By Jean-Marc Lehu
Branded leisure explains how product placement, a long-time phenomenon in movies, has long gone past this to now include all media. bringing up examples from movie, tune movies, and computing device video games, the writer explains the heritage and improvement of product placement, merits of this way of name ads, and strategies hired by means of diverse manufacturers. most significantly, Branded leisure discusses the long run chances for utilizing this type of merchandising to recreate an emotional reference to clients 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
During the ﬁlming of The Terminal (2004), the director Steven Spielberg, always attentive to detail, decided that the bottle of champagne called for in the script for the dinner between Tom Hanks and Catherine Zeta Jones was somewhat too expensive. The props master David Harlocker, who had in his possession a bottle of Clos du Val, suggested it, and it was immediately put to use. The previous year, Clos du Val was also used in Alejandro Gonzalez Iñárritu’s 21 Grams. C. (Warner), The Sopranos (HBO) and Two and a Half Men (Warner).
Conﬁrming the tendency of a growing number of cases, see in particular Mary-Lou Galician (ed) (2004) Handbook of Product Placement in the Mass Media, Haworth Press, Binghamton, NY; Kathy Brittain McKee (1998) Conceptualizing brand placement as a viable media strategy: perspectives and prescriptives, American Academy of Advertising Conference Proceedings ed Darrel D Muehling, AAA, Lexington, KY, pp 305–07; Rosemary J Avery and Rosellina Ferraro (2000) Verisimilitude or advertising? Brand appearances on prime time television, Journal of Consumer Affairs, 34(2), pp 217–44; Cristel Antonia Russell (2002) Investigating the effectiveness of product placements in television shows: the role of modality and plot connection congruence on brand memory and attitude, Journal of Consumer Research, 29, December, pp 306–18; Ian Brennan and Laurie A Babin (2004) Brand placement recognition: the inﬂuence of presentation mode and brand familiarity, Journal of Promotion Management, 10(1/2), pp 185–202; Abram Sauer (2006) Brandchannel’s 2005 product placement awards, BusinessWeek, 2 March.
2 Lorne Manly (2005) When the ad turns into the story line, New York Times, 2 October. 3 Nowadays, the props master is provided early on in proceedings with a wish list, less and less general and increasingly speciﬁc, which lists the places, services, products and brands that the ﬁlm needs. Established in concert between the director and the producer, sometimes with the help of the scriptwriter, a wish list can also beneﬁt from the early advice of the props master. It will sometimes contain ‘generic’ items (a beer, an ofﬁce lamp, a bus service, a restaurant), which will be left to the discretion of the props master.
Branded Entertainment: Product Placement & Brand Strategy in the Entertainment Business by Jean-Marc Lehu