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The worldwide imposition of lockdown measures to control the 2020 coronavirus disease 2019 (COVID-19) outbreak has shifted most executive communications with external stakeholders online, resulting in quick responses from stakeholders. This study aims to understand how presentational styles exhibited in online communication induce immediate audience responses and empirically test the effectiveness of reactive impression management tactics.

The authors analyze presentational styles using MP3 files containing executive utterances during earnings call conferences held by S&P 100-listed firms after June 2020, the quarter after the World Health Organization declared the COVID-19 outbreak a pandemic on March 11, 2020. Using timestamps, the authors link each utterance to a 1-minute interval change in the ask/bid prices of the stocks that occurs a minute after the corresponding utterance begins.

Exhibiting an informational presentation style in earnings calls leads to positive and immediate audience responses. Managers tend to increase their reliance on promotional presentation styles rather than on informational ones when quarterly earnings exceed market forecasts.

Drawing on organizational genre theory, this research identifies the discrepancy between the presentation styles that audiences positively respond to and those that managers tend to exhibit in earnings calls and provides a reactive impression management typology for immediate responses from online audiences.

The authors examine and compare accounting associations' identities in distinct segments of the accounting profession surrounding the 2014 merger of three Canadian accounting associations.

The authors conceive of accounting associations' magazine front covers as a setting for “identity performance” (i.e. a scenery through which identity dimensions are intentionally communicated to target audiences). The authors examine pre-merger and post-merger associations' identity performances that took place between January 2011 and December 2020 and identify 21 broad themes that the authors interpret in terms of identity logics (i.e. professionalism/commercialism) and audience focus (society/association members), underscoring (dis)similarities in identity performances pre- and post-merger.

The authors' analysis reveals distinct identity performances for the different segments of the pre-merger accounting profession and for the post-merger unified accounting association. Identity logics manifest differently: a commercial logic dominated for two of the associations and a professional logic dominated for the third. Identity fluidity was evident in the merged association's shift from commercial toward professional logic when the association ceased publishing one magazine and introduced a new one. Society rather than associations' members dominated as a target audience for all associations, but this focus manifested differently. Post-merger, identity performances continued to focus on society as the audience.

The authors highlight the Goffmanian identity performances (Goffman, 1959) taking place via accounting associations' magazines. The authors adopt a segment perspective (Bucher and Strauss, 1961) that demonstrates that commercialism does not trump professionalism in all segments of the profession. For the first time, the authors juxtapose identity logics (professionalism/commercialism) and targeted audiences to better understand how these facets of accountants' identities compare between segments.

Prior research has drawn from entrepreneurial practice to conceptualize a variety of discreet narrative types. Research has also demonstrated that narratives are a practical and useful tool for entrepreneurs in many stages of the entrepreneurial process. This paper proposes a new narrative, shared narrative, and a conceptual model for how entrepreneurs might build such a narrative that is strategic in nature.

First, the authors review the types of narrative and introduce shared narrative as an account that narrativizes both the entrepreneur and relevant stakeholders. Then, integrating theoretical concepts from constitutive rhetoric and value co-creation, the authors introduce a conceptual framework as a three-stage process guide for entrepreneurs to build shared narratives for strategic stakeholder engagement. Leveraging the power of shared roles and salient values as the key to pre-story building process, the intended audience of the story (i.e. consumer, investor) is present from the inception of the story and integral to its success.

The authors assert that entrepreneurs need to adopt a shared narrative approach for strategic purposes. Further, the development of a shared narrative begins at the pre-story process of co-creation, focused on identifying the roles and values entrepreneurs share with their various stakeholders. Incorporating these shared roles and salient values into the entrepreneurial narrative will result in a narrative that is compelling, authentic and adaptable to different stages of the entrepreneurial process and for multiple stakeholder audiences. Post-story, this authentic narrative will result in higher levels of engagement from both the audience and the entrepreneur in the form of reciprocal action.

This paper proposes a new narrative and provides a structured process to support entrepreneurs in building shared narratives for strategic engagement with a wide range of stakeholders.

This study aims to investigate the factors that affect an audience's purchase decisions on a new type of social media, namely live video streaming platforms.

This study is based on data from an online survey providing 488 valid responses. These responses are used to test the research model by employing partial least squares (PLS) modeling.

Three antecedents (consumer competitive arousal, gift design aesthetics and broadcaster's image) influence the audience's purchase decisions (impulse buying and continuous buying intention). Chinese impression management (mianzi) acts as a moderator. Self-mianzi, mutual mianzi and other mianzi (i.e. three subtypes of mianzi) moderate the effects of consumer competitive arousal, gift design aesthetics and broadcaster's image on impulse buying.

The findings encourage practitioners developing marketing strategies for live video streaming platforms in the Chinese cultural context to consider peer influence, gift appearance, broadcaster's image and mianzi.

Drawing on the community gift-giving model and face-negotiation theory, this study provides an integrated research model to investigate a new type of social media (live video streaming). It offers insight into virtual gifting behaviors by confirming the effects of three antecedents on the audience's purchase decisions, with mianzi acting as a moderator.

Arts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at home. This has led to digital engagement with audience members via social media. This research paper looks at digital audience engagement in Nigeria’s theatre using Segun Adefila’s production of Tosin Jobi-Tume’s Corona Palava which was performed on 4 August, 2020, at the Crown Arts Centre in Bariga, Lagos, Nigeria and later made available on Facebook on 22 December, 2020 and 21 December 21 2021.

This study is based on the “Arts Audience Experience Index” theory proposed by Radbourne et al. (2009). It employs netnography as its methodology. This entails observing and analysing users’ comments, communication style, frequency of engagement and dwell time while watching Corona Palava production on the researcher’s Facebook timeline “Tekena Gasper Mark” and on the Facebook group “Bolt Drivers in Port Harcourt”. Overall, 53 comments (39 from the researcher’s Facebook friends and 14 from members of the Facebook group “Bolt Drivers in Port Harcourt”) were sampled and analysed to provide insights into how the spectators experienced the Corona Palava production.

The text that accompanied the Facebook video provided viewers with information about the performance, helped them prepare for what to expect, reduced the likelihood that they would experience any unease while watching it and increased the likelihood that they would look for similar performances in the future. They were pleased with the performance; there were no functional risks, no economic risks and no psychological and social risks. Although they may have watched it at varying times, Facebook provided a space for them to engage with the performance as a group and share their thoughts in the post-performance comments.

One of the study’s limitations is that one cannot ascertain how many of the respondents are drivers. Also, the researcher believes that the length of the video may have discouraged participation in the study. In order to increase viewership and provide better findings, future studies and artistic endeavours could consider shorter pieces (about 3–5 min) and wider locations (transportation businesses) where a larger number of drivers with active social media presence, can participate in the research.

This study documents an innovative approach to reaching theatre audience via social media in Nigeria.

This research demonstrates that Nigerian theatre and arts practitioners are reinventing their approaches to play production by using the social media to reach their audiences in the post-COVID-19 era.

The study reveals that as a result of the coronavirus pandemic, Nigerian theatre artists have looked for ways to engage their audiences and sustain their interest and patronage of arts projects through social media.

The purpose of this study is to understand the effect of increasing the intensity of sexual or violent content on consumer responses to online video advertisements, with a particular emphasis on sharing intentions.

The paper uses a between-subjects experimental design across two studies using new to the world online video advertisements as stimuli.

Study 1 finds that increasing the intensity of sexual and violent humor improves advertisement effectiveness amongst men but leads to significantly more negative attitudes toward the advertisement and brand amongst women. Study 2 identifies gender and humor type as moderators for sharing intentions in the presence of audience diversity. While men are more likely to publicly share sexual and violent humor advertisements, social anxiety mediates intentions to share sexual humor advertisements in the presence of greater audience diversity.

The paper offers insights to practitioners regarding the use of risqué forms of humor as part of a digital marketing strategy.

Drawing on and extending benign violation theory, the paper introduces and verifies a theoretical model for understanding consumer responses to the use of risqué forms of humor in online advertisements. It identifies how audience diversity affects sharing intentions for sexual and violent humor-based advertisements on social media.

In this article, we discuss an innovative audience research methodology developed for the AHRC-funded “Beyond the Multiplex: Audiences for Specialised Film in English Regions” project (BtM). The project combines a computational ontology with a mixed-methods approach drawn from both the social sciences and the humanities, enabling research to be conducted both at scale and in depth, producing complex relational analyses of audiences. BtM aims to understand how we might enable a wide range of audiences to participate in a more diverse film culture, and embrace the wealth of films beyond the mainstream in order to optimise the cultural value of engaging with less familiar films. BtM collects data through a three-wave survey of film audience members’ practices, semi-structured interviews and film-elicitation groups with audience members alongside interviews with policy and industry experts, and analyses of key policy and industry documents. Bringing each of these datasets together within our ontology enables us to map relationships between them across a variety of different concerns. For instance, how cultural engagement in general relates to engagement with specialised films; how different audiences access and/or share films across different platforms and venues; how their engagement with those films enables them to make meaning and generate value; and how all of this is shaped by national and regional policy, film industry practices, and the decisions of cultural intermediaries across the fields of film production, distribution and exhibition. Alongside our analyses, the ontology enables us to produce data visualisations and a suite of analytical tools for audience development studies that stakeholders can use, ensuring the research has impact beyond the academy. This paper sets out our methodology for developing the BtM ontology, so that others may adapt it and develop their own ontologies from mixed-methods empirical data in their studies of other knowledge domains.

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.

The impact of various factors on how TV sports audiences perceive sport event sponsors’ billboards around sports facilities has been the subject of extensive research. Despite numerous factors that impact the effectiveness of sponsor signage at sporting events, there has been a lack of research regarding the language used for such signage around sports facilities’ billboards. Therefore, this study aims to investigate the effects of billboard advertisement language on TV sports audiences’ recognition, recall and search intention to sponsor signage.

This study employed an online experimental design. Participants (n = 925) were recruited from two linguistically different regions: Chinese and English. Participants were randomly assigned to one of two conditions: watching tennis video matches with billboard advertisements presented in either the Roman alphabet exclusively or in a combination of the Roman alphabet and Chinese characters.

This study revealed that although language cannot significantly impact audiences’ unaided recall of a brand, it does have a discernible effect on brand recognition and search intention among audiences. Additionally, people are more likely to search for brands in their native language. Participants from various regions tend to have different recognition rates and search intentions for sport sponsors.

This is the first manuscript examining the use of different languages in relation to audiences’ recognition and recall of sports sponsorship. It provides empirical evidence of the importance of carefully considering the language used in sponsor signage around stadium billboards to optimize the efficacy of sponsorships at sports events.