Customer complaint behaviour at a Cinema Nouveau
- Bedwei-Majdoub, Cynthia C.E.
- Authors: Bedwei-Majdoub, Cynthia C.E.
- Date: 2016
- Subjects: Marketing - Management , Motion picture industry - South Africa , Motion picture theaters - South Africa , Consumer complaints - South Africa , Consumer behavior - South Africa
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/82261 , uj:18939
- Description: Abstract: The South African movie industry is a thriving sector that makes a substantial contribution to the local economy. The three main competitors in the cinema exhibition industry are Nu Metro Cinemas, Cine Centre and Ster-Kinekor Theatres. This study focuses on the Cinema Nouveau brand belonging to Ster-Kinekor Theatres. It is suggested that if the cinema investigates customer complaint behaviour, they may be able to implement effective service recovery so as to create a more favourable service experience that could lead to positive repurchase intentions. Consequently, this study aims to investigate the constructs of customer complaint behaviour, service recovery and repurchase intentions at the Cinema Nouveau in Rosebank. The research is descriptive in nature and is informed by secondary data that provides the background to the subject areas and the industry of focus; as well as quantitative, primary data collected with the aid of self-administered questionnaires through a nonprobability convenience sampling method from customers at Cinema Nouveau Rosebank who had experienced a service failure in the previous six months. Of the 290 questionnaires distributed, 238 usable questionnaires were submitted for data analysis. Data analysis included descriptive tests, exploratory factor analysis, correlation tests and multiple regression analysis. Seven factors were extracted from the exploratory factor analysis - “knowing who to complain to”, “frustration”, “voicing complaints”; “intangible service recovery”, “tangible service recovery”, “willing to stay with the cinema” and “will consider leaving the cinema”. The analysis revealed that complaint behaviour and service recovery show a distinct influence on customers’ repurchase intentions at Cinema Nouveau Rosebank. While intangible service recovery (acknowledgements, explanations and apologies) was found to influence repurchase intentions, the strongest influence on customers’ repurchase intentions at the cinema was discovered to be tangible service recovery (refunds, free movie tickets, free confectionary vouchers and gifts). , M.Com. (Marketing Management)
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- Authors: Bedwei-Majdoub, Cynthia C.E.
- Date: 2016
- Subjects: Marketing - Management , Motion picture industry - South Africa , Motion picture theaters - South Africa , Consumer complaints - South Africa , Consumer behavior - South Africa
- Language: English
- Type: Masters (Thesis)
- Identifier: http://hdl.handle.net/10210/82261 , uj:18939
- Description: Abstract: The South African movie industry is a thriving sector that makes a substantial contribution to the local economy. The three main competitors in the cinema exhibition industry are Nu Metro Cinemas, Cine Centre and Ster-Kinekor Theatres. This study focuses on the Cinema Nouveau brand belonging to Ster-Kinekor Theatres. It is suggested that if the cinema investigates customer complaint behaviour, they may be able to implement effective service recovery so as to create a more favourable service experience that could lead to positive repurchase intentions. Consequently, this study aims to investigate the constructs of customer complaint behaviour, service recovery and repurchase intentions at the Cinema Nouveau in Rosebank. The research is descriptive in nature and is informed by secondary data that provides the background to the subject areas and the industry of focus; as well as quantitative, primary data collected with the aid of self-administered questionnaires through a nonprobability convenience sampling method from customers at Cinema Nouveau Rosebank who had experienced a service failure in the previous six months. Of the 290 questionnaires distributed, 238 usable questionnaires were submitted for data analysis. Data analysis included descriptive tests, exploratory factor analysis, correlation tests and multiple regression analysis. Seven factors were extracted from the exploratory factor analysis - “knowing who to complain to”, “frustration”, “voicing complaints”; “intangible service recovery”, “tangible service recovery”, “willing to stay with the cinema” and “will consider leaving the cinema”. The analysis revealed that complaint behaviour and service recovery show a distinct influence on customers’ repurchase intentions at Cinema Nouveau Rosebank. While intangible service recovery (acknowledgements, explanations and apologies) was found to influence repurchase intentions, the strongest influence on customers’ repurchase intentions at the cinema was discovered to be tangible service recovery (refunds, free movie tickets, free confectionary vouchers and gifts). , M.Com. (Marketing Management)
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South African filmmakers’ identities and social change
- Authors: Basson, Lauren
- Date: 2015
- Subjects: Motion picture industry - South Africa , Film adaptations - South Africa , Motion pictures in ethnology - South Africa , Motion pictures - Production and direction - South Africa
- Language: English
- Type: Doctoral (Thesis)
- Identifier: http://hdl.handle.net/10210/59589 , uj:16551
- Description: Abstract: Social change is the predominant trope in South African films, ranging from documentary to fiction films. This study contributes to literature from sociology and film studies, by focusing on filmmakers in post-apartheid South Africa and why so many of them have chosen to reflect on social and political issues in their films. I adopted an identity approach, drawing primarily from the theories of Stuart Hall, Manuel Castells and Neville Alexander, as a means to understand the motivations and desires of South African filmmakers. My research question was as follows: ‘How do the identities of South African filmmakers impact on possibilities for social change?’ The research methods included interviews with key informants, the compilation of a filmmaker database, a survey, the collection of curricula vitae, semi-structured interviews with filmmakers and the analysis of South African films and policy documents. The data collected, between 2010 and 2013, revealed that while there are differences and exclusions based on race, class, gender and age identities in post-apartheid society, and they are reflected in film, the practice of South African filmmakers is one that emphasises commonalities, rather than divergences. This ‘shared experience’ of filmmaking in South Africa has contributed to a common concern about social change. This interest in social change has been shaped by a violent past, the subversive tradition of anti-apartheid filmmakers, and continuing social and political problems in contemporary South Africa, such as racism and poverty (which are experienced directly by many filmmakers). The policies and funding initiatives of post-apartheid national film institutions have also encouraged filmmakers to explore South Africa’s history and national identity through their films. The introduction of digital film technology and the internet has made it cheaper and easier to distribute films for social change across the geographical and class divides still entrenched in South Africa, which has tended to re-inforce the affinity between local filmmakers and social change. In this thesis I argue that, the identities of South African filmmakers do impact on possibilities for social change, because their agency and desires have contributed to a collection of movies that challenge us to question the society we live in and to keep trying for a better world. , D.Litt. et Phil. (Sociology)
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- Authors: Basson, Lauren
- Date: 2015
- Subjects: Motion picture industry - South Africa , Film adaptations - South Africa , Motion pictures in ethnology - South Africa , Motion pictures - Production and direction - South Africa
- Language: English
- Type: Doctoral (Thesis)
- Identifier: http://hdl.handle.net/10210/59589 , uj:16551
- Description: Abstract: Social change is the predominant trope in South African films, ranging from documentary to fiction films. This study contributes to literature from sociology and film studies, by focusing on filmmakers in post-apartheid South Africa and why so many of them have chosen to reflect on social and political issues in their films. I adopted an identity approach, drawing primarily from the theories of Stuart Hall, Manuel Castells and Neville Alexander, as a means to understand the motivations and desires of South African filmmakers. My research question was as follows: ‘How do the identities of South African filmmakers impact on possibilities for social change?’ The research methods included interviews with key informants, the compilation of a filmmaker database, a survey, the collection of curricula vitae, semi-structured interviews with filmmakers and the analysis of South African films and policy documents. The data collected, between 2010 and 2013, revealed that while there are differences and exclusions based on race, class, gender and age identities in post-apartheid society, and they are reflected in film, the practice of South African filmmakers is one that emphasises commonalities, rather than divergences. This ‘shared experience’ of filmmaking in South Africa has contributed to a common concern about social change. This interest in social change has been shaped by a violent past, the subversive tradition of anti-apartheid filmmakers, and continuing social and political problems in contemporary South Africa, such as racism and poverty (which are experienced directly by many filmmakers). The policies and funding initiatives of post-apartheid national film institutions have also encouraged filmmakers to explore South Africa’s history and national identity through their films. The introduction of digital film technology and the internet has made it cheaper and easier to distribute films for social change across the geographical and class divides still entrenched in South Africa, which has tended to re-inforce the affinity between local filmmakers and social change. In this thesis I argue that, the identities of South African filmmakers do impact on possibilities for social change, because their agency and desires have contributed to a collection of movies that challenge us to question the society we live in and to keep trying for a better world. , D.Litt. et Phil. (Sociology)
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