Media Branding 3.0: From Media Brands to Branded Entertainment and Information

Chan‐Olmsted, Sylvia M.; Shay, Ronen

doi:10.1007/978-3-319-18236-0_2

Cited by 18 publications

(15 citation statements)

References 9 publications

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“…This supports the media branding 3.0 notion (see Chan-Olmsted & Shay, 2015) that consumers are becoming less concerned with platform specific parent brands, and are more likely to respond to integrated content, brand storytelling, and experiential marketing. The findings of this study demonstrate that print media is generally preferred in physical form (84 % for books, 53 % for magazines, and 59 % for newspapers); and that video is more acceptable in a pure play form (50 % movies, 39 % for video games and 33 % for television), followed by music (38 %).…”

supporting

confidence: 71%

“…non-linear TV (see also Chan-Olmsted & Shay, 2015 As digital technology has transformed the infrastructure of media distribution, one of the main ways that content suppliers have chosen to achieve growth and renewal in recent years has been through extending their goods and services into new and additional markets. The topic will be still relevant in the future but the research needs to adjust faster to the real-world developments.…”

Section: Discussionmentioning

confidence: 99%

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Handbook of Media Branding

Ots

Hartmann

2015

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supporting

confidence: 71%

Section: Discussionmentioning

confidence: 99%

Handbook of Media Branding

Ots

Hartmann

2015

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“…a folksonomy based on choices and ratings). The use of this interface proved to be an important factor for the success of a service that initially provided only reruns of feature films and series (Auletta, 2014;Chan-Olmsted & Shay, 2015). The interactive relationship with the user is part Spaviero, S. From passive consumption of media goods to active use of media brands: on value generation and other differences of the success of Netflix because, first, the order created by a folksonomy helps users quickly locate their preferred type of content from a vast catalogue.…”

Section: Introductionmentioning

confidence: 99%

“…The interactive relationship with the user is part Spaviero, S. From passive consumption of media goods to active use of media brands: on value generation and other differences of the success of Netflix because, first, the order created by a folksonomy helps users quickly locate their preferred type of content from a vast catalogue. Second, by exploiting the detailed information about the preferences and habits of its users, Netflix changed its business model and successfully engaged in the production of original series such as House of Cards (Willimon, 2013) and others (Auletta, 2014;Chan-Olmsted & Shay, 2015). However, assuming that the users of Netflix are passive consumers would mean considering the access to a catalogue of audiovisual content and the production of original material as independent elements of the business model, instead of interdependent, as they clearly are.…”

Section: Introductionmentioning

confidence: 99%

From passive consumption of media goods to active use of media brands: on value generation and other differences

Sparviero

2019

Communication & Society

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Analyses of business models and media consumption within the traditions of media economics and media management explicitly –but mostly implicitly– rely on the representation of a media consumer that rationally pursues the maximisation of utility. Such concept provides the basis for the generalised understanding of the passive consumer of media goods, motivated by subjective wants, needs and preferences. Yet, the digitalisation of media production and distribution has fundamentally changed consumers, producers and their relationship. Users of digital media platforms select, purchase or attend the output of media providers, and leave traces of their digital activities for marketers and advertisers. In addition, they supply content, rate, comment, and share or promote among their network the offers of media providers. The increasing variety of media providers are better understood as brands proposing different value generating activities rather than substitute products at different prices. Critically and by drawing from literature from a variety of research traditions, including political economy of communication, sociology, philosophy and marketing, this theoretical paper discusses the features of the active user of media brands, the hypothetical recipient of the business models of digital media services such as YouTube, Google, Netflix, Amazon Video or Facebook. It is argued that practical knowledge, affect, different types of gratifications and universal values, which are guiding principles for a better life, should be taken into account

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“…Formerly passive consumers are now "prosumers" (Toffler, 1980) that are able to actively access time-shifted and geo-shifted sport content online as well as proactively create and share content themselves. Consumer behaviour and media usage are changing and more research focussed on "the relationship of program and content brands" is required (Krebs and Siegert, 2015, p. 45;Chan-Olmsted and Shay, 2015).…”

Section: Introductionmentioning

confidence: 99%

Sport-related branded entertainment: the Red Bull phenomenon

Kunz

Elsässer

Santomier

2016

Sport, Business and Management

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If you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service information about how to choose which publication to write for and submission guidelines are available for all. Please visit www.emeraldinsight.com/authors for more information. About Emerald www.emeraldinsight.comEmerald is a global publisher linking research and practice to the benefit of society. The company manages a portfolio of more than 290 journals and over 2,350 books and book series volumes, as well as providing an extensive range of online products and additional customer resources and services.Emerald is both COUNTER 4 and TRANSFER compliant. The organization is a partner of the Committee on Publication Ethics (COPE) and also works with Portico and the LOCKSS initiative for digital archive preservation.*Related content and download information correct at time of download. Purpose -The purpose of this paper is to introduce a conceptual model of branded entertainment into sport marketing and highlight Red Bull's strategy as a "best practice". Branded entertainment, the full integration of advertising into entertainment content, is an innovative marketing strategy that can provide sport enterprises and sponsors with consumer attention and engagement. Design/methodology/approach -Branded entertainment was theoretically framed and conceptualised. Using an inductive approach Red Bull's portfolio of self-generated action/extreme sport content as well as its production, distribution and viral processes were analysed.Findings -A communication model of sport-related branded entertainment was developed to distinguish actors such as athletes, sponsors, and co-operating companies, traditional and new (sport) media as well as sport consumers and prosumers and analyse their actions and relationships.Research limitations/implications -This study is limited to Red Bull's branded entertainment activities. However, a thorough conceptualisation and analysis of branded entertainment and findings of unique characteristics and anomalies related to branded sport entertainment allows academics and professionals to understand and apply the concept. Practical implications -The research theme triggers a dialogue and encourages marketing practitioners to consider alternative ways to engage their target audiences and expand their integrated communication strategies via a unique and dynamic promotional tool. Originality/value -This paper contributes to the sport value framework by addressing "value co-creation" in a sport media and marketing context. By highlighting the Red Bull phenomenon as an innovative approach a successful integration of branding and sponsorship activities into sport entertainment content production, distribution and viral marketing is presented.

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Media Branding 3.0: From Media Brands to Branded Entertainment and Information

Cited by 18 publications

References 9 publications

Handbook of Media Branding

Handbook of Media Branding

From passive consumption of media goods to active use of media brands: on value generation and other differences

Sport-related branded entertainment: the Red Bull phenomenon

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