Non-profit organizations play a very important role in all developed societies; however it is not easy to manage these organizations. Because of its non-profit nature, it has to generate external funds to realize its purpose. In the cultural field, there is a variety of non profit organizations which as a result to the increasing competition, had to focus on an appropriate communication. Because of reason, that marketing in non-profit organizations functions a relatively short time in comparison to profit organizations, marketing strategies and strategic planning does not have a clear direction. The aim of this thesis is to clarify the functioning of cultural non-profit organization on the example of the orchestra Prague Philharmonia and show its uneasy position next to its direct competitors which are contributory organizations funded by state or municipal sector, part of public organization or limited companies (Ltd.).

The motion picture industry is characterized by a high degree of artistic innovation that revolves around the project rather than the firm. Success is elusive and firms operate in an environment of symmetrical ignorance, that is, high levels of demand uncertainty as well as product uncertainty. This makes managing the commercial development of new products difficult. The study of the factors that drive success in new product development have been significant, however, little attention has been given to experiential and creatively driven products such as motion pictures. While a number of studies have attempted to find accurate means to predict performance in motion pictures, most of these have met with limited results, yet few, if any, have linked the knowledge gained from the study of new product development with the industry. Similarly, the impact of market orientation on firm performance and new product success has been the focus of much empirical research since the late 1980's and has been shown to be significantly associated with new product performance. Here, the marketing literature and the NPD literature converge, yet few studies have attempted to study how the same concepts might apply in motion picture production. The primary focus of this study was to explore the feasibility of the NPD and market orientation literature in the development of successful motion picture and whether or not similar application of this knowledge is tenable. As such, the study centers around two broad research issues: RESEARCH ISSUE 1: How can Australian films perform better? In other words, what are the factors that drive success in Australian motion picture production? RESEARCH ISSUE 2: What is the role of the audience in the development of successful Motion Pictures in Australia? Or in other words, do Australian filmmakers need to be "close" to their audience (market oriented) in order to attain higher levels of success. Australia has been used as a context primarily due to the accessibility of data. This represents a relatively new setting for the study of NPD and market orientation and a new industry. Therefore, an exploratory study was designed which utilized in-depth interviews with experts from three sectors of the Australian motion picture industry. This was deemed to be the best approach given the dearth of previous studies in this setting and the fact that the majority of past industry studies have been quantitative. The findings reveal some support for a significant relationship between success and new product development activities such as product advantage, market orientation, up-front homework, early product definition, cross-functional and coordinated teams, and launch. Product advantage, however, is better understood in terms of a movie's marketability and playability, that is, the perceived superiority of its attributes before and after its viewing. A market orientation is likely to be more effective in the motion picture industry when it helps a firm lead its customers rather than encourages a firm to be led by them. Finally, despite previous studies in the Australian industry, the number of scripts in development is unlikely to matter. What matters is that the scripts that are ready to move into production are evaluated fully and that full support is provided to those that make it through in order to give them the best chance for success.

[pt] Com objetivo de compreender as motivações dos consumidores de teatro musical do Rio de Janeiro, esta dissertação conduz uma pesquisa quantitativa, on-line e presencial, com amostra de 262 participantes. A partir dos resultados, constatamos que as principais motivações do consumidor de teatro musical carioca são o entretenimento, o interesse artístico e o aspecto cognitivo. Complementarmente, o trabalho mapeia as produções de musicais realizadas na cidade desde os anos 1950, comprovando um cenário cada vez mais competitivo. Neste contexto, a compreensão das motivações dos espectadores se mostra substancial para a adoção de estratégias de marketing direcionadas e, consequentemente, para o desenvolvimento do setor na cidade. / [en] With the aim of understanding the motivations of musical theater consumers in Rio de Janeiro, this dissertation conducts quantitative research, online and in person, with a sample of 262 participants. The results show that the main motivations of musical theater consumers in Rio are entertainment, artistic interest, and cognitive aspects. In addition, the study maps musical productions in the city since the 1950s, showing an increasingly competitive scene. In this context, understanding the motivations of the audience is essential for the adoption of targeted marketing strategies and, consequently, for the development of the sector in the city.

The theme of this master's thesis is "Marketing Revival of 'Cool tour linka'". 'Cool tour linka' is a joint project of Prague's leading exhibition institutions and transport company. Introductory part presents the project with the aim to preserve it "for next generations" too. 'Cool tour linka' was terminated due to economical reasons. Therefore the thesis leads to formation of a new project, that would work under even less favourable conditions. Conclusions from the chapters that analyse the previous 'Cool tour linka' (analysis of the visitors' attendance, application of marketing tools, SWOT analysis) are used in the new project. Both the original and the newly proposed 'Cool tour linka' emphasize the element of cooperation of the organisations operating in the field of culture and the importance of unusual presentation of arts collections to the public.

The aim of this study is to investigate the interrelationships between place and taste through a multi-sited ethnography of music consumption. Place and taste are important theoretical constructs that have been studied extensively across the humanities and social sciences. Yet, there is a scarcity of research that attempts to bring together these constructs in the fields of marketing and consumer research and beyond. In particular, prior consumer culture theory (CCT) research has not taken into account the spatial processes through which consumers enact, perform and further develop their tastes in the market place. More significantly, little empirical research illustrates how different consumption spaces tend to orchestrate and shape consumers’ tastes. As such, this study focuses on the context of music consumption and aims to explore spatial taste formation processes via consumers’ aesthetic experiences in popular (festival) and classical (concert hall) music places within the fields of indie and classical music consumption respectively. The emergent findings are structured upon four chapters (papers) and develop specific research objectives which revolve around the overarching aim of the study, namely the exploration of the interrelationships between place and taste. This study brings together both structural and experiential dimensions of taste and highlights the ontological significance of phenomenological understandings of space and place for marketing and consumer research.

The main goal of this thesis is to identify the differencies and specifics of arts marketing and then evaluate a strategy of specific project. The theoretical part introduce the culture, art and theater. The following section is focused on classical marketing always accompanied by specifics in the area of culture and art. The theory is then applied to a particular project and thesis is finished with marketing research aimed to identify the motivation to visit and percepiton's level of marketing tools by visiters.

The purpose of this essay is to examine nine posters from 2018 made by the Uppsala City Theater to determine how the posters communicate with the beholder. The questions asked are: How does each poster work to persuade its beholder that the play it refers to is of interest to the beholder? What strategies are used? And how do the posters correlate to each other? Are there any common or reoccurring themes?  The theoretical framework consists of previous research about both movie and theater posters, semiotics, aesthetics and visual communication. A semiotic analysis shows that the posters favor the plays’ aesthetics over information about the production and that the Uppsala City Theater’s visual marketing is adhering to their brand, leading to the posters having a coherent style. Differences between how movie posters and theater posters are designed and the use of nudity in theater marketing are also discussed.

The purpose of this thesis is to determine the extent to which strategic communications is being practiced, and its implications on organizational performance in the Canadian arts sector. This thesis discusses the unique characteristics of not-for-profit charitable performing arts organizations within the context of strategic communications. As a mission-based field, the not-for-profit arts sector operates under the premise that it must find a market for its product, instead of finding a product for its market. Building on communication and arts marketing theories, this thesis posits that strategic communications management can contribute to the success of arts organizations and address the gap between arts products and its market. In particular, this thesis analyzes the following components of strategic communications management, in relation to the practices of the Canadian arts sector: relationship management/marketing, interpersonal relationship values, organization public relationship values, and market orientation. / Thesis / Master of Communications Management (MCM) / The purpose of this thesis is to determine the extent to which strategic communications is being practiced, and its implications for organizational performance in the Canadian arts sector. This thesis discusses the unique characteristics of not-for-profit charitable performing arts organizations within the context of strategic communications. Building on communication and arts marketing theories, this thesis posits that strategic communications management can contribute to the success of arts organizations and address the gap between arts products and patrons.

Aujourd’hui, un nombre croissant de formats de distribution (i.e. magasins amiraux, centres commerciaux,points de vente éphémères, corners, etc.) à travers le monde adoptent la stratégie d'artification de l'expérience de magasinage, reposant sur l'introduction d'éléments artistiques dans la surface marchande. Toutefois l'utilisation de cette variable d'atmosphère s’avère pour le moment très intuitive. D’un point de vue académique, la revue de la littérature amène à qualifier ce champ de recherche d’embryonnaire. Par conséquent cette thèse se propose de mesurer l'impact de l'artification de l'expérience de magasinage sur la performance du point de vente, ainsi que sur les réactions du consommateur. Dans cette optique, une expérimentation a été réalisée à partir d’un plan factoriel manipulant la dimension artistique de l’atmosphère du point de vente. La collecte de données a été effectuée pendant deux mois dans des magasins réels, selon une méthode quantitative. Les résultats indiquent que la stratégie d'artification de l'expérience de magasinage, lorsque adoptée au seul niveau du point de vente et en tant que proposition éphémère, a pour impact positif d’améliorer la performance marketing du point de vente,ceci au niveau de la différenciation perçue du point de vente, du caractère créatif de l’image (du point de vente et des produits), de la valeur perçue de l'offre (rapport qualité/prix et désensibilisation au prix), et de la satisfaction du consommateur. En revanche l'artification de l'expérience de magasinage n'agit pas sur la performance commerciale du point de vente (ventes, taux de transformation, fidélité attitudinale), suggérant un effet de muséification avec la perte de la finalité transactionnelle du point de vente et sa reclassification fonctionnelle en musée/galerie d'art. En conclusion, l'adoption de cette stratégie expérientielle nécessite une réflexion en amont relative aux objectifs de l’entreprise (stratégie d’image vs. rentabilité directe du point de vente) puisqu’elle implique des arbitrages en termes de coûts directs et indirects concernant l'allocation de la surface marchande. / Today a growing number of retail formats (i.e. flagship stores, shopping malls, pop-up stores, corners, etc.)worldwide are adopting the shopping experience artification strategy, consisting of introducing artistic elements in the sales surface. However using this atmospherics’ variable remains for now very intuitive. From an academic perspective, this research field can be qualified as seminal. Thus this dissertation’s aim is to measure the impact of the shopping experience artification on store performance, as well as on customer reactions. In that regard, an experimentation was carried out with a factorial design manipulating the artistic dimension of store atmospherics. The data collection was conducted during two months in real retail stores, using a quantitative method. The results indicate that the shopping experience artification strategy, when adopted only at the store level and as an ephemeral proposition, positively impacts store marketing performance, namely regarding store perceived differentiation, the creative dimension of image (store’s and products’), store offering’s perceived value (price/quality ratio and price desensitization), and customer satisfaction. However the shopping experience artification does not impact store commercial performance (sales, conversion rate, attitudinal loyalty), which suggests a museumification effect with the store possibly losing its transactional purpose and being functionally reclassified as a museum/art gallery. As a conclusion, adopting this experiential strategy calls for an upstream reflection upon the company’s objectives (branding strategy vs. direct store profitability) since it implies tradeoffs regarding direct and indirect costs concerning sales surface allocation.