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Arts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at home. This has led to digital engagement with audience members via social media. This research paper looks at digital audience engagement in Nigeria’s theatre using Segun Adefila’s production of Tosin Jobi-Tume’s Corona Palava which was performed on 4 August, 2020, at the Crown Arts Centre in Bariga, Lagos, Nigeria and later made available on Facebook on 22 December, 2020 and 21 December 21 2021.

This study is based on the “Arts Audience Experience Index” theory proposed by Radbourne et al. (2009). It employs netnography as its methodology. This entails observing and analysing users’ comments, communication style, frequency of engagement and dwell time while watching Corona Palava production on the researcher’s Facebook timeline “Tekena Gasper Mark” and on the Facebook group “Bolt Drivers in Port Harcourt”. Overall, 53 comments (39 from the researcher’s Facebook friends and 14 from members of the Facebook group “Bolt Drivers in Port Harcourt”) were sampled and analysed to provide insights into how the spectators experienced the Corona Palava production.

The text that accompanied the Facebook video provided viewers with information about the performance, helped them prepare for what to expect, reduced the likelihood that they would experience any unease while watching it and increased the likelihood that they would look for similar performances in the future. They were pleased with the performance; there were no functional risks, no economic risks and no psychological and social risks. Although they may have watched it at varying times, Facebook provided a space for them to engage with the performance as a group and share their thoughts in the post-performance comments.

One of the study’s limitations is that one cannot ascertain how many of the respondents are drivers. Also, the researcher believes that the length of the video may have discouraged participation in the study. In order to increase viewership and provide better findings, future studies and artistic endeavours could consider shorter pieces (about 3–5 min) and wider locations (transportation businesses) where a larger number of drivers with active social media presence, can participate in the research.

This study documents an innovative approach to reaching theatre audience via social media in Nigeria.

This research demonstrates that Nigerian theatre and arts practitioners are reinventing their approaches to play production by using the social media to reach their audiences in the post-COVID-19 era.

The study reveals that as a result of the coronavirus pandemic, Nigerian theatre artists have looked for ways to engage their audiences and sustain their interest and patronage of arts projects through social media.

This study is an attempt to apply the techniques of semiotics in conjunction with quantitative analysis to decode and interpret an advertisement which promotes the South Australian Barossa Valley as a tourist destination.

A survey was submitted to a Southeast Asian student and postgraduate sample. Regression analysis and qualitative analysis were carried out, which suggested that the advertisement was engaging the majority of the audience.

Most respondents expressed a desire to visit the location and used language which was evocative and connective. Those who did not or who were turned off by the advertisement's content expressed themselves in language which terminated further engagement.

The sample was a non-target group, but this is an advantage because it provides a base level of unconditioned response.

A better understanding of semiotics may reinforce other areas of marketing endeavour such as social marketing approaches which are gaining more importance in the still developing COVID-19 economy. This methodology can be extended to other marketing communication contexts.

Once campaigns have been aimed at target audiences, there may be potential to orientate another campaign at non-target audiences using the same advertisement. In terms of global marketing, this is extension rather than adaptation.

This study provides an example of how marketing could use semiotics in conjunction with quantitative methods to determine an audience's response and the intention to purchase a product or service.

This article's purpose is to examine the case for the use of the theatre arts in the evaluation of UK City of Culture (UKCC) programmes, specifically headphone verbatim.

Through an analysis of secondary evidence, supported by some primary research, this article analyses past and present evaluation practices surrounding UKCC programmes and the case for headphone verbatim to be included as a method of gathering and distributing research data. The article also observes the challenges in how data may be disseminated through verbatim theatre performance practices, given the limited examples of its use in this context.

The author argues that the theatre arts can provide a different way of knowing and understanding the impacts of UKCC projects on the host city. Specifically, that headphone verbatim can bring an experiential perspective that is rarely if ever captured by existing UKCC evaluation methods and policymaking in general.

This article details an innovative method of evaluating social impacts associated with UKCC projects.

To demonstrate transparency and accountability, the three boards in this study are required to meet in public in front of an audience, although the boards reserve confidential issues for discussion in private sessions. This study examines boardroom public accountability, contrasting it with accountability in board meetings held in private. The study adopts Erving Goffman's impression management theory to interpret divergences between boardroom behaviour in public and private, or “frontstage” and “backstage” in Goffman's terminology.

The research observes and video-records three board meetings for each of the three boards (nine board meetings), in public and private. The research operationalises accountability in terms of director-manager question-and-answer interactions.

In the presence of an audience of local stakeholders, the boards employ impression management techniques to demonstrate accountability, by creating the impression that non-executive directors are performing challenge and managers are providing satisfactory answers. Thus, they “save the show” in Goffman terms. These techniques enable board members and managers to navigate the interface between demonstrating the required good governance and the competence of the organisations and their managers, while not revealing issues that could tarnish their image and concern the stakeholders. The boards need to demonstrate to the audience that “matters are what they appear to be”, even if they are not. The research identifies behaviour consistent with impression management to manage this complexity. The authors conclude that regulatory objectives have not met their transparency aspirations.

For the first time, the research studies the effect of transparency regulations (“sunshine” laws) on the behaviour of boards of directors meeting in public. The study contributes to the embryonic literature based on video-taped board meetings to access the “black box” of the boardroom, which permits a study of impression management at board meetings not previously possible. This study extends prior impression management theory by identifying eleven impression management techniques that non-executive directors and managers use and which are unique to a boardroom context.

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.

This phenomenological study aims to explore how media promote and should promote wheelchair rugby.

Semi-structured interviews were conducted with 31 athletes at National Wheelchair Rugby Championship. In using a reflective thematical analysis approach, three themes were identified – media coverage: the promise of an unknown quantity; the battle of inspiration and athleticism; and leverage marketing and promote the “wow”.

Lacking fair representation from media resulting in the perception and reception gap between the general public and spectators was identified and explained by most of the athletes. Besides urging increased coverage with a shifting focus on athleticism, the important role of marketing was highlighted.

In short, the “wow” factor of the sport is its aggressiveness which can be its bestselling feature and used by stakeholders for maximum impact when marketing wheelchair rugby.

Movies critics believe that the diversity of Iranian cinematic genres has decreased over time. The paper aims to answer the following questions: What is the impact of the continuous cooperation between the key nodes on the audience's taste, uniformity of the cinematic genres and the box office? Is there any relationship between the importance of actors in the actors' network and their popularity?

In the artistic world, artists' relationships lead to a network that affects individuals' commercial or artistic success and defines the artwork's value. To study the issue that the diversity of Iranian cinematic genres has decreased over time, the authors utilized social network analysis (SNA), in which every actor is considered a node, and its collaboration with others in the same movies is depicted via edges. After preparing the desired dataset, networks were generated, and metrics were calculated. First, the authors compared the structure of the network with the box office. The results illustrated that the network density growth negatively affects box office. Second, network key nodes were identified, their relationships with other actors were inspected using the Apriori algorithm to examine the density cause and the cinematic genre of key nodes, and their followers were investigated. Finally, the relationship between the actors' Instagram follower count and their importance in the network structure was analyzed to answer whether the generated network is acceptable in society.

The social problem genre has stabilized due to continuous cooperation between the core nodes because network density negatively impacts the box office. As well as, the generated network in the cinema is acceptable by the audience because there is a positive correlation between the importance of actors in the network and their popularity.

The novelty of this paper is investigating the issue raised in the cinema industry and trying to inspect its aspects by utilizing the SNA to deepen the cinematic research and fill the gaps. This study demonstrates a positive correlation between the actors' Instagram follower count and their importance in the network structure, indicating that people follow those central in the actors' network. As well as investigating the network key nodes with a heuristic algorithm using coreness centrality and analyzing their relationships with others through the Apriori algorithm. The authors situated the analysis using a novel and original dataset from the Iranian actors who participated in the Fajr Film Festival from 1998 to 2020.

The paper aims to understand why and how paratextual elements are included in annual reports, hence how meaning is made through the workings of language and imagery.

A comprehensive framework of analysis, combining Genette’s paratextual elements with Barthes’ rhetoric and denotation and connotation concepts, is applied to the case study of the dstgroup, a Portuguese engineering and construction group.

The study demonstrates the potential of the annual report as a communication tool between an organisation and its stakeholders. The framework of analysis evidences that the paratextual elements highlight and supplement accounting information and that the denotative and connotative meanings associated with them make visible and enhance intangible features of the organisation.

The paper extends theories from other interdisciplinary fields to accounting communication and proposes a comprehensive framework that combines the writings of Genette and Barthes. By exploring the Portuguese under-researched context, it also adds to the literature by analysing the rationales and choices of the preparers on the inclusion of paratextual elements in annual reports.

Este artículo pretende entender por qué y cómo se incluyen elementos paratextuales en los informes anuales y, cómo se construye el significado a través del funcionamiento del lenguaje y las imágenes.

Se desenvolvió un marco de análisis global, que combina los elementos paratextuales de Genette y los conceptos de retórica y denotación y connotación de Barthes. Este marco se aplicó al estudio de caso del grupo dst, un grupo portugués de ingeniería y construcción.

El estudio muestra el potential del informe anual como herramienta de comunicación entre una organización y sus grupos de interés. El marco de análisis evidencia que los elementos paratextuales resaltan y complementan la información contable y que los significados denotativos y connotativos asociados a ellos hacen visibles y realzan rasgos intangibles de la organización.

Este artículo extiende teorías de otros campos interdisciplinarios a la comunicación contable y propone un marco global que combina los escritos de Genette y Barthes. Explorando el contexto portugués, insuficientemente investigado, también se añade a la literatura mediante el análisis de las motivaciones y opciones de los preparadores de los informes anuales sobre la inclusión de elementos paratextuales.

The purpose of this study is to examine whether consumers are able to critically evaluate promotional content presented by a podcast host with whom they have a parasocial relationship, and how this interaction impacts the listeners’ behavioral intentions toward the advertised brand.

Using a blended theoretical foundation of Persuasion Knowledge Model and Parasocial Interaction theory, this between subjects’ experimental study examined the effects of a traditional advertisement versus a host-read promotional message for the same brand in a highly rated podcast among listeners who reported varying levels of a parasocial relationship (PSR) with the host.

Results from a moderated mediation analysis suggest that a PSR with the podcast host decreased evaluative persuasion knowledge about the promotional message presented, which indirectly enhanced respondents’ intention to seek more information about the promoted brand.

This study extends the limited research examining the effects of promotional messaging delivered by podcast hosts with whom audiences have a PSR, and how this interaction impacts the listeners’ behavioral intentions. Theoretical contributions and practical implications for podcast marketers are also discussed.

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.