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Chevalier, Michel; Mazzalovo, Gérald

doi:10.1057/9780230508897

Cited by 23 publications

(8 citation statements)

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“…A cultura é conceituada no interior da empresa, simbolizando o meio em que está inserida. Ao inal, as faces projetadas pelo destinatário, compõem a análise para deinir a identidade de marca (CHEVALIER, MAZZALOVO, 2007).…”

Section: Fig 6 -Prisma De Identidade De Marca De Kapfererunclassified

A identidade de marca da empresa Callalily Pijamas, por meio do prisma da identidade de Kapferer

Medeiros¹,

Deolindo²

2018

e-Revista LOGO

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The purpose of this study was to deine the brand identity of the company Callalily Pijamas. Information was collected through the focal group technique and analyzed to apply them to the Kapferer identity prism. The research covered content regarding brands, branding and brand identity, based on authors such as Consolo (2015), Aaker (1998) and Guilhermo (2012). The focus group facilitated the elaboration of the strategies found in the prism. The result of the identity demonstrated to Callalily, a communication direction to attract consumers. In conclusion, the research highlighted the importance of deining the identity of a brand.

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Section: Fig 6 -Prisma De Identidade De Marca De Kapfererunclassified

A identidade de marca da empresa Callalily Pijamas, por meio do prisma da identidade de Kapferer

Medeiros¹,

Deolindo²

2018

e-Revista LOGO

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“…As marcas globais adotam, para seu fortalecimento no mercado, um posicionamento uniforme e estratégias universais, devido à necessária racionalização administrativa (KAPFERER, 2003;CHEVALIER;MAZZALOVO, 2007). Essa postura conduziu as marcas globais no processo de mundialização e produziu uma lógica "inventada", que se realizou e operou reifi cação na cultura de massas (ORTIZ, 2007); visando promover a marca ao posto máximo da mundialização, as estratégias apoiaram-se no branding patrocinador de cultura e objetivaram sobrepujar a cultura nativa (KLEIN, 2008).…”

Section: Flávia Zimmerle Da Nóbrega Costa and André Luiz Maranhão De Sounclassified

Formações discursivas de uma marca global num contexto local: um estudo inspirado no método arqueológico de Michel Foucault

Costa

Leão²

2012

Organ. Soc.

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ResumoO advento da globalização contribui para gerar um emaranhado campo de cruzamentos culturais e, assim, permite o estabelecimento de valores universais em meios locais. Esse contexto, aliado à cultura de massas, promoveu as marcas a símbolos culturais complexos e globais. Nosso objetivo foi buscar a compreensão de como é possível uma marca transnacional se estabelecer numa cultura local reproduzindo a cultura global. Inspirados no projeto arqueológico de Michel Foucault, construímos um corpus fotográfi co de práticas cotidianas de uma marca global. Tal processo se deu por meio de um trabalho de ordenação, defi nição e descrição, elaborado no interior do campo discursivo, pautado nas ações de marketing da marca. A análise nos revelou as formações discursivas entre culturas global e local e nos possibilitou desvelar as relações existentes nessa teia. Os resultados apontaram alguns caminhos para refl exão, tanto acerca da importância assumida pela marca na cultura quanto da forma assumida pelas sociedades ocidentais contemporâneas.Palavras-chave: Marca global. Cultura local. Discurso. Arqueologia. Discursive Formations of a Global Brand in a Local Context: a study inspired in Michel Foucault's archaeological method AbstractT he advent of globalization has generated an entangled fi eld of cross-cultures enabling the establishment of universal values in local media. This context and mass culture have promoted brands to become complex and global cultural symbols. Our aim is to understand how a transnational brand can establish itself in a local culture reproducing a global one. Inspired by Michel Foucault's archaeological project, we constructed a photographic corpus of the daily practices of a global brand. This was done by ordering, defi ning and describing within the discursive fi eld, guided by brand marketing practices. The analysis revealed the discursive formations between global and local cultures and unveiled existing links in this network. Our results can be used to refl ect on both the importance assumed by brands in culture and the form assumed by contemporary Western societies.

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“…Interestingly, it is not just the marketing community that has become more sophisticated in recent decades; consumers are now more 'knowing' as well. They are familiar with the marketing process, they are aware of its terminology and they often play the marketing game -by taking part in the creative process themselves (Earls 2007) or by subverting brand and cultural codes or the advertising itself (Chevalier & Mazzalovo 2004;Gabriel & Lang 2006).…”

Section: Intentionality -And Increasing Consumer Sophisticationmentioning

confidence: 99%

Instantiation: Reframing Brand Communication

Barnham¹

2008

International Journal of Market Research

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How do brands communicate with consumers? This is a question that runs to the very heart of the marketing process and it has attracted much attention in recent years. In order to understand some of the issues involved we need, however, to identify where our models of brand communication have come from and, in particular, how strongly they are linked to our underlying theories of perception. This should be our starting-point in understanding the process of so-called 'brand communication'. The conceptual landscape in which we believe consumers perceive brands feels so intuitively self-evident that it hardly seems to demand interrogation. We imagine that consumers experience brands in much the same way as they experience everything else in the world around them. They perceive, for example, a physical object such as a table, and light waves from this object are transmitted to, and form perceptions in, their minds. They 'process' these perceptions and then act accordingly by, for instance, walking around the table or placing their coffee on it. There is, in this model, a basic assumption that any act of perception consists of three parts: the object (or event) itself; the waves of light that pass from the object (or event) towards the eye; and the formation of a 'perception' on our retina. When thinking about brand communication, we take this common-sense view of perception and apply it, almost wilfully, to our account of how consumers perceive brands. A brand creates a TV advertising execution, or a piece of packaging, that replaces the table in our basic model. Consumers encounter this marketing activity and it creates perceptions in their minds. These perceptions 'carry', we assume, rational or emotional 'messages', which the consumer then processes at a conscious, or subconscious, level. This framework interprets brand communication as a transmission from a sender (the brand) to a receiver (the consumer) and it is enshrined, in its most exegetical form, in the Shannon Weaver model (Shannon & Weaver 1949). This model of perception seems so very clear to us; the laws of optics, no less, support it. It is, however, a culturally determined way of construing perception and one that has been dominant only in the past 400 years. This is not to say, of course, that it is a model that is factually inaccurate. It is just that it tells only half the story.

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Cited by 23 publications

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A identidade de marca da empresa Callalily Pijamas, por meio do prisma da identidade de Kapferer

A identidade de marca da empresa Callalily Pijamas, por meio do prisma da identidade de Kapferer

Formações discursivas de uma marca global num contexto local: um estudo inspirado no método arqueológico de Michel Foucault

Instantiation: Reframing Brand Communication

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