Product placement with ‘Chinese characteristics’: Feng Xiaogang's films andGo Lala Go!

Utilización del brand placement en la filmografía de Quentin Tarantino

“…The results of the present study reveal that Tarantino, as has been done in the film industry with some frequency for the last few decades, is strongly committed to the use of brand placement in his films, both for commercial purposes and to add realism to the plots, with an average of 41.7 instances per film (Wing-Fai, 2015;Kumar, 2017;Gundle, 2020;Pagello, 2020;Murray, 2022;Sharma and Bumb, 2022). Consequently, the first research question can be answered, as the director uses the placement for both purposes, in some cases as a business agreement that allows the promotional visibility of products or brands in a film and, in other cases, to provide realism to certain plots or scenes, appealing to the most emotional side of the viewer (Sherman, 2015;Kerrigan, 2017;Hong et al, 2020;Corkindale, Neale and Bellman, 2023).…”

“…In the film industry, considering that cinema and consumer culture have been symbiotically enriching each other since their very inception, brand placement provides another opportunity to promote brands and products in films through a strategic use which attends to both the commercial aspect and the story line (Wing-Fai, 2015;Kumar, 2017;Gundle, 2020;Sharma and Bumb, 2022). The effectiveness of this technique is greater when the commercial dimension reaches the spectator in a way that is more integrated with the narrative discourse, as it participates in the story within the framework of the experience (Álvarez-Rodríguez, 2021).…”

Chiny w Hollywood. Wpływ wzrostu chińskiego rynku kinowego na treść współczesnych filmów hollywoodzkich

“…Oprócz rozluźnienia na polu produkcyjnym utworzono także nowy system dystrybucyjny. Monopol rządowej China Film Group został zaburzony przez powstanie konkurencyjnych spółek prywatnych: tylko w 2005 roku SARFT [State Administration of Radio, Film, and Television, od 2013 roku NRTA -National Radio and Television Administration -A.M.] dał licencję aż pięciu prywatnym firmom, pozwalając im na dystrybucję rodzimych filmów na terenie Chińskiej Republiki Ludowej, co było kamieniem milowym w procesie urynkowienia kinematografii chińskiej43 .…”