The multidimensional nature and brand impact of user-generated ad parodies in social media

Personality or skill: a qualitative study of humorous recruitment advertising campaign on social media

“…Regarding specific humour type, four primary dimensions of ad parodies have been identified -humour, truth, mockery and offensiveness (Vanden Bergh et al, 2011) revealing the challenging nature of processing the parody type of the humour message. On the other hand, although the picture was lacking human characters, it was authentic.…”

La Influencia De La Comunicación De Marca en La Actitud Y en El Comportamiento De Los Consumidores a Través De Los Medios Sociales

“…(1) La comunicación de marca generada por las organizaciones (2) La comunicación de marca generada por los usuarios Esta distinción entre las fuentes de comunicación es relevante, porque la comunicación de marca generada por la organización está bajo la dirección de las empresas, mientras que la comunicación de marca generada por el usuario es independiente del control de las organizaciones (Vanden Bergh et al, 2011;(Schivinski y Dabrowski, 2016). Burmann y Arnhold (2009, p. 66) se refieren a la comunicación de marca generada por las organizaciones como "la gestión estratégica y operativa del contenido generado por el usuario para alcanzar los objetivos de la marca".…”

Taking spoofs seriously: Spoofs as counter-narratives in volunteer discourse

“…As the aff ordances of digital and social media, such as YouTube and Vimeo, have become available to users, the spoof has become what Ortega (2014) calls "one of the primary manners through which Internet users inscribe their own creativity on the Web [...] and re-contextualize audiovisual content to challenge the distinction between those who produce and those who consume culture" (p. 150). Similarly, a study on ad parodies by Vanden Bergh et al (2011) found a multiplicity of purposes for creating and uploading them on social media, including "sharing entertainment, debunking brand identities and advertising techniques, satirising the institution of advertising, engaging in cultural criticism, and showing off personal skills" (p. 109). Th us, a potentially ambivalent set of spoofers' motivations for, and viewers' reactions to, spoofs may aff ect the critical function and reception of them.…”

“…While advertisement-based spoofs have a history with professional media outlets in satirical magazines and variety shows, the techonologization of societies has given impetus to the production and distribution of humanitarian communication, as well as their spoofs, by amateurs as well as organizations (Vanden Bergh, 2011). Similarly, as Lessig (2008) discusses, the remixing of content from popular culture is not new, but the techniques and the ease with which users can share it are (Lessig, 2008, p. 83).…”

“…As a form of parody, a spoof involves borrowing from and creatively revising the source which is its object of parody and, as a result, is at once both an imitation of the original and a reworking of it which off ers a new, often critical, perception of its content and/or its form (Vanden Bergh et al, 2011). In this article, we examine the critical potential of video spoofs of humanitarian aid appeals, particularly their capacity to constitute counternarratives to the master narratives in Western culture which undergird the genres of humanitarian communication.…”