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This study aims to contribute to the discussion on the interplay between music and destination advertising by exploring the roles of music in destination promotional videos (DPVs).

Eight focus group discussions on DPVs about Budapest (Hungary) were assessed through thematic analysis. Individuals’ interactions with and perceptions of advertising can be explored in depth through the former, whereas the latter allowed to identify the roles of music in DPVs.

Results show that music plays a very important role in DPVs in which it acts as a conveyor. Viewers associate a DPV’s musical elements and genre with a destination’s character. Here, the use and remix of traditional music was felt to be controversial because of its ability to communicate cultural identity. The music caught the audience’s attention, elicited emotions in them and made them think about the destination in question. An original music track can make a video memorable.

A convenience sample was used with international and Hungarian university students for the focus groups.

Music is a powerful conveyor of the particular characteristics of a destination and if the structural elements of music, such as tempo, rhythm and dynamics, are chosen appropriately, tourism marketers can create compelling promotional videos. By recognising that different audiences are attracted by different genres of music, marketers can target specific tourist segments. Furthermore, tourism marketers are advised to ask locals’ opinions about which music best represents their city’s cultural identity.

Through an understanding of the important role of music in DPVs, this study provides a novel insight into assessing young people’s cognitive and affective responses to music in promotional videos.

The aim of the study is threefold: understanding the interconnections amongst visual and verbal multimodal communication strategies used in food discourse; identifying the themes of celebrity chef's food discourse with respect to pro-environmental behaviour; and providing a methodological framework to visually analyse food-themed videos.

This study uses mise-en-scène and critical discourse and multimodal analyses to gain insights on food discourse from 20 videos shared by a Michelin starred chef on social media platforms.

Results show that a pro-environmental cooking philosophy challenges the normative discourse on food and educates general audiences and foodies alike. Mise-en-scène and discourse analyses of Instagram visual content reveal that leftovers are central to the ethical message and are intertwined – through the aesthetic of the videos-with concepts of inclusivity, diversity and nourishment.

Chefs, and restaurants, are encouraged to recognise their responsibility as role models, thus able to influence the societal production of food discourse.

The findings provide new insights into the role of a celebrity chef in promoting sustainable food preparation and consumption.

The aim of this paper is twofold: to provide empirical evidence of the knowledge-sharing process within virtual communities interested in war heritage sites and to compare user-generated content (UGC) in virtual communities with destinations’ official communication about war heritage sites to identify, original and consumer-oriented narratives.

This study uses field research to investigate selected war heritage sites and to assess the destinations’ on-site communication; in-depth interviews to learn about the destination marketing organizations’ approaches to communication; and netnography with content analysis of text and pictures to evaluate the online knowledge shared within virtual communities on the investigated war heritage sites. A comparison between users-generated content and official destination management organizations’ (DMOs) communication was carried out.

The results show that the destinations under investigation have invested significantly to develop war heritage tourism, but they still struggle to attract tourists. The comparison between DMOs communication narratives and users-generated content shows that DMOs fail to use emotional involvement and accurate historic knowledge which seems to be at the basis of UGC narratives. Indeed, history passionates posts, pictures, comments and exchanges are emotionally engaging and DMOs could benefit from the user-generated content approach to improve institutional communication on war heritage sites.

Further studies could survey history passionates, both online and offline, as to better explore the relationship between contributing to virtual communities’ content and visitation patterns of war heritage sites. Incorporating more emotionally engaging narratives, DMOs could enhance their communication and create virtual spaces where knowledgeable tourists can share information and experiences.

This paper contributes to the understanding of online knowledge sharing in the context of war heritage tourism. The comparison between UGC in virtual communities and official destinations’ narratives shows the potential of spontaneous knowledge sharing versus structured online communication and how the latter could benefit UGC.