Social Science of Cinema

The first comprehensive collection of empirical research devoted to the social science of cinemaTop scholars from psychology, economics, sociology, business, and communications tackle key questions about the film experienceFrom a movie's creation to the audience's reaction to its eventual reception by critics and the box office, this book offers insights about all aspects of the movies based on cutting-edge researchEssays explore such topics as the specific factors that influence whether movies make money, win awards, or flop; how our personality impacts on our viewing preferences; issues of gender inequity on screen; the relationship between visual perception and the way movies are edited; and many more

James C. Kaufman, Ph.D., is Professor of Educational Psychology at the University of Connecticut. An international leader in the field of creativity, he has published 23 books and more than 200 papers. He is the president of the American Psychological Association's Division 10 (Aesthetics, Creativity, and the Arts) and the founding editor of Psychology of Popular Media Culture.
Dean Keith Simonton, Ph.D., is Distinguished Professor of Psychology at the University of California, Davis. Internationally known for his research on genius, creativity, and leadership, he has produced over 450 publications that have received more than 11,000 citations, and 180 publications have been cited at least 10 times. He is the winner of APA's Division 46 Distinguished Scientific Contribution to Media Psychology. His Google Scholar h index is 51.

Acknowledgements
Dedication
List of Contributors
Introduction: Social Science of the Cinema: Fade In
James C. Kaufman and Dean Keith Simonton
Section One: The Creation
1. Writing for success: Screenplays and cinematic impact
Dean Keith Simonton
2. Sell by date? Examining the shelf life and effects of female actors in popular films
Stacy L. Smith, Amy Granados, Marc Choueiti and Katherine M. Pieper
3. Resolving the paradox of film music through a cognitive narrative approach to film comprehension
Annabel Cohen
Section Two: The Audience
4. What type of movie person are you? Understanding individual differences in film preferences and uses: A psychographic approach
Tomas Chamorro-Premuzic, Andrea Kallias, and Anne Hsu
5. Film through the human visual system: Finding patterns and limits
Jordan E. DeLong, Kaitlin L. Brunick, and James E. Cutting
6. Self and the cinematic experience in the age of electronic transmission
Gerald C. Cupchik and Michelle C. Hilscher
Section Three: The Production
7. The producer-director dyad: Managing the faultline between art and commerce
Joris J. Ebbers, Nachoem M. Wijnberg, and Pawan V. Bhansing
8. Networks and rewards among Hollywood artists: Evidence for a social structural ordering of creativity
Gino Cattani and Simone Ferriani
9. Strategic assets and performance across institutional environments
Allègre L. Hadida
Section Four: The Reception
10. Analyzing the Academy Awards: Factors associated with winning and when surprises occur
Iain Pardoe and Dean Keith Simonton
11. Responses to and judgments of acting on film
Thalia R. Goldstein
12. As good as it gets? Blockbusters and the inequality of box office results since 1950
Victor Fernandez-Blanco, Victor Ginsburgh, Juan Prieto-Rodriguez, and Sheila Weyers
End Section
13. Social Science of the Cinema: Fade Out
Joshua Butler and James C. Kaufman