It's like rape: metaphorical family transgressions, copyright ownership and fandom

Roth, Jenny; Flegel, Monica

doi:10.1080/10304312.2014.964175

Cited by 4 publications

(3 citation statements)

References 26 publications

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“…Many of their posts were also visceral and highly emotive in nature. Such emotion is to be expected given the intense attachments that narrative brands can generate (Russell and Schau, 2014; Siegert et al , 2015) with some consumers developing emotional ownership (Fiske, 1992; Roth and Flegel, 2014).…”

Section: Discussion and Theoretical Contributionsmentioning

confidence: 99%

“…Preece and Kerrigan (2015) note that when it comes to artistic brands, who are the internal and external stakeholders is difficult to determine. This is important to note because, as a result of their intense emotional attachment to the storyworlds and characters of narrative brands, consumers can develop feelings of emotional ownership (Fiske, 1992; Roth and Flegel, 2014). Due to these intense emotional connections, narrative brands require tailored and specialised brand management strategies, and an emerging body of research has developed centred on them (Siegert et al , 2015).…”

Section: Literature Reviewmentioning

confidence: 99%

“…Narrative brand management is important to ensure that narrative brands stand out in a crowded market (Kim, 2018; Laaksonen et al , 2019), but narrative brand managers must also be aware of the emotional impact their brands have on consumers (Russell and Schau, 2014; Siegert et al , 2015). If the characters or plot line of a narrative brand dissatisfies consumers, then this emotion can cause consumers to engage in revenge and value deconstruction behaviours (Parmentier and Fischer, 2015), especially given the emotional ownership they can feel towards the narrative brand (Fiske, 1992; Roth and Flegel, 2014). Such behaviour is known as fan activism and has been associated with the emotional attachment and even ownership that consumers feel for the narrative (Burgess and Jones, 2021; Jenkins, 2012).…”

Section: Literature Reviewmentioning

confidence: 99%

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Investigating consumer perceptions of brand inauthenticity in a narrative brand ending

Burgess

Jones

2023

JPBM

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Purpose This study aims to investigate consumer perceptions of inauthenticity due to adulteration of a narrative brand ending by using the research context of the final season and ending of the television series, Game of Thrones. Design/methodology/approach Two data sets totalling 2,032 online comments detailing consumer reactions to the final season of Game of Thrones were analysed using thematic analysis and human interpretive analysis. The coding was an iterative and continuous process, and posts were returned to and re-examined to refine codes and groupings as the analysis progressed. Findings The results indicate consumers perceived the ending of the eighth and final season of the television series, Game of Thrones, did not meet their expectations and was not authentic due to rushed writing and illogical character and plot developments. Consumers judged this adulteration was so great that it was a moral violation and transgression. Consumers also sought to assign blame for the inauthenticity, which they attributed to the writers and showrunners, who became the subject of revenge behaviours. Originality/value This study indicates consumers of narrative brands, due to their strong emotional attachments to their characters and storyworlds, may perceive unexpected and extensive changes to them as moral violations and transgressions and thus inauthentic. Consumers establish the authenticity of a narrative brand by regularly scrutinising narrative and character development against their expectations as shaped by prior narrative content. Due to their emotional attachment, consumers may attempt to attribute blame for the inauthenticity. The findings have not been established in prior research, and inauthenticity in a narrative brand context is also explored for the first time.

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Section: Discussion and Theoretical Contributionsmentioning

confidence: 99%