study examines how consensus is affected by the structure of interaction in the network connecting social audiences to candidate organizations. It analyzes how audience members reach, reinforce, and preserve consensus about candidates’ Features and behavior, affecting a crucial organizational outcome, survival. The findings show that survival is enhanced by the degree of connectivity and the repeated interactions between audience members and candidate organizations and is reduced by the degree of turnover of audience members. We situate our analysis in the U.S. motion picture industry, where we trace the interorganizational network between Feature Film producer organizations (candidates) and distributor organizations (the audience) and its influence on producer organizations’ exit rates over the period 1912-1970. We find strong support for the claim that the legitimation process has a relational foundation that involves ties between organizational entities and the external others with whom they interact. The results contribute to the dialogue between ecological and network theories of organizations and support the claim that legitimation has a relational foundation involving ties between organizations and audiences.
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organizational learning under organizational impermanence collaborative ties in Film project firms
Journal of Management & Governance, 2005Co-Authors: Simone Ferriani, Raffaele Corrado, Carlo BoschettiAbstract:In the last two decades a lot of research has been devoted to unveiling the processes through which organizations learn and store knowledge. This research is typically concerned with organizations lastingly engaged in the provision of goods or services. Permanency is usually presumed in order for the encoding of inferences from history to take place. But what if organizational permanency cannot be assumed ex-ante? Project firms represent an interesting case in point. A project firm is a transient form of organization that ceases to exist as soon as its single target is achieved, as such it does not exhibit stable structures nor does it exhibit ostensible history-based paths upon which to build its choices and nurture its organizational knowledge. This apparent paradox can be resolved, in part, by extending the view from the isolated project to the relational context in which project firms operate. Using longitudinal data from the U.S. Feature Film industry, we show that the process of organizational formation and dissolution that characterizes this context is underpinned by patterns of enduring collaborations among interdependent industry participants. We build on these findings to speculate on processes of learning and remembering that interpenetrate project firms’ boundaries, by being embedded within a texture of stable interpersonal ties. Copyright Springer 2005
Masakazu Ishihara - One of the best experts on this subject based on the ideXlab platform.
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overcoming the illegitimacy discount cultural entrepreneurship in the us Feature Film industry
Organization Studies, 2013Co-Authors: Eric Yanfei Zhao, Masakazu Ishihara, Michael LounsburyAbstract:How can organizations spanning institutionalized categories mitigate against the possibility of reduced attention by audiences? While there has been a good deal of research on the illegitimacy discount of category spanning, scant attention has been paid to how organizations might strategically address this potential problem. In this paper, we explore how the strategic naming of products might enhance audience attention despite the liabilities associated with category spanning. Drawing on a sample of Films released in the United States market between 1982 and 2007, we analyze different naming strategies and show that names that simply signal familiarity are not potent enough to offset the illegitimacy discount, while names imbued with known reputations serve as a symbolic device that enhances audience attention to genre-spanning Films.
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overcoming the illegitimacy discount cultural entrepreneurship in the us Feature Film industry
Social Science Research Network, 2013Co-Authors: Zhao Eric, Masakazu Ishihara, Michael LounsburyAbstract:How can organizations spanning institutionalized categories mitigate against the possibility of reduced attention by audiences? While there has been a good deal of research on the illegitimacy discount of category spanning, scant attention has been paid to how organizations might strategically address this potential problem. In this paper, we explore how the strategic naming of products might enhance audience attention despite the liabilities associated with category spanning. Drawing on a sample of Films released in the US market between 1982 and 2007, we analyze different naming strategies and show that names that simply signal familiarity are not potent enough to offset the illegitimacy discount, while names imbued with known reputations serve as a symbolic device that enhances audience attention to genre spanning Films.
Ezra W Zuckerman - One of the best experts on this subject based on the ideXlab platform.
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do firms and markets look different repeat collaboration in the Feature Film industry 1935 1995
2004Co-Authors: Ezra W ZuckermanAbstract:This paper contributes to a growing literature that finds a surprising degree of structure in the exchange networks that comprise a market. Standard neoclassical theory depicts the market as fluid system with little repeated exchange between pairs of agents. And while economists have recently begun to pay greater attention to more restricted networks of exchange, such networks are typically viewed as symptomatic of a nonmarket environment. The expectation that the market has little repeat exchange is particularly strong in such contexts as the Feature Film industry, where few transaction-specific investments are made and where third-parties are able to monitor and broadcast information about poor performance (Caves 2000: 96). Yet my analysis of comprehensive data from the Internet Movie Database shows a significant level of repeat collaboration among actors, directors, and producers throughout the period under study, 1933-1995. Moreover, the shift from the era of the studio system, when career choices were subject to the authority of studio management, to the contemporary market-based system was not associated with a corresponding decline in repeat collaboration. This result reinforces recent research indicating the need for rethinking traditional imagery of the market and the firm as fundamentally opposed modes of economic organization.
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robust identities or nonentities typecasting in the Feature Film labor market1
American Journal of Sociology, 2003Co-Authors: Ezra W Zuckerman, Taiyoung Kim, Kalinda Ukanwa, James Von RittmannAbstract:This article addresses two seemingly incompatible claims about identity: (a ) complex, multivalent identities are advantageous because they afford greater flexibility versus (b) simple, focused identities are advantageous because they facilitate valuation. Following Faulkner, it is hypothesized that a focused identity is helpful in gaining entree into an arena but subsequently leads to increasing limitations. The labor market for Feature‐Film actors is analyzed via career patterns recorded in the Internet Movie Database and interviews with key informants, allowing the article to distinguish between typecasting effects and those due to underlying skill differences or social networks. Important implications are drawn for research on identity formation in various social arenas, on categorical boundaries in external labor markets, and on the actor‐position interplay inherent in market dynamics.
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the critical trade off identity assignment and box office success in the Feature Film industry
Industrial and Corporate Change, 2003Co-Authors: Ezra W Zuckerman, Taiyoung KimAbstract:Researchers have begun to study markets that are structured in terms of an opposition between market identities in a manner akin to the role-pairs analyzed in structural role theory. In this paper, we analyze the Feature Film market, which came to have such a role structure by the mid-1990s. By exploiting the contingency that pertains to the identity of newly released Films and the intermediary function played by critics, we assess the tendency for offerings to be assigned one or the other of the available market identitiesc independent or major. An analysis of the box-office success of 396 Feature Films released in 1997 shows that a Film attracted a larger audience when critics who specialized in major releases reviewed the Film and implicitly certified it as fit for the mass market. Such classification was particularly crucial for 'breaking out' of the initial constraints set by theatrical exhibitors. However, while attaining a major identity was necessary for success in the mass market, it was a handicap in penetrating the 'art house'. This trade-off illustrates how market structures restrict identity in a manner akin that by which role structures place constraints on the identities available to individuals. Copyright 2003, Oxford University Press.
Taylor K. Vivian - One of the best experts on this subject based on the ideXlab platform.
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Nationality, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and “The Adventures of Prince Achmed” (1926)
'University of South Florida Libraries', 2011Co-Authors: Taylor K. VivianAbstract:Contemporary American visual culture is saturated with animation, from websites and advertisements to adult and children's television programs. Animated Films have dominated the American box office since Toy Story (1995) and show no signs of relenting, as demonstrated by Up (2009) and Alice in Wonderland (2010). Scholarly interest in animation has paralleled the steady rise of the popularity of the medium. Publications addressing animation have migrated from niche journals to one of the most mainstream English-language publications, the Modern Language Association's Profession, which included Judith Halberstam's article "Animation" in 2009, in which she discusses the potential of animation to transcend outdated notions of disciplinary divides and to unify the sciences and humanities. However, the origins of the animated Feature Film remain obscured. My dissertation clarifies this obscurity by recovering Lotte Reiniger, the inventor of the multiplane camera and producer of the first animated Feature Film, The Adventures of Prince Achmed (1926). My first chapter demonstrates inconsistencies concerning the development of the animated Film throughout animation scholarship despite the recent proliferation of publications. Most of the scholarship misattributes the innovations of Reiniger, including her invention of the multiplane camera and the animated Feature Film, to the Disney Company. The related scholarship reveals a suspicious omission, or passing mention, of Reiniger. The conflicting and sparse scholarship prompts my inquiry into the causes of her critical marginalization. In the second chapter I historically and culturally contextualize Reiniger by examining contemporaneous writers and artists, as well as the early German Film industry. I argue that (German) national identity negatively impacted her and the Film's discourse position. I contextualize Prince Achmed within Expressionism, Bauhaus, Constructivism, Dada, Surrealism, and the New Objectivity and measure it by contemporaneous critical standards represented by Kracauer, Balázs, and Arnheim. An analysis of the Film as an adaptation of a popular literary text highlights its formal singularity: its status as an independent animated Feature. Despite initial critical acclaim and use of elements from celebrated visual movements, the very elements that are unique to the Film have historically contributed to its critical neglect. I posit that 1926, the year of Prince Achmed's Berlin and Parisian releases, was a particularly difficult time for the German Film industry. The difficulties of this era were intensified for independent productions, such as Prince Achmed. Hollywood had established hegemony after targeting its only competition, the German Film industry. Americanism dominated Weimar culture, resulting in domestic critical neglect of German Film. Anti-German sentiment abounded internationally. The convergence of these events coincided with the release of Prince Achmed and further damaged its critical legacy. In chapter three I consider the influence of gender on the discourse positions of Reiniger and Prince Achmed. An overview of contemporaneous female artists and Filmmakers elucidates the complicated relationships between women and Film and women and modernity. Invoking Guyatri Chakravorty Spivak's interrelated concepts of the "politics of interpretation," "cultural marginalia," and "masculist centrality/feminist marginality," I posit Prince Achmed as a feminist celebration of handicraft and a critique of modern culture. Reiniger embraces her relegation to the private/domestic/feminine realm by revolutionizing silhouette cutting in the form of animated (Feature) Film. In Prince Achmed she critiques the contradiction between imagery of the New Woman and the actual plight of women in modernity. After situating animated Film within the larger genre of Film, in chapter four I reflect upon the scholarly tendency to relegate Film to a status subordinate to traditional visual media, thereby further marginalizing animation. In this chapter I also define and debunk the Disney myth, which includes widespread misconceptions that Disney invented the multiplane camera and pioneered the animated Feature Film. I highlight contributing factors such as a noticeable lack of animation scholarship (Edera; Pilling) and a gap in interwar German history during which Prince Achmed was produced (Kracauer; Arnheim; Edera). The concept of "historical imaginary" developed by Elsaesser and Foucauldian "mechanisms of power" assist an understanding of the creation and nearly century-long perpetuation of the Disney myth, which has lost relevance to contemporary critical discourse. Having established primary and tertiary causes of the marginalization of Reiniger and Prince Achmed, I determine that this is a timely project since, according to Walter Benjamin, all images become intelligible only in later corresponding epochs. This "synchronicity" renders Prince Achmed comprehensible to critics in contemporary American animation-saturated culture. Because each chapter focuses on an element of otherness, my project illuminates the individual and culminating effects of national identity, gender, and genre on Film history and discourse. By restoring Lotte Reiniger and Prince Achmed to their rightful discourse positions, my dissertation challenges existing understandings of the origins of animated Film and development of the medium of Film. (Abstract shortened by UMI.
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National Identity, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926)
Scholar Commons, 2011Co-Authors: Taylor K. VivianAbstract:Contemporary American visual culture is saturated with animation, from websites and advertisements to adult and children\u27s television programs. Animated Films have dominated the American box office since Toy Story (1995) and show no signs of relenting, as demonstrated by Up (2009) and Alice in Wonderland (2010). Scholarly interest in animation has paralleled the steady rise of the popularity of the medium. Publications addressing animation have migrated from niche journals, such as such as Animation Journal and Wide Angle, to one of the most mainstream English-language publications, the Modern Language Association\u27s Profession, which included Judith Halberstam\u27s article Animation in 2009, in which she discusses the potential of animation to transcend outdated notions of disciplinary divides and to unify the sciences and humanities. However, the origins of the animated Feature Film remain obscured. My dissertation clarifies this obscurity by recovering Lotte Reiniger, the inventor of the multiplane camera and producer of the first animated Feature Film, The Adventures of Prince Achmed (1926). Because of the international and interdisciplinary qualities of animation, my project draws upon a wide array of disciplines including Film theory, historiography, and criticism; European modernisms; animation studies; early German culture; folklore; and literary adaptation. In order to explore such diverse subject matter I utilize feminist, discourse, Marxist/cultural, and Film theories. My first chapter demonstrates inconsistencies concerning the development of the animated Film throughout animation scholarship despite the recent proliferation of publications. Most of the scholarship misattributes the innovations of Reiniger, including her invention of the multiplane camera and the animated Feature Film, to the Disney Company. The related scholarship reveals a suspicious omission, or passing mention, of Reiniger. The conflicting and sparse scholarship prompts my inquiry into the causes of her critical marginalization. In the second chapter I historically and culturally contextualize Reiniger by examining contemporaneous writers and artists, as well as the early German Film industry. I argue that (German) national identity negatively impacted her and the Film\u27s discourse position. I contextualize Prince Achmed within Expressionism, Bauhaus, Constructivism, Dada, Surrealism, and the New Objectivity and measure it by contemporaneous critical standards represented by Kracauer, Balazs, and Arnheim. An analysis of the Film as an adaptation of a popular literary text highlights its formal singularity: its status as an independent animated Feature. Despite initial critical acclaim and use of elements from celebrated visual movements, the very elements that are unique to the Film have historically contributed to its critical neglect. I posit that 1926, the year of Prince Achmed\u27s Berlin and Parisian releases, was a particularly difficult time for the German Film industry. The difficulties of this era were intensified for independent productions, such as Prince Achmed. Hollywood had established hegemony after targeting its only competition, the German Film industry. Americanism dominated Weimar culture, resulting in domestic critical neglect of German Film. Anti-German sentiment abounded internationally. The convergence of these events coincided with the release of Prince Achmed and further damaged its critical legacy. In chapter three I consider the influence of gender on the discourse positions of Reiniger and Prince Achmed. An overview of contemporaneous female artists and Filmmakers elucidates the complicated relationships between women and Film and women and modernity. Invoking Guyatri Chakravorty Spivak\u27s interrelated concepts of the politics of interpretation, cultural marginalia, and masculist centrality/feminist marginality, I posit Prince Achmed as a feminist celebration of handicraft and a critique of modern culture. Reiniger embraces her relegation to the private/domestic/feminine realm by revolutionizing silhouette cutting in the form of animated (Feature) Film. In Prince Achmed she critiques the contradiction between imagery of the New Woman and the actual plight of women in modernity. After situating animated Film within the larger genre of Film, in chapter four I reflect upon the scholarly tendency to relegate Film to a status subordinate to traditional visual media, thereby further marginalizing animation. In this chapter I also define and debunk the Disney myth, which includes widespread misconceptions that Disney invented the multiplane camera and pioneered the animated Feature Film. I highlight contributing factors such as a noticeable lack of animation scholarship (Edera; Pilling) and a gap in interwar German history during which Prince Achmed was produced (Kracauer; Arnheim; Edera). The concept of historical imaginary developed by Elsaesser and Foucauldian mechanisms of power assist an understanding of the creation and nearly century-long perpetuation of the Disney myth, which has lost relevance to contemporary critical discourse. Having established primary and tertiary causes of the marginalization of Reiniger and Prince Achmed, I determine that this is a timely project since, according to Walter Benjamin, all images become intelligible only in later corresponding epochs. This synchronicity renders Prince Achmed comprehensible to critics in contemporary American animation-saturated culture. Because each chapter focuses on an element of otherness, my project illuminates the individual and culminating effects of national identity, gender, and genre on Film history and discourse. By restoring Lotte Reiniger and Prince Achmed to their rightful discourse positions, my dissertation challenges existing understandings of the origins of animated Film and development of the medium of Film. Furthermore, my project encourages interdisciplinary scholarship, ongoing recovery of women and other historically overlooked groups, and interrogations of literary and other canonization
