Desde el siglo pasado hemos presenciado una evolución constante de las técnicas de comunicación publicitarias en un intento de adaptación a las nuevas realidades sociales del mercado. Como recurso estratégico, la Neurociencia aporta una nueva perspectiva al permitir explorar aquellos motivos difíciles de verbalizar o inconscientes que hay detrás de los comportamientos de los consumidores. El presente trabajo tiene como objetivo descubrir la relación entre las emociones inducidas en los mensajes publicitarios audiovisuales y su impacto en el recuerdo de los sujetos. Para alcanzar este objetivo se ha realizado un experimento con ocho mensajes publicitarios audiovisuales (seis representativos de seis emociones básicas: alegría, sorpresa, ira, asco, miedo y tristeza; y dos racionales) en el que se han utilizado, por un lado, técnicas de Neuromarketing como son la actividad eléctrica cardíaca (ECG) y la actividad eléctrica de la dermis (AED) de los sujetos; y, por otro, una técnica de investigación convencional, un cuestionario aplicado a los sujetos que han participado en la investigación. Los resultados ponen de manifiesto variaciones en las medidas realizadas en los mensajes correspondientes a la alegría, la sorpresa y la ira, mientras que, tanto para el recuerdo sugerido del mensaje trasmitido como para la actividad del anunciante, el anuncio con mejores resultados ha sido el de la tristeza, anuncio que también ha sido considerado el más atractivo para los sujetos participantesSince the last century, we have witnessed a steady evolution of advertising techniques in an effort to adapt to the new social context in the market. As a strategic resource, Neuroscience brings a new perspective by allowing you to explore those difficult or verbally unconscious motives behind consumer behaviours. The present work aims to discover the relationship between the emotions induced in audiovisual advertising messages and their impact on the memory of the subjects. To achieve this goal, an experiment was carried out with eight audiovisual advertising messages (six representatives of the basic emotions: joy, surprise, anger, disgust, fear and sadness, and two rational ones that show the technical specifications of the product). Neuromarketing techniques such as the electrical activity of the heart (ECG) and the electrodermal activity (EDA) of the subjects are used, on one hand; and, on the other, a conventional research technique, a questionnaire applied to the subjects that participated in the research. The results show variations in the measures performed in the commercials corresponding to joy, surprise and anger, while for both, remembrance of the message transmitted and activity of the advertiser, the commercial with the best results has been the one regarding sadness, advertisement that has also been considered the most attractive for participating subject

Neuromarketing has aroused great interest in scientific research about consumer behavior and, consequently, in the advertising industry, which is searching for an alternative to traditional techniques for measuring efficacy. However, despite its development in the academic world, in the professional sector, its use is still very limited. The aim of this work was to find out the perception of advertising professionals as regards neuromarketing techniques for identifying its advantages and disadvantages compared to other research techniques, as well as the reasons why the use of neuromarketing is so much lower than expected in the Spanish market. The technique chosen for data gathering was the semi-structured interview, which made it possible to go into more depth with the subjects that came up. The interview, after a pre-selection of 100 professionals who matched the set criteria, was carried out individually, face-to-face, with a sample of 30 people with considerable professional experience in the field of marketing, sales communication, and market research; all of them belonged to leading companies from the sector. Once the information had been categorized into units with common themes, the results obtained were interpreted to explain how neuromarketing techniques are being used in the field of advertising. The results obtained led us to the conclusion that, even though neuromarketing provides more objective data and it is closer to what really happens to consumers when they are exposed to an advertising message, the ignorance of its true possibilities, the inability of suppliers of these techniques to transmit the value they add to research, its complexity, its high cost and time requirements explain why it has had scarce use in advertising research. The results revealed the real reasons for the rejection of neuromarketing techniques which, in turn, will make it possible to introduce both technological and formative solutions, allowing it to be incorporated into future research designs.

Podemos entender un "mensaje híbrido" como todo intento pagado de influenciar a las audiencias para un objetivo comercial, utilizando comunicaciones que proyectan un carácter no-comercial (Balasubramanian, 1994 Palabras clave: Mensajes híbridos -Comunicaciones de marketing -Branded content -Content marketing -Branded entertainment -Engagement AbstractHybrid messages may be defined, according to Balasubramanian (1994)

Cómo citar este artículo / Referencia normalizada J de Aguilera-Moyano, M Baños-González, J Ramírez-Perdiguero (2015) Abstracts[ES] Introducción: En el nuevo contexto de marketing surgen herramientas de comunicación como el branded entertainment; un tipo de mensaje híbrido con el que las marcas producen contenidos de entretenimiento. Metodología: Este estudio tiene como objetivo mejorar el conocimiento del branded entertainment y su situación en España así como sus expectativas de futuro. Se ha realizado una investigación exploratoria utilizando como técnica metodológica la entrevista en profundidad aplicada a un grupo de expertos en creación y distribución de branded entertainment. Resultados y conclusiones: Los resultados muestran: existe un amplio conocimiento de sus posibilidades como técnica de comunicación comercial; los contenidos producidos deben ser relevantes para competir con otros productos de entretenimiento; se espera un notable incremento en su utilización ante la pérdida de eficacia de las tácticas intrusivas; y se percibe como la herramienta de comunicación más adecuada para generar engagement del consumidor.[EN] Introduction: New communication tools are emerging within the new marketing paradigm. One of these tools is branded entertainment, a kind of hybrid message used by brands to produce entertainment content. Method: the main objective of this article is to provide a better understanding of branded entertainment, and to explore its current situation and the expectations about its future in the Spanish market. This is an exploratory study based on in-depth interviews applied to a group of Revista Latina de Comunicación Social # 070 -Páginas 519 a 538 Investigación | DOI: 10.4185/RLCS-2015-1057 | ISSN 1138-5820 | Año 2015 http://www.revistalatinacs.org/070/paper/1057/27es.html Página 520 experts on the creation and distribution of branded entertainment. Results and conclusions: people involved in the creation and distribution of branded entertainment are very aware of its potential as a communication technique; experts agree that content must be relevant in order to be able to compete with other entertainment products; due to the growing ineffectiveness of intrusive techniques, the use of branded entertainment is expected to increase significantly in the near future; branded entertainment is perceived as the most suitable tool to generate consumer engagement.

One of these tools is branded entertainment, a kind of hybrid message used by brands to produce entertainment content. Method: the main objective of this article is to provide a better understanding of branded entertainment, and to explore its current situation and the expectations about its future in the Spanish market. This is an exploratory study based on in-depth interviews applied to a group of experts on the creation and distribution of branded entertainment. Results and conclusions: people involved in the creation and distribution of branded entertainment are very aware of its potential as a communication technique; experts agree that content must be relevant in order to be able to compete with other entertainment products; due to the growing ineffectiveness of intrusive techniques, the use of branded entertainment is expected to increase significantly in the near future; branded entertainment is perceived as the most suitable tool to generate consumer engagement.