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Cited by

• 2006Evaluative schemas and the attention of critics in the US film industry125 cited
• 2004Hollywood and the world: the geography of motion-picture distribution and marketing102 cited
• 2007Reputation Work in Selling Film and Television: Life in the Hollywood Talent Industry88 cited
• 2010Film festival research from an organizational studies perspective88 cited
• 2008Hollywood movies in East Asia: examining cultural discount and performance predictability at the box office82 cited
• 2014Supporting art cinema at a time of commercialization: Principles and practices, the case of the International Film Festival Rotterdam74 cited
• 2009Cultural discount of cinematic achievement: the academy awards and U.S. movies’ East Asian box office71 cited
• 2016Mainstreaming Innovation in Art Worlds: Cooperative links, conventions and amphibious artists58 cited
• 2013Mind-Tricking Narratives: Between Classical and Art-Cinema Narration24 cited
• 2005The Scream Trilogy, "Hyperpostmodernism," and the Late-Nineties Teen Slasher Film16 cited
• 2008The battle for the blockbuster: discourses of spectacle and excess15 cited
• 2019Women’s indie television: the intimate feminism of women-centric dramedies12 cited
• 2006All Aboard The Polar Express : A ‘Playful’ Change of Address in the Computer-Generated Blockbuster