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This article examines curatorial practices, both traditional and digital, in the Guizhou Provincial Museum’s ethnic exhibition to assess their effectiveness in representing ethnic minority cultures, fostering learning and inspiring curiosity about ethnic textiles and costumes and associated cultures. It also explores audience expectations concerning digital technology use in future exhibitions.

A mixed-methods approach was employed, where visitor data were collected through questionnaires, together with interviews with expert, museum professionals and ethnic minority textile practitioners. Their expertise proved instrumental in shaping the design of the study and enhancing the overall visitor experience, and thus fostering a deeper appreciation and understanding of ethnic minority cultures.

Visitors were generally satisfied with the exhibition, valuing their educational experience on ethnic textiles and cultures. There is a notable demand for more immersive digital technologies in museum exhibitions. The study underscores the importance of participatory design with stakeholders, especially ethnic minority groups, for genuine and compelling cultural representation.

This study delves into the potentials of digital technologies in the curation of ethnic minority textiles, particularly for enhancing education and cultural communication. Ethnic textiles and costumes provide rich sensory experience, and they carry deep cultural significance, especially during festive occasions. Our findings bridge this gap; they offer insights for museums aiming to deepen the visitor experiences and understanding of ethnic cultures through the use of digital technologies.

Building on social media and destination brand-related literature, this study aims to explore World Heritage Sites’ (WHSs) brand diffusion and formation process from long-term and short-term perspectives, which includes brand diffusion, user-generated content (UGC), opinion leaders and brand events’ impact.

This study uses a mixed-method including text mining, keyword analysis and social network analysis to explore the brand formation process of four popular WHSs in Beijing, namely, the Palace Museum, Great Wall, Summer Palace and Temple of Heaven and more than 10,000,000 users’ data on Sina Weibo has been implemented to uncover the underlying social media branding mechanism.

The results show that the number of postings keeps in a stable range in most months, but, in general, there are no common rules for changing trends among the four WHSs; long-term high-frequency keywords related to history and culture account for a higher percentage; different kinds of accounts have varying impacts on information diffusion, in which media accounts lead to a bigger influence. However, more followers do not necessarily mean more interactions and most of the interaction ratio is much lower than 0.01000; brand events facilitate brand dissemination and have an impact on the creation of UGC.

This study is valuable for destination marketers to deeper understand brand diffusion and formation and provides valuable insights for developing effective destination marketing strategies.

Unlike previous studies that only concern a few parts of destination brand formation via social media (e.g. brand diffusion, brand events or opinion leaders’ impact), this study takes a more comprehensive perspective by systematically analyzing the brand formation process of WHSs on social media. By considering both long-term diffusion and short-term representative events, this study provides a more holistic understanding of the branding mechanism.

With the continuous improvement of social and economic development as well as the rising level of demand for spiritual life, the design of cultural and creative products has ushered in new opportunities and challenges. Therefore the research related to cultural and creative products design is an inevitable choice for industrial innovation and market competition. The article aims to analyze the frontier hotspots and trend evolution of theoretical research on cultural and creative design in China by presenting different research fields, personnel and institutions embodied by cultural and creative products, thus providing a forward-looking development reference for China's special cultural and creative product design practice.

In this paper, the visualized citation analysis tool — CiteSpace V is used to analyze and map the relevant literature of Chinese cultural and creative design in CNKI (Chinese National Knowledge Infrastructure) as the data sources, through bibliometric methods, in order to study the application development of Chinese cultural and creative design and provide reference for the application research of Chinese cultural and creative industries.

With the improvement of China's comprehensive strength, cultural self-confidence and strategy are being paid more and more attention by scholars; with the future research of China's cultural and creative design theory, cross-integration becomes the future trend; with the gradual maturity of China's cultural and creative design methodology, how to choose the right method for pioneering research is a difficulty for the future development of cultural and creative design; with the continuous development of China's economy, the method construction of innovative cultural and creative industry system becomes the focus of future research; with the continuous progress of science and technology, the integration of emotion and product industry is the mainstream of future development on cultural and creative design.

Through an objective empirical analysis of the development of Chinese cultural and creative products, it will broaden the research horizons of relevant scholars, understand the development direction of China's cultural and creative industries, enrich the design practice application of Chinese cultural and creative products, enhance the understanding of international counterparts on Chinese cultural and creative design research and promote the exchange among international counterparts.

Art hotels are increasingly providing an opportunity for creative artists to exhibit their artworks and collections within their premises. This research investigates how some hotels are transforming themselves into important cultural tourism centers. Specifically, its objectives are: (i) to better understand the extent to which travelers are aware about the existence of art hotels and to evaluate their level of interest in art-oriented initiatives; (ii) to determine which attributes and features of art hotels are appreciated by travelers; and (iii) to identify the type of travelers who are willing to stay in art hotels. The findings from a descriptive survey suggest that the incorporation of art into the hospitality industry can attract a diverse customer base and could result in a sustainable competitive advantage for hotels. This study identifies four types of travelers including: Art-Infused Travelers, Art-Seeking Travelers, Art-Indifferent Travelers, and Art-Blind Travelers. These prospective tourists were categorized according to their level of awareness and interest in art hotels and art-related experiences. In conclusion, this contribution implies that artification processes within the hospitality industry can add value to the cultural tourism market. Hence, it also advances future research avenues to academia.

This conceptual, multi-voiced paper aims to collectively explore and theorize family entrepreneuring, which is a research stream dedicated to investigating the emergence and becoming of entrepreneurial phenomena in business families and family firms.

Because of the novelty of this research stream, the authors asked 20 scholars in entrepreneurship and family business to reflect on topics, methods and issues that should be addressed to move this field forward.

Authors highlight key challenges and point to new research directions for understanding family entrepreneuring in relation to issues such as agency, processualism and context.

This study offers a compilation of multiple perspectives and leverage recent developments in the fields of entrepreneurship and family business to advance research on family entrepreneuring.

As a distinctive form of communist heritage tourism, the ideology and government-led form of red tourism warrants an in-depth examination of how tourists consume and perceive it. This study aims to reveal tourists’ perception of red tourism through the lens of destination image.

This study collected 9,819 user-generated photographs within four types of red tourism destinations (RTDs) and used a computer visual and semiotic analysis approach to conduct photograph-based cognitive and affective attributes extraction. Network analysis further visualized the co-relations between cognitive images and affective images. ANOVA analysis compared the differences of the four types of destination images.

Ten dimensions of cognitive image and eight categories of affective image of red tourism were identified. It found that monuments, statues, memorial symbols were the distinctive cognitive features, and admiration was the most dominant emotion. Heterogeneity of destination images was identified among the four types of RTDs.

To the best of the authors’ knowledge, the study is one of the first to explore tourists’ consumption of red tourism through the lens of destination image, which reveals the inconsistencies between the officially projected images and tourists’ perceived images of red tourism. Using Plutchik’s model, it validates a series of positive and negative emotions contributing to the affective images of red tourism, which expands the findings of emotions within the extant red tourism research. Through combined applications of computer visual and semiotic analysis, ANOVA, network analysis and model visualization, the study provides an important methodological triangulation for photograph-based destination image studies.

红色旅游作为共产主义旅游的独特形式, 游客如何感知这种国家意识形态植入与政府主导型旅游值得深入研究。本研究旨在从目的地意象视角揭示游客红色旅游感知。

本研究收集四种类型的红色旅游地9819张用户生成照片, 利用计算机视觉-情感析法对照片进行认知和情感元素提取。复杂网络分析揭示了认知意象与情感意象之间的关联。方差分析比较了四种红色旅游地意象的差异。

本研究确定了红色旅游认知意象的十个维度和情感意象的八个类别。研究发现, 纪念碑、雕像、纪念符号是其独特的认知意象元素, 钦佩是其最主要的情感，四种类型红色旅游地意象存在差异性。

本文是同类研究中首次从目的地意象视角探索游客对红色旅游地感知, 揭示了红色旅游官方投射意象与游客感知意象之间的差异。利用Plutchik情感之轮模型, 验证了一系列积极和消极情绪构成红色旅游地情感意象, 拓展了红色旅游的情感发现。综合运用计算机视觉-情感分析、方差分析、网络分析和模型可视化等方法, 为基于照片的旅游目的地意象研究提供了一个重要方法。

Como forma distintiva del turismo del patrimonio comunista, la ideología y la forma gubernamental del turismo rojo justifican un examen en profundidad de cómo lo consumen y perciben los turistas. Este estudio pretende revelar la percepción que tienen los turistas del turismo rojo desde la perspectiva de la imagen del destino.

Este estudio recopiló 9.819 fotografías generadas por los usuarios dentro de cuatro tipos de destinos de turismo rojo, y utilizó un enfoque de análisis visual y semiótico por ordenador para llevar a cabo la extracción de atributos cognitivos y afectivos basados en fotografías. El análisis de redes visualizó además las correlaciones entre las imágenes cognitivas y las imágenes afectivas. El análisis ANOVA comparó las diferencias de los cuatro tipos de imágenes de destino.

Se identificaron diez dimensiones de imagen cognitiva y ocho categorías de imagen afectiva del turismo rojo. Se descubrió que los monumentos, las estatuas y los símbolos conmemorativos eran los rasgos cognitivos distintivos, y la admiración la emoción más dominante. Se identificó una heterogeneidad de imágenes de destino entre los cuatro tipos de destinos de turismo rojo.

El estudio es uno de los primeros en explorar el consumo de turismo rojo por parte de los turistas a través de la lente de la imagen del destino, lo que revela las incoherencias entre las imágenes proyectadas oficialmente y las imágenes percibidas por los turistas del turismo rojo. Utilizando el modelo de Plutchik, valida una serie de emociones positivas y negativas que contribuyen a las imágenes afectivas del turismo rojo, lo que amplía los hallazgos sobre las emociones dentro de la investigación existente sobre el turismo rojo. Mediante aplicaciones combinadas de análisis visual y semiótico por ordenador, ANOVA, análisis de redes y visualización de modelos, el estudio proporciona una importante triangulación metodológica para los estudios de la imagen del destino basados en fotografías.

Boutique hotels reflect a nascent phenomenon in the literature and in the accommodation sector. As a result, they are void of governmental classification and regulation. Concurrently, they lack any form of operational definition. The purpose of this paper is to address these limitations by identifying the core attributes found to define boutique hotels.

To fulfil the purpose of this paper, the authors conducted a systematic literature review on Web of Science. This resulted in an analysis of 33 peer-review articles published from 1994 to 2022.

The findings of this review revealed that boutique hotels are defined by eight core attributes; these are (1) multiple ownership structures, (2) situatedness in a historic premises, (3) strategic locations, (4) thematized internal décor, (5) experience design, (6) high levels of personalization, (7) novelty in service provisions and (8) niche marketing strategies.

For policymakers, this paper may be used as a reference point to establish designated classification systems for boutique hotels. For practitioners, this paper may be used as a source of inspiration and benchmark to establish boutique hotels which align to the criteria highlighted in this paper. For scholars, this paper proposes an operational description of boutique hotels and novel areas for future research.

This paper represents one of the initial efforts undertaken by researchers to unify the literature on boutique hotels.

This study aims to uncover marketing strategies to restore a positive image in times of pandemic crisis to bring tourists back to a popularly affected tourism city in China, Wuhan in Hubei Province. The paper argues that the process of restoring city image requires understanding the perceptions of Generation Z, a segment of the population who have a high propensity to travel after COVID-19.

This study employed a constructivist grounded theory approach to explore the perspectives of China’s Generation Z consumers of Wuhan’s future image to restart tourism. The data is collected through semi-structured interview of 29 respondents and analyzed with the initial, focused and theoretical coding process.

Start by narrowing the gap between projected and perceived image, the findings suggest that Generation Z could be pulled to visit Wuhan city through four core products such as dark tourism activities, special-interest leisure, heroism and storytelling.

The destination image restoration framework after health-related crisis is creatively proposed. It combines the analysis of crisis and urban characteristics from the perspective of the target audience (Generation Z) and provides specific strategies to restore the tourism city image from cognitive, affective and conative dimensions. Significantly, two novel characteristics of Generation Z (i.e. lighthearted and patriotic) emerge in addition to the typical features of this generational cohort. This study also found a high preference for a technologically oriented type of attraction that reverses the morbid COVID-19 memories into an entertainment tool.

This study explores the influence of cultural heritage tourism perception on China's tourism image. It analyzes the role of the spiritual bond established between overseas Chinese youth and the motherland during their visit to the cultural heritage sites in China. This study constructs a theoretical model with 350 overseas Chinese youth as samples based on the identity theory, Stimulus-Organism-Response (S-O-R) theory, and Howard-Sheth model. The results show that cultural heritage tourism perception directly and positively promotes cultural identity among overseas Chinese youth. It is also indirectly and positively associated with their cultural identity through enhancing the tourism image. Cultural intelligence plays a positive moderating role between cultural heritage tourism perception and cultural identity. The results provide significant implications for developing cultural heritage tourism and cultural communication.