Product placement is now a US$7.76 billion industry, flourishing as advertisers attempt to combat audience sophistication, zipping, zapping, muting of commercials, TiVo, media multi-tasking, the Internet and digital television, all of which may signal the death knell of the interruptive commercial model. Yet whilst research on product placement is growing, it has not kept pace with the practice, and many findings do not converge across studies. This is likely the case because parameters remain undefined and there is no operational framework to describe how product placements are processed, and no agreement as to what effects are possible or how they should be examined. Most effects-based research has focussed on executional factors and what the product placement does to the audience member. This assumes that the recipient is a passive participant. However this thesis argues that the audience member is actually an active processor who should be the focus of research. This research distinguishes product placement from related activities and develops a new conceptual model of product placement processing. It puts a strong focus on the role of the audience member, stating that their level of familiarity of the placed brands, and their level of engrossment with the entertainment story will impact their recognition of product placements in that story. Applying Rasch Measurement Theory, an Audience Engrossment scale is developed and refined over four stages of data collection, with 1360 respondents across seven films, to capture the quality of people??s interaction with a film. The result is a scale comprising 19 feeling items, 10 arousal items, 6 appraisal items and 7 cognitive effort items. The scale was then tested as part of the conceptual model, with 191 participants watching The Island and completing questionnaires after the film relating to their recognition of brands within the film and their level of engrossment. Brand familiarity information was collected four weeks earlier. Onset prominence, high plot connection, dual modality and use by star were found to have the strongest direct effects on recognition, with brand familiarity and the four audience engrossment dimensions generally found to interact with the product placement characteristics as hypothesised.

Universiẗat, Mag.-Arb.--Münster.

Recently, consumers have witnessed a dramatic increase in the number of product placements that occur across all forms of media. Despite this enthusiastic use of product placements, researchers have not determined whether or not this form of advertising produces profitable outcomes for featured brands. In the framework presented here, I have sought to outline how basic cognitive processes may be used to account for some of the divergent consequences that occur for product placements. Unlike other frameworks that treat memory as a separate outcome of product placements, I conceptualize memory as nonanalytically influencing other more critical outcomes such as brand evaluation and selection. The nonanalytic influence of memory is hypothesized as occurring via an attribution that is made about the ease experienced when processing a brand that has been previously encountered. To examine whether this nonanalytic framework, or an alternative framework that rests on more deliberate, analytic processing, can be used to account for the various consequences that arise after a product placement, four studies were conducted. In each of these studies, participants were presented with a narrative containing a number of brand presentations. Later, participants completed tasks that assessed memory and brand preferences across the various studies. In the first two studies, the impact of the presentation of a brand within a narrative was examined. These studies revealed that a nonanalytic influence of memory was observed, but only when there was a match in modalities across the product placement event and the manner in which more critical outcomes are obtained. Thus, fluency-based perceptual processing was found to nonanalytically influenced participants’ brand preferences. Extending these findings, Experiments 3 and 4 examined whether this nonanalytic influence of memory would still exert its effect on brand preferences when deliberate influences, which were guided by immersion and persuasion knowledge, were manipulated. Rather than brand preferences being guided by a deliberate and analytic assessment of the brand, brand ratings were guided by nonanalytic memory influences. However, this influence only emerged when fluent processing of the brand was not attributed to the prior presentation of the brand during the narrative.

Recently, consumers have witnessed a dramatic increase in the number of product placements that occur across all forms of media. Despite this enthusiastic use of product placements, researchers have not determined whether or not this form of advertising produces profitable outcomes for featured brands. In the framework presented here, I have sought to outline how basic cognitive processes may be used to account for some of the divergent consequences that occur for product placements. Unlike other frameworks that treat memory as a separate outcome of product placements, I conceptualize memory as nonanalytically influencing other more critical outcomes such as brand evaluation and selection. The nonanalytic influence of memory is hypothesized as occurring via an attribution that is made about the ease experienced when processing a brand that has been previously encountered. To examine whether this nonanalytic framework, or an alternative framework that rests on more deliberate, analytic processing, can be used to account for the various consequences that arise after a product placement, four studies were conducted. In each of these studies, participants were presented with a narrative containing a number of brand presentations. Later, participants completed tasks that assessed memory and brand preferences across the various studies. In the first two studies, the impact of the presentation of a brand within a narrative was examined. These studies revealed that a nonanalytic influence of memory was observed, but only when there was a match in modalities across the product placement event and the manner in which more critical outcomes are obtained. Thus, fluency-based perceptual processing was found to nonanalytically influenced participants’ brand preferences. Extending these findings, Experiments 3 and 4 examined whether this nonanalytic influence of memory would still exert its effect on brand preferences when deliberate influences, which were guided by immersion and persuasion knowledge, were manipulated. Rather than brand preferences being guided by a deliberate and analytic assessment of the brand, brand ratings were guided by nonanalytic memory influences. However, this influence only emerged when fluent processing of the brand was not attributed to the prior presentation of the brand during the narrative.

Product placement is now a US$7.76 billion industry, flourishing as advertisers attempt to combat audience sophistication, zipping, zapping, muting of commercials, TiVo, media multi-tasking, the Internet and digital television, all of which may signal the death knell of the interruptive commercial model. Yet whilst research on product placement is growing, it has not kept pace with the practice, and many findings do not converge across studies. This is likely the case because parameters remain undefined and there is no operational framework to describe how product placements are processed, and no agreement as to what effects are possible or how they should be examined. Most effects-based research has focussed on executional factors and what the product placement does to the audience member. This assumes that the recipient is a passive participant. However this thesis argues that the audience member is actually an active processor who should be the focus of research. This research distinguishes product placement from related activities and develops a new conceptual model of product placement processing. It puts a strong focus on the role of the audience member, stating that their level of familiarity of the placed brands, and their level of engrossment with the entertainment story will impact their recognition of product placements in that story. Applying Rasch Measurement Theory, an Audience Engrossment scale is developed and refined over four stages of data collection, with 1360 respondents across seven films, to capture the quality of people??s interaction with a film. The result is a scale comprising 19 feeling items, 10 arousal items, 6 appraisal items and 7 cognitive effort items. The scale was then tested as part of the conceptual model, with 191 participants watching The Island and completing questionnaires after the film relating to their recognition of brands within the film and their level of engrossment. Brand familiarity information was collected four weeks earlier. Onset prominence, high plot connection, dual modality and use by star were found to have the strongest direct effects on recognition, with brand familiarity and the four audience engrossment dimensions generally found to interact with the product placement characteristics as hypothesised.

Teilw. zugl.: Mittweida, Hochsch., Diplomarbeit, 2005

Zugl.: Würzburg, Univ., Magisterarbeit, 2007

Universiẗat, Diss., 1998--Mannheim.

Submitted by Amanda Silva (amanda.osilva2@ufpe.br) on 2015-04-14T13:49:02Z No. of bitstreams: 2 DISSERTAÇÃO Beatriz Braga.pdf: 4354315 bytes, checksum: 2776a33313fdbcd7742e0febadb10baf (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-04-14T13:49:02Z (GMT). No. of bitstreams: 2 DISSERTAÇÃO Beatriz Braga.pdf: 4354315 bytes, checksum: 2776a33313fdbcd7742e0febadb10baf (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2014 / A publicidade objetiva persuadir o consumidor sobre determinado produto ou serviço; o cinema tem por premissa o entretenimento, mas também informa e pode defender uma ideia ou conceito. A constante mudança do perfil dos consumidores, cada vez mais críticos e munidos de diferentes tecnologias que alteram suas práticas sociais – para a publicidade e o cinema – faz com que não só as mensagens persuasivas se adequem ao público e suas exigências, mas também a produção cinematográfica considere um novo potencial a ser trabalhado nas películas. O trabalho pretende investigar de que forma a comunicação persuasiva se insere no ambiente cinematográfico do país e de que maneira esses discursos dialogam. Para alcançar tal objetivo, serão pontuados diversos filmes no intuito de exemplificar os níveis e tipos de inserções existentes e já categorizadas. Anúncios publicitários serão também detalhados buscando localizar as etapas fundantes do roteiro. A pesquisa agrupa referenciais teóricos da publicidade, do cinema e das narrativas, passando por estratégias contemporâneas utilizadas na prática suasória e teorias da linguagem que inspiram o hibridismo entre as áreas. Como culminância, analisa-se um roteiro fílmico nacional, buscando aprofundar o conhecimento sobre as negociações de marca, bem como a interferência das inserções na trama.

Práce je o problematice product placementu ve filmové tvorbě v rámci České republiky a Evropské unie. Definuje product placement a také podmínky efektivního použití, vymezuje legislativní rámec, jeho výhody a nevýhody při užití ve filmové tvorbě. Zmiňuje se i o kinoreklamě a užití komerčních komunikací v komunikaci filmové tvorby. V závěru práce jsou doporučeny legislativní změny v České republice a také nastíněn širší rámec využití product placementu ve filmové tvorbě jeho zadavateli.