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The aim of this paper is to analyze the interrelationship between film-induced tourism and visits to theme parks by tourists and examine the most viewed movies worldwide (2010–2022) which are related with theme parks and their attractions.

The methodology used in this study is a set of qualitative and quantitative indicators for measuring the most visited theme parks worldwide and the most viewed movies that have allowed to answer the research questions.

This research provides a new contribution to tourism and entertainment industries. Results have shown that film-induced tourism can be the perfect marketing tool to attract more tourists to theme parks through movies and their real or fictional characters represented in films such as Marvel, Minions, Avatar, Harry Potter and Disney, amongst many others. These famous characters are part of theme park’s rides to attract tourists to visit film theme parks These rides allow users to travel in a fantasy experience and interact with film characters of cartoons or fictions. There is a high correlation between film-induced tourism and theme parks’ attractions. Film-induced tourism provides great benefits to the society, theme parks, cinemas and tourist destinations. Indeed, movies help to increase the number of visitors to theme parks. In 2019, 215 million people visited the top 20 theme parks worldwide analyzed in this study, this figure is quite lucrative to entertainment and tourism sectors, local and regional economies where these theme parks are localized.

This study presents the importance of theme parks at tourist destinations because theme parks are an extension of movies, thus is, the end of the physical perfect experience at theme parks which began in a movie seat or on your TV/videogame/PC screens.

本文的主要目的是分析电影引起的旅游和游客参观主题公园之间的相互关系, 并研究与主题公园及其景点有关的全球最受欢迎的电影（2010-2022年）。

本研究使用的方法是一套定性和定量的指标来衡量全球访问量最大的主题公园和观看次数最多的电影, 使我们能够回答本研究中提出的问题。

这项研究为旅游和娱乐业提供了新的贡献, 结果表明, 电影引起的旅游可以成为完美的营销工具, 通过电影及其影片吸引更多的游客到主题公园。通过电影和他们在电影中所代表的真实或虚构的人物, 如漫威、小人、阿凡达、哈利波特、迪斯尼等, 主题公园。这些著名人物是主题公园景点的一部分, 以吸引游客参观与电影有关的景点。这些景点让游客有一个幻想的体验, 并与卡通人物互动。电影引起的旅游和主题公园景点之间存在着高度的相关性。我们必须认识到, 电影引发的旅游为社会、主题公园、电影院和旅游目的地提供了巨大的利益。事实上, 电影有助于增加主题公园的游客数量。2019年, 有2.15亿人参观了本研究中分析的世界前20大主题公园, 这个数字对于娱乐和旅游部门、这些主题公园所在的地方和区域经济来说是相当有利可图的。

本研究揭示了主题公园在旅游目的地的重要性, 因为这些旅游景点是电影的延伸, 也就是说, 主题公园及其基于电影和动画的景点是游客在主题公园生活体验的最后一部分, 而这种体验是从电影院的座位上、电视、视频游戏或电脑屏幕前开始的。

El principal desafío de este artículo es analizar la interrelación entre el turismo inducido por las películas y las visitas a los parques temáticos por parte de los visitantes, y examinar las películas más vistas en todo el mundo (2010-2022) relacionadas con los parques temáticos y sus atracciones.

La metodología utilizada en este estudio es un conjunto de indicadores cualitativos y cuantitativos para medir los parques temáticos más visitados a nivel mundial y las películas más vistas que nos han permitido responder a las preguntas planteadas en esta investigación.

Esta investigación proporciona una nueva contribución a las industrias del turismo y el entretenimiento. Los resultados han demostrado que el turismo inducido por el cine puede ser la herramienta de marketing perfecta para atraer más visitantes a los parques temáticos a través de películas y sus personajes reales o ficticios representados en películas como Marvel, Minions, Avatar, Harry Potter, Disney, entre muchos otros. Estos personajes famosos son parte de las atracciones de los parques temáticos para atraer a los visitantes a visitar las atracciones relacionadas con las películas. Estas atracciones permiten a los visitantes tener una experiencia de fantasía e interactuar con personajes de películas de dibujos animados o ficción. Existe una alta correlación entre el turismo inducido por el cine y las atracciones de los parques temáticos. Debemos reconocer que el turismo inducido por el cine ofrece grandes beneficios a la sociedad, parques temáticos, cines y destinos turísticos. De hecho, las películas ayudan a aumentar el número de visitantes a los parques temáticos. En 2019, 215 millones de personas visitaron los 20 parques temáticos más importantes del mundo analizados en este estudio, esta cifra es bastante lucrativa para los sectores de entretenimiento y turismo, y la economía local y regional donde se encuentran estos parques temáticos.

Este estudio revela la importancia de los parques temáticos en los destinos turísticos, dado que estas atracciones turísticas son una extensión de las películas, es decir, los parques temáticos y sus atracciones basadas en películas y animaciones son la parte final de una experiencia vivida por los visitantes en dichos parques y que comenzó en un asiento de cine, frente a su TV, un videojuego, o pantalla de ordenador.

This study adopts the popular culture lens to investigate the collective understanding behind the human resources (HR) occupations.

The empirical study analyzes 129 characters from 87 movies, television (TV) series, books and comics. The measurement model was tested using structural equation modeling and cluster analysis identified five HR representations in the popular culture.

Popular culture reflects five HR representations: The Executor, the Hero, the Buddy, the Bore, and the Good-time person. Results suggest that public opinion pays scarce attention to the so-called HR “strategic position” while underlining the need for a more socially responsible HR approach.

The authors' study serves as a means for integrating past research on HR role and reputation, occupational image, self-identity and popular media. While most scholars have addressed popular culture as a single case and paid almost no attention to the HR domain, this article complements the literature by offering a fruitful way to distil HR summative popular culture representations, thus advocating for both a theoretical and a methodological contribution.

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.

Over the past years – because of the huge impact of companies such as Airbnb and Uber – the concept of the platform became extremely popular in the business world. Still, the concept of the platform has been evolving for a long time in the management field, from internal platforms (like the famous case of Sony Walkman) to industry-wide platforms (like the case of computers with external software developers), up to transaction and two or multi-sided platforms (such as Airbnb and all the companies with a similar business model). Platforms are often considered disruptors in several industries, from accommodations to mobility to entertainment. Still, the disruptors in the creative world usually deal with the way in which they distribute content (Netflix or Spotify), rather than with the content itself. The purpose of this paper is to understand if and how platforms trategies can also be used in the creative industries.

This paper digs into the movie industry, studying the three most successful Superheroes sagas of the past two decades as follows: the Marvel Cinematic Universe (MCU), DC Comics and X-Men using a narrative approach. The three sagas are studied through network analysis to understand their “platform approach”.

The results show how platform strategies are relevant also in creative industries – defining the concept of “knowledge platform strategy” – and how they have a significant impact in terms of market performance. The MCU builds on a common knowledge through the various movies that enable the chance to rely on many of the platforms’ characteristics emerging from the literature.

This research extends the concept of “platforms,” relying on the three kinds of platform defined in the managerial literature and introducing the “knowledge platform strategy” for creative industries. The main contribution is related to the extension of platforms in research fields where it has not been exploited. This opens up avenues for research both from a knowledge platform and creative industries perspectives.

Managers, working not only in creative industries but also in industries where a common knowledge basis may be leveraged to develop new products over time, may use the concept of “knowledge platform strategy” to rethink the new development process or knowledge management from a customer perspective.

This study explores a mature and relevant concept – the platforms – in a new filed, the creative industries using the case of Superheroes sagas, proposing a new perspective to explain the success of MCU while proposing a new platform strategy.

It has been verified that companies are using crowdsourcing to carry out tasks related with the market, concentrating on three main areas: product development, advertising and promotion and market research. This study aims to carry out qualitative research using the case study method. The analysis unit that will be used will be marketing activities based on crowdsourcing. Finally, the study subjects used to understand the phenomenon are Coca Cola, PepsiCo, Netflix and Amazon.

For this study, the decision was made to use the case study method due to its qualitative character. Thus, the analysis unit of the study is composed of the activities of the company investigated related to the activities of the marketing information system. For this study, a unique case study was used. The object companies were Coca Cola, PepsiCo, Netflix and Amazon.

A significant number of advantages are therefore perceived for companies that adopt mass collaboration practices in the research and development of products. The strategic importance of this concept for companies that launch themselves into these surprising endeavors is ever more clear and consolidated in their planning. It is up to those sectors that are responsible for communication to think of strategies that incorporate the collaborative work of consumers into their actions.

The study presents some limitations that give rise to the opportunity to embark on future studies. As it is an exploratory study, there was no validation of causality between variables, which may diminish the empirical value of the findings. In this context, the sample is small and non-probabilistic, which on one hand made applying the interviews in the field study viable, but on the other does not enable the results to be generalized.

The transfer of power to crowds of consumers has led to a reduction in costs. This combination of innovative and cost reduction constitutes value innovation, a basic factor for customer retention, standing apart from the competition and obtaining appreciable results, thus reducing mortality.

A collaborative action is an integrated marketing and communication action. In the same way, using bloggers to evaluate products today is a basic form of research and development, networking and communication with consumers, who become co-creators of products and services, as well as interlocutors with those responsible for corporate communication.

A significant number of advantages are therefore perceived for companies that adopt mass collaboration practices in the research and development of products. The strategic importance of this concept for companies that launch themselves into these surprising endeavors is even more clear and consolidated in their planning. It is up to those sectors that are responsible for communication to think of strategies that incorporate the collaborative work of consumers into their actions.

The purpose of this paper is to develop initial evidence about the nature and features of crowdfunding in China, given it is largely unregulated regulatory frameworks.

The paper used extensive desk research using data collected from the public and private sectors, after which the data was analyzed parallel to existing academic literature, that is, institutional context by Bruton et al. (2014). This paper uncovered patterns of development, profiling crowdfunding platforms, examining the regulatory landscape and providing antecedents of successful crowdfunding projects in China.

When the traditional financial markets are hard to reach, micro, small and medium enterprises (MSMEs) were starved for capital. Crowdfunding can play a major role in funding and risk sharing. It is an innovative and dynamic vehicle for MSMEs as well as enthusiastic investors in China. Since its initial introduction to China in 2009, crowdfunding has gained substantial popularity in a relatively short period. Currently, there is still not an identifiable guideline on how to delineate the significance of the crowdfunding platform. The development of crowdfunding in China faces a few unresolved key issues. As researchers exploring this phenomenon in new ways, crowdfunding platforms can be enhanced in a manner that benefits the capital seeker, investors and society as a whole.

There is a dearth of information on start-up crowdfunding in Asia. With little data available to analyze, so this paper hopes to contribute to knowledge and provide valuable information to researchers and industry representations. Crowdfunding represents a potentially disruptive change in the way that new ventures are funded. This paper represents an initial analysis in the study of new ventures in China. Finally, the authors provide recommendations for entrepreneurs, investors and policymakers as well as researchers and practitioners with suggestions about yet unexplored avenues of research.

The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.

The visitor economy of Forks now clearly relies upon a niche form of tourism – as fans of The Twilight Saga are drawn to the setting and filming location of the films. The purpose of this study is to consider the process of diversification and subsequently present recommendations that could inform a future diversification strategy for Forks, in preparation for a post-film tourism scenario.

The research methods employed in this study have two interlinked but distinct elements. Firstly, the Twilight Effect in Forks (WA, USA) is considered as an illustrative case study to shed light on the issues facing a destination that has seen a tourism boom as a direct result of popular culture – The Twilight Saga Franchise. Secondly, a scenario thinking and planning approach is applied when considering the “long-view” future of tourism in Forks.

This article presents a post-film tourism future scenario for Forks; it suggests tourism diversification and a shift towards cultural heritage and wellness. Forks is well placed to afford such tourism experiences, as it offers unique cultural and natural characteristics; furthermore, these could be utilised to create and maintain a distinctive destination image. In doing so a more socially and environmentally sustainable industry can be established, one which supports the local community, including the Quileute tribe.

The article offers original discussions within the film-tourism literature with novel approaches to understanding the management and pre-planning opportunities for destinations that have become popular film tourism locations, with the application of a “Tourism Diversification Model”. The model is adapted from Ansoff Matrix and can be applied as a framework in future studies exploring destination diversification. The investigation of Forks as a post-film tourism case study alone is unique, and the discussions and findings presented are original.