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The purpose of this study is to understand the effect of increasing the intensity of sexual or violent content on consumer responses to online video advertisements, with a particular emphasis on sharing intentions.

The paper uses a between-subjects experimental design across two studies using new to the world online video advertisements as stimuli.

Study 1 finds that increasing the intensity of sexual and violent humor improves advertisement effectiveness amongst men but leads to significantly more negative attitudes toward the advertisement and brand amongst women. Study 2 identifies gender and humor type as moderators for sharing intentions in the presence of audience diversity. While men are more likely to publicly share sexual and violent humor advertisements, social anxiety mediates intentions to share sexual humor advertisements in the presence of greater audience diversity.

The paper offers insights to practitioners regarding the use of risqué forms of humor as part of a digital marketing strategy.

Drawing on and extending benign violation theory, the paper introduces and verifies a theoretical model for understanding consumer responses to the use of risqué forms of humor in online advertisements. It identifies how audience diversity affects sharing intentions for sexual and violent humor-based advertisements on social media.

We study ceremonial adoption of voluntary standards, where participants adopt the standard in principle but do not change their practices. Ceremonial adoption can benefit individual participants, who may be able to reap the benefits of association with the standard at lower cost, but it can be problematic for overall levels of adoption. We conceive of ceremonial adoption as an interaction between strategic incentives of participants and social ties to their audiences, such that not all participants are likely to ceremonially adopt. Our setting is the Leadership in Energy and Environmental Design (LEED) certification for sustainable construction. We study the conditions under which projects register for LEED certification, allowing them to claim affiliation with LEED, but then do not actually finish certification. While our data are correlational in nature, our results suggest that studying the competition for audience members (in our case, occupants) can provide greater understanding of certification behavior as well as overall levels of adoption. Our findings have implications for organizations that design and maintain voluntary standards and for organization theorists who wish to understand field-level change. Thus, we provide more evidence that strategy and organizational theory interact in important and often unexamined ways.

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.

This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.

Based on semi-structured interviews with 18 festival organisers in Rotterdam and participant observation with six festival photographers I show that symbolic and social boundaries are employed in three areas: (1) boundaries in festival format (i.e. [partially] free or ticketed), (2) boundaries in distribution partners and technologies and (3) boundaries in promotional content.

Symbolic and social boundaries are intentionally used by festival organisers to build and delineate festival audiences. Implications are drawn on current understandings of the accessibility of music festival spaces, arguing that festival research should move beyond within-space dynamics to grasp the negotiation of diversity and inclusion at festivals more fully.

While music festivals are often marketed as celebratory spaces that are “welcoming to everyone”, few studies have investigated diversity and inclusion nor marketing and promotion practices at music festivals. This study shows how festival audiences are shaped through marketing and promotion practices.

The purpose of this article is to investigate digital public spaces and audiences and to explore the relationship of digital public spaces to both ideas of nationhood and physical public institutions.

The article investigates tensions arising from the conjuncture of public spaces and digital culture through the lens of the Digital Public Library of America (DPLA). This research uses qualitative content analysis of a range of data sources including semi-structured interviews, primary texts and secondary texts.

The construction of the public library space as a digital entity does not attract anticipated audiences. Additionally, the national framing of the DPLA is not compatible with how audiences engage with digital public spaces.

Drawing on original, qualitative data, this article engages with the prevalent but undertheorized concept of digital public spaces. The article addresses unreflexive uses of the digital public and the assumptions connected to the imagined audiences for platforms like the DPLA.

This paper aims to investigate how the Japanese media conveyed the country’s foreign aid policy and analyse how framing biases in the news differ depending on which language (either Japanese or English) was used in the broadcasts.

This study uses a qualitative single case-study design and conducts a content analysis. The study uses news videos about the fifth Tokyo International Conference on African Development aired on YouTube by the Japanese media using Japanese and English.

The findings reveal subtle but notable differences in the patterns of the framing biases in the Japanese media’s news aired in Japanese intended for the domestic audience, and in the news on the same topic broadcast in English to the international audience.

The limitation of the study is the rather small data set used for the single case study of one event.

Framing biases could lead the general public in a monolingual society to a more skewed view of their government’s policy and its activities abroad. This could be an obstacle to developing a common ground for global issues and cross-border policy agendas.

The study explores an under-researched function of language in international affairs. It highlights how the mass media in a non-English-speaking country uses a dual approach to framing news while addressing different audiences. To the best of the author’s knowledge, the context that this paper deals with is novel because there are limited studies on the nexus between the influence of language choices and media logic in the field of international business.

Many librarians are asked questions about copyright and intellectual property. They may be expected to advise on copyright or provide copyright education as part of their duties. Others may be “voluntold” to take on copyright, which may come as an unexpected addition to their workload. This case study provides suggestions for librarians to increase their copyright knowledge and create copyright education programs.

This case study showcases two copyright education programs created by a librarian in a college and another in a university. The librarians collaborated to learn more about the state of copyright education within academic libraries and explore their commonalities and differences. This case study introduces two copyright education programs and summarizes the state of copyright education within library and information science (LIS) and academic libraries.

The following themes within the two copyright education programs were identified through a case study: the complexity of copyright, the engagement (or lack thereof) across a college or university, the necessity of including copyright in information literacy instruction and the calls for professional development with copyright.

This case study covers two differing institutions so its conclusions may not be applicable to all libraries or educational settings.

Many individuals who are in disciplines or occupations that regularly work with copyright may generate ideas for creating and providing continuing education within their organizations.

Library or education professionals can use the case study’s conclusions to inform and support their ongoing work with teaching and learning about copyright and intellectual property. By doing so, they can better support their students, faculty and institutions.

This research examines the ways in which museums have utilised their Facebook platforms to communicate about climate and environmental-related challenges. The aim is to offer a snapshot of the phenomenon of museums as contributors to communicating climate-related topics and climate change education.

A content analysis of a purposeful sample of 10 museums’ Facebook postings was conducted. The study examines the themes and topics concerning climate issues that museums have posted and communicated about, the nature of the communication and an examination of responses from the audience.

This research reveals that not all museums in the study sample have communicated the different research-informed causes or contributors to climate challenges confronting societies today. There is also very little evidence of dialogic engagement with audience and the public-at-large. Most communication is still one-way focussing on the relaying of information.

This research highlights the roles of cultural heritage institutions such as museums in communicating climate change-related topics and the need to move towards a more dialogic mode of engagement with their audience. Museums have a role in serving as a trusted and inspirational space for public debates and community empowerment for dealing with climate challenges.

This chapter explores the presentation of women's violence in Tamil mega serials. Tamil mega serials are produced in India and aired six days a week on satellite television channels. The story revolves around households with extended families living together and issues affecting women such as family well-being, motherhood and fertility. Women mostly take the role of the main protagonist and antagonist in Tamil serials. This chapter analyses the presentation of violence in 10 episodes of Chandralekha, a Tamil mega serial. Perpetrators of violence in Tamil serials are mainly female antagonists and other characters supporting the antagonists. The rivalry between the protagonist and antagonist centres around the struggle for property or the love of or marriage with a man. The type of violence ranges from mild to severe kinds of physical violence, and non-physical violence. The presentation of violence in Tamil serials reflects gender inequality in society. The meaning of some forms of violence in mega serials is closely related to the traditional gender roles and notion of traditional femininity in society.

The very soul of cultural and arts entrepreneurship (CAE) is aesthetic. However, what is the importance of being aesthetic in CAE? An understanding of aesthetics substantially improves both our comprehension of CAE and our capacity to theorise about entrepreneurship and creative industries. Furthermore, when seeking to understand CAE, the authors expand their knowledge about aesthetics, an ordinary but complex and neglected kind of knowledge. The authors mobilise three perspectives in organisational aesthetics theory (sensible knowing, connection, and judgements) to develop and propose initial ways to connect aesthetics to CAE. These perspectives help to explore and explain the vital importance of aesthetics in CAE and its innovation process. Aesthetics is a source of innovation in CAE, and the authors propose to perceive entrepreneurial innovations as aesthetic learning, persuasion, and flow.