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The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.

Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.

When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.

A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

This study examined how audience characteristics and attitudes relate to their perceptions of sincerity and forgiveness of apologies by public figures posted on YouTube.

Four hundred twenty-seven adult participants recruited through Amazon's Mechanical Turk completed an online survey via Qualtrics. Participants were randomly assigned to view two of four public figure apologies posted on YouTube.

Results indicated that audience fandom and perceived reputation and attractiveness of the public figure were related to perceptions of sincerity and forgiveness; and perceptions of sincerity and forgiveness were related to intentions of future support.

“Sameness” between the public figure and audience did not garner a more favorable response to the apology, and this is not consistent with earlier studies. For race similarity, the results could have been a reflection of the low number of non-White participants. However, results could indicate that “sameness” is not as simplistic as demographic sameness, such as race, sex or age.

The authors’ findings elevate the importance of gathering and benchmarking pre-crisis attitudinal research to better equip and inform communication professionals for crisis response. In addition, the study suggests that a public figure's strong reputation and fanbase provide a type of inoculation, lessening reputational damage.

The finding that perceived attractiveness relates positively to perceptions of sincerity and forgiveness is consistent with psychological research indicating attractiveness has many positive social implications – even in mediated communication.

Evidence suggests social media apologies matter. Communication professionals need to approach apology opportunities with a keen awareness that relational outcomes and intentions of future support can shift based on social media audiences' attitudes related to the public figure.

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.

The purpose of this paper is to demonstrate the usefulness of the “audience exchange” approach for audience development and research, and to highlight the insights offered by peer-to-peer dialogue in understanding experiences of unfamiliar arts.

Using a case study with contemporary arts audiences, and setting this in the wider context of studies with other first-time attenders at a range of arts events, the paper explores the use of the “audience exchange” method, in which facilitated conversations after performance events allow newcomers to reflect upon and deepen their first-time encounters with live arts.

The study demonstrates the way in which conversations about arts events can enrich audience experience, and shows how participants use exploratory and emotional language to articulate their understanding of unfamiliar arts events. Peer-to-peer learning occurs through these conversations, in ways that could be further supported by arts organisations as a valuable tool for audience development. The audience exchange discussions also reveal the varieties of participation from “drifting” to full attention that are all part of audience engagement.

This is a small-scale, qualitative study, and the method has potential to be tested in future studies with a greater variety of participants (e.g. younger or more ethnically diverse groups).

Use of the audience exchange for enriching experiences of first-time attendance could be adopted by arts organisations as a regular part of their audience engagement. Greater understanding of how new audience members draw on prior cultural experiences in finding the language to articulate their first impressions of an unfamiliar arts event could be valuable for targeted marketing and increasing accessibility.

The originality of this study lies in its elaboration of the audience exchange method, and its focus on the language and peer-to-peer learning evident in the facilitated post-performance discussions.

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.

Social media management is an emerging profession that is growing as companies increasingly adopt social media. The purpose of this paper is to analyze social media managers’ personal branding.

In-depth qualitative data is drawn from 20 semi-structured interviews with social media managers and supported by three years of orienting fieldwork in Toronto, Canada.

Social media managers are responsible for managing and executing organizations’ brands and presence on social media and digital platforms. As lead users of social media, social media managers provide critical insight into the emerging practices of personal branding on social media. “The future audience” is introduced to describe how individuals project a curated brand for all future unknown and unanticipated audiences, which emphasizes a professional identity. Due to workplace uncertainty, social media managers embody the mentality of being “always-on-the-job-market”, which is a driver for personal branding in their attempt to gain or maintain employment.

While personal branding is largely discussed by industry professionals, there is a need for empirical research on personal branding that examines how various employee groups experience personal branding. This research fills this gap by analyzing how people working in social media brand their identity and how their personal branding is used to market themselves to gain and maintain employment. The development of “the future audience” and “always-on-the-job-market” can be used to understand other professions and experiences of personal branding.

The purpose of this study is to examine how sports marketing can attract audiences towards less popular sports.

A total of 22 interviews were conducted first to explore the opinions of sports professionals about how audiences can be attracted towards less popular sports. Then 479 responses to an online questionnaire were collected. The online questionnaire includes a pretest-posttest experiment in which each respondent has watched a video. Confirmatory factor analysis, reliability test and hierarchical regression analysis have been performed.

The elements of sports marketing that can help to attract audiences towards less popular sports are sports media, sports advertising, star athlete and sports sponsorship. The performance of national teams moderates the relationship between sports advertising and attraction towards less popular sports.

To the best of the authors’ knowledge, a definition of sustainable sports marketing is introduced for the first time. Sustainable sports marketing can be defined as the continuous implementation of marketing activities in the sports context to ensure the continuous existence of the sports themselves (all types of sports) and the prosperity of future generations. Elements that can attract audiences towards less popular sports have been examined for the first time.

The article aims to investigate how washing practices focused on appeasing sceptics of diversity work in for-profit organizations play out in corporate online communication of diversity and inclusion efforts, and how these enable communication to a wide audience that includes social equity advocates.

Online corporate communication data of diversity and inclusion themes were compiled from the websites of eight Swedish-based multinational corporations. The data included content from the companies’ official websites and annual reports and sustainability reports as well as diversity and inclusion-themed blog posts. A thematic analysis was conducted on the website content.

The study showcases how tensions between conflicting external demands are navigated by keeping the communication open to several interpretations and thereby achieving multivocality. In the studied corporate texts on diversity and inclusion, this is achieved by alternating between elements catering to a business case audience and those that appeal to a social justice audience, with some procedures managing to appease both audiences at the same time.

The article complements previously described forms of washing by introducing an additional type of washing – business case washing – an articulation of the business case rhetoric that characterizes the diversity management discourse. While much has been written about washing to satisfy advocates of social change and equity, washing to appease shareholders and boardroom members, who are focused on profit and economic growth, has received less attention. The article suggests that online corporate communication on diversity and inclusion, by appeasing diverse audiences, can be seen as aspirational talk.

The purpose of this paper is to explore what characterizes cyberbullying when it is performed in digital space and in an increasingly boundary blurred working life context.

Cyberbullying is explored through the lens of Erving Goffman’s theories on everyday life interaction and social media scholars understanding of social life on the internet today. The empirical material for the study is grounded in eight in-depth interviews with individuals who have been subjected to cyberbullying behavior in their professional life. The interview data were analyzed by means of thematic analysis.

Three key themes were identified: spatial interconnectedness, colliding identities and the role of the audience. The empirical data indicate that in order to understand cyberbullying in working life, it is necessary to consider the specific context that emerges with social network sites and blogs. Moreover, this study shows how social network sites tend to blur boundaries between the private and the professional for the targeted individual.

Cyberbullying in working life is a relatively under-researched area. Most existing research on cyberbullying follows the tradition of face-to-face bullying by addressing the phenomenon with quantitative methods. Given the limited potential of this approach to uncover new and unique features, this study makes an important contribution by exploring cyberbullying with a qualitative approach that provides in-depth understanding of the new situations that emerge when bullying is performed online.

This paper aims to contribute to understandings of the dynamics of marketplace exclusion and explore the benefits of a performative approach to knowledge production.

Interactive documentary theatre is used to explore the pressing issue of marketplace exclusion in a deprived UK city. The authors present a series of three vignettes taken from the performance to explore the embodied and dialogical nature of performative knowledge production.

The performative mode of knowledge production has a series of advantages over the more traditional research approaches used in marketing. It is arguably more authentic, embodied and collaborative. However, this mode of research also has its challenges particularly in the interpretation and presentation of the data.

The paper highlights the implications of performative knowledge production for critical consumer learning. It also explores how the hitherto neglected concept of marketplace exclusion might bring together insights into the mechanics and outcomes of exclusion.

While theatrical and performative metaphors have been widely used to theorise interactions in the marketplace, as yet the possibility of using theatre as a form of inquiry within marketing has been largely neglected. Documentary theatre is revealing of the ways in which marketplace cultures can perpetuate social inequality. Involving local communities in the co-production of knowledge in this way gives them a voice in the policy arena not hitherto fully addressed in the marketing field. Similarly, marketplace exclusion as a concept has been sidelined in favour of marketplace discrimination and consumer vulnerability – the authors think it has the potential to bring these fields together in exploring the range of dynamics involved.