A view to a brand: introducing the film brandscape

Abstract

Purpose -This paper aims to contribute to the development of a film brand theory and in doing so, illustrate the utility of a socio-cultural approach to branding. The purpose is to develop the conceptual framework within which the film brandscape may be considered. An illustrative case study of the James Bond franchise is provided so that the potential application of the framework can be clearly understood. Design/methodology/approach -The paper approaches the topic from a socio-cultural perspective in order to take particular account of the symbolic nature of film offerings. It combines insights from contemporary production and consumption practices in the film industry with theoretical perspectives from marketing, branding, consumer, cultural and film studies. Although a conceptual paper, it incorporates an illustrative case, the James Bond franchise, in order to support the proposed brandscape. Findings -Films are marked with signs of ownership and may carry other cues which function as risk-reducing shorthand devices. Consumers look to brand characteristics as communicated through brand cues. Particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time.Research limitations/implications -This paper presents a theory of film branding which is primarily applicable to mainstream commercial films. The implications for marketing and branding scholars are highlighting the need to view brands within their wider brandscapes in order to understand how consumers understand brands in relation to one another. There is also a need to move beyond dominant relational modes of thinking about brands and consumers to consider the temporal nature of brand meanings. Practical implications -The paper offers a theoretical approach enabling scholars in a range of disciplines to engage in cross-disciplinary dialogue about film brands, thus facilitating debate and opening up new lines of research inquiry. The case study included is merely illustrative and further empirical studies are needed to test and develop the brandscape. Originality/value -The paper develops the cultural approach to branding through introducing the idea of the granularity of the brandscape: particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time. Managerial decision making can be understood through considering the various cast and crew decisions, genre and positioning. Through understanding the granularity of the brandscape, marketing and branding practitioners can have a greater understanding of consumer sensemaking which can be used in strategic decision making.

Investigating the strategic marketing significance of brand love in developing and nurturing consumer-brand relationships via film branding: A brandscape perspective

“…); and the potential of analysing film brand 'awareness' and prompted/unprompted 'recall' through dedicated market research. Despite this, there is no research which acknowledges films as brands or how films might be conceptualised as such (O'Reilly & Kerrigan, 2013). Grainge (2007) has discussed film branding in the context of film studios as corporate brands, examining their implementation of commercial brands and evaluating product extension strategies via film franchising.…”

“…On the other hand, an Asia-Pacific audience widely accepts the phenomenon (Hudson & Hudson, 2006). This might be as a result of the fact that Asia has a higher rate of conspicuous consumption and growing purchase power, hence its generalised acceptance (Peter & Olsen, 2010).…”

“…During the marketability stage, existing brand meaning is derived from past Kerrigan, 2013). During this process, playability shapes future understanding, with the ability to transform pre-consumption brand associations after actual consumption (post-viewing).…”

“…Based on work by Voss and Zomerdijk (2007), the experience of film consumption is synonymous to that of a journey. The starting point of that journey is initiated by the consumer and their subconscious approach to identifying brand meanings from a film's marketing communications strategy, followed by the decision to view or not, and viewing then being elemental throughout the journey (O'Reilly & Kerrigan, 2013).…”

Productoras cinematográficas en México ante la convergencia digital

“…Por otra parte, también es posible señalar que la sólida evolución de Mantarraya en el mercado cinematográfico internacional, puede estar consolidando a la compañía como una especie de "marca cinematográfica", que puede motivar la inversión de diversas compañías en sus proyectos, a sabiendas de que tienen posibilidades, no sólo de recuperar, sino de obtener mayores ingresos a partir de sus aportaciones (O' Reilly & Kerrigan, 2013 …”