Search results

This study aims to evaluate the behavioral predictors that affect tourists’ intentions to visit silver screen destinations.

The survey questionnaire was composed of multi-item measures, and a total of 432 questionnaires were collected by purposive sampling technique. Participants were asked about sensory stimuli, social stimuli, naturalistic stimuli, cultural stimuli, hospitality culture stimuli, cognitive responses, affective responses and behavior approach, which were evaluated using a seven-point Likert scale.

The authors discovered that cognitive and affective responses positively influence the tourists’ intention toward destinations with film-induced tourism, because tourists highly value unique and refreshing symbolic connotations of silver screen destinations, which are commonly predisposed to nostalgia and poetic on the scene.

The originality of this study and the theoretical value of the present research lies with revealing specific relations within the film-induced experienscape constructs that are based on the multistakeholder and multidisciplinary approach. Moreover, this study puts forward constructive suggestions for destination stakeholders in regard to how to market film-induced tourism that uses a multidisciplinary approach that is encompassed by experienscape constructs, which thereby reinforces the film-induced tourists’ experience and their behavior approach.

This study is based on the heuristic-systematic model (HSM) to dynamically examine the effect of review variance on sales and the boundary conditions that mitigate this effect.

Based on the theoretical domain of HSM, a conceptual model is proposed that analyzes the nonlinear relationship between review variance and sales and the interaction and motivation factors that moderate these relationships. Review data from websites targeting the film industry in the USA and South Korea (Korea) were collected to empirically analyze the authors' hypothesis, and panel regression analysis was used for confirmation.

Moderated by interactive and motivational factors, review variance exhibits an inverse-U-shaped relationship with review variance. Specifically, as an interaction factor, review valence and owned social media (OSM) resulted in positive interaction effects, and as a motivation factor, the number of alternatives exhibited a positive interaction effect with review variance. The effect of review variance was less pronounced in the USA than in Korea.

The study outcomes reveal a nonlinear relationship between review variance and sales, thus supporting the contradictory findings of previous studies. This study contributes to the literature by using the HSM as a theoretical framework to verify various HSM mechanisms using online review data. This exploratory study also contributes to the international marketing literature by showing that the effects of review variance vary across cultures.

This case was written with publicly available information about Nintendo.

In the 1980s and 1990s, Nintendo dominated the video game industry with a market share of 90%. In 2020, Nintendo’s market share dropped to nearly 31%. This case examines a 40-year history of Nintendo, including its core strategy of video game and video game console development and its growth strategy using its intellectual property. Throughout its history, Nintendo has faced and continues to face stiff competition from Sony, Microsoft and new emerging technologies like virtual reality video games. Nintendo has the challenge of competing in a rapidly changing industry with changing customer preferences where it once had a dominant market share. Can Nintendo continue competing, relying on its core competency of developing new video games and consoles? Or moving forward, should it further define itself more broadly by continuing to leverage its intellectual property in the entertainment industry?

This case is suitable for undergraduate courses in marketing, marketing management and business strategy, or where an instructor focuses on strategic decision-making. This case will provide valuable in-class discussions on the importance of defining what a business should do and how it should grow. Additionally, this case will be useful for courses that include advanced discussions on tradeoffs between focusing on core competencies and growth by expanding into other opportunities that are not necessarily part of a business’s core strategy. A portion of this case was tested in an undergraduate marketing strategy and marketing principles course. The case created an excellent environment for critical thinking and analysis.

This chapter examines two 21st-century Disney fairy tale adaptations, Frozen (2013) and its sequel Frozen II (2019), focussing on the representation of male characters and the discourse on masculinity that can be inferred from both films.

Despite featuring two prominent female protagonists – Queen Elsa and Princess Anna – and dealing with themes such as sisterhood and female bonding, a close reading of the two films reveals that they are as much about masculinity as they are about femininity. For instance, filmmakers introduce heterosexual romance where there was none before, as well as male characters Prince Hans and Kristoff, who are not present in the literary source that they draw from, Hans Christian Andersen's ‘The Snow Queen’ (1844).

Furthermore, these male characters are given names, personalities, and motivations, which cannot be said of previous Disney fairy tale Prince Charming-type figures. Therefore, Hans and Kristoff are proposed to be variations of this archetype and can be read as an attempt on Disney's part to complicate it, undermine the patriarchal masculinity that it stood for in its previous Disney renderings, and propose alternative models for the implied 21st-century audience.

Although Prince Hans is initially presented as a stereotypical Disney fairy tale prince, he is eventually revealed to be a narcissistic lover and a patriarchal villain. Kristoff, by contrast, is the humble, lower-class, sensitive ‘new’ man who is presented as a socially acceptable alternative and finally takes Prince Charming's place by becoming the princess's love interest and partner. Frozen can be read as a cautionary tale that urges young women to choose their romantic (male) partners wisely and warns both male and female audiences against the dangers of fragile patriarchal masculinity.

The purpose of this study is to empirically investigate the role of dynamic capabilities, specifically the sequence of sensing, seizing, and transforming capabilities, in highly uncertain, emerging technology environments. Focusing on the extended reality industry, the study aims to understand the antecedents to these dynamic capabilities, their sequential nature, and their subsequent impact on innovation and company performance.

Based on a survey of 130 German companies in the extended reality sector, we built a structural equation model that explores the relationship between dynamic capabilities, their antecedents, and their effect on innovation and company performance.

The analysis suggests that sensing capabilities positively influence seizing and transforming capabilities, while seizing directly contributes to transforming. Transforming capabilities are linked to improved innovation performance, which in turn boosts company performance. Organizational ambidexterity, market orientation, and technology orientation are found to be crucial antecedents, accounting for 33.1% of the variance in sensing capabilities.

This research illuminates the interdependence of dynamic capabilities in highly uncertain business environments, such as emerging technology markets. It contributes original insights by elucidating the sequential nature of dynamic capabilities and identifying their vital antecedents. It also enlarges the understanding of how dynamic capabilities impact firms’ innovation performance.

In this first chapter of the book, we present our perspective of the cultural sector along with the terminological choices we have made. Subsequently, we provide a brief literature review on issues of accessibility, diversity, equity, and inclusion (ADEI) in the cultural sector. Finally, we outline the structure of the book, which is divided into five sections. The first four sections group chapters that discuss ADEI initiatives in specific sectors. The first section focuses on the performing arts sector and includes three chapters presenting cases from a theater, the opera sector, and a dance organization. The second section delves into the music sector, with four chapters covering cases from an orchestra, the electronic music sector, musicians from South Africa, and hip hop in Haiti. The third section comprises three chapters presenting cases from the visual arts sector, including Canadian and Chilean museums and a cultural organization. The fourth section explores the events sector, presenting three chapters, two of which discuss festivals and one focuses on the Super Bowl. The final section presents two chapters not tied to a specific discipline. The first chapter shares an experience of teaching ADEI in art in Taiwan, while the second chapter deals with policies related to ADEI from a federal cultural administration in Canada.

This paper aims to identify different combinations of causal conditions (celebrity attributes) that explain our outcome: destination image. More specifically, three main research questions guide our work: (1) Which attributes should an outstanding sportsperson have to enhance the image of his/her country as a destination image? (2) Are these the same for different product categories? (3) Do tourists and residents differ?

To this end, the fuzzy-set Qualitative Comparative Analysis (fsQCA) was used with a sample of 187 participants (105 tourists and 82 residents).

Results show that some attributes of a sports celebrity are more critical than others in enhancing destination image. Those attributes of sports celebrities appearing in the intermediate and parsimonious analysis should be prioritized. This is the case of trustworthiness. Second, experience is a peripheral requirement (only appeared in the intermediate analysis). Third, attractiveness is unnecessary and an even and undesired attribute in many solutions. Fourth, when comparing tourists and residents, both groups value the role of football players, while residents also appreciate the role of marathon runners. Tennis players are the less relevant sports celebrities to build Spain’s destination image.

First, a new statistical analysis in the marketing discipline, QCA, has been used. The use of qualitative approaches to investigate destination images has been scarce. Second, the study of the role of sports celebrity endorsement on brand–place attachment has yet to be investigated. Third, studies about the role of residents in the image of a tourism destination/city are scarce. Tourists and residents must be investigated because they can benefit from sports celebrities' activities.

In recent years, a number of privileged individuals have entered the music industry in Zimbabwe, either as performers or entrepreneurs. The economic challenges in the country may have prompted these individuals to invest in music as a means of diversifying their income or exploring new business opportunities. To determine whether their interest in music is driven by entrepreneurship or genuine passion, a scholarly examination was deemed necessary.

A qualitative research approach with semi-structured interviews was used as the data collection technique. Narrative analysis was conducted on a sample of musicology students in Gweru, Zimbabwe.

The findings revealed the nepo babies’ interest in music is driven by legacy continuation – the responsibility to carry on with the name of the parent – harsh economic conditions, capitalizing on Internet and digital opportunities and mechanisms for psychological satisfaction during hardships.

Although there is a wide range of literature on musicpreneurship, there are gaps in studies that have examined whether a nepo baby's interest in music is motivated by musicpreneurship or a genuine passion for it. Therefore, the aim of this research is to contribute to the existing body of literature on African musicpreneurship, with a specific focus on Zimbabwe.

For the most part, the majority of the research on entrepreneurial masculinities has focused on the traditional business and finance sector, capturing a masculinity infused with notions of dominance, a cut-throat disposition and corporate acumen. There has been relatively less attention focused on the reproduction of masculinities and monetized body work in digital forms of entrepreneurship.

This conceptual article explores some of the entrepreneurial and performative skills utilized by male OnlyFans creators as they curate not only their bodies but also their sexualities in order to attract subscribers and maximize profits.

Mapping the relationship between entrepreneurialism and masculinity on OnlyFans is significant considering the platform’s popularity and the changing nature of digital entrepreneurship. Drawing connections to previous research on working-class entrepreneurial masculinities, we highlight how male OnlyFans creators, who are largely from working-class backgrounds, are actively practicing entrepreneurial skills.

We foreground the work of social media creators as sexualized and aesthetic labour, making connections between digital entrepreneurship, working-class masculinity, sexuality, and (idealized) bodies. Our article concludes with making recommendations for future research on the study of gender and sexuality within for-profit digital entrepreneurship.