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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.

The purpose of this research is to explore how an industry is represented in multimodal public media narratives and to explore how this representation subsequently affects the formation of public sense-giving space during a persisting crisis, such as a pandemic. The question asked is: how do the use of multimodality by public service media dynamically shape representations of industry identity during a persisting crisis?

This study made use of a multimodal approach. The verbal and visual media text on the restaurant industry during the COVID-19 pandemic that were published in Finland by the public service media distributor Yle were studied. Data published between March 2020 and March 2022 were analysed. The data consisted of 236 verbal texts, including 263 visuals.

Three narratives were identified– victim, servant and survivor – that construct power relations and depict the identity of the restaurant industry differently. It was argued that multimodal media narratives hold three meaning making functions: sentimentalizing, juxtaposing and nuancing industry characteristics. It was also argued that multimodal public service media narratives have wider implications in possibly shaping the future attractiveness of the industry and organizational members' understanding of their identity.

This research contributes to sensemaking literature in that it explores the role of power – explicitly or implicitly constructed through media narratives during crisis. Furthermore, this research contributes to sensemaking literature in that it shows how narratives take shape multimodally during a continuous crisis, and how this impacts the construction of industry identity.

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.

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 paper aims to analyze the adoption of social media platforms by tourists in Pakistan. Based on an adaptation of the technology acceptance model (TAM), this study assesses the factors that lead users to adopt these platforms.

A survey was administered to a convenience sample of 399 travelers who use social media in Pakistan. A Confirmatory factor analysis was conducted using AMOS to evaluate convergent and discriminant validity as well as composite reliability. Structural equation modeling was applied to examine the causal relationship among all proposed constructs.

The findings reveal that the perceived usefulness (PU) and perceived ease of use (PEoU) of a social media platform positively impact the behavioral intention of its users. The proposed constructs of compatibility, enjoyment, user expertise and e-trust all demonstrated their crucial roles in the adoption of a social media platform for tourism-related activities by enhancing the platform's PEoU and usefulness.

This research validates the relationship between PEoU and PU of a social media platform in the hospitality industry. Interestingly, this study has expanded TAM by validating the addition of four more constructs, (1) compatibility, (2) enjoyment, (3) e-trust, and (4) expertise, to add worth to this model regarding the understanding of social media usage in this specific industry. The findings are valuable both for managers and policymakers in the tourism sector in Pakistan, as the latter can utilize the results to entice a larger segment of social media users to the tourism industry.

This article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.

The study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.

The study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.

By proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.

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.

Increased digitalization has influenced various business activities including companies’ business models (BMs) by enabling various new forms of cooperation between companies and leading to new product and service offerings as well as new forms of company relationships with customers and employees. At the same time, this digitalization has put pressure on companies to reflect on their current strategy and explore new business opportunities systematically and at early stages. While research on digitalization in the context of BMs is now gaining increased attention, a research gap still exists in this field since the number of empirical insights is limited. The paper aims to discuss these issues.

Qualitative empirical data collected from 12 key informants working in two distinctive industries, the media and automotive industries, were collected. An investigation was carried out to examine the differences and similarities among how digitalization influences a company’s value creation, proposition and capture, as well as how firms cope with challenges presented by increased digitalization.

The findings of the study show that, whilst digitalization is generally considered to be important, the value proposition itself as also the position in the value network determine the perceived available options for business model innovation (BMI) by digitalization. Moreover, the organizational capacities and employee competences were identified as future challenges that will be faced by both industries.

The findings of this study have revealed that representatives of the media and automotive industries perceive both the pressures and opportunities of digitalization regarding BMI; its application and exploitation, however, remain challenging. This study contributes to the existing body of knowledge by providing empirical insights in the context of digitalization and BMI.

This chapter concludes the book on cross-innovation between audiovisual media industries and three other sectors – education, health care and tourism. It emphasises, first, the importance of platformisation as a socio-economic and technological process in framing all cross-innovation processes. It highlights how the rather full platformisation of tourism has negatively affected the interest of the tourism industry small and medium-sized enterprises to cooperate with local media and gaming industries in search of new solutions. Relatedly it proposes a generic conflict between platformisation of specific fields and the health of thematic local cross-innovation systems involving media and creative sectors. It then discusses that the inherent fragmentation of the health and education sectors has not allowed their international platformisation, but constitutes challenges to innovators interested in international scalability. It also discusses the reasons why two publicly coordinated cross-innovation processes – one involving the use of virtual reality in health care and another using augmented reality – have given different results – one a relative success and the other not as of yet. At the end of the chapter final definitions of cross-innovation are offered and the operationalisation of the term and the associated conceptual approach are assessed.