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The PICCH research project contributes to opening a dialogue between cultural heritage archives and users. Hence, the users are identified and their information needs, the search strategies they apply and the search challenges they experience are uncovered.

A combination of questionnaires and interviews is used for collection of data. Questionnaire data were collected from users of three different audiovisual archives. Semi-structured interviews were conducted with two user groups: (1) scholars searching information for research projects and (2) archivists who perform their own scholarly work and search information on behalf of others.

The questionnaire results show that the archive users mainly have an academic background. Hence, scholars and archivists constitute the target group for in-depth interviews. The interviews reveal that their information needs are multi-faceted and match the information need typology by Ingwersen. The scholars mainly apply collection-specific search strategies but have in common primarily doing keyword searching, which they typically plan in advance. The archivists do less planning owing to their knowledge of the collections. All interviewees demonstrate domain knowledge, archival intelligence and artefactual literacy in their use and mastering of the archives. The search challenges they experience can be characterised as search system complexity challenges, material challenges and metadata challenges.

The paper provides a rare insight into the complexity of the search situation of cultural heritage archives, and the users’ multi-facetted information needs and hence contributes to the dialogue between the archives and the users.

Regarding human resource and labour relations management, academia focuses mainly on cities; however, rural areas are an integral part of China's economic structure. This study focuses on the movie projection industry in China's rural areas and explores how human resource practices (HRPs) are transformed and the labour process is reconstructed in digital transformation.

We adopt a case study of a rural movie projection company. The company's HRPs reconstructed the labour process of movie projection, and they have been promoted as national standards. Data were collected from in-depth interviews, files and observations.

Rural movie projection companies combine high-performance and paternalistic HRPs in the media industry's digital transformation. HRPs and digital technology jointly reconstruct the labour process. First, the HRPs direct labour process practices towards standardisation. Second, the digital supervision platform guides the control style from simple to technical, placing projectionists under pressure while increasing management efficiency. Third, rural movies made using digital technology have disenchanted rural residents. Accordingly, the conventional relationships between the “country and its citizens,” “individuals themselves,” and “models and individuals” have been removed, and a new relationship between “individuals themselves” is formed thanks to the novel HRPs.

This research plays a crucial role in exposing researchers to the labour process of rural movie projection, which is significant in China but often ignored by Western academia and advances the Chinese contextualisation of research on labour relations.

The purpose of this paper is twofold: first, to propose a methodology to empirically investigate the longitudinal development of social media content concerning buildings characterized by iconic architecture and second, to report on the application of this methodology.

We collected and analyzed empirical data of social media content shared via Instagram between 2011 and 2019 on 16 buildings that can be considered iconic architecture projects. Using an automated pipeline, we collected and processed 264,000 posts and 140,000 images from Instagram for the selected case studies. By studying the posting activity of Instagram users through time series analysis and conducting content analysis of the social media posts by means of both image classification and topic modeling, we report on the development of users’ capturing and reception of the selected case studies on Instagram over time.

First, we identify two distinct time patterns of social media content: instantly popular buildings whose popularity fades over time and buildings that gradually gain popularity over time. Second, we distinguish differences in the content of social media posts: some buildings are primarily covered for their architectural features and others for their cultural function and facilities.

Using empirical investigation of Instagram data on iconic architectural projects, we have identified a correlation: buildings primarily posted for their architecture are generally also the ones to gain instant online popularity that subsequently faded over time. In contrast, buildings primarily posted for their function and facilities slowly gained popularity on the social media platform over time.

The purpose of this study is to examine the impact of the characteristics and competencies of entrepreneurs on business performance within the creative industry in Indonesia. By creative industry, is refer to market-oriented enterprises that use creativity and intellectual capital to create, produce, distribute and disseminate creative goods and services through media channels.

This study measured six entrepreneurial characteristics: creative and innovative, risk-taking, need for achievement, leadership, autonomy and proactiveness. In addition, it measured five entrepreneurial competencies: opportunity, strategy, relationship, organization and learning. Data collection was conducted using a questionnaire administered to 294 entrepreneurs operating businesses within the creative industry in Java, Sumatra and Kalimantan, Indonesia.

The findings of this study demonstrated that entrepreneurial characteristics and competencies had a significantly positive effect on business performance. Creativity and innovation emerged as the most influential characteristics, whereas strategy stood out as the most influential competency.

This study aimed to examine whether the personal qualities of entrepreneurs as identified within conventional industries − specifically their entrepreneurial characteristics and competencies − had an impact on business performance in the creative industry in Indonesia. Conventional industries, unlike creative industries, are characterized by the production and distribution of physical goods or basic services, with less emphasis on creative innovation as the core driver.

This paper argues for an increased volume of references to Gabriel Tarde and Georg Simmel in the field of organization sociology. The text emphasizes the importance of these two sociologists in understanding the role of imperfection in organizing and the phenomena of fashion and imitation in contemporary organizations. Tarde’s theory challenged the antinomy between continuity and discontinuity, considering finite entities as cases of infinite processes and stable situations as transitory. Simmel’s theory of fashion explores the democratic and democratizing nature of fashion, which satisfies the demand for social adaptation and differentiation. They both saw fashion as a selection mechanism for organizational forms and managerial practices. Furthermore, referring to Tarde and Simmel can help counter the overemphasis on identity construction and the neglect of alterity in social sciences. The construction of identity often overlooks the inevitability of difference and alterity, which are essential aspects of collective projects. Lastly, this paper discusses Simmel’s concept of the stranger and its relevance in analyzing the experiences of foreigners and their potential advantages as “double strangers” in academia and society. The conclusion is that Tarde and Simmel’s contributions offer valuable insights for understanding the dynamics of management, organizing, and social interactions in contemporary organizations.

Gillette’s historically successful “razor and blade” business model (RBM) has been a promising benchmark for multiple businesses across diverse industries worldwide in the past several decades. The extant literature deals with very few nuances of this business model notwithstanding the fact that there are several variants of this business model being put to practical use by firms in diverse industries in grossly metaphorically equivalent situations.

This study adopts the 2 × 2 truth table framework from the domains of mathematical logic and combinatorics in fleshing out all possible (four logical possibilities) variants of the razor and blade business model for further analysis. This application presents four mutually exclusive yet collectively exhaustive possibilities on any chosen dimension. Two major dimensions (viz., provision of subsidy and intra- or extra-firm involvement in the making of razors or blades or both) form part of the discussion in this paper. In addition, this study synthesizes and streamlines entrepreneurial wisdom from multiple intra-industry and inter-industry benchmarks in terms of real-time firms explicitly or implicitly adopting several variants of the RBM that suit their unique context and idiosyncratic trajectory of evolution in situations that are grossly reflective of the metaphorically equivalent scenario of razor and recurrent blades. Inductive method of research is carried out with real-time cases from diverse industries with a pivotally common pattern of razor and blade model in some form or the other.

Several new variants of the razor and blade model (much beyond what the extant literature explicitly projects) have been discovered from the multiple metaphorically equivalent cases of RBM across industries. All of these expand the portfolio of options that relevant entrepreneurial firms can explore and exploit the best possible option chosen from them, given their unique context and idiosyncratic trajectory of growth.

This study has enriched the literature by presenting and analyzing a more inclusive or perhaps comprehensive palette of explicit choices in the form of several variants of the RBM for the relevant entrepreneurial firms to choose from. Future research can undertake the task of comparing these variants of RBM with those of upcoming servitization business models such as guaranteed availability, subscription and performance-based contracting and exploring the prospects of diverse combinations.

Smart entrepreneurial firms identify and adopt inspiring benchmarks (like razor and blade model whenever appropriate) duly tweaked and blended into a gestalt benchmark for optimal profits and attractive market shares. They target diverse market segments for tied-goods with different variants or combinations of the relevant benchmarks in the form of variegated customer value propositions (CVPs) that have unique and enticing appeal to the respective market segments.

Value-sensitive customers on the rise globally choose the option that best suits them from among multiple alternatives offered by competing firms in the market. As long as the ratio of utility to price of such an offer is among the highest, even a no-frills CVP may be most appealing to one market segment while a plush CVP may be tempting to yet another market segment simultaneously. While professional business firms embrace resource leverage practices consciously, amateur customers do so subconsciously. Each party subliminally desires to have the maximum bang-to-buck ratio as the optimal return on investment, given their priorities ceteris paribus.

Prior studies on the RBM have explicitly captured only a few variants of the razor and blade model. This study is perhaps the first of its kind that ferrets out many other variants (more than ten) of the razor and blade model with due simplification and exemplification, justification and demystification.

This study is an “Action-Research-based” bridge that connects sketching and photographic processes. The article’s objective encompasses designing, assessing and validating a perceived difference between sketching and photography through a structured task by ensuring the systematic creation and implementation of the assignments. This study is part of a larger research project exploring the differences between thinking about sketching and final photographic outcomes.

This experimental mixed-method methodology was collected in three phases: the creation phase, where participants were asked to sketch and photograph a balanced composition; the evaluation phase, where the sketches and photographs were evaluated by “Self, Peer, and Independent” reviewers for their perceived differences. An analysis of variance (ANOVA) was implemented to test the result. In the validation phase, eye-tracking technology is applied to understand the subconscious eye movements of individuals.

This study of 37 samples has helped develop a self-study model in photography, as students have learnt to evaluate themselves critically. This experience will help students be active and reflective learners, thus increasing attention and retention in their course, specifically “Photography Design Education”. A pedagogical approach by design instructors for practical, student-friendly, process-oriented assignments for their photography courses in higher education.

The trans-mediation process requires cognition amongst different mediums, such as pencil and paper for sketching and light for light painting. Photography courses in design education need knowledge of the photo/light medium, contrasting with the understanding of sketching/drawing. Exploring and addressing research gaps for transforming and designing assignments based on adaptive understanding presents an exciting opportunity.

This chapter focuses on the nuanced interplay between celebrity culture, fashion, and gender norms, examining how the sartorial choices of actors Timothée Chalamet, Paul Mescal, and Barry Keoghan challenge and redefine traditional constructs of masculinity. Through a detailed analysis of their appearances at high-profile events and in fashion editorials, the chapter analyses the implications of their fashion choices. By focusing on the actors’ deliberate deviation from conventional menswear, the analysis illuminates the evolving landscape of gender expression within the realm of celebrity influence. The exploration begins by considering the technological aspects of photography that spotlight the actors, emphasising their attire over other elements within the image. The compositional modality reveals a deliberate challenge to gender norms, as evidenced by Chalamet’s gender-bending ensembles, Mescal’s avant-garde choices, and Keoghan’s playful engagement with traditionally feminine aesthetics. The social modality contextualises these choices within broader societal and cultural trends, highlighting the role of celebrity culture in shaping public perceptions of gender and fashion. Ultimately, this chapter argues that these celebrities’ fashion decisions not only reflect personal style but also contribute to a cultural shift towards more fluid and inclusive expressions of masculinity. By straddling the line between personal expression and societal influence, their public appearances offer a rich site for examining how contemporary celebrity culture both challenges and perpetuates traditional gender hierarchies. The analysis underscores the potential of celebrity-driven fashion to serve as a catalyst for redefining masculinity in the modern age, suggesting a gradual, yet significant, shift in societal norms and expectations.

This chapter focuses on the interplay between visual culture and the construction of masculinities, focusing on the mediated representations of promotional appearances of actors Timothée Chalamet, Paul Mescal, and Barry Keoghan. The chapter examines the site of production of these images and argues that understanding the nuanced production of masculinities extends beyond mere aesthetics, requiring a critical examination of the external narratives and conditions underpinning image creation. The chapter situates these visual representations within the broader politics of their production, offering a lens through which to interrogate the decision-making processes and contextual factors that shape our appreciation of these images. The chapter explains how traditional gender norms are challenged and queered, thereby subverting conventional expectations of cisgender heterosexual masculinity. It critically examines the technological, compositional, and social modalities inherent in image production, revealing how camera technology, stylistic expression, and the symbiotic relationship between images, celebrity culture, and capitalist imperatives influence narrative authenticity and the portrayal of gender. By unpacking the motives behind image production and consumption, this inquiry unveils the complex dynamics of identity, queerbaiting practices, and the commodification of gender and sexuality within media representations. It prompts reflection on the emancipatory potential of visual artefacts against their entanglement with profit-driven agendas and normative constructs, advocating for a vigilant approach to the consumption of visual culture. This critical examination not only challenges existing gender norms but also highlights the susceptibility of images to co-option by dominant discourses, urging a deeper understanding of masculinity in contemporary visual culture.