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Using Films to Achieve Diversity Goals in Marketing Education

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Title: Using Films to Achieve Diversity Goals in Marketing Education
Language: English
Authors: Chang, Dae Ryun (ORCID 0000-0002-2224-7421)
Source: Journal of Marketing Education. Apr 2020 42(1):48-58.
Availability: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: http://sagepub.com
Peer Reviewed: Y
Page Count: 11
Publication Date: 2020
Document Type: Journal Articles
Reports - Research
Education Level: Higher Education
Postsecondary Education
Descriptors: Marketing, Teaching Methods, Positive Attitudes, Business Schools, Diversity, Case Studies, Intellectual Disability, Employees, Consumer Science, Emotional Response, Attitudes toward Disabilities, Employers, Visual Aids, Foreign Countries
Geographic Terms: South Korea
DOI: 10.1177/0273475319878868
ISSN: 0273-4753
Abstract: Visual communication, especially films, can be an effective way to teach complex topics. The use of films in business schools, however, has been limited even though demand for such content is increasing. This article takes a focused look at how educators can take advantage of films to teach diversity in business. Despite the importance of diversity in business and marketing education, there is not enough written materials such as case studies to teach it. Even when they do exist, written content may not be adequate in communicating the issues involved in diversity because of difficulties related to representing a given diversity group only using text. This article discusses how films can help overcome the limitations of text-only representation of a specific diversity group--intellectually disabled workers. The empirical study shows that film can be more effective than text in eliciting consumer responses such as emotions and a positive attitude to an identified disabled personality as well as to the employer brand. This article also provides practical steps that educators can take in gradually integrating visual materials such as film to their traditional method and contents of instruction when teaching diversity in business.
Abstractor: As Provided
Entry Date: 2020
Accession Number: EJ1245219
Database: ERIC
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  Value: <anid>AN0141956794;mke01apr.20;2020Feb29.02:00;v2.2.500</anid> <title id="AN0141956794-1">Using Films to Achieve Diversity Goals in Marketing Education </title> <p>Visual communication, especially films, can be an effective way to teach complex topics. The use of films in business schools, however, has been limited even though demand for such content is increasing. This article takes a focused look at how educators can take advantage of films to teach diversity in business. Despite the importance of diversity in business and marketing education, there is not enough written materials such as case studies to teach it. Even when they do exist, written content may not be adequate in communicating the issues involved in diversity because of difficulties related to representing a given diversity group only using text. This article discusses how films can help overcome the limitations of text-only representation of a specific diversity group—intellectually disabled workers. The empirical study shows that film can be more effective than text in eliciting consumer responses such as emotions and a positive attitude to an identified disabled personality as well as to the employer brand. This article also provides practical steps that educators can take in gradually integrating visual materials such as film to their traditional method and contents of instruction when teaching diversity in business.</p> <p>Keywords: film; visual literacy; diversity; multisensory; representation</p> <p>Visual teaching materials are widely used to help business educators complement written materials such as books, cases, and notes. Whereas in the past showing videos may have been difficult because of the cumbersome set up of equipment or the lack of content, these issues have been significantly abated with textbooks and the Internet providing considerable visual content. However, the role played by visual content still appears to be limited and its power has not been fully explored and utilized in business schools, and educators continue to rely on conventional methods to teach marketing or other business subjects ([<reflink idref="bib57" id="ref1">57</reflink>]). Yet students, especially "digital-native" millennials, are accustomed to using visual sources of information in their pursuit of knowledge ([<reflink idref="bib30" id="ref2">30</reflink>]). This creates a potential gap between the simplified delivery or supply by instructors and the varied demand from students of how marketing is taught and learned. Visual communication, especially the use of films, may help educators bridge this divide and can be especially useful when teaching complex topics such as aesthetics ([<reflink idref="bib48" id="ref3">48</reflink>]), ethics ([<reflink idref="bib5" id="ref4">5</reflink>]; [<reflink idref="bib44" id="ref5">44</reflink>]), or diversity ([<reflink idref="bib2" id="ref6">2</reflink>]).</p> <p>This article explores the advantages of using films to complement traditional lectures and written materials in the business classroom. The multisensorial characteristics of films can help overcome the disadvantages of just using written content. This may be especially true when teaching about a topic such as diversity where some groups may be subject to unintentional stigmatization or underrepresentation when they are only described in writing. The visual power of films can allow the diversity group to be seen in a richer way as compared with the more limited representation with text. This article reports on an empirical research project that specifically examines the effects of film when representing a particular diversity group—intellectually disabled workers. The specific context of the research is on a cookie brand that only employs intellectually disabled bakers and therefore the findings have implications for teaching diversity in marketing.</p> <p>We find that films can be effective in communicating diversity in the following ways: (a) to increase emotional responses to representation of a specific diversity group, (b) to influence attitudes toward a specific diversity, and (c) to positively impact the attitude of the brand or company that employs the diversity group. The mediation effect of the attitude toward the diversity personality on the attitude toward the employing brand helps shed some light on why past studies may have shown mixed effects on how consumers react to companies that employ the disabled. The article concludes with practical implications for marketing educators on how they can best use films to teach a complex topic such as diversity.</p> <hd id="AN0141956794-2">Adjusting Education to a Visually Literate World</hd> <p>Technological advances, especially the development of digital media, is affecting all walks of life. Education is no exception and whereas in the past the sources and the method of teaching revolved around written materials, the concept of academic literacy is becoming diversified to include not only learning the meaning of text but also that of visual content ([<reflink idref="bib34" id="ref7">34</reflink>]). Nevertheless, as for the practice of academic literacy, [<reflink idref="bib30" id="ref8">30</reflink>] contend that higher education is still text-centric and that educators rely on traditional methods and written materials to teach even though the nature of communication today for many people is increasingly visual. The latter is especially true for students who have been acculturated in an image-rich environment via exposure to visual content across many different platforms. [<reflink idref="bib30" id="ref9">30</reflink>] worry that "such highly textual context may cause an alienation from the course material and content" (p. 1). [<reflink idref="bib40" id="ref10">40</reflink>] therefore argue that educators across a wide-range of disciplines should allow students to actively use their visual literacy since images are data sources that help understand and interpret their world. Moreover, [<reflink idref="bib48" id="ref11">48</reflink>] find that text-driven literacy is insufficient when teaching subject matters that involve emotion and empathy or highly subjective concepts. Thus, in a world saturated with multimodal information, educators must consider how to take advantage of many different forms of teaching content.</p> <p>Enhancing visual literacy in general, and using films in particular, may help educators shore up the above cited limitations of a text-only method of instruction. In turn, such steps can help enrich the construction of the academic literacy of learners. This is because being a multisensorial medium, films can be more versatile in providing meaning to theories and concepts ([<reflink idref="bib14" id="ref12">14</reflink>]). More specifically, according to [<reflink idref="bib14" id="ref13">14</reflink>] films can function in four major ways: (a) as an experience, (b) as a case, (c) as meaning, and (d) as a metaphor. This power of film can be found across many academic disciplines including business. For example, [<reflink idref="bib11" id="ref14">11</reflink>] chronicles her experience of teaching international management with a particular film. She chose a fictional movie called <emph>Outsourced</emph> to teach intercultural communication in order to achieve the four outcomes outlined by [<reflink idref="bib14" id="ref15">14</reflink>]. Another benefit of film is that it can help teach difficult business subjects, since films can enhance the realism of a topic, put it in a systematic context and, moreover, make it entertaining ([<reflink idref="bib24" id="ref16">24</reflink>]). When students are engaged, they become more interested in the teaching and learning material ([<reflink idref="bib52" id="ref17">52</reflink>]).</p> <p>An issue when using films may be whether to choose documentaries or fictional narratives. Previous research indicates that documentaries are more appropriate when conveying specific expositional information but that fiction is acceptable when the emphasis is more on communicating the overall story ([<reflink idref="bib19" id="ref18">19</reflink>]). The latter occurs because the absorptive level of the learner increases via narrative transportation in the content ([<reflink idref="bib26" id="ref19">26</reflink>]). However, the danger with fiction is that false information may be used, students will remember fewer details even if they remember the story, and learners can be less critical about the content ([<reflink idref="bib43" id="ref20">43</reflink>]). Thus, if educators intend to use fictional films for teaching purposes, they should make sure that the benefits outweigh their negative effects.</p> <p>Finally, the literature on how learning differs when films are used support greater use by instructors, especially when presented with other media. Past research on the functioning of the brain suggests that the left brain specializes in deductive tasks that are suited to oral and written media. In contrast, the right brain is more oriented to intuitive tasks that are promoted by visual media ([<reflink idref="bib13" id="ref21">13</reflink>]; [<reflink idref="bib55" id="ref22">55</reflink>]). Therefore, the type of subject matter makes some media more conducive than others for learning. Moreover, when information is presented in both ways, a more comprehensive manner of learning can take place which may be needed for new or complex topics.</p> <p>Of course, the use of films as a teaching method is not fail proof and has its own share of caveats. In many of the articles that champion films' effectiveness, the authors are careful in their selection of the movies. Therefore, instructors should first set the criteria such as the four functions identified by [<reflink idref="bib14" id="ref23">14</reflink>] in order to assess the viability of a certain film as a teaching tool. There is also the issue of subjectivity of how viewers respond to movies, especially those that originate or relate to other cultures. Showing a feature movie may cut time away from other forms of teaching and thereby promote passive learning. As a solution to the latter, [<reflink idref="bib31" id="ref24">31</reflink>] recommend the use of short film clips. Last, films are not the same as verbal texts since they employ a "language" of their own such as with colors, music, editing, the lenses used, and so on. This last problem, however, may present a further opportunity for learning critical visual or media literacy if students use it to analyze films and their meaning ([<reflink idref="bib17" id="ref25">17</reflink>]; [<reflink idref="bib23" id="ref26">23</reflink>]).</p> <p>Given their overall characteristics, films may be especially effective in teaching complex subject matters such as ethics or diversity ([<reflink idref="bib2" id="ref27">2</reflink>]; [<reflink idref="bib5" id="ref28">5</reflink>]). As the call to teach diversity at business schools grows louder ([<reflink idref="bib1" id="ref29">1</reflink>]), the next section will focus on how educators can benefit from using films in the classroom when dealing specifically with this topic.</p> <hd id="AN0141956794-3">Using Films to Teach Diversity</hd> <p>As far as incorporating diversity of demographics and culture in teaching at business schools, [<reflink idref="bib25" id="ref30">25</reflink>] suggests that a comprehensive investigation on the topic is needed. Despite advances being made in the diversity of faculty and students in terms of gender and ethnicity, course materials (e.g., cases) are still centered on White, male protagonists and on large corporations ([<reflink idref="bib25" id="ref31">25</reflink>]; [<reflink idref="bib56" id="ref32">56</reflink>]). A direct solution to the lack of content diversity would be to produce more diversified written teaching materials to achieve broader representation.</p> <p>Even when more written materials with diverse protagonists are created, however, teaching diversity via conventional pedagogy may still be a challenge because of the following reasons. First, as with ethics, teaching diversity only in written form can lead to abstract, simplistic, or normative understanding by students who then may not learn the contextual aspects of the issue ([<reflink idref="bib60" id="ref33">60</reflink>]). Second, some topics within diversity such as race is a sensitive topic to discuss in a classroom where negative responses, such as fear, guilt, and anger, can be stirred up if they induce different intercultural identification ([<reflink idref="bib7" id="ref34">7</reflink>]; [<reflink idref="bib35" id="ref35">35</reflink>]). Last, the effects of communicating diversity may depend on the interaction between the specific diversity involved and the medium. For example, [<reflink idref="bib49" id="ref36">49</reflink>] found that knowledge sharing and integration was higher in racially diverse teams with text communication as compared with face-to-face communication (FTF), while the opposite was true for gender-diverse teams. The authors explain that the lower effect of FTF communication in the former group may stem from selective racial perception and stereotyping based on visual and vocal cues that impair knowledge integration ([<reflink idref="bib4" id="ref37">4</reflink>]). Therefore, this study implies that the effectiveness of a medium in promoting knowledge may depend on the specific diversity issue at hand.</p> <p>Across many disciplines instructors have used films as a supplement to address the limitations of written materials when teaching diversity. Auberach (2012) added both feature films and documentaries to teach about diversity and discrimination in his political science course. The films used offered realistic and specific examples of a diversity aspect that could be discussed not just in an abstract manner but encouraged students to be more interactive and to contextualize the topic. To overcome the potentially negative responses regarding diversity when training social workers, [<reflink idref="bib36" id="ref38">36</reflink>], [<reflink idref="bib37" id="ref39">37</reflink>]) provided a "safer" platform where students could constructively discuss diversity issues by externalizing them around a film. The use of fictional films, and the narrative transportation surrounding them as cited above ([<reflink idref="bib26" id="ref40">26</reflink>]), may have helped in this regard. Also, many reported studies ([<reflink idref="bib2" id="ref41">2</reflink>]; J. Lee, Kane, Drane, and Kane; [<reflink idref="bib37" id="ref42">37</reflink>]) did not solely rely on films but instead used them along with traditional lectures to make sure that the students were well grounded in the theoretical concepts of diversity. This mixture would mitigate the lack of or even negative impact that just using films may have on some topics where vocal or visual stereotypes could impair the discussion of the diversity topic. Past research shows that another added benefit of films as compared with traditional pedagogy is that they evoke greater emotional response and positive change in perceptions or attitudes about diversity groups ([<reflink idref="bib2" id="ref43">2</reflink>]; [<reflink idref="bib38" id="ref44">38</reflink>]).</p> <p>The manner in which people on film are perceived and achieve meaning by an audience is what is called "representation" and is a key characteristic of film ([<reflink idref="bib27" id="ref45">27</reflink>]). The filmmaker has to tread very carefully when portraying real people (in documentaries) or characters (in fictional narratives) so that they do not misrepresent not just their individual traits but also their categorical characteristics such as gender, income class, race, or occupation. In fact, biased representation or stereotyping in films of a diversity segment can do more harm than good. For example, [<reflink idref="bib20" id="ref46">20</reflink>] examined the portrayal of career-minded women in 137 fictional movies spanning the late 1970s to 2010. Many of the findings point to a negative "social text" where personal depictions show career women protagonists to be "obsessive-compulsive, emotionally unstable, mean and lacking in empathy" (p. 250). Another common cinematic representation was that of salespeople and [<reflink idref="bib28" id="ref47">28</reflink>] found their portrayals in movies to be consistently negative. These studies thus indicate that teaching diversity with film must be conducted in a mindful manner such as in choosing what films or clips are used that ensures a balanced representation of the subject or group.</p> <p>The value of these studies on the use of film to teach diversity is that they encourage educators to explore how new and complex topics can be taught and discussed with their students. Many of the cited research, however, are qualitative in their approach and therefore they need to be complemented with quantitative empirical testing. Moreover, there is a significant lack of research on the use of film when teaching business diversity issues, especially in the marketing context. This article aims to address to those two aspects by conducting a rigorous study on how film affects consumer perception of diversity in marketing with a particular focus on the representation of one specific group, that is, intellectually disabled workers.</p> <hd id="AN0141956794-4">Empirical Study on Film and Diversity in Marketing</hd> <p>According to the [<reflink idref="bib59" id="ref48">59</reflink>], the disabled is the world's largest minority group and diversity stakeholder. The [<reflink idref="bib63" id="ref49">63</reflink>] estimates that almost 15% of humanity lives with some form of disability. As workplace diversity improves, the employment of people with disabilities is also becoming an important corporate social responsibility agenda as well as a research issue ([<reflink idref="bib32" id="ref50">32</reflink>]). However, as compared with other diversity groups, the employment of the disabled has lagged because of factors such as negative employer perceptions about their abilities ([<reflink idref="bib9" id="ref51">9</reflink>]). Moreover, even when they are hired, the corporate social responsibility objectives are often to protect the corporate image or to enhance its reputation as opposed to having a genuine commitment to employing people with disabilities ([<reflink idref="bib50" id="ref52">50</reflink>]). Also, from a diversity teaching standpoint there are very few business teaching cases that deal with managing workers with disabilities. The materials that do exist center on ethics or human resource aspects (e.g., [<reflink idref="bib10" id="ref53">10</reflink>]) and not on broader management issues such as that related to marketing.</p> <p>We see therefore that despite the emergence of the disabled as an important diversity group, there is still not only a lack in their employment at companies but also a limited breadth of teaching content on how they can be integrated at the workplace or how this aspect can be communicated to other stakeholders such as consumers. Building on the advantages of film in teaching diversity as discussed above, we conducted an empirical study to assess the effects on consumers of the different media representation of a brand that employs the disabled.</p> <p>The company subject for the movie is a social enterprise cookie brand in South Korea that only employs intellectually disabled bakers—workers who have IQs (intellectual quotients) lower than 70. Given the generally low employment rate of intellectually disabled workers ([<reflink idref="bib53" id="ref54">53</reflink>]), this company stands out as an exemplary exception. There is a written case on the company ([<reflink idref="bib15" id="ref55">15</reflink>]) that describes the history, the corporate philosophy, and managerial challenges of making cookies while only employing the intellectually disabled. One of the key issues in the case is the managerial dilemma of whether to emphasize the prosocial causes such as the employment of the disabled to consumers. Past research shows mixed conclusions on how people respond to companies that hire workers with disabilities. Whereas some studies suggest that consumers have a more positive attitude toward companies that employ the disabled (e.g., [<reflink idref="bib54" id="ref56">54</reflink>]), others (e.g., [<reflink idref="bib41" id="ref57">41</reflink>]) found that people responded negatively to companies when they found the employment of disabled workers to be a discomforting fact. Both studies described employee disability and measured consumer attitudes toward companies in a general manner thereby limiting its generalization to the specific conditions of this particular cookie brand.</p> <p>While the cookie brand case itself illuminates the challenges faced by the CEO and administrators with ample quotes from them about their hardships, by contrast, representation of the workers with intellectual disabilities is almost nonexistent. It contains no interviews with the workers with disabilities; instead, the case mentions them as working for the company and their specific intellectual disability without names. This "person-first" (e.g., "people with disabilities") approach is prevalent in written academic studies but while such person-leveling references are meant to reduce bias toward groups such as the disabled, the actual effect may be to increase it because it is used more for stigmatized groups ([<reflink idref="bib22" id="ref58">22</reflink>]). Some academics argue that many disabled groups prefer an "identity-first" approach (e.g., "disabled worker") where individuals are demonstrating their acceptance and pride concerning their identity which includes putting their disability and names first ([<reflink idref="bib12" id="ref59">12</reflink>]; [<reflink idref="bib18" id="ref60">18</reflink>]; [<reflink idref="bib21" id="ref61">21</reflink>]).</p> <p>The objective of the film project called "We Can Dream" was to adhere to the "identity-first" philosophy where the disability is mentioned at the beginning along with the name of one central protagonist. The visual content used for the study is a minifilm where one intellectually disabled baker is interviewed not only about his job but also his aspirations for himself and the company. There are several cutaway scenes inserted to show a typical day of his responsibilities and his interactions with his fellow bakers and his supervisors, including the CEO, who is a Catholic nun. The factual documentary is expositional and identifies a real disabled baker and not a fictional portrayal of an intellectually disabled worker (e.g., <emph>I am Sam</emph> where actor Sean Penn plays Sam who works for Starbucks) that could have been used as a visual reference but with the many potential pitfalls as alluded to above (e.g., [<reflink idref="bib43" id="ref62">43</reflink>]).</p> <p>In representing the disabled mostly through one named worker, the intent was to see if viewers of the movie could see and relate to him in a more personal way as opposed to the abstract and generalized manner of thinking about the disabled as a group. The hope was that by showing a particular baker, Jihoon, a "para-social relationship" between him and the viewer would be established ([<reflink idref="bib16" id="ref63">16</reflink>]). Past studies have argued that people with disabilities need to be shown in a natural way to reduce the implicit bias about them ([<reflink idref="bib29" id="ref64">29</reflink>]; [<reflink idref="bib33" id="ref65">33</reflink>]). Jihoon's stated goals to make an honest living, help others, have a family, and to be happy are not at all different from most people. Even though it is a short 10-minute documentary, the intent was to represent a "typical day" in the life of Jihoon.</p> <p>Work in media psychology ([<reflink idref="bib45" id="ref66">45</reflink>]; [<reflink idref="bib62" id="ref67">62</reflink>]) argues that media consumption can be intrinsically gratifying (i.e., hedonic) or foster a sense of insight, meaning and social connectedness, captured by the construct "eudaimonic appreciation" ([<reflink idref="bib3" id="ref68">3</reflink>]). <emph>We Can Dream</emph> was produced with the latter effect in mind. For <emph>We Can Dream</emph> and its diversity theme of exploring how we look at the disabled, there are relevant past studies that show eudaimonic appreciation is closely associated with other complex social emotions such as empathy ([<reflink idref="bib3" id="ref69">3</reflink>]). The studies centering on prosocial media effect of positive emotions also show that it can lead to positive attitudes toward members of a stigmatized group ([<reflink idref="bib46" id="ref70">46</reflink>]). Using different modal and sensorial types of information about a specific diversity issue, we can formulate the following research questions:</p> <p></p> <ulist> <item> <bold> Research Question 1: </bold> Are there differences in how people respond to alternative modal and sensorial types of information about a diversity subject, in this case, the disabled employee?</item> <p></p> <item> <bold> Research Question 2: </bold> Are there factors that mediate the modal effect of the information and attitude toward the diverse subject, in this case, the disabled employee and the employer?</item> </ulist> <p>The following section will describe the method and the results of how an online sample responded to various representations of the intellectually disabled worker Jihoon, the central figure of <emph>We Can Dream</emph>.</p> <hd id="AN0141956794-5">Method for Film Study on Diversity in Marketing</hd> <p>To assess the impact of film when teaching about diversity and emotions toward the disabled employees, an online experiment was conducted using a 2-minute version of the film. The shortening of the film was based on pilot studies that showed that the full 10-minute movie could neither draw nor hold the attention of the online sample as easily as the briefer movie. Since we expected that the response rate would be even lower when the sensorial level of the stimuli was reduced, 2 minutes were deemed to be the appropriate length for the audio and film versions.</p> <hd id="AN0141956794-6">Sample</hd> <p>During a 2-week period in November of 2018, we used an online sample of 150 participants who were subject to different sensorial types of information about the intellectually disabled baker, Jihoon. Fifty people each were randomly assigned to one of three different stimulus groups: (a) text, (b) text with audio, or (c) a filmed interview. We used a manipulation check where the respondent was asked to identify the specific type of information received among the three modes offered. Only those participants who responded correctly and completed the survey were included in the final analyzed sample. The final usable sample composed of 131 people and was skewed toward women who represented 69% of the respondents as compared with 31% who were men. As for the age distribution, 85% were younger than 50 years of age with the spread being relatively even between the 20s, 30s, and 40s age brackets. One group was exposed to just the text of the questions and the answers by Jihoon in slides that they could read at their own pace. Another was shown the questions as text in a video, but then they could hear Jihoon's responses in his own voice. The last group also saw the questions as text but then could hear and see Jihoon's face in a close-up with a few cutaways shots from the film of him working at the cookie company. Examples of the various stimuli are shown in Appendix A.</p> <hd id="AN0141956794-7">Measures</hd> <p>In all three groups, Korean subtitles were added even though the online panel survey was conducted in Korean. This was to control for the equivalence of the stimuli and the confounding that might have resulted if they were omitted in some but not in others. The mediating variables were emotional response to the stimuli and attitude toward the disabled personality. The dependent variable was attitude toward the employer of the disabled workers. These were measured by items used in other past studies. Emotional response ([<reflink idref="bib42" id="ref71">42</reflink>]) was measured by 7-point responses to "I feel__" ("Joy," "Happy," "Satisfied, "Interested, "Delighted," "Feel Good," and "Compassionate"). Attitude toward the main protagonist and his employer/brand was adapted from [<reflink idref="bib39" id="ref72">39</reflink>]. We measured it with 7-point responses to "like" and "good" for Jihoon, and for the brand We Can Cookies with "positive," "like," "good," "interest in social enterprises," and "I would like to buy."</p> <hd id="AN0141956794-8">Results</hd> <p>To answer the two research questions, we performed a path analysis on the total sample of 131 viewers. The results are shown in Figure 1 where we see a significant direct effect (<emph>b</emph> = 0.24, <emph>p</emph> =.033) between the independent construct of the richness of the stimuli (going from text only, text + audio, and text + audio + visuals) and the emotional response of the viewer. Therefore, as to the first research question about whether there are differences between the modal stimuli on representing someone with a disability, we see that the emotional response of the viewer increases when the sensorial modality of information is increased. This is consistent with the effect of film as discussed above such as by [<reflink idref="bib38" id="ref73">38</reflink>]. The current study was conducted in an online environment where emotional responses are considered to be difficult to elicit, especially from a teaching standpoint ([<reflink idref="bib61" id="ref74">61</reflink>]). The use of films, even when shown online, appears to allow educators to overcome this limitation.</p> <p>Graph: Figure 1. Path coefficients of mediation of emotions and attitude toward personality on modal stimuli and brand attitude. Note. Sobel test (z = 2.078, p =.033). p levels indicated in parentheses.</p> <p>As for the second research question, the viewer's emotional response was mediated by respondents' attitudes (<emph>b</emph> = 0.81, <emph>p</emph> <.001) toward the diversity personality identified and represented. The attitude toward the personality of interest then is shown to have a positive effect (<emph>b</emph> = 0.57, <emph>p</emph> =.037) on his employer or brand. The mediation effect of these variables, as indicated by a Sobel test (<emph>z</emph> = 2.078, <emph>p</emph> =.037), was confirmed. These results provide important answers to the research question of what mediates the power of films and their effect on people, such as students who could watch them when learning about diversity offline or online. There has to be an emotional response, and that also has to shape a positive attitude on the subject shown. When those effects occur, they can in turn lead to a positive attitude about the employer. Without those mediators in place, a film by itself nor emotions alone will be effective influencers of a positive attitude formation on the employer.</p> <p>The mediation effects may help in part to explain the mixed results of past research where the employment of the disabled had positive or negative effects on consumers' attitudes toward the employer ([<reflink idref="bib41" id="ref75">41</reflink>]; [<reflink idref="bib54" id="ref76">54</reflink>]). Of course, we have to factor in that unlike our research, these studies were written surveys that did not specifically identify the disability, the worker or the employer. Nevertheless, in future research, we can speculate that even when written descriptions specifically identify the disability and the worker, a more positive attitude formation about the disabled worker may be needed to achieve a positive attitude toward the employer. That said, a rich identification or representation in writing of the intellectually disabled worker will not be as easy to achieve as with the multisensorial ability of film.</p> <p>From a visual literacy perspective, a film that can elicit strong emotions and also make the central figure likable are the requisite conditions that help create a positive image for the employer of the disabled. Therefore, when teaching about the disabled, making a good film or choosing the right existing film will determine how effective the instructor will be in achieving his or her educational goals. The fact that the "minifilm" used in this online study was just over 2-minutes long and without music shows that filmmaking need not be an intimidating endeavor. While a limitation of the present study is that the online panel was not limited to just students, it shows that teaching and learning can occur in a variety of venues with a diverse set of recipients.</p> <p>From a teaching perspective, by relying on just written materials, students may process expositional content cognitively. But, when such pedagogy is complemented with film, the visual literacy may help evoke more emotional and empathetic responses. This is because diversity becomes more than just a topic and, despite preconceptions about differences with the subjects, viewers can gain some identification from the shared experiences shown in films ([<reflink idref="bib51" id="ref77">51</reflink>]). Since the teaching of diversity with films in marketing is still at a very embryonic stage, more theorizing and empirical testing is needed. Nevertheless, the hope is that marketing academics who have an interest in teaching with film will collectively advance the conceptual bases of the effectiveness of this medium not just to teach diversity but also other complex marketing topics.</p> <hd id="AN0141956794-9">Implications for Teaching Diversity in Marketing With Film</hd> <p>In the multimedia landscape in which we live, students are accustomed to being engaged through both written and visual materials. It should then come as no surprise to educators that students will increasingly expect to learn in that same fashion in the marketing classroom. In this article, we looked at how visual literacy via the use of film can help in communicating the benefits of diversity such as the employment of the intellectually disabled by a company. Promoting diversity is becoming an important topic in business and marketing but we have found that there are still not enough teaching materials on the topic even in writing. However, even when such efforts are made, previous research suggests that educators may encounter difficulty in teaching diversity about certain groups because of such unintentional problems as stigmatization stemming from lack of identification or adequate representation in the written content.</p> <p>The diversity examined in this article was the employment of the intellectually disabled by a cookie company brand. We established that as the information about the identified baker, Jihoon, increases from text to then include audio and finally film about him at his workplace, the consumer's emotional response to him increases which then also helps promote the attitude toward his employing brand. Our results suggest therefore that when teaching diversity, a richer discussion about the diversity individual and the employer can be achieved by adding not just identification but also more representation about them with a film. When integrated with the cited case on the company, the written and visual materials could ideally provide a balance and help mutually offset the problems of just offering one type of educational information. This is because while stigmatization may be reduced with the use of film, only using it may call into question issues about the subjectivity of its visual representation ([<reflink idref="bib6" id="ref78">6</reflink>]).</p> <p>It is of course not a simple matter to add films to written content, especially on diversity since even that, at least in marketing, is not abundant. The good news, however, is that diversity has a longer track record of having been taught as a subtopic within film, law, ethics, and cross-cultural communication where there are more readings and cases. More relevant to this article, there are many reported studies of how both feature and documentary films have been used or made to teach those topics (e.g., [<reflink idref="bib23" id="ref79">23</reflink>]; [<reflink idref="bib58" id="ref80">58</reflink>]). Therefore, they can act as a blueprint on how films can be integrated when teaching about diversity.</p> <p>Some of the lessons learned from integrating teaching with films in these other fields are as follows. First, instructors should experiment in mixing traditional pedagogy and visual content until they find the right portion that feels comfortable to them. From that standpoint, sources run the gamut of some courses that mainly use feature films (e.g., a minicourse on family law, [<reflink idref="bib47" id="ref81">47</reflink>]) to those where only short clips are shown to "flesh out" some point of discussion. The latter strategy suggests that educators can take "baby steps" in adding visual content. Also, a collective effort may facilitate and expedite the curation of visual materials by noting useful scenes that illustrate subtopics on a diversity group. Appendix B offers one simple example of a format using a film on gender bias in media called <emph>Miss Representation</emph> that other curators can reference. The format provides specific subtopics (e.g., disguised agency), the timing in the film when it is discussed, and some notable sound bites that the viewer can hear and remember. A resource such as this will allow educators to easily choose and visually illustrate issues that they want to discuss with students in class.</p> <p>Second, the making of an original visual component to accompany written cases can be achieved in a collaborative manner with students or other contributors. Not only does this make the process easier, but it could also help alleviate the burden of proper representation in films ([<reflink idref="bib6" id="ref82">6</reflink>]). The representation of a subject or a topic by a filmmaker can be very subjective. Even with <emph>We Can Dream</emph>, there was a narrative arc that was used to make the film more structured and engaging. To triangulate and crowdsource the reception toward the written and visual content in a more objective fashion, a website where all the raw interviews will be unfiltered is being designed. Commentary on the project website will allow not just verbal but also visual content on experiences with employment of the intellectually disabled at other companies.</p> <p>Finally, the spectrum of how diversity is defined is increasing and is influenced by the emergence of new minorities. It is important that educators, even at business schools, monitor new groups whose voice may also need to be heard. In that regard, films and their power of storytelling can help underrepresented groups to more persuasively communicate their need for inclusion ([<reflink idref="bib8" id="ref83">8</reflink>]). Instead of relying on just conventional categories of diversity, educators should empower underrepresented students to use a multisensory and contextual medium such as film or photo-journals to express their challenges at school or in the workplace.</p> <hd id="AN0141956794-10">Limitations and Future Research</hd> <p>This study contains some limitations in the scope and methods that may curb how much we can generalize to the teaching of diversity with film. That said, these limitations may offer new avenues on not only future research issues on diversity in marketing but also on how to teach it.</p> <p>First, we used an online sample to test the effects of differential modal stimuli on consumer response to the disability individual. This could limit the control of how the participants responded to the various stimuli and their viewing environment. Future experiments could have tighter controls and manipulation checks on how the various modal information are presented to and received by the respondents.</p> <p>Second and somewhat related to the first limitation, the type of visual material offered was determined by a pretest to select the appropriateness of the experimental stimuli such as the length. Representation of the identified intellectually disabled worker was achieved not only in the editing of what was said (for all stimuli) but for the film also in the use of close-ups, the insertion of some cutaways, and so on. Future studies can test whether consumer responses are robust across different types of cinematic representation. If they are not, then educators need to know and guard against some effects being higher because of confounding such as the use of a particular type of music.</p> <p>Third, in this study original content was used as opposed to using existing documentaries or fictional features (or their clips). We argued against using the latter in our project but for practical purposes they may be the only available visual option for many instructors. Therefore, a possible future study could compare the effects between an original subject-specific film and clips from existing features, both documentary and fiction. If there are no differences found in the effects established in this study, then it would make a strong case to have instructors use easy-to-access visual materials (e.g., in our case clips from <emph>I am Sam</emph>) when teaching diversity and thereby save a significant amount of time and effort.</p> <p>Finally, this study looked at only one diversity group, that is, the intellectually disabled. As we learned in previous research (e.g., [<reflink idref="bib49" id="ref84">49</reflink>]) the effect of media may interact with the diversity group. Thus, even though we showed positive effects of using film when representing the intellectually disabled, the same may not hold true with other diversity groups. With more research on media effects such as films on different types of diversity, marketing educators can ascertain when just using written materials suffice and when teaching about a specific diversity group warrants more visual representation.</p> <p>The overarching intent of this article was to look at how teaching diversity in marketing can be aided by the use of film. While films may not help all the time, the promise of this medium for communicating complex topics such as diversity in marketing warrants further examination for both teaching and research purposes.</p> <hd id="AN0141956794-11">Appendix A</hd> <p></p> <hd id="AN0141956794-12">Examples of Stimuli Based on Different Levels of Modal Richness</hd> <p></p> <ulist> <item> Text-only stimulus with questions and answers</item> <p></p> </ulist> <p>• </p> <p>Graph</p> <p></p> <ulist> <item> Translation: Question 1: What motivated you to come to We Can?</item> <p></p> <item> Jihoon: Before I came here, I worked at a bakery in Pochon in Kyungi Province. But because I became so stressed there, my training instructor recommended me to come here. So I came here by recommendation.</item> <p></p> <item> Text + audio stimulus with questions and answers</item> <p></p> </ulist> <p>• </p> <p>Graph</p> <p></p> <ulist> <item> Text + audio + visual stimulus with questions and answers</item> <p></p> </ulist> <p>• </p> <p>Graph</p> <hd id="AN0141956794-13">Appendix B</hd> <p>Graph</p> <p>Sample Format of How to Reference/Archive "Miss Representation" for a Course on Diversity and Gender Representation in Media.</p> <p> <ephtml> <table><colgroup><col align="left" /><col align="char" char="." /><col align="char" char="." /></colgroup><thead><tr><th align="center">Subtopic</th><th align="center">Timing in movie</th><th align="center">Key quote</th></tr></thead><tbody><tr><td>Disguised agency/objectification</td><td>29:11 to 33:25</td><td>"You know they'll say Madonna is tremendously empowered or Angelina Jolie, but they all embody that exact same definition of sexuality."</td></tr><tr><td>Greater scrutiny of women in media, e.g., journalists</td><td>37:25 to 40:48</td><td>By Rachel Maddow: "For some people, I will always be too hideous a creature to be on television. That's fine."</td></tr><tr><td>Media as instrument of change</td><td>54:05 to 59:00</td><td>By Katie Couric: "The media as instrument of change, it can maintain the status quo and reflect the views of society or it can hopefully awaken people and change minds."</td></tr><tr><td>Historical "redomestication" of women by media</td><td>1:00:00 to 1:02:00</td><td>"We needed a huge media campaign to get these women back into the home. One of the most effective ways was to through television." We had television shows sponsored by numerous commodities.... These commodities were linked to the good life. Women rushed to their new shopping centers in their brand new cars and loaded up."</td></tr><tr><td>Lessening of media regulation and the power of media conglomerates to focus on sensational content</td><td>1:04:00 to 1:07:00</td><td>"You have less and less minutes devoted to the pursuit of strong, independent, long-term investigative journalism.... Fifteen years ago, it would have been unthinkable for Britney Spear's panties to be a breaking headline on CNN."</td></tr><tr><td>Need for women to be their own role models</td><td>1:17:00 to 1:23:00</td><td>By Condoleezza Rice: "We make a mistake when we have find role models who look like you. If Sally Ride, my dear friend, first female astronaut had been waiting for a female astronaut role model, she never would have done it."</td></tr></tbody></table> </ephtml> </p> <ref id="AN0141956794-14"> <title> References </title> <blist> <bibl id="bib1" idref="ref29" type="bt">1</bibl> <bibtext> Aranda P., Wynne R., Milano B. J. (2012, January 1). Diversity and the future of business. BizEd. Retrieved from https://bized.aacsb.edu/articles/2012/01/diversity-and-the-future-of-business</bibtext> </blist> <blist> <bibl id="bib2" idref="ref6" type="bt">2</bibl> <bibtext> Auerbach A. (2012). Teaching diversity: Using a multifaceted approach to engage students. 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Retrieved from https://<ulink href="http://www.who.int/disabilities/world%5freport/2011/report/en/">www.who.int/disabilities/world%5freport/2011/report/en/</ulink></bibtext> </blist> </ref> <ref id="AN0141956794-15"> <title> Footnotes </title> <blist> <bibtext> Declaration of Conflicting Interests The author declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.</bibtext> </blist> <blist> <bibtext> Funding The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This research was supported by the Yonsei University Research Fund of 2018 (2018-22-0164).</bibtext> </blist> <blist> <bibtext> ORCID iD Dae Ryun Chang</bibtext> </blist> <blist> <bibtext>Graph https://orcid.org/0000-0002-2224-7421</bibtext> </blist> </ref> <aug> <p>By Victoria L. Crittenden, Guest-editor; Cassandra Davis, Guest-editor; Rebeca Perren, Guest-editor and Dae Ryun Chang</p> <p>Reported by Author; Author; Author; Author</p> </aug> <nolink nlid="nl1" bibid="bib57" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib30" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib48" firstref="ref3"></nolink> <nolink nlid="nl4" bibid="bib44" firstref="ref5"></nolink> <nolink nlid="nl5" bibid="bib34" firstref="ref7"></nolink> <nolink nlid="nl6" bibid="bib40" firstref="ref10"></nolink> <nolink nlid="nl7" bibid="bib14" firstref="ref12"></nolink> <nolink nlid="nl8" bibid="bib11" firstref="ref14"></nolink> <nolink nlid="nl9" bibid="bib24" firstref="ref16"></nolink> <nolink nlid="nl10" bibid="bib52" firstref="ref17"></nolink> <nolink nlid="nl11" bibid="bib19" firstref="ref18"></nolink> <nolink nlid="nl12" bibid="bib26" firstref="ref19"></nolink> <nolink nlid="nl13" bibid="bib43" firstref="ref20"></nolink> <nolink nlid="nl14" bibid="bib13" firstref="ref21"></nolink> <nolink nlid="nl15" bibid="bib55" firstref="ref22"></nolink> <nolink nlid="nl16" bibid="bib31" firstref="ref24"></nolink> <nolink nlid="nl17" bibid="bib17" firstref="ref25"></nolink> <nolink nlid="nl18" bibid="bib23" firstref="ref26"></nolink> <nolink nlid="nl19" bibid="bib25" firstref="ref30"></nolink> <nolink nlid="nl20" bibid="bib56" firstref="ref32"></nolink> <nolink nlid="nl21" bibid="bib60" firstref="ref33"></nolink> <nolink nlid="nl22" bibid="bib35" firstref="ref35"></nolink> <nolink nlid="nl23" bibid="bib49" firstref="ref36"></nolink> <nolink nlid="nl24" bibid="bib36" firstref="ref38"></nolink> <nolink nlid="nl25" bibid="bib37" firstref="ref39"></nolink> <nolink nlid="nl26" bibid="bib38" firstref="ref44"></nolink> <nolink nlid="nl27" bibid="bib27" firstref="ref45"></nolink> <nolink nlid="nl28" bibid="bib20" firstref="ref46"></nolink> <nolink nlid="nl29" bibid="bib28" firstref="ref47"></nolink> <nolink nlid="nl30" bibid="bib59" firstref="ref48"></nolink> <nolink nlid="nl31" bibid="bib63" firstref="ref49"></nolink> <nolink nlid="nl32" bibid="bib32" firstref="ref50"></nolink> <nolink nlid="nl33" bibid="bib50" firstref="ref52"></nolink> <nolink nlid="nl34" bibid="bib10" firstref="ref53"></nolink> <nolink nlid="nl35" bibid="bib53" firstref="ref54"></nolink> <nolink nlid="nl36" bibid="bib15" firstref="ref55"></nolink> <nolink nlid="nl37" bibid="bib54" firstref="ref56"></nolink> <nolink nlid="nl38" bibid="bib41" firstref="ref57"></nolink> <nolink nlid="nl39" bibid="bib22" firstref="ref58"></nolink> <nolink nlid="nl40" bibid="bib12" firstref="ref59"></nolink> <nolink nlid="nl41" bibid="bib18" firstref="ref60"></nolink> <nolink nlid="nl42" bibid="bib21" firstref="ref61"></nolink> <nolink nlid="nl43" bibid="bib16" firstref="ref63"></nolink> <nolink nlid="nl44" bibid="bib29" firstref="ref64"></nolink> <nolink nlid="nl45" bibid="bib33" firstref="ref65"></nolink> <nolink nlid="nl46" bibid="bib45" firstref="ref66"></nolink> <nolink nlid="nl47" bibid="bib62" firstref="ref67"></nolink> <nolink nlid="nl48" bibid="bib46" firstref="ref70"></nolink> <nolink nlid="nl49" bibid="bib42" firstref="ref71"></nolink> <nolink nlid="nl50" bibid="bib39" firstref="ref72"></nolink> <nolink nlid="nl51" bibid="bib61" firstref="ref74"></nolink> <nolink nlid="nl52" bibid="bib51" firstref="ref77"></nolink> <nolink nlid="nl53" bibid="bib58" firstref="ref80"></nolink> <nolink nlid="nl54" bibid="bib47" firstref="ref81"></nolink>
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  Data: Using Films to Achieve Diversity Goals in Marketing Education
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  Label: Language
  Group: Lang
  Data: English
– Name: Author
  Label: Authors
  Group: Au
  Data: <searchLink fieldCode="AR" term="%22Chang%2C+Dae+Ryun%22">Chang, Dae Ryun</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0002-2224-7421">0000-0002-2224-7421</externalLink>)
– Name: TitleSource
  Label: Source
  Group: Src
  Data: <searchLink fieldCode="SO" term="%22Journal+of+Marketing+Education%22"><i>Journal of Marketing Education</i></searchLink>. Apr 2020 42(1):48-58.
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  Label: Availability
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  Data: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: http://sagepub.com
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  Label: Peer Reviewed
  Group: SrcInfo
  Data: Y
– Name: Pages
  Label: Page Count
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  Data: 11
– Name: DatePubCY
  Label: Publication Date
  Group: Date
  Data: 2020
– Name: TypeDocument
  Label: Document Type
  Group: TypDoc
  Data: Journal Articles<br />Reports - Research
– Name: Audience
  Label: Education Level
  Group: Audnce
  Data: <searchLink fieldCode="EL" term="%22Higher+Education%22">Higher Education</searchLink><br /><searchLink fieldCode="EL" term="%22Postsecondary+Education%22">Postsecondary Education</searchLink>
– Name: Subject
  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Marketing%22">Marketing</searchLink><br /><searchLink fieldCode="DE" term="%22Teaching+Methods%22">Teaching Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Positive+Attitudes%22">Positive Attitudes</searchLink><br /><searchLink fieldCode="DE" term="%22Business+Schools%22">Business Schools</searchLink><br /><searchLink fieldCode="DE" term="%22Diversity%22">Diversity</searchLink><br /><searchLink fieldCode="DE" term="%22Case+Studies%22">Case Studies</searchLink><br /><searchLink fieldCode="DE" term="%22Intellectual+Disability%22">Intellectual Disability</searchLink><br /><searchLink fieldCode="DE" term="%22Employees%22">Employees</searchLink><br /><searchLink fieldCode="DE" term="%22Consumer+Science%22">Consumer Science</searchLink><br /><searchLink fieldCode="DE" term="%22Emotional+Response%22">Emotional Response</searchLink><br /><searchLink fieldCode="DE" term="%22Attitudes+toward+Disabilities%22">Attitudes toward Disabilities</searchLink><br /><searchLink fieldCode="DE" term="%22Employers%22">Employers</searchLink><br /><searchLink fieldCode="DE" term="%22Visual+Aids%22">Visual Aids</searchLink><br /><searchLink fieldCode="DE" term="%22Foreign+Countries%22">Foreign Countries</searchLink>
– Name: Subject
  Label: Geographic Terms
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22South+Korea%22">South Korea</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1177/0273475319878868
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 0273-4753
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: Visual communication, especially films, can be an effective way to teach complex topics. The use of films in business schools, however, has been limited even though demand for such content is increasing. This article takes a focused look at how educators can take advantage of films to teach diversity in business. Despite the importance of diversity in business and marketing education, there is not enough written materials such as case studies to teach it. Even when they do exist, written content may not be adequate in communicating the issues involved in diversity because of difficulties related to representing a given diversity group only using text. This article discusses how films can help overcome the limitations of text-only representation of a specific diversity group--intellectually disabled workers. The empirical study shows that film can be more effective than text in eliciting consumer responses such as emotions and a positive attitude to an identified disabled personality as well as to the employer brand. This article also provides practical steps that educators can take in gradually integrating visual materials such as film to their traditional method and contents of instruction when teaching diversity in business.
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  Data: 2020
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  Data: EJ1245219
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        Value: 10.1177/0273475319878868
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      – Text: English
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      Pagination:
        PageCount: 11
        StartPage: 48
    Subjects:
      – SubjectFull: Marketing
        Type: general
      – SubjectFull: Teaching Methods
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      – SubjectFull: Positive Attitudes
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      – SubjectFull: Business Schools
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      – SubjectFull: Employees
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      – TitleFull: Using Films to Achieve Diversity Goals in Marketing Education
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