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Destination marketing strategies are designed to attract visitors, inviting them to acknowledge and virtually experience the different resources available on site. Still, their success also depends on the ability of destination management organizations (DMOs) to develop an effective communication strategy. The ongoing COVID-19 pandemic radically changed the goals set by the promotional campaigns launched by the Portuguese tourist boards. This study analyzes the textual content of the innovative promotional video campaigns released between mid-March and early April 2020 by Portuguese tourism authorities at national level (Turismo de Portugal), regional level (Centro, Algarve, Madeira and the Azores) and local level (Cascais) to promote these destinations during nationwide states of emergency. Since image is undeniably a key component of destination choice, content analysis approach was conducted using NVivo to measure the cognitive–affective image dimensions using a semantic differential scale. The results indicate that the campaigns conveyed inspiring messages of hope and trust to help restore tourists' confidence in their safety and emphasized the planning for future trips while aiming to reduce risk perception by highlighting that the destination is safe for travel. That way these campaigns are in close accordance with the literature focusing on corporate social responsibility applied to DMOs and image recovery strategies.

Much enthusiasm exists for using video in teacher education and professional development. As this volume attests to, video-based resources are being used in a variety of teacher-learning contexts. Many educators are discussing their use of video; however, a problem receiving less attention is what it takes to design usable video-based curriculum for teacher learning. This chapter addresses a specific problem faced in using video as a tool for teacher professional development. The problem that is often overlooked is that video in of itself is not a curriculum. We cannot consider video a curriculum perhaps anymore than we can consider a whiteboard and markers a curriculum. Video is rather a medium which can be developed into a resource and used in specific ways to enhance learning. Video can become a part of a curriculum for learning if it is designed to be used in intentional ways towards intentional learning goals. The question then is – what does it take to actually assemble a usable video-based curriculum for teacher learning? Answering this question demands consideration of what and how teachers are intended to learn with this curriculum, and what opportunities the medium of video affords.

This chapter presents a systematic review of over 30 types of online marketing methods. It describes different methods like email marketing, social network marketing, in-game marketing and augmented reality marketing, among other approaches. The researchers discuss that the rationale for using these online marketing strategies is to increase brand awareness, customer-centric marketing and consumer loyalty. They shed light on various personalization methods including recommendation systems and user-generated content in their taxonomy of online marketing terms. Hence, they explain how these online marketing methods are related to each other. The researchers contend that the boundaries between online marketing methods have not been clarified enough within the academic literature. Therefore, this chapter provides a better understanding of different online marketing methods. A review of the literature suggests that the “oldest” online marketing methods including the email and the websites are still very relevant for today’s corporate communication. In conclusion, the researchers put forward their recommendations for future research about contemporary online marketing methods.

Brand love is a notion where feelings are developed towards a specific brand. This notion is more than just a preference, it is an emotional attachment with the consumed product and the brand that represents it. In tourism, destination marketing will increase the relationship between tourists and places using certain kind of messages and images whose goal is to stimulate their senses and feelings. In crisis management situations, it acts as a mediator, by assessing tourists' risk and safety perceptions, and helps mitigate lasting negative effects.

However, can destination brand love be promoted during these pandemic times? To get an in-deep understanding of the connections that exist between love and safety in tourism, this study explores two concepts through an extended literature review and a qualitative methodological approach using content analysis procedures that will focus on international marketing strategies during the ongoing pandemic crisis.

The qualitative approach was conducted through a survey composed of a set of open-ended questions (N = 31) where respondents were asked to identify their feelings after viewing the promotional tourism campaigns released after the significant increase in cases of COVID-19 worldwide.

The main results demonstrate the existence of brand love antecedents – brand trust and a sense of community, and an overall positive reaction to the images and messages promoted. Also, the existence of brand love antecedents demonstrates the brands' capacity to adapt to crisis events and its ability to outline the kind of paths that have to be defined for tourists to remain passionate about destinations.

Corporations in all industries recognize the demand for responsible business behavior and have developed corporate social responsibility (CSR) programs accordingly. This paper examines to which extent sustainability practices – unrelated to the actual ingredients of a consumable product – affect brand equity, taste perceptions, and perceived emotional value. In an experimental setting, effects were determined of the presence or lack of a sustainability-marketing message within a beer brand’s promotional material. The constructs were measured in a survey, and a PLS-SEM was used to analyze the results. In the factor model, all constructs proved to be sufficiently reliable and valid. The experiment’s results indicate that taste perception is positively influenced by the presence of a sustainability message.

Contemporary cinema and video games express considerable skepticism toward the colonization of further planets. Contemporary films including Elysium and Passengers depict space travel as the prolongation of inequalities within human civilization, while others such as Gravity and The Martian predict a rebirth of the human species through technological advances and space travel limited to a lucky few. Games, meanwhile, explore topics ranging from private spaceflight to the genetic modification required for long-term space habitation, especially in EVE Online, which we focus on in this chapter. Although both contemporary films and games celebrate technological advances, these media also show that multiple inequalities lurk behind the celebratory human renewal into a multiplanetary species.

This chapter examines the proposition that drone technologies are a force for good and discusses a number of applications that have become prominent within this category. It investigates how drones are being used within a growing number of sectors, including leisure, research, health, journalism, and sports, and analysing the development of such pursuits and their implications. It focusses on what resides behind the desire to re-characterise drones as objects of desire – and products more generally – and as vehicles for positive social change. Central to this chapter is the claim that drones are vehicles for asserting agency and competence over technology, but that there is also a trend towards the erosion of skills required to operate such devices, which undermines their overall evaluation has sources of empowerment.

Freddie Mercury rose to fame as the lead singer of the UK pop group Queen. The group started working on tracks for their fourteenth studio album, Innuendo, in early 1989, and the album was finally released in February 1991. Progress on recording was slow as Mercury, who had been diagnosed with AIDS, was unable to work for more than a few days at a time. Innuendo became the final Queen album to be released during Mercury’s lifetime, and ‘The Show Must Go On’ is its final track. Its placing is arguably significant, given that both Mercury and the remaining band members must have assumed that this would be the last album that they would record together. In this chapter, I present an analysis of the song’s music and lyrics, along with the music video that accompanied the single release, with reference to Mercury’s illness and his wish to contribute vocals for as long as he possibly could, knowing the seriousness of his condition meant that this would be one of his last recordings.