Expansion of the core business of traditional media companies in Spain through SVOD services

The strategic importance of the internet for television became evident in the early 2000s, even destabilizing its very concept and finally resulting in convergence towards a profound transformation of the sector. The introduction of global over-the-top (OTT) media services into local markets has led to strategic changes in multimedia groups. This study considers the subscription video-on-demand (SVOD) services of Atresmedia and Mediaset España, the two main traditional media organizations in Spain that form a duopoly in the country’s commercial television sector, with the aim of understanding and evaluating their positioning strategy in this market and the results obtained through the diversification of their core business. Based on an analysis of their content, price, and promotion policies and the results in terms of subscriptions and revenues, slight differences emerge regarding the strategy and scope of these two groups in their own environment in the sector. They compete for customers to achieve growth in the audiovisual market while seeking to retain a cross-media, multiplatform audience, as well as expand their core business of commercial linear television against a background of a reduction of advertising spend on television and the expected increase of hybrid financing models.

‘Adjacent to the Live: paratextual augmentation of performance during the pandemic’

The plethora of paratextual materials such as digital programs, recorded interviews with artists and creative teams, behind-the-scenes videos, and curated playlists have been pressed into service to extend the reach of the core business of performance companies. Behind the scenes and ancillary activities have come to the fore, potentially altering the way Genette considered paratexts to work as thresholds to the core. Until the last year or so, paratextual elements such as the aforementioned existed primarily in the service of marketing and promotion. They were not themselves seen as separate or independently monetised ventures. They were tasters of the real thing or treats for loyal followers. Comparatively little attention in this field has been paid to live performances, although these too have similar panoplies of paratexts used to promote the core texts: advertisements, advance publicity and reviews for instance. Our concern here is with the way paratexts were used during the extended COVID lockdowns when live performance venues were closed, particularly instances where the usual relationship between core text and paratext, whereby the latter are shorter pieces supporting or promoting the former, is upset. There was a considerable range of sophistication in the paratexts operating as core texts during the pandemic. Most sophisticated ones, like those from the NT or Pinchgut’s The Loves of Dafne and Apollo did not call on audience members to produce the experience of liveness, even if the NT’s branding persisted. We have concentrated here on Dream because it was such a sophisticated piece with liveness at its very heart.

MODELING THE BARRIERS OF SOCIAL DIMENSION IN SUSTAINABLE SUPPLIER CHAIN MANAGEMENT

In the supply chain, a core business and its upstream and downstream companies systematically coordinate the Triple Bottom Line (TBL) to maximize economic benefits, social responsibility, and environmental protection from a strategic height.

Why being sustainable is not enough: embracing a net positive impact

Purpose This paper develops the concept of positive sustainability or positainability to go beyond many leaders’ traditional understanding of sustainability as primarily avoiding harm. Rather, executives need to embrace a positive perspective in terms of doing good and creating value in a firm’s core business as the next level of sustainability management. Positive sustainability is defined as the combination of doing good and avoiding bad to arrive at innovative solutions for achieving a “net positive impact” in the core business rather than merely targeting “no net loss” by reducing harm for the environment and society. Design/methodology/approach This is a conceptual paper with an example, and it relies on prior insights from related research fields, including the sustainable development goals, corporate social responsibility, creating shared value, positive psychology, social entrepreneurship and social innovation. Findings Many organizations have recently launched sustainability initiatives, which often focus on achieving efficiency gains, for example, by reducing power consumption to lower carbon emissions in the face of climate change and to simultaneously save costs. In future competition, however, avoiding unsustainability in the core business and potentially doing good in separate social responsibility programs will not be enough. Furthermore, a focus on “quick win” efficiency gains may limit a more fundamental transformation, which is needed in many firms. There is a massive shift in consumer expectations, especially among younger generations, concerning firms’ active contribution to solving environmental and social challenges. Consistent with positive psychology, these market shifts require a positive perspective in terms of doing good in the core business. Originality/value The concept of positive sustainability has major implications for innovation, transformation and communications management. Even those firms that view themselves as leaders hardly realize the opportunities from positive sustainability. By developing innovative solutions, products and services, companies may positively contribute to the environment and society. In the medium to long term, this positive impact will often exceed the short-term benefits of efficiency-centered programs. Most firms and leaders will simply have no choice but to embrace a “net positive impact” because customers strongly expect companies to take action in terms of positive sustainability.

Leveraging the Post Office Network to Foster Financial Inclusion

Financial inclusion has become a topic of discussion in emerging and developing nations since the majority of people continue to lack access to either formal or informal financial services. In many countries, the post office is seen as a vehicle for financial inclusion due to its extensive network. In addition, with the decline in sales of their core business, traditional mail has exacerbated the need for the post office to venture into financial services whilst simultaneously answering the call to bridge the gap in society, especially for the un-banked and under-banked communities. Moreover, there is a need for post-offices to protect their long-term vitality as a business. This paper provides a theoretical perspective of financial inclusion, the role that the post office can play and the challenges preventing an effective rollout of financial services. This review can help postal managers, governments and policy-makers to understand how they can effectively use the post office to serve the un-banked communities. In addition, the study has enriched the academic discourse by providing literature on postal financial services and financial inclusion.

Winning a battle against the odds: A cleaners’ campaign

This article analyses a campaign urging a British university to re-establish in-house cleaning services after years of outsourcing. The small independent union leading the campaign began from an extremely low level of power resources and managed to build enough associational and societal power to win the dispute on cleaners’ working conditions. The study is based on participant observation of the union’s activities, document analysis and interviews. The article argues that the strategy emerging from the study, centred around three key strategies (collectivization of individual grievances, education, and disruption of core business activities), can be articulated in a process following the main categories of Mobilization Theory: organization, mobilization and collective action. Additionally, the union managed to conciliate servicing and organizing strategies, as well as attention to class-oriented and migrant-specific issues.

The Digital Undertow: How the Corollary Effects of Digital Transformation Affect Industry Standards

Digital transformation research shows how waves of digitalization produce strategic changes within and across firms, enabling new forms of value creation. We argue that different but no less important processes of digital transformation are generated by the undertow produced by these waves. Digital undertow, a corollary effect of waves of digitalization, profoundly influences how firms operate by transforming the industry standards that coordinate and regulate their core business activities. This is producing what we refer to as digital displacement, a process that is significantly challenging the capacity of standards to effectively manage industry operations in the digital age.

Non-Core Business? An examination of university art galleries in New Zealand Aotearoa

<p>University art galleries are the most common form of campus museum in New Zealand and are increasingly viewed as alternative and innovative interdisciplinary teaching tools. Much of the literature concerning university art galleries discusses the potential of these organisations to act as forums, laboratories and portals for the presentation of diverse ideas within institutions of higher education. Yet these organisations are often overlooked by their parent organisation and considered superfluous to the university’s core business. Despite the ubiquity of university art galleries, little research has been undertaken regarding these organisations within the context of Aotearoa New Zealand. This dissertation explores this issue by examining the ways in which university art galleries have integrated themselves into their university communities. This dissertation provides a general and concise overview of university art galleries in New Zealand and then presents two in-depth case studies, examining first the Gus Fisher Gallery and then the George Fraser Gallery at the University of Auckland. By utilising a wide range of sources including international and local theoretical literature, interviews, and documentation of public programmes and exhibition histories, these two case studies demonstrate that university art galleries contribute to their parent organisation in a variety of ways. These include serving as an important public interface for the university by showcasing academic and creative scholarship undertaken by the institution’s staff, students, and alumni; acting as a vehicle through which the university can achieve strategic and academic goals and objectives, and assisting the university in fulfilling its duty to act as the “critic and conscience of society”. This dissertation makes a contribution to museum studies and current museum practice by addressing a gap in the New Zealand literature on this topic. It is the first critical academic analysis of university art galleries in this country situated in relation to British and American theory. In particular, it builds upon and refines Janet Marstine’s argument that university art galleries can lead in the development of the Post-Museum and questions whether Marstine’s theories can apply to the New Zealand context.</p>

Non-Core Business? An examination of university art galleries in New Zealand Aotearoa

<p>University art galleries are the most common form of campus museum in New Zealand and are increasingly viewed as alternative and innovative interdisciplinary teaching tools. Much of the literature concerning university art galleries discusses the potential of these organisations to act as forums, laboratories and portals for the presentation of diverse ideas within institutions of higher education. Yet these organisations are often overlooked by their parent organisation and considered superfluous to the university’s core business. Despite the ubiquity of university art galleries, little research has been undertaken regarding these organisations within the context of Aotearoa New Zealand. This dissertation explores this issue by examining the ways in which university art galleries have integrated themselves into their university communities. This dissertation provides a general and concise overview of university art galleries in New Zealand and then presents two in-depth case studies, examining first the Gus Fisher Gallery and then the George Fraser Gallery at the University of Auckland. By utilising a wide range of sources including international and local theoretical literature, interviews, and documentation of public programmes and exhibition histories, these two case studies demonstrate that university art galleries contribute to their parent organisation in a variety of ways. These include serving as an important public interface for the university by showcasing academic and creative scholarship undertaken by the institution’s staff, students, and alumni; acting as a vehicle through which the university can achieve strategic and academic goals and objectives, and assisting the university in fulfilling its duty to act as the “critic and conscience of society”. This dissertation makes a contribution to museum studies and current museum practice by addressing a gap in the New Zealand literature on this topic. It is the first critical academic analysis of university art galleries in this country situated in relation to British and American theory. In particular, it builds upon and refines Janet Marstine’s argument that university art galleries can lead in the development of the Post-Museum and questions whether Marstine’s theories can apply to the New Zealand context.</p>