Branded Content Research Papers - Academia.edu (original) (raw)

La comunicación de las marcas de moda configura su identidad a partir de los valores corporativos que son proclamados en su publicidad. La actual tendencia al storytelling potencia aún más la importancia de los aspectos inmateriales, pues... more

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- Storytelling, Branded Content, Valores, Identidad corporativa

Possiamo considerare la pubblicità un tipo di narrazione che, nella propria peculiarità, si distingue rispetto a tutte le altre e ai media che la ospitano? In quali modi l'evoluzione di televisione, cinema e fotografia si è intrecciata con quella del discorso pubblicitario? Quali nuovi spazi aprono le piattaforme online alla promozione e alla rivitalizzazione dei media "tradizionali"? A queste domande cercherà di dare risposta il volume, che si propone di osservare in modo inedito il rapporto co-evolutivo che ha interessato i media dalla storia più longeva e la pubblicità. La commistione tra linguaggi, estetiche, formati diversi trova infatti la sua massima espressione nella produzione e fruizione di contenuti online, ambi-ente esperienziale con il maggior potere connettivo e relazionale. Il concetto di entertainment, fulcro espressivo e obiettivo strategico per i media, diviene il tema centrale attorno al quale si dipanano tutte le strategie promozionali attuali e che quindi riguarda sempre più anche la comunicazione progettata dai brand. Stili narrativi, intrattenimento, evoluzione mediale in un'ottica di rimediazione sono, in sintesi, gli elementi nodali che costituiscono l'ossatura del libro, che offre una chiave di lettura mediologica della pubblicità, fornendo non solo spunti di riflessione ma anche una serie di esempi concreti tratti dal panorama mediale contemporaneo.

- by Stefania Antonioni
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- Advertising, Advertising and Media, Branding, Product Placement

O artigo propõe uma reflexão sobre a interação desenvolvida entre mar-cas e consumidores por meio páginas de personagens fictícios em mídias sociais digitais. Com base na metodologia indutiva, é realizada uma análise da ação de branded content desenvolvida pela Antarctica em torno da campanha “Coisa boa gera coisa boa”. O estudo aborda o branded content com conceituações e imbrica-ções sobre o tema, com ênfase na hidridização entre publicidade e entretenimento. O aporte teórico-metodológico da semiótica discursiva (greimasiana) serve de base para empreender a investigação de fenômenos linguísticos que engendram novos contratos enunciativos na cena publicitária e nos discursos que implicam o consu-mo. Ao delinear um quadro de análises semióticas sobre a questão, é possível iden-tificar uma tática discursiva alinhada com os hiperestímulos presentes nos estudos de consumo na contemporaneidade. Proposições de Barats (2013) embasam um vi-és crítico acerca do fenômeno investigado.

- by Daniele de Castro Alves
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- Publicidade, Branded Content, Semiótica

Esse artigo reflete sobre o telejornalismo no que se refere à produção de conhecimento, baseada na construção social da realidade.A proposta do artigo é identificar a transição do telejornalismo e novas formas de produção que têm como o foco o entretenimento. Considerando as transformações do capitalismo fordista para o capitalismo cognitivo, nota-se como crescente a atividade de branded content,utilizando as narrativas como forma de produção de conteúdo por profissionais de jornalismo. Para isso, o artigo está apoiado estudos teóricos que problematizam a crença nas notícias, bem como os critérios de noticiabilidade no campo televisivo, na cultura das redes e em conceituações sobre branded content.

- by Daniele de Castro Alves
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- Branded Content, Entretenimento, Telejornalismo, content studio

La inclusión del cortometraje como fórmula de branded content está siendo utilizada por las empresas como estrategia asociada a la búsqueda de la generación de contenido de marca. La experiencia de las empresas españolas, en este sentido, es todavía escasa, pero existen cada vez más organizaciones que centran el posicionamiento de sus marcas a través de fórmulas de este tipo. El cortometraje aparece con fuerza en la búsqueda de nuevas maneras de posicionar en la mente de los públicos, de una manera sutil, una conexión emocional y un valor añadido.

En estos tiempos en que el consumidor cada vez es más exigente y rechaza la comunicación comercial invasiva, las marcas deben apostar por nuevas formas de comunicación, cuyo contenido sea relevante, llame la atención sin saturar, y que logre una verdadera conexión entre la marca y el consumidor. El presente artículo aborda una de las nuevas tendencias de publicidad, el branded content, una fórmula que da un paso más allá del product placement y procura al consumidor un contenido relevante. En concreto, se analiza el caso de los fashion films, un formato publicitario que ha irrumpido en el sector de la moda y los productos de lujo con mucho éxito, y cuyo fundamento consiste en formular un contenido creado específicamente para determinada marca de moda, con una composición en el que predomina la belleza y la estética, pero que, sobre todo, permite comunicar los valores y personalidad de marca y así conectar con el consumidor.
In a present where the consumer is increasingly demanding and rejects intrusive comercial communications, brands must venture on new forms of communication, with content that is relevant and attention-grabbing, without saturating, and at the same time achieve a true brand-consume connection. This article addresses one of the new advertising trends, branded content, a formula that goes beyond product placement and proposes relevant content to the consumer. Specifically, is analyzed the case of fashion films, an advertising format that has broken out in the sector of fashion and luxury products with great success, and whose objective is to generate content specifically for a particular fashion brand, in which beauty and aesthetic predominates, but above all, allows to communicate the values and personality of the brand and thus connect with the consumer.

- by Revista de Comunicación and +1
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- Storytelling, Moda, Branded Content, Publicidad

We can go to the movies with a bag of popcorn to see a Hollywood film, stare at a new reality show on TV, watch music videos on YouTube, or play with a game console with great enthusiasm, yet they all have something in common – it is not
only entertaining content but also brands that appear in them from time to time.
Most sources state that the appearance of brands in films and TV programmes, that is, product placement, began with E.T. the Extra-Terrestrial in 1982. In this movie the young boy uses Reese’s Pieces chocolate to lure the alien being to himself and
make friends with it. However, as the examples in this study demonstrate, the first appearance of brands in films can be dated much earlier. The Lumiere brothers came up with a two-minute film with half of it being product placement as early as 1896.
But, as the study proves, the genre of product placement is even older than films. We find examples of its use in literature, too. For example, a section of Eugene Onegin by Aleksandr Sergeyevich Pushkin, written in 1829, mentions Breguet watches
The painting A Bar at the Folies-Bergère created by Édouard Manet in 1881–82 is not only interesting because it was the last masterpiece of the artist, but also because the Basstrademarkappears on it several times in a clearly visible way.
Many examples prove that brands have been with us for a long time through cinematography, literature and fine arts, and they will probably stay with us for long. The study summarizes these examples and justifies that product placement as a
marketing communications genre is not something new under the sun.

Social networks are particularly significant in marketing and advertising because they provide platforms that offer interactive network channels to develop consumer brands. Among the most useful platforms of this type for capturing leads for businesses of the business to customer are Facebook®. In this sense, this research aims to analyze the degree of influence and relationship between Branded Content and the social media consumer interactions of the luxury fashion firm Manolo Blahnik in the mentioned network. This analysis allows us to see what type of content is more effective in social networks. To do this, an exploratory study was implemented with a review of the literature, followed by a correlation study, with hypothesis set to be contrasted through ANOVA analysis with SPSS software. The conclusion is that social networks facilitate interaction between brands and their followers, allowing the content and messages disseminated to achieve greater impact and commitment to the pu...

Social media have had a huge impact on communications and nowadays they are the most powerful tool for any enterprise or organization to promote themselves beyond their own neighborhood.
The Eurovision Song Contest, one of the most popular European shows, has in the last few years been making use of these new means of self-promotion. But this new approach has not been limited to the Festival’s organization, but rather national delegations have recently started promoting their own songs. Does social media really make a difference in the results achieved in the Festival? To answer this question, the communication campaigns of five different countries (Bulgaria,
Czech Republic, Italy, San Marino and Spain) for the 2018 and 2019 Festivals have been analyzed.
Key words: Eurovision, social media, communication campaign, promotion.

- by David Fernández
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- Social Media, Eurovision Song Contest, Branded Content
- by agnes rocamora
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- Cultural Studies, Media Studies, New Media, Fashion Theory

Unlock your brand’s cultural power to drive innovation and let our examples and testimonials help you: ¥ Identify cultural sources and modes of expression; ¥ Leverage powerful brands’ cultural strengths; ¥ Reinforce cultural resonance to... more

- by Daniel BO
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- Branded Content, Brand culture

Red Bull Media House se ha convertido en una de las compañías de medios líderes en el mundo para la creación de contenidos de calidad. La empresa opera una amplia cartera de canales y productos, tanto para nichos como para un público más amplio. Con un red global de corresponsales en más de 160 países, RBMH lanzó su primera filial dedicada a medios en Los Ángeles (USA) en 2011. Hoy en día Red Bull Media House emplea a más de 400 alrededor del mundo.

- by Daniela Delgado
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- Branded Content, Produccion De Contenidos

La caída de la inversión y un receptor saturado, ha suscitado un aluvión de críticas hacia el modelo de publicidad clásica. Este fenómeno, ha llevado a una reflexión y adaptación de la comunicación publicitaria a una audiencia más activa. En este ámbito, el creativo pasa de ser un mero elaborador de discursos a erigirse en portavoz de necesidades que conecten con el público. Se impone el modelo de marca útil, entendida como una marca que aporta a la sociedad; más allá de los bienes o servicios que se los pueda ofrecer. Bajo estas premisas surge el branded content. Nos acercamos al fenómeno estudiado los casos más relevantes, la mayoría de ellos en el ámbito dela ficción televisiva.

- by Paloma Fernandez and +2
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- Advertising, Storytelling, Branded Content, Digital Story Telling

Esse artigo reflete sobre o telejornalismo no que se refere à produção de conhecimento, baseada na construção social da realidade e na crença jornalística. A proposta do artigo é identificar novas formas de produção que têm como o foco o entretenimento por meio de um estudo de caso do site da Coca-Cola Journey, compreendido como um exemplo expressivo de um novo modelo de negócio que utiliza os modus operandi do telejornalismo. Nota-se como crescente a atividade de branded content, utilizando as narrativas como forma de produção de conteúdo por profissionais de jornalismo. Para isso, o artigo está apoiado em estudos teóricos que problematizam a crença nas notícias, bem como os critérios de noticiabilidade no campo televisivo, na cultura das redes e em conceituações sobre branded content.

- by Daniele de Castro Alves
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- Branded Content, Coca Cola, Entretenimento, Telejornalismo

Em sintonia com as transformações midiáticas e novos hábitos de consumo, a publicidade enfrenta desafios para conquistar a atenção do público. Neste cenário, surgem as práticas de branded content que borram as fronteiras entre publicidade e entretenimento para oferecer experiências positivas e estreitar o relacionamento entre marcas e consumidores. Como forma de ampliar a compreensão acerca do branded content, são abordadas diferentes conceituações sobre o tema, delineando um breve panorama com reflexões acadêmicas, opiniões de profissionais do mercado nacional e especialistas britânicos, com a pesquisa da Branded Content Marketing Association. A proposta do artigo é investigar diferentes visões sobre o branded content, possibilitando identificar pontos convergentes e diferenças apontadas tanto na abordagem acadêmica quanto na mercadológica, no país e no exterior.

- by Daniele de Castro Alves
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- Publicidade, Branded Content, Entretenimento

Na contemporaneidade, a comunicação mercadológica se reconfigura na medida em que fica cada vez mais difícil capturar a atenção e envolver o consumidor. Este trabalho trata especificamente do branded content, partindo do objetivo de analisar suas conceituações, tendo em vista os enfoques acadêmico e mercadológico nos âmbitos nacional e internacional. Diante das dificuldades encontradas para se definir branded content, tem-se também por objetivo propor uma definição e identificar as características que compõem a linguagem desta prática relativamente recente. A proposta tem por base a dissertação de mestrado de uma das autoras (Castro Alves, 2017)-na qual se utiliza a metodologia de análise de conteúdo-, complementando-a, neste artigo, com exemplos de casos premiados no Lions Entertainment do Festival Cannes.

- by José Octavio Islas Carmona
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- Branded Content, Publicidad, Marca, Marcas

Resumen. El branded content es una de las estrategias más novedosas y sofisticadas para transmitir el universo de una marca al consumidor a través de diferentes lenguajes-texto, imagen estática, imagen audiovisual o podcast-. Se trata de una técnica de márketing cuyo objetivo no es otro que vincular el imaginario de la marca con la comunidad de usuarios, estableciendo un diálogo directo y personal al tiempo que fortaleciendo el engagement. El branded content busca consolidar la marca, su estilo e ideología, afianzando su valor diferencial y transmitiendo "lo que es, no lo que vende". El presente artículo quiere mostrar la importancia de la aplicación al branded content de técnicas de storytelling en tanto que, el potencial de un relato bien construido no sólo dota de significado especial a los productos y a su valor económico sino, y por encima de éste, una buena construcción de relato confiere a la marca un valor fundamentalmente emocional con un efecto que se prolonga en el tiempo. Abstract. Branded content is one of the newest and most sophisticated strategies to transmit the universe of a brand to the consumer through different languages-text, static image, audiovisual image or podcast-. It is a marketing technique whose objective is none other than to link the brand's imagination with the user community, establishing a direct and personal dialogue while strengthening the engagement. Branded content seeks to consolidate the brand, its style and ideology, strengthening its differential value and transmitting "what it is, not what it sells". This article aims to show the importance of applying storytelling techniques to branded content, as the potential of a well-constructed story not only gives special meaning to the products and their economic value, but also, and above this, a good storytelling construction gives the brand a fundamentally emotional value with an effect that lasts over time.

The objective of this article is to analyze the contents and unconventional advertising narratives of the eight most important women in the world of fashion in Spain and Ecuador in relation to the number of followers and points of view, in order to identify the discursive and esthetic strategies and narratives that may reflect the keys to their experience as prescribers, through a content analysis based on the interpretation of the five most viewed videos between 2018 and 2019 from four Spanish to four Ecuadorian YouTube channels (ME = 40) based on a three-round Delphi analysis sheet with a validity of W = 0.828 and α = .947. The content is analyzed from a qualitative perspective, which allows an in-depth exploration of the dimensions and indicators of impact and influence on YouTube channels. The research presents the findings that the influencers reviewed use crutches, idioms, and set phrases to identify with their audience. The audiovisual narrative is simple, maintaining its amateur style. Advertising positioning in the channels analyzed is given by identifying the brand in the spoken discourse, the presence of brand logos, advertisements and promotions, and the presence of products of the sponsoring brands.

- by Bárbara Castillo Abdul Hadi and +1
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- Social Media, Social Media Marketing, Youtube, Fashion Marketing

Resumen: El objetivo principal de esta comunicación es analizar la técnica publicitaria conocida como advertainment mediante un enfoque teórico-práctico que conjuga la exposición de las principales características del concepto de... more

- by Marina Ramos-Serrano
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- Storytelling, Branded Content

Traditional media channels are losing their audiences as the public focus has shifted over to the web and its numerous issue arenas. In addition to the public and the publishers, this focus-shift has heavily affected the advertising brands: as conventional advertising is nowadays easily skipped, branded content needs to find new forms that are appealing enough for the consumers to seek out for and share. These new forms of advertising have many names, e.g. content marketing, branded content and brand journalism, and they can all be categorized under a wider umbrella term of Sponsored Content.
In this study an integrative literature analysis of topical peer-reviewed scientific literature was performed to map out the consistency of Sponsored Content credibility from the consumer point of view. Study results suggest source credibility and content credibility as the main Sponsored Content credibility layers, while trustworthiness, expertise and aesthetics are suggested as the Sponsored Content credibility dimensions.
The study also introduces the Sponsored Content Credibility Model (SCCM) as a tool for perceiving Sponsored Content credibility, and a pattern of 26 variables valid for measuring its credibility.

- by Markus Antero Lehto
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- Journalism, Advertising, Branded Content, Marketing Communications

Purpose-This paper aims to increase the understanding of luxury brands' branded content strategies concerning follower's engagement generated or not by happiness and well-being feelings spread in their branded content. Design/methodology/approach-This study sample was composed of three of the most relevant luxury brands nowadays: Manolo Blahnik, Loewe, y Balenciaga. To address this research, an exploratorycorrelational quantitative methodology was chosen; hypotheses were contrasted using ANOVA analysis with the SPSS software. Although the study can be considered quantitative, the first step of qualitative analysis was applied for content analysis with NVivo QSR software, categorizing all posts (N = 192) into three categories. Findings-The dissemination of branded content and corporate social responsibility, despite being different in each case, show in general an interaction and affective commitment with their stakeholders. In the specific case of Manolo Blahnik and Loewe, they have prioritized their content, in the context of the pandemic, in posts related to social welfare, happiness, mental and physical health care. There are significant differences in the interaction with their audience, which respond very favorably to both ''Happiness'' and ''Health and safety'' content. Originality/value-This study reveals how corporate social responsibility can be achieved using efficient communications in social networks. In this way, the perception of the image of the sector and the reputation can be improvedboth sectoral and organizationalwhich unquestionably translates into economic gains for the brands.

There are few commercial communication concepts that have had a
rise as spectacular and fast as brand journalism. Brands’ journalistic activities were usually considered under the category of content marketing and are also sometimes described using terms such as custom content, content publishing or corporate journalism. Although corporate journalism is an old practice, its development in digital environments has elevated it to a new dimension. Today,
as a matter of fact, there are few large corporations or brands that resist the urge to start initiatives in the field: brand journalism seems like a modern marketing imperative.
This chapter tries to clarify the conceptual nature of brand journalism, given its growing importance. First, it explains the different factors that contributed to its rise. Then it analyzes its various forms along with some keys to its use by corporations. Finally, the effects of brand journalism in terms of audience engagement, and its contribution to the tension between information and misinformation in markets, are evaluated and future developments assessed.

- by Francisco J . Pérez-Latre
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- Journalism, Branded Content

El uso de las redes sociales y de las nuevas tecnologías en general nos expone a nuevos estímulos y sistemas de valores. La forma en que percibimos a las empresas, instituciones e individuos ha cambiado tangencialmente. Es por esta razón que resulta fundamental educar a los usuarios en competencias mediáticas dentro de este ecosistema que les permitan actuar como prosumidores inteligentes y eficientes en el consumo y producción de información.
Asimismo, los contenidos digitales están indisolublemente vinculados a la comunicación mediática, que tradicionalmente se encargaba de la transmisión social de información y la generación de opinión pública. Esta confluencia entre medios de comunicación, audiencia y prosumidores como nuevos agentes informativos requiere el interés del sector académico e investigaciones en esta línea que promuevan una transmisión de información veraz, contextualizada y argumentada a través de las nuevas vías digitales.

- by Bárbara Castillo Abdul Hadi and +1
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- Marketing, Communication, Education, Media Literacy

The luxury industry has shown its maturity as far as implementing Brand Content strategies. Luxury brands maintain a close relationship with the cultural patrimony, as well as the world of arts and creation, and have in the past launched many high-quality content operations. In this white paper we wanted to pay tribute to these forward thinking brands and grant them a through analysis of their content strategies.
This white paper has its origins in an outstanding encounter with digital
communication specialist Michel Campan during one of our club’s sessions (Club Brand Content). The paper aims to understand the Brand Content phenomenon, and above all to deliver inspiring ideas for implementing a content strategy.
Luxury brands have thoroughly understood the power of stories and
documentaries in keeping alive the fascination, poetry and magic of luxury:
while we have technically reached the age of reason, these brands allow us the luxury of dreaming along with them

- by Daniel BO
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- Luxury Brands, Branded Content, Brand culture

This paper explores the relationship between
music and advertising and, more specifically,
branded music content. The analysis of the
relationship between music and advertising
establishes a priori a symbiotic relationship that
poses a challenge: the need to formulate a
concept to articulate how and why brands use
music as a tool to engage an audience that
increasingly rejects conventional advertising. To
this end, it was necessary to identify the sectors
and brands that produce music, and secondly,
the formats in which this audiovisual content is
presented. This quantitative and qualitative
analysis is based on a sample of 165 music
contents produced by one hundred brands
between 2009 and 2013. The results indicate that
brands use the music video format to connect
with consumers. On the other hand, fashion
brands are the most active sector in the
production of music branded content. Finally, the
paper shows that brands have made an incursion
in the music industry through the production of
music and entertainment contents. The term
musicvertising is proposed to refer to the contents
produced by brands to exploit the power of music
to arouse emotions, provide meaning, seduce,
communicate and create identity.

- by Cande Sánchez-Olmos
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- Fashion design, Popular Music, Live Music, Branded Content

During the last decade, the convergence between advertising and the entertainment industry gave birth to new languages that sought to convey brand values in a more effective way. Alongside traditional advertising formats, such as TV commercials and product placement, a new and more refined form of communication has emerged, which is pointed towards storytelling and entertainment: ‘branded entertainment’. Within this context, the fashion industry is a particularly interesting area of study. Having been historically bound to the audiovisual media, fashion was immediately able to take advantage of the opportunities provided by this new language, on the one hand establishing a significant production of audiovisual content (long-short films) with an identifiable form, aesthetic and language; on the other, producing original entertainment content or integrating its values by expressing them in related TV formats. On the basis of the still few academic studies available so far, the primary aim of this article is to shed light on the use of often imprecise terminology related to branded entertainment, through a systemic approach that defines its operating range and highlights the distinctive elements which differentiate branded entertainment from any other hybrid forms of communication. Secondly, the paper will focus on the bond between the fashion and media industries and the production models adopted to date, by categorizing and analysing a corpus of 40 cases of ‘fashion branded entertainment’, carried out by Italian fashion brands from 2010 to 2016.

- by Giuseppe Suma
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- Media Studies, Television Studies, Fashion Studies, Branded Content
- by Markus Antero Lehto
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- PR and Advertising, Organizational Communication, Branding, Branded Content

Purpose-The research objectiveis to analyze the development and evolution of digital tools in luxury fashion companies. Design/methodology/aroach-A search for specific criteria and boolean algorithms is carried out in Web of Science and Scopus on "Marketing digital" [AND] "Fashion", once the results are obtained, a selection of the most cited is made, and critical and analytical reading is carried out. Findings-The relationship between digital marketing and fashion companies is reviewed from a perspective of economic growth and, more specifically, from the industrial sector's communication and marketing described above. However, the review clarifies that using social networks as virtual channels in managing reputation and engagement is not sufficiently addressed. In this sense, in a pandemic environment such as the one currently experienced, luxury fashion companies have assumed and understood the role of digital channels in building image, reputation, and desire to purchase by consumers in an environment that allows them to generate know the trends of stakeholders. Originality/value-Reviewing the evolution of digital tools in luxury fashionto build trendsbecomes essential with the increased use of social networks. There is little research with a targeted aroach to the evolution of digital marketing in luxury fashion. For this reason, the study attempts to compile the theoretical and reflective discussion in this regard, contributing to the understanding of consumer behavior in the digital environment today.

Greece has been building its image in a systematic way since the founding of the Greek National Tourism Organisation (henceforth GNTO) back to the late 20s, when tourism began to evolve into a strong pillar of the Greek economy. Through the campaigns the GNTO has launched over the past 60 years, it has decisively shaped the country’s personality, and it has used the country’s symbols to reflect its brand values. In the realm of destination branding, a destination brand is often built in accordance with Maslow’s hierarchy of needs which takes us upwards
from the satisfaction of basically physiological needs to self-ctualization ones. In this study, we use this pyramid-shaped methodological tool to introduce the brand building methodology into the creation of the e-branded content. Social media posts and e-newsletter teasers promote Greece all over the world and help build the country’s identity. Using pyramids for every type of tourism we analyse Greece’s assets in concert with each sector, till we reach the top where the brand essence is formed. We end up showing that images and texts work together in order to lure the potential visitors and to make them feel that what is being shown as a tangible asset, and then described as a quality, now starts to be woven into an experience, a feeling or a wish. From this point upwards, all the promotional material used serves the sole purpose of helping visitors reach the top of the pyramid, and conquer the destination’s brand essence.

- by Dr Elli Vazou
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- Sociosemiotics, Destination Branding, Social Media Marketing, Branded Content

The trust newsrooms work hard to secure may be jeopardized by the creation and dissemination of native advertisements. Before unpacking why the trend is troublesome, we have to understand why publishers were tempted to experiment with... more

- by Ava Sirrah
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- Digital Media, Media Literacy, Journalism Ethics, Branded Content

El presente trabajo final de graduación consiste en un proyecto de investigación que se desarrolla en el ámbito de la publicidad. Se partió desde una perspectiva teórica que define al branded content y a las narrativas transmedia como conceptos que provienen de entornos diferentes, pero que pueden utilizarse de manera complementaria. Para esto, se estudió una campaña publicitaria de Coca-Cola, iniciada en 2006 tras un spot televisivo llamado La Fábrica de la Felicidad, y se mostró cómo las marcas pueden potenciar sus contenidos y generar engagement en los consumidores, a través del uso estratégico de las narrativas transmedia.

- by Franco A Ferraro
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- Transmedia Storytelling, Transmedia, Comunicacion, Branded Content
- by Revista Adcomunica
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- Journalism, Social Network Analysis (SNA), Branded Content, Brand Journalism

El papel de la marca ha pasado por diferentes momentos a lo largo de la
historia. Su evolución más relevante se produce a partir de la industrialización.
La economía crece, tiende a liberalizarse a lo largo del tiempo y la lógica
comercial se impone para dar lugar a una serie de cambios de naturaleza
puramente comercial y en los hábitos de consumo. Las marcas viven
una etapa muy próspera a lo largo del siglo XX hasta llegar al nuevo siglo
donde gozan de un papel protagonista siendo el activo más relevante y valioso
con que cuentan las corporaciones. Las técnicas y los elementos que
se van a utilizar a la hora de construir un proceso integrado de gestión de
marca que resulte eficiente debe contar con un enorme dinamismo y capacidad
de innovación que facilite la adaptación constante de la marca a la
coyuntura del momento. Para ello hay que establecer una serie de medidas
innovadoras encaminadas a llegar a su público de la forma más efectiva posible.
El programa de comunicaciones integradas funciona como correa de
transmisión con el objetivo de transmitir un mensaje coherente acerca de
la marca a través de diferentes medios, canales y soportes que resulte de
interés, o entretenido, para su target. Los medios tradicionales y la comunicación
intrusiva pierden eficiencia frente a una nueva realidad donde las
técnicas de comunicación transmedia no intrusivas ganan protagonismo
gracias a su capacidad para conectar a la marca con sus públicos de forma
relevante.

- by Santiago Mayorga Escalada
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- Marketing, Brand Management, Strategic Brand Management, Advertising

Branded entertainment seemingly holds varied meanings. This is of concern as the discipline is growing in importance as a means to disrupt conventional brand communication practice. One can compare this problem to an industry that for argument’s sake does not understand or agree on the fundamental principles of advertising or public relations, resulting in ineffective communication efforts. The lack of a cohesive understanding and application of branded entertainment erodes its core value, which is to breakthrough clutter and connect with audiences through authentic narrative; thus, the potential for branded entertainment to achieve resonance is depleted. Brand resonance builds brands strategically. This exploratory study engaged the perceptions of globally recognized brand communication decision makers across six continents on defining branded entertainment. We conducted interviews with planners and creators of award-winning branded entertainment campaigns that were recognized by multiple Grand Prix and Gold wins at the world’s most respected advertising award shows. The research delivers a proposed definition: Branded entertainment is a communication effort that employs a compelling authentic narrative to achieve brand resonance. This definition can guide academics and practitioners on branded entertainment practice for strategic brand-building success.

- by Carla Enslin and +1
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- Authenticity, Brand Communications Planning, Branded Content, Branded Entertainment

Contrary to traditional forms of professional journalism, where events must be accounted for and reported without personal bias, fashion blogging shares some practices with a consumer oriented form of lifestyle journalism. Fashion bloggers are promoting an ‘authentic’ and ‘personal’ lifestyle based on the consumption of goods, while valuing ideas of autonomy also present in journalism. One of the key aspects of fashion blogging is how bloggers display a set of strategies to promote themselves as brands and with brands. For instance, they stage and promote a ‘glamorous life’, sharing images of activities like shopping and traveling. However, they do not do this by themselves. They are part of a network of economic and social relations linking different actors, e.g. branding agencies, audiences, and platforms. Drawing from a series of semi-structured interviews with a group of Chilean fashion bloggers (N=35), in this chapter we discuss how fashion bloggers become cultural intermediaries shaping consumers’ decisions by working with other intermediaries, specifically branding agencies. In this process, these intermediaries are part of ‘communicative value chains’, in order to create ‘branded content’ and consumption experiences around brands and products on digital platforms.

- by Arturo Arriagada and +1
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- Social Media, Pierre Bourdieu, Identity construction and cultural production, Cultural Intermediaries

Las marcas han sabido adaptarse a cada realidad determinada a lo largo de su evolución histórica. Su identidad, simbólica e intangible, ha ganado protagonismo frente a los productos y sus beneficios puramente funcionales. La llegada del siglo XXI trae consigo una serie de cambios disruptivos muy profundos: democratización tecnológica, realidad global hiperconectada, sociedad líquida, microsegmentación, etc. Este hecho deviene en un evidente cambio paradigmático que empodera tanto a los usuarios como a las marcas, situándolas en una relación de iguales donde el ámbito digital condiciona las principales relaciones de comunicación. Las marcas avanzan en la profesionalización de su proceso estratégico e integral de gestión, ofreciendo contenidos relevantes que les ayudan a crear experiencias únicas a través de un engagement potente con el usuario.
Netflix es una de las marcas que mayor notoriedad global ha adquirido en los últimos años a raíz de su política estratégica, volumen de negocio, política de comunicación, y oferta de contenidos. Esta cuestión valida la pertinencia de la presente investigación centrada en analizar, a través de un desarrollo teórico previo de la disciplina y su posterior adaptación a un estudio de caso, los principales elementos que dan forma a la política de gestión estratégica de marca llevada a cabo por esta plataforma de entretenimiento en streaming.
Teniendo en cuenta la naturaleza del estudio y, una vez analizados los principales resultados extraídos, observamos cómo los contenidos juegan un papel absolutamente esencial en toda la política de gestión integral y estratégica de la marca Netflix. El protagonismo de los contenidos en la construcción de la marca es transversal y va desde el propio concepto de negocio hasta la implementación de la estrategia a través de sus principales acciones de comunicación publicitaria y promocional.

- by Santiago Mayorga Escalada
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- Brand Management, Strategic Brand Management, Branding, Branded Content
- by Antonio Caro Almela
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- Brand Management, Strategic Brand Management, Advertising, Brand Image

Con esta breve guía podrás familiarizarte con el fascinante mundo del Transmedia Marketing y el Branding Transmedial, también conocido como Transmedia Brand Storytelling o Transmedia Branding. Siguiendo los pasos que estarán descritos en... more

- by Andres Felipe Rodriguez Perez
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- Marketing, Intermediality, Narratology, Storytelling

RESUMEN
El presente trabajo presenta al Branded Content como una nueva técnica que las empresas comienzan a utilizar en su estrategia de comunicación. Las marcas posicionadas encuentran al Branded Content como el camino por seguir para afianzar los vínculos con sus públicos y generar el ansiado valor de engagement. Esta técnica es funcional a los distintos objetivos que establezca una estrategia de comunicación. Frente a la efectividad perdida por los formatos tradicionales de la Publicidad, el Branded Content ha ganado terreno notablemente consolidándose como un poderoso complemento de las técnicas convencionales de Publicidad. En el mundo individualista e híper tecnológico en el que estamos inmersos, el Branded Content conecta con los públicos de las marca desde un costado ya no tan comercial, sino a través de contenidos entretenidos y emotivos que atraigan al consumidor/usuario, creando relaciones más comprometidas y duraderas. Las Relaciones Públicas aportan a esta técnica sus elementos distintivos: el diálogo y las relaciones de mutuo entendimiento. En la construcción del contenido del mensaje de marca, las Relaciones Públicas ayudan a transmitir los atributos y valores de la empresa.
ABSTRACT
This paper presents the Branded Content as a new technique that companies are beginning to use in their communication strategy. Positioned brands have found Branded Content as the way forward to strengthen ties with their audiences and generate the desired value of engagement. This technique is functional to the different objectives established in a communication strategy. Facing the effectiveness lost by traditional advertising formats Branded Content has gained ground significantly consolidated as a powerful complement to conventional advertising techniques. In the hyper- individualistic and technological world in which we are immersed Branded Content connects audiences with the brands from a not commercial side, but through entertaining and emotional content that will attract the consumer/user creating more committed and durable relationships. Public Relations give this technique its distinctive elements: dialogue and mutual understanding relationships. In building the content of brand message, Public Relations help convey the attributes and values of the company.

- by Daniela Delgado
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- Branded Content

Social networks have become crucial communication channels for brands through awareness, engagement, and word of mouth. Instagram is firmly positioned as a direct gateway between brands and consumers, as it became the fifth most-used social network globally in 2021. As such, branded content is expected to increase the brand's likability, by capturing the interest and attention of the consumer, which could differ depending on what social media platform is used. This study aims to analyze whether there is a relationship between the branded content published on the Instagram profile of luxury brands (Manolo Blahnik and Loewe) and the interactions of and with its followers, focusing on branded content communication associated to industrial, social responsibility, and commercial issues. A correlational study is presented using a quantitative methodology to test the hypotheses through an ANOVA analysis. The results show which type of content is more productive on Instagram's social network profile, helping diffusion of the firm, as it provokes more reactions from followers when using branded content related to social responsibility. It is also worth noting the extent of the interactions that branded content shows within the brand, whose influence is detected not in averages but in reach. The study's conclusions allow us to affirm that branded content directly impacts brand reputation, generating positive engagement in all the cases analyzed. The study contributes to a better understanding of the branded content effect on consumers.

- by Bárbara Castillo Abdul Hadi and +1
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- Social Media, Public Relations & Social Media, Digital Communications, Luxury Brands

En el contexto mediático actual, caracterizado por una convergencia tecnológica,
industrial y cultural (Jenkins, 2006), la publicidad explora cada vez más fórmulas de comunicación
interactiva con sus públicos actuales o potenciales. Algunas de las tendencias más innovadoras en
esa búsqueda de interactividad apuntan a narrativas co-participadas y co-creadas con las audiencias,
que están dinamitando el viejo concepto de publicidad. En esta comunicación se analizan dos de
esas nuevas fórmulas publicitarias, cuya tendencia a la hibridación resulta, a priori, lógica: el branded
content y las narrativas transmedia. Para ello, se parte del concepto de transmedia storytelling, tal y como
lo formula Jenkins (2003, 2007), y se indaga sobre la posible confluencia de esa estrategia de
expansión y de inmersión con el branded content en los actuales relatos publicitarios. Para intentar
constatar el reflejo de esta hibridación narrativa, se analiza el caso de la webserie “La huida”,
producida por Casanova Comunicación para Energy Sistem. Finalmente, esta investigación permite
intuir que la especificidad del storytelling publicitario, condicionado por la planificación temporal de
sus campañas y por la fuerte direccionalidad de sus mensajes, tiende a reducir el grado de
transmedialidad potencial de sus relatos.

- by Alfonso Mendiz and +1
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- Storytelling, Digital Storytelling, Transmedia Storytelling, Branded Content