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In this chapter, I utilize insights from symbolic interaction to analyze the identity work processes of larp subculture participants to construct and perform their in-game identities. I extend the research on larp subcultures in two ways. First, I place larping within the larger context of leisure subcultures and society by arguing that larping is representative of changes in leisure and subcultures in postmodern society. Second, I draw upon ethnographic data collected among the New England Role-playing Organization (NERO) to analyze larpers character identity performances. RPG and Larp researchers have developed several theories about the relationship between larp participants and their character performances. While these concepts provide a helpful framework for understanding the participant-character relationship, they undertheorize the in-game constructed performance of identity. Using symbolic interaction theory, I analyze the identity work processes larpers use to construct and perform their larp identities extending our understanding of the similarities between everyday identity and larpers' character identity performances.

The authors analyse narratives of Chinese consumers of Vintage Costume Jewellery to show how value is attributed to vintage items, often in direct contrast to contemporary luxury goods. Examining a range of factors in this process, including uniqueness, scarcity, historical specificity, social meaning and cultural legitimacy, authenticity is shown to be central to the positioning of jewellery and those who collect, trade and appreciate it as tasteful and discerning consumers.

This chapter offers professional advice for educators, particularly those unfamiliar with history-based performance, on how to move their historic character research to the place of actual portrayal. Using a questioning method, the author takes the reader step-by-step through essential elements of historical character portrayal such as character perspective, props, and costuming, placing them within the context of educational objectives and performance logistics. The author discusses in detail differences between portraying a well-known historical figure versus someone connected to that person. She explains the importance of choosing a date for a first-person portrayal, as it defines what the character “knows,” and provides techniques for handling questions beyond the character's date range. For newcomers to researching and portraying historical figures, it is important to consider the following points: What is each character teaching? Where will the presentation be held? Is the presentation solely for students, or does it include peers, parents, or administrators? This chapter addresses these critical questions along with research techniques, performance methods, and practical suggestions for obtaining costumes and props. In addition, the author discusses presentation skills required for an effective presentation, such as voice, mood, and movement. She provides examples from her own professional repertoire showing how techniques such as pace level and articulation work effectively in front of an audience and breaks down the structure of a 20- to 45-minute presentation. The author gives examples of how to be prepared for audience questions and unexpected interruptions during a performance. Finally, she explains the importance of the “story” in historic character presentations to enhance its teaching and presentation effectiveness.

Packing for travel is an intriguing aspect of tourist behavior. Until recently, no research has sought to explain what the modern traveler packs for air journeys or why these items are packed. Perhaps for some observers these questions appear mundane, and the answers appear obvious, yet these issues attract a great volume on commentary on websites, blogs, in travel books, in magazines, and conversations between travelers. From these sources, Hyde and Olesen (2011) developed a grounded theory of packing for air travel. The purpose of this article is to test the grounded theory of packing for air travel using video-ethnographic case study data. The findings are that the grounded theory for air travel is able to explain what possessions are packed and the motives for these items being packed. The emphasis that any individual places on the possessions they pack and the role these possessions play during a journey will differ by traveler. This adds to extant literature on packing for travel.

In the introduction to Beyond Bombshells, Jeffrey A Brown lists examples of blockbuster films with leading female heroines and proclaims that they have ‘challenged the assumption that action movies are a strictly male domain’ (2015, p. 6). His examples include, but are not limited to, the Kill Bill films (2003, 2005), The Hunger Games (2012), Brave (2012) and Snow White and the Huntsman (2012), all of which demonstrate the rise in popularity of the woman-led action film. However, these films also demonstrate a reluctance of the action film to detach itself from masculinity. Despite their female leads, these action films still foreground masculinity. The films have darker colour palettes and their female leads tend to have masculine coded traits and hobbies, suggesting that women can succeed within this genre only by distancing themselves from femininity.

This chapter analyses the subversion of the genre conventions of action by exploring the use of feminine objects in director Cathy Yan's Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (2020). Written and directed by women, Birds of Prey is a notable turn in the action genre as it makes use of feminine objects (hair ties, glitter, fashion, jewellery) within action sequences that don't just allow a female presence within the action, but centre feminine power. By relocating femininity and masculinity to objects rather than bodies, new ways of understanding how genre conventions are not fixed but fluid are opened up for further exploration.

The main purpose of this study is to analyze how consumers’ visual attention to wine label design correlates with their preferences. Accordingly, this study uses quantitative eye-tracking metrics to understand which design proposal has greater visual salience. A more specific objective was to assess which design proposal was preferred to be marketed.

The experiment involved evaluating of three different labeling proposals of an Italian winery. Infrared eye-tracking was used to measure implicit eye movements on the three bottles displayed, simultaneously, on a computer screen. A generalized linear model was used to test how consumers' visual attention to wine label design correlated with their preferences.

The design proposals were evaluated significantly differently, with one set being preferred. In general, a strong positive relationship was found between pausing to peruse a specific design proposal and making an explicit choice of the same bottle.

The main limitation of the experiment concerns the sample interviewed. As the sample is homogeneous, the results may not be generalizable to other segments. Furthermore, the addition of electroencephalographic devices that monitor brain activity could provide crucial information for understanding consumer behavior during the purchase decision-making process.

Eye-tracking methods could be useful for designers and wine producers during the evaluation process of design projects.

The use of eye-tracking for evaluating design proposals before placing a product on the market is relatively novel. This method provides objective, quantitative and predictive information on consumer preferences contributing guidelines to designers and marketers during the product conception phase.

Contemporary outdoor rock and popular music festivals offer liminoidal spaces in which event participants can experience characteristics associated with the carnivalesque. Festival goers celebrate with abandonment, excess and enjoy a break from the mundane routine of everyday life. The purpose of this paper is to explore the way gender is negotiated in the festival space.

The rock and popular music tribute festival, known as “Glastonbudget” provides the focus for this conceptual paper. A pilot ethnographic exploration of the event utilising photographic imagery was used to understand the way in which gender is displayed.

It is suggested that liminal zones offer space to invert social norms and behave with abandonment and freedom away from the constraints of the everyday but neither women nor men actually take up this opportunity. The carnivalesque during Glastonbudget represents a festival space which consolidates normative notions of gender hierarchy via a complicated process of othering.

This is a conceptual paper which presents the need to advance social science-based studies connecting gender to the social construction of event space. The ideas explored in this paper need to be extended and developed to build upon the research design established here.

There is currently a paucity of literature surrounding the concept of gender within these festival spaces especially in relation to liminality within events research.

In recent years, there has been a “heritagisation” of pop culture, including music, whereby cultural institutions, such as galleries and museums in primarily Western countries, have run exhibitions based on pop culture to successfully market to a new audience of visitors. The purpose of this qualitative study is to explore the issue of the “heritagisation” of pop culture by museums and observe visitor response to a specific music-related exhibition, linking intangible and tangible elements of the exhibition to provide a framework to understand the visitor experience.

The purpose will be achieved by observing the “heritagisation” of pop culture in the literature and past exhibitions, proposing how cultural institutions have linked the intangible and tangible elements of music in pop culture for an exhibition and observe visitors' feedback from online comments posted on Tripadvisor undertaken during the original “David Bowie is” exhibition at the Victoria and Albert Museum (V&A), London.

From the Leximancer analysis, a new conceptual framework for visitor experience at an exhibition was developed, which contains three visitor-related categories: pre-exhibition, exhibition space and exhibition experience, with five themes (tickets, exhibition, displayed objects, David Bowie and visitors) and 41 text concepts.

For cultural institutions the implications are that there can be opportunities to curate exhibitions on pop culture or music-related themes, which can include intangible and tangible elements, such as songs, videos, tickets, costumes, musical instruments and posters. These exhibitions can also explore the changing socio/political/historical/cultural background that contextualises pop cultural history.

This theory-building study advances the body of knowledge as it links music in pop culture and cultural institutions, specifically in this case a highly successful music-related exhibition at a museum, and provides a theoretical model based on tangibility elements. Further, it analyses museum visitor comments by using the qualitative software program, Leximancer, to develop a new conceptual framework for visitor experience.