Abstract
A growing body of business ethics research has shown that firms are beginning to embrace the lesbian, gay, bisexual, and transgender (LGBT) community with internal organizational policies and temporary activism activities. Despite these positive developments, little research has examined firms’ LGBT inclusion strategy at the product level and whether adding LGBT representation to products helps, hurts, or has no impact on corporate products’ market performance. Prior studies have examined LGBT-themed and LGBT-vague representations and identified limitations of both. The current research presents an alternative LGBT-inclusive representation in which heterosexual and LGBT imagery are both presented, with the former receiving more exposure than the latter. A secondary analysis of 4216 movies and a controlled experiment reveal converging evidence: movies with LGBT-inclusive representation outperform those with no LGBT representation or with LGBT-themed representation. The superiority of LGBT-inclusive representation comes from its ability to appeal to consumer segments holding favorable and unfavorable LGBT attitudes. While cultural and entertainment products often play profound roles in changing society’s ethical standards and moral attitudes, they are rarely studied in the business ethics literature. Our findings fill this gap while answering a multimillion-dollar question for the entertainment industry.
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Notes
Advertising research has addressed imagery representations of other minority groups such as racial, ethnic, and religious minorities (e.g., Sierra, Hyman, and Heiser 2012). LGBT imagery representation is one type of minority imagery representation.
When several main characters share similar screen time and prominence in a show, each of them is considered a supporting character instead of a lead character. For example, the main characters in Modern Family were consistently nominated for Best Supporting Actor or Best Supporting Actress at the Emmy Awards.
From 2007 to 2014, there were 50,000 + movies on www.imdb.com and 4000 + movies on www.boxofficemojo.com.
LGBT-Themed and LGBT-Inclusive are mutually exclusive: if a movie had LGBT-lead characters and LGBT supporting characters, we coded it as an LGBT-themed movie because the movie used LGBT-themed representation.
The original list we conceived was more symmetrical and contained nine additional keywords including bisexual lead character, bisexual relationship, bisexual kiss, lesbian character, transgender kiss, transgender character, transgender lead character, transgender relationship, and transgender interest. However, these keywords did not appear in any of the 4,216 movies and were thus removed from the list.
In Study 2, we used LGBT-lead vs. LGBT-supporting characters as a convenient way to manipulate LGBT-themed vs. LGBT-inclusive representation because lead characters have more exposure than supporting characters in a movie. This manipulation introduced minimal edits to the plots and hence ensured a cleaner test of causality. A more heavy-handed manipulation of the plots would have introduced other variations and made it harder to attribute the effect to LGBT. Nevertheless, we acknowledge that this manipulation was not perfect. In Study 1, we pointed out that not all movies with an LGBT-lead character were necessarily LGBT-themed. If the LGBT-lead character’s sexual orientation was tangential to the main storyline, the movie should be considered an LGBT-inclusive movie. Fortunately, the stimulus in Study 2 was a romance movie. Unlike other genres, the central theme of a romance movie is the romantic relationship of the lead character(s). We could therefore conveniently manipulate the movie’s theme (e.g., gay romantic relationship) by simply manipulating the lead character’s sexual orientation (e.g., gay).
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Acknowledgements
The authors thank Joris Demmers, Wenbo Wang, Xingyu Chu, Benedict Dellaert, and Hean Tat Keh for their constructive comments on an early draft, and Zike Cao, Yue Cui, and Haosheng Fan for their support and assistance to this project. Xiaoyu Zhou acknowledges the support from the National Natural Science Foundation of China (No. 72102145)
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Appendices
Appendix A: Illustration of IMDb Plot Keyword Page
Appendix B: Illustration of IMDb Plot Keyword Search Engine
Appendix C: Movie Plots Used in Study 2
Non-LGBT Condition
Movie Title: Looking for George
Plot summary:
George, a journalist, decides to leave Paris after being laid off and to settle down in the middle of nowhere, far from the society he hates. The trouble is that he leaves Sonia, his true love, behind. The latter, a teacher who loves her job, refuses to give up everything including her comfort to follow him. Sonia makes all the efforts in the world to forget George, whether in the company of her friend Pierre, a charming choreographer, or in the arms of Thomas, a man who soon proves perverse and dangerous, only to realize that her heart belongs to George and nobody else. If George does not come back, Sonia feels life is not worth living any longer…
Gay-Inclusive Condition
Movie title: Looking for George
Plot summary:
George, a journalist, decides to leave Paris after being laid off and to settle down in the middle of nowhere, far from the society he hates. The trouble is that he leaves Sonia, his true love, behind. The latter, a teacher who loves her job, refuses to give up everything including her comfort to follow him. Sonia makes all the efforts in the world to forget George, whether in the company of her friend Pierre, a charming gay choreographer, or in the arms of Thomas, a man who soon proves perverse and dangerous, only to realize that her heart belongs to George and nobody else. If George does not come back, Sonia feels life is not worth living any longer…
Lesbian-Inclusive Condition
Movie title: Looking for George
Plot summary:
George, a journalist, decides to leave Paris after being laid off and to settle down in the middle of nowhere, far from the society he hates. The trouble is that he leaves Sonia, his true love, behind. The latter, a teacher who loves her job, refuses to give up everything including her comfort to follow him. Sonia makes all the efforts in the world to forget George, whether in the company of her friend Lucy, a charming lesbian choreographer, or in the arms of Thomas, a man who soon proves perverse and dangerous, only to realize that her heart belongs to George and nobody else. If George does not come back, Sonia feels life is not worth living any longer…
Gay-Themed Version
Movie title: Looking for George
Plot summary:
George, a journalist, decides to leave Paris after being laid off and to settle down in the middle of nowhere, far from the society he hates. The trouble is that he leaves Dave, his true love, behind. The latter, a teacher who loves his job, refuses to give up everything including his comfort to follow him. Dave makes all the efforts in the world to forget George, whether in the company of his friend Pierre, a charming gay choreographer, or in the arms of Thomas, a man who soon proves perverse and dangerous, only to realize that his heart belongs to George and nobody else. If George does not come back, Dave feels life is not worth living any longer…
Lesbian-Themed Version
Movie title: Looking for Caroline
Plot summary:
Caroline, a journalist, decides to leave Paris after being laid off and to settle down in the middle of nowhere, far from the society she hates. The trouble is that she leaves Sonia, her true love, behind. The latter, a teacher who loves her job, refuses to give up everything including her comfort to follow her. Sonia makes all the efforts in the world to forget Caroline, whether in the company of her friend Lucy, a charming lesbian choreographer, or in the arms of Béatrice, a woman who soon proves perverse and dangerous, only to realize that her heart belongs to Caroline and nobody else. If Caroline does not come back, Sonia feels life is not worth living any longer.
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Cheng, Y., Zhou, X. & Yao, K. LGBT-Inclusive Representation in Entertainment Products and Its Market Response: Evidence from Field and Lab. J Bus Ethics 183, 1189–1209 (2023). https://doi.org/10.1007/s10551-022-05075-4
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DOI: https://doi.org/10.1007/s10551-022-05075-4