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This paper aims to report an empirical study of the information‐related behaviour of emerging artists and designers. It also aims to add to understanding of the information behaviour of the group both as practising artists (a little understood category of information users), and also as “new practitioners”.

A literature analysis is used to guide creation of an online questionnaire, eliciting both qualitative and quantitative data. A total of 78 practising artists participated, all having graduated in the seven years prior to the survey.

The group have generally the same information practices as more established artists. They place reliance on internet and social networks, while also using traditional printed tools and libraries. Browsing is important, but not a predominant means of accessing information. Inspiration is found from a very diverse and idiosyncratic set of sources, often by serendipitous means. Their status as emergent practitioners means that their information behaviour is governed by cost factors, and by needs for career advice and interaction with peers.

The study group are a convenience sample, all having access to the internet. No observation or interviews were carried out.

The results will provide guidance to academic and public librarians serving artist users, and to those providing career advice to them. It will also be valuable to those providing services to “new practitioners” in any field.

This is one of a very few papers reporting empirical studies of the information behaviour of artists, and has the largest sample size of any such study. It is one of a very few papers considering the information needs and behaviour of new practitioners.

Looks at the first 100 years of Italian cinema examining its role in Italy’s recent history. Provides a bibliography of major film directors, Italian cinema sources, reference works, histories, themes, theory and criticism and articles in journals.

Respondents from fifteen countries reported their level of use and involvement with eight products and services: the countries were Argentina, Austria, Australia, Barbados, Canada, Chile, China, Columbia, England, Finland, France, Mexico, Sweden, the United States and Yugoslavia; the products and services were air travel, beer, blue jeans, eating at a restaurant, hair shampoo, going to the cinema, soft drinks and stereo sets. The results indicated that country accounted for eight to 45 per cent of the variation in product and service usage. Among regular product users, country accounts for one to 20 per cent of the variation in involvement levels across products and services.

In analysing the beancounter image's trajectory, from its birth to its persistence, in European French language comics between 1945 and 2016, this paper explores why artists continue beancounter image usage in popular culture.

Beancounter characters have been studied in an application of Iconology (Panofsky, 1955) in order to unravel how individuals make sense of cultural artefacts and how, in turn, the visuals shape cultural belief systems at a given time.

This study reveals that comics artists usage of the beancounter image results from their critical reactions to management and capitalism whilst at other times the usage is an indication of authenticity. Motivation for the usage is not constant over time nor is the impact of the beancounter image. Both appear dependant of the level of artistic freedom experienced by the artist.

Based on a single media (comics) with a unique characters (European French language) this study deepens exploration of the ways in which accounting becomes entwined with the everyday and implies that further research is needed.

Extends the work of Smith and Jacobs (2011) and Jacobs and Evans (2012) by focusing on a genre of popular culture over a long period, and by adopting a critical viewpoint. Also expands the possible applications of Panofsky's (1955) Iconology in accounting studies.

The purpose of this paper is to highlight the marketing challenges facing the Nigerian movie industry – Nollywood. The paper also attempts to make a case for due recognition to this multimillion dollar industry in management research as opposed to being pigeonholed in the domain of media, film or cultural studies.

The case study benefits from a mixture of survey questionnaires, in‐depth interviews and focus groups drawing on a range of themes from Nollywood's target audience in the diasporas over a three‐year period (2005‐2007).

Explanations for why African movies – as epitomized by the case of Nollywood – continue to lack box office appeal cannot be detached from the poor marketing‐mix strategies adopted – notably weak marketing communications and poor product quality.

The paper is restricted to a convenience sample of respondents and may arguably suffer from a weakness of generalizability.

Nollywood directors, producers, distributors, marketers and all other stakeholders must organize national, regional and international networks/networking events in order to guarantee the requisite forum for shared access, ideas and more importantly technology and technical know‐how. There is also the need for skills upgrading and more robust marketing communications.

This is the first major attempt to move the discourse of cinematic consumption away from the field of media studies to general management – notably marketing. The paper exudes of a powerful message – this is not just art, it is big business!

The purpose of this paper is to argue that national history plays an important role in formulations of workplace religious diversity strategies and practices. It builds on a discussion of the organization of religion in the workplace in two countries, namely, France and Lebanon.

This is a conceptual paper that provides an analysis into how national history plays an important role in formulations of workplace diversity strategies and practices.

The paper shows how religion has historically been organized and deployed in contemporary France and Lebanon by the same colonial power, albeit in different ways. While the workplace in France remains religiously neutral in the context of its national labor market, the colonial power has largely contributed to organized religion in contemporary organizations in Lebanon. In analyzing the Lebanese and French cases, it is argued that the use of religious diversity has weakened the process of adopting equal, diverse, and inclusive managerial strategies.

Experiences in both countries suggest a failure of “blind neutrality” in the case of France, and another failure of a form of positive discrimination in the case of Lebanon. The authors draw lessons from those two experiences and propose future directions of how policy makers/legislators and organizations can advance and capture more equal, diverse, and inclusive diversity strategies.

The above two cases offer rich lessons for religious diversity scholarship and practice. The paper contributes to the literature on diversity in the workplace by questioning the organization of religious diversity in two countries that are under researched in management and organization studies.

In 1864 two famous novelists: Erckmann and Chatrian co‐edited a fiction called L’Ami Fritz. Very quickly this work had a tremendous success. It was the story of a fellow named “Fritz Kobus” who was living in Alsace. He could be seen as the stereotype of how the “collective unconscious” in France was imagining a prosperous Alsatian fellow. In a very short period of time this fiction became a significant link between the Alsace region and the whole French nation. We will use this example in order to show that the links with consumption and art are very peculiar. It is not only companies that are interested in the appropriation of art, but also consumers. This will help us to show that for example in postmodern times the distinction between high and low culture is not as clear as it may first appear. High and low culture are blending together in interesting ways. What we would like to show here, is that the novel sometimes gives a landmark to the consumers, telling them what their ideal aspirations should be and then the society tries to reflect the novel.

Examines the effects which the institutional environment – particularly property and land‐use planning matters – may have on the process of retail internationalisation. Three North American retail and leisure providers currently expanding into western Europe are discussed – Wal‐Mart (large stores), McArthur Glen (factory outlet centres) and Warner Brothers (cinema complexes). In each case the rate of progress, and type and location of development, have been affected by limitations in the flexibility of property markets or by land‐use planning restrictions. In the case of Wal‐Mart, choice of entry mode has arguably been affected by planning restrictions. A possible link between market saturation and property/planning constraints is also identified.