Theorising digital personhood: a dramaturgical approach

This paper reports on findings from a study which investigates our digital identities. Through examination of the process of constructing biographical films derived from users’ social media (SM) data, we progress understanding of the digital self. Building on dramaturgical understandings of performance of self, we challenge the dominant views which argue that SM users operating as their ‘authentic selves’ can be empowered by having the potential for contemporaneous multiple selves. Through the introduction of the concepts of SM leakage and multiple temporal selves, we note the challenge of living with these digital self-representations which are sustained over time. We propose strategies for dealing with temporal shifts, as well as dispensing with the notion of the separation of these selves.     

Film marketing in Europe: bridging the gap between policy and practice

Concerns with US domination of European cinema screens and the apparent lack of success of policy makers to support sustainable development of the film industry has meant that these issues have remained topical for policy makers and researchers. This is also evidenced by both media attention and an increased research focus on the film industry, particularly from a marketing perspective.^1–7 To date, neither policy nor empirical research has had a significant impact on the development and understanding of the industry. This paper seeks to bridge the perceived gap between policy and the practice of film marketing in Europe. The interface between film marketing policy and practice in Europe offers an interesting venue to explore. While the macro‐environment is invariably emphasised in terms of its impact on marketing, many marketing academics and practitioners neglect the role that policy plays in shaping the practice of marketing. This paper undertakes an historical analysis of protectionism in the US film industry from its inception and highlights the likely impact of similar protectionism in the European context. It also explains how Hollywood studios control domestic and international markets. The historical overview shows the importance of vertical integration in producing a successful marketing campaign. An exploration of the debate focusing on the call for liberalisation of the global audiovisual market is also undertaken from an industrial and cultural perspective to assess the possible impact that this will have upon film marketing in Europe, in addition to the implications for European cultural identity. Copyright © 2004 Henry Stewart Publications     

Movies

ABSTRACT

The movie has been with us in a variety of forms for over a century. During that time the movie as an artefact has played a number of roles from pure entertainment to political propaganda to a way in which we preserve or pass down memories. The movie moves. Getting its name from the innovation of having moving pictures, with the first film showing a horse galloping as the camera recorded a series of stills in quick succession; the movie is about physical motion, but also about emotional provocation and films have always been implicated in the market, in creating market demand and marketing ideology. So, movies show moving pictures and they serve to move us emotionally. This paper reflects on the development of the movie as a storytelling device, the role that they play in our lives, and why the movies can be viewed as a marketplace icon.     

Trade associations and corporate social responsibility: evidence from the UK water and film industries

In highly structured organisational fields individual efforts to deal rationally with uncertainty and constraints tend to lead, in the aggregate, to greater homogeneity in structure, culture and output. Drawing on institutional theory, this paper develops research propositions regarding the nature and scope of corporate social responsibility (CSR) engagement at trade/industry association level. The cases of the water and sewerage and film industries are used in order to test these propositions. The findings suggest that (a) trade associations in more homogeneous industries are more likely to engage with CSR‐related issues; (b) trade associations in industries that face greater external scrutiny and threats to legitimacy are more likely to engage with CSR‐related issues; and (c) trade associations are more likely to engage with those substantive CSR issues that are of greater concern to the industry's most salient stakeholders. The findings also suggest that trade associations may have a greater tendency to engage in symbolic legitimation efforts through CSR if faced with the task of repairing industry legitimacy.     

Art for the masses or art for the few? Ethical issues in film marketing in the UK

This paper explores ethical issues in film marketing in the UK in terms of access to film. Based on an examination of film marketing theory, practice and policy, the paper identifies three main ethical issues pertaining to marketing in the film industry. These are the discrepancy between national policy and commercial practice in terms of social access, sustainability and diversity of choice. The paper proposes structural changes supported by government policy which promotes an integrated supply chain model as a method for redressing commercial as well as ethical challenges facing the industry. Copyright © 2002 Henry Stewart Publications     

Getting the picture: programme awareness amongst film festival customers

• This study explores how film festival customers become aware of a festival programme compared to general release films. The purpose of this research is to understand the decision-making process in the context of cultural offerings consumption, and the role that customer relationship marketing (CRM) plays. An in-depth interview was conducted with the marketing manager of the festival and three focus groups were conducted amongst infrequent, mid-range and frequent attendees. Findings show that customers value and desire direct communication and that as attendance frequency increases the range of information sources used decreases. The implications for CRM are that greater use should be made of virtual and physical direct communication and that there are opportunities for targeting communications.

Copyright © 2007 John Wiley & Sons, Ltd.     

Multi-stakeholder brand narratives: an analysis of the construction of artistic brands

Abstract

In the case of visual artists, the product they create is inextricably linked to their identities, personalities and career histories in terms of how the art is produced, presented, consumed and positioned and valued in the market. Although artists’ branding initiatives are considered relevant to branding and marketing theory, identifying how these are constructed and managed and identity negotiated through this process is an area that needs further development. This research therefore uses a multi-stakeholder approach to branding theory to examine contemporary artists’ careers to understand how value is added to their ‘product’. Qualitative analysis of artists’ biographies and career histories in the London art market illustrates how value is co-constructed through relationships in a temporal manner that must be strategically managed.