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The paper aims to explore “content” factors influencing consumptive and contributive use of enterprise social networking within UK higher education during the COVID-19 pandemic.

The methodology uses genre analysis and grounded theory to analyse empirical data from posts obtained through Microsoft Yammer and a focus group.

The findings reveal the motivators-outcomes-strategies and the barriers-outcomes-strategies of users. Motivators (M) include feature value, Information value, organizational requirement and adequate organizational and technical support. Barriers (B) include six factors, including resisting engagement on the online platform, emotional anxiety, loss of knowledge, the lack of organizational pressure, lack of content quality and lack of time. An Outcomes (O) framework reveals benefits and dis-benefits and strategies (S) relating to improving user engagement.

The research method and resultant model may serve as guidelines to higher educational establishments interested in motivating their staff and scholars around the use of enterprise social network (ESN) systems, especially during face-to-face restrictions.

This research study was conducted during the COVID-19 pandemic which provides a unique setting to examine consumptive and contributive user behaviour of ESN’s. Furthermore, the study develops a greater understanding of “content” factors leading to the benefits or dis-benefits of ESN use, drawing on user motivators, barriers and strategies during the COVID-19 pandemic in UK education.

The goal of the study is to underline “Cinematic Architecture” as another source of architectural thinking and research. This study is also a response to the shortage in empirical research on architecture in the cinema. Moreover, the study introduces the architectural components that qualify the cinematic spaces to be influential cinematic experience. This is in addition to investigating the impact of these components on the viewers' cognitive and emotional experience of films.

In the reported study, an empirical experiment examined scenes from three different movies as experienced by a selected group of audience of movies fans (architects and laypersons). The audience was asked to report feelings the audience had about each scene using a questionnaire that was designed for this purpose, and the audience was asked to write down the aspects that affected the audience's emotions. The experiment evaluated selected emotional states and could specify the architectural features and/or objects that significantly contributed in inducing these emotions.

This study's findings concluded that emotions, which exist in the positive margin of the emotions “circumplex model,” were influenced by architectural components that were different from those that influenced emotions which lie in the negative margin of the model.

As for filmmakers, the study contributes in developing filmmakers' knowledge about the role of architecture in scenic creation and thus how that knowledge enhances filmmakers' film narrative and the narrative's spatial imagery. As for academia, this study contributes in developing the knowledge about film cognition as related to architectural semiotics. In the context of behavioral approach to architectural design, a behavior setting which is the basic element in environmental design can be dramatized by applying a cinematic narrative to a human activity system within a milieu of architectural design elements.

This study is important for architects, as the study provides architects with an alternative tool for fictional experience and for testing architectural ideas through cinematic architecture. This study also helps in developing new venues for the practice of architecture into the world of fiction. This study also contributes in developing the trend that architectural design thinking can learn from cinematic thinking and practice.

This study introduces an empirical approach to evaluate architectural entities as part of cinematic experience. This study also comes as a response to the shortage in empirical research on architecture in the cinema.

This chapter examines strategies deployed at individual and institutional levels to combat fake news in two media houses in Uganda. Grounded in the hierarchy of influences model, we examine journalists' and editors' perspectives on how Vision Group and Nation Media Group newsrooms respond to fake news. Journalists' and editors' responses, obtained through semi-structured interviews as well as document review enabled us to underscore the centrality of professional standards, training and technology in combating fake news. We found that technology plays a key role in fact-checking, although newsrooms are yet to adopt advanced digital tools such as artificial intelligence (AI) and algorithms. The newsrooms under investigation deploy conventional hardware and software to detect, flag and debunk fake news. We posit that for the strategies adopted at the organisational level to succeed, they ought to appeal to individual reporters' goals and interests. Further, discourses on adoption of newer technology ought to reflect the contexts in which the news organisations operate in addition to their financial standing.

The authors’ goal is to investigate variations in the writing style of book reviews published on different social reading platforms and referring to books of different genres, which enables acquiring insights into communication strategies adopted by readers to share their reading experiences.

The authors propose a corpus-based study focused on the analysis of A Good Review, a novel corpus of online book reviews written in Italian, posted on Amazon and Goodreads, and covering six literary fiction genres. The authors rely on stylometric analysis to explore the linguistic properties and lexicon of reviews and the authors conducted automatic classification experiments using multiple approaches and feature configurations to predict either the review's platform or the literary genre.

The analysis of user-generated reviews demonstrates that language is a quite variable dimension across reading platforms, but not as much across book genres. The classification experiments revealed that features modelling the syntactic structure of the sentence are reliable proxies for discerning Amazon and Goodreads reviews, whereas lexical information showed a higher predictive role for automatically discriminating the genre.

The high availability of cultural products makes information services necessary to help users navigate these resources and acquire information from unstructured data. This study contributes to a better understanding of the linguistic characteristics of user-generated book reviews, which can support the development of linguistically-informed recommendation services. Additionally, the authors release a novel corpus of online book reviews meant to support the reproducibility and advancements of the research.

Using a discourse analytic approach, the purpose of this paper is to examine how genre impacts white readers when reading about historic acts of racial violence. Specifically, this study explores one white high school student’s stance-taking as she read an informational text and an eyewitness narrative about the Tulsa Race Massacre.

This study used discourse analysis (Gee, 1999) and the think-aloud method (Pressley and Afflerbach, 1996) to explore the white student’s interactions with genres of historical texts. The authors coupled iterative coding and memoing with discourse analysis to analyze the stances she adopted while reading.

The findings illustrate that the informational text allowed for a distancing from the racialized violence in the text, whereas the narrative created an opportunity for more connection to those who experienced the violence.

While genre and reader response has long been explored in English Education research, little research has examined the impact of genre on reading historical texts. This study demonstrates the influence that genre may have on white readers’ emotional responses and stance-taking practices when reading about historic acts of racial violence.

Movies critics believe that the diversity of Iranian cinematic genres has decreased over time. The paper aims to answer the following questions: What is the impact of the continuous cooperation between the key nodes on the audience's taste, uniformity of the cinematic genres and the box office? Is there any relationship between the importance of actors in the actors' network and their popularity?

In the artistic world, artists' relationships lead to a network that affects individuals' commercial or artistic success and defines the artwork's value. To study the issue that the diversity of Iranian cinematic genres has decreased over time, the authors utilized social network analysis (SNA), in which every actor is considered a node, and its collaboration with others in the same movies is depicted via edges. After preparing the desired dataset, networks were generated, and metrics were calculated. First, the authors compared the structure of the network with the box office. The results illustrated that the network density growth negatively affects box office. Second, network key nodes were identified, their relationships with other actors were inspected using the Apriori algorithm to examine the density cause and the cinematic genre of key nodes, and their followers were investigated. Finally, the relationship between the actors' Instagram follower count and their importance in the network structure was analyzed to answer whether the generated network is acceptable in society.

The social problem genre has stabilized due to continuous cooperation between the core nodes because network density negatively impacts the box office. As well as, the generated network in the cinema is acceptable by the audience because there is a positive correlation between the importance of actors in the network and their popularity.

The novelty of this paper is investigating the issue raised in the cinema industry and trying to inspect its aspects by utilizing the SNA to deepen the cinematic research and fill the gaps. This study demonstrates a positive correlation between the actors' Instagram follower count and their importance in the network structure, indicating that people follow those central in the actors' network. As well as investigating the network key nodes with a heuristic algorithm using coreness centrality and analyzing their relationships with others through the Apriori algorithm. The authors situated the analysis using a novel and original dataset from the Iranian actors who participated in the Fajr Film Festival from 1998 to 2020.

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.

This study aimed to identify subgroups of esports players based on their gaming behavior patterns across game genres and compare self-efficacy, social efficacy, loneliness and three dimensions of quality of life between these subgroups.

324 participants were recruited from prolific academic to complete an online survey. We employed latent profile analysis (LPA) to identify subgroups of esports players based on their behavioral patterns across genres. Additionally, a one-way multivariate analysis of covariance (MANCOVA) was conducted to test the association between cluster memberships and development and well-being outcomes, controlling for age and gender as covariates.

LPA analysis identified five clusters (two single-genre gamer groups, two multigenre gamer groups and one all-genre gamer group). Univariate analyses indicated the significant effect of the clusters on social efficacy, psychological health and social health. Pairwise comparisons highlighted the salience of the physical enactment-plus-sport simulation genre group in these outcomes.

This study contributes to the understanding of the development and well-being benefits experienced by various esports consumers, as well as the role of specific gameplay in facilitating targeted outcomes among these consumer groups.

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.