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The purpose of this study is to adopt a functional perspective to integrate and extend three streams of research, the first distinguishing between global affect and discrete emotional episodes, the second highlighting the capability of places to elicit emotions and the third demonstrating the differential impact of discrete emotions on consumer response. Doing so shows that four positive place emotions have a significant and variable influence on consumer purchase intentions for brands originating there.

A focus group pilot corroborates that places relate to contentment, enchantment, happiness and pride, which impact consumer response. Study 1 uses landscape photographs to show the four place emotions influence purchase intention for bottled water. Study 2 retests the impact of place emotions, using short vignettes and establishes the moderating role of product hedonic nature. Study 3 replicates emotion effects, corroborating their non-conscious nature and establishing their impact in the presence of place cognitions.

Together, the empirical studies provide evidence for effects of four discrete place emotions, especially with hedonic products and under conditions of cognitive load. Effects are robust when a person’s mood, buying volume, category knowledge, impulse buying tendencies and place cognitions are included as controls.

The study contributes to a better understanding of the emotional dimension of origin effects by adopting a novel, theory-based perspective on discrete positive place emotions impacting consumer response.

Managers invest substantially in places to elicit positive feelings, gravitating toward the view that all they need to do is create a global positive effect with consumers. The study informs this perspective by demonstrating how discrete emotions influence consumer response.

This study is among the first to examine discrete positive place emotions as possible drivers of consumers’ purchase intention.

The purpose of this paper is to identify the structural dimensions of a new museal offer, museoparks, which use edutainment and more generally re‐enchantment strategies.

To bring out the symbolic dimensions specific to these cultural sites, the methodology used is based on the analysis of photographic media.

The analysis reveals four main symbolic dimensions structuring these hybrid cultural offers: spectacularization, immersive character, ritualized character, and very intense merchandizing of the experience.

This analysis allows us to update a hybrid, complex and re‐sized form of cultural experience that goes beyond the classic combination identified in the analysis of edutainment strategies (educational and fun dimensions).

From a managerial action perspective, this research provides keys to understanding the strategies proposed by the hybrid offers of museoparks; strategies that might inspire many museum managers eager to imitate them.

This research provides keys for understanding the logic underlying the structuring of the experience offered by cultural institutions.

Employing the Star Wars brand as a case study, this paper seeks to critically discuss the importance of comparative mythology for inter-generational branding and consumption practices within arts related markets.

Secondary data have been gathered focusing on the analysis of material in the form of books, academic journals, films, videos, television programs, websites and media reports related to the interface between comparative mythology, the Star Wars brand.

First, this paper indicates how the long-standing success of the Star Wars brand mirrors and reflects the power of monomythic storytelling in creating a platform for arts and place building branding associations and extensions for numerous products and services. Second, this study shows and highlights the potential of monomythic structures/storytelling and comparative mythology in acting an underlying cultural platform whereupon several arts brand associations, narratives, extensions and overall strategies can emerge. Finally, this project suggests how arts marketing scholars could further explore the infusion of mythological narratives within branding practices in the areas of performing/visual arts, museums, entertainment and arts related tourism campaigns.

Focusing on the most successful film franchise of all times, this study argues that comparative mythology constitutes an endless source for common templates of artistic, cross-cultural and inter-generational marketing practices focusing on universal moral codes and archetypes.

Hybrid structures are emerging in the leisure sector that are neither museums nor amusement parks, but which borrow elements from both. Dedicated to the exploration of a cultural theme (cultural heritage, ecosystems and historic events), they use experiential marketing levers to entertain large publics while at the same time pursuing the cultural integrity of heritage. This study aims to examine how visitors perceive and experience the offer proposed by these hybrid museums and how they manage the dual (cognitive and sensorial) stimulation. The authors then consider the extent to which the experiential levers used to dramatize these venues help to deliver a unique experience.

The authors developed a qualitative approach based on a case study methodology. The authors first selected the case studies (the Cité du Vin – a wine museum in Bordeaux, France and the Cité de l’Océan – a museum dedicated to the ocean at Biarritz, France) and analysed them from two angles. The authors began by examining the managerial perspective from secondary data to identify the experiential levers used by providers and the promises made to visitors in terms of experience. The authors then analysed the visitors’ experiences through a netnographic approach. The data were drawn from visitor reviews of their experience as posted on Tripadvisor.

The authors show that hybrid museums manage to provide visitors with edutainment value, but the promise made by managers for a memorable experience by way of an immersive journey is not kept. The authors demonstrate that a hybrid museum environment contains certain elements that prevent visitors from enjoying immersion. More specifically, the authors note issues regarding the way the theme is expressed through spectacular buildings, the way visitors are free to choose their visit and the scenarization presented through digital devices. The authors also show that hybrid museums are perceived largely as traditional museums and so are subject to culturally-established preconceptions.

This contribution concerns a topic that has drawn little attention in the marketing literature, namely, hybrid museums. The authors adopted a qualitative methodology from the perspective of both the provider and the consumer to gain a global understanding of the hybrid museum. The data were analysed using a manual thematic analysis, completed with a QDAS to support the findings.

This paper discusses how vinyl records become souvenirs of musical tourism. The record-as-souvenir dynamic is particularly relevant in the discussion about punk culture in cities like Washington, DC, and other scenes which defy encapsulation as touristic landscapes. Arguing a fluid perspective on musical tourism, the purpose of this paper is to present the argument that vinyl functions as de facto souvenirs of underground musical landscapes.

This paper incorporates literature on souvenirs within tourism studies, market research, and empirical data. It also builds upon research on emotional geographies and the resurgence of the vinyl record industry.

In many cases, musical recordings (particularly those on vinyl, for tactile and fetishist reasons), while not designed for the function of being souvenirs, come to signify counter-narrative definitions of place.

This work focuses on the context of vinyl as souvenirs with findings derived from the intersection of tourism, critical geography, and music marketing. In offering this contextual account, there is no claim toward generalization but rather the work is put forward as a depth of insight on a phenomenon long in the making yet neglected by researchers. However, a more comprehensive approach to provide further insight on vinyl as souvenirs might include consumer interviews.

This paper expands the conversation about souvenirs further into the era of modern, underground tourism. It argues for the inclusion of music consumption, especially vinyl, as prototypical and unintentional souvenirs as decided by the consumer rather than the producer. It also expands the discourse on counter-narratives of places like Washington, DC, in conversations about place-based music marketing and tourism.

This paper frames musical souvenirs in terms of the consumer deciding their value and role in the cultivation of sense of place, rather than the producer. Additionally, music retailers provide a valuable role in their city’s cultivated image, but even this is a collaboration between the retailers and consumers.

This paper addresses the function of vinyl records within the purview of tourism studies and positions as an original contribution connecting music consumption and tourism practices.

This study aims to illuminate the way in which consumers question the authenticity and worth of musicians, leading to a classification of selling out. The authors contribute to the debate on authenticity by attending to the question of worth that is under-examined in existing literature, by drawing upon French pragmatic sociology with specific attention to convention theory to understand conflicting interpretations of worth.

The considerations music fans go through navigating whether artists are selling out and the loss of worth were explored through 22 semi-structured interviews, complemented by focus group discussions (20 participants) and analysis of an online video blog.

The study identified three key themes: “Authenticity and Worth in the Inspired World”, “Selling Out as Loss of Worth” and “Signifiers of Selling Out”.

The emergent themes enable us to understand the worth that consumers place on musical artists, and the clash between the ideologies of the market world and the inspired world. The ideas regarding selling out and the signifiers may apply to other consumption experiences where the clash between the inspired and the market worlds exists and the conflicting ethos of each can lead to a loss of worth and selling out.

In this research, the authors examine situations in which consumers stigmatise as “sell outs”, artists who are marketised under the influence of capitalist social relations of production. As a result, these artists lose their authenticity and worth in the eyes of consumers. In doing so, this research contributes to the debate on authenticity by attending to the question of worth that is under-examined in existing literature.

This paper aims to propose the lens of social practice theory (SPT) as a means of deepening insights into childhood consumer culture.

The data comprise four qualitative interviews and ten focus groups with 58 8-13 year olds in six diverse schools across England, Scotland and Northern Ireland. Transcripts were coded with NVIVO10. Analysis was guided by the three elements of SPT: materials, meaning and competence.

Branded technology products and clothes consistently combined with both the socially sanctioned objective of achieving and maintaining a place in the peer hierarchy and also the three skills the authors have labelled “social consumption recognition”, “social consumption performance” and “social consumption communication” in regular, predictable ways to produce an ordered and, thus, reproducible nexus of actions. Analysis of the inter-relationship between these elements showed that children’s consumption is a specific practice, embedded in their everyday routines. Consumption is also linked inextricably to social position; children’s variable performance of it links with their degree of social acceptance and popularity.

Although the study included a broad cross-section of school catchment areas, they cannot be said to represent all British children. Nonetheless, SPT provides an alternative theoretical perspective on children’s consumption by shifting the focus away from the child, the social context or even the products, thus ceasing to privilege the notion that consumption is something external to children that they learn to be socialised into; or to consciously use for their own symbolic or other purposes; or that they have to be protected from.

Consumption practice is deeply embedded in children’s relationships and is inextricably linked to their well-being. Policies seeking to tackle any single element of the practice, such as media literacy training, are only likely to have limited effectiveness. This research implies that responsible marketing measures need to concentrate on the links between all the elements.

This SPT analysis of children’s consumption makes three contributions. First, it provides a much-needed new theoretical perspective beyond the dominant but limited “consumer socialisation” research paradigm that confines analysis of children’s consumption to the functioning of their individual cognitive capacity. Second, it suggests new research methodologies for understanding the interaction between children and the commercial world. Third, it offers a different approach to policymakers tasked with the controversial issue of regulating marketing to children.

The purpose of this paper is to propose the activity‐based focus group as a useful method with which to generate talk‐in‐interaction among pre‐schoolers. Analytically, it aims to illustrate how transcribed talk‐in‐interaction can be subjected to a discourse analytic lens, to produce insights into how pre‐schoolers use “Coca‐Cola” as a conversational resource with which to build product‐related meanings and social selves.

Fourteen activity‐based discussion groups with pre‐schoolers aged between two and five years have been conducted in a number of settings including privately run Montessori schools and community based preschools in Dublin. The talk generated through these groups has been transcribed using the conventions of conversation analysis (CA). Passages of talk characterized by the topic of Coca‐Cola were isolated and a sub‐sample of these are analysed here using a CA‐informed discourse analytic approach.

A number of linguistic repertoires are drawn on, including health, permission and age. Coca‐Cola is constructed as something which is “bad” and has the potential to make one “mad”. It is an occasion‐based product permitted by parents for example as a treat, at the cinema or at McDonalds. It can be utilised to build “age‐based” social selves. “Big” boys or girls can drink Coca‐Cola but it is not suitable for “babies”.

This paper provides insight into the use of the activity‐based focus group as a data generation tool for use with pre‐schoolers. A discourse analytic approach to the interpretation of children's talk‐in‐interaction suggests that the preschool consumer is competent in accessing and employing a consumer artefact such as Coca‐Cola as a malleable resource with which to negotiate product meanings and social selves.

The purpose of this paper is to propose a typology of enchantment approaches that are related to storytelling practices in organizations: enchantment by design and enchantment by emergence.

The authors explore this enchantment framework in a storytelling drawing on examples of living storied spaces and narratives from hospital studies.

This essay asserts three aspects about enchantment: that mainstream organizational narrative, rooted in classical structuralism and modernity, seems intent on disenchanting life within them. Second, despite such narratives, organizations, such as hospitals the authors studied, were never disenchanted because enchantment resides in many living storied spaces. Finally, many forms of “enchantment” and “disenchantment” are taking place in organization action and its storytelling.

The paper equips managers with a deeper understanding of how storytelling in organizations can encourage enchantment or disenchantment within the organization and in its relations with their environments (community, nature, humanity).

The value of the paper lies in its theoretical contributions, integrating enchantment‐disenchantment perspectives with a theory of storytelling.