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The purpose of this paper is to analyse how individual creativity of internet users is expressed in the production of online music videos and how the creative dynamic…
The purpose of this paper is to analyse how individual creativity of internet users is expressed in the production of online music videos and how the creative dynamic among amateur internet video producers can be characterized.
The researchers became readers and authors in the aim of providing the academic community with a scholarly narrative of creative YouTube video production. To develop their narrative, they explored the narrative woods that have grown up on the other side of the monitor screen in the form of videos inspired by one song.
The collective creative force is shown not to be expressed merely through the semantic and non‐semantic montages that make internet users into postmodern tinkerers, but also through such mechanisms as imitation, diversification and ornamentation. This force and these mechanisms give rise to chains that link and connect individual minds, imaginations, interests, enthusiasms, talents, abilities and skills.
As part of a relationship, or even a “conversation” to be initiated, sustained, and maintained on behalf of an industry organization, or brand with its consumers, the authors believe that the way to deal with digital participatory culture and the creative force manifested in innovation communities is to capitalize on these creative chains as judiciously as possible.
The authors suggest that this process should be part of a high‐impact interactive marketing strategy likely to promote (self‐) enchantment and foster loyalty among community members through (self‐) enchantment, particularly via the coproduction of a story, with community members creating the scripts.
Furniture is among the important personal consumption expenditures for durable goods in the USA. Retailers and manufacturers offer different communication channels to…
Furniture is among the important personal consumption expenditures for durable goods in the USA. Retailers and manufacturers offer different communication channels to assist consumers all through the process of acquiring furniture. The objective of the present study is to evaluate US consumers' channel use at different steps of the residential furniture‐buying process.
A cross‐section study was conducted by taking advantage of the structured nature of quantitative methods using a questionnaire for data collection and a socio‐demographic representative sample of US citizens. Consumers' use of six communication channels through five buying decision steps was assessed.
Results showed that the furniture retail store is the most important communication channel at each of the five considered buying process stages. Overall score of that channel was higher for females than males, indicating that women care more about communication when buying furniture. The internet was not of significant importance when buying furniture. Advertising was perceived as a significant means to gather information.
The study will help to orient companies' marketing strategies by making proper use of communication channels. It also shows marketing students the present state of consumers' communication channel preferences.
This paper gives unique insights into consumers' buying behavior that will help to design communication channels properly.
The purpose of this paper is to identify the main individual and collective strategies online communities employ to appropriate fantasy worlds and the ways in which…
The purpose of this paper is to identify the main individual and collective strategies online communities employ to appropriate fantasy worlds and the ways in which community members use imagination within this context.
A qualitative study drawing on an ethnography of online communities including individual in‐person interviews with community members of the world is considered.
The predominance and the vital importance of the production/consumption of stories within these communities has been shown. The multiple benefits of this practice have been illustrated, including the pleasure of creating and playing with one's imagination. These benefits engender the surprise and enchantment of community members, who lavish other members with encouragement, congratulations and thanks.
Because of opting for a non‐participatory ethnography, it was impossible to directly contact the members of the community to conduct interviews. Thus a convenience sample was chosen representative of the study subject and individuals outside of these communities were questioned.
The online community allows members to collectively and playfully participate in entertainment related to the fantasy world. It appears as an imaginary organization of the (entertainment) service provider. The members of this organization can take part in value coproduction and share the benefits of an extended entertainment service that sparks their imagination and allows them to enjoy the fruits of their creations. Given the fantasy world's power to fire the imagination of fantasy lovers, the paper demonstrates that it is important for leisure and entertainment service providers to consider adding a fantasy component to their service.