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At the end of the nineteenth century, in the era of the second industrial revolution, falling working hours, rising disposable income, increasing urbanisation, rapidly expanding transport networks and strong population growth resulted in a sharp rise in the demand for entertainment. Initially, the expenditure was spread across different categories, such as live entertainment, sports, music, bowling alleys or skating rinks. One of these categories was cinematographic entertainment, a new service, based on a new technology. Initially it seemed not more than a fad, a novelty shown at fairs, but it quickly emerged as the dominant form of popular entertainment. This paper argues that the take-off of cinema was largely demand-driven, and that, in an evolutionary process, consumers allocated more and more expenditure to cinema. It will analyse how consumer habits and practices evolved with the new cinema technology and led to the formation of a new product/service.

Since the 1950s, the closet has been the chief metaphor for conceptualizing the experience of sexual minorities. Social change over the last four decades has begun to dismantle some of the social structures that historically policed heteronormativity and forced queer people to manage information about their sexuality in everyday life. Although scholars argue that these changes make it possible for some sexual minorities to live “beyond the closet” (Seidman, 2002), evidence shows the dynamics of the closet persist in organizations. Drawing on a case study of theme park entertainment workers, whose jobs exist at the nexus of structural conditions that research anticipates would end heterosexual domination, I find that what initially appears to be a post-closeted workplace is, in fact, a new iteration: the walk-in closet. More expansive than the corporate or gay-friendly closets, the walk-in closet provides some sexual minorities with a space to disclose their identities, seemingly without cost. Yet the fundamental dynamics of the closet – the subordination of homosexuality to heterosexuality and the continued need for LGB workers to manage information about their sexuality at work – persist through a set of boundaries that contain gayness to organizationally desired places.

Purpose – The CSI effect, as it is referenced in mainstream media, is a purported effect on public perceptions caused by the portrayal of forensics and investigations in popular entertainment programming. Despite the obvious popularity of the programs – a common source of blame for such effects and the focus of limited prior research – impacts on perceptions by way of media content must be viewed as a product of multiple internal and external factors, rather than a result of popularity and viewership alone.

Methodology – By examining the portrayal of programming within the context of contemporary news publications, this project focuses on the value and context of presentations of forensics television programming across media genres, highlighting the bidirectional flow of popular media cues through various influential media outlets and outlining the potential for resulting public effects.

Findings – The authors find that an increase in the overall media visibility of entertainment images of forensic science, coupled with news media's tendency to tie such images to real-world forensics on the local and national scenes given an absence of alternative sources for news-oriented stories, speak to the importance of the holistic examination of the role of CSI-related programming in influencing popular perceptions.

This study aims to explain how program liking, program connectedness, and product category involvement influence brand attitudes as a result of advertiser funded programming.

We conduct a field study on a panel of real television viewers that were surveyed one week after the final episode of an advertiser funded fashion program was broadcasted. A moderated mediation model is constructed and tested that captures the interplay of three determinants of brand attitudes: program liking, product category involvement, and program connectedness.

Liking of the program is transferred to brand attitudes. This effect is complementarily mediated by connectedness with the program, and this mediation is moderated by product category involvement. Program liking only spills over to brand attitude through connectedness for viewers with moderate to high levels of involvement with the sponsor product category.

The findings add to the understanding of the role of program liking and program connectedness in the formation of brand attitudes. Although prior research has established that liking and connectedness are indeed an important determinant of brand attitudes, this research unveils product category involvement as an important boundary condition for this effect.

Consumers can develop liking for even an advanced form of brand placement, an Advertiser Funded Program (AFP). When consumers’ evaluations of the program are positive, they connect to the program on a personal basis, also leading to positive brand effects. Advertising practitioners should focus on the meaningful integration of their brand in a context that is involving for their target audience.

The authors analyze how conflicting institutional demands become deployed in organizational storytelling in the context of wildlife documentaries. Documentary producers increasingly feel the pressure to entertain the audience, while simultaneously addressing serious environmental issues. Using a mixed-method analysis of BBC wildlife documentaries produced between 2009 and 2017, the authors identify two narrative strategies, alternation and amplification, to balance demands for entertainment and environmental conservation. Alternation switches entertaining and serious content to offset conservation concerns, while amplification uses entertainment to accentuate conservation. Emotions play a significant role in both ways of storytelling. The findings of this chapter contribute to the literatures on institutional microfoundations, storytelling, and emotions.

A sample of 234 U.S. travelers was surveyed at various U.S. airports. A survey instrument was used to measure their perceptions of Mississippi as a vacation destination, their intentions to visit and to reveal their socio-demographic characteristics including their place of residence. The factor analysis of 14 tourist-oriented attributes related to participants' perceptions of Mississippi as a tourist destination revealed three factors: “Cultural and Natural Experience,” “Scenery and Environment,” and “Entertainment.” The environmental factor revealed a significant difference between groups; participants residing in the Western region were not strongly attracted by Mississippi's environmental factor. On the contrary, participants residing in the Southern region perceived strongly Mississippi's entertainment components, especially casinos. In term of intentions to visit, 73% of participants from the Southern region indicated that they would somewhat unlikely or very unlikely visit Mississippi compared to 71% of participants from the Western region who indicated a desire to visit the mentioned destination. This study offers substantial theoretical and practical implications about geographical and cultural distances and their effects on a destination's tourist image.

The chapter reviews recent evidence of, and debates about, the integration of art, entertainment, and media in media portrayals (e.g., movies, photographs, theater, music, performance art, museums, story-telling, modifications of an environmental space, social media, painting, comics, dance, videogames, etc.) of climate change based on three sources of data: 1) articles listed in academic reference databases and Google Scholar, 2) online sites, and 3) climate change news images. 1) Retrieved articles discuss both the potential and challenges of communicating about climate change through art, entertainment, and media. However, research is inconsistent on and in some cases is critical of the nature and extent of effects of art-based climate communication. 2) The Internet is a rich and diverse source of websites and videos about climate change. We analyzed 49 sites based on the art medium or form discussed, the primary content related to climate change, and the apparent goal of the site or video. The most frequent goals were promote action, collaboration, raise awareness, climate change communication, discussion, empowerment, reshape public perception, and engagement. 3) Based on the major themes and frames identified through content and cluster analysis of 350 images associated with 200 news articles from 11 US newspaper and magazine sources through late 2009, we summarize the theme of art and mass media representations of the environment, and how those are associated with the other major themes. We conclude by suggesting promising areas for future research on the intersection of art and science in communicating about climate change.