Search results

This study aims to explore consumers' vicarious experience of touch, namely, mental simulation for touch, through product pictures as visual stimuli and the use of touch devices as motion stimuli in the context of online fashion shopping.

Participants were randomly exposed to one of the two texture conditions (weak vs strong tactile sensitivity). The responses from the participants who used a laptop as a non-touch device and a touch device were considered in the analysis. A total of 179 responses were analyzed with analysis of variance and the PROCESS procedure for path analysis using SPSS 20.0.

The interaction effects of tactile sensitivity and device types on mental simulation for touch were significant; seeing a less tactile-sensitive product facilitated a greater mental simulation for touch when using a touch device; however, seeing a tactile-sensitive product produced a similar mental simulation for touch, regardless of device types. Furthermore, browsing a less tactile-sensitive product using a touch device increased favorable product attitudes, fully mediated by mental simulation for touch.

This study contributes to the literature on online shopping behaviors of fashion consumers by showing the role of mental simulation for touch that is shaped by the tactile qualities of products and device types. Exploration of this topic can contribute significantly to online fashion retailers because studies on consumers' mental simulation for touch are limited.

The case was developed from secondary sources. This descriptive case was classroom tested in undergraduate organizational behavior courses.

The 94th Academy Awards ceremony, which honored movies released in 2021, was held on March 27, 2022, at the Dolby Theater in Hollywood. Prior to Chris Rock announcing the winner in the category of best documentary film, Rock was assaulted on stage by Will Smith. On April 8, 2022, the Academy’s board of governors met to discuss disciplinary actions for Smith’s behavior. The Academy’s board decided to ban Smith from all Academy events for the next 10 years. Theories of individual behaviors and social processes can provide explanations for behaviors of Chris Rock, Will Smith, the producers and the Academy.

This descriptive case is most appropriate for undergraduate-level organizational behavior courses. The primary topics in this case align well with individual behaviors relative to emotional intelligence (EI) and motivation. The secondary topics in this case align well with social processes relative to decision-making, conflict and culture.

The growing interest of the scientific community in film marketing research can be discovered by the large scale published writings on the subject. Although, in this field, comprehensive and systematic research is still lacking. The important aim of this article is to merge the latest research results of film marketing through bibliometric research on articles published from 1976 to 2020, and to examine and introduce the research outcome from the view of the growth trend of the field; the most productive and influential countries, authors, articles, institutions, and research journals; keywords, author patterns, and international linkages. Research outcomes show that film marketing research increased gradually from 1976 to 2020, especially in the last five to 10 years. During this period, all 500 scholarly articles were published in 331 journals and listed in Scopus. Comparison is drawn between institutions from developing countries (in terms of number of articles) and developed countries (in terms of citation rate). On the basis of key points and three-factor examination, a conclusion is drawn that in the last 10 years, ‘film marketing’ as a keyword has attracted widespread attention.

The growth in social content such as video facilitates consumer exposure to social information at e-tail settings. Research has recommended enhancing the e-store socialness. Focusing on focal consumer outcomes (flow and purchase intentions), the current research delineates a boundary condition, proposing that e-tail socialness improves outcomes when the consumer interdependent self, rather than the independent self, is activated.

The experimental approach is employed to test the research thesis. Two experiments (N1 = 303 Females 42.4%; N2 = 387 Females 51.4%) that used different manipulation for socialness and sample frames (USA and Canadian) are performed. Analysis of variance was applied.

The results generally support the research thesis, suggesting that e-tail socialness enhances consumer flow and purchase intentions when the interdependent self is activated. The effect, however, is marginal for segments with high brand preference.

As more information increase overload and reduce decision quality, e-tail practitioners should focus on providing social information predominately for consumers whose interdependent self is activated. This recommendation is particularly relevant for segments with low brand preference.

So far, studies recommend enhancing the e-store socialness, or increasing the social volume, to achieve better outcomes. Such research stream is giving rise to the “social is better in e-tail” conventional wisdom. The current work contributes by delineating a boundary condition based on consumer self-construal. This work suggests that the use of online socialness is fruitful predominantly for interdependent consumers.

Given the importance of the growing segmentation of ageing consumers and their increasing interaction with the Internet, digital marketing scholars are becoming more interested in this market. Prior research needs to pay more attention to this market in many contexts of digital marketing. This study aims to provide insights into ageing consumers’ content usage, content typology choices, and online brand advocacy (OBA).

Semi-structured interviews were applied, and 16 consumers from Southern Europe aged 55+ were included. The interviews were transcribed and examined following the principles of content analysis.

According to the research, older consumers display their usage and concerns regarding online content. They have different decision-making processes depending on whether they are purchasing products or services. Likewise, their choices of content typology vary based on the utilitarian or hedonic product category.

This study contributes to the literature by providing insights into this growing segmentation and proposing an OBA framework for older consumers related to content marketing. Finally, the study suggests that older consumers are passive online and active offline brand advocates.

This chapter introduces Marx's theory of the determination of profit rates. It contrasts this theory with what happened in the late nineteenth century to British profit rates with a detailed statistical account. It identifies missing features in the standard presentation and contrasts these with the overaccumulation hypothesis that he presents elsewhere. A formal mathematical model using the overaccumulation hypothesis is then given and tested against modern empirical data.

According to Yubin et al. (2023), films serve as a medium for conveying visual representations of various elements such as landscapes, buildings, landmarks and monuments, which provide a contextual backdrop for the narrative. According to Vila et al. (2021), the number of global tourists visiting film locations exceeds 80 million. In addition, according to Yubin et al. (2023), the promotion of tourism is facilitated through the utilisation of films, which serve to create novel representations, counteract negative perceptions and enhance the portrayal of underdeveloped destinations. A significant number of individuals engage in the practise of visiting movie sets with the intention of re-experiencing the emotional impact of the film. The devaluation of film marketing has been observed. This method represents a highly indirect approach to enticing tourists. This chapter examines the comprehension of travellers' motivations and the perception of film-exposed locations in Bollywood films (Salnick, 2023). Film tourism provides a tailored and personalised experience for individuals. The difficulty in measuring this concept arises from factors such as the emotional responsiveness, personality traits, background and interpretive abilities of the viewers in relation to media images. According to Castro et al. (2023), the inclusion of a destination on a screen can serve as a means to enhance the diversity of a site's tourist offerings or mitigate the effects of seasonality by providing opportunities for experiential activities, showcasing notable landmarks or serving as a filming location. Film destinations have the potential to gain popularity and benefit from advertising and the perception of spectators.

Through the lens of self-perception theory, this paper investigates how avatar design (i.e. avatar user similarity) affects users' self-awareness and shapes their task engagement and performance in the Metaverse.

The authors conducted a 2 (avatar user similarity: high vs low) × 2 (task type: procedural vs creative) lab experiment and collected data from questionnaires, the recording of users' behavior during tasks and their actual task performance.

The results show that higher avatar user similarity leads to higher task engagement in general. Furthermore, while a similar avatar promotes users to regulate their behaviors and achieve better performance in a procedural task, high similarity also inhibits users' creativity by invoking habitual thinking, resulting in worse performance in generating original ideas in a creative task.

This study is expected to contribute to the information systems literature by revealing the value of avatar design and providing new perspectives on improving users' experiences in the Metaverse.

The figure of the femme fatale is attached to a range of contested meanings around femininity, sexuality and violence. Despite its ambiguity and its origins in art, myth and fiction, the term has proven popular in giving a name to violent articulations of female power in non-fictional settings by journalists. In this chapter, I outline the figure of the femme fatale as an archetype of women's violence that appears throughout Western popular culture, and provide an overview of the term's definitions and cultural meanings. In doing so, I trace the figure's movement across different forms and genres of popular culture. I identify a number of themes in the existing scholarship around the figure: feminist criticism of the figure; the value that feminist film scholars have found in the figure as a symbol of power and sexual transgression; the relationship between the femme fatale, race and the colonial imagination; and the way the idea of the femme fatale has been used in reporting of real-life women's violence.

This study aims to test the utility of Pearce et al.'s (2003) framework on film tourism in Otaru, Japan. This framework involves marketing the attraction according to five stages: resource identification, marketing emphasis, interpretation, sales and merchandising and broader community use. The existing studies have failed to adapt this framework to films. Subsequently, this study uncovers the necessity of an additional stage involving sustainability aspects.

A case study method was adopted, and Otaru, Japan – a popular film location – was chosen. Semi-structured interviews with the major stakeholders of film tourism, such as film commissions, representatives of the film and the tourism industries, tourists and the community, were conducted, and the participants were observed. Data were collected using the snowball sampling technique.

The study reveals that Pearce et al.'s (2003) model is applicable to film tourism by adding a sixth stage to address sustainability, such as the issue of overtourism.

The transferability of the framework to different film tourism cases is plausible. It is also critical for governments and tourism practitioners to consider the community's perspective for sustainability and maximize the use of films as promotional tools for destinations.

This study is the first to apply Pearce et al.'s (2003) model to film tourism, adding value to the literature by extending the framework to include an additional sixth stage to address sustainability.