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Despite brands’ growing use of social media, most research has overlooked the impact of brand perceptions, particularly that of a family brand identity and perceptions of authenticity. Often the purpose of a social media post is to positively change or enhance these perceptions and, consequently, increase a consumer’s purchase intentions. However, how a post influences purchase intentions, that is, the post-to-purchase journey, is not well understood. This study aims to investigate how characteristics of social media post influence purchase intentions through the mediated effects of social media engagement and perceptions of brand authenticity and how a family brand identity enhances this post-to-purchase journey.

Drawing on signalling theory, a sequential mediation model is devised, reflecting the post-to-purchase journey. Starting with identifying desirable characteristics of social media content, the sequential roles of social media engagement and brand authenticity and ending with purchase intentions – with the impact of family brand identity overlayed at each step. This model is analysed using partial least squares structural equation modelling and data from 227 UK consumers.

Four desirable characteristics of social media posts are affirmed – creativity, information, persuasion and inspiration. Each was theoretically justified as costly signals and captured different aspects of effective content, indicating their relative importance. The proposed post-to-purchase journey is supported, with family brand perceptions enhancing each step.

Addressing a need to look beyond current conceptualisations and theoretical underpinnings, this paper puts forward a post-to-purchase journey, incorporating brand-related perceptions, resulting in a deeper understanding of how social media builds purchase intentions.

The purpose of this paper is to provide an overview of the philosophical considerations of fake news and provide an alternative view to current conceptualizations of its binary nature. Through an evaluation of existing research, a typology of fake news is presented that considers the possibility that the propagation of fake news about a brand, may be stemming from the brand itself, a previously unexplored field in the literature.

This is a conceptual paper based on extensive literature review on the fields of fake news and knowledge creation, resulting in the creation of a synthesized typology.

The role of power structures greatly influences the ability for a brand to respond to fake news. Externally constructed disinformation is seemingly more difficult for a brand to address, as a result of having limited control over the message. Internally constructed information, while stemming from the brand itself provides the brand with more control, but a greater public distrust as the source of the fake news seems to confirm the disinformation.

This paper presents a typology that contrasts the source of the construction of disinformation and the extent to which the facts have been fabricated. Furthermore, this paper provides future researchers with an alternate understanding of the conceptualization of fake news.

This paper is the first of its kind to establish a typology of fake news on the basis of the source of construction of disinformation. The source plays an important role when assessing the associated brand risks and developing an approach to combat potential negative implications.

The 2019 FIFA (Federation Internationale de Football Association) Women's World Cup in France saw unprecedented levels of success for women's football. FIFA estimates that, for the first time, total global viewership of the tournament reached 1bn. During the tournament, the eventual champions – the United States – saw their midfield veteran, Megan Rapinoe, win the golden boot (top goal scorer) and the golden ball award (most valuable player). In addition to her exploits on the pitch, Rapinoe, one of numerous ‘out’ lesbian athletes competing at the Women's World Cup, also received an unprecedented amount of media coverage. In this chapter, we analyse British print media coverage of Rapinoe during the one-month period of the Women's World Cup (7th June–7th July) and the week after the tournament concluded. Our findings indicate that although Rapinoe is a polarising character, media coverage of her throughout the tournament was generally positive. We show this through Rapinoe as a ‘personality’, Rapinoe as ‘outspoken’ and Rapinoe as a role model.

The death-positive movement can be described as a de-centralised contemporary social movement originating and operating predominantly in the global West, specifically the United States, connecting death workers, educators, artists, journalists, etc., and geared towards encouraging open dialogue about death and dying. It has succeeded in capturing significant media attention over the last few years and is largely driven by its strong social media presence. This chapter looks at ‘playfulness’ within the death-positive movement. Examining the dimension of ‘playfulness’ addresses the affective aspect of communication that in this movement is inseparable from the message. First, the author investigates the aesthetics of representation through death-positive merchandise, produced and advertised by The Order of the Good Death’s (subsequently – The Order) core members. Second, the author considers some of the cultural output produced under the umbrella of death-positivity, but not by the core movement members, specifically taking the first video game to be explicitly marketed as death-positive – A Mortician’s Tale (Laundry Bear Games, 2017) as a case study. Finally, the author analyses the role of entertainment value in the movement’s leaders’ discourse on death, taking leader of The Order Caitlin Doughty’s playful rhetoric on her YouTube channel, Twitter profile, and Instagram pages. The manifesto, found on the movement’s official website (http://www.orderofthegooddeath.com/) encourages its participants to break the ‘culture of silence’ around death, indicating that the whole premise of the movement is based on the supposed presence of death denial in Western countries. Ultimately, the author argues that by eliciting playfulness, this challenge to the social climate becomes a somewhat jovial and enjoyable endeavour and generates response from outside the movement.

Modelling is a research methodology that has received little academic attention since it began to be formulated in the 1970s. On the spectrum of clean language interviewing (CLI) applications described in Chapter 1, the most sophisticated is modelling, and especially modelling that takes place in real time during the interview.

This chapter defines what we mean by ‘a model’ and ‘modelling’ and explains how they are related to CLI. We situate the chapter by recounting how modelling became linked to CLI. To conclude we consider some of the methodological challenges faced by both the interviewee and interviewer involved in a modelling research project.

We also explain how interviewee metaphors discussed in Chapter 3 can support the modelling process. Much of the modelling that takes place during an interview resides in the background of the interaction. To illustrate modelling we provide an annotated transcript of a symbolic modelling interview that uses clean language to model the skill of ‘knowing what is essential’.