So wrote that distinguished educationist, Sir Richard Livingstone in 1941.
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…
Abstract
Purpose
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.
Design/methodology/approach
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.
Findings
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.
Research limitations/implications
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.
Practical implications
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.
Originality/value
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.
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I HAVE sometimes been asked whether I am conscious, as the present editor of THE LIBRARY WORLD, of the spirit and influence of its founder, James Duff Brown, and of his editorial…
Abstract
I HAVE sometimes been asked whether I am conscious, as the present editor of THE LIBRARY WORLD, of the spirit and influence of its founder, James Duff Brown, and of his editorial successors, who included J. D. Stewart and W. C. Berwick Sayers. The answer is that of course I am—how could it be otherwise?
Daragh O'Reilly and Finola Kerrigan
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…
Abstract
Purpose
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.
Design/methodology/approach
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.
Findings
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.
Research limitations/implications
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.
Practical implications
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.
Originality/value
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.
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Jae-Eun Kim, Stephen Lloyd, Keji Adebeshin and Ju-Young M. Kang
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.
Abstract
Purpose
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.
Design/methodology/approach
This research employs a semiotic analysis of masstige brand advertising to discover those messages and themes that emerge and that communicate masstige values.
Findings
The research identifies identitary values that are exclusive to masstige brands, and those they share with luxury brands.
Research limitations/implications
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.
Practical implications
The research provides insights into the key identifiers, which may inspire further research and provide marketing insights for the operation management in luxury fashion.
Originality/value
The research contributes to luxury and masstige retail brand research by identifying the symbolic meaning of luxury advertising.
THE fashionable topic today is management. Critics lay at its door many of the troubles from which we suffer. On the other hand there are those who laud it as the key which will…
Abstract
THE fashionable topic today is management. Critics lay at its door many of the troubles from which we suffer. On the other hand there are those who laud it as the key which will open the door to future prosperity for this country. Government, Press, commerce and industry are as one in assuring us that by making management efficient we can say goodbye to many of our difficulties. That is a rather facile assumption. Prosperity depends on productivity and management is only one of the factors involved.
Bing Lei, Yue Chang, Wei Liu and Saihua Shi
The purpose of this study is to investigate the influence of IP (Intellectual Property) on the intention for premium consumption of Generation Z, and to construct a theoretical…
Abstract
Purpose
The purpose of this study is to investigate the influence of IP (Intellectual Property) on the intention for premium consumption of Generation Z, and to construct a theoretical model of IP on the premium consumption of Generation Z. Based on the results of the study, it provides better marketing suggestions to merchants, and is an expansion of previous research on the consumption behavior of Generation Z.
Design/methodology/approach
This paper contains two empirical tests and one experimental analysis. First, this study crawl over 5,000 pieces of Generation Z’s consumption data from Poizon, an e-commerce platform and exclusive trending community for Generation Z. Second, this study designs a two-group online experiment to collect 292 valid data from members of the Generation Z. The authors use Stata software for multiple linear regression, t-tests, and ANOVA to test the hypotheses.
Findings
The results of the data analysis show that IP has a significant positive effect on the premium consumption intention of Generation Z, and the limited release strategy positively moderates the effect. Self-image congruence and social identification play mediating role in the influence of IP on Generation Z’s premium consumption.
Originality/value
First, this study finds a link between IP and commodity premiums, which is the first study to explore the effect of IP on commodity price changes. Second, this study is the first to examine the marketing science value of IP using a combination of empirical tests and experimental analysis. These fill research gaps. Finally, the mechanism of IP’s influence on Generation Z’s premium consumption is revealed, enriching the literature on Generation Z’s consumption behavior.
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Chris Hackley, Rungpaka Amy Hackley and Dina H. Bassiouni
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…
Abstract
Purpose
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.
Design/methodology/approach
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.
Findings
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.
Research limitations/implications
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.
Practical implications
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.
Originality/value
This paper suggests ways in which marketing practice can emerge from its pre-digital frame to embrace the new digital cultures of consumption.