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The worldwide imposition of lockdown measures to control the 2020 coronavirus disease 2019 (COVID-19) outbreak has shifted most executive communications with external stakeholders online, resulting in quick responses from stakeholders. This study aims to understand how presentational styles exhibited in online communication induce immediate audience responses and empirically test the effectiveness of reactive impression management tactics.

The authors analyze presentational styles using MP3 files containing executive utterances during earnings call conferences held by S&P 100-listed firms after June 2020, the quarter after the World Health Organization declared the COVID-19 outbreak a pandemic on March 11, 2020. Using timestamps, the authors link each utterance to a 1-minute interval change in the ask/bid prices of the stocks that occurs a minute after the corresponding utterance begins.

Exhibiting an informational presentation style in earnings calls leads to positive and immediate audience responses. Managers tend to increase their reliance on promotional presentation styles rather than on informational ones when quarterly earnings exceed market forecasts.

Drawing on organizational genre theory, this research identifies the discrepancy between the presentation styles that audiences positively respond to and those that managers tend to exhibit in earnings calls and provides a reactive impression management typology for immediate responses from online audiences.

Prior research has drawn from entrepreneurial practice to conceptualize a variety of discreet narrative types. Research has also demonstrated that narratives are a practical and useful tool for entrepreneurs in many stages of the entrepreneurial process. This paper proposes a new narrative, shared narrative, and a conceptual model for how entrepreneurs might build such a narrative that is strategic in nature.

First, the authors review the types of narrative and introduce shared narrative as an account that narrativizes both the entrepreneur and relevant stakeholders. Then, integrating theoretical concepts from constitutive rhetoric and value co-creation, the authors introduce a conceptual framework as a three-stage process guide for entrepreneurs to build shared narratives for strategic stakeholder engagement. Leveraging the power of shared roles and salient values as the key to pre-story building process, the intended audience of the story (i.e. consumer, investor) is present from the inception of the story and integral to its success.

The authors assert that entrepreneurs need to adopt a shared narrative approach for strategic purposes. Further, the development of a shared narrative begins at the pre-story process of co-creation, focused on identifying the roles and values entrepreneurs share with their various stakeholders. Incorporating these shared roles and salient values into the entrepreneurial narrative will result in a narrative that is compelling, authentic and adaptable to different stages of the entrepreneurial process and for multiple stakeholder audiences. Post-story, this authentic narrative will result in higher levels of engagement from both the audience and the entrepreneur in the form of reciprocal action.

This paper proposes a new narrative and provides a structured process to support entrepreneurs in building shared narratives for strategic engagement with a wide range of stakeholders.

The authors examine and compare accounting associations' identities in distinct segments of the accounting profession surrounding the 2014 merger of three Canadian accounting associations.

The authors conceive of accounting associations' magazine front covers as a setting for “identity performance” (i.e. a scenery through which identity dimensions are intentionally communicated to target audiences). The authors examine pre-merger and post-merger associations' identity performances that took place between January 2011 and December 2020 and identify 21 broad themes that the authors interpret in terms of identity logics (i.e. professionalism/commercialism) and audience focus (society/association members), underscoring (dis)similarities in identity performances pre- and post-merger.

The authors' analysis reveals distinct identity performances for the different segments of the pre-merger accounting profession and for the post-merger unified accounting association. Identity logics manifest differently: a commercial logic dominated for two of the associations and a professional logic dominated for the third. Identity fluidity was evident in the merged association's shift from commercial toward professional logic when the association ceased publishing one magazine and introduced a new one. Society rather than associations' members dominated as a target audience for all associations, but this focus manifested differently. Post-merger, identity performances continued to focus on society as the audience.

The authors highlight the Goffmanian identity performances (Goffman, 1959) taking place via accounting associations' magazines. The authors adopt a segment perspective (Bucher and Strauss, 1961) that demonstrates that commercialism does not trump professionalism in all segments of the profession. For the first time, the authors juxtapose identity logics (professionalism/commercialism) and targeted audiences to better understand how these facets of accountants' identities compare between segments.

In this article, we discuss an innovative audience research methodology developed for the AHRC-funded “Beyond the Multiplex: Audiences for Specialised Film in English Regions” project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.

This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.

Based on semi-structured interviews with 18 festival organisers in Rotterdam and participant observation with six festival photographers I show that symbolic and social boundaries are employed in three areas: (1) boundaries in festival format (i.e. [partially] free or ticketed), (2) boundaries in distribution partners and technologies and (3) boundaries in promotional content.

Symbolic and social boundaries are intentionally used by festival organisers to build and delineate festival audiences. Implications are drawn on current understandings of the accessibility of music festival spaces, arguing that festival research should move beyond within-space dynamics to grasp the negotiation of diversity and inclusion at festivals more fully.

While music festivals are often marketed as celebratory spaces that are “welcoming to everyone”, few studies have investigated diversity and inclusion nor marketing and promotion practices at music festivals. This study shows how festival audiences are shaped through marketing and promotion practices.

We study ceremonial adoption of voluntary standards, where participants adopt the standard in principle but do not change their practices. Ceremonial adoption can benefit individual participants, who may be able to reap the benefits of association with the standard at lower cost, but it can be problematic for overall levels of adoption. We conceive of ceremonial adoption as an interaction between strategic incentives of participants and social ties to their audiences, such that not all participants are likely to ceremonially adopt. Our setting is the Leadership in Energy and Environmental Design (LEED) certification for sustainable construction. We study the conditions under which projects register for LEED certification, allowing them to claim affiliation with LEED, but then do not actually finish certification. While our data are correlational in nature, our results suggest that studying the competition for audience members (in our case, occupants) can provide greater understanding of certification behavior as well as overall levels of adoption. Our findings have implications for organizations that design and maintain voluntary standards and for organization theorists who wish to understand field-level change. Thus, we provide more evidence that strategy and organizational theory interact in important and often unexamined ways.

The impact of various factors on how TV sports audiences perceive sport event sponsors’ billboards around sports facilities has been the subject of extensive research. Despite numerous factors that impact the effectiveness of sponsor signage at sporting events, there has been a lack of research regarding the language used for such signage around sports facilities’ billboards. Therefore, this study aims to investigate the effects of billboard advertisement language on TV sports audiences’ recognition, recall and search intention to sponsor signage.

This study employed an online experimental design. Participants (n = 925) were recruited from two linguistically different regions: Chinese and English. Participants were randomly assigned to one of two conditions: watching tennis video matches with billboard advertisements presented in either the Roman alphabet exclusively or in a combination of the Roman alphabet and Chinese characters.

This study revealed that although language cannot significantly impact audiences’ unaided recall of a brand, it does have a discernible effect on brand recognition and search intention among audiences. Additionally, people are more likely to search for brands in their native language. Participants from various regions tend to have different recognition rates and search intentions for sport sponsors.

This is the first manuscript examining the use of different languages in relation to audiences’ recognition and recall of sports sponsorship. It provides empirical evidence of the importance of carefully considering the language used in sponsor signage around stadium billboards to optimize the efficacy of sponsorships at sports events.

Despite entrepreneurial linguistic style gaining increased attention in entrepreneurship studies, the field for digital vlogger entrepreneurs still lacks a comprehensive understanding of how linguistic patterns enhance audiences attitude and behaviour. This study aims to propose a conceptual model of “language-mental imagery-attitude-behaviour model” that leads to the examination of rich sensory language style of food travel vlogger entrepreneurs and its persuasive effect on audiences' attitude and behavioural intention.

The present study utilises a stimulus-based survey method that involves a sensory-rich vlog script extracted from a high social media engagement authentic vlog. Data are collected through an online questionnaire distributed to a sample of 355 participants via the Amazon Turk mechanism. The study employs confirmatory factor analysis and structural equation modelling to test the proposed hypotheses, with the aim of contributing to the advancement of theories of embodied cognition in entrepreneurial language by examining the attitudes and behaviours of audiences exposed to sensory-rich language. The findings of this research provide valuable insights into the effects of sensory-rich language on audience responses and can inform future research on the role of embodied cognition in entrepreneurial communication.

The findings demonstrate that vlogger entrepreneurial sensory-rich linguistic communication style positively influence audiences' attitude, behavioural involvement with food and intention to taste. Visit intention will be enhanced via the mediating effects of attitude, behavioural involvement with food and intention to taste.

This research highlights the significance of sensory-rich language for vlogger entrepreneurs in entrepreneurial communication, digital storytelling and for destination marketing enterprises in creating a digital sensory engagement marketing strategy.

The study contributes to the literature by elucidating the theories of embodied cognition in entrepreneurial communication. By examining the relationships between vlogger communication evoked mental imagery, audiences attitude and behaviours, this study provides novel insights into the effectiveness of sensory-rich language in vlogger entrepreneurial communication and its impact on audience engagement. These findings have important implications for communication scholars and practitioners alike, shedding light on the role of embodied cognition in entrepreneurial language and the potential of sensory-rich language to enhance audience engagement.

Artificial intelligence (AI) has become increasingly important and influential in reading and writing. The influx of social media digital spaces, like TikTok, has also shifted the ways multimodal composition takes place alongside AI. This study aims to argue that within spaces like TikTok, human composers must attend to the ways they write for, with and against the AI-powered algorithm.

Data collection was drawn from a larger study on #BookTok (the TikTok subcommunity for readers) that included semi-structured interviews including watching and reflecting on a TikTok they created. The authors grounded this study in critical posthumanist literacies to analyze and open code five #BookTok content creators’ interview transcripts. Using axial coding, authors collaboratively determined three overarching and entangled themes: writing for, with and against.

Findings highlight the nuanced ways #BookTokers consider the AI algorithm in their compositional choices, namely, in the ways how they want to disseminate their videos to a larger audience or more niche-focused community. Throughout the interviews, participants revealed how the AI algorithm was situated differently as both audience member, co-author and censor.

This study is grounded in critical posthumanist literacies and explores composition as a joint accomplishment between humans and machines. The authors argued that it is necessary to expand our human-centered notions of what it means to write for an audience, to co-author and to resist censorship or gatekeeping.