Search results

In the age of digital media, customers have access to vast digital information sources, within and outside a company's direct control. Yet managers lack a metric to capture customers' cross-media exposure and its ramifications for individual customer journeys. To solve this issue, this article introduces media entropy as a new metric for assessing cross-media exposure on the individual customer level and illustrates its effect on consumers' purchase decisions.

Building on information and signalling theory, this study proposes the entropy of company-controlled and peer-driven media sources as a measure of cross-media exposure. A probit model analyses individual-level customer journey data across more than 25,000 digital and traditional media touchpoints.

Cross-media exposure, measured as the entropy of information sources in a customer journey, drives purchase decisions. The positive effect is particularly pronounced for (1) digital (online) versus traditional (offline) media environments, (2) customers who currently do not own the brand and (3) brands that customers perceive as weak.

The proposed metric of cross-media exposure can help managers understand customers' information structures in pre-purchase phases. Assessing the consequences of customers' cross-media exposure is especially relevant for service companies that seek to support customers' information search efforts. Marketing agencies, consultancies and platform providers also need actionable customer journey metrics, particularly in early stages of the journey.

Service managers and marketers can integrate the media entropy metric into their marketing dashboards and use it to steer their investments in different media types. Researchers can include the metric in empirical models to explore customers' omni-channel journeys.

This chapter presents the many premises of this book. It first discusses the book’s central questions and lays out the design of the large multi-national and multi-method study, carried out across Northern Europe. It also places the book at the interdisciplinary space between contemporary innovation economics and cultural and social theory. It then discusses the complex set of social processes that have conditioned the phenomena that the book studies – how and why are the contemporary audiovisual media industries co-innovating and converging with other sectors including education, tourism and health care? Within this framework, it discusses the effects of the broader individualisation and mediatisation processes, of media convergence, of the emergence of cross-media or transmedia strategies, of the evolution of the service and experience economies and of the emergence of creative industries policy frameworks.

The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media industries in small countries in the region as they are challenged in ways notably different from large countries with large domestic markets for media content. It discusses the differences between the AV media industries in the Nordic and Baltic countries and suggests that while in the first case long-term welfare society policies and conscious policy-driven system building have conditioned growth and international success then also in the second case innovation policy rationales have facilitated recent growth and dynamics. It then discusses the specific challenges, especially platformisation to small media industries in contemporary globalising media markets, and suggests that opportunities to resist these challenges may be in local inter-sectoral cooperation, that is, in building cross-innovation systems.

This chapter introduces the topic of cooperation and co-innovation between the audiovisual media and education sectors. It first discusses the emergence of educational film approximately a hundred years go – together with a new institutional framework, industry media, rulebooks, etc. It then discusses the ways public service media have addressed educational programming over the decades, including developing complex cross-media strategies and educational content databases more recently. The second half of the chapter is dedicated to the emergence of educational digital games, with their own institutional setups, production cultures, and training programmes. The chapter points, however, to a relative lack of cooperation between commercial game producers and educational institutions to date.

This chapter establishes the conceptual and analytic framework for the book. It relates not only to much of the existing work in evolutionary and institutional economics, but also to work in cultural science and cultural semiotics domains as well as in media convergence and transmedia studies. The central concept it first deploys is ‘innovation systems’ as applied in national, regional, international and sectoral contexts. It then builds on the general theory of economic evolution by Kurt Dopfer and Jason Potts and reviews the tools this theory provides to carry out a meso-level analysis of industries co-innovating and converging. It then proposes a new concept – ‘cross-innovation’ – to refer to the emergence of new structures and ‘rules’ at the boundaries of existing industries.

This chapter concludes the section on cross-innovation practices between audiovisual (AV) media industries and the health care sector. It suggests that the main case studies discussed in this section – Estonia in general and Aarhus Region in Denmark – tell of two different trajectories on how the emergence of cross-innovation systems can be facilitated by policies. Local policymakers in Aarhus have worked systematically to raise awareness and facilitate contacts between AV media and other sectors and this has resulted in an active start-up scene at the intersection between the media and the health care industries. Estonia, which is focusing on traditional cultural policymaking, has not recognised similar dynamics. Yet, Estonia may be still better prepared for the (global) platformisation of e-health services with its national e-governance systems, while Denmark’s health-related e-services remain fragmented and ripe for platformisation by multinationals, potentially undermining local cross-innovation systems.

This chapter presents the research questions, approaches, and arguments of the book, asking how our everyday lives with media have changed after the smartphone. I introduce the topic of media use in everyday life as an empirical, methodological, and theoretical research interest, and argue for its continued centrality to our digital society today, accentuated by datafication. I discuss how the analytical concepts of media repertories and public connection can inform research into media use in everyday life, and what it means that our societies and user practices are becoming more digital. The main argument of the book is that digital media transform our navigation across the domains of everyday life by blurring boundaries, intensifying dilemmas, and affecting our sense of connection to communities and people around us. The chapter concludes by presenting the structure of the rest of the book, where these arguments will be substantiated in analysis of media use an ordinary day, media use in life phase transitions, and media use when ordinary life is disrupted.

Regulatory initiatives and related technological shifts have been imposing restrictions on data-driven marketing (DDM) practices. This paper aims to find the main restrictions for DDM and the key management theories applied to investigate the consequences of these restrictions.

The authors conducted a unified bibliometric analysis with 104 publications retrieved from both Scopus and Web of Science, followed by a qualitative, in-depth systematic literature review to identify the management theories in literature and inform a research agenda.

The fragmentation of the research outcomes was overcome by the identification of 3 main clusters and 11 management theories that structured 18 questions for future research.

To the best of the authors’ knowledge, this paper sets for the first time a frontier between almost three decades where DDM evolved with no significative restrictions, grounded on innovations and market autoregulation, and an era where data privacy, anti-trust and competition and data sovereignty regulations converge to impose structural changes, requiring scholars and practitioners to rethink the roles of data at the strategic level of the firm.

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.