A typology of internet users based on comparative affective states: evidence from eight countries

Purpose - The role of affective states in consumer behaviour is well established. However, no study to date has empirically examined online affective states as a basis for constructing typologies of internet users and for assessing the invariance of clusters across national cultures. Design/methodology/approach - Four focus groups with internet users were carried out to adapt a set of affective states identified from the literature to the online environment. An online survey was then designed to collect data from internet users in four Western and four East Asian countries. Findings - Based on a cluster analysis, six cross-national market segments are identified and labelled "Positive Online Affectivists", "Offline Affectivists", "On/Off-line Negative Affectivists", "Online Affectivists", "Indistinguishable Affectivists", and "Negative Offline Affectivists". The resulting clusters discriminate on the basis of national culture, gender, working status and perceptions towards online brands. Practical implications - Marketers may use this typology to segment internet users in order to predict their perceptions towards online brands. Also, a standardised approach to e-marketing is not recommended on the basis of affective state-based segmentation. Originality/value - This is the first study proposing affective state-based typologies of internet users using comparable samples from four Western and four East Asian countries.

Inverting the lives of 'others': retelling the Nazi past in 'Ehe im Schatten' and 'Das Leben der Anderen'

The article compares Florian Henckel von Donnersmarck's film Das Leben der Anderen (2006) with Kurt Maetzig's early post-war film Ehe im Schatten (1947). The comparison is based on significant narrative and thematic elements which the films share: They both have a ‘theatre couple’, representatives of the ‘Bildungsbürgertum’, at the centre of the story; in both cases the couple faces a crisis caused by the first and second German dictatorship respectively and then both try to solve the crisis by relying on the classical ‘bürgerliches Erbe’, particularly the ‘bürgerliches Trauerspiel’. The extensive use of the ‘bürgerliches Erbe’ in the films activates the function this heritage had for the definition of the German nation in the nineteenth century. However, while Maetzig's film shows how the ‘heritage’ and its representatives fail in the face of National Socialism, von Donnersmarck's film claims the effectiveness of this ‘heritage’ in the fight against the East German dictatorship. Von Donnersmarck thus inverts a critical film tradition of which Ehe im Schatten is an example; furthermore, as this tradition emerged from dealing with the Third Reich, von Donnersmarck's film, it will be argued, is more interested in the redemption of the Nazi past than the East German past.