Publikumsforschung in öffentlichen Theatern und Opern: Nutzen, Bestandsaufnahme und Ausblick

Föhl, Patrick S.; Lutz, Markus

doi:10.1007/978-3-531-93297-2_3

Cited by 5 publications

(2 citation statements)

References 11 publications

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“…Moreover, identity-based brand management research widely ignores cultural institutions like opera houses. Most research is focused on specific opera performances or opera houses (Bünsch 2011 and and deals with either socio-demographic or motivational factors (Abfalter 2010;Föhl, Lutz 2011;Jobst, Boerner 2011;Lutz 2013;Reuband 2015). So far, the existing studies that do focus on the type of the opera performance (live-consumed vs. live-streamed) do not take a branding-perspective (Josch 2010, Reuband 2015.…”

Section: Managing Live-operas In the Context Of Digitisationmentioning

confidence: 99%

“…Current studies focus on specific opera performances and particular opera houses (for a review see, e.g., Bünsch 2011 andFöhl, Lutz 2011). Research on the perception of audiences of German opera performances addresses sociodemographic or motivational aspects, and not the brand image (Abfalter 2010;Jobst, Boerner 2011;Lutz 2013;Reuband 2015).…”

Section: Benefits From Needs' Satisfactionmentioning

confidence: 99%

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The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

Roll

Horst

2017

Baltic Screen Media Review

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Today, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.

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Section: Managing Live-operas In the Context Of Digitisationmentioning

confidence: 99%

Section: Benefits From Needs' Satisfactionmentioning

confidence: 99%