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The purpose of this paper is twofold: first, to propose a methodology to empirically investigate the longitudinal development of social media content concerning buildings characterized by iconic architecture and second, to report on the application of this methodology.

We collected and analyzed empirical data of social media content shared via Instagram between 2011 and 2019 on 16 buildings that can be considered iconic architecture projects. Using an automated pipeline, we collected and processed 264,000 posts and 140,000 images from Instagram for the selected case studies. By studying the posting activity of Instagram users through time series analysis and conducting content analysis of the social media posts by means of both image classification and topic modeling, we report on the development of users’ capturing and reception of the selected case studies on Instagram over time.

First, we identify two distinct time patterns of social media content: instantly popular buildings whose popularity fades over time and buildings that gradually gain popularity over time. Second, we distinguish differences in the content of social media posts: some buildings are primarily covered for their architectural features and others for their cultural function and facilities.

Using empirical investigation of Instagram data on iconic architectural projects, we have identified a correlation: buildings primarily posted for their architecture are generally also the ones to gain instant online popularity that subsequently faded over time. In contrast, buildings primarily posted for their function and facilities slowly gained popularity on the social media platform over time.

The purpose of this study is to investigate the relationship between being an inclusive city and branding oneself as such, as more cities adopt the inclusive city concept as part of their brand identity.

This paper builds theory by introducing a typology that categorizes cities based on their level of inclusion and degree of branding, supplemented by an analysis of the branding practices and identities. Integrating the literature on inclusive city and city branding, with a specific focus on the inherent conflict between their sharing and competing attributes, this research postulates that a city may choose to engage in being inclusive and branding itself as such in various ways depending on its dominant motivations of altruism or entrepreneurialism.

Four distinct types of inclusive city branding are identified: inclusion ambassadors (high inclusion and high branding); innate champions (high inclusion and low branding); façade marketers (low inclusion and high branding); and silent segregators (low inclusion and low branding). Furthermore, it underscores that inclusive city branding is shaped by the interplay of entrepreneurialism and altruism, not just a city’s inclusion. Different branding practices, such as media-generated images, narratives and events, are emphasized when entrepreneurialism is the primary motivation, whereas iconic architecture buildings, flagship projects and long-term policies are more associated with altruism.

This study develops a typology to unravel the paradoxical aspects of inclusive city branding. Examining the intersection of city branding motivations and practices enriches existing literature. Moreover, its findings offer valuable insights for cities grappling with the implementation of contentious inclusive branding strategies, thereby bridging theory with practical applications.

In brand activism, a brand promotes contested sociopolitical causes to highlight its values. Brand activism also alienates those consumers who disagree with the cause, who might, consequently, target the brand with critical, negative or even aggressive actions. This paper aims to study the triggers and strategies of consumers’ antibrand actions given in response to brand activism.

Qualitative content analysis and multiple correspondence analysis were used to study consumer responses directed at a chocolate brand’s campaign that advocated civilized online conversions and opposed hate speech, a politically heated topic. In total, 1,615 messages were collected from social media platforms.

Field infringement, political accusations and questioned impact of the campaign triggered consumers to turn against the campaign. Strategies to undermine it included boycotting, discrediting the brand and trapping. Trapping – creatively using technological affordances to create harm to the brand – was typically triggered by political associations.

Findings relate to the critical responses regarding one campaign only.

By understanding the political discussion around the chosen cause, including the opponents’ typical triggers and strategies, brand activism can more credibly advocate for contested social causes and communicate brand values.

Political antibrand actions are distinct from the previously identified functional and ethical antibrand actions, and they are noninstrumental by nature. Practices that are native to social media are central to political antibrand actions, and social media platforms contribute to how such disappointment is articulated and acted upon.

The aim of this paper is to analyze the interrelationship between film-induced tourism and visits to theme parks by tourists and examine the most viewed movies worldwide (2010–2022) which are related with theme parks and their attractions.

The methodology used in this study is a set of qualitative and quantitative indicators for measuring the most visited theme parks worldwide and the most viewed movies that have allowed to answer the research questions.

This research provides a new contribution to tourism and entertainment industries. Results have shown that film-induced tourism can be the perfect marketing tool to attract more tourists to theme parks through movies and their real or fictional characters represented in films such as Marvel, Minions, Avatar, Harry Potter and Disney, amongst many others. These famous characters are part of theme park’s rides to attract tourists to visit film theme parks These rides allow users to travel in a fantasy experience and interact with film characters of cartoons or fictions. There is a high correlation between film-induced tourism and theme parks’ attractions. Film-induced tourism provides great benefits to the society, theme parks, cinemas and tourist destinations. Indeed, movies help to increase the number of visitors to theme parks. In 2019, 215 million people visited the top 20 theme parks worldwide analyzed in this study, this figure is quite lucrative to entertainment and tourism sectors, local and regional economies where these theme parks are localized.

This study presents the importance of theme parks at tourist destinations because theme parks are an extension of movies, thus is, the end of the physical perfect experience at theme parks which began in a movie seat or on your TV/videogame/PC screens.

本文的主要目的是分析电影引起的旅游和游客参观主题公园之间的相互关系, 并研究与主题公园及其景点有关的全球最受欢迎的电影（2010-2022年）。

本研究使用的方法是一套定性和定量的指标来衡量全球访问量最大的主题公园和观看次数最多的电影, 使我们能够回答本研究中提出的问题。

这项研究为旅游和娱乐业提供了新的贡献, 结果表明, 电影引起的旅游可以成为完美的营销工具, 通过电影及其影片吸引更多的游客到主题公园。通过电影和他们在电影中所代表的真实或虚构的人物, 如漫威、小人、阿凡达、哈利波特、迪斯尼等, 主题公园。这些著名人物是主题公园景点的一部分, 以吸引游客参观与电影有关的景点。这些景点让游客有一个幻想的体验, 并与卡通人物互动。电影引起的旅游和主题公园景点之间存在着高度的相关性。我们必须认识到, 电影引发的旅游为社会、主题公园、电影院和旅游目的地提供了巨大的利益。事实上, 电影有助于增加主题公园的游客数量。2019年, 有2.15亿人参观了本研究中分析的世界前20大主题公园, 这个数字对于娱乐和旅游部门、这些主题公园所在的地方和区域经济来说是相当有利可图的。

本研究揭示了主题公园在旅游目的地的重要性, 因为这些旅游景点是电影的延伸, 也就是说, 主题公园及其基于电影和动画的景点是游客在主题公园生活体验的最后一部分, 而这种体验是从电影院的座位上、电视、视频游戏或电脑屏幕前开始的。

El principal desafío de este artículo es analizar la interrelación entre el turismo inducido por las películas y las visitas a los parques temáticos por parte de los visitantes, y examinar las películas más vistas en todo el mundo (2010-2022) relacionadas con los parques temáticos y sus atracciones.

La metodología utilizada en este estudio es un conjunto de indicadores cualitativos y cuantitativos para medir los parques temáticos más visitados a nivel mundial y las películas más vistas que nos han permitido responder a las preguntas planteadas en esta investigación.

Esta investigación proporciona una nueva contribución a las industrias del turismo y el entretenimiento. Los resultados han demostrado que el turismo inducido por el cine puede ser la herramienta de marketing perfecta para atraer más visitantes a los parques temáticos a través de películas y sus personajes reales o ficticios representados en películas como Marvel, Minions, Avatar, Harry Potter, Disney, entre muchos otros. Estos personajes famosos son parte de las atracciones de los parques temáticos para atraer a los visitantes a visitar las atracciones relacionadas con las películas. Estas atracciones permiten a los visitantes tener una experiencia de fantasía e interactuar con personajes de películas de dibujos animados o ficción. Existe una alta correlación entre el turismo inducido por el cine y las atracciones de los parques temáticos. Debemos reconocer que el turismo inducido por el cine ofrece grandes beneficios a la sociedad, parques temáticos, cines y destinos turísticos. De hecho, las películas ayudan a aumentar el número de visitantes a los parques temáticos. En 2019, 215 millones de personas visitaron los 20 parques temáticos más importantes del mundo analizados en este estudio, esta cifra es bastante lucrativa para los sectores de entretenimiento y turismo, y la economía local y regional donde se encuentran estos parques temáticos.

Este estudio revela la importancia de los parques temáticos en los destinos turísticos, dado que estas atracciones turísticas son una extensión de las películas, es decir, los parques temáticos y sus atracciones basadas en películas y animaciones son la parte final de una experiencia vivida por los visitantes en dichos parques y que comenzó en un asiento de cine, frente a su TV, un videojuego, o pantalla de ordenador.