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In the democratic digital environment, brand managers frequently deal with the unauthorized use of the brand by third parties. The phenomenon, known as brand hijacking, has been treated in different and sometimes conflicting ways in the academic and professional literature. The aim of this paper is to clarify the meaning of brand hijacking and to shed light on the various motivations and intentions underpinning the phenomenon.

A Delphi-based survey among both academic and professional experts was conducted to explore the key features of brand hijacking and expand existing theories.

The results of the Delphi survey enable the main brand hijacking actions to be mapped, based on two motivational axes (utilitarian–idealistic and destructive–constructive) and on the various intentions that guide the hijackers. The results help re-define the key elements of brand hijacking, through the lens of non-collaborative brand co-creation.

Managerial implications are presented in terms of the corporate response to the two main effects of hijacking, namely, brand reputational damage and brand repositioning.

The paper helps to shed light on the main components of brand hijacking, thus gaining expert consensus in refining the existent conceptualization in relation to a rapidly changing brand management scenario because of the gradual loss by brand managers of their traditional control.

This paper aims to investigate the ways in which “non-collaborative co-creation” can affect brand equity as perceived by independent observers. It reports a study of the different effects on that perception attributable to non-collaborative co-creation that takes the form of either “brand play” or “brand attack” and is executed either by established artists or mainstream consumers.

A 2 × 2 between-subjects experiment (brand play versus brand attack; consumer versus artist) measured observers’ perception of brand equity before and after exposure to purpose-designed co-created treatments.

Non-collaborative co-creation has a negative effect on observers’ perceptions of brand equity and brand attack, causing a stronger dilution of brand equity than brand play. Artists either mitigate the dilution or have a positive effect on those perceptions.

Future research could usefully investigate the relative susceptibility of brands to non-collaborative co-creation, the effects on brands of higher complexity than those in our experiment, exposed in higher-involvement media, and the effects of more diverse forms of co-creation.

Brand managers must recognise that co-creation carries considerable risks for brand equity. They should closely monitor and track the first signs of non-collaborative co-creation in progress. It could be beneficial to recruit artists as co-creators of controlled brand play.

This study offers a more complete insight into the effect of non-collaborative co-creation on observers’ perceptions of brand equity than so far offered by the existing literature. It connects the fields of brand management and the arts by investigating the role and impact of artists as collaborative or non-collaborative co-creators of brand equity.

This chapter explores the concept of authenticity in the context of today’s highly competitive hospitality industry. Drawing on the multi-sited ethnographic case study of Ziferblat, the world’s first pay-per-minute cafe franchise, the author examines how the imperative of authenticity is addressed by small international enterprises falling in between the categories of chain and independent. By tracing how Ziferblat’s original concept, shaped by the personal and socioeconomic background of its founder, was subsequently transformed by the local teams and adapted to different cultural-geographical contexts, this chapter adds new empirical evidence to the dynamic and pluralistic notion of multiple authenticities.

In brand activism, a brand promotes contested sociopolitical causes to highlight its values. Brand activism also alienates those consumers who disagree with the cause, who might, consequently, target the brand with critical, negative or even aggressive actions. This paper aims to study the triggers and strategies of consumers’ antibrand actions given in response to brand activism.

Qualitative content analysis and multiple correspondence analysis were used to study consumer responses directed at a chocolate brand’s campaign that advocated civilized online conversions and opposed hate speech, a politically heated topic. In total, 1,615 messages were collected from social media platforms.

Field infringement, political accusations and questioned impact of the campaign triggered consumers to turn against the campaign. Strategies to undermine it included boycotting, discrediting the brand and trapping. Trapping – creatively using technological affordances to create harm to the brand – was typically triggered by political associations.

Findings relate to the critical responses regarding one campaign only.

By understanding the political discussion around the chosen cause, including the opponents’ typical triggers and strategies, brand activism can more credibly advocate for contested social causes and communicate brand values.

Political antibrand actions are distinct from the previously identified functional and ethical antibrand actions, and they are noninstrumental by nature. Practices that are native to social media are central to political antibrand actions, and social media platforms contribute to how such disappointment is articulated and acted upon.

The purpose of this paper is to reflect upon how encountering trauma unexpectedly in the field informs the doing of fieldwork.

A reflexive essay approach was adopted to explore traumatic incidents in extreme contexts. Written vignettes, interviews, field notes and information conversations served as the bases for reflections.

Four themes arose from the reflections (Bracketing, Institutional Pressure, Impact on Research and Unresolvedness). It was suggested that researchers engaged in extreme context research, and management and organization studies scholars engaged in dangerous fieldwork more broadly, are under institutional pressure to continue work that may put themselves in harm's way. Traumatic experiences also shape and reflect the researcher's identity, which informs choices about current and future research projects.

It was suggested that scholars will benefit from reading the accounts of others to reduce the burden of isolation that can accompany traumatic field experiences.

Exploring single traumatic events enabled in engaging with trauma encountered unexpectedly and directly in the field. The reflections reveal the effects of psychological and physical trauma on researchers, and highlight how trauma impacts the research process.

This study aims to answer two research questions, namely, what kinds of mundane resistance practices emerge in the local food system and which spatial, material and social elements catalyse the resistance practices.

The study adopts a post-humanist practice approach and focusses on exploring the agentic capacity of socio-material elements to generate resistance practices. The data were generated through a multi-method approach of interviews, field observations and Facebook discussions collected between 2014 and 2017.

The empirical context is the rejäl konsumtion local food network in Finland. The analysis presents two types of resisting practices – resisting facelessness and resisting carelessness – which are connected to spatial, material and social elements.

The study focusses on one local food system, highlighting the socio-material structuring of resistance in this specific cultural setting.

The practical implications highlight that recognising the socio-material elements provides tools for better engagement of consumer actors with local food systems.

The study adds to the extant research by interweaving the consumer resistance literature and local food systems discussions with the neo-material approach. The findings present a more nuanced understanding of the ways in which consumer resistance is actualised in a non-recreational, mundane context of consumption. Consequently, the study offers new insights into the agentic socio-material actors structuring the local food system.

The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.