Purpose: This research explores how protest events can change and develop over time, through an analysis of stakeholder perceptions of the EXIT festival in Serbia. In doing this, it builds on previous research into protest events from a critical events studies perspective and has implications for the management and understanding of events linked to social movements. Design/methodology/approach: This research took a neo-institutionalist perspective and is based on 18 stakeholder interviews, which were analysed using reflexive thematic analysis. Purposive sampling in the highly-networked city of Novi Sad, Serbia, allowed for the inclusion of diverse participants from politics, NGOs, media and the festival itself. Findings: The findings reveal that the EXIT festival has departed significantly from its original protest roots. Although it is now perceived as part of the dominant political culture in Serbia, it still has the potential to campaign on issues of relevance to the region, which is unrealised. This research demonstrates that the neo-institutionalist perspective can offer fresh insights for research into protest events. Taking this perspective suggests practical implications for the managers of events with protest roots and for social movements seeking to use protestival-style methods to achieve social change. Originality/value: This paper provides a new theoretical perspective on protest events and proposes a new model that can be used in future research into protest events that persist over time. It also suggests implications for the management and development of protest events within social movements.
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Cultural festivals can attract cultural tourists, extend the tourist season and add vibrancy to the cultural scene. However, there is relatively little research on how festivals affect tourist experience of the destination or outcomes such as satisfaction or repeat visitation. This study used the Event Experience Scale to measure tourist experiences at three cultural festivals in Hong Kong – the Lantern Festival, Dragon Boat Festival and the Cheung Chau Bun Festival. The findings show that tourist experiences of these festivals are distinct, and they positively affect destination image and behavioural outcomes. Relative to permanent attractions and tours, festival experiences elicit stronger affective, conative and novelty responses. Festivals also convey a stronger impression of Hong Kong as a destination exhibiting Chinese and traditional culture, but less as a global city. The festival experience is associated with positive outcomes, namely greater satisfaction, intention to recommend and intention to return.
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This paper explores how so-called ‘Web3’ blockchain projects are materially and socially constituted. A blockchain is an append-only distributed database. The technology is being hyped as applicable for a whole range of industries, social service provisions, and as a fix for economic disparities in communities left behind by mainstream financial systems. Drawing on case studies from our ongoing research we explain how, despite being virtual, Web3 projects are dependent on clearly defined spaces of production from which they derive their speculative value. We conceptualise this relationship as Crypto/Space, where space and blockchain software are mutually constituted. We consider how Crypto/Spaces are produced in three ways: 1) how project developers are adopting a parasitic relationship with host locations to appropriate energy, infrastructure, and local resources; 2) how projects enable ‘virtual land grabs’ where developers are engaging in land acquisitions, and associated displacement of local people, with no real intention to use the land for the declared purpose; and 3) how blockchain technology and speculative finance imaginaries are inspiring new anarcho-capitalist crypto-utopian ‘Exit zones’, often in the Global South. Far from being a zero-sum virtual game world, we argue that cryptocurrency projects are parasitic, often requiring predation on poor and otherwise marginalised communities to appropriate resources, onboard new users and enable favourable regulation.
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In dit onderzoek wordt gekeken hoe documentairemakers innovatieve technologieën inzetten om recht te doen aan de complexiteit van sociaalmaatschappelijke vraagstukken en welke ethische vraagstukken daarbij komen kijken.Doel Hoe zien documentairemakers hun maatschappelijke rol en hoe gebruiken zij nieuwe opname- en presentatietechnologieën als Virtual Reality, 360°-camera’s, en drones? We onderzoeken de veranderende werkwijzen en rol van documentairemakers in het representeren van complexe maatschappelijke issues. Resultaten Dit onderzoek loopt momenteel nog. Resultaten worden tijdens filmfestivals en interdisciplinaire bijeenkomsten waar documentairemakers bijeenkomen getoond. Ook zal het project een rol spelen tijdens IDFA film festival. Looptijd 01 januari 2020 - 31 januari 2022 Aanpak Eerst worden er interviews gehouden met documentairemakers. Daarna gaat het interdisciplinaire onderzoeksteam aan de slag met een coproduceren van een documentaire. Dit maakproces wordt via actie-onderzoek geanalyseerd.
