The contemporary global crisis has been displaying us the power of unknown, the greatness of after-effects, along with the importance of flexibility, advance preparation and risk management, which is also noted and underlined as a crucial factor in recent studies (Estanyol, 2021, p. 3). These crisis times challenge every aspect of our lives, impacting their basis structure and the way we perceive the social and economic reality. The question that arises as a result of this challenge makes appeal to our perspectives, as individuals and as community: what is it to be done during crisis times?
From a logical and rational approach, it is normal that we should focus on minimizing the consequences of crisis times, in order to sustain the natural course of the social and economic aspects. The important aspect to be noted in the regard of economic crisis is that the entertainment industry is believed to be “a luxury product industry” (Chan, 2011, p. 324), which becomes vulnerable in facing the economic decline. The crisis challenges that occur can not be avoided, but they can be smothered.
The Covid-19 global pandemic is one of the most recent crises experienced by the human kind. By analyzing its impact, along with the effects, we might notice that life had changed for all of us. We started losing the touch with our communities as a result of the lockdown restrictions, our favorite activities had to be canceled, the places we used to visit were closed. The entertainment industry, the active filed of gathers and meetings, was deeply affected by the pandemic crisis. But, because it is in our nature to socialize, to have a social experience, we found a way: the online environment, which allowed, at some extent, the normal connection between people, by online meetings, dedicated platforms, groups support and many others. It was an innovative, refreshing method to combat the crisis negative effects.
As we must prepare for the future possible alike crisis contexts, what else should we consider viable when referring to the entertainment sector? Solutions are to be discussed, but we must keep in our minds its ground: significance of community sense, human interaction, considerable high driven feelings, features highlighted in recent studies as well (Basch et al., 2020). During crisis times, these aspects find their ways into the relevance of the human life.
All in all, the aim of this paper is to investigate, underline and note the creative approaches implemented in the entertainment industry in Eastern Europe in a post Covid world. We intend to find out how the industry’s representatives answered to the public’s needs, along with what are they intentions for following events, including communication strategies, effective marketing and management methods. In order to provide a genuine perspective, we will conduct a series of semi-structured interviews with entertainment sector’ representatives.