By Jean-Marc Lehu

ISBN-10: 0749449403

ISBN-13: 9780749449407

Branded leisure explains how product placement, a long-time phenomenon in motion pictures, has long past past this to now embody all media. mentioning examples from movie, tune video clips, and laptop video games, the writer explains the historical past and improvement of product placement, benefits of this way of name advertisements, and techniques hired by means of varied manufacturers. most significantly, Branded leisure discusses the long run chances for utilizing this manner of merchandising to recreate an emotional reference to buyers and to unfold the message throughout multimedia channels.

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Extra resources for Branded Entertainment: Product Placement & Brand Strategy in the Entertainment Business

Sample text

As a result, in 2004, 64 per cent of expenditure was on product placements carried out on the basis of an exchange of goods. 1 per cent over 2004). 94 billion. Among the leading sectors, analysts believe that transport and accessories, clothing and accessories, agricultural produce and drinks, and tourism and leisure will continue to lead the market; but categories such as electronic or technological products, toys and products linked to the world of sport, as well as media and the entertainment sector in general, should see a marked growth in investment.

From a communication point of view, this assumes the necessity for a corollary metamorphosis. 22 Not only does the sacrosanct 30-second spot today seem too expensive in terms of audience volumes reached, but the doubt cast on its actual effectiveness seems increasingly justified. Taking into account the lower audience figures, in absolute terms, more spots are needed to achieve a desired gross ratings points score (GRP),23 but even this does not guarantee the desired result. affinity and television programme sponsorship, International Journal of Advertising, 17(1), pp 89–98.

This being so, it is not always a question of audience volume, but of the foreseeable quality of the audience. When BMW participated in the Geoffrey Sax film Stormbreaker (2006), the German car maker knew that its cars would be presented to an adolescent audience of potential future buyers. In contrast, the somewhat controversial film by Frank Miller and Robert Rodriguez, Sin City (2005), sought an entirely different audience. 27 This total of used for radio and television. It can be calculated by multiplying the reach of the media schedule by the average frequency.

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Branded Entertainment: Product Placement & Brand Strategy in the Entertainment Business by Jean-Marc Lehu

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