Search results

The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong.

A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire.

A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective.

Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.

The purpose of this study was to provide a holistic view of exhibition destination attractiveness by examining perceptions of two of the three key stakeholders (exhibition organizers and visitors) and contrasting them with those of exhibitors.

This research used a mixed method approach, collecting 535 responses from visitors attending nine business-to-business exhibitions in four major cities in China via structured surveys. In addition, eight in-depth interviews with CEOs/owners of leading global and Chinese exhibition companies were conducted.

The findings revealed that exhibitors may go almost anywhere where there is potential for successful business. In contrast, visitors prefer exhibition destinations with good accessibility to minimize travel time and an attractive leisure environment that offers a degree of enjoyment in addition to taking care of business. A destination’s “economic environment” and “cluster effects” were comparatively less important to them. Organizers were cognizant of these differences, contributing to their reluctance in taking large-scale, branded exhibitions to second-tier destinations, despite considerable efforts by these cities to improve their infrastructure.

This study offers practical guidelines for destination administrators and exhibition organizers with regard to evaluating destination resources for long-term exhibition development.

In contrast to prior studies, this research identifies significant differences in perceptions of exhibition destination attractiveness among all three key industry stakeholders. It also presents a persuasive case for the need to clearly differentiate between the attractiveness of a destination for attracting/hosting exhibitions versus conventions, rather than approaching the subject from a more generic meetings, incentives, conferences, and exhibitions (MICE) segment/business events perspective.

The purpose of this paper is to provide an overview of the exhibition industry in China and to report on an exploratory study of 306 exhibitors and visitors to a trade exhibition in Guangzhou, China, which examined decision‐making factors that influence the visitors and exhibitors in exhibition‐participation.

The research took a quantitative approach by conducting a survey at the Guangzhou International Beauty & Cosmetic Import‐Export Expo in late March 2008. A total of 306 valid responses were obtained. Descriptive analysis and factor analysis were conducted using SPSS 12.0.

Study findings indicate five categories of factors that influence exhibition‐participation. Promising second‐tier cities as exhibition destinations are also identified and discussed.

A contribution of the study is exploring whether participants attach importance to destination attributes when they consider attending an exhibition. It also investigated, for the first time, exhibitors' and visitors' preferences for 15 second‐tier cities in China as exhibition destinations.

This paper aims to take International SPOrt (ISPO) as a typical case to study how exhibition organizers can reshape their relationship with users through business model innovation to answer the question that how enterprises can help the exhibition industry to upgrade and develop through business model innovation in the internet environment.

Faced with the development of internet technology, the impact of online platforms, the relationship between exhibition organizers and their customers are facing unprecedented challenges. On the basis of the literature review, this study analyzed the innovation of exhibitors’ business model from three modules: value proposition, revenue logic and cost base and how to reshape their interaction with users through innovation. This study systematically analyzed the innovation of the ISPO business model and the process of reshaping its relationship with users and dynamic interaction with a single case study method.

The main conclusions are as follows: the starting point of reshaping the relationship between exhibition organizer and users in the internet era is to re-understand the needs of customers, the key point of reshaping the relationship is to further cultivate the industrial value and the sustainability of the relationship lies in the customer life cycle management.

From the perspective of exhibition organizers filling the gap of case study in the field of the exhibition. In the area of the exhibition, previous studies rarely started from the perspective of exhibition organizers, but, this paper discusses the interaction between exhibition organizers, exhibitors and visitors from this perspective in this study.

The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand?

Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions.

The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity.

These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective.

Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature.

The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.

Since the Great Exhibition of London (1851) approx. 75 Expos have been held worldwide. They are regulated by the BIE in Paris. An Expo is a show case of technological progress, represented in pavilions. Until 1873 a unique building hosted the exhibits. Later the Exposites were located extramuros, and sometimes afterwards redeveloped into a leisure or science park or a multifunctional urbanised area. Mostly Expos have a positive effect for the city and the region on income, employment and infrastructure. The impact on culture, science, technology and tourism is also very important. However, Expos can generate an increase in prices, overcrowding and even environmental damage. Several Expos were even a financial disaster! The post‐event depression was certainly the case for many Expos. Expos still bear witness to their era and that they have tried to maintain the harmony and peace between people. Still they have opportunities for communication, investments, development, trade and tourism. The case study focus on the successsfull Expo 1992 in Seville.

The purpose of this paper is to show how state socialist countries used soft power to improve their image in the West and advocate “the socialist way of life” in the context of the Cold War.

The author argues from a cultural history perspective that underlines transfers and entanglements among the two camps during the Cold War. The study is based on primary and secondary sources such as automotive periodicals and archival material from the German Bundesarchiv.

International fairs turned in the late 1950s into a new “battlefield” of the Cold War. The Soviet Union and its allies were celebrating at these meetings, important medial victories, laying the grounds for a state socialist consumer society. For the first time, Western audiences were realizing that irrespective of certain stylistic differences, consumer goods and particularly cars were not that different on the other side of the Iron Curtain. However, ideological bias and manufacturing flaws prevented them from being fully acknowledged by the Western side.

Cold War research mainly focused on bipolar confrontation and the high-level decision-making process. This study is part of a recent trend in historiography to reassess the history of the Cold War, focusing on the multi-layered interactions between the two camps. It also shows that consumption and material well-being were important topics for understanding the dynamics and the flow of ideas through the Iron Curtain.

The purpose of this article is to compare past and current experience of exhibition activities in the UAE in general and in Dubai in particular, to identify the major hurdles and obstacles which had arrested the advancement of this sector, and to benchmark this activity vis‐à‐vis Dubai's main competitors both nationally and internationally.

For each of four selected exhibitions, a systematic random sample of 1,000 visitors was selected. The data were collected via structured face‐to‐face interviews using a standard questionnaire on the four sites. In addition, a random sample of 100 exhibitors was selected for each of the four exhibitions. The data were collected via structured face‐to‐face interviews using a standard questionnaire on the four sites. Several in‐depth interviews with the staff of the exhibition's organizers representing the different exhibitions under study were carried out before, during and/or after the events to help identify the challenges and opportunities.

The exhibition value chain can be improved in several key activities. Several important strengths and weaknesses have been identified for the Dubai exhibition industry. The best practice of facilities in Paris offers Dubai the best model for increasing sustainable competitiveness. The key for the Dubai exhibition industry is differentiating the city from the competition and value innovation in the exhibition value chain.

Dubai is a rapidly expanding city, making growth in attraction difficult to predict.

Recommendations are developed to improve Dubai exhibition facilities.

The paper provides analysis of a growing industry in a high growth diversifying economy.

Trade exhibitions have become a multi‐million pound business, with a bewildering array of events taking place in the UK alone. Yet how many companies can claim to be satisfied with the return on cost and effort? Geoffrey Lancaster and Howard Baron carried out a detailed survey at one exhibition. The first part of this article reports on the findings and, using these as a base, the second part is a step‐by‐step guide to efficient exhibition planning, staging and follow‐up.

M & T Chemicals have announced the appointment of Mr David Smith as Director of PCB Systems and as a member of the company's Board of Management. Mr Smith, who was formerly Sales and Marketing Director of Lea Ronal (UK) Ltd, has had more than seventeen years experience in the printed circuit industry.