Seen in many trends and studies, consumers of today feel a growing desire to experience the uniqueness in products and services. This is forcing companies be more innovative and creative in their marketing, in order to distinguish and differentiate themselves and their products/services. We believe that creating a top-to-bottom experience strategy is one way that a company can succeed in this. The purpose of this thesis is to analyze and clarify how a business can reinforce their product experience through a complete experience strategy. In order to demonstrate this we have made a case-study research for the New Wave Group, advising them on how they can place blown glass art at the heart of the town of Kosta. The authors have used qualitative methods and an abductive approach. Four interviews have been completed with executives from the New Wave Group, including the project manager, hotel manager, head of the Kosta Boda smeltery and head of guides and visitors at Kosta museum. The theories used are related to experience strategy and will in the analysis be interrelated to clarify their common ground. As can be seen in the analysis the authors have discerned a connection between the lack of clear marketing strategies and the unchecked entrepreneurialism within the company, and how this has caused the company to project a less comprehensive view. A model created for this thesis, will firstly show that the quantity of visitors from different segment does not correspond with the volume of experiences given, and secondly how the gap between these can be reduced. The result of this analysis will provide the New Wave Group with innovative solutions and strategies that will make this reduction a success.

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Thesis (M.A.)--Carleton University, 2005. / Includes bibliographical references (p. 98-101). Also available in electronic format on the Internet.

<p>Seen in many trends and studies, consumers of today feel a growing desire to experience the uniqueness in products and services. This is forcing companies be more innovative and creative in their marketing, in order to distinguish and differentiate themselves and their products/services. We believe that creating a top-to-bottom experience strategy is one way that a company can succeed in this.</p><p>The purpose of this thesis is to analyze and clarify how a business can reinforce their product experience through a complete experience strategy. In order to demonstrate this we have made a case-study research for the New Wave Group, advising them on how they can place blown glass art at the heart of the town of Kosta.</p><p>The authors have used qualitative methods and an abductive approach. Four interviews have been completed with executives from the New Wave Group, including the project manager, hotel manager, head of the Kosta Boda smeltery and head of guides and visitors at Kosta museum. The theories used are related to experience strategy and will in the analysis be interrelated to clarify their common ground.</p><p>As can be seen in the analysis the authors have discerned a connection between the lack of clear marketing strategies and the unchecked entrepreneurialism within the company, and how this has caused the company to project a less comprehensive view. A model created for this thesis, will firstly show that the quantity of visitors from different segment does not correspond with the volume of experiences given, and secondly how the gap between these can be reduced. The result of this analysis will provide the New Wave Group with innovative solutions and strategies that will make this reduction a success.</p>

The narrative structure and formal style of the director Shinoda Masahiro's films reveal his ethical objective to encourage his viewer to engage with works of cinematic representation as the creative products of human agency that they are. Within his period films, Shinoda hopes to stimulate recognition of cinema's genealogical inheritance and reproduction of the absolutist propositions underlying traditional Japanese cultural forms. He posits that these have redirected essential human drives into masochistic self-effacement in tribute to a divine ideal imaged in the Imperial polity. By disrupting the illusion of cinematic realism which simply serves to reinforce Japanese culture's existent intertextual networks, Shinoda seeks to reground cultural expressions in their material and human origins. This acts as the first step to imagining a Japanese subject outside of the limited definitions posed by nostalgic absolutism and its reactionary antithesis in the equally self-destructive mode of global capitalism.

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This paper establishes the pivotal role and irreplaceable value of painting in the technology-driven, image-saturated contemporary culture today. Particularly in my work, painting old childhood photographs creates a contemplative platform where I can deconstruct and reconstruct relics of my formative past as means of better understanding my multicultural upbringing. Inspired by both Chinese Communist propaganda posters and the ’85 New Wave Contemporary Chinese Art Movement, my senior project confronts the façade of perfection staged in Chinese family portraits through convoluted layers of imagery and Chinese text that build up the painting. The amalgamation of bold outlines, expressive brushstrokes, and disciplined grids, challenges the stifling values of discipline, order, and homogeneity in traditional Chinese culture.

The New Wave (Moj-e Now), as the rather large body of “quality films” made in Iran before the 1979 revolution came to be known, forms the main thematic concern of this study. From start to end, however, this primary track of investigation is opened up to other mediums of cultural production: modernist Persian fiction and poetry, the visual arts scene, the discourse on ethnography and “folklore studies,” and the critical texts produced by public intellectuals. The second main theme coming to the fore is the intersection of the emergent “discourse of authenticity,” the Iranian intellectuals’ growing demand for “cultural rootedness,” and the production of modernist aesthetics in literature, arts, and cinema. Introduced early in the text, the idea of “modernism of uneven development” provides the theoretical frame for this project; the recurrences of the hypothesis, particularly as it pertains to a temporal divide between the city and the countryside, are discerned and analysed. The Iranian New Wave Cinema, I contend, always showed an ethnographic register, as it too was after worlds and times deemed as vanishing. This “movement” in cinematic modernism first emerged from within the documentary mode, which began to flourish in Iran from the 1960s. Cutting right across this study, the perceived divide between the urban and the rural finds its reflection even in the way that some of its chapters are organized. Hence, the allegory of the city, and that of the country. But, where ends the national allegory, a matter still conditional on imagined continuity, other forms of allegory come to the surface. Critical reading in this sense becomes an act of reproduction, further opening up fissures and discontinuities of what is already deemed as petrified, whether of the national or of realism. Retaining a faith in the cinema’s ability to redeem physical reality though, certain manifestations of materiality come to the fore through my close readings of films from the New Wave. A number of these material formations come to focus as the “objects” of the study: the museum display, the ruin, the body, the mud brick wall, the moving car, and the old neighborhood passageway.

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