Nowadays, packaging design is seen as a competitive tool and its importance for corporations is becoming increasingly apparent. The rivalry within homogeneous markets puts high demands on differentiation and the ability to create something more than the product itself. With this fundamental question, the soft drink industry has been examined and a case study of the brand Coca-Cola has been performed. The aim is to investigate how packaging design is used as a tool for strengthening a brand and to explore which additional values this contributes. In addition, the study observes the most important factors in the development of packaging design. A theoretical work of reference, consisting primarily of theories related to branding, design development and visual identity, has been developed to support the study. The thesis has been carried out using two semi-structured interviews with companies that think of packaging design as a vital part of their business: Designkontoret Silver and Amore Brand Identity Studios. The question formulations in this thesis are answered by describing the research front to the matter and to inquire how packaging design has made its mark in the Coca-Cola brand in the years 1886-2014. In this essay, the iconic Coca-Cola bottle plays a central role, as it sets an example of a successful design, along with the campaign “Share a Coke”. The study’s findings show that the phenomena of packaging design and branding are inseparable and require a strategic anchor between them. Packaging design is an effective means to create a good image of your company in the consumer’s mind. Important factors in the design development are recognition, color and shape, and consistency. These are highly characteristic marks of Coca-Cola who over a century stringently has maintained the brand’s well-known design language. The company has historically used design as an innovative tool, not least at the launch of the Contour Bottle in 1916, and has only performed minor changes since then.

<p><em>Drink! The Marketing History of The Coca-Cola Company: A Modernization Perspective</em> examines the development of <em>The Coca-Cola Company’s</em> marketing history, from the founding of the company in 1886 until today. <em>The Coca-Cola Company</em> has been superior on the market for over a century. It has also developed along with the urbanisation of its society, which is interesting in a modernization perspective. The essay investigates the marketing strategies of the company, with focus on three themes: gender, sponsorship and interactive culture phenomenon. The examination is based on an analysis of six significant photo- and TV advertisements, two from each theme. The research is based on profound literature studies combined with studies of visual culture. With the work of this essay, we have come to the conclusion that <em>The Coca-Cola Company</em> has reached its power and fame because of it’s creative marketing strategies. Hence, of the fact that the company has developed together with the urbanisation and technical an economical growth of society.</p>

Drink! The Marketing History of The Coca-Cola Company: A Modernization Perspective examines the development of The Coca-Cola Company’s marketing history, from the founding of the company in 1886 until today. The Coca-Cola Company has been superior on the market for over a century. It has also developed along with the urbanisation of its society, which is interesting in a modernization perspective. The essay investigates the marketing strategies of the company, with focus on three themes: gender, sponsorship and interactive culture phenomenon. The examination is based on an analysis of six significant photo- and TV advertisements, two from each theme. The research is based on profound literature studies combined with studies of visual culture. With the work of this essay, we have come to the conclusion that The Coca-Cola Company has reached its power and fame because of it’s creative marketing strategies. Hence, of the fact that the company has developed together with the urbanisation and technical an economical growth of society.

Thesis (M.B.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 145-150).

Dissertation presents theoretical approaches to category management including the definition of its 8-step process. The implementation of category management is shown on examples of the Coca-Cola company, which support functionality of suggested methodology and objectives from the beginning of this dissertation.

Brahmā est introduit dans l’iconographie tamoule dès la fin du 6ème s. ou le tout début du 7ème s. par les Pallava, probablement originaires du sud de l’actuel Andhra-Pradesh : ils initient simultanément la sculpture sur pierre et le développement de la culture brahmanique dans l’extrême sud de l’Inde. La divinité apparait dans les fondations du Deccan à la même période : elle participe alors essentiellement de la triade qu’elle forme avec Viṣṇu et Śiva. La faveur que connait Brahmā par la suite, puisqu’il préside à la façade nord sur plusieurs temples shivaïtes de la fin de la période Pallava puis de la période Cola, est en revanche inédite dans d’autres traditions régionales : elle trouve sans aucun doute son origine dans la relation complexe de complémentarité et de rivalité qu’il noue avec Śiva - mais aussi Viṣṇu, même si elle est dans ce cas moins conflictuelle - dans l’idéologie royale développée par les rois Pallava, et plus particulièrement telle qu’elle est mise en scène dans l’iconographie narrative du temple Kailāsanātha à Kāñcipuram au début du 8ème s. Les interactions multiples entre les deux divinités s’articulent notamment autour de la confrontation ambiguë du brahmanisme orthodoxe avec une nouvelle forme d’expression du savoir śaiva d’une part, et, d’autre part, autour de la figure du roi, que peut représenter Śiva, et du brahmane, du purohita, incarné par Brahmā. Le contexte et la signification de ces représentations jusqu’au tournant du 10ème s. en regard de l’art contemporain du Deccan mettront en lumière les spécificités du sud tamoul mais aussi ce qui participe de concepts plus largement diffusés qu’il ne semblerait au premier abord. / Brahmā was introduced into Tamil iconography at the end of the 6th century or the very beginning of the 7th century by the Pallava, probably from the south of present-day Andhra-Pradesh: they simultaneously initiated stone carving and the development of Brahmanic culture in the far south of India. The divinity appears in the shrines of the Deccan at the same period: he then essentially participates in the triad he forms with Viṣṇu and Śiva. The favor that Brahmā knows thereafter, since he presides over the north facade on several Śaiva temples of the end of the Pallava period then of the Cola period, is by contrast unprecedented in other regional traditions: it undoubtedly finds its origin in the complex relationship of complementarity and rivalry that it establishes with Śiva - but also Viṣṇu, even if it is in this case less conflictual - in the royal ideology developed by the Pallava kings, and more particularly such as it is staged in the narrative iconography of the Kailāsanātha temple in Kāñcipuram at the beginning of the 8th century. The multiple interactions between the two divinities are articulated notably around the ambiguous confrontation of orthodox Brahmanism with a new form of expression of Śaiva knowledge on the one hand, and, on the other hand, around the figure of the king, which Śiva can represent, and of the Brahmin, the purohita, embodied by Brahmā. The context and meaning of these representations up to the turn of the 10th century in relation to the contemporary art of the Deccan will highlight the specificities of southern Tamil imagery but also its connexion to concepts more widely disseminated than it would seem at first sight.

Diss. Univ. St. Gallen, 2002.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims at examining in what ways brands configure their consuming public's identity via advertising in the contemporary context. For that, it departs from observing the adverts from both competitor brands over the same period of time: the ones from Coca-Cola and the ones from Pepsi. Considering that the main product offered by those brands - soda - is very similar, sold at identical prices and whose flavour is sometimes indistinguishable for the consumer, it seems pertinent to propose the hypothesis that what determines consumption of a certain brand as opposite to the other is related to the way of characterisation and interpolation of consumers, engraved in those brands's adverts, which, in a certain manner, interferes in the choices made by individuals. Such configuring elements of the consumers's image projected by the company would have the capacity to allow sudden identification of individuals aimed at by one of the brands - and not the other. Thus, this research's main objective is to comprehend the relations that are established by brands and their public as from the observation of televisual commercials vehicled by the before-mentioned companies. So that we can better visualise such a relation, we have defined the following specific objectives: (1) analyse discursive strategies employed in televisual adverts for brand and offered product characterisation; (2) identify values put on the agenda by those brands to interpolate the consumer; (3) look for configuring threads of the consuming public summoned by both brands in their interpolation process; (4) verify configuration of the consumption surroundings of those products proposed by commercials (elements and/or situations which involve type/habit of consumption), looking forward to better understanding the public in question. The analysis's steps include: (a) description of different Coca-Cola and Pepsi televisual adverts selected to compose our research corpus; (b) identification of themes and values involved in those texts; (c) examining of manipulating figures and discursive strategies employed in the narratives; (d) description of brand discursive configuration, of consuming public and of surroundings in which that consumption occurs (procedures of figurativisation, actoralisation, spacialisation, temporalisation and tonalisation). Employed methodology is inspired by discursive semiotics developed by the Greimasian group. / A presente pesquisa propõe-se a examinar de que maneira as marcas configuram a identidade do seu público consumidor via publicidade no contexto contemporâneo. Para tanto, parte da observação das ofertas publicitárias de duas marcas concorrentes em período simultâneo: as da Coca-Cola e da Pepsi. Considerando que o principal produto oferecido por essas marcas, o refrigerante, é bastante similar, com preços idênticos e diferença de sabor às vezes imperceptíveis para o consumidor, parece pertinente a hipótese de que o que determina o consumo de uma marca em detrimento da outra está relacionado à forma de caracterização e interpelação do consumidor, inscrita nas campanhas publicitárias dessas marcas, que, de certa forma, passa a interferir nas escolhas feitas pelos sujeitos. Tais elementos configuradores da imagem dos consumidores projetada pela empresa teriam a capacidade de possibilitar a pronta identificação dos sujeitos visados com uma das marcas e não com a outra. Assim, o objetivo central da investigação é a compreensão das relações que se estabelecem entre as marcas e seus públicos, a partir da observação de comerciais televisuais veiculados pelas referidas empresas. Para que se possa melhor visualizar tal relação, definiram-se os seguintes objetivos específicos: (1) analisar as estratégias discursivas empregadas nas publicidades televisuais para a caracterização da marca e produto ofertado; (2) identificar os valores colocados em pauta por essas marcas para interpelar o consumidor; (3) buscar os traços configuradores da identidade do público consumidor convocado pelas duas marcas em seu processo de interpelação; (4) verificar a configuração do entorno de consumo desses produtos propostos pelos comerciais (elementos e/ou situações que envolvem o tipo/hábito de consumo), com vistas a melhor compreender o público visado. As etapas de análise compreendem: (a) a descrição das diferentes publicidades televisuais das marcas Coca-Cola e Pepsi selecionadas para comporem o corpus da pesquisa; (b) a identificação dos temas e valores envolvidos nesses textos; (c) o exame das figuras de manipulação e das estratégias discursivas empregadas nas narrativas; (d) a descrição das configurações discursivas da marca, do público consumidor e do entorno em que se dá esse consumo (procedimentos de figurativização, actorialização, espacialização, temporalização e tonalização). A metodologia adotada inspira-se na semiótica discursiva desenvolvida pelo grupo greimasiano.

In this research, I examine selected commercial videos promoting the American corporations Coca-Cola and McDonald's in the Russian market over the period 2007-2010. Proceeding on the assumption that the selected videos are typical TV commercials utilized by these two companies in the Russian market, my major goal is to determine the ways in which the ads attempt to make the given products appealing to Russian consumers. I found that the video ads of these two corporations revealed a strategy aimed at avoiding negative attitudes against the products (and their potential profits) because of their strong identification with America and everything that America might represent to Russian consumers. This challenge is complicated because a segment of the potential market, principally young people, undoubtedly would not mind an association with American values and would generally respond favorably to American and broad cosmopolitan (foreign, non-Russian) interests. Moreover, creating ads with exclusively Russian themes (for example, from folklore) could potentially reach customers in other segments of the population less enamored of American products. The challenge facing both companies was to make a foreign product acceptable and appealing to a Russian market. The strategies they used to do this are worth examining for the sake of obtaining insights into successful advertising campaigns in Russia in particular and in foreign cultures in general. Analyses will yield conclusions that may be useful to psychologists, linguists, cultural historians and members of other disciplines involved in advertising design and business strategies.

Thesis advisor: Donald Fishman / This thesis examines the role of culture in international business communication through case studies of several multinational corporations. The first case looks at Coca-Cola's product recall crisis in Belgium in 1999, which exhibited an uncharacteristic deviation from the company's well-known brand marketing brilliance. The second case deals with problems that Disney encountered as it tried to establish its first theme park in Europe in the 1990s and found itself facing a culture as proud and protective as Disney itself. At the heart of these cases were outdated international strategies and an attitude of arrogance that assumed that an American business approach could easily be transferred to a different country and culture. The thesis concludes with an analysis of Google as a case study for the future followed by suggestions for successful international strategies and final thoughts on globalization's effect on culture and corporations. / Thesis (BA) — Boston College, 2007. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Communication. / Discipline: College Honors Program.