By Paul Grainge
From the expansion in promotion and product placement to the increase of the motion picture franchise, branding has develop into crucial to the fashionable blockbuster economic climate. In a wide-ranging research concentrating on businesses equivalent to Disney, Dolby, Paramount, New Line and, specifically, Warner Bros., Brand Hollywood offers the 1st sustained exam of the will-to-brand within the modern motion picture company. Outlining alterations within the advertising and media atmosphere through the Nineteen Nineties and 2000s, Paul Grainge explores how the good judgment of branding has propelled particular forms of method of the prestige and promoting of movie. studying the perform of branding, the poetics of company trademarks, and the commercial politics surrounding the advance of branded texts, houses and areas - together with franchises starting from Looney Tunes to Lord of the RingsВ and Harry Potter to The Matrix - Grainge considers the relation of branding to the emergent precept of вЂtotal entertainmentвЂ™.
Employing an interdisciplinary approach drawn from movie stories, cultural stories and ads and media experiences, Brand Hollywood demonstrates the complexities of promoting leisure within the international media second, delivering a clean and interesting point of view on brandingвЂ™s value for advertisement movie and the economic tradition from which it's produced.
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Additional info for Brand Hollywood: Selling Entertainment in a Global Media Age
In the future, traditional companies will not be able to rely on their brand history or dominance in classical distribution systems, they will have to focus on providing brands with a powerful emotional content. (Gobé 2001: xxv) There are, of course, problems with the idea of the sovereign consumer in this account. Not least, Gobé ignores the various limits that are placed on interactions with brands. As Adam Arvidsson observes, brand management recognizes the autonomy of consumers but also pre-structures and anticipates ‘the agency of consumers and situates it within a number of more or less precise coordinates’ (Arvidsson 2005: 245).
He suggests that ‘since the corporate marketers themselves have little control of the message, the audience, nor the timing, product placement is primarily used to expand on what has been done with their real ad dollars’ (Turcotte 1995). In the wider marketing context, product placement is a small but indicative feature of contemporary brand practice. The growth and consolidation of the placement industry demonstrates the lure of ambient communication and the attractions of entertainment media to consumer brands.
Generating specialist knowledge claims, marketing theorists refigured paradigms of brand management for a new business era. Rather than simply make and place adverts, brand consultants offered a total marketing approach designed to navigate a world made up of niche and networked consumers, communities and groups. It appeared that new forms of knowledge were required for new kinds of consumer. In a treatise on the significance of public relations, Al Ries contends that ‘advertising has lost its power to put a brand name into the mind.
Brand Hollywood: Selling Entertainment in a Global Media Age by Paul Grainge