2012
DOI: 10.1108/17582951211210924
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Strategic creation of experiences at Shanghai World Expo: a practice of communification

Abstract: PurposeThe purpose of this paper is to contribute to our understanding of the underlying rationale for why companies participate in mega‐events in general, and in mega‐events in emerging economies – such as the 2010 Shanghai Expo – in particular. Of particular interest are the ways that companies use an event to advance their own purposes, and how experiences are created that use aspects of an event setting such as Expo 2010.Design/methodology/approachThe study is based on a participatory, ethnographic and lon… Show more

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Cited by 16 publications
(10 citation statements)
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“…Alongside the growing importance of new 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 u s i n e s s , M a n a g e m e n t : a n I n t e r n a t i o n a l J o 6 technology, sponsorship activation has been influenced by wider shifts in marketing towards an experience orientation, heralded by authors such as Gilmore (1998) andSchmitt (1999), who recognise the potency of customer and consumer experiences in generating emotional connections that can deliver a competitive edge for organisations in crowded marketplaces. Such a focus on customer and brand experience is central to notions of event marketing (Björner and Berg, 2012), defined by Whelan and Wohlfeil (2006, p. 314) as:…”
Section: Changing Approaches To Sponsorshipmentioning
confidence: 99%
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“…Alongside the growing importance of new 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 u s i n e s s , M a n a g e m e n t : a n I n t e r n a t i o n a l J o 6 technology, sponsorship activation has been influenced by wider shifts in marketing towards an experience orientation, heralded by authors such as Gilmore (1998) andSchmitt (1999), who recognise the potency of customer and consumer experiences in generating emotional connections that can deliver a competitive edge for organisations in crowded marketplaces. Such a focus on customer and brand experience is central to notions of event marketing (Björner and Berg, 2012), defined by Whelan and Wohlfeil (2006, p. 314) as:…”
Section: Changing Approaches To Sponsorshipmentioning
confidence: 99%
“…In this context, designing ESA to achieve the sponsor's objectives demands an enlightened and creative approach that recognises what will entice and engage prospective attendees (Alcántara et al, 2014;Nelson, 2009 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 , the potential to facilitate a sense of community through shared experiences (Björner and Berg, 2012), and the capacity to provide and provoke opportunities for on-going and consistent conversations with consumers and other stakeholders (Crowther and Donlan, 2011). In short, the creation and facilitation of these kinds of interactions between corporate sponsoring entities and their stakeholders can be a source of competitive advantage to the sponsor brands (Prahalad and Ramaswamy, 2004).…”
Section: Event Design and Marketingmentioning
confidence: 99%
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“…Increasingly, the research considers satisfaction, emotions, togetherness, a state of need, novelty, nostalgia and escapism as key variables (Scott, 1996;Nicholson and Pearce, 2001;Lee at al., 2004;Duran and Hamarat, 2014;Pope et al, 2017). There has been a growth in studies in the area of experience design (Schmitt 1999;Poulsson and Kale, 2004;Smilansky 2009;Zomerdijk, 2010) but particularly in the sphere of event design (Monroe, 2006;Berridge, 2007;Kale et al, 2010;;Bjorner and Berg, 2012) demonstrating how events and the physical spaces within events can be purposefully choreographed to create the right conditions for memorable experiences to be derived (Pine and Gilmore, 2000;Getz, 2012).…”
Section: Visitor Motivation and Experiencementioning
confidence: 99%
“…It seems that brand building in the festival context is triggered by increased conspicuousness through WOMM. It appears that the content of information is generated based on the mission of a festival as well as on its professional status and history, that is, according to the festival's particular dramaturgy, choreography and architecture (Björner & Berg, 2012) (see Table 1). These characteristics act as input in starting the conversation in accordance with the 'festival message'.…”
Section: The Variety Of Processes In Employing Wommmentioning
confidence: 99%