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This study investigates the effect of consumers' brand attitude changes according to the fashion film type. Furthermore, it examines the psychological mechanism by engagement and consumer fantasy proneness. This study is meaningful because it provides a more in-depth understanding of the use of fashion film as a means of consumer-oriented persuasion communication.

This research uses a 2(fashion film type: narrative vs non-narrative) × 2(consumer fantasy proneness: high vs low) mixed factorial design to test the hypotheses. ANOVA and the PROCESS macro mounted on SPSS was used to test hypotheses.

The group with high consumer fantasy proneness showed more changes in brand attitude when exposed to non-narrative than narrative fashion films, but the group with low consumer fantasy proneness showed no significant difference in brand attitude change according to the fashion film type. In addition, when consumer fantasy proneness is high, media and brand engagement for non-narrative fashion films increase sequentially, resulting in a greater change in brand attitude, whereas these psychological mechanisms do not work in groups with low consumer fantasy proneness.

Fashion brands should identify their respective target group when producing fashion films and choose differentiated narrative forms. In the case of pursuing a fantastic aesthetic value, the non-narrative type induces more attention and curiosity from consumers than the narrative type, which affects the feeling of a special bond or relevance with the brand.

This study has value in that it demonstrates the rationale for why a fashion brand needs to select a differentiated content structure according to the aesthetic value pursued when making a fashion film in branding work.

Drawing on research in the worlds of advertising, magazines and fashion, this paper discusses how celebrities mediate between different fields of cultural production. By focusing on celebrity endorsements in advertising, it also outlines how film actors and actresses, athletes, models, pop singers, sportsmen and women mediate between producers and consumers via the products and services that they endorse. As economic mediators, celebrities’ actions have important strategic and financial implications for the corporations whose products they endorse. As cultural mediators, they give commodities personalities and perform across different media, linking different cultural fields into an integrated name economy.

To provide an overview of the Japanese publishing industry and to compare it with the publishing industry in the United Kingdom to see whether similarities and differences are industry- or culture-specific.

The paper provides detailed descriptions of the activities of the three main players in the Japanese publishing industry (publishers/editors; distributors; and booksellers). This tripartite structure of the industry encourages divide-and-rule mechanisms also found in the Japanese advertising industry. At the same time, a comparison with the UK publishing industry reveals certain structural differences between it and the Japanese publishing industry.

Three developments that have affected trade relations in the UK publishing industry (retail chains, literary agents, and mergers and acquisitions) do not have such great impact in Japan. In Japan, wholesale distributors are extremely powerful – something not noted, but possibly overlooked, by Thompson for the UK publishing industry. Comparative material between Japan and the United Kingdom, as well as across industries within Japan, suggest certain cultural influences prevail in the organization of Japanese publishing.

The Japanese publishing industry appears to operate under certain cultural constraints that inhibit cross-cultural comparison, while enabling cross-industry comparison within Japan. Why this is so needs further research. Can the parallels between advertising and publishing industries be extended to other forms of cultural production in Japan? In particular, the way in which money is circulated within an industry has an influential effect upon its structure.

A useful source of information for practitioners and academics interested in the functioning of a non-Western publishing industry. The paper also provides food for thought for those interested in trying to better the organization of publishing in Japan and/or the United Kingdom.

A hitherto undocumented comparative study in English of the Japanese publishing industry.

Due to the unique nature of the Cultural and Creative Industries (CCIs), the impact of crowdfunding on them is more significant than on other industries. This study investigates the association between crowdfunding campaigns in four different categories of cultural production and each campaign promoter's decision regarding platform choice.

We classified cultural productions according to the Cultural Enterprise Framework. We collected data from 1,465 successful, reward-based, culture crowdfunding campaigns from five Nordic countries (Denmark, Finland, Iceland, Norway and Sweden). We used binary logistic regression for estimation purposes.

We find that cultural productions with a high degree of cultural affinity are more likely to use a local platform, while cultural productions with a higher degree of complexity in production or with composite motives are more likely to use an international platform. Additionally, the funding goal and the platform's financing model affect the probability of using an international platform.

Our finding is that there is a relationship between cultural production type and crowdfunding platform choice, and that these choices can be crucial for campaign promoters. Based on the findings and empirical setting, there is evidence that campaign promoters of cultural productions with a cultural affinity orientation may choose to use local platforms, while promoters of projects with complex production requirements or composite motives for using crowdfunding similarly may tend to opt for international platforms. We also propose a framework for the categorisation of cultural productions.

After reading and discussing this short case, the instructor should do the following: to enable the students to select and evaluate the main strength (sustainable competitive advantage) of an evolving brand whose leading manager needs to appreciate how it can be used to achieve the strategic objective of franchising it despite its challenges; to guide the students in choosing the most appropriate brand name that will sustainably reflect the parent organization’s identity and also retain its growing attractiveness to more event sponsors and other key partners in an environment of conflicting interests; to facilitate the students in choosing the appropriate strategy for strengthening the readiness to franchise and adapt a similar teaching and examining (annual event’s) model in a related course unit from among any of the target audience’s master and bachelor degree at another university elsewhere.

This short case shows how the annual Makerere University Business School (MUBS) hospitality day has evolved into a potential event franchise, which is attracting more VIPs, the media and demand to also be held in the country’s Vision 2040 cities where the respective campuses are located.

Bachelor (BA, BBA, BSc) and MBA/master degree level.

Teaching Notes are available for educators only.

CSS 12: Tourism and hospitality.

The case is written on the basis of published sources only.

Doodlage, a start-up incorporated in 2012 by Kriti Tula, Paras Arora and Vaibhav Kapoor, used discarded waste to create sustainable fashion products. It had a first-mover advantage in recycled fashion goods in the first 10 years of its existence. The company contributed to sustainable fashion by providing an alternative to fast fashion production, creating enormous clothing waste and environmental degradation. In the first quarter of 2022, it saved and reused 15,000 m of fabric waste. From 2018 to 2021, the company grew 150% annually, targeting the right customers and regions to expand its business. It ensured that postproduction industrial waste and postconsumption garments were used to produce clothes. It also confirmed that the waste generated in its fabric screening process was used to create stationery items and other valuable accessories.

However, the sustainable fashion model that gave the company a competitive advantage became obsolete in 2022 due to increasing competition in the industry as various players using unique ideas entered the market. The company is encountering operational and logistical challenges that are affecting its performance. The demand for its products was also subdued due to high prices of upcycled and recycled clothes and less consumer spending post-COVID pandemic. The competitors of Doodlage offered multiple products produced using environmentally friendly farming and manufacturing techniques, attracting sustainable purchasers. What should be the new portfolio of products for the company to explore future growth opportunities? Considering their vast price, can consumers be encouraged to buy upcycled clothes? How should the company ride the winds of change in the industry?

The instructor should initiate the class discussion by asking questions such as how frequently do you shop for clothes? Do you care about the fabric of your apparel? After you discard your clothes, do you think about where these goods finally end up? Data on the amount of total waste generated in the fashion industry should be communicated to students to connect it with the importance of the concept of circular economy. Post this, the instructor should introduce the business model of Doodlage to bring the discussion into the context of the fashion industry before going ahead to discuss the company’s dilemma.

Creative industries (CIs) constitute the most important area in the contemporary global, knowledge-based economy. These enterprises, which operate in creative sectors, represent the most innovative businesses. Such sectors generate both growth and employment. CIs were defined as the activities that have their origin in individual creativity, skill, and talent as well as open the potential for wealth and job creation by generating and taking advantage of intellectual property. The problems and challenges in CI management are solved because of the accumulated resources of knowledge and the capacity for their effective implementation. Such processes rely on a creatively talented man who takes advantage of unconventional thinking and acting patterns. However, studies covering CI functioning, from the perspective of management science and primarily the concept of knowledge management have, so far, remained few and fragmentary. In one of the author’s previous research, related to the sector of CIs, it was indicated that talents, competencies, and ideas for starting a business can bring these people together who were growing up and influenced by the same urban, academic, or artistic environments. Narrow social groups of friends or good acquaintances, who establish a creative knowledge-based organization, are mutually, strongly, and emotionally bonded. The crucial issue here is the impact exerted by motivating, communicating, or team work orientation on knowledge sharing processes. The results of the study were used to develop a business model totally oriented to knowledge used in CIs.

The purpose of this paper is to broaden the conversation about the link between identity and employability by investigating how identity can function as a type of career capital. Drawing on Bourdieu’s (1990) theory of practice and Côté’s (2016) identity capital model, the authors introduce the concept of identity capitalization and elaborate on the career practices people engage in to convert identity into career capital based on studies of careers in the creative industries.

The conceptual development is based on an examination of studies of careers in the creative industries. The authors move beyond a single idiosyncratic occupational setting and offer insights about how individuals acquire, accumulate and deploy identity capital in response to varying occupational demands and institutional norms.

The authors identify three patterns of work – display work, authenticity work and personation work – that creative professionals use to harness identity as career capital to enhance their employability. The authors find that both the demand for authenticity and the existence of social inequalities in the creative industries present challenges for the acquisition, accumulation and deployment of identity capital.

The ability to harness one’s identity for career capital has become increasingly important for career actors in the face of a challenging labor market. This paper provides a conceptual understanding of the process of identity capitalization and presents concrete career practices in real-world settings. It also offers practical advice for individuals wishing to capitalize on their identity to maximize career opportunities.

Increasing evidence from high-income countries has revealed the positive impacts of creative entrepreneurship on the local economy, and these have attracted substantial attention in recent years. Creative industries are considered as the seedbeds for innovation; they are highly innovative and productive and are seen as drivers of economic development and social change. Creative industries are distinctive in that they have several transaction networks and income streams. Although creative industries are generating increasing interest in the minds of researchers and policy-makers in developed countries, the institutional and economic settings in Cameroon and other developing nations may not be so conducive to creative industries. The available evidence is insufficient to understand their performance and sustainability, let alone to estimate their contribution to the rest of the economy. This chapter demonstrates how the creative industries could contribute to the economic and social development of a nation. The chapter further explores the current situation of creative industries in Cameroon, with a focus on the artists of popular and folk music, the challenges they are facing, and provides ways forward.