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The purpose of this paper is to examine the professional culture of television marketing in the UK, the sector of arts marketing responsible for the vast majority of programme trailers and channel promos seen on British television screens.

In research approach, it draws on participant observation at Promax UK, the main trade conference and award ceremony of the television marketing community. Developing John Caldwell’s analysis of the cultural practices of worker groups, it uses Promax as a site of study itself, exploring how a key trade gathering forges, legitimates and ritualizes the identity and practice of those involved in television marketing.

Its findings show how Promax transmits industrial lore, not only about “how to do” the job of television marketing but also “how to be” in the professional field. If trade gatherings enable professional communities to express their own values to themselves, Promax members are constructed as “TV people” rather than just “marketing people”; the creative work of television marketing is seen as akin to the creative work of television production and positioned as part of the television industry.

The value of the paper is the exploration of television marketing as a professional and creative discipline. This is especially relevant to marketing and media academics who have tended to overlook, or dismiss, the sector and skills of television promotion.

This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.

Based on semi-structured interviews with 18 festival organisers in Rotterdam and participant observation with six festival photographers I show that symbolic and social boundaries are employed in three areas: (1) boundaries in festival format (i.e. [partially] free or ticketed), (2) boundaries in distribution partners and technologies and (3) boundaries in promotional content.

Symbolic and social boundaries are intentionally used by festival organisers to build and delineate festival audiences. Implications are drawn on current understandings of the accessibility of music festival spaces, arguing that festival research should move beyond within-space dynamics to grasp the negotiation of diversity and inclusion at festivals more fully.

While music festivals are often marketed as celebratory spaces that are “welcoming to everyone”, few studies have investigated diversity and inclusion nor marketing and promotion practices at music festivals. This study shows how festival audiences are shaped through marketing and promotion practices.

This paper is a corpus-driven study of written electronic texts, particularly the “About Us” sections in the university websites of 41 members of the Asian Association of Open Universities (AAOU). This inquiry is important because it will provide an insight as to how AAOU members describe and portray themselves in the World Wide Web, a platform which is highly utilized in the field of distance education. This will also lead to the understanding of conventional knowledge among AAOU members during the period of study. The paper aims to discuss these issues.

Guided by Swales’ (1990) seminal work on genre analysis, the researchers conducted a three-part genre analysis which involved identification and analysis of moves, keywords, and concordance lines.

Results of the keyword analysis were conducted using the AntConc application. Anthony (2017) found that the top 100 keywords with positive keyness exemplified inherent characteristics of open and distance learning institutions as well as characteristics common to higher education institutions and their thrusts. The analysis also found that the use of adjectives and verbs with positive denotations is common in the “About Us” sections. Concordance for several keywords related to the overarching theme of the AAOU 2017 Conference then revealed that the AAOU members are active in the discourse about accessibility, assessment, and quality, while there is not much discourse on openness, inclusivity, and justice. Meanwhile, subscribing to equality and equity could still be a point of discussion among the AAOU members as the concordance analysis revealed more discourse on equality than equity as a goal and principle. Overall, results of the genre analysis resonated with previous studies of the academic genre as the “About Us” sections are promotional in both authoritarian and inclusive ways.

The inquiry will provide the members of the AAOU with an overview of their common communicative purposes, overused or underused keywords, and their usage of these words which they may opt to work on in the future.

Social media management is an emerging profession that is growing as companies increasingly adopt social media. The purpose of this paper is to analyze social media managers’ personal branding.

In-depth qualitative data is drawn from 20 semi-structured interviews with social media managers and supported by three years of orienting fieldwork in Toronto, Canada.

Social media managers are responsible for managing and executing organizations’ brands and presence on social media and digital platforms. As lead users of social media, social media managers provide critical insight into the emerging practices of personal branding on social media. “The future audience” is introduced to describe how individuals project a curated brand for all future unknown and unanticipated audiences, which emphasizes a professional identity. Due to workplace uncertainty, social media managers embody the mentality of being “always-on-the-job-market”, which is a driver for personal branding in their attempt to gain or maintain employment.

While personal branding is largely discussed by industry professionals, there is a need for empirical research on personal branding that examines how various employee groups experience personal branding. This research fills this gap by analyzing how people working in social media brand their identity and how their personal branding is used to market themselves to gain and maintain employment. The development of “the future audience” and “always-on-the-job-market” can be used to understand other professions and experiences of personal branding.

The purpose of this paper is to advance the understanding of sound branding by developing a new conceptual framework and providing an overview of the research literature on non-musical sound.

Using four mutually exclusive and collectively exhaustive types of non-musical sound, the paper assesses and synthesizes 99 significant studies across various scholarly fields.

The overview reveals two areas in which more research may be warranted, that is, non-musical atmospherics and non-musical sonic logos. Moreover, future sound-branding research should examine in further detail the potentials of developed versus annexed object sounds, and mediated versus unmediated brand sounds.

The paper provides important insights into critical issues that suggest directions for further research on non-musical sound branding.

The paper identifies an unexploited terrain of possibilities for the use of sound in marketing and branding.

The paper identifies a subfield within sound-branding research that has received little attention despite its inevitability and potential significance.

Despite increasingly persuasive women-focused marketing of gambling products, there has only been limited investigation around women sports betting. Men remain the focus of much of the conversation about sports betting as they have generally been found to be the most active sports bettors and the most at risk of experiencing harms associated with their behaviour. This chapter aims to fill this gap by exploring the characteristics of young women sports bettors in the United Kingdom and the relationship between sports betting and the experience of gambling harms. To do this, we created two models of analysis. Our analysis is based on data from the first wave (2019) of the Emerging Adults Gambling Survey (EAGS) dataset (n = 3,549). The EAGS is a non-probability longitudinal survey that includes individuals between the ages of 16 and 24 who were residents in Britain at the time of data collection. Firstly, we examined the associations between women sports bettors and several factors identified as important predictors of sports betting. Secondly, we sought to understand the relationship between women's sports betting and the harms associated with this activity. From these models, we found that women's sports betting was most reliably predicted according to fandom and peer influence. We also found that women sports bettors were more at risk of experiencing harms associated with difficulties with family and friends than women gamblers using other products.