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The Italian government addressed the first wave of its COVID-19 outbreak with a series of social restrictions and calculative practices, all branded with the slogan #istayathome. The hashtag quickly went viral, becoming both a mandate and a mantra and, as the crisis played out, we witnessed the rise of the Italian social movement #istayathome. This study examines how the government's calculative practices led to #istayathome and the constituents that shaped this social movement.

The authors embrace social movement theory and the collective identity perspective to examine #istayathome as a collective action and social movement. Using passive netnography, text mining and interpretative text analysis enhanced by machine learning, the authors analysed just over 350,000 tweets made during the period March to May 2020, each brandishing the hashtag #istayathome.

The #istayathome movement gained traction as a response to the Italian government's call for collective action. Thus, people became an active part of mobilising collective responsibility, enhancing the government's plans. A collective identity on the part of the Italian people sustained the mass mobilisation, driven by cohesion, solidarity and a deep cultural trauma from COVID-19's dramatic effects. Popular culture and Italy's long traditions also helped to form the collective identity of #istayathome. This study found that calculative practices acted as a persuasive technology in forming this collective identity and mobilising people's collective action. Numbers stimulated the cognitive, moral and emotional connections of the social ties shaping collective identity and responsibility. Thus, through collective identity, calculative practices indirectly influenced mass social behaviors and the social movement.

This study offers a novel theoretical perspective and empirical knowledge to explain how government power affects people's culture and everyday life. It unveils the sociological drivers that mobilise collective behaviors and enriches the accounting literature on the effects of calculative practices in managing emergencies. The study contributes to theory by providing an understanding of how calculative practices can influence collective behaviors and can be used to construct informal networks that go beyond the government's traditional formalities.

The main research questions critically examine online videos that draw attention to a local community of musical practice, noticing how these can potentially be included within the tourism promotion strategies. This paper develops a case study of four videos realised by the Louth County Board of the organisation Comhaltas Ceoltóirí Éireann (CCÉ) in Co. Louth, Ireland, as a part of the FleadhFest 2021 initiative. It highlights the role that virtual spaces have in enhancing a sense of belonging to a music/festival community as well as the possibility that visual and audio supports have in promoting and celebrating a destination and its cultural features.

The analysis involves a netnographic examination of these videos (Janta, 2017), informed by the concept of “tourist gaze” (Urry, 1990; 2002) and influenced by film-induced tourism studies (Beeton, 2005).

Results show how festival and event organisers responded to COVID-19 social restrictions by creating a virtual space for celebrating music heritage and local musicscape, placing an emphasis on local musical scene.

The research aims to inform future developments in how the organisation operates within and engages with virtual space, its members and a wider audience.

This is the first study to consider the virtual activities of CCÉ from an ethnomusicological as well as tourism, perspective.

The emergence of peer-to-peer accommodation (P2PA) introduces new values and meanings to the hospitality experience. Focusing on the diverse dimensions of the tourist experience, the purpose of this paper is to identify and assess the relative importance of the main dimensions of guests’ P2PA experience and its relationships with perception of authenticity, place attachment and loyalty to both the visited destination and the P2PA.

A qualitative netnographic approach with content analysis permitted the analysis of 250 reviews taken from the Airbnb platform, specifically focusing on P2PAs where guests stay with hosts in the same space.

The results of the study suggest that guests’ P2PA experiences are particularly influenced by the experience dimensions “aesthetic/sense”, “relate/social interaction”, “escape”, “act” and “feel”. P2PA experiences also result in loyalty intentions, to both the visited destination and the particular P2PA. The dimensions “aesthetic/sense”, “relate/social interaction” and “escape” stand out as most influential in determining perceived authenticity. In turn, place attachment is most influenced by the dimensions “feel” and “relate/social interaction”.

Limitations of this research need to be acknowledged: the P2PA guest experience is explored from the restricted perspective of online reviews using passive netnography. Therefore, some criteria of data collection, for instance, gathering only reviews written in English and with more than 80 words, may be limitative in a more comprehensive assessment of the P2PA experience. Another point is, although P2PA platforms such as Airbnb encourage their guests to review the experience, some people are not inclined to do so; therefore, the published reviews may not reflect all possible experiences at these accommodations inclined to do so; therefore, the published reviews may not reflect all possible experiences at these accommodations.

This study suggests a comprehensive analytical framework for assessing the “holistic multidimensional tourist experience”, integrating Pine and Gilmore’s (1999) and Schmitt’s (1999) approaches, thus deepening the conceptual and methodological debate on the tourist experience. It further contributes to a better understanding of the dimensionality of the tourist experience in the context of shared accommodation. The dimensions under analysis and their association with perceived authenticity, loyalty and place attachment are both of theoretical and practical interest, suggesting approaches to improve the P2PA experience as well as the image and success of the destinations where these units are located.

This paper aims to introduce the notion of investigative research on the internet (IRI) and conceptualise its processes through the principle of streaming. It seeks to discuss the similarities and differences between IRI and netnography and considers various aspects of the IRI process, including site selection, sampling, data collection and analysis.

Investigative internet‐based research uses the techniques of ethnography and netnography, including variations of participant observation and analysis of visual and textual material. Three international empirical cases are used to illustrate the application of IRI and streaming in research on international workers, consumer cultures and on emerging business phenomena.

IRI has a number of potential applications for hospitality management academics and practitioners. Streaming can help to understand the processes involved in conducting netnographic research, and streaming is a more appropriate way to conceptualise some internet‐based studies that do not conform to netnographic or ethnographic ideals.

The three empirical cases highlight the processes of streaming in practice, which can be applied elsewhere. Principal limitations are the ethical dimensions of conducting undisclosed research and the sampling bias resulting from adopting an unobtrusive role and focusing on active internet users.

The paper highlights several issues, identified through streaming, that can be used to design human resource, marketing and operational strategies.

The paper demonstrates the application of streaming. Streaming can help researchers conduct netnographic studies; it is also a more appropriate way to describe broader types of investigative internet research. Moreover, it demonstrates the applicability of streaming in research on hospitality management and public policy issues.

This purpose of this study is to analyze consumer behavior in relation to Google Glass. The study considers the adoption and diffusion of the innovation, aspects related to technological convergence and the theories of utilitarian, hedonic and social value.

This qualitative, exploratory study uses the methodological approach of netnography via passive observation. Data collection was conducted using the social network Reddit over a period of about four months.

Three categories and two subcategories of consumers were found, namely, socially satisfied; socially constrained; and early adopters, divided into enthusiasts and visionaries.

A limitation of this research pertains to the data collected regarding consumption preferences of users and potential adopters. No questions were created, but rather, discussions were selected, from the social network Reddit, that focused on factors pertaining to the theories studied.

The research brings an important insight regarding the launch of new products: to obtain a good market position for new devices, failures or inadequate perceptions that will negatively impact the technology’s dissemination must be minimized.

This study presents social value of technological consumption as a function of the conspicuousness, status and position of users who own devices that differ from those commonly available on the market.

This study reveals which elements exert the greatest influence on intention to consume so-called wearable technology. In particular, it analyzes consumer behavior in relation to Google Glass, evaluating the reasons that were perceived as positive and negative for consumers which blocked the technology launch in the market.

The purpose of this paper is to show how customers engage in negatively valenced influencing behavior (NVIB) and what triggers customers to use different forms of NVIB in an online context.

A qualitative study is conducted using an unobtrusive netnography. Data collected comprise of 954 negatively valenced online reviews posted on TripAdvisor to hotels, restaurants, and “things to do” in 12 different destinations worldwide.

Drawing on the recent literature relating to customer engagement behavior (CEB), this paper identifies and conceptualizes the relationship between five cognitive (service failure, overpricing, deception) and emotional (disappointment and insecurity) triggers of six forms of direct (dissuading, warning, and endorsing competitors) and indirect (discrediting, expressing regret, and deriding) NVIB.

The unobtrusive netnography has inherent limitations that lend itself to inductive rich insights rather than generalization. The study only focuses on NVIB within a specific online context, namely, TripAdvisor.

This paper provides managers with knowledge of the specific triggers of NVIB. Additionally, the paper conceptualizes the various forms of NVIB, how customers use them, and what triggers them to use each form. Moreover, the paper offers relevant data-inferred recommendations to service managers on how to manage each form of NVIB.

This research is the first to identify the forms and triggers of NVIB, classify direct and indirect forms, and conceptualize the relationships between forms and triggers.

Retro-marketing is rampant. Throwback branding is burgeoning. Newstalgia is the next big thing. Yet marketing thinking is dominated by the forward-facing discourse of innovation. The purpose of this paper is to challenge innovation’s rhetorical hegemony by making an exemplar-based case for renovation.

If hindsight is the new foresight, then historical analyses can help us peer through a glass darkly into the future. This paper turns back time to the RMS Titanic, once regarded as the epitome of innovation, and offers a qualitative, narratological, culturally informed reading of a much-renovated brand.

In narrative terms, Titanic is a house of many mansions. Cultural research reveals that renovation and innovation, far from being antithetical, are bound together in a deathless embrace, like steamship and iceberg. It shows that, although the luxury liner sank more than a century ago, Titanic is a billion-dollar brand and a testament to renovation’s place in marketing’s pantheon. It contends that the unfathomable mysteries of the Titanic provide an apt metaphor for back-to-the-future brand management. It is a ship-shape simile heading straight for the iceberg called innovation. Survival is unlikely but the collision is striking.

This paper makes no claims to originality. On the contrary, it argues that originality is overrated. Renovation, rather, rules the waves. It is a time to renovate our thinking about innovation. The value of this paper inheres in that observation.

Anthropogenic activities such as unsustainable consumption pattern is one of the reasons responsible for the ongoing environmental issues. Although, consumers are becoming increasingly aware and concerned about environmental problems their attitudes are not resulting in sustainable consumption behavior (SCB). Celebrity institutional entrepreneurs can engage and inspire the public at large and contribute to institutional change. Hence, this study aims to explore the potential of celebrity institutional entrepreneurship in galvanizing mainstream SCB by increasing the awareness of environmental issues and their consequences.

This study examines the actor's influence by conducting a netnographic analysis of Leonardo DiCaprio's Instagram account. Further, qualitative interviews of account followers were also conducted to evaluate the influence of account on their awareness levels and consumption practices.

Our findings indicate that account had a significant impact on consumers' environmental awareness and engagement with environmental issues. However, a partial impact was seen in case of their sustainable consumption practices. Our study concludes that celebrity institutional entrepreneurship can help in addressing the attitude-behavior gap in sustainability research.

This study is amongst the few studies that attempted to explore the ways to reduce the attitude-behavior gap in SCB. It examines the potential of celebrity institutional entrepreneurship to galvanize mainstream sustainable consumption. The results of this study are useful to key stakeholders (policymakers, marketers, social-environmental groups etc.) in the development of more effective strategies for sustainable development.

To better understand the uptake of cosmetic procedures in the wake of Instagram, this study aims to unravel how the aesthetic labour of influencers acts as the packaging of the cosmetic servicescape. In doing so, the authors contribute to theorising of aesthetic and emotional labour within the services marketing literature, fleshing out the bodywork of influential others not as employees but endorsers, who act like the “walking billboards” (Zeithaml and Bitner, 2003) for the cosmetic service industry.

This study adopts a dual qualitative approach to data collection, coupling netnographic material from Instagram posts with 16 in-depth interviews with female Instagram users who have undergone or hope to undergo cosmetic surgery. Using mediated discourse analysis, the authors weave their visual and discursive data together for a richer account of the commoditisation of cosmetic surgery.

Adopting a postfeminist neoliberal lens, where women are viewed as aesthetic entrepreneurs who are constantly working on the body and the self, the findings of the study reveal how influencers’ aesthetic and emotional labour help package, propagate and demystify the cosmetic servicescape. Through their visual storytelling, we see how influencers help endorse (local) cosmetic services; commoditise cosmetic procedures through the conspicuous display of their ongoing body projects whilst masking the labour and pain involved; and how face-filters that use augmented reality (AR) technology foster new forms of (digitised) body dysmorphia.

The authors shed light on the darker side of social media and body-enhancing technologies, where tales of body transformation trivialise cosmetic intervention and AR technology induces a digitised body dysmorphia.