The objective of this paper is to explore one of the many methods of communicating a brand or product value: product placement. In this report, the areas that will be covered include, the history of product placement, the method, the goal and psychology behind it, current trends, its weaknesses and strengths, its role in our culture and how it might evolve in the near future. We will explore how product placement plays a role in the different types of media, its effectiveness and strategies and its limitations. Another issue that will be covered includes a survey of similar marketing techniques that at times have been seen as an extension or a better version of product placement: branded entertainment and advertainment. The purpose of this paper is to provide readers with a full understanding of the structure, function and purpose of product placement. / text

A relatively unexamined area of branded entertainment combines sports sponsorship with product placement, and occurs when a brand name or logo appears in a print photograph. The resulting photograph can be considered the print equivalent of product placement, or "print placement." Keenan, Pokrywczynski and Boyle (1995) determined the potential for exposure to advertising, brands, sponsors and symbols appearing in photographs in Sports Illustrated magazine. This thesis updates and expands the research on print placements through a content analysis of Sports Illustrated from 1995 through 2008. Results showed an increase over time in the number of print placements, and representation of additional product categories when compared with previous research.

Branded content as an advertising tactic is a growing phenomenon that is not widely researched and is generally ambiguous in nature. This study uses qualitative methods to explain how branded content is defined, how it functions, and how it can influence a brand. Case studies of IKEA and Chevrolet were compared alongside four interviews with branded content professionals. the data collected suggests that branded content in structure and substance is varied, however it comprises engagement, the brand, and financial transaction. the data collected also suggested that brands take a variety of stances when controlling content to support their brand, and that branded content generally supports the intangible aspects of a brand, as opposed to product features.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-09-12T12:16:41Z No. of bitstreams: 1 DIS_MARCEL_VIERO_COMPLETO.pdf: 7949872 bytes, checksum: e9446a7629852c1c2b6566b868f0f8f1 (MD5) / Made available in DSpace on 2017-09-12T12:16:42Z (GMT). No. of bitstreams: 1 DIS_MARCEL_VIERO_COMPLETO.pdf: 7949872 bytes, checksum: e9446a7629852c1c2b6566b868f0f8f1 (MD5) Previous issue date: 2017-07-28 / The dissertation is about Branded Entertainment in the television of Brazil from an advertising campaign of Combat to Cancer of Mama launched in 2015. The case was exhibited outside the commercial brake and within the program Fant?stico of the open channel of the Globo Network, in the year in which the ?Fashion Target? campaign would celebrate twenty years in the country. The commercial brake and the advertising that runs between entertainments were investigated by the research. The theoretical framework that bases the research starts on leisure and social with Dumazedier (1973) and entertainment with Cobra (2008), Dyer (2005), Parreno (2010), Mackee et al (2014) and Hackley (2015). Machado (2009), Marcondes (2002) and Kotler (2010) support advertising and Wolf (2015) television in the digital age. Reis e Silva (2009) offers an initial methodological model for analysis of the entertainment product and the case of Branded Entertainment. The objective aspects regarding the production, distribution and exhibition of entertainment and subjective ones with the content of this product are observed in the analysis, that proposes to understand also the roles of the partners in this process. Television channels, digital influencers and producers of audiovisual entertainment content could also act in Branded Entertainment establishing another kind of commercial relations that still in evolution process. / Esta disserta??o tem como tema de pesquisa o Branded Entertainment na televis?o aberta do Brasil, a partir da campanha publicit?ria de Combate ao C?ncer de Mama que aconteceu em 2015. O caso foi exibido fora do intervalo comercial e dentro do programa Fant?stico do canal aberto da Rede Globo, no ano em que a campanha do ?Alvo da Moda? comemoraria vinte anos de atua??o no pa?s. O intervalo comercial e a publicidade que atua fora dele s?o investigados pela pesquisa. O referencial te?rico que fundamenta a pesquisa parte do lazer em Dumazedier (1973) e do entretenimento com Cobra (2008), Dyer (2005), Parreno (2010), Mackee et al (2014) e Hackley (2015). Machado (2009), Marcondes (2002) e Kotler (2010) sustentam a publicidade e Wolf (2015) a televis?o na era digital. Reis e Silva (2009) oferece um modelo metodol?gico inicial para an?lise do produto de entretenimento e do caso de Branded Entertainment. Aspectos objetivos referentes ? produ??o, distribui??o e exibi??o do entretenimento e subjetivos com rela??o ao conte?do deste produto s?o observados na an?lise, que prop?e entender tamb?m os pap?is dos colaboradores neste processo. Canais de televis?o, influenciadores e produtores de conte?do de entretenimento audiovisual atuam no Branded Entertainment formando rela??es que fogem do convencional.

The desire of every marketer is to develop and maintain strong customer relationships. One way this can be accomplished is through effective advertising. Marketers have recently begun to brand flash mobs as a way to effectuate strong brand relationships. Even so, it is unclear whether or not the branding of flash mobs supports or frustrates this pursuit. Therefore, the goal of this thesis is to help marketers understand the potential impact that branded flash mobs may have on consumer behaviour and brand relationships. Since these interactions are complex we need to observe the convoluted whole from untangled vantage points. Marketing scholars and researchers must then attempt to understand the latent opportunities and unsuspecting dangers when branding a flash mob. Toward answering this end, four distinct research studies were used to examine the phenomenon from four different perspectives. The aim of the first paper is twofold. First, it deductively seeks to understand how to categorize branded flash mobs within the marketing literature through an historical and cultural analysis of the phenomenon. Exploratory in nature, this study then employs a mixed methods approach to understand how marketers are currently using flash mobs, and more importantly, if branded flash mobs are an effective tool of communication and persuasion. In the second paper, a field experiment was conducted to assess the impact of a branded flash mob on consumers’ emotions, consumer experience and connectedness in a public market. Qualitative interviews were used to capture the data. Shifting perspectives, the third paper seeks to understand why some branded flash mobs fail to ‘go viral’. Using of a number of focus groups, participants were asked to watch several branded flash mob videos and discuss their willingness to share them online (e.g., email, Facebook, or Twitter). Toward a better understanding of the impact of branded flash mobs on brand equity, the final paper evaluates viewers’ attitude toward the ad. Using netnographic techniques (Kozinets, 2002) 2,882 YouTube comments from three virally successful branded flash mobs ads were examined to understand how branded flash mobs affect brand equity. Responses grouped into one of four archetypical attitudes, each of which has a distinct impact on brand equity. Motivated by the potential for widespread exposure at a relatively low cost, marketers continue to produce branded flash mobs. Sometimes they are fresh and creative, while at others they are out of tune with the spirit of the phenomenon. This thesis uncovers the impact of these efforts on consumer behaviour and brand equity, and concludes with a guide for managers to consider when planning their next branded flash mob. An acknowledgement of the limitations and an outline for directions of future research are also presented. / <p>QC 20140521</p>

This thesis examines how authenticity is articulated and communicated in contemporary forms of branded entertainment. In a digital media landscape, participatory culture and co-creation has become of primary importance, leading to ‘authentic’ and ‘amateurist’ characteristics being strategically implemented in advertisements and professional media content production. At the same time, research on brand communication and authenticity have overlooked the many ways in which brands extend and mediate authenticity, especially in relation to symbolism and visual semiotics. In this thesis, we explore the way symbolic meaning is constructed in We the Bathers, a documentary produced in 2019 by director Phoebe Arnstein in collaboration with Lush, a cosmetic brand known for their vegan-friendly and cruelty-free products. The study was conducted using visual analysis which allows us to approach the study object in a qualitative and exploratory way. We then apply the theoretical frameworks of cultural myths and digital storytelling to analyze the effects and strategies employed in We the Bathers to communicate authenticity through the filmic medium. By extending Bell &amp; Leonard’s framework for evaluating organizational storytelling, which highlights the role of the communicative codes of affinity, authenticity andamateurism, we argue that the overall notion of authenticity in video content produced for digital environments can be determined through either of these lenses. By examining the intention of the sender in terms of genuineness (authenticity), relatability (affinity), and techniques which lends the story a sense of ‘realness’ (amateurism), our findings indicate that authenticity can be viewed as a tool for producing certain media effects as opposed to arising from the mediation of inherent personality traits.

This paper examines the concept of brand-funded documentaries that center on the issue of climate change and uses Aristotle’s Rhetorical Triangle to better understand how the films use rhetoric in communicating their message. A rhetorical analysis was conducted using four brand films from Amazon, Corona, Patagonia and REI and the results are intended to demonstrate the best methods of persuasion and the most effective rhetoric utilized in brand-funded documentaries. Because brand-funded documentaries not only make an argument about a particular issue, in this case climate change, but also must communicate a particular brand’s values and commitments, examining the rhetoric in these films proves particularly interesting and informative both for advertisers and filmmakers. The research shows that using emotions such as fear, awe, sadness, and joy serves to complement information dissemination in documentaries and allows for stronger engagement with audiences.

This thesis deals with product placement in Czech cinematographic work as a specific way of presentation branded product. From a few points of view consumer aesthetics, semiotics of cinema and marketing semiotics is explored four movies (Empties, Women in Temptation, Men in hope and Perfect Days). At selected scenes we show how branded products are presented in the movie, how the placements are integrated into the plot and the story. The paper uses classified in terms of efficiency. It is following up the meaning value of the brand, of the context and of the role in which the product placement occurs. The film shots and scenes in which branded products are used, we focus on the denotative and connotative meanings and uses of rhetorical figures of metaphor and metonymy, meaning funds used semiotics and semiotics of film marketing. Along with this case is taken account of consumer aesthetics, which justifies daily consumption. Attention is paid not only at branded products, but also scenes and product which are free from labels (belonging without a brand) or have labels fictional brands. Keywords Product placement, semiotics of cinema, marketing semiotics, consumer aesthetics, branded entertainment, brand, movie