694 research outputs found
Advertising as a Creative Industry:Regime of Paradoxes
Get PDFAt the crossroads of culture and commerce, the advertising industry is a regime of paradoxes. This book examines the place of advertising in today’s creative industries, exploring the major challenges advertisers confront as they engage with other creative sectors. Izabela Derda, author, media scholar, and industry expert, offers insights into how the industry keeps deconstructing its own creative processes and collaborative models as it attempts to stay relevant. Through extensive case studies and interviews with industry professionals and thought leaders, this book examines the sector’s struggle to adapt to new business models and to monetize creativity in today’s media landscape, from re-engaging audiences through media more typical of arts and entertainment to managing intricate cross-sectoral creative collaborations. From redesigning workplaces to satisfy the expectations of the youngest generations of creatives to reconsidering the paradigm of conventional creative teams, the advertising sector has swiftly adjusted to the seismic changes in today’s media landscape. The book will be of interest to scholars and students of creative media, advertising, and media studies, as well as those interested in understanding the changing complexities and latest innovations of the creative industries. Advertising professionals, artists, and policymakers will find relevant insights and possible solutions for the major challenges facing the advertising industry today. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a CC-BY license.</p
Izabela Moszczeńska’s publicistic works
No full textThere are no well-known Polish female journalists or novelists from before the middle of the 19 century. This does not mean that they did not exist, but that they have been forgotten. The first Polish women writer was Gertruda, daughter of Mieszko II and Rycheza, who wrote in the 11th century. The first Polish woman author well known during her lifetime was Elżbieta Drużbacka née Kowalska (18th century). The breakthrough moment for women writers was positivism, when Eliza Orzeszkowa, Maria Konopnicka, Maria Rodziewiczówna, and Gabriela Zapolska all wrote. The Young Poland movement brought us many interesting articles, essays, and manifestos authored by females, but most of them existed only as first editions and are now almost inaccessible to readers. A particularly interesting woman was Izabela Moszczeńska, a writer, journalist, educationist, translator and feminist activist. Moszczeńska was the founder of the League of Polish Women and contributed to voting rights for women. Her literary and journalistic works are still timely and are a perfect starting point for modern feminist research
Izabela Czartoryska i jej (fikcyjne) toruńskie peregrynacje
Get PDFThe topic of the article is Krzysztof P. Czyżewski’s book – "Izabela. Świat w płomieniach" [Izabela. The World in Flames]. The author tries to show how the writer used the figures of memory (protagonist’s name and fictional breastpin) to create a historical novel with literary regionalism themes. The object of reflection is the main character’s creation and its influence on the perception of an Enlightenment Era and regionalist motives. Considerations are summed up by referring to cultural memory theory
Być po stronie wykluczonych – Izabela Filipiak (Izabela Morska)
Get PDFIzabela Filipiak, as a one of the first authors in free Poland, undertook a creation of a narrative of the other, and took the perspective of the excluded. In a famous novel from 1995 entitled “Absolute amnesia”, which hangs over on the motive of maturation, she narrated about the peace of history of the PRL (Polish National Republic), which relates to the events in the coastal area of Gdańsk in 1970, seen with eyes of a young girl, who considered the reality of those times on her own. Surely Izabela Filipiak can be regarded as a representative of the nowadays fashionable and readily practiced herstory. She developed further this trend in her writings consequently, at the level of the methadiscourse in her textbook-essay: “Creative writing for the young girls” and also in a discourse devoted to Maria Komornicka, entitled: “Areas of difference”. A monograph, as formulated in a review by Krystyna Kłosinska, is a place from which the cultural mechanisms of the exclusion can be seen. Izabela Filipiak shows a rebellious attitude toward a discourse which implements a symbolic violence, based on awarding a right to a majority, only because it is a majority. She takes a part of the excluded both with her writings and her own biography (she was 1998 the first known person in a polish public life, who decided for coming out and publicly disclosed her lesbian sexual orientation). She had been also a president of the antidiscrimination Foundation of Writers for the peace, which declared “initiation and support of the creative activities of people belonging to minority groups”. In this sense Izabela Filipiak can be out of doubt regarded as defiant and a person who attempt to deconstruct the present system of standards, as far as such issues are concerned as a gender and sexuality. She is a feminist, an essential personage for the polish gender studies. Izabela Filipiak represents the writer (innovator and apocrypha author), the publicist and the scientist. With her creation, she contributed to the development to the polish queer studies. For her opposition to the exclusion of the other she paid a high price and had decided to leave temporarily the country and to live as emigrant.Izabela Filipiak, jako jedna z pierwszych twórczyń w wolnej Polsce, podjęła się konstruowania narracji Innego, przyjęła w swojej twórczości perspektywę wykluczonych. W głośnej powieści z 1995 roku pt. „Absolutna amnezja”, osnutej na motywie dojrzewania, opowiedziała fragment historii PRL-u (wydarzenia na Wybrzeżu z roku 1970) widzianej oczyma dziewczynki/dorastającej dziewczyny, na swój sposób kontestującej rzeczywistość tamtego czasu. Śmiało można uznać I. Filipiak za reprezentantkę tak modnej dziś i chętnie uprawianej herstorii. Ten trend pisarka będzie rozwijała w swojej twórczości konsekwentnie, na poziomie metadyskursu poprzez podręcznik-esej „Twórcze pisanie dla młodych panień”, aż po rozprawę poświęconą Marii Komornickiej, zatytułowaną „Obszary odmienności”. Monografia stanowi – jak to ujęła w recenzji Krystyna Kłosińska – „miejsce, z którego można zobaczyć kulturowe mechanizmy wykluczeń”. I. Filipiak wykazuje się postawą niepokorną względem dyskursu stosującego przemoc symboliczną, opartego na przyznawaniu racji większości tylko z racji tego, że jest większością. Opowiada się zarówno swoją twórczością, jak i biografią po stronie wykluczonych (w 1998 roku była pierwszą znaną osobą w polskim życiu publicznym, która zdecydowała się na „coming out”, publicznie mówiąc o swojej lesbijskiej orientacji psychoseksualnej; była też prezeską antydyskryminacyjnej Fundacji Pisarze dla Pokoju, deklarującej „inicjowanie i wspieranie twórczej działalności osób należących do grup mniejszościowych”). W tym sensie niewątpliwie można uznać Izabelę Filipiak za niepokorną – dekonstruującą dotychczasowy system norm, w tym w dużej mierze w odniesieniu do zagadnienia ludzkiej płciowości i seksualności; jest ona feministką, jedną z istotnych postaci dla polskich „gender studies”. I. Filipiak jest zarówno pisarką (nowatorką, apokryfistką), publicystką, jak i naukowczynią. Swoją twórczością przyczyniła się do rozwoju polskich „queer studies”. Za niezgodę na społeczne wykluczanie Innego płaciła wysoką cenę, okresowo decydując się na wyjazd z kraju i status emigrantki.Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00
Izabela Lutosławska: escritora, traductora, publicista
Get PDFIzabela Lutosławska: a writer, a translator and a publisherThe article atempts to present Izabela Lutosławska daughter of Sofía Casanova and Wincenty Lutosławski as a novelist and translator. The author suggests interpreting the works of Lutosławska in the political, religious and philosophical context of the thirties, since her novels show the influence of national Polish ideology, Catholic writers, and such thinkers as Bierdiajew, Maritain. The popular concept of “new Middle Ages” is related to one of crucial motifs of Lutosławska, that is the figure of a woman mother incarnating love. Simultaneously, the values usually underestimated in men’s society: “everyday-life”, the emotional dimension of a human being as well as women’s trivial “bustling” become a way of discovering or fulfilling the meaning of human existence a way juxtaposed to the “intellectual” one.Izabela Lutosławska: a writer, a translator and a publisherThe article atempts to present Izabela Lutosławska daughter of Sofía Casanova and Wincenty Lutosławski as a novelist and translator. The author suggests interpreting the works of Lutosławska in the political, religious and philosophical context of the thirties, since her novels show the influence of national Polish ideology, Catholic writers, and such thinkers as Bierdiajew, Maritain. The popular concept of “new Middle Ages” is related to one of crucial motifs of Lutosławska, that is the figure of a woman mother incarnating love. Simultaneously, the values usually underestimated in men’s society: “everyday-life”, the emotional dimension of a human being as well as women’s trivial “bustling” become a way of discovering or fulfilling the meaning of human existence a way juxtaposed to the “intellectual” one
Tradurre il genere. Madame Intuita di Izabela Filipiak
Get PDFTranslating gender: Madame Intuita by Izabela Filipiak – Based on camp aesthetics, masquerade, irony
and intertextuality, the poetry volume Madame Intuita (2002) by the Polish writer Izabela Filipiak
aims to dismantle gender stereotypes and patriarchal linguistic codes. When translating her poems,
both grammatical and social gender issues should be taken into due account. In the paper, the author
analyses his own Italian translation of Filipiak’s poems (published in 2007) to explain the strategies
used to preserve gender elusiveness, gender specification, and gender fluidity, as they play a key role
in the writer’s poetic imaginary
Communicating Brand Identity: In-Person Experience in Art Museums
No full textIn this thesis, I introduce and test a novel research design to study how art museums develop and convey their brand identity through their physical environment, with a focus on in-person experience design. Specifically, this process centers on the observation of sensory elements, spatial arrangements, architectural choices, curatorial practices, and commercial interfaces. The methodology is structured as a comparative case study between two Dutch museums: Rijksmuseum and Van Gogh Museum in Amsterdam's Museumplein.
The central research question "How do art museums utilize in-person experience designs to craft and communicate their distinct brand identity?" is addressed by means of qualitative research. The methodology is composed of sensory ethnographic observation as a method to collect data, data analysis is conducted by means of thematic analysis.
Findings reveal an intricate interplay between explicit and implicit strategies. Rijksmuseum projects an identity based on institutional authority rooted in national heritage, while Van Gogh Museum conveys a more emotional identity based on empathy and authentic connections.
Theoretically grounded in a multifaceted understanding of the museum experience, and employing two established frameworks - Retail Experience Analytical Framework's dimensions (Paik & Lee, 2020, p. 469) and the Brand Identity Prism (Kapferer, 1992, pp. 43-49) - this study offers insights into museums' strategies to leverage physical space with the aim to communicate their unique brand identity
Belonging in the Museum: How Dutch Art Museums Can Brand Themselves for Young Adults
No full textABSTRACT
Young adults are the demographic least likely to visit art museums in the Netherlands, despite the
sector's overall recovery since the COVID-19 pandemic (Berg et al., 2024, p. 30; Binnen Bij Musea,
2024). This trend is also observed internationally and is often attributed to perceptions that museums
are elitist, irrelevant, or unengaging (Mason & McCarthy, 2006, pp. 21-23; Batat, 2020, p. 109).
While earlier research has examined programmatic and educational outreach, the role of museum
branding and institutional identity in shaping young adults' perceptions remains underexplored. This
study addresses this gap by asking: How can Dutch art museums brand and position themselves to be
perceived as relevant and attractive by young adults, fostering a sense of belonging?
A qualitative research design was used, based on thirteen semi-structured interviews with young
adults aged 19 to 28 living in the Netherlands. Participants were selected through purposive sampling
to reflect a diversity of museum experiences, interests, and cultural backgrounds. Thematic analysis
followed Braun and Clarke's (2006, pp. 77-101) six-phase approach, with codes and themes
developed inductively from the data and interpreted through a constructionist lens.
The study is informed by a multidisciplinary theoretical framework combining Customer-Based
Brand Equity (Keller, 1993, pp. 1-22; 2003, pp. 7-20), social infrastructure and belonging (Fortune,
2020, pp. 181-191), Uses and Gratifications Theory (Katz et al., 1973, pp. 509-523), cultural capital
(Fyfe, 2004, pp. 47-67), self-congruity theory (Sirgy, 1985, pp. 195-206), brand positioning (Saqib,
2019, pp. 2616-2631), and audience development (Ayala et al., 2020, pp. 306-327).
Findings reveal that while many young adults perceive museums as exclusive, institutional, or
difficult to relate to, they nonetheless express a strong interest in cultural engagement. A sense of
belonging was fostered when museums communicated in accessible, inclusive, and emotionally
resonant ways, offered diverse representation, and created space for peer-based connection and
validation.
The study concludes that Dutch art museums can enhance their relevance to young adults by
rethinking branding strategies to center identity recognition, cultural accessibility, and emotional
connection. These insights offer practical guidance for museums seeking to become more relational,
socially embedded, and meaningful across generations
Hatewatching for Profit
No full textIn the age of algorithm-driven media and participatory digital culture, hatewatching (watching content to critique or mock it) has become a notable audience practice. This thesis explores how online communities engage with and reinforce hatewatching behaviors in discussions surrounding the After- film series, a romantic drama franchise adapted from fanfiction. Despite widespread criticism and depictions of a toxic relationship, the series maintains cultural visibility and online relevance.
A qualitative thematic content analysis was conducted on 315 user comments from Reddit and TikTok, guided by grounded theory coding techniques (open, axial, and selective). These platforms were strategically chosen for their complementary communicative affordances: Reddit facilitates in- depth, text-based discussion and reflection, while TikTok emphasizes affective, short-form, and often performative engagement. This contrast enabled a more holistic understanding of how hatewatching manifests across different modes of digital interaction.
The analysis identified four dominant hatewatching patterns: Ironized Enjoyment, Reluctant Persistence, Community Bonding, and Hatewatching as Meta-Aware Performance, alongside two counter-patterns: Genuine Critique and Resistance to Hatewatching. These findings were interpreted through a multidimensional theoretical framework, incorporating concepts from the attention economy (Franck, 2019), affect theory (Ahmed, 2004), fan and anti-fan studies (Gray, 2019), and participatory culture (Jenkins, 2018).
Results show that users engage with the After series through irony, self-aware critique, and emotional contradiction. Hatewatching functions not merely as rejection but as a productive, socially embedded form of engagement. Through shared memes, ironic captions, and ritualized viewing habits, users contribute to the franchise's longevity and algorithmic visibility, demonstrating how negative affect can serve as a promotional tool in the digital media landscape.
This study contributes to broader understandings of contemporary audience practices, especially the interplay between cultural critique and platform economies. It also highlights the need for further research into the sociocultural implications of hatewatching, particularly when it involves media that romanticizes harmful relationship dynamics
Digital technologies as shaping the visitor experience
No full textIn the context of the digital revolution, the use of digital technologies within the cultural field is increasing rapidly. Museums have opened their doors to visitors after a closure due to the global pandemic, all while emerging technologies such as AI and Machine Learning are gaining prominence across sectors, including museums. At the same time, ICOM’s museum definition has also undergone a transformation, with a renewed definition in 2022 highlighting the importance of visitor experiences in museums. To gain a better understanding of the use of digital technologies and museum experiences during this transitional phase, this thesis aimed to generate new knowledge on how museum professionals view the use of digital technologies in their exhibitions as facilitators of audience-centric experiences. Ideally, the purpose was to include countries that have incorporated digital technologies into their exhibitions. Thus, this thesis conducted in-depth interviews with museum professionals from the countries of Finland and the Netherlands. To further guide the research, this thesis proposed the following research question: How do museum experts perceive the role of digital technologies in supporting museums with delivering audience-centric visitor experience?
Based on the empirical data generated through the in-depth interviews, the thesis conducted a thematic analysis, resulting in significant findings in the ways museum professionals view digital technologies. While the adoption of audience centrism is not a linear shift, the experts highlighted several ways technologies support visitor experiences. The Netherlands and Finland had overlap in the expert views, however, some discrepancies were also found. Experts from both countries are interested in ways to facilitate active participation, virtual museum spaces and personalised experiences. The Dutch experts were more receptive towards allowing the visitor to hold more power within the exhibitions, mainly by increasing autonomy in the creation of their museum experiences. Meanwhile, the Finnish experts emphasised the opportunities digital technologies have for more diverse storytelling strategies. From the interviews with Dutch experts, the collection and use of visitor data also surfaced, which has been concluded as one of the areas for further research. Considering the research question, it was found that museum experts in Finland and the Netherlands have diverse expectations for digital technologies. This means that positive outlooks on the use of technologies have been expressed, with many case examples, however, it was also emphasised that digital technologies should always be incorporated with a specific purpose in mind
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