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This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow “feel good” movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who “prefer” arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.

The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.

Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.

When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.

A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

While it is essential to further research the growing diversity in western metropolitan cities, little is currently known about how the members of various ethnic communities acculturate to multicultural societies. The purpose of this paper is to explore immigrants’ cosmopolitanism and acculturation strategies through an analysis of the food consumption behaviour of ethnic consumers in multicultural London.

The study was set within the socio-cultural context of London. A number of qualitative methods such as in-depth interviews, observation and photographs were used to assess consumers’ acculturation strategies in a multicultural environment and how that is influenced by consumer cosmopolitanism.

Ethnic consumers’ food consumption behaviour reflects their acculturation strategies, which can be classified into four groups: rebellion, rarefaction, resonance and refrainment. This classification demonstrates ethnic consumers’ multi-directional acculturation strategies, which are also determined by their level of cosmopolitanism.

The taxonomy presented in this paper advances current acculturation scholarship by suggesting a multi-directional model for acculturation strategies as opposed to the existing uni-directional and bi-directional perspectives and explicates the role of consumer cosmopolitanism in consumer acculturation. The paper did not engage host communities and there is hence a need for future research on how and to what extent host communities are acculturated to the multicultural environment.

The findings have direct implications for the choice of standardisation vs adaptation as a marketing strategy within multicultural cities. Whilst the rebellion group are more likely to respond to standardisation, increasing adaptation of goods and service can ideally target members of the resistance and resonance groups and more fusion products should be exclusively earmarked for the resonance group.

The paper makes original contribution by introducing a multi-directional perspective to acculturation by delineating four-group taxonomy (rebellion, rarefaction, resonance and refrainment). This paper also presents a dynamic model that captures how consumer cosmopolitanism impinges upon the process and outcome of multi-directional acculturation strategies.

The study examines the responsibilisation of an ethnocentric consumer in commercial, meta-organisational discourses. In addition to nationalistic and patriotic discourses, the focus is on wider conceptualisations of consumer responsibility.

The paper uses critical discourse analysis as a methodological approach to conduct an empirical case study on the texts of two producer-driven labelling campaigns.

The campaign texts create possibilities for ethnocentric consumption with positioning, argumentative and classificatory discourses. Patriotic responsibilisation is emphasised, together with rationales to take action on environmental concerns.

The study highlights the responsibility of marketers over their corporate responsibility communication, suggesting that ethnocentric promotions may have the power to alter how consumers take action on various responsibility concerns.

The study surfaces the tensions that responsible consumption can entail for consumers. Indeed, nationalistic and patriotic discourses may alter our understanding of responsibility issues that may seem completely separate from the concepts of nationalism and patriotism.

The paper shows how different organisational texts are deployed to bring about the idea of ethnocentric consumption and how this relates to responsibility discourses, nationalism and patriotism.

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.

Considering the relevance of understanding what influences environmentally sustainable consumer choices, the present study aims to examine and synthesize the key determinants factors from literature and outline a new conceptual framework for explaining green purchasing behaviors (GPBs).

A bibliometric analysis was conducted on 161 articles extracted from Web of Science and Scopus databases, which were systematically evaluated and reviewed, and represent the current GPB knowledge base. Content analysis, science mapping and bibliometric analysis techniques were applied to uncover the major theories and constructs from the state-of-the-art.

The evolving debate between altruistic and self-interest consumer motivations reveals challenges for rational-based theories, as most empirical applications are not focused on buying behaviors, but instead either on pro-environmental (non-buying) activities or on buying intentions. From the subset of leading contributions and emerging topics, nine thematic clusters are unveiled in this investigation, which were combined to create the new PSICHE framework with the purpose of predicting GPB: (P)roduct-related factors, (S)ocial influences, (I)ndividual factors, (C)oncerns about the environment, (H)abits and (E)motions.

By uncovering the multiple intervening factors in GPB decision processes, this study will assist practitioners and academics to move forward on how to foster more sustainable consumer behaviors.

The present study provides readers a summary of an unprecedentedly broad collection of papers, from which the key themes are categorized, the domain's intellectual structure is captured and an actionable framework for enhancing the understanding GPB is proposed. Four new thrust areas and a set of future research questions are included.

Cultural intermediaries define the standards many consumers use when evaluating cultural products. Yet, little research has focused on whether cultural intermediaries may systematically differ from each other with regard to the standards they emphasize. The purpose of this paper is to build on Bourdieu’s theory of cultural production to examine how the type of subfield reviewed and/or the cultural intermediary’s expertise (or “field-specific cultural capital”) affect the standards an intermediary uses.

This paper employed a computer-aided content analysis of the full corpus of “Rolling Stone” music album reviews (1967-2014).

Critics with lower field-specific cultural capital reflect the same logic as the subfield they are critiquing. Critics with higher field-specific cultural capital reflect the opposite logic.

Bourdieu was ambivalent about whether cultural intermediaries will reflect the logic of a subfield. Results show that the answer depends on the intermediary’s field-specific cultural capital. The results also reinforce previous findings that individuals with high field-specific cultural capital are more likely to break with the logic of a field.

Not all intermediaries are created equal. Producers and consumers who rely on cultural intermediaries should understand the intermediary’s critical analysis within the context of his/her experience.

This is one of the first studies to examine how a cultural intermediary’s field-specific cultural capital impacts his or her work. The findings are based on a large review sample and include reviewers’ analyses as they developed from having lower to higher field-specific cultural capital.

Analyzing the main determinants that lead a traveler to make a cultural trip is an important issue to understand where the cultural tourism market is going, and where the decision-makers should intervene. This study helps develop a profile of cultural tourism participants, and underscore the changes in this market niche. This information is crucial for the successful marketing and development of cultural tourism in the future.

The authors estimate a binary probabilistic (logit) model to determine the probability of a tourist to travel for cultural reasons, as a function of the traveler's socio-economic characteristic (e.g. age, gender, income or level of studies), of the trip-related characteristics (e.g. distance traveled to destination or mode of transport) and of the characteristics of the province of destination (e.g. weather conditions or existence of cultural sites at destination).

This study’s estimates reveal that middle-aged individuals, with a higher level of studies and with a medium level of income show a higher propensity to travel for cultural reasons. The latter finding evidences that cultural tourism has evolved from a niche market reserved for an elite clientele to a much wider range of people. Additionally, cultural travelers tend to travel statistically much longer distances. They are less prone to visit crowded destinations, prefer visiting destinations with important cultural sites, and are less sensitive to weather conditions. Finally, the authors discover a complementary effect of culture tourism and other activities carried out during the trip such as visiting cities or theme parks; and a substitution effect with “beach-and-sun” tourism.

The information given in this study can be crucial for the successful marketing and development of cultural tourism in the future. A better understanding of the main determinants of being a cultural traveler implies a better and a more efficient implementation of managerial and political measures to attract a kind of tourism characterized by a high spending capacity.

Discovering the main determinants of being a cultural traveler is a topic scarcely treated in the literature. This study has the main originality to include characteristics of the destination (pull factors) to explain the individual's decision to take a cultural trip. Moreover, the authors work at a provincial (NUTS-3) level of analysis, which makes this study original in the field of cultural tourism.

This paper develops a new model of policy development for the creative industries in a transitional economy setting. These sectors could potentially make a significant contribution to the continuing growth of the Vietnamese economy; however, they are currently held back by a lack of policies designed to support them

The paper uses data collected from a mixed-methods study of the creative and cultural sectors in Vietnam. The paper combines quantitative results from a mapping project with ethnographic observations and several qualitative interviews to identify the policy needs of the sector.

The paper develops the INCITE model of policy development composed of four parts: education and human resources, infrastructure, intellectual property rights and freedom of speech.

The paper contributes to our understanding of the kinds of policies needed to support the creative industries by exploring their development in an economy transitioning from a state planned economy to a market-driven one.

This paper aims to develop a theoretical framework for the conceptualization of customer experiential knowledge (CEK) by logically combining its different dimensions into one coherent explanatory concept. Drawing on the integration of the literature on customer experience, customer knowledge management and customer insights acquisition, supported by adequate empirical evidence, the framework provides a systematic, comprehensive and accurate understanding of CEK which, could contribute to the identification of relevant customer experience insights useful for customer knowledge management.

The analysis follows an inductive/deductive interpretative approach and it is based on a netnography of specialty coffee bloggers’ narratives in relation to their sustainability practices.

The paper identifies the following six types of CEK: normative, subcultural, epicurean, transcendental, subcultural and symbolic. Accordingly, CEK is defined as the knowledge tacitly possessed by customers in relation to how they live their consumption experiences according to a body of heterogeneous socio-cultural contextual factors (ethos, norms and symbols) and subjective influences (emotions, ingenuity, instincts and senses) deeply embedded into the narrative of a consumption experience.

While CEK has been largely observed and acknowledged, it has not been yet adequately addressed by existing research. The provision of a conceptual definition of CEK which emphasizes its different dimensions will be of use to both academics and practitioners to better identify and categorize the different manifestations of CEK when undertaking empirical observations or managerial decisions.