Scholarly attention regarding the conflict between Russia and Ukraine has mainly concentrated on so-called Russian propaganda, directed both towards Russian-speaking populations and the international public, but less attention has been paid to the management of information from Ukraine. In this chapter is proposed that the conflict between Ukraine and Russia has engaged an entirely new set of actors engaged in the management of information, most notably from PR and nation branding activities, as well as journalists, oligarchs and various individuals with an interest in Ukraine’s international image. These new actors bring with them competences, ideologies and practices from their field of origin which impact on the practice and expressive character of information warfare. In this chapter we analyse three domains of communication used by Ukraine to address external audiences; the Ukraine Crisis Media Centre (UCMC), the English language news channel Ukraine Today and the fact checking website StopFake. With a focus on both individuals as well as the institutions they represent, this chapter explores the way in which actors in Ukraine have attempted to shape the content of the messages communicated.

Nation branding, as a phenomenon, is attracting increasing scholarly attention. However, much of the existing literature has been written by those involved in the public relations industry themselves. There have been some studies which have been written from a critical viewpoint; however, the tensions of branding a nation have often been neglected. This paper aims to explore the inherent tensions between nation branding and nation building. To what extent is nation branding a tool or a practice? What images of the nation do branders seek to promote, and who is this image for? Is nation branding merely a more palatable version of nationalism? In particular this paper focuses on the debates surrounding the launch of Brand Estonia in 2001/2. Brand Estonia, with the slogan Welcome to Estonia: Positively Transforming, was launched to coincide with Estonia staging the Eurovision Song Contest in 2002. It is a unique and interesting case study given the level of controversy that the initiative generated amongst the Estonian public. Estonia was the first Former Soviet Republic to launch a nation branding project and, perhaps more controversially, it was managed by a British-based company, Interbrand. However, little scholarly attention has been paid to public-level discourses concerning Brand Estonia. The empirical findings discussed in this article highlight some of the more salient narratives on national identity that Brand Estonia engendered and therefore aims to fill this gap.