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In retrospectives on Brunei’s first feature film Gema Dari Menara (1968), commentators have tended to focus on either its historical representation of Brunei’s booming post-curfew years in the late 1960s as ‘a time capsule of Brunei’s lost pop history’, or the film’s propagandistic nature for Da’wah (religious propagation). In this paper, however, I will concentrate my observations on the aesthetic values of the film itself, including the narrative structure, plot design, camerawork, characterisation and character relationships, as well as the resulting artistic effects manifested by these production elements as a whole.

Putting all the propagandistic elements aside, I would like to argue that Gema Dari Menara, as a family melodrama, is carefully constructed and propelled by the above-mentioned filmmaking techniques. The drama not only tells the story of an intense familial conflict revolving around the theme of faith rooted in the Bruneian tradition, it also implies the necessity of an internal negotiation between the predominant Islamic ideology and the increasingly secularised Bruneian civil society at the time. While the implied negotiation may have been unintended or subconscious in the original making of the film, it is well-balanced and reflective of the political and social reality of Brunei as a British Protectorate in the late 1960s, foreshadowing the current coexistent status quo of the dominance and sacredness of MIB and the secular popular culture in Brunei.

The purpose of this study is to shed light on the tools, processes and negotiations involved in the formation of acceptable current values in the context of goodwill impairment testing. The study raises the questions of how a current value for goodwill becomes a faithful representation and how one expectation about the future becomes more convincing than other expectations.

Drawing on the study of associations, the analysis presents a case study of a large, internationally active organisation. By combining field notes, interview transcripts and a variety of documents, the qualitative analysis focusses on strategies and mechanisms of persuasion.

The findings reveal how epistemological objectivity of current values forms in three moments of relational becoming that codify, depersonalise and proceduralise the valuation task. Further, the study suggests that a convincing argument forms with the help of four enablers: a bricolage of inscriptions, methodological mystification, transformed professional identities and a practical need for closure.

The study contributes with an analysis and illustration of financial accounting as practice, elaborating on the meaning and construction of faithful representation in cases of measurement uncertainty.

The purpose of this article is to collectively work towards understanding and resolving the COVID-19 pandemic issues based on Messersmith's (2018) song, We All Do Better When We All Do Better. Furthermore, Our Identity should not Remain Marked to understand and overcome the workings of a virus whose Identity [DOES NOT] Remain Marked!

Practice-based creation coalesced with analytical writing.

We All Do Better When We All Do Better! The COVID-19 pandemic corresponds to crucial fundamental assumptions which have appeared from adversity anthropology over the past epochs. First, that environmental catastrophes infrequently surface, because calamities are communal and reliant on trans-species relationships. Furthermore, they appear from a blend of threat and susceptibility, with susceptibility as the causal issue. Second, the disaster occurs at manifold ranks concurrently, with responses to a threat; it endangers all the weak issues along with the original threat (Kelman, 2020).

Throughout COVID-19 much of the media left cavernous time gaps, masks turned into tools of rebellion, and power and violence were exercised indirectly on the vulnerable. The virtual campuses of WhatsApp, Facebook and conventional broadcasting are disseminating specialist knowledge in pandemic science; now everyone is certified. They voice a nouveau-vindictive biopolitical language, so we rise towards COVID-19 denialism. And, we turn into unthinking puppets who speed up the transfer of misinformation that moves like an “asymptomatic” cough through an overcrowded bar or beach as all inhale-consume it.

Part of pandemic planning and dealing with the consequential calamity is to integrate instantly the disastrous aspects caused by lockdowns. In this surge of terror and apprehension, we cannot afford to isolate people, even more through shame and prejudice. Each one of us is accountable to support each other and advocate for an all-inclusive healthy community.

Unescapably, as an immigrant, I had never dreaded this “home away from home” and stay anyhow, and I always had something to write home about. But recently I have had “Nothing to Write Home About,” (Madan-Soni, 2019). Migrant employees in most countries including international students were not much more than uninvited guests positioned in a conventional neighbourhood. It is as if your every expatriate-neighbour was plague-ridden and waiting to infect you. But the virus required no genomic or national identity or visa rank, it could cut all lines to get to you. The virus's Identity Is [Not] Marked.

Our Identity Remains Marked (2020) is my probing visual description of how Our Identity Remains Marked, layered, and stratified in stone under authoritarian structures of patriarchy. I read and researched about how Our Identity Remains Marked when humans are othered through the colours of race, gender, national and immigrant status, including all Earth others. Crafting things, creating something engages with a developing field of ecofeminist research on visual and embodied approaches and creativity (VEM Network, n.d; Reynolds, 2021). Painting offered me a therapeutic way of thinking and of using my senses.

Covid-19 pandemic, war, climate emergency and other recent challenges are inflicting tremendous stress to youth. However, death and tragedy are nowadays considered taboo, as there is generally no standardized nor naturalized discussion on the subject, especially with young people. The current multi-crisis scenario is intensifying the need to incorporate an education on tragedy and resilience in our learning systems. In this context, it is necessary to find suitable teaching resources for this educational challenge that are attractive, entertaining and suitable for children and youth. A resource that meets all these requirements are children’s folk songs (CFSs). Apart from the intrinsic educational potential of music, folk songs have a simplicity and musicality that make them an ideal teaching resource. Considering their oral historical transmission, their survival confirms the attraction that this type of composition causes on children. However, to consider CFSs as an adequate resource to carry out an education for death and tragedy, it is necessary to study whether they present a non-negligible proportion of tragic passages and with enough variety of themes. This paper aims to address the study of the presence of explicit tragic content in Spanish CFSs and thus could be considered a cultural resource with transformative educational potential to develop resilience capabilities on the face of tragedy.

An analysis of lyrics of 2,558 Spanish CFSs is presented, using a manual content analysis as well as a computerized content analysis with the aim of identifying the tragic component of these songs and, thereby, assessing their pedagogical potential as a transformative educational resource.

The results obtained show a considerable presence of death and tragedy (19.78%) and a variety of tragedy dimensions. CFSs have been transmitted orally not only as a ludic resource, but also to prepare children for life (and death). The results show the complementarity of both analyses to avoid subjectivity while considering the underlying meanings of the songs.

This task had previously not been approached in an automated manner in the literature, nor there had been a similar study with a sample of this magnitude. The outcomes obtained show the considerable presence of tragedy in Spanish CFSs and emphasize the interest of this currently undervalued didactic resource.

This chapter advances our understanding of collaborative innovation processes that span across organizational boundaries by providing an ethnographic account of idea generation dynamics in a member-initiated online songwriting community. Applying a science and technology studies perspective on processes “in the making,” the findings of this chapter reveal the generative entanglements of three processes of content-in-the-making, skill-in-the-making, and community-in-the-making that were triggered and maintained over time by temporary stabilizations of provisional, interim outcomes. These findings also elucidate interferences between these three processes, particularly when an increased focus on songs as products undermines the ongoing collaborative production of ideas. Regular interventions in the community design were necessary to simultaneously stimulate the three processes and counteract interfering tendencies that either prioritized content production, community building, or skill development, respectively. The authors conclude that firms seeking to tap into online communities’ innovative potential need to appreciate community and skill development as creative processes in their own right that have to be fostered and kept in sync with content production.

This article analyzes the concepts of experience economy and promotion of authenticity at The Venetian Hotel and Casino in Las Vegas by exploring the resort's tangible and intangible heritage use in design and marketing strategies.

This qualitative study conducts a content analysis of marketing material, historical documents, and site observations.

Visitors' active involvement, combined with The Venetian's use of tangible and intangible heritage, is used in creating an authentic themed experience. In addition, our study suggests that authenticity constitutes a key concept for today's hospitality industry.

This study centers on a single case study, and requires adjustments in order to be replicated. However, The Venetian represents one of the most prominent models followed by the hospitality industry worldwide.

This analysis provides a baseline for comparison among resorts that have theming but do not integrate it in the same way, or in general, to other professionals and academics considering themed experiences.

The manuscript centers on several aspects that are being debated in numerous fields, from business to sociology, such as customers' desire for authentic experiences through the creation of themed attractions.

This research fills a gap in hospitality marketing research into authenticity and themed experience by investigating how The Venetian Hotel and Casino uses the heritage of another, tourism-focused city (Venice) to promote itself. The investigation uncovers how themed attractions in hospitality create an experience-based involvement that centers on the authenticity of the theme (in our case cultural heritage) they replicate.

Investigate the effects on audiences of musical events based on the digital simulation of artists who have already passed away, utilizing comments on YouTube recordings of these events.

Comparative analysis of the two most viewed videos of events featuring the singers Michael Jackson and 2Pac, with a combined total of 150,000,000 views and 100,000 comments, employing a quantitative and qualitative linguistic analysis of the most frequent words in the comments.

The Michael Jackson event elicits ambiguous reactions from audiences who appreciate the opportunity to see an artist who has already passed away but simultaneously express unease due to the fact that the artist is deceased. The comparison with the 2Pac event, which is received more positively, suggests that the technological quality of the simulation is a determining factor in making the experience of the event positive or negative. This implies that technology serves to make the event more lifelike.

This is the first systematic study of audiences of digital post-mortem musical events based on YouTube comments. It claims that the simulation of the artist is not merely a reproduction of the artist as they were alive, but a different type of event that can evoke equally strong emotions because it challenges the barrier of death.

This study aims to understand pathways to success for food video bloggers (food vloggers) by identifying the drivers of positive reception among audiences. It examines how entertainment, information and interaction values affect attitudes toward food videos and vloggers. Additionally, it investigates the potential for product placement by studying the effects of attitudes toward food videos and vloggers on consumers’ behavioral intention regarding purchasing featured food ingredients.

An integrated model informed by theories (uses and gratification and stimulus-organism-response) was developed. An online survey was administered to 339 Vietnamese social media users. The data were analyzed using partial least square structural equation modeling (PLS-SEM).

The results show that food videos’ entertainment and information value positively impact the attitude toward food videos. However, the interaction value does not have a significant impact. All three values (entertainment value, information value and interaction) impact the attitude toward food vloggers. Both attitudes significantly influence purchase intention, showing that there is a pathway to product placement. The frequency of social media use can moderate these relationships, with a negative effect on the attitude toward food videos and a positive effect on the attitude toward food vloggers.

These findings provide insights into vlogger success pathways, not only in terms of audience reception but also in terms of product placement. This study offers comprehensive suggestions on pathways for success that are interesting for vloggers, food business operators, restaurant managers and audiences on how to design effective food videos and potentially encourage consumer purchases. These pathways can also be valuable for other behaviors, such as food safety advice and food waste reduction.

The purpose of this study is to examine the potential of integrating material from the arts into postgraduate curricula to deepen students’ engagement with marketing phenomena. The authors assess the use of arts-based activities, within a broader critical pedagogy, for encouraging imaginative and analytical thinking.

The authors devised two learning activities and an interpretive method for studying their value. The activities were an individual essay connecting themes in song lyrics to marketing, and a group photography project. These were applied, within a broader, critical approach, in postgraduate modules on sustainability, ethics and critical marketing. Data collection comprised diaries kept by the teachers, open-ended feedback from students and students’ assignments.

Students showed high levels of engagement, reflexivity and depth of thought, in felt experiences of learning. Their ability to make connections not explicitly in the materials, and requiring imaginative jumps, was notable. Several reported lasting changes to their behaviour. Some found the tasks initially intimidating or, once they were more engaged, stressful or saddening.

This adds to scholarship on management education by showing the usefulness of an arts-based approach towards a transformative agenda.

It offers a template of how to draw from the arts to strengthen critical engagement upon which marketing teachers can build. It also contains practical advice on the challenges and benefits of doing so.

The authors provide evidence that this approach can enhance sensitivity and reflexivity in students, potentially producing more ethical and sustainable decisions in future.

The pedagogical interventions are novel and of value to lecturers seeking to enhance critical engagement with theory. An empirical study of an attempt to integrate arts into teaching marketing represents a promising direction, given the discipline’s creative nature.

This paper examines the national solidarity in Brunei Darussalam during the COVID-19 pandemic and its consequential impact on younger generations. Utilising Emile Durkheim's solidarity theories, I examine how young people's social media use builds on state discourse in the pandemic. I contend that a shift towards an organic society is visible through a social cohesion that is based on differentiated roles. I argue that the citizenry plays a vital role in the forward momentum toward Industrial Revolution (IR) 4.0, which illustrates that solidarity cannot be forged as a top-down directive. By prompting economic and creative divisions of labour, the local use of social media in a public health crisis has shown the government a new way to foster solidarity. Significant implications for youth as future leaders of the nation are discussed.