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As a result of the advancement of the online environment, several methodological proposals emerged to establish procedures for digital qualitative research. While the various online ethnography methods overlap, they are not equivalent in terms of their theoretical bases, procedures and goals. The purpose of this article is to add clarity to their main differences, depicting specificities, potentialities and limitations of each method.

This conceptual article results from an integrative literature review that brought together studies that proposed, debated or used qualitative research methods in the digital environment. The research focused on the primary indexed journals publishing cultural studies in the past 20 years.

The literature review highlights four methods – virtual ethnography, digital ethnography, netnography and the post-application programming interface ethnography. The integrative literature review adds clarity depicting the main premises and procedures of each method. The present analysis positions the different methods considering two dimensions: the focus on the boundaries of the group/culture investigated, and the focus on the platform agency, affordances and specific dynamics.

The article proposes a comparative framework outlining points of convergence and divergence to create a reference for researchers on topics of significance while designing and conducting a research study in a digital environment. This conceptual organization highlights and supports qualitative researchers on their methodological challenges.

This work investigates how digital technologies and artistic resources interact in order to bring different Creative and Cultural Industry (CCI) actors together in networks. As the stage of this work, the authors investigate the musical collective Postmodern Jukebox (PMJ), a digital-based enterprise which is intensive in the use of social media platforms.

The study adopts a qualitative approach, based on a case study and netnography.

The findings demonstrate how the technology available to CCI enterprises can be used to leverage business through the engagement of its audience in collaborative processes. The analysis also evidences collaborative dynamics resulting from the integration of three key operant resources in CCI: artistic, technological and co-creative resources. Finally, the case shows the role of a CCI enterprise as an engagement platform that capture people’s emotions trough artistic content.

From a managerial perspective, the study demonstrates how a digital CCI enterprise manages the flow of resources and knowledge drawn from several networks in order to engage actors in co-creating value. Our analysis also suggests that emotions are not only drivers in bringing actors closer to the value cocreation process but also collectively created outputs within these interactions. In this process, the artistic resources of CCI's enterprises play a fundamental role in capturing and transforming these emotions by putting actors from different networks in contact.

The research analyzes the presence of two global brands – Fiat and International Federation of Association Football – in Brazilian demonstrations in conjunction with the 2014 World Cup. The purpose of this paper is to extend the brand cultural resonance construct and highlights its boundary-straddling nature. The analysis reveals the dynamics of brand meanings established including why some brands have their meanings enriched through collective appropriation, while others become vessels of negative content and targets of anti-consumption movements.

A multimethod approach, which included observation, analysis of cultural texts and in-depth interviews with 21 demonstrators, was adopted for the study.

The study extends the construct of brand cultural resonance proposing an additional facet, named Institutional Resonance. This dimension relates to the meanings that arise from a brand’s institutional role and interactions with other social institutions, like governments, the economy, religious, and educational systems. Institutional Resonance occurs when a certain brand becomes the archetypal representation of a social institution. This study also presents two forms of brand cultural resonance: arrows or targets. As arrows, brands lend their symbolic resources to the construction of protesters’ messages helping them to communicate their ideas. As targets, brands become social enemies and represent negative poles of social contradictions.

This study investigates consumer appropriation of marketers’ actions. The research depicts Institutional Resonance as an interactive and acute phenomenon which promotes a social negotiation on a playing field where different agents forge brand meanings and reputations.