Entrepreneurship and family firms : a case study in growth and survival

Entrepreneurial marketing has gained popularity in both the entrepreneurship and marketing disciplines in recent times. The success of ventures that have pursued what are considered non-traditional marketing approaches has been attributed to entrepreneurial marketing practices. Despite the multitude of marketing concepts and models, there are prominent venture successes that do not conform to these and have thus been put in the ''entrepreneurial'' box. One only has to look to the ''Virgin'' model to put this in context. Branson has proven for example that not ''sticking to the knitting'' can work with the ways the Virgin portfolio has been diversified. Consequently, an entrepreneurial orientation is considered a desirable philosophy and has become prominent in such industries as airlines and information technology. Miles and Arnold (1991) found that entrepreneurial orientation is positively correlated to marketing orientation. They propose that entrepreneurial orientation is a strategic response by firms to turbulence in the environment. While many marketing successes are analysed in hindsight using traditional marketing concepts and strategies, there are those that challenge standard marketing textbook recommendations. Marketing strategy is often viewed as a process of targeting, segmenting and positioning (STP). Academics and consultants advocate this approach along with the marketing and business plans. The reality however is that a number of businesses do not practice these and pursue alternative approaches. Other schools of thought and business models have been developing to explain differences in orientation such as branding (Keller 2001), the service-dominant logic (Vargo and Lusch 2004) and effectuation logic (Sarasvathy 2001). This indicates that scholars are now looking to cognate fields to explain a given phenomenon beyond their own disciplines. Bucking this trend is a growing number of researchers working at the interface between entrepreneurship and marketing. There is now an emerging body of work dedicated to this interface, hence the development of entrepreneurial marketing as an alternative to the traditional approaches. Hills and Hultman (2008:3) define entrepreneurial marketing as ''a spirit, an orientation as well as a process of passionately pursuing opportunities and launching and growing ventures that create perceived customer value through relationships by employing innovativeness, creativity, selling, market immersion, networking and flexibility.'' Although it started as a special interest group, entrepreneurial marketing is now gaining recognition in mainstream entrepreneurship and marketing literature. For example new marketing textbooks now incorporate an entrepreneurial marketing focus (Grewal and Levy 2008). The purpose of this paper is to explore what entrepreneurial approaches are used by entrepreneurs and their impact on the success of marketing activities. Methodology/Key Propositions In order to investigate this, we employ two cases: 42Below, vodka producers from New Zealand and Penderyn Distillery, whisky distillers from Wales. The cases were chosen based on the following criteria. Firstly, both companies originate from small economies. Secondly, both make products (spirits) from locations that are not traditionally regarded as producers of their flagship products and thirdly, the two companies are different from each other in terms of their age. Penderyn is an old company established in 1882, whereas 42Below was founded only in 1999. Vodka has never been associated with New Zealand. By the same token, whisky has always been associated with Scotland and Ireland but never been with Wales. Both companies defied traditional stereotypes in marketing their flagship products and found international success. Using a comparative a case study approach, we use Covin and Slevin's (1989) set of items that purport to measure entrepreneurial orientation and apply a qualitative lens on the approaches of both companies. These are: 1. cultural emphases on innovation and R&D 2. high rate of new product introduction 3. bold, innovative product development 4. initiator proactive posture 5. first to introduce new technologies and products 6. competitive posture toward competitor 7. strong prolictivity for high risk, high return projects 8. environment requires boldness to achieve objectives 9. when faced with risk, adopts aggressive, bold posture. Results and Implications We find that both companies have employed entrepreneurial marketing approaches but with different intensities. While acknowledging that they are different from the norm, the specifics of their individual approaches are dissimilar. Both companies have positioned their products at the premium end of their product categories and have emphasised quality and awards in their communication strategies. 42Below has carved an image of irreverence and being non-conformist. They have unashamedly utilised viral marketing and entered international markets by training bartenders and hosting unconventional events. They use edgy language such as vodka university, vodka professors and vodka ambassadors. Penderyn Distillery has taken a more traditional approach to marketing its products and portraying romantic images of age-old tradition of distilling as key to their positioning. Both companies enjoy success as evidenced by industry awards and international acclaim.

Science fiction

Few science fiction films have been made in Australia by Australians for Australian audiences, with most of the handful of locally-produced films made since the mid-1990s. Yet there has always been a solid Australian audience for non-Australian science fiction films and a strong international niche audience for the genre. While Australia has provided below-the-line crews and heads of departments (cinematographers, production designers, and so on) for many non-Australian science fiction films produced domestically, few Australian film directors have specialised in the genre. This is somewhat surprising considering that Alex Proyas achieved a degree of international success for his gothic science fiction film Dark City (1998), and George Miller achieved international fame following the worldwide success of Mad Max II (1981). Although the science fiction element of Mad Max II is tenuous – and even more so in the case of the original Mad Max (George Miller, 1979) – Miller is credited with creating a new (sub)genre which incorporates science fiction elements and has been widely imitated internationally: the dystopian, post-apocalyptic movie. Nevertheless, Australia has only produced a small number of science fiction movies. In addition to the above films, key titles include: Mad Max Beyond Thunderdome (George Miller, 1985), Shirley Thompson versus the Aliens (Jim Sharman, 1972), The Time Guardian (Brian Hannant, 1987), The Chain Reaction (Ian Barry, 1980) and, more recently, Knowing (Alex Proyas, 2009), Daybreakers (Michael and Peter Spierig, 2009), and Iron Sky (Timo Vuorensola, 2012).

The art of interpretation: Tracing logics of evaluation in Shaun Tan’s The Lost Thing (2000) and Andrew Ruhemann and Shaun Tan’s The Lost Thing (2010)

Celebration (and the celebritisation) of the Australian-ness of children’s authors who enjoy critical or commercial international success, and especially of those who win international prizes speaks to a desire to partake in both national and international cultural spheres. Prizing is often presumed to both guarantee and emerge from a creator's reputation at home and abroad. Australian artist and writer Shaun Tan has received a wide array of cultural and literary prizes, ranging from Australian book awards, to an Academy Award, to the Astrid Lindgren Memorial Prize. This paper considers logics of evaluation and interpretation as they can be traced in the intratextual, intertextual, and extratextual codes of Shaun Tan’s picture book, The Lost Thing (2000), the animated film adaptation of The Lost Thing (2010). It further considers the ways in which the desire for a global audience may necessitate an erasure of the national culture which is traded on in a global market.

The transformation of Sweden from a haven for online pirates to the hope of the digital music industry [Musikbranschens föregångsland]

1974 was the year when the Swedish pop group ABBA won the Eurovision Song Contest in Brighton and when Blue Swede reached number one on the Billboard Hot 100 in the US. Although Swedish pop music gained some international success even prior to 1974, this year is often considered as the beginning of an era in which Swedish pop music had great success around the world. With brands such as ABBA, Europe, Roxette, The Cardigans, Ace of Base, In Flames, Robyn, Avicii, Swedish House Mafia and music producers Stig Andersson, Ola Håkansson, Dag Volle, Max Martin, Andreas Carlsson, Jorgen Elofsson and several others have the myth of the Swedish music miracle kept alive for nearly more than four decades. Swedish music looks to continue reap success around the world, but since the millennium, Sweden's relationship with music has been more focused on relatively controversial Internet-based services for music distribution developed by Swedish entrepreneurs and engineers rather than on successful musicians and composers. This chapter focusses on the music industry in Sweden. The chapter will discuss the development of the Internet services mentioned above and their impact on the production, distribution and consumption of recorded music. Ample space will be given in particular to Spotify, the music service that quickly has fundamentally changed the music industry in Sweden. The chapter will also present how the music industry's three sectors - recorded music, music licensing and live music - interact and evolve in Sweden.

Space within the surface : the patterned surfaces of Florence Broadhurst and Jim Thompson

The Woods Bagot 2007 refurbishment of the Qantas and British Airways Bangkok Business lounge in the Survarnabhumi Airport features wall finishes designed by wallpaper designer, Florence Broadhurst (1899-1977) and Thai Silk trader, Jim Thompson (1906-1967). This distinctive selection, which is proclaimed on the airport’s website, of patterned wall surfaces side by side draws attention to their striking similarities and their defining differences . Thompson and Broadhurst would appear to be worlds apart, but here in the airport their work brings them together. Thompson, the son of a wealthy cotton family in America, worked as an architect before joining the army. He moved to Bangkok to start The Thai Silk Company in 1948. Broadhurst was born on a farm in Mt. Perry, Queensland. She began her career as a performance artist, as part of an Australian troupe in Shanghai, moving onto pursue a career in fashion design, catering to the middle and upper classes in London. Upon her return to Australia, Broadhurst started a print design company in 1959. Both Broadhurst and Thompson pursued multiple careers, lived many lives, and died under mysterious circumstances. Broadhurst was murdered in 1977 at her Sydney print warehouse, which remains an unsolved crime. Thompson disappeared in Malaysia in 1967 and his body has never been found. This chapter investigates the parallels between Thompson and Broadhurst and what lead them to design such popular patterns for wall surfaces towards the end of their careers. While neither designer was a household name, their work is familiar to most, seen in the costume and set design of films, on the walls of restaurants and cafes and even in family homes. The reason for the popularity of their patterns has not previously been analysed. However, this chapter suggests that the patterns are intriguing because they contain something of their designers’ identities. It suggests that the coloured surface provides a way of camouflaging and hiding its subjects’ histories, such that Broadhurst and Thompson, consciously or unconsciously, used the patterned surface as a plane in which their past lives could be buried. The revealing nature of the stark white wall, compared with the forgiveness provided by the pattern in which to hide, is elaborated by painter and advocate for polychromatic architecture, Fernand Léger in his essay, “The Wall, The Architect, The Painter (1965).” Léger writes that, “the modern architect has gone too far in his magnificent attempts to cleanse through emptiness,” and that the resultant white walls of modernity create ‘an impalpability of air, of slick, brilliant new surfaces where nothing can be hidden any longer …even shadows don’t dare to enter’. To counter the exposure produced by the white wall, Thompson and Broadhurst designed patterned surfaces that could harbour their personal histories. Broadhurst and Thompson’s works share a number of commonalities in their design production, even though their work in print design commenced a decade apart. Both designers opted to work more with traditional methods of pattern making. Broadhurst used hand-operated screens, and Thompson outsourced work to local weavers and refrained from operating out of a factory. Despite humble beginnings, Broadhurst and Thompson enjoyed international success with their wall patterns being featured in a number of renowned international hotels in Bahrain, Singapore, Sydney, and London in the 1970s and 1980s. Their patterns were also transferred to fabric for soft furnishings and clothing. Thompson’s patterns were used for costumes in films including the King and I and Ben Hur. Broadhurst’s patterns were also widely used by fashion designers and artists, such as Akira Isogowa‘s costume design for Salome, a 1998 production by the Sydney Dance Company. Most recently her print designs have been used by skin illustrator Emma Hack, in a series of works painting female bodies into Broadhurst’s patterns. Hack’s works camouflage the models’ bodies into the patterned surface, assimilating subject and surface, hinting at there being something living within the patterned wall. More than four decades after Broadhurst’s murder and five decades since Thompson’s disappearance, their print designs persist as more than just a legacy. They are applied as surface finishes with the same fervour as when the designs were first released. This chapter argues that the reason for the ongoing celebration of their work is that there is the impalpable presence of the creator in the patterns. It suggests that the patterns blur the boundary between subject and surface.

The BBC's role in the changing production ecology of pre-school television in Britain

This paper examines the changing production ecology of British pre-school television in light of developments since the mid-1990s and the specific role played by the BBC. Underpinning the research is the perception that pre-school television is characterised by a complex set of industry relationships and dependencies that demands content which needs to satisfy a wide range of international circumstances and commercial prerogatives. For the BBC this has created tension between its public service goals and commercial priorities. Pre-school programming began in Britain in 1950, but it was not until the mid-1990s that Britain emerged as a leading producer of pre-school programming worldwide with government/industry reports regularly identifying the children’s production sector as an important contributor to exports. The rise of pre-school niche channels (CBeebies, Nick Junior, Playhouse Disney), audience fragmentation and the internationalisation and commercialisation of markets have radically altered the funding base of children’s television and the relationships that the BBC enjoys with key players. The international success of much of its pre-school programming is based on the relationships it enjoys with independent producers who generate significant revenues from programme-related consumer products. This paper focuses on the complex and changing relationships between the BBC, independent producers, and financiers, that constitute the production ecology of pre-school television and shape its output. Within the broader setting of cultural production and global trends the paper investigates the following questions: 1) In the light of changes to the sector since the mid-1990s, what makes pre-school television significant both generally and as an ideal public service project? 2) What is the nature of the current funding crisis in British children’s television and what implications does this crisis have for the BBC’s involvement in pre-school television? 3) How is the Corporation reacting to and managing the wider commercial, cultural, regulatory and technological forces that are likely to affect its strategies for the commissioning, production and acquisition of pre-school content?

La lettre de crédit commerciale : facilité de crédit désuète ou incomprise ?

Plus de soixante-quinze ans après la création des Règles et usances uniformes relatives aux crédits documentaires par la Chambre de commerce internationale, pouvons-nous parler d'un véritable succès international de la lettre de crédit commerciale à titre d'instrument de paiement fiable et sécuritaire ? Nonobstant sa triple finalité et l'application formaliste de ses principes d'incessibilité, de stricte conformité et de double autonomie qui ont su, au cours des années, répondre aux besoins résultant de l'évolution du commerce international, il nous semble utopique de parler d'un tel succès. Mais pourquoi ? Confrontées aux réglementations nationales ainsi qu'aux pratiques nationalistes et protectionnistes des états qui ont pourtant adhéré aux Règles et usances relatives aux crédits documentaires, la malléabilité de ces règles semble avoir dénaturé la lettre de crédit commerciale de ses principaux attributs. À cet égard, nous pouvons nous demander si la lettre de crédit commerciale est une facilité de crédit désuète ou incomprise ? La présente thèse est le fruit de maintes réflexions sur les problèmes liés à l'application et l'interprétation de la lettre de crédit commerciale à titre d'instrument international et plus particulièrement sur les lacunes des Règles et usances uniformes relatives aux crédits documentaires.

Caso exitoso de innovación comercial y organizacional

La realización de casos empresariales permite a su lector aprender sobre el funcionamiento interno de las empresas que de algún modo hacen parte de nuestras vidas diarias. El presente caso pretende ilustrar el éxito nacional e internacional de una firma colombiana que a base de mucho esfuerzo y perseverancia logra que este éxito fuera ahora una realidad.

Plan exportador de Moncaleano Guerrero Hermanos Ltda.

Para lograr el proceso de internacionalización es primordial que se elabore un plan para sustentar su ejecución. Como parte inicial se debe partir de la definición del producto que se quiere exportar teniendo en cuenta su partida arancelaria tanto a nivel nacional como en el estándar internacional. Partiendo de este punto, se comienza por la inteligencia de mercados, en la cual se analizan países, los cuales deberán cumplir ciertos requisitos deseados por parte del empresarios y sus objetivos al momento de hacer un plan exportador; para definir los países a los cuales se quiere llegar es necesario que se tengan aspectos claves y decisorios como lo son la población objetivo, la competencia presente en el país, balanza comercial entre los 2 países, canales de distribución, zonas de acceso, requisitos tributarios , ambientales, sanitarios, etc. con los cuales se tomara la decisión si se opta o no por entrar a ese país. Luego de tener definidos 3 países (objetivo, alterno y contingente), se analizan todos los costos que incurren directa e indirectamente en el producto, para poder definir el precio de venta local y analizar si es competitivo en el mercado nacional. Para iniciar en el proceso internacional es vital que se analicen los precios de la competencia en cada uno de los destinos de exportación y ver que tan rentable puede ser ésta actividad para la empresa. Para poder definir el precio de venta internacional se deben estudiar las diferentes cotizaciones de las SIA’s (sociedad de intermediación aduanera) que son entidades necesarias para la exportación de productos a cualquier destino. Escogiendo la opción que más se acomode a las necesidades de la empresa se define el modo en el cual se quiere hacer llegar el producto a su destino final, claro esta, dependiendo de término de negociación elegido por las partes comerciales y definido mediante los INCOTERMS. Luego, se entra la fase de comercialización internacional, en la cual se definen todas las estrategias para cada una de las 4 P’s de la mezcla de mercadeo (Producto, precio, promoción y plaza) en las que se establecen las pautas de entrada para cada país referente a los aspectos anteriores.

Tarabotti fra storia e storiografia: miti, fatti e alcune questioni più generali

This article presents the state of the arts about suor Arcangela Tarabotti, once "little less than a foot-note" well-known to scholars only (even if by Benedetto Croce, the most important of all XXth century Italian historians) and nowadays a literary case and a well-recognised proto-feminist, whose works are now all translated into English. The article examins the fortune (or misfortune) she enjoyed over the centuries, the reasons of her current international success, her life according to real documents and to her more fantasist accounts, the archives research and recent publications on her. It also explores the theoretical issues currently in place within Italian women's studies, moving from the 1970s' emphasis on witches, to the 1980s' passion for women saints, and the current obsession with queens and "winners", in order to prove that Arcangela Tarabotti was someonw unique who paid an enormous price for her bravery and outspokness, having been cloistered without a religious vocation.

O arranjo produtivo de malharias retilíneas em Socorro (SP): organização do espaço industrial e a informalidade

Pós-graduação em Geografia - IGCE

La opción radical : viaje a través de Superstudio

Entre 1966 y 1967 un pequeño grupo de jóvenes arquitectos recién titulados en la Facultad de Arquitectura de Florencia escenifican en dos actos programados en las ciudades de Pistoia y Módenala exposición Superarchitettura, con la que sin saberlo inauguran un corto pero intenso periodo de experimentación arquitectónica que convulsionaría Italia durante los 10 años posteriores, dinamitados por multitud de propuestas que darán lugar a la última arquitectura con aspiraciones socio-políticas responsable de un vibrante legado teórico que proclamaba la vuelta a las raíces olvidadas de la profesión y que se mostraba más preocupada por reflexionar sobre sus fundamentos que por perpetuar la práctica de un oficio ahora puesto en crisis. Ambos eventos suponen también el nacimiento simultáneo de Superstudio y Archizoom, dos de los colectivos más influyentes de la arquitectura experimental italiana de estos años, convertidos en protagonistas de un agitado periodo de transición en el que una generación estaba dando paso a la siguiente a través de la sustitución de los principios doctrinarios recibidos de la modernidad por una jugosa incertidumbre desmitificadora ligada a una nueva realidad económica, política y social que marcaría los inicios de la posmodernidad. La experiencia italiana surge aprovechando la efervescencia de un fenómeno que posteriormente algunos críticos etiquetaron como Arquitectura Radical con la intención de unificar el trabajo de un heterogéneo y atomizado grupo de arquitectos fundamentalmente europeos – individualmente comprometidos con el replanteamiento total de la definición y objetivos de la disciplina, al tiempo que participaban en una particular cruzada existencial mediante la que pretendían, si no cambiar el mundo, al menos romper la dinámica estéril de la arquitectura profesional y tecnológica heredada. La presente tesis fomenta la recuperación interesada de este breve momento radical como un ambicioso proyecto de modernización inacabado, pero no solo para analizar las causas de su precipitado final, sino sobre todo para mostrar las razones de su gran éxito internacional, convirtiendo para ello el trabajo de Superstudio, ejemplo paradigmático de la actitud crítica compartida por el resto de operadores contemporáneos, en el catalizador adecuado a partir del cual interpretar y extrapolar su legado con el fin de narrar el cambio trascendental que este episodio supuso para la práctica arquitectónica, alejándola del diseño de edificios y centrándola en la adopción y aplicación de multitud de actividades no tectónicas en un intento por separarse de lo que era percibido como una disciplina corrupta. A lo largo de su corta carrera en común, los seis miembros de Superstudio sustituyeron la construcción convencional por la explotación intensiva de medios alternativos desde el diseño de mobiliario e iluminación y algunos experimentos en torno a la “arquitectura eléctrica”, hasta la expansión mediática de su trabajo a través de revistas, películas, exposiciones y conferencias contribuyendo así a una provocativa destrucción y posterior expansión de los límites dentro de los que hasta ese momento se había mantenido cómodamente instalada la arquitectura. Esta investigación descubre la trascendencia de considerar aquello que ocupó gran parte de la actividad de Superstudio y de sus colegas radicales (muebles, revistas, instalaciones, películas, labor teórica y docente, etc.) como nuevas formas de arquitectura con las que construir un nuevo lenguaje crítico, en un intento por contribuir a renovar y reforzar la relevancia y responsabilidad social de una profesión llamada a expandirse más allá de lo construido para nutrirse e interactuar con todos los ámbitos de nuestro entorno diario. ABSTRACT Between 1966 and 1967 a small group of newly qualified young architects from the Faculty of Architecture of Florence staged in two events planned in the cities of Pistoia and Modena the Superarchitettura exhibition, with which unwittingly inaugurated a short but intense period of architectural experimentation that convulse Italy during the following 10 years, blown up by a multitude of proposals that will result in the latest architecture with socio political aspirations responsible for a vibrant theoretical legacy proclaiming a return to forgotten roots of the profession and that was more concerned with reflect on its fundamentals than perpetuate the practice of a profession now put into crisis. Both events also involve the simultaneous birth of Superstudio and Archizoom, two of the most influential groups of Italian experimental architecture of these years, turned into protagonists of an hectic period of transition in which a generation was giving way to the next through replacing the received doctrinal principles of modernity by a juicy demystifying uncertainty linked to a new reality economic, political and social that would mark the beginning of postmodernism. The Italian experience arises taking advantage of the commotion of a phenomenon that later some critics labeled as Radical Architecture with the intention of unifying the work of a diverse and fragmented group of architects mainly European individually committed to the total rethinking of the definition and objectives of the discipline, while participating in a particular existential crusade with which they sought to, if not change the world, at least break out of the sterile dynamic of professional and technological architecture inherited. This doctoral thesis promotes an interested recovery of in this short radical time as an ambitious modernization project unfinished, but not only to analyze the causes of its precipitous end, but above all to show the reasons for it’s international success, turning the work of Superstudio, a paradigmatic example of the critical attitude shared by the rest of contemporary operators, into the suitable catalyst from which to interpret and extrapolate it’s legacy in order to recount the significant change that this episode marked for architectural practice, moving it away from building and focusing it on the adoption and implementation of many nonLtectonic activities in an attempt to separate from what was perceived as a corrupt discipline. Throughout their short career in common, the six members of Superstudio replaced conventional construction by intensive exploitation of alternative means L from furniture and lighting design and some experiments around the "electric architecture", to the media expansion of their work through magazines, films, exhibitions and lectures thus contributing to a provocative destruction and subsequent expansion of the limits within which architecture had remained ensconced until then. This dissertation finds out the importance of considering what occupied much of the activity of Superstudio and their radical colleagues (furniture, magazines, installations, films, theoretical and educational work, etc.) as new forms of architecture that build a new critical language, in an attempt to help renew and reinforce the relevance and social responsibility of a profession call to expand beyond the built to nourish and interact with all areas of our everyday environment.

De Born Global a multinacional. Caso de Estudo : sector das tecnologias de informação

Mestrado em Marketing

Chaos or complex systems? Identifying factors influencing the success of international and NESB graduate research students in Engineering and Information Technology Fields

The paper explores the results an on-going research project to identify factors influencing the success of international and non-English speaking background (NESB) gradúate students in the fields of Engineering and IT at three Australian universities: the Queensland University of Technology (QUT), the University of Western Australia (UWA), and Curtin University (CU). While the larger study explores the influence of factors from both sides of the supervision equation (e.g., students and supervisors), this paper focusses primarily on the results of an online survey involving 227 international and/or NESB graduate students in the areas of Engineering and IT at the three universities. The study reveals cross-cultural differences in perceptions of student and supervisor roles, as well as differences in the understanding of the requirements of graduate study within the Australian Higher Education context. We argue that in order to assist international and NESB research students to overcome such culturally embedded challenges, it is important to develop a model which recognizes the complex interactions of factors from both sides of the supervision relationship, in order to understand this cohort‟s unique pedagogical needs and develop intercultural sensitivity within postgraduate research supervision.