Search results

The purpose of this paper is to examine the professional culture of television marketing in the UK, the sector of arts marketing responsible for the vast majority of programme trailers and channel promos seen on British television screens.

In research approach, it draws on participant observation at Promax UK, the main trade conference and award ceremony of the television marketing community. Developing John Caldwell’s analysis of the cultural practices of worker groups, it uses Promax as a site of study itself, exploring how a key trade gathering forges, legitimates and ritualizes the identity and practice of those involved in television marketing.

Its findings show how Promax transmits industrial lore, not only about “how to do” the job of television marketing but also “how to be” in the professional field. If trade gatherings enable professional communities to express their own values to themselves, Promax members are constructed as “TV people” rather than just “marketing people”; the creative work of television marketing is seen as akin to the creative work of television production and positioned as part of the television industry.

The value of the paper is the exploration of television marketing as a professional and creative discipline. This is especially relevant to marketing and media academics who have tended to overlook, or dismiss, the sector and skills of television promotion.

The purpose of this paper is to illustrate how designers attempt to engage audiences through different media in TV idents; and to explore how the human mark (such as drawing and model making) in a hybrid with digital media can not only revitalise traditions in design, but also the reception of illusion in this context.

The study focuses on the work of RedBee Media, a company that has a global market and reputation. The phenomenology of how BBC Three and BBC 2 Christmas were rebranded was examined through interviews with the designers and animators involved. Taking a media industry studies lens to examine an art/technology divide the author will expand the visual culture theory of Manovich’s (2007) metamedium.

The influence of technology on television graphic design is contested and continual. Designers might begin to question rather than rely on technology through the process of design. They can confront generic software solutions and apply more critical skills to explore fusions of heritage and digital processes in a metamedium.

This research was focused on a UK broadcaster and a single UK creative agency with a global influence. Future research should examine leading creative practice in other international markets.

The significance of this research is in understanding the materiality and creativity in the artform of TV idents and how designers attempt to engage audiences through different media.

Academics in media and design history are acknowledging the cultural significance of television branding. Design practitioners need to understand why and how in the work of others.

The purpose of this paper is to advance the theory and practice of luxury and masstige brand advertising effectiveness by decoding symbolism imbedded in fashion advertising.

This research employs a semiotic analysis of masstige brand advertising to discover those messages and themes that emerge and that communicate masstige values.

The research identifies identitary values that are exclusive to masstige brands, and those they share with luxury brands.

The purpose of this research is not to make generalizations; rather, its purpose is to offer insights into those themes that define luxury and masstige brand identitary values.

The research provides insights into the key identifiers, which may inspire further research and provide marketing insights for the operation management in luxury fashion.

The research contributes to luxury and masstige retail brand research by identifying the symbolic meaning of luxury advertising.

This paper aims to contribute to the development of a film brand theory and in doing so, illustrate the utility of a socio‐cultural approach to branding. The purpose is to develop the conceptual framework within which the film brandscape may be considered. An illustrative case study of the James Bond franchise is provided so that the potential application of the framework can be clearly understood.

The paper approaches the topic from a socio‐cultural perspective in order to take particular account of the symbolic nature of film offerings. It combines insights from contemporary production and consumption practices in the film industry with theoretical perspectives from marketing, branding, consumer, cultural and film studies. Although a conceptual paper, it incorporates an illustrative case, the James Bond franchise, in order to support the proposed brandscape.

Films are marked with signs of ownership and may carry other cues which function as risk‐reducing shorthand devices. Consumers look to brand characteristics as communicated through brand cues. Particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time.

This paper presents a theory of film branding which is primarily applicable to mainstream commercial films. The implications for marketing and branding scholars are highlighting the need to view brands within their wider brandscapes in order to understand how consumers understand brands in relation to one another. There is also a need to move beyond dominant relational modes of thinking about brands and consumers to consider the temporal nature of brand meanings.

The paper offers a theoretical approach enabling scholars in a range of disciplines to engage in cross‐disciplinary dialogue about film brands, thus facilitating debate and opening up new lines of research inquiry. The case study included is merely illustrative and further empirical studies are needed to test and develop the brandscape.

The paper develops the cultural approach to branding through introducing the idea of the granularity of the brandscape: particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time. Managerial decision making can be understood through considering the various cast and crew decisions, genre and positioning. Through understanding the granularity of the brandscape, marketing and branding practitioners can have a greater understanding of consumer sensemaking which can be used in strategic decision making.

The purpose of this paper is to explore the implications of the selfie for marketing management in the era of celebrity. The purpose is to show that the facilitation of the creative performance of consumer identity is a key element of the marketing management task for the media convergence era.

The paper uses the selfie, the picture of oneself taken by oneself, as a metaphor to develop a conceptual exploration of the nature of marketing in the light of the dominance of celebrity and entertainment in contemporary media and entertainment.

The paper suggests that marketing management in the era of convergence should facilitate consumers’ identity projects through participatory and engaging social media initiatives. Marketers must furnish and facilitate not only the props for consumers mediated identity performances, but also the scripts, sets and scenes, plot devices, cinematographic and other visual techniques, costumes, looks, movements, characterizations and narratives.

This is a conceptual paper that sketches out the beginning of a re-framed, communication-focussed vision of marketing management in the era of media convergence.

Marketing managers can benefit from thinking about consumer marketing as the stage management of consumer visual, physical, virtual, sensory and psychic environments that enable consumers to actively participate in celebrity culture.

This paper suggests ways in which marketing practice can emerge from its pre-digital frame to embrace the new digital cultures of consumption.

The purpose of this paper is to propose that, within the practice of motion branding, transforming type has been largely neglected by existing theorists and its importance to wider marketing trends overlooked. It will be observed that previous texts on transitional letterforms have tended to focus on changes in global arrangement and in doing so have neglected to recognise the significance of changes that occur at a local level, within individual letterforms.

Taking an interdisciplinary approach, with examples including idents and bumpers from Channel 4, Sky, FOX, Five and MTV. New methods of understanding these artefacts will be introduced, with emphasis on how they affect the relationship between broadcaster’s identities and the medium of television. Modes of definition and understanding that have previously been applied to holographic poetry will be applied to the field of on-screen artefacts.

The paper will discuss how branding has adapted to incorporate the features of the medium of television, and propose new methods of classification for the associated processes of metamorphosis, construction, parallax and revelation.

Motion branding, in the form of television idents, is frequently described as containing “motion typography”, but this and related terminology is vague or misleading – and reduces all forms of kineticism to simple motion. On-screen branding often operates more complex temporal behaviours. Lack of sufficient vocabulary to describe such transformations has forced practitioners to describe their work in terms of previously existing work, thereby limiting the perceived scope of their ideas and the possibility of innovation. This paper resolves the lack of existing vocabulary by providing new definitions of four categories of fluid transformation that appear in contemporary television idents.