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1、JCultEcon(2010)34:45–80DOI10.1007/s10824-009-9109-zORIGINALARTICLECommercialsuccessandartisticrecognitionofmotionpictureprojectsAlle`greL.HadidaReceived:18August2008/Accepted:28September2009/Publishedonline:6November2009ÓSpringerScience+BusinessMedia
2、,LLC.2009AbstractThisarticleintroducesamodelderivedfromtherelationalviewofstrategytoinvestigate(1)theimpactoftrackrecordandfinancialresourcesonthecommercialsuccessandartisticrecognitionofcinemaprojects,and(2)therela-tionshipbetweenthecommercialandarti
3、sticdimensionsoffilmperformance.Structuralequationmodelingcarriedouton2,080featurefilmsreleasedintheNorth-Americantheatricalmarketfrom1988to1997illustratesthemediatingroleoffinancialresourcesascatalystsofcommercialandartistictrackrecordresources,andunea
4、rthsimportantconclusionsrelativetothespecificdynamicsofresourcecombinationsincinemaprojects.Resultsalsorevealanovelhierarchyofleadactors,directors,andproducersintheexplanationoffilmperformance.Last,theyconfirmtheprecedenceofcommercialsuccessintheUSA,and
5、thesymbolicandinstitutionalstatusofUScinemaasbeingprimarilyanindustry.KeywordsRelationalviewTrackrecordFinancialresourcesStructuralequationmodelingArtisticrecognitionCommercialsuccessCinema1IntroductionLikeanyartform,motionpicturescanelicitdeep
6、passion.Andlikeoilgushers,motionpicturescancreateafloodofcash.(Danielsetal.1998,p.XXI)Motionpictures,similartomanyculturalprojects,areacombinationofcommercialandartisticelements.ThedualdefinitionofcinemaasbusinessandartisattheA.L.Hadida(&)JudgeBusiness
7、SchoolandMagdaleneCollege,UniversityofCambridge,CambridgeCB21AG,UKe-mail:a.hadida@jbs.cam.ac.uk12346JCultEcon(2010)34:45–80sourceofmultipletensions,whichmakethedeterminantsofabove-averagemotionpictureperformanceelusive.Suchtensionsmostlyariseasfilmmak
8、ersstruggletoreconciletheeconomicimperativesoffilmproductionanddistributionwiththeirartisticvision.Theymayleadtodisputesbetweenproducersanddirectors,whooftenpersonifythebusinessandartpriorities,respectively.The‘‘FrankfurtSchool’’(Benjamin1971;Horkheim
