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| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.advisor | 黃恆獎 | |
| dc.contributor.author | Ksenia Mardaeva | en |
| dc.contributor.author | 馬欣雅 | zh_TW |
| dc.date.accessioned | 2021-06-17T00:27:08Z | - |
| dc.date.available | 2017-03-19 | |
| dc.date.copyright | 2012-03-19 | |
| dc.date.issued | 2012 | |
| dc.date.submitted | 2012-02-15 | |
| dc.identifier.citation | Atkinson, C. (2005 ). Internet piracy of US TV shows on the rise. Advertising Age
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| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/66247 | - |
| dc.description.abstract | The digital revolution and its effect on the communications landscape cannot be overstated. With media platforms multiplying; the internet moving ever closer to being our primary source of information, music and entertainment; and TV recording technology allowing for easier ad-skipping, advertisers worldwide are worried that traditional advertising models are not as effective as they used to be.
Today, market fragmentation and the skyrocketing cost of television advertising is causing marketers to look at branded entertainment as a viable way to connect to consumers outside the 30-second spot. Over years product placement as communication technique has evolved from its simplest form of “placing” a product or a brand in a media to a more complex form where brand is the source for the advertiser produced entertainment content. The outcome is a concept the advertising industry is calling branded entertainment. Branded entertainment has received considerable attention from scholars and practitioners alike, though little academic research has been conducted to systematically study the concept of branded entertainment and its forms. The need for the research of this phenomenon is particularly urgent given the current state of the industry. This study is an attempt to determine branded entertainment phenomenon and its possibilities within non-traditional media- Internet. The main objectives of the current research are to: 1) analyze the concept of branded entertainment by studying the evolution from product placement and systematizing various forms of branded content. 2) examine possibilities of branded entertainment on the Internet, and special characteristics of advertising on the Internet, its difference from traditional advertising. Applying an exploratory approach, this study mainly employs secondary research techniques to address the research questions. As for research methodology, the use of case study was fundamental to identify successful branded entertainment techniques on the Internet. | en |
| dc.description.provenance | Made available in DSpace on 2021-06-17T00:27:08Z (GMT). No. of bitstreams: 1 ntu-101-R97724073-1.pdf: 2256327 bytes, checksum: 9199e5340ef9025e12a2120fb2c339fe (MD5) Previous issue date: 2012 | en |
| dc.description.tableofcontents | Abstract I
Table of Contents II List of Figures IV List of Tables V Chapter 1 Introduction 1 1.1 New advertising context: decay of traditional advertising model 1 1.1.1 The congested communications environment 2 1.1.2 Fragmentation and dispersal of the audience 4 1.1.3 DVR and TiVo, the enemies of advertising 6 1.1.4 Rise of branded entertainment 8 1.2 Research background and research motivation 9 1.3 Research objectives and research methods 11 1.4 Thesis structure 13 Chapter 2 Literature Review 16 2.1 Product Placement Definitions 16 2.2. Previous Research of Product Placement 18 2.3 Types of Product Placements 21 2.3.1 Product Placements 24 2.3.2 Program Tie-in 25 2.3.3 Program – length commercial 26 2.3.4 Sponsorship 27 2.4 Classification of Product Placement Strategies 30 2.4.1 Placed and Included Brands 30 2.4.2 A Three - Dimensional Framework of Product Placement 32 2.4.3 Implicit, Integrated, Explicit and Non-Integrated Explicit Placements 34 2.4.4 Level of integration and control 37 2.5 Concept of Branded Entertainment 42 2.5.1 Origins of Branded Entertainment: History of Product Placement 42 2.5.2 Related concepts 48 2.5.3 Branded Entertainment Defined 51 2.5.4 The Product Placement-Branded Entertainment Continuum 56 Chapter 3 Branded Entertainment on the Web 60 3.1 Internet – important part of communication mix 62 3.2 Traditional advertising vs. Internet advertising 64 3.3 Interactivity 66 3.4 Why Branded Entertainment? 69 3.5 Case Study: BMW short films “The Hire” 72 Chapter 4 Discussion 92 4.1 Branded Entertainment Framework 92 4.2 Possibilities of Branded Entertainment on the Web 94 4.2.1 Role of Interactivity and Consumer Engagement 95 4.2.2 User – Generated Content 97 4.2.3 Emergence of Social Media 100 Chapter 5 Conclusion 104 5.1 Major findings and Contribution 104 5.2 Managerial Implications 106 5.3 Limitations and Future Research 107 References 110 | |
| dc.language.iso | en | |
| dc.subject | 品牌置入性娛樂 | zh_TW |
| dc.subject | 品牌置入性娛樂 | zh_TW |
| dc.subject | 產品置入 | zh_TW |
| dc.subject | 產品置入 | zh_TW |
| dc.subject | branded entertainment | en |
| dc.subject | webisodes | en |
| dc.subject | online advertising | en |
| dc.subject | online advertising | en |
| dc.subject | branded entertainment | en |
| dc.subject | webisodes | en |
| dc.title | 從產品置入到網路上的品牌置入性娛樂：
BMW電影的案例 | zh_TW |
| dc.title | From Product Placement to Branded Entertainment on the Internet: The Case of BMW Short Films | en |
| dc.type | Thesis | |
| dc.date.schoolyear | 100-1 | |
| dc.description.degree | 碩士 | |
| dc.contributor.oralexamcommittee | 林俊昇,王仕茹 | |
| dc.subject.keyword | 產品置入,品牌置入性娛樂, | zh_TW |
| dc.subject.keyword | branded entertainment,online advertising,webisodes, | en |
| dc.relation.page | 119 | |
| dc.rights.note | 有償授權 | |
| dc.date.accepted | 2012-02-15 | |
| dc.contributor.author-college | 管理學院 | zh_TW |
| dc.contributor.author-dept | 國際企業學研究所 | zh_TW |
| 顯示於系所單位： | 國際企業學系 | |
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