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Across all age groups (and gender) a rela- tively similar pattern becomes visible (see also Figure 7a): users seek gratifications by the consumption of SMCs’ content very much the same way as they do with tradi- tional media content. Clearly leading is the search for enjoyment, followed by informa- tion interest and relaxation. All other grat- ifications asked for in the survey correlate strongly with the latter three — apart from the following two: the consumption as a cure for loneliness and because the protag- onists are seen as role models. These two aspects also correlated more with each other than with the rest of gratifications tested. Users who score high at the latter two gratifications score lower at the for- mer three (and vice versa). However, they constitute a clear minority. No significant differences show up when comparing grat- But what exactly attracts the vast audienc- es to this new kind of content and what are the perceived quality criteria distinguishing more or less successful players? We ex- pected that the audience success is based not only on the specific online activities but that it is at least also linked to the everyday life of such celebrities beyond the virtual, as extensive self-disclosure (c.f. Nardi, Schia- no, Gumbrecht & Swartz, 2004; Bane, Cor- nish, Erspamer & Kampman, 2010; Tang & Wang, 2012; Chen, 2013) is a characteristic element (see also above).

Figure 7 Across all age groups (and gender) a rela- tively similar pattern becomes visible (see also Figure 7a): users seek gratifications by the consumption of SMCs’ content very much the same way as they do with tradi- tional media content. Clearly leading is the search for enjoyment, followed by informa- tion interest and relaxation. All other grat- ifications asked for in the survey correlate strongly with the latter three — apart from the following two: the consumption as a cure for loneliness and because the protag- onists are seen as role models. These two aspects also correlated more with each other than with the rest of gratifications tested. Users who score high at the latter two gratifications score lower at the for- mer three (and vice versa). However, they constitute a clear minority. No significant differences show up when comparing grat- But what exactly attracts the vast audienc- es to this new kind of content and what are the perceived quality criteria distinguishing more or less successful players? We ex- pected that the audience success is based not only on the specific online activities but that it is at least also linked to the everyday life of such celebrities beyond the virtual, as extensive self-disclosure (c.f. Nardi, Schia- no, Gumbrecht & Swartz, 2004; Bane, Cor- nish, Erspamer & Kampman, 2010; Tang & Wang, 2012; Chen, 2013) is a characteristic element (see also above).

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Abernathy, P. M., & Sciarrino, J. (2018). The Stra- tegic Digital Media Entrepreneur. Hoboken, Nj: Wiley-Blackwell.
Abernathy, P. M., & Sciarrino, J. (2018). The Stra- tegic Digital Media Entrepreneur. Hoboken, Nj: Wiley-Blackwell.
Table 2: Sociodemographic characteristics of leading SMCs source: Own analysis; May 2017; n=20 per category and nationalit Concerning measures for the engage- ment of the audience, average patterns do not differ significantly when it comes to international celebrities and their fans or German ones, as table 3 summarizes. Furthermore, between the two exemplary categories fashion and gaming, the differ- ences are not substantial and only slight- ly significant (p<.05). Overall, the rates are quite remarkable, considering that some views account to billions.
Table 2: Sociodemographic characteristics of leading SMCs source: Own analysis; May 2017; n=20 per category and nationalit Concerning measures for the engage- ment of the audience, average patterns do not differ significantly when it comes to international celebrities and their fans or German ones, as table 3 summarizes. Furthermore, between the two exemplary categories fashion and gaming, the differ- ences are not substantial and only slight- ly significant (p<.05). Overall, the rates are quite remarkable, considering that some views account to billions.
Figure 4: Importance of different social media as platforms (a) and correlation of success on Instagram versus YouTube (b) Source: Own content analysis; May 2017; n=20 per category (only internationally leading celebrities) In general, when analyzing quantitative au- dience measurements, success in terms of subscriptions (YouTube) or followers (Insta- gram) appears not to be based on publica- tion frequency nor on the time a channel has been in operation, as no correlation can be derived. It is the specific content that makes a difference here. Whereby achieved numbers of followers on Instagram and subscribers on YouTube are significantly correlated (see Figure 4b). In both cases, views also significantly correlate with sub- scribers or followers respectively. So, the audience success in terms of the latter Is equivalent to taking views as a proxy for it.
Figure 4: Importance of different social media as platforms (a) and correlation of success on Instagram versus YouTube (b) Source: Own content analysis; May 2017; n=20 per category (only internationally leading celebrities) In general, when analyzing quantitative au- dience measurements, success in terms of subscriptions (YouTube) or followers (Insta- gram) appears not to be based on publica- tion frequency nor on the time a channel has been in operation, as no correlation can be derived. It is the specific content that makes a difference here. Whereby achieved numbers of followers on Instagram and subscribers on YouTube are significantly correlated (see Figure 4b). In both cases, views also significantly correlate with sub- scribers or followers respectively. So, the audience success in terms of the latter Is equivalent to taking views as a proxy for it.
Table 3: Engagement rates for leading international as well as German celebrities Source: Own analysis May 2017; n=20 per category and nationality formats appear in higher frequencies. In gaming it is rather the other way around. In any case and despite the different for- mats, the content is always rather specific to a category. Apart from these variations in content, 100% of all analyzed videos of the top celebrities in the categories stud- ied in detail exhibit product placements or brand references, both internationally and in Germany.
Table 3: Engagement rates for leading international as well as German celebrities Source: Own analysis May 2017; n=20 per category and nationality formats appear in higher frequencies. In gaming it is rather the other way around. In any case and despite the different for- mats, the content is always rather specific to a category. Apart from these variations in content, 100% of all analyzed videos of the top celebrities in the categories stud- ied in detail exhibit product placements or brand references, both internationally and in Germany.
In terms of numbers of users that are sub- scribed to at least one channel within a category (Figure 6b), gaming & games as well as comedy & entertainment dominate with food & cooking, fashion & lifestyle, and beauty & cosmetics following at a distance but quite close to each other. Not far be- hind are news & politics, do-it-yourself, and travel & outdoor. This result clearly shows that SMCs’ content is not at all restrict- ed to or even focused on specific content categories, Hence, it is, in principle, a rel- evant competitor to all general as well as special interest in traditional media players. Besides this general pattern, the clearest differences in gender prevalence show up in games & gaming as well as in fashion & lifestyle, and beauty & cosmetics (in the In our analysis of the survey results all re- spondents were considered users of SMCs' content when they watched videos of this kind at least occasionally, The users show a Clear age effect with the highest fraction at 83.6% among the 18-25 years old and a significant drop to 69.1% among the 26- 35 year-olds. The slight drop also to 81.6% from the 14-17 year-olds can be explained by parental restrictions to the use, With 78.1% male to 76.3% female usage no sig- nificant gender differences are prevalent. Also, formal education has no influence, given the representative survey data with an even distribution at an average of 4/5 of all online users between 14 and 35 year- olds. The dominant reasons for no use (see Figure 6a) are lack of interest in the content,
In terms of numbers of users that are sub- scribed to at least one channel within a category (Figure 6b), gaming & games as well as comedy & entertainment dominate with food & cooking, fashion & lifestyle, and beauty & cosmetics following at a distance but quite close to each other. Not far be- hind are news & politics, do-it-yourself, and travel & outdoor. This result clearly shows that SMCs’ content is not at all restrict- ed to or even focused on specific content categories, Hence, it is, in principle, a rel- evant competitor to all general as well as special interest in traditional media players. Besides this general pattern, the clearest differences in gender prevalence show up in games & gaming as well as in fashion & lifestyle, and beauty & cosmetics (in the In our analysis of the survey results all re- spondents were considered users of SMCs' content when they watched videos of this kind at least occasionally, The users show a Clear age effect with the highest fraction at 83.6% among the 18-25 years old and a significant drop to 69.1% among the 26- 35 year-olds. The slight drop also to 81.6% from the 14-17 year-olds can be explained by parental restrictions to the use, With 78.1% male to 76.3% female usage no sig- nificant gender differences are prevalent. Also, formal education has no influence, given the representative survey data with an even distribution at an average of 4/5 of all online users between 14 and 35 year- olds. The dominant reasons for no use (see Figure 6a) are lack of interest in the content,
The latter is also driven by an increasing professionalization of the entire domain of celebrities’ content in terms of partnering to advertisers where multi-channel net- works and other specialists increasingly take over the coordination between adver- tisers and the plethora of possible partners among the already established and rising social media stars, ost celebrities do not see their partner- ship with advertisers as a handicap and hence openly communicate it. On the con- trary, it grants them access to genuine in- formation and the latest developments that subscribers expect. This is exemplified by a typical statement from Tanya Burr on her channel in Figure 9.
The latter is also driven by an increasing professionalization of the entire domain of celebrities’ content in terms of partnering to advertisers where multi-channel net- works and other specialists increasingly take over the coordination between adver- tisers and the plethora of possible partners among the already established and rising social media stars, ost celebrities do not see their partner- ship with advertisers as a handicap and hence openly communicate it. On the con- trary, it grants them access to genuine in- formation and the latest developments that subscribers expect. This is exemplified by a typical statement from Tanya Burr on her channel in Figure 9.
Figure 1: Areas and competences of the EntreComp conceptual model.
Figure 1: Areas and competences of the EntreComp conceptual model.
Depending on the context of take-up, it is reasonable to expect that more emphasis Figure 1 depicts the EntreComp compe- tences as a stemming of the three areas: deas & Opportunities, Resource, and Into Action. They are distinct yet interconnect- ed, and overlaps underline that the coupling between competence areas and compe- tences does not have taxonomic rigour. For example, creativity is presented as one of the competences in the ‘Ideas and op- portunities’ area, even though the creative process entails both the use of resources and the capacity to act upon ideas to mould Table 1 provides an overview of the Entre- Comp conceptual model, showing how the entrepreneurship competence has been broken down into its constituent parts within the framework. Competences are numbered for ease of reference — the or- der in which they are presented does not imply a sequence in the acquisition process or a hierarchy: no element comes first, and none of them is more important than the others. There are no core competences nor enabling competences in the EntreComp conceptualization.
Depending on the context of take-up, it is reasonable to expect that more emphasis Figure 1 depicts the EntreComp compe- tences as a stemming of the three areas: deas & Opportunities, Resource, and Into Action. They are distinct yet interconnect- ed, and overlaps underline that the coupling between competence areas and compe- tences does not have taxonomic rigour. For example, creativity is presented as one of the competences in the ‘Ideas and op- portunities’ area, even though the creative process entails both the use of resources and the capacity to act upon ideas to mould Table 1 provides an overview of the Entre- Comp conceptual model, showing how the entrepreneurship competence has been broken down into its constituent parts within the framework. Competences are numbered for ease of reference — the or- der in which they are presented does not imply a sequence in the acquisition process or a hierarchy: no element comes first, and none of them is more important than the others. There are no core competences nor enabling competences in the EntreComp conceptualization.
may be put on some of the competences and less on others, or else that competenc- es are streamlined to mirror an entrepre- neurial process created to foster learning through entrepreneurship. In other words, the EntreComp Framework can be seen as a starting point for the interpretation of the entrepreneurship competence, which over time will be further elaborated and refined to address the particular needs of specific target groups. This section presents the EntreComp Framework progression model and the key characteristics of the learning outcomes that have been based on it.
may be put on some of the competences and less on others, or else that competenc- es are streamlined to mirror an entrepre- neurial process created to foster learning through entrepreneurship. In other words, the EntreComp Framework can be seen as a starting point for the interpretation of the entrepreneurship competence, which over time will be further elaborated and refined to address the particular needs of specific target groups. This section presents the EntreComp Framework progression model and the key characteristics of the learning outcomes that have been based on it.
However, learning outcome statements are considered as crucial to make the frame- work actionable. EntreComp learning out- comes have been developed as references for different purposes. They could be used in the formal education and training sector for curricula design. In a non-formal learn- ing context, they could be used to inspire
However, learning outcome statements are considered as crucial to make the frame- work actionable. EntreComp learning out- comes have been developed as references for different purposes. They could be used in the formal education and training sector for curricula design. In a non-formal learn- ing context, they could be used to inspire
The EntreComp framework aims to es- tablish a common understanding of what entrepreneurship as a competence is. Its
The EntreComp framework aims to es- tablish a common understanding of what entrepreneurship as a competence is. Its
Introduction In recent years, artistic production in Cuba has been carried out in a diverse range of private, collective and public initiatives, based on strategies of interdisciplinary and intergenerational cooperation. These types of collaborative practices, still incipient, usually gives rise to new forms of organiza- tion and collective activity with a significant effect on the spatial reconfiguration of the areas where they take place.
Introduction In recent years, artistic production in Cuba has been carried out in a diverse range of private, collective and public initiatives, based on strategies of interdisciplinary and intergenerational cooperation. These types of collaborative practices, still incipient, usually gives rise to new forms of organiza- tion and collective activity with a significant effect on the spatial reconfiguration of the areas where they take place.
The fourth edition of the XESCOM 2019 (International Symposium on Communi- cation Management) was hosted by the Faculty of Arts and Humanities of the Uni- versity of Porto on April, 26 and 27 in the city of Oporto, Portugal. It was organized with the collaboration between the Uni- versity of Porto, IMMAA (International Me- dia Management Academic Association) and PIMENED (Integrated Mentor Project, Enterprise Spirit and Business Models in Digital Edition). On this edition new topics related to the creative industries and entre- preneurship in the digital era were added to the main areas of study. The symposium aggregated both expert conference and communications from in- ternational researchers. The conference themes were communication, manage- ment, media, creative industries and en- trepreneurship in the digital age. This re- port aims to briefly summarise the most relevant insights that both industry ex- perts and researchers have contributed to XESCOM' 2019.
The fourth edition of the XESCOM 2019 (International Symposium on Communi- cation Management) was hosted by the Faculty of Arts and Humanities of the Uni- versity of Porto on April, 26 and 27 in the city of Oporto, Portugal. It was organized with the collaboration between the Uni- versity of Porto, IMMAA (International Me- dia Management Academic Association) and PIMENED (Integrated Mentor Project, Enterprise Spirit and Business Models in Digital Edition). On this edition new topics related to the creative industries and entre- preneurship in the digital era were added to the main areas of study. The symposium aggregated both expert conference and communications from in- ternational researchers. The conference themes were communication, manage- ment, media, creative industries and en- trepreneurship in the digital age. This re- port aims to briefly summarise the most relevant insights that both industry ex- perts and researchers have contributed to XESCOM' 2019.
The communication theme combined var- ious different scientific approaches on the panels. Researchers have presented their processes and conclusions related to com- munication themes, such as theatre and cinema, higher education, health institu- tions, management and public relations, public platforms and mediatic speech. The consumer and persuasive communication, media training and semantics were also communicational alternatives studied by researchers. ndependent cinema in Brazil was present- ed as apart of an alternative culture. It was pointed out that there is an increasing need to develop efficient strategies in order to promote this alternative cinematic genre. The importance of the public policies, which can help on the exhibition and the distri- bution of low budget films was highlight- ed as well. Another cinema-related theme presented at this panel touched upon the use of neurocinematic tools to help cinema audiences understanding the real nature of a film. This neurological process can be ac- complished by analyzing spectators’ cogni- tive mechanisms according to the different cerebral areas that are stimulated during the screening.
The communication theme combined var- ious different scientific approaches on the panels. Researchers have presented their processes and conclusions related to com- munication themes, such as theatre and cinema, higher education, health institu- tions, management and public relations, public platforms and mediatic speech. The consumer and persuasive communication, media training and semantics were also communicational alternatives studied by researchers. ndependent cinema in Brazil was present- ed as apart of an alternative culture. It was pointed out that there is an increasing need to develop efficient strategies in order to promote this alternative cinematic genre. The importance of the public policies, which can help on the exhibition and the distri- bution of low budget films was highlight- ed as well. Another cinema-related theme presented at this panel touched upon the use of neurocinematic tools to help cinema audiences understanding the real nature of a film. This neurological process can be ac- complished by analyzing spectators’ cogni- tive mechanisms according to the different cerebral areas that are stimulated during the screening.
The persuasive communication, media training and semantics panel discussed the aspects of communication focused on udic and interactive content in publicity, the engagement of the audiences with the so called “advergames” as well as the creative process in order to build a creative branding strategy, Additionally, the panel highlighted the importance of sensorial branding, ex- perience and cognitive marketing in digital marketing strategies including social me- dia. Public platforms are also studied as an important technological tool, especially in matters of political promotion and in me- diatic speech. These platforms have the power to strongly influence public mental- ities and Facebook is considered the most privileged one of them. Communicating to nigner education au- diences in a most effective and motivating way requires educators to adopt innovative and technological teaching methodologies. Itis an approach that encourages students to manifest a responsible and critical anal- ysis about the lectured concepts acknowl- edged in classes. And because of the fact that we live in a constant digital and con- nected society, the acknowledgment of the importance of the students’ online perfor- mances allows both teachers and mar- keteers to develop specific performance strategies that can contribute to influenc- ing students’ future behaviors.
The persuasive communication, media training and semantics panel discussed the aspects of communication focused on udic and interactive content in publicity, the engagement of the audiences with the so called “advergames” as well as the creative process in order to build a creative branding strategy, Additionally, the panel highlighted the importance of sensorial branding, ex- perience and cognitive marketing in digital marketing strategies including social me- dia. Public platforms are also studied as an important technological tool, especially in matters of political promotion and in me- diatic speech. These platforms have the power to strongly influence public mental- ities and Facebook is considered the most privileged one of them. Communicating to nigner education au- diences in a most effective and motivating way requires educators to adopt innovative and technological teaching methodologies. Itis an approach that encourages students to manifest a responsible and critical anal- ysis about the lectured concepts acknowl- edged in classes. And because of the fact that we live in a constant digital and con- nected society, the acknowledgment of the importance of the students’ online perfor- mances allows both teachers and mar- keteers to develop specific performance strategies that can contribute to influenc- ing students’ future behaviors.
are the concepts that can be combined into one theme. The research results mention the use of a more technological approach to journalism. The use of technologies associated with artificial intelligence (Al), business intelligence, augmented (AR) and virtual reality (VR), beacons, neuromarket- ing, etc. are adding innovation to both jour- nalism and the media industry. By means of mobile devices common citizens can be- come “amateur journalists” and collaborate
are the concepts that can be combined into one theme. The research results mention the use of a more technological approach to journalism. The use of technologies associated with artificial intelligence (Al), business intelligence, augmented (AR) and virtual reality (VR), beacons, neuromarket- ing, etc. are adding innovation to both jour- nalism and the media industry. By means of mobile devices common citizens can be- come “amateur journalists” and collaborate
How an article is cited was also one of the topics that Baiget approached, stating that pre-Google citation forms are obsolete, for it does not make any sense to have many different styles. Lastly, Tomas Baiget men- tioned the importance of academic mar- keting, which adds value and for that rea- son there should be a strategy of bringing visibility not only for the article but also for the author.
How an article is cited was also one of the topics that Baiget approached, stating that pre-Google citation forms are obsolete, for it does not make any sense to have many different styles. Lastly, Tomas Baiget men- tioned the importance of academic mar- keting, which adds value and for that rea- son there should be a strategy of bringing visibility not only for the article but also for the author.
After a brief presentation by Paulo Faustino, Ricardo Flamingo presented an enquiry un- dertaken by the Portuguese Press Associa- tion about the distribution in Portugal. The main conclusion was that distribution has issues regarding timely deliveries, especial- ly in the interior of the country composed mostly by rural areas. These delays were Finally, Manuela Azevedo spoke about entre- preneurship, Being an entrepreneur is usually associated with creating a startup, but It is more than that. Azevedo said that this con- cept is the result of two words put together: “idea” and “opportunity” Itis an attitude. Aze- vedo points that entrepreneurship should be seen as a competence and nurtured at uni- versities through research, transfer of Knowl- edge, support and incubation. After making some historical parallels be- tween Google's activities and Portuguese discoveries 500 years ago, Joao Palmeiro spoke about local media reality when during the recent US elections there were no can- didates in some smaller places in USA, be- cause local newspapers and radio stations had been closed there.
After a brief presentation by Paulo Faustino, Ricardo Flamingo presented an enquiry un- dertaken by the Portuguese Press Associa- tion about the distribution in Portugal. The main conclusion was that distribution has issues regarding timely deliveries, especial- ly in the interior of the country composed mostly by rural areas. These delays were Finally, Manuela Azevedo spoke about entre- preneurship, Being an entrepreneur is usually associated with creating a startup, but It is more than that. Azevedo said that this con- cept is the result of two words put together: “idea” and “opportunity” Itis an attitude. Aze- vedo points that entrepreneurship should be seen as a competence and nurtured at uni- versities through research, transfer of Knowl- edge, support and incubation. After making some historical parallels be- tween Google's activities and Portuguese discoveries 500 years ago, Joao Palmeiro spoke about local media reality when during the recent US elections there were no can- didates in some smaller places in USA, be- cause local newspapers and radio stations had been closed there.
Author’s edition and custom publishing
Author’s edition and custom publishing
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