Creative Arts Marketing

Hill, Liz; O’Sullivan, Catherine; O'Sullivan, Terry; Whitehead, Brian

doi:10.4324/9781315447681

Cited by 43 publications

(40 citation statements)

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“…In the creative industries sector, theoretical development must take into account that general marketing theory has a number of unique characteristics that set it apart from classical marketing approaches (Colbert, 2001;D'Astous, Legoux, & Colbert, 2004;Hill, O'Sullivan, & O'Sullivan, 1995;Hirschman, 1983). For example, the marketing process for a cultural product begins with the producer, who then determines the market segment that may be interested in purchasing such a product.…”

Section: Theoretical Backgroundmentioning

confidence: 99%

Affective commitment and future purchase intentions in the performing arts: An empirical approach

Gervilla

Ventura

2015

Can J Adm Sci

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We examine whether affective commitment can influence customers' future purchase intentions. Our empirical approach focuses on the performing arts sector in which we interviewed 927 theatregoers at the entrances or exits to 150 theatres throughout Spain. The theoretical relationship management model proposed herein provides an analysis of the role played by satisfaction, trust, and commitment in future purchase intentions. Our findings reveal that affective commitment mediates the relationship between future purchase intention and both satisfaction and trust. We discuss the theoretical and management implications of our findings and identify some possible future research directions. Copyright © 2015 ASAC. Published by John Wiley & Sons, Ltd.

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Section: Theoretical Backgroundmentioning

confidence: 99%

Affective commitment and future purchase intentions in the performing arts: An empirical approach

Gervilla

Ventura

2015

Can J Adm Sci

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“…It has been well acknowledged in the marketing literature that positive emotional states associated with an experience give rise to behavioural intentions including intention to recommend (Wakefield and Blodgett, ; Hill et al ., ; Grönroos, ). This is because when consumers are satisfied with a consumption experience, their tendency to say positive things about, and recommend it to others, increases (Cronin et al ., ).…”

Section: Conceptual Model and Hypothesesmentioning

confidence: 97%

Flow within theatrical consumption: The relevance of authenticity

Aykol

Aksatan

İpek

2016

J of Consumer Behaviour

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Despite its relevance and potential for explaining various arts consumption phenomena, examination of flow within that context has been limited. This study aims to expand knowledge about arts consumer behaviour by integrating flow construct into an explanatory model that examines the relationships among authenticity of core and peripheral aspects of the arts experience, flow, enjoyment, and intention to recommend. Data were collected from 219 theatre audience members through a self‐administered questionnaire and analysed with structural equation modelling. Results show that authenticity concerning the core product positively influences flow and enjoyment, whereas authenticity of venue is instrumental in providing the audience with enjoyment. Flow experienced in theatre is conducive to enjoyment, which, in turn, has a positive effect on intention to recommend. Managers of arts organisations can make inferences from study findings for developing customer communication and education strategies, designing performing arts venues, and managing customer feedback mechanisms. Copyright © 2016 John Wiley & Sons, Ltd.

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“…Hill et al (2000) se refieren también a la búsqueda de un equilibrio en este aspecto y lo denominan equilibrio entre la excelencia y la accesibilidad. También Diggle (1994, p.23) aboga por un equilibrio en la programación y lo expresa así: "El arte de programar para una organización cultural está basado en el conocimiento del público, de lo que quiere ahora y de lo que se le puede llegar a convencer que quiera en un futuro y relacionando ambas percepciones, obtendremos lo que la organización es capaz de ofertar".…”

Section: El Difícil Equilibrio Entre El Enfoque Producto Y El Enfoqueunclassified

Development of young opera Audiences. Reflections on the role of the artistic program

Cuenca

2017

cuadernosgestion

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Creative Arts Marketing

Cited by 43 publications

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Affective commitment and future purchase intentions in the performing arts: An empirical approach

Affective commitment and future purchase intentions in the performing arts: An empirical approach

Flow within theatrical consumption: The relevance of authenticity

Development of young opera Audiences. Reflections on the role of the artistic program

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