Advertisement

Branding Media Content: From Storytelling to Distribution

  • M. Bjørn von RimschaEmail author

Abstract

In the context of production, it is sometimes claimed that content development and creation could and should learn from branding. I will argue that essentially it is the other way round. When content creation has been made more standardized the content becomes “brandable”. Subsequently, branding handbooks and marketers are adopting simplified concepts of storytelling. In this sense, branding can be regarded as the commercialized version of standardized storytelling. Changes in the value chain of media production and distribution lead to the question of who shall be responsible for branding. Drawing from a study with audiovisual producers in Europe, it is illustrated that producers are reluctant to accept the branding of content as part of their changing job role. Thus, it is concluded that actually the content should not be branded at all, but rather that the distribution should be.

Keywords

Formulaic storytelling Periodic table of storytelling Content brand Distribution brand Wholesale brand Branding competences 

References

  1. Baetzgen, A., & Tropp, J. (2013). Owned media: Developing a theory from the buzzword. Studies in Media and Communication, 1(2), 1–10. doi: 10.11114/smc.v1i2.172.CrossRefGoogle Scholar
  2. Campbell, J. (1949). The hero with a thousand faces. New York: Harper Collins.Google Scholar
  3. Clayton, S. (2007). Mythic structure in screenwriting. New Writing, 4(3), 208–223. doi: 10.2167/new571.0.CrossRefGoogle Scholar
  4. Denning, S. (2006). Effective storytelling: Strategic business narrative techniques. Strategy & Leadership, 34(1), 42–48. doi: 10.1108/10878570610637885.CrossRefGoogle Scholar
  5. Dietrich, F. O., & Schmidt-Bleeker, R. (2013). Narrative brand planning: Wie Marken zu echten Helden werden. Berlin: Springer Gabler.CrossRefGoogle Scholar
  6. Donaton, S. (2004). Madison & Vine: Why the entertainment and advertising industries must converge to survive. New York: McGraw-Hill.Google Scholar
  7. Esch, F.-R., & Langner, T. (2003). Markenführung in Wertschöpfungsnetzwerken. In N. Bach, W. Buchholz, & B. Eichler (Eds.), Geschäftsmodelle für Wertschöpfungsnetzwerke (pp. 239–266). Wiesbaden: Gabler Verlag.CrossRefGoogle Scholar
  8. Field, S. (1984). The screenwriter’s workbook: Exercises and step-by-step instructions for creating a successful screenplay. New York: Dell Publishing.Google Scholar
  9. Fog, K., Budtz, C., & Yakaboylu, B. (2005). Storytelling: Branding in practice. Berlin: Springer.Google Scholar
  10. Fröhlich, K. (2010). Innovationssysteme der TV-Unterhaltungsproduktion: Komparative Analyse der sektoralen Innovationsbedingungen Deutschlands und Großbritanniens. Wiesbaden: VS Verlag.CrossRefGoogle Scholar
  11. Früh, W., & Frey, F. (Eds.). (2014). Narration und Storytelling: Theorie und empirische Befunde. Köln: Herbert von Halem.Google Scholar
  12. Galtung, J., & Ruge, M. H. (1965). The structure of foreign news. Journal of Peace Research, 2(1), 64–91. doi: 10.1177/002234336500200104.CrossRefGoogle Scholar
  13. Gutjahr, G. (2013). Markenpsychologie: Wie Marken wirken—Was Marken stark macht (2nd ed.). Wiesbaden: Springer Fachmedien.CrossRefGoogle Scholar
  14. Harris, J. (2014). The periodic table of storytelling. Retrieved from http://designthroughstorytelling.net/periodic/
  15. Hilzensauer, A. (2014). Storytelling: Mit Geschichten Marken führen. In S. Ettl-Huber (Ed.), Storytelling in der Organisationskommunikation. Theoretische und empirische Befunde (pp. 87–101). Wiesbaden: Springer VS.CrossRefGoogle Scholar
  16. Horkheimer, M., & Adorno, T. W. (1969). Dialektik der Aufklärung. Frankfurt a.M: S. Fischer.Google Scholar
  17. Kapur, J. (2005). Coining for capital: Movies, marketing, and the transformation of childhood. New Brunswick, NJ: Rutgers University Press.Google Scholar
  18. Kolker, R. P. (1988). A cinema of loneliness: Penn, Kubrick, Scorcese, Spielberg, Altman. New York: Oxford University Press.Google Scholar
  19. Lantzsch, K. (2008). Der internationale Fernsehformathandel: Akteure, Strategien, Strukturen, Organisationsformen. Wiesbaden: VS Verlag.Google Scholar
  20. Lilleker, D. (2014). Autobiography and political marketing: Narrative and the Obama brand. In J. Round & B. Thomas (Eds.), Real lives, celebrity stories. Narratives of ordinary and extraordinary people across media (pp. 129–150). London: Bloomsbury Publishing.Google Scholar
  21. Lippmann, W. (1922). Public opinion. New York: Harcourt, Brace and Company.Google Scholar
  22. Littek, F. (2011). Storytelling in der PR: Wie Sie die Macht der Geschichten für Ihre Pressearbeit nutzen. Wiesbaden: VS Verlag.CrossRefGoogle Scholar
  23. Manning, S. (2005). Managing project networks as dynamic organizational forms: Learning from the TV movie industry. International Journal of Project Management, 23(5), 410–414. doi: 10.1016/j.ijproman.2005.03.006.CrossRefGoogle Scholar
  24. McKee, R. (1997). Story: Substance, structure, style, and the principles of screenwriting. New York: ReganBooks.Google Scholar
  25. Metz, C. (1968). Essais sur la signification au cinéma. Paris: Klincksieck.Google Scholar
  26. Naldi, L., Wikström, P., & von Rimscha, M. B. (2014). Dynamic capabilities and performance: An empirical study on audio-visual producers in Europe. International Studies of Management & Organization, 44(4), 64–82. doi: 10.2753/IMO0020-8825440404.CrossRefGoogle Scholar
  27. Nelson, E. (2013). Beneath the surface and the excess: An examination of critical and aesthetic attacks on films of the 1980s. The Journal of Popular Culture, 46(5), 1029–1050. doi: 10.1111/jpcu.12065.CrossRefGoogle Scholar
  28. Polti, G. (1895). Les 36 situations dramatiques. Paris: Mercure de France.Google Scholar
  29. Przybylski, P. (2010). Heute Partner—Morgen Konkurrenten?: Strategien, Konzepte und Interaktionen von Fernsehunternehmen auf dem neuen Bewegtbild-Markt. Wiesbaden: VS Verlag.CrossRefGoogle Scholar
  30. Root, W. (1979). Writing the script: A practical guide for films and television. New York: H. Holt.Google Scholar
  31. Rose, J. (2013, May 31). Content marketing: Why brands are becoming publishers. The Guardian. Retrieved from http://www.theguardian.com/media-network/2013/may/31/content-marketing-brands-publishers
  32. Rott, A., & Zabel, C. (2009). Marktentwicklung als strategische Option für TV-Produktionsunternehmen: Perspektiven, Probleme und empirische Evidenz. In J. Krone (Ed.), Fernsehen im Wandel. Mobile TV & IPTV in Deutschland und Österreich (pp. 93–106). Baden-Baden: Nomos.Google Scholar
  33. Schauer, B. (2007). Critics, clones and narrative in the franchise blockbuster. New Review of Film and Television Studies, 5(2), 191–210. doi: 10.1080/17400300701432894.CrossRefGoogle Scholar
  34. Schmidt, V. L. (2001). 45 master characters: Mythic models for creating original characters. Cincinnati, OH: Writer’s Digest Books.Google Scholar
  35. Siegert, G. (2001). Medien Marken Management: Relevanz, Spezifika und Implikationen einer medienökonomischen Profilierungsstrategie. München: Reinhard Fischer.Google Scholar
  36. Siegert, G. (2015). Market driven media brands: Supporting or faking high journalistic quality? In G. Siegert, K. Förster, S. Chan-Olmsted, & M. Ots (Eds.), Handbook of media branding. Heidelberg: Springer.Google Scholar
  37. Thier, K. (2010). Storytelling: Eine Methode für das Change-, Marken-, Qualitäts- und Wissensmanagement (2nd ed.). Berlin: Springer.CrossRefGoogle Scholar
  38. Tobias, R. B. (1993). 20 master plots (and how to build them). Cincinnati, OH: Writer’s Digest Books.Google Scholar
  39. Vogler, C. (1992). The writer’s journey: Mythic structures for screenwriters and storytellers. Studio City, CA: Michael Wiese Productions.Google Scholar
  40. von Matt, D. (2008). Markenkommunikation in der neuen Medienwelt. Marketing Review St. Gallen, 25(5), 6–11. doi: 10.1007/s11621-008-0079-x.CrossRefGoogle Scholar
  41. von Rimscha, M. B. (2008). Risikomanagement in der Produktion und Entwicklung audiovisueller fiktionaler Unterhaltung. In G. Siegert & M. B. von Rimscha (Eds.), Zur Ökonomie der Unterhaltungsproduktion (pp. 178–203). Köln: von Halem.Google Scholar
  42. von Rimscha, M. B., & Siegert, G. (2011). Orientations of entertainment media workers. Media, Culture & Society, 33(7), 1009–1026. doi: 10.1177/0163443711415743.CrossRefGoogle Scholar
  43. von Rimscha, M. B., Wikström, P., & Naldi, L. (2014). European audio-visual production companies adapting to strategic challenges. In R. DeFillippi & P. Wikström (Eds.), International perspectives on business innovation and disruption in the creative industries (pp. 66–87). Cheltenham: Edward Elgar.Google Scholar
  44. Wentzel, D., Tomczak, T., & Herrmann, A. (2012). Storytelling im behavioral branding. In T. Tomczak, F.-R. Esch, J. Kernstock, & A. Herrmann (Eds.), Behavioral branding. Wie Mitarbeiterverhalten die Marke stärkt (3rd ed., pp. 425–442). Wiesbaden: Gabler.Google Scholar
  45. Wyatt, J. (1994). High concept: Movies and marketing in Hollywood. Austin, TX: University of Texas Press.Google Scholar

Copyright information

© Springer International Publishing Switzerland 2015

Authors and Affiliations

  1. 1.IPMZUniversity of ZurichZurichSwitzerland

Personalised recommendations