Search results

In March 2009, Steve Fowler, vice president of strategy and client service at full-service advertising agency Ayzenberg, had just completed what he considered to be one of the most innovative campaigns he had ever handled. Capcom, a leader in the video gaming industry, had just launched Resident Evil® 5 (RE5), the latest release of one of the industry's most valuable game franchises. RE5, a powerful asset with a passionate fan base, had warranted the use of an online viral, or word-of-mouth (WOM), campaign for its worldwide game launch. Although the creative work and appropriate media for the RE5 launch had been meticulously planned, Fowler was also interested in measuring the effectiveness of the campaign to better serve his client. In the past, measuring WOM was practically impossible. However, a software company named Meteor Solutions had found a way to do exactly that. Fowler and his team had worked with Meteor to execute several campaigns for other clients, but he had never applied Meteor tools on such a large scale. Fowler knew Capcom would want to hear specific WOM figures. What was the return on investment for the RE5 campaign and the implications for future campaigns? Had the Meteor tools provided comprehensive and actionable information, or was more work needed before these solutions could be widely used in advertising?

How to measure the value and fully leverage social media marketing including key success factors, challenges, metrics and implications for future campaigns and other industries.

An amateur boxer; A professional soldier turned indestructible zombie; A fast-driving heister; A combat pilot on another world; A taco truck driver with a heart of gold; A Smurf; Michelle Rodriguez, American actress, has played them all. As Leticia ‘Letty’ Ortiz, Rodriguez' most famous role offers both a sensitive portrayal of a tenacious woman living out a tough existence who exhibits as much courage, strength, moral standing and fibre as her male counterparts, whilst also revealing a softer, emotional side and one that focuses on family and ideals of accepting Motherhood. This is what makes Rodriguez such a fascinating contradiction. Whilst much praise is heaped on other actresses for their roles in action films, this chapter will offer, through both an overview of her action-hero career and in-depth look at Rodriguez's work in the Fast and Furious films, an insight into the importance of this actress to the growing canon of action hero(ine) characters and film stars.

Up until the turn of the millennium, there had been very little positive representation of women and women in action characters in the action film genre. Two notable exceptions were Ellen Ripley in the Alien movies and Sarah Connor in the Terminator franchise. Whilst this has certainly changed over the last 20 years, one action/horror/science fiction heroine remains neglected: Project Alice in the six Resident Evil films. Portrayed by Milla Jovovich, and loosely based on the platform game character, Project Alice is strong, driven, motivated and tough. This chapter will, through detailed analysis of character, her physical presence through the clothing she wears, psychogeographical aspects, her use of weapons and narrative arc, clearly demonstrate the importance of Project Alice to the horror genre.

The contemporary zombie genre is known for exploring what the end will look like, with its widespread infection, chaos and violence – all images that resonate in a post-9/11 America. These zombie narratives also speak to a present-day America with their emphasis on diminishing individuality and agency. Unlike early Haitian incarnations of the zombie figure, the modern zombie terrifies because no singular agent possesses the victim’s mind. In contrast, the light-hearted CW television show, iZombie (2015–) rethinks the zombie paradigm. Not only does it envision how zombies would manifest in everyday life, without the requisite apocalypse, but it also subverts the antiquated gender politics common to the genre by providing viewers with a female zombie protagonist, Olivia Moore (Rose McIver) who is not only highly functional, but also female and with plenty of agency. Moore, through whose eyes the show is told, absorbs personality traits and memories belonging to the brains she eats, from frat boy to alcoholic, stripper to housewife. This device creates such a cornucopia of roles for McIver to explore that it brings to mind the work of American photographer Cindy Sherman, providing a rare multi-dimensional woman on TV. iZombie also takes the contemporary zombie text’s reliance on the trop of infection one step further. This chapter not only examines iZombie’s unusual female point of view, but also its portrayal of ‘zombie-ness’ as a chronic contagious illness with many similarities to HIV.

The aim of this study is to explore the host–guest relationship at a macro level, investigating the sociopsychological relationship between a destination and its markets.

This study adopted netnography to fulfill the research purpose. Data were collected from Sina Microblog, the predominant social media platform in China, focused on bloggers responses to a fatal conflict between a tour participant and the guide during a shopping tour.

Bloggers' attributional discussions help to understand the nature of the host–guest relations. Responses from Chinese and Hong Kong bloggers showcased criticism toward the other community and criticism of one's own community. These were reflected in three themes: concerns with the place of conflict or the identities of the perpetrators, hospitableness or discrimination and the Chinese and Hong Kong cultures.

The major limitation is that the subject of this study (young bloggers) does not represent a complete cross section of the residents of China and Hong Kong. This study suggests a need for a broader theoretical perspective of the host–guest encounter. The study results have practical implications for destinations receiving Chinese group package tours.

The study results have practical implications for destinations receiving Chinese group package tours.

On-site interaction has been the focus of previous studies of the host–guest relationship, and off-site interactions were seldom explored. This study bridges the gap and extends the discourse on the host–guest relationship to a wider temporal (by taking a post event view) and spatial (by assessing the issue off-site) scale.

Cites collectivism as an element within Israeli culture from its inception. Explores the intricate mosaic of individualism/collectivism as expressed in a middle class Tel‐Aviv neighbourhood. Uses a three years of fieldwork and a neighbourhood survey to describe the residents as active individuals, aiming to advance their private interests and eager to interact with each other and participate in organized local activities. Shows how some modes of collectivist action were directed towards individual interests. Shows the collectivist tendency as still strong and influenced by the dominance of social parties in Israel.

The zombie-plague apocalypse is a powerful social imaginary that focuses attention on the border between legitimate citizens and zombie “others.” The surge in the number of zombie apocalypse films provides an illuminating area for studying the role imagined for public administration by popular culture. The response to zombies in apocalyptic films brings to fore new realities with the re-conceptualization of the legitimacy and authority of government. This re-conceptualization provides content for analyzing the portrayal of existing governmental institutions overwhelmed by the apocalypse, including local governments, the military, public health agencies, emergency services, and public utilities,