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This paper aimed to determine the extent to which academic libraries and information services were extended due to the emergence of COVID-19 in the Gauteng Province, South Africa.

Founded on a pragmatism paradigm, the sequential explanatory research design was adopted to engage with participants and respondents on their experience of library services extensions to support users during the COVID-19 pandemic. Data were collected using online questionnaires and interviews. Cluster and purposive sampling were used and data for the quantitative part were analyzed using the Statistical Package for the Social Sciences (SPSS), whilst qualitative data were analyzed manually.

Findings revealed that academic libraries operating in a higher education environment provided extensive support to remote users during the COVID-19 pandemic. This was done through the utilization of a variety of technology utilization, ranging from traditional e-mail support to the use of technology related to Artificial Intelligence such as the BOTsa, which is a Chatbot aimed to assist users in receiving speedy responses to library-related inquiries.

This study is unique in that it focuses on academic libraries that operate in higher education environments where support for achieving academic endeavors becomes imperative to ensure the smooth execution of teaching and learning activities within the restrictions put in place due to the COVID-19 pandemic. Adaptions and improvements to academic library services during and post-COVID-19 era were successful in ensuring that remote users could obtain similar services and access to information as was the case before the outbreak of the COVID-19 pandemic.

Dynamic advertising, including television and online video ads, demands new theory and tools developed to understand attention to moving stimuli. The purpose of this study is to empirically test the predictions of a new dynamic attention theory, Dynamic Human-Centred Communication Systems Theory, versus the predictions of salience theory.

An eye-tracking study used a sample of consumers to measure visual attention to potential areas of interest (AOIs) in a random selection of unfamiliar video ads. An eye-tracking software feature called intelligent bounding boxes (IBBs) was used to track attention to moving AOIs. AOIs were coded for the presence of static salience variables (size, brightness, colour and clutter) and dynamic attention theory dimensions (imminence, motivational relevance, task relevance and stability).

Static salience variables contributed 90% of explained variance in fixation and 57% in fixation duration. However, the data further supported the three-way interaction uniquely predicted by dynamic attention theory: between imminence (central vs peripheral), relevance (motivational or task relevant vs not) and stability (fleeting vs stable). The findings of this study indicate that viewers treat dynamic stimuli like real life, paying less attention to central, relevant and stable AOIs, which are available across time and space in the environment and so do not need to be memorised.

Despite the limitations of small samples of consumers and video ads, the results of this study demonstrate the potential of two relatively recent innovations, which have received limited emphasis in the marketing literature: dynamic attention theory and IBBs.

This study documents what does and does not attract attention to video advertising. What gets attention according to salience theory (e.g. central location) may not always get attention in dynamic advertising because of the effects of relevance and stability. To better understand how to execute video advertising to direct and retain attention to important AOIs, advertisers and advertising researchers are encouraged to use IBBs.

This study makes two original contributions: to marketing theory, by showing how dynamic attention theory can predict attention to video advertising better than salience theory, and to marketing research, showing the utility of tracking visual attention to moving objects in video advertising with IBBs, which appear underutilised in advertising research.

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.

The purpose of this paper is to analyze the post type of the official account of the Korean fashion brands on Instagram and to analyze the images and keywords according to the use of the hashtag in it. This study also will provide data of how fashion brands use the new media of Instagram and how they promote it.

This study investigated the types of postings and keywords of hashtag(#) of fashion brand’s official Instagram account in order to analyze the post type and keyword. In total, six apparel brand companies were selected, with two in each of three categories (classic casual brand, outdoor sports brand and designer character brand), and seven types of postings were classified (lookbook and product, collection, broadcasting ads, brand issue, sensibility pictures, sponsorship and event). The frequencies were collected according to their types that were confirmed by four fashion major specialists.

First, the proportion of the types of postings varied according to the characteristics of the brand. Second, the six brands used keywords of a symbol because it is important to convey brand identity. Third, the sensibility keywords of each brand were investigated, and one of the designer character brands used only practical keywords without sensibility keywords. Fourth, this study examined the number of Instagram hashtags and hearts to determine if the reaction was in alignment with the marketing trends of the company’s official Instagram account and consumers. One of the classic casual brands, one of the outdoor sports brands and both designer character brands showed a high proportion of types of posts on Instagram that well matched with consumer response. As a hypothesis of this study, it was supported that the posting types of images and hashtags will be different according to the characteristics of brand.

Instagram is the fastest growing social network service (SNS) globally, especially among young adults. Instagram is noted for its strong SNS marketing but it has not been well researched in the apparel industry. The study results will help improve the brand image and promotion by using official Instagram account in the apparel industry.

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 twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.

This paper aims to analyse the valuation of cultural products and explores what this process means for organizations involved in their production and marketing.

The authors develop the arguments using a number of mini-cases and industry examples.

The main thesis is that the meaningfulness and value ambiguity of cultural products shift the focus of valuation away from the products themselves towards how certain agents in the socio-cultural environment identify and certify these products. This paper discuss how valuation takes place via selection systems and how the nature of cultural products drives the dominance of one selection system over others.

Theories on value creation needs to take consideration of the critical role played by the selection system instead of just the firms that produce these products.

Organizations engaged in producing highly symbolic products need to manage selection systems and related industry dynamics to establish an enduring competitive advantage.

Value creation is a collective social efforts. Every member of the society can play a central role in this process. Better engaging various member of the society to enable them actively participate in the value creation process is what organizations today need to consider, instead of just treating individuals in the society as a “customer” who only passively consume. This research calls for the true empowerment of every member of the society to facilitate collective creativity and participation in the value creation endeavour that benefits the entire society as a whole.

It is the first paper that has created a conceptual link between the type of selection system and product categories. In other words, it takes existing literature on value creation and selection system one step further by creating the alignment or match between types of selection system and types of product categories. Therefore, it offers academics and practitioners a much detailed understanding on how value creation is conducted across different product categories.

This is the first data-driven pilot study that is focused on the micro-scaled but burgeoning Bruneian screen industry. The scope of the study includes employment modes, frequency of productions, payment codes of practice and exhibition platforms, based on the data collected by both online surveys and semi-structured, face-to-face interviews between January to June 2021. The aim of this paper is to investigate the possible creation of a temporarily closed system of interaction between the local screen industry and other Bruneian businesses. It is hypothesised that the COVID-19 pandemic and subsequent action taken by the Bruneian Government to restrict international travel and border crossings resulted in a new and rare interchange of production-based activity. The study targets a wide variety of parties, from industry professionals, e.g., production house managers, senior producers, freelancers, and the so-called gig-lancers, to governmental policymakers, i.e., representatives from Authority Info-communications Technology Industry (AITI) in Brunei.

This chapter introduces the topic of cooperation and co-innovation between the audiovisual media and education sectors. It first discusses the emergence of educational film approximately a hundred years go – together with a new institutional framework, industry media, rulebooks, etc. It then discusses the ways public service media have addressed educational programming over the decades, including developing complex cross-media strategies and educational content databases more recently. The second half of the chapter is dedicated to the emergence of educational digital games, with their own institutional setups, production cultures, and training programmes. The chapter points, however, to a relative lack of cooperation between commercial game producers and educational institutions to date.

The setting up of e-university has been slow-going. Much of e-university slow progress has been attributed to poor business models, branding, disruptive technologies, lack of organisational structure that accommodates such challenges, and failure to integrate a blended approach. One of the stumbling blocks, among many, is the handling of evaluation process. E-university models do not provide much automation compared to the original brick-and-mortar classroom model of delivery. The underlining technologies may not have been supportive; however, the conditions are changing, and more evaluation tools are becoming available for academics. The paper aims to discuss these issues.

This paper identifies the extent of current online evaluation processes. In this process, the team reviews the case study of a UK E-University using Adobe Connect learning model that mirrors much of the physical processes as well as online exams and evaluation tools. Using the Riva model, the paper compares the physical with the online evaluation processes for e-universities to identify differences in these processes to evaluate the benefits of e-learning. As a result, the models can help us to identify the processes where improvements can take place for automating the process and evaluate the impact of this change.

The paper concludes that this process can be significantly shortened and provide a fairer outcome but there remain some challenges for e-university processes to overcome.

This paper examines the vital quality assurance processes in academia as more universities move towards process automation, blended or e-university business models. Using the case study of Arden University online distance learning, the paper demonstrates, through modelling and analysis that the process of online automation of the evaluation process is achieved with significant efficiency.