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Friday, June 25, 2004
Because the entire literature list didn't fit under part two, and changes would destroy the entire linking system, here is the entire literature list.
Used Literature:
· http://www3.interscience.wiley.com:8100/legacy/college/kotabe/0471230626/text_cases/bmw.doc , 22-06-2004
· http://www.europeancarweb.com/features/0312ec_bmwdesign/ , 22-06-2004
· http://www.mgt.smsu.edu/mgt487/mgtissue/bmw/ , 22-06-2004
· http://www.bca.com.au/content.asp?newsID=94478 , 22-06-2004
· http://www.brandchannel.com/features_profile.asp?pr_id=171 , 25-06-2004
· http://www1.cs.columbia.edu/~paley/spring03/assignments/HW1/sz184/Assignment1.htm , 25-06-2004
· http://www.latimes.com/chi-0211070100nov07,0,1332949.story , 22-06-2004
· http://modemmedia.com/pdfs/After_the_Banner.pdf , 24-06-2004
· http://www.bmw.com/generic/com/en/products/automobiles/showroom/5series/sedan/index.html , 22-06-2004
· http://www.seewhathappens.com , 24-06-2004
· http://houston.bizjournals.com/houston/stories/2004/05/31/focus7.html?page=1 , 24-06-2004
· http://www.allnews40.com/ , 24-06-2004
· http://www.audi.com/com/en/new_cars/new_cars.jsp , 24-06-2004
· http://www.mbusa.com/microsite/gst/index.jsp , 24-06-2004
· http://www.mbusa.com/brand/container.jsp?/models/glance.jsp&modelCode=glance&model=e_class_main&pf=0 , 24-06-2004
· http://soi.saabusa.com/saabi.asp , 24-06-2004
· http://whokilledtheidea.bmw.com/ , 22-06-2004
· http://146.145.203.221/x3home.asp , 25-06-2004
· http://www.adage.com/news.cms?newsId=40669 , 25-06-2004
· http://www.nfscars.net/brands.php?game=nfs4 , 25-06-2004
· http://web.mit.edu/21fms/www/faculty/henry3/collective%20intelligence.html , 25-06-2004
· http://houston.bizjournals.com/houston/stories/2004/05/31/focus7.html?page=2 , 25-06-2004
· http://www.dmc.co.uk/index.php?bz02MA== , 25-06-2004
· http://promomagazine.com/news/marketing_nintendo_burton_hop/ , 25-06-2004
· http://www.imh.unisg.ch/org/imh/web.nsf/SysWebRessources/Tomczak-pdf-Files-Persoenlich-August02/$FILE/BestPractice_August+02.pdf , 25-06-2004
· www.bmwfilms.com , 25-06-2004
· Tybout, A. & Carpenter, G. (2001) “Creating and Managing Brands”. In: Iacobucci, D. (ed.) (2001)
· Bordwell, D. & Thompson, K. (2001) “Film Art, An Introduction”, Sixt edition, (The McGraw-Hill Companies, Inc.)
· Küng-Shankleman (2000) “Inside the BBC or CNN: Managing media organisations”.(London:Routledge)
Posted at Friday, June 25, 2004 by rg3lolkema
From advertisement to entertisement
THE BMW CASE
P.A.Lolkema
9936785
CIW
Participatory Culture
Docent: CLASSIFIED
25-06-2004
When looking at ‘The Hire’ series from BMW, we see it’s not an usual way of advertising. Something made the brand change its strategy and spend a lot of money at an online moviemaking project of which the results couldn’t have been clear at the start. According to Martin Hellhake, Fabian Henault, and Josh Jacob from Temple university this has to do with the fact that other brands were copying their advertising strategy which holds within its boundaries the reliability of the car. The so called ‘look and feel’ strategy was copied, so BMW had to take a step to get ahead of its concurrents.[i]
But Tom Matano, Director of the school of design and Academy of Art College San Fransisco states that BMW had to redefine its position because Mercedes-Benz took more ‘sportier’ models into production, like the new S-class and Audi had established modern Teutonic direction[ii].
Before getting further into a discussion about what made BMW change its advertisement strategy being a step ahead or a step behind, the BMW buyer will now be discussed.
Who is or will be the BMW Buyer?
Before looking closer at the BMW films it is important to look at who its customers are. Who are the typical BMW buyers that BMW is trying to reach by their campaigns.
Because more than two-thirds of the buyers of BMW’s are repeat customers, the firm can put its prices 10 till 30 percent above the market in relation to comparable models.
Wealthy babt boomers are now the main target audience, followed by the generation X.[iii]
First of all it is important to notice that these baby boomers, now between 43 and 58 are starting to think about their retirement and generation X is taking over. This generation was born between 1961 and 1976, and is growing in importance in our society. The boomers still beat the Xers in economic, cultural and social influence stakes, because they own all the infrastructure. Only ten percent of the infrastructure had to be upped to accommodate the Xers.[iv] Nonetheless the generation X’ers are slowly taking over from the baby boomers and know that they will rely on themselves instead of having a safety platform in the shape of Social Security and retirement funds that the baby boomers have. Knowing this will not last for the day they will retire, these young X’ers start saving some money at a young fase of their lifes. They will be economicly conservative to make sure their future is safe.
The following dot-comers, who are now in their twenties will be even more business orientated than the the X’ers. They would prefer to own a business more than to work high in one. It are these two generations that will supply the new BMW buyers. These generations will learn their entire life and live on challenge and opportunity. The thing they look for in a product is customer service improvement.[v]
Because of this shifting target audiences, the designs also changed in relation to the lines that were followed till now. Cars are starting to look more sporty and come within all ranges. Customers want to be able to choose. BMW started to broaden its productline with the Z3 roadster and the X5 sport utility[vi]. Even the X3 and the new MINI are part of this broadening offer. The latest model of this broadening is the BMW 1. This model does serve the self-orientated generation X’er and the dot-comer.
Now it is clear that the target audience is shifting to a new generation of hard working self-orientated X’ers and dot-comers, it is important to look at what BMW stood for. What was their aproach with advertisement. How were they trying to get hold of their buyers. By knowing this, a glimp can be taken of the strategy that BMW is using to atract potential buyers.
What came before ‘the Hire’ series ?
To see what is meant with the ‘look and feel’ strategy, a few older advertisements are shown in this chapter. Of course these are not fully comparible with the Internet films BMW makes nowadays, but there is something in them to learn.
When we look at the advertisement of the 850i from 1991 we see that the car is only shown from the front. It seems the advertisement isn’t wholy about the car, but wants to create a feeling of luxury and power. Nothing is being said about how fast it goes or how safe it is. The only thing mentioned is ‘more smiles per hour’. It is a clear way of branding. The look and feeling are created by placing mountains behind the car. This blue surroundings make the red car jump out of the picture.
Bron: http://www.autotrend.com/pic/752.jpg
When looking at a BMW from a few years later, it seems obvious little has changed. Again this advertisement shows a car from the front. The viewpoint is from below, so the viewer will experience a feeling of power. The close up shot from the front of the car creates an ‘in your face’ feeling. In this advertisement a dark feeling is created by placing the car in a dark thundercloud alike surrounding. This makes the contrast of the car strong, but does not take the attention away from the vehicle. A thing BMW did verry well in both commercials is showing the front of the car with the characteristic grill and nose. Strangely enough, the side and the back of the car are not shown[vii]. It seems not to be about the car, but about the feeling it leaves behind. One will not want to drive an other car than the BMW, just because it feels good.
Bron: http://www1.cs.columbia.edu/~paley/spring03/assignments/HW1/sz184/BMW.gif
There is one thing that will be mentioned in this chapter and that is explaining why associations are important. A brand van be visually representated within the consumer’s head as a network of thoughts or associations. BMW offers in this case driving excitement, performance, and fine engineering[viii]. The reason of this association creating is that these associations must be in the head of the consumer. BMW is in this case an image brand. This means that it is mostly dealing with projecting an image, because their product is highly vissible to others[ix].
Now that is discussed that BMW tries to sell a look and feeling to its customers instead of giving the pre’s of the car, a look can be taken at the new kind of advertising BMW is using nowadays thrue the BMW films.
‘The Hire’ series. Continuïty
Martin Hellhake, Fabian Henault, and Josh Jacob from Temple university state that BMW was looking for an advertisement that would make them hip and took away the yuppie arrogance of the 80s. The company had always putted its believe in four core values: Technology, Quality, Performance and exclusivity. All these core values are also seen in the series of short movies BMW shows us at their site. The car outruns every opponent, is chosen for stars and Buddhist monks, shows great technological prestations and never breaks down. In all of these movies Clive Owen, a slight handsome and James Bond alike man is the driver, allthough the cars are the real heroes of the show.
This hip image isn’t that new anymore. BMW started to attach its brand to the James Bond film Tomorrow Never Dies of which the stars performed via MGM in advertisements from Heineken, Smirnoff, Visa, Ericsson and BMW. These five companies spent about 100 dollar on the campaign[x].
The difference, apart from that ‘the Hire’ series are exclusively for BMW, is that ‘the Hire’ series is only shown on the Internet and at the BMW dealership. This is strange when noticing the expensive technologies used and the wellknown directors of alternative movies, like Joe Carnahan, John Woo and Tony Scott and stars are attached to the movies. Instead of showing it on television they built a flashy site with a fine streaming possibility. The way they’ve promoted it is via trailers on television that say to go and look at BMWfilms.com.
How is the serie situated?
Clive Owen is a driver, in several BMW’s, in each of the episodes and needs to rescue someone, in which he always succeeds. Racing hard through the streets, being chased by bad guys, he always stays calm and knows the car will help him to win. The way in which they show that the car is the best in the field, is by driving around stars, monks, a heart for an important person and a man with diamonds. All trust their lifes and their belongings to the car and its driver. The main part of the films exists of shots from inside the car or shots from the exterior. The viewer sees the car flying around corners, accelarate with burning rubber, fly through the air, or just going to fast.
No matter how hard the cars drive and how much dirt is on the road, the car always looks shiny and new, except for a small part in the chase when dirt is part of the movie. Clive is driving a small dirtroad, makes a 180 handbreak turn and waits for its contestor to crash against a big roadworking machine and explode[xi].
In the entire series they do not mention the brand name. Nobody tells they are riding around in a BMW or is trying to convince the viewer that it is the greatest car in the entire world. Fact is though that they don’t driver other cars than BMW’s and the viewer can not think of driving an other car than the BMW after watching it becoming the hero of another episode.
Why this kind of advertising ?
To see why they chose to do this kind of advertisement, Martin Hellhake, Fabian Henault, and Josh Jacob from Temple university, state:
“It is a well known among advertising firms that over 85% of potential car buyers will conduct most (if not all) of their initial research on the Internet before they make a final decision on a purchase.”[xii]
As Jim McDowell, vice president of marketing for BMW North America states it, its difficult to find network television that attracts a cluster of their prospects and that is why they choose any way to get closer to them. Film is not that expensive in this way if you imagine that a television advertisement costs a lot per time it is showed and the production of the films may cost ten million dollars, while the distributing only costs 1 million dollars[xiii].
Now it is clear that brands find it hard to attract their costumers and try finding them thrue the Internet it is important to see how they try to find them.
As Alex Hendler, creative director of Modem Media sees it, there are three trends that replace the banner on the Internet. He states that the banner lost its effect because people are surfing to fast and do not take the time to read banners that take 5 seconds of their time. Instead advertisement should adjust to consumers wants. This can be accomplished in three different ways, namely:
· Creating compelling experiences
· Offering them some kind of tool or utility
· Allowing them to indicate what they want to hear about- a new-fangled form of pull marketing[xiv]
With creating compelling experiences he mentions ‘the Hire’ as a consumerattractor because consumers knew they were going to see high standard entertainment by first class directors and stars. It is interesting to argue why they have chosen these wellknown ‘underground’ directors like John Frankenheimer (Ronin) instead of directors that are more famous to bigger crowds like Steven Spielberg or Gus van Sant.
The offering of a utility comes to play in the carshaper on the bmw site. Consumers can click on gadgets and see how they look when implemented in the car. This is a useful utility for the consumers, because in this way they can see how their car will be when buying these gadgets.
Pull marketing is done by searchengines. When somebody enters a search, the advertisements look like searchresults and often come in handy for the users. This part of advertising is not part of this research.
The fifth value
But what weight the heaviest from these motifs for the film as type of advertisement. Being exclusive does match the brands perimeters. An average at 30.000 dollar, and someone who spends that amount of money has the Internet connection. But looking at the brands organisation culture, the question is if they could just change their image to the outside without changing on the inside. This needs to be examinated further in the future, but it is of importance to briefly explain what the point made here is about.
When looking at a corporate culture, there are three subdivisions to be made. First of all there are artefacts, which point out what happens on the inside. Internal stories, the fysical surrounding and the style of communication. Secondly there are the espoused values. These are officially expressed strategies, goals and philosophies. In this categorie the industries often show how they would like to be ideally. The third and also the last are the basic assumptions, what the company takes for granted. An unconsciousness which makes it difficult to see, because it is hidden and seldom confronted[xv].
Little can be said about the artefacts, but more about the espoused values. As already mentioned, BMW wants to show the outside that the brand had always stood for the core values technology, quality, performance and exclusivity and still stands for those. It seems that nothing has changed. What quickly is forgotten is that the advertisements go beyond that. An extra core value is implemented and that is experience. With this new way of advertising BMW wants to leave a feeling with the consumer. This is also vissible at the BMW site, where an option is available in which you can see the BMW 5-series driving thrue desserts and other mystic places with a lounge beat on the background. The new BMW 1-series shows a looped clip of a loungy trip through the country and the cities at night, with on the background. BMW wants to give an experience that makes you feel good and let’s you dream away with the car. The flashmovies show this and the experience decription with all the cars two[xvi].
When taking this experience with the BMWfilms series, more becomes clear. What they are trying to do is to change our basic assumptions of the brand BMW. They want to create a bond between feeling good and BMW. The hip lounge music on their site, together with the flash movies, the films, BMW is an experience. When someone sees a BMW they feel good.
[viii] Tybout, A. & Carpenter, G. (2001) Creating and Managing Brands In: Iacobucci, D. (ed.) (2001), pp. 77
[x] D.Bordwell & K.Thompson, “Film Art, An Introduction”, Sixt edition, , (The McGraw-Hill Companies, Inc.), pp. 13.
[xv] Küng-Shankleman (2000) “Inside the BBC or CNN: Managing media organisations”.(London:Routledge)
Posted at Friday, June 25, 2004 by rg3lolkema
Are other car brands competing thrue Film Advertisement ?
A brand that is also advertising thrue film advertisements is Mitsubishi. They use the Internet to show short clips of tests between their car and a comparable one from Honda.[i] Of course Mitsubishi wins in all the tests, but what is interesting about these films are the clips thy show on television. In one of the clips, the Mitsubishi is competing with a Honda. Both drive behind a truck from which men throw junk from the trunk. The cars need to avoid hitting these pieces of junk. In the end the men push an old car out of their trunks. When the cars need to steer and try to drive past the flipping cars, the screen freezes and tells the viewer he should go and watch seewhathappens.com[ii].
While researching the field Volvo came up with a new site for the s40 that has some of the characteristics of the BMW site. This site has got lounge music on it and shows short intro movies of the cars. One can click on safety tests to see how strong a Volvo is and how they always try to keep it as safe as possible. What is interesting about the Television commercial of the new Volvo is that it shows the graphics of the car as in a videogame from the xbox game consult. The pictures are from the game RalliSport Challenge 2. Street Date Spring 2004[iii]. They combine their advertisement with that of the game. This also says that it relies on the graphics of a game to attract potential buyers. This might be a try out from Volvo to see if it can explore a new effective way of advertising.
Audi created a new site during this research on which the german Manfred Sewenig, product managing, tells how they came to designing this car the way it is. This is all told in German. It should not suprise anyone that there is lounge music attached to the site. What is interesting about the advertisement on this site is that the design is told by someone from product managing, something about development is told by someone from Technical Project Management and something about production is told by the director of the Neckarsulm Plant. They show how the car is developed and how it is produced.[iv]
Mercedes starts to learn the consumer how the vision for the new cars is developed on the Vision Grand Sports Tourer site. They tell they wanted a car the world had never seen before. A grand sporty car. A car for all ages. The voice tells in English how sportif the car is.[v]
When looking at other cars, one can visit the ‘at a snap’ section where a movie trailer voice-over tells what the car is about. What kind of motor is inside and what kind of brakes it has[vi]. The site hardly uses any sound and when sound is there, it is......lounge.
Saab is also a creator of expensive cars for the target area where BMW is trying to sell its cars to. Saab has got the worst site of all sites mentioned above. When entering the site, the consumer sees big lists of small letters. The only films that are to be found on this site are the introduction of the state of independence and the TV ads[vii]. Maybe Saab thinks their buyers aren’t people that use the Internet, but that would suprise a lot of us.
According to this information BMW is still ahead of its contestants, but they’re closing in. They all, except for Saab, updated their sites to make sure they look hipper, younger and most of all sportif. It is as if they want to tell that there is no hipper car than theirs. They seem to want people to think that they were wrong when thinking their cars are only for elder and old fashioned baby boomers. The image they, again except for Saab, seem to be creating is one that stands for individuality. Be different.
What came after the BMWfilms?
BMW plays with the thought what is of more importance form or function within their new film who killed the idea. Again a film with big names, like Harvey Keitel and Debi Mazar and german super model Nadja Auermann. The movie tells that everything nowadays is about style and nothing about the idea. Contemporary advertising is more about style then function. The movie is a mixture of a pulp detective movie combined with a investigative documentary. The only thing that misfits in the movie is the extremely new and modern BMW 5 series. On the site of the film, director Herman Vaske tells about the plead for more creativity they are making through this film. He asks why ideas are killed before they are even born and how we can protect ideas. To see what this has to do with BMW is difficult, but possible[viii].
BMW even goes further with exploring the boundaries of advertisement by launching a series of games with the brand BMW attached to it. This series of games consists three funsports. Namely downhill mountainbiking, snowboarding and wild water canoeïng. Of course the brand apears everywhere in this game and you have to drive a BMW X3 to get to the top of the mountain where you will start performing your funsport[ix]. BMW wants to show the people that their X3 is more than just a luxurous car. It can perform under heavy circumstances and is made for sportif people. This game is something new within the advertisement or branding from BMW. With online gaming they can reach a wider public and as a study sponsored by AOL-games, performed by Digital Market services has researched, women play a lot of online games to relax. What advertisers most of the time do not know is that according to a study by Entertainment Software Association, 43% of the gamers are females. This is a big group that is there to be reached. BMW serves the need and has a great chance of reaching this group[x].
It seems the brand is trying hard to stay ahead of the other carbrands and seem to be doing well. Other carbrands will follow with the online gaming advertisement. These brands are all already implemented in the regular gaming industry, where brands are seen in special cargames like Need For Speed 4, in which realistic real existing BMW, Mercedes, Audi and other cars can be chosen[xi].
Bron: http://www.nfscars.net/nfs4shots/b5.jpg
(n.b. the 550i is not an existing BMW. The 5-series is, but ends with the M)
Will regular advertising become ‘snail mail’?
To be abled to answer this question first the term ‘snail mail’ needs to be discussed. Snail mail comes from the the postal service. Once the mail service came on the Internet, the regular postal service was called snail mail. It went to slow. Their expectations of immediate respons were beyond the old mailing methods[xii]. The same thing can be said about other kinds of media. Maybe in a while the normal photocameras will dissapear because the digital camera has taken over. Consumers will think it takes to long to develop the pictures. They have to go to a store and will have to wait for a few hours or days before they can see how their photos look. This became ‘snail mail’ because with the digital camera one can see directly what the picture looks like and can print it at home with a photoprinter, or can mail it to their friends and re-arrange parts of photos.
This ‘snail mail’ can also take place in the world of advertising. When looking at how the advertising strategies are blurring the lines between advertising and entertainment it calls for the question if ‘normal’ oldschool branding will vanish and make room for ‘advertainment’? Will people be bored by normal commercials on the television with anoying people talking about loans and washing powder. A thing that needs to be kept in mind is that on the Internet people will have to look for commercials instead of getting them presented in commercial blocks. One can not pop up clips that last for half a minute. Consumers will not dig it. So probably this old way of advertising, thrue television and newspapers will last. What is happening is a blurring of advertisment. Brands know that for a small amount of money they can give a lot of information thrue the Internet in comperison with expensive advertisements in magazines and even more expensive commercials during prime time television. The only thing they need to do is reach people to go and look at their sites. This is where the old commercials come in. The advertisements in the papers need to trigger consumers to go and watch the information about the brand on the Internet. This again needs to be interesting enough to prevend the consumer from going to a different site. This is where creating compelling experiences, offering some kind of tool or utility and allowing the consumer to indicate what they want to hear about mentioned above in the chapter about why the films on the Internet are shown[xiii].
Regular advertising will not become snailmail, but other techniques serve certain brands better and will reach far more people than regular advertising techniques. The way the advertising is heading is one in which commercials become more and more a copy of entertainment. It is entertainment why people watch television anyway. This is also the reason why they go online or play a game. The message is handed over thrue the dramatic nature.[xiv]
This entertainment can also be implemented in the regular branding. While people now see commercials as an annoying break in their favorite series and get bored by the 30 second informationboost they get, entertainment could make the commercials something worthwhile waiting for. This way commercials could be longer. A person is willing to look at 30 minutes of entertainment, but will not watch 30 seconds of informational commercials[xv].
When taking a look at the future, a clear forecast can be made. Although it is not necessary to become reality, it is verry likely to asume that advertisement will be implemented in regular entertainment. Nowadays we already see films like Tomorrow Never Dies, with advertisements in the film from Heineken, Smirnoff, BMW, Visa and Ericsson, or Austin Powers: The Spy Who Shagged Me, which had advertising partnerships with Heineken, Visa, Mitsubishi, Virgin Atlantic, Philips Electronics, Starbucks coffee, and the American Academy of Periodontology (‘Don’t forget to floss, baby!’[xvi], it’s clear that advertisement has blurred the barriers between entertainment and advertisement and will be entertainment.
By this combination of advertisement and entertainment the viewer will be prevented from zapping to an other channel. This way important exposure time is made by the brand. This kind of sponsorship is to be seen in the examples of the films above[xvii].
Now the same thing is happening on the Internet where different media are allready combined. It seems this is going to be the new style. No commercials, but ‘ ‘entertisement’. Games are already starting to be more and more advertising virtual worlds, like 1080 on the nintendo 64. This game is filled with Burton snowboards and boardwear. They even sponsor real snowboard events together[xviii].
How do people know what’s there?
To make sure all the hard work of making the film was worth it, the people need to be informed about the existence of the films and must know where to find these. The normal ways of doing this is by placing posters in cities and near busses and by making television and radio commercials and advertisements in magazines and newspapers. But another verry effective way of doing this is through viral marketing. In this case viral is not a bad thing, but a way to let advertisement spread itself. An advertisement must be so attractive to consumers, that they will make it a subject of discussion and spread the word. This is called the ‘snowballprincipe’ and is perfect for Internet users. When they find something of their interest, they can mail it to their friends instantly. The term virus is chosen because this goes fast and uncomplicated. Hotmail is a company that became big by viral marketing. Users of Hotmail automatically sent an attached hotmail message to open an account. This helped Hotmail to become one of the largests e-mail servers in the world.
With BMW films this way of viral marketing is done by the fact that a person needs to fill in its e-mail adress before being allowed to watch the movies. Further these persons are willing to tell their friends about the films they saw. This way these friends also will fill in their e-mail adresses and watch the films. This process goes on and on and makes sure thousands or probably millions of people are contacting BMW[xix].
CONCLUSION
As we have seen many things are happening in the world of advertising and BMW is fully aware of this. The shift from the baby boomers to the generation X and the dot-comers is changing the needs of the consumers and therefore brands that had a steady name that worked well for the baby boom generation are experiencing the need to rearrange their image and sometimes this may even mean readjusting their core values.
BMW knows its brand is made by image branding, and have quite some experience in doing so. This is why it is not strange that they are ahead of the game. The associations they want people to have are still the same, but only hipper. The luxury is still there, but now it is clear that this luxury is not only for baby boomers, but also for the generation X and the dot-comers.
BMW tries to stay ahead of the game and is developing different kinds of branding along with the ‘regular’ ones. The international market is monitoring closely which steps BMW is taking and other carbrands seem to have no problem with the fact that BMW is trying all these different methods. They seem to wait and see what will happen. BMW started showing flash movies on their site, so Volvo, Audi and Mercedes followed.
This way all the involved parties seem satisfied with how the market is shifting slowly. BMW is selling enough cars to stay firm on the market.
For the future it is important to make sure the viral marketing keeps being fed, so consumers will still visit the BMW sites while surfing the net. This will be harder when more businesses start making lucrative viral marketing advertisements. When an overload rises, BMW probably has found a new way of keeping us busy.
[xvi] D.Bordwell & K.Thompson, “Film Art, An Introduction”, Sixt edition, , (The McGraw-Hill Companies, Inc.), pp. 13.
[xix] http://www.imh.unisg.ch/org/imh/web.nsf/SysWebRessources/Tomczak-pdf-Files-Persoenlich-August02/$FILE/BestPractice_August+02.pdf , 25-06-2004
Used Literature:
· http://www3.interscience.wiley.com:8100/legacy/college/kotabe/0471230626/text_cases/bmw.doc , 22-06-2004
· http://www.europeancarweb.com/features/0312ec_bmwdesign/ , 22-06-2004
· http://www.mgt.smsu.edu/mgt487/mgtissue/bmw/ , 22-06-2004
· http://www.bca.com.au/content.asp?newsID=94478 , 22-06-2004
· http://www.brandchannel.com/features_profile.asp?pr_id=171 , 25-06-2004
· http://www1.cs.columbia.edu/~paley/spring03/assignments/HW1/sz184/Assignment1.htm , 25-06-2004
· http://www.latimes.com/chi-0211070100nov07,0,1332949.story , 22-06-2004
· http://modemmedia.com/pdfs/After_the_Banner.pdf , 24-06-2004
· http://www.bmw.com/generic/com/en/products/automobiles/showroom/5series/sedan/index.html , 22-06-2004
· http://www.seewhathappens.com , 24-06-2004
· http://houston.bizjournals.com/houston/stories/2004/05/31/focus7.html?page=1 , 24-06-2004
· http://www.allnews40.com/ , 24-06-2004
· http://www.audi.com/com/en/new_cars/new_cars.jsp , 24-06-2004
· http://www.mbusa.com/microsite/gst/index.jsp , 24-06-2004
· http://www.mbusa.com/brand/container.jsp?/models/glance.jsp&modelCode=glance&model=e_class_main&pf=0 , 24-06-2004
· http://soi.saabusa.com/saabi.asp , 24-06-2004
· http://whokilledtheidea.bmw.com/ , 22-06-2004
· http://146.145.203.221/x3home.asp , 25-06-2004
· http://www.adage.com/news.cms?newsId=40669 , 25-06-2004
· http://www.nfscars.net/brands.php?game=nfs4 , 25-06-2004
· http://web.mit.edu/21fms/www/faculty/henry3/co
Posted at Friday, June 25, 2004 by rg3lolkema
Thursday, June 24, 2004
L.Lessig (2001). “The future of ideas: the fate of the commons in a connected world”. (New York: Random House)
Real constraints remain
Internet made available:
- Links can be added
- Available for more (Even people who can’t afford the book)
http://eldred.ne.mediaone.net (does not work)
(Extra: http://www.gutenberg.net/ )
Special: code layer is open, constraint is content
- Fast without hearable quality loss
- More tried without commitment to purchase
- Techniques became cheap
- Blurring line amateur and professional
· Lyrics sercers and Cultural Databases
- Internet provides places which solve the problem of partly rememberred songs...Popular locations where fans might find the words that were echoing around in their heads..... (right...)
- Building complete sites with the help of thousands. This commercialized
NEW MARKETS
- Delivering poems more cheapely. (not complete...)
- (why not mentioning more up to date)
- Content compressed and steamed across the Net
· My.MP3
- MP3.com as a service bureau. My.MP3 service. Beam-it service
· Napster
- Connecting computers with music to directly share their music
- Decentralization makes it hard to catch the lawcrossers.
- Range of music as never available before. Available for individuals to choose rather than available as disc jockeys choose.
- (though caught because of their database! So. Server)
NEW DEMAND
· meeting existing demand and new demand
(idea: demand makes new demand because demand becomes standard)
- Demand measured offerings by taste monetoring programs.
- Data changes everything
(but different sites don’t share data about you, so cannot know your specific needs. Will pop-ups stop when owners know you don’t do anything with them? What does it cost them to continou?)
- Data as social resource. (Do people want this? What does it mean for privacy?)
- A barrier to entrie is reduced (entrie info or finding info?)
· NEW PARTICIPATION: P2P
- all began with e2e, before servers. Now p2p exists again as Berners-Lee wanted it.
- SETI (Search for Extraterrestrial Intelligence). To scan Radio noise for foreign messages. Through P2P verry powerful.
- Increasing speed by linking peer power
- Cache= Copy of content kept close to the user
- Gnutella outreaching Napster by p2p querying algorithm
- Overloading bandwitdth
Prees:
- Open code layer. No cop on the block
- Access physical layer inexpensive and wide. Makes trash possible
- Exploit a resource that is prohibitively expensive in real space
The environment balances the free against the controlled
- increasing of contracts on the net
- Congress protections limiting
Architect innovation to be free rather than controlled
- Old against New
- As the architecture changed, the freedom of the space changed
- Changes in law and changes in code that will together undermine innovation
QUESTION: The writer argues that because of the Internet, books are available to those who can not afford them otherwise. But getting it on the Internet does cost money, doesn’t it?
ANSWER: When surfing on the Internet, one will fastly forget that being on the Internet costs money. First of all it costs a lot to buy a computer a connection to the Internet. People will have to buy ‘time’on the Internet by for example paying a steady amount of money every month. This is something the writer should have mentioned, when arguïng about the pre’s of online books or online poems.
What also bothers me is that the writer doesn’t mention the up-to-date possibility of the Internet. Information can be updated easily on the Internet, while updating books takes re-prints.
To make a small point about the growing public of poem readers, the writer should have mentioned what Scott McCloud mentiones in one of his briljant online comic books reviews. He mentions that his public is getting larger, because on the Internet it is easy to mix different media or other things. A comic book reader can get interested in playing chess because on his poemsite a chessgame is implemented. Within a normal comic book you will never find a chess game. (http://www.scottmccloud.com/comics/icst/ ) This could be the reason for a growing number of poem readers.
QUESTION: Do people want their data to be saved by computers or are they affraid that big brother is watching them ?
ANSWER: The writer quickly asumes that everybody wants their data to be restored, so sites can filter advertisement and only show the ones it thinks that you like. This is according to my lousy computer knowledge not possible, because information one site will get from you, it wont give to another site. Unless a big company rises which monitors your information and automaticly sends it to the sites you’re visiting. A problem here is the privacy. When a guy accidently visits a site with pornography, this will be monitored. When visiting other sites, they get the information that the man enjoys porn. This might be harmful for the man is this example and tresspasses his privacy.
Apart from that advertising companies will have to agree and I can imagine that many advertising companies know that people don’t really like their pop-ups. Will they stop their pop-ups when noticing that someone is not interested in their commodities? I think not.
QUESTION: The writer states it is a bad thing that laws undermine innovation on the Internet. It mostly does undermine innovation, but does that mean it is a bad thing?
ANSWER: No, this doesn’t mean it is a bad thing there are laws that protect people against certain uncertainties. For example musicians that loose their music because people are trading it thrue the Internet. Imagine that this trading, which happens a lot, was legal. No musician would probably ever gets his or her money. People that wrote books wouldn’t make a dime and creators of films never would get their money back, because programs would air that make it even more easy to just go out and burn the movie yourself. For fair use rights are given to consumers, but the intellectual rights are and have to be protected by laws.
An example of laws that do threaten the innovation in a bad way are laws like the USA PATRIOT ACT, which deeply brake through the freedom of speech and privacy rights in the name of safety. Because of their fear for terrorism they are trying to structure p2p technology. Later I will post an assignment I made for an other course on this topic.
Posted at Thursday, June 24, 2004 by rg3lolkema
Wednesday, June 23, 2004
Küng-Shankleman (2000) “Inside the BBC or CNN: Managing media organisations”. (London:Routledge)
Organisational Culture can be seen as the soft, irrational, symbolic aspects of an organisation which are hard to grasp but nonetheless exert a powerful effect on what happens both inside and outside
Culture is to the organisation what character is to the individual
Culture is essentially nothing more than the accumulated learning shared by a set of members of an organisation. New members learn these assumptions as part of their socialisation, and thus culture is perpetuated
Artefacts. Alles wat binnen gebeurt. Verhalen, fysieke omgeving, communicatie stijl
Espoused values: officially expressed strategies, goals and philosophies. Often how they feel they would like to be ideally.
Basic Assumptions: Taken 4 granted, unconscious, the complex interrelations between these.
(Zekerheden) --> hidden and seldom confronted. Difficult to change.
Culture is a process and a product.
The differential process of meaning construction undermines cultural uniformity and reinforces culture’s evolutionary characteristics.
Also extra- and interorganisational cultural influences
There also are national cultures of course. Common heritage, language, approaches to dealing with each other and with the world outside.
This assumption set can be accessed by holding broad-based discussions with members of the organisation about strategic issues core mission an strategy, environment, core competencies and stakeholders.
Virtuous circle: cultural assumptions - strategic process – environmental developments
The stronger the culture, the greater the risk of organisational inflexibility
Competencies are distinctive organisational attributes that crease sustainable competitive advantage and, critically, a platformfor future growth.
QUESTION: why don’t Küng and Shankleman discuss the internal disagreements within corporates in relation to organisational culture?
ANSWER: It is strange to notice the way Küng and Shankleman nowhere seem to adress to the fact that within companies there are many battleling cultures that are hold together with cultures dropped from above to keep employees quiet while hidding their true culture. Why do organisations create and hold on to a culture? To bond and to give their employees a reason to work. Is this the way it happens in real life? To my opinion it is important to say something about strikes, bonds and also about stakeholders. In many cases people are working to make a living without really liking what they do. For these people organisational culture is different than for a bunch of lawyers at a big lawfirm, who are involved with how the companie is making a profit and feel the connection. For these a organisational culture is indeed a band that can form a unity, that has a core mission. But fore the lower fabric worker this unity means little. Their wants and needs and vission are different than that of the marketing division. The board of directors even got to negotiate with the bonds to make agreements about how business is done. Here is an often vissible clinch between two organisational cultures Küng and Shankleman should have mentioned to give a clear view. Posted at Wednesday, June 23, 2004 by rg3lolkema
Tuesday, June 22, 2004
Possible Viral Marketing Literature
Viral marketing and viral objects
Allenby, Greg M.; Leone, Robert P.; and Jen, L.1999, “A dynamicmodel of purchase timing with application to direct marketing,” Journal of the American Statistical Association, Vol. 94, No. 446, pp. 365–374.
Arndt, Johan (1967), "Role of Product-Related Conversations in the Diffusion of a New Product," Journal of Marketing Research, 4 (August), 291-95.
Assael, Henry (1998): Consumer Behavior and Marketing Action, 6. Aufl., Cincinnati.
Bansal, Harvis S. and Peter A. Voyer (2000), "World-of-Mouth Processes within a Services Purchase Decision Context," Journal of Service Research, November.
Bass, Frank M. 1969, “A new product growth model for consumer durables,” Management Science, Vol. 15, No. 1, pp. 215–227.
Bauer, Hans H. (1998): Electronic Commerce: Stand, Chancen und Probleme, Arbeitspapier des Instituts für Marktorientierte Unternehmensführung der Universität Mannheim, o.Nr., Mannheim.
Benjamin, G. (2002) “Viral Marketing” in: http://www.icq.com/info/viral.html
Bitran, G. and Mondschein, S. 1996, “Mailing decisions in the catalog sales industry,” Management Science, Vol. 42, No. 9, pp. 1364–1381.
Blattberg, Robert C. and Deighton, John 1991, “Interactive marketing: Exploiting the age of addressability,” Sloan Management Review, Vol. 33, No. 1, pp. 5–14.
Boase, J. & Wellman, B. (2001) ‘A Plagues of Viruses: Biological, Computer and Marketing’ in: Current Sociology (draft)
Bone, Paula Fitzerald (1992), "Determinants of Word-of-Mouth Communications During Product Consumption," in Advances in Consumer Research Vol. 19: John F. Sherry and
Brian Sterndhal, eds.
---- (1995), "Word-of-Mouth Effects on Short-term and Long-term Product Judgments," Journal of Business Research, 32, 213-23.
Bristor, Julia M. (1990), "Enhanced Explanations of Word of Mouth Communications," in Research in Consumer Behavior, E. C. Hirschmann, Ed. Greenwich, CT: JAI.
Brooks, Kim (2000): Viral Marketing: Pitfall or Windfall?, veröffentlicht im Internet, URL: http//:www.clickz.com/cgi-bin/gt/print.html?article=1347; accessed 22 August 2000.
Brown, Jacqueline Johnson and Peter H. Reingen (1987), "Social Ties and Word-of-Mouth Referral Behavior," Journal of Consumer Research, 14 (3), 350-62.
Bruyn, A., de & Lilien, G. (2003) ‘Harnessing the Power of Viral Marketing: A Multi-Stage Model of Online Word-To-Mouth Referrals’ in: http://arnaud.debruyn.info/research/papers/viralmarketing2003.doc.
Buckner, K., Fang, H. & Qiao, S. (2002) “Advergaming: A New Genre in Internet Advertising”, in: http://www.dcs.napier.ac.uk/~mm/socbytes/feb2002_i/9.html
Bult, J. R. and Wansbeek, T. 1995, “Optimal selection for direct mail,” Marketing Science, Vol. 14, No. 4, pp. 378–394.
Chen, J. & Ringel, M. (2001) “Can Advergaming be the Future of Interactive Marketing?” in: www.KPE.com
Coffey, Steve 1999, “Media Metrix methodology. Prepared for the Advertising Research Foundation,” Media Metrix White Paper, Winter 1999/2000. Retrieved on June 12, 2000 from www.mediametrix.com/usa/products/us_methodology_long.pdf
Crawford, C. (1982) The Art of Computer Game Design in: http://www.mindsim.com/MindSim/Corporate/artCGD.pdf
Dahan, Ely and Srinivasan, V. 1998, “The predictive power of Internet-based product concept testing using visual depiction and animation,” Working paper, Sloan School, Massachusetts Institute of Technology. Retrieved on June 12, 2000 from web.mit.edu/edahan/www/WorkingPaperonInternet ConceptTestingbyDahanandSrinivasan.PDF
DeSarbo, W. S. and Ramaswamy, V. 1994, “CRISP: Customer response based iterative segmentation procedures for response modeling in direct marketing,” Journal of Direct Marketing, Vol. 8, No. 3, pp. 7–20.
Dichter, Ernst (1966), "How Word-of-Mouth Marketing Works," Harvard Business Review, 44 (6), 148.
Diorio, Stephen (2001), "How to Catch on to Viral Marketing,": ClickZ.com, Online Marketing Strategies Series.
Dreze, Xavier and Zufryden, Fred 1997, “Testing Web site design and promotional content,” Journal of Advertising Research, Vol. 37, No. 2, pp. 77–91.
Dreze, Xavier and Zufryden, Fred 1998, “Is Internet advertising ready for prime time?” Journal of Advertising Research, Vol. 38, No. 3, pp. 7–18.
Drèze, X. & Zufryden, F. (1999) “Internet Advertising: The Medium is the Difference”, in: http://www.xdreze.org/vitae1.pdf
Drèze, X. & Hussherr, F. (2003) “Internet Advertising: Is Anybody Watching?”, in: http://www/kingston.ac.uk/~ku03468/images/rettrob.pdf
Eng, P. (2002) “Marketers Use Online Games to Make Soft Sales Pitches”, in: http://abcnews.go.com/sections/scitech/DailyNews/advergames021112.html
Fattah, H.M. 2000. “Viral marketing is nothing new” in MC Technology Marketing Intelligence. Oktober 2000. S. 88 ff.
Frank, A. & Lundblad, N. (2003) “The New Role of Gaming: How Games Move Outside Entertainment”, in: Horsfall, J. D., et al, (2003) Entertainment Computing: Technologies and Applications (Kluwer Academic Publishers)
Frenzen, Jonhatan K. and K. Nakamoto (1993), "Structure, Cooperation, and the Flow of Market Information," Journal of Consumer Research, 20 (December), 360-75.
Garnham, N. (1995a). Contribution to a political economy of mass communication. In O. Boyd-Barrett & C. Newbold (Eds.), Approaches to media. A reader (pp. 216–221). London: Arnold.
Garnham, N. (1995). Political economy and cultural studies: Reconciliation or divorce? Critical Studies in Mass Communication, 12(62–71)
Godin, S. (2001) Unleashing the Ideavirus
Golding, P. & Murdock, G. (1997) “Culture, Communication, and Political Economy” in: Curran, J. &
Graham, Jeffrey (1999): What Does Viral Marketing Really Mean?, veröffentlicht im Internet, URL:
http//:www.clickz.com/cgi-bin/gt/print.html?article=812; accessed 22 August 2000.
Granovetter, Mark S. (1973), "The Strength of Weak Ties," American Journal of Sociology, 78, 1360-80.
Gurevitch, M. (eds.) Mass Media and Society (London: Arnold) 2nd edition
Golding, P. & Murdock, G. (1997) The Political Economy of the Media, Vol. 2 (Brookfield, VT: Edward Elgar Publishing)
Grossberg, L. (1995). Cultural studies vs . political economy: Is anyone else bored with this debate? Critical Studies in Mass Communication, 12(72–81)
Harrison, A. (1/16/2002) “Playing Games with P2P”, in: http://www.nwfusion.com/newsletters/fileshare/2002/01175586.html
Hauser, John R. and Glen L. Urban (1977), "A Normative Methodology for Modeling Consumer Response to Innovation," Operations Research, 25, 579-619.
Henricks, Mark (1998), "Spread the Word," Entrepreneur, 26 (2), 120-25.
Heil, Bertold (1999): Online-Dienste, portal sites und elektronische Einkaufszentren, Wiesbaden.
Helm, Sabrina (?) Viral Marketing: Kundenempfehlungen im Internet
Helm, Sabrina (2000a): Kundenempfehlungen als Marketinginstrument, Wiesbaden.
Helm, Sabrina (2000b): Viral marketing, in: Electronic Markets, Jg. 10, Nr. 3 (im Druck).
Herr, Paul M., Frank R. Kardes, and John Kim (1991), "Effects of Word-of-Mouth and Product Attribute Information on Persuasion: An Accessibility-Diagnosticity Perspective," Journal of Consumer Research, 17 (4), 454-62.
Järvinen, A., Heliö, S., & Mäyrä, F. (2002) “Communication and Community in Digital Entertainment Services” in: http://tampub.uta.fi/tup/95|-44-5432-4.pdf
Järvinen, A. & Sotamaa, O. (2002) “Gaming and Betting in Digital Services”, in: Hypermedia Laboratory Net Series 1. University of Tampere
Jurvetsen, S. & Draper, T. (1998) “Viral Marketing”, in: http://www.dfj.com/files/viralmarketing.html
Juul, J. (2002) “Gameplay and Emergence” (yet unpublished)
Kollmann, T. “Viral-Marketing – Ein Kommunikationskonzept für virtuelle Communities”, in- http://www.tobias-kollmann.de/artikel/viral.pdf
Krishnamurthy, S. (2001) “Understanding Online Message Dissemination: An Analysis of “Send-this-message-to-your-friend” Data”, in: http://firstmonday.org/issues/issue6_5/krishnamurthy/index.html
Krishnamurthy, S. (2001) “Person-to_person Marketing: A Diffuser of Marketplace Information”, in: Quarterly Journal of Electronic Commerce (???)
Levy, S. (2003) “Marketing: Flogging on a Blog” in: http://stacks.msnbc.com/news/879490.asp?cp1=1
London Business School (?) “Internet Marketing and Interactive Advertising”, in: http://www.london.edu/marketing/Future/Future_Media_Events/FM_Presentations/paddy.pdf
Marney, Jo (1995), "Selling in Tongues," Marketing Magazine, 100 (38), 14.
Mäyrä, F. (2002) Computer Games and Digital Cultures: Conference Proceedings (TAJU: University of Tampere)
Meehan, E. (1991) “Holy Commodity Fetish, Batman!: The Political Economy of a Commercial Intertext” in: Pearson, R. & Uricchio, W. (1991) The Many Lives of the Batman: Critical Approaches (New York: Routledge), 47-65
Milgram, Stanley (1967), "The Small World Problem," Psychology Today, 1, 61-67.
Misner, Ivan R. (1994): The World’s Best Known Marketing Secret, Austin.
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o.V. (1999b): Viral Marketing: Marketing of, by and for the people, veröffentlicht im Internet, URL:
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Montgomery, A. (2001) ‘Applying Quantitative Marketing Techniques to the Internet’, in: Interfaces 31:2 March-April (pp. 90-180)
Montgomery, Alan L. 1999, “Using clickstream data to predict WWW usage,” Working paper, Graduate School of Industrial Administration, Carnegie Mellon University.
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Posted at Tuesday, June 22, 2004 by rg3lolkema
Extra literature:
Interesting:
In the meanwhile (nothing to do with the research),to relax:
Posted at Tuesday, June 22, 2004 by rg3lolkema
Monday, June 21, 2004
Hi there,
For an other course I've been researching the USA PATRIOT Act in reliance with P2P technology and the way organisations respond to it. The question was if the American government tries to create a negative view on P2P and tries to structure and regulate the public sphere. Habermas of course was implemented in the study. I will post the research, which is in Dutch, as soon as possible, but will get busy with my own research on BMW first. I found some good articles that are verry useful.
Here are some links I've used for the P2P study:
When wanted, I can give more, but you should be able to find those too with these!
The truth is out there...
Posted at Monday, June 21, 2004 by rg3lolkema
Friday, May 28, 2004
The advertisement through a series of films
You’ve got zero seconds for a commercial. Impress me
BMW. Offroad Branding
Pieter Lolkema
9936785
Participatory Culture
When we look at BMW films, we see a site built around the love for film. BMW hired expensive and talented famous producers to make a series of films for them. All the films are filled with racing BMW’s and funny short stories. BMW seems to be a film company.
As they say on their site:
Brace yourself for intricate plot twists, riveting car chases, and a dose of wit. All eight short films of The Hire, created by Hollywood’s finest talent, are available now for downloading and streaming.
These brilliantly produced films star Clive Owen as the driver. Hired for his superb driving skills and unshakable poise, the driver encounters unexpected obstacles that put his abilities to the test. Watch as each film reveals new depths of character, intrigue, and cinematography.
The question is why a carcompany spends so much time on making a series of films by wellknown producers. Aren’t they happy to be in the carbusiness? No, it’s probably not that. This filmmaking is part of an image building through viral marketing strategies. It’s a style thing. BMW doesn’t want to be seen as German, but as succesful, hip, young, and most of all not German. It wants to be a global car. Not one by which people will think: ‘oh, well, pity it’s german’. The Hollywood style in the movies is far from the rich alternative filmmaking history Germany has, but American. The biggest film style in the world.
Literature:
http://www3.interscience.wiley.com:8100/legacy/college/kotabe/0471230626/text_cases/bmw.doc (BMW Marketing Innovation. BMW’s own story on the filmmaking marketing)
e-Spot-Pioniere: Bud und BMW
Eines der ersten Unternehmen, das Erfahrungen mit viraler Verbreitung von Spots sammelte, war Budweiser in den USA. Als Ergänzung zur Ausstrahlung im Werbefernsehen boten die Bierbrauer im Jahr 2000 ihren TV-Film "Whassup" auf der firmeneigenen Homepage zum Herunterladen an. Gute Idee, doch leider lief die Aktion schnell aus dem Ruder. Denn die Internetcommunity machte sich einen Sport daraus, den Clip zu persiflieren und neu zu bebildern. Schon nach kurzer Zeit kursierten zahllose Variationen im Netz, die mit dem Ursprungsfilm nur noch die Tonspur gemein hatten. Pionierarbeit leistete im vergangenen Frühjahr BMW in den USA mit der ersten reinen Internet-Clip-Kampagne. Renommierte Regisseure, darunter der inzwischen verstorbene John Frankenheimer und Madonna-Ehemann Guy Ritchie inszenierten Spots, die ausschließlich über eine Webseite (http://www.bmwfilms.com/) angesehen werden konnten. Die hohe Qualität der Filme und zugkräftige Namen unter den Darstellern (u. a. Madonna, Mickey Rourke) sorgten für einen Hype unter Internetnutzern mit dem Ergebnis, dass die Filme über 13 Millionen mal heruntergeladen wurden. Jim McDowell, Marketingleiter von BMW Nord Amerika schwärmt noch heute: "We had no idea how successful it would be, since we were going into uncharted territory when we started the project. In the end, the project far exceeded any of our expectations".
Big Bang zum Auftakt
Der Erfolg der BMW-Filme ebnete auch den Weg für The Viral Factory. Das Script für "Headrush", dem Premierenspot, war schnell geschrieben. Der Clip besteht aus einer einzigen Einstellung. Ein Mann kniet an einem Strand und pustet ein Gummiboot auf. Aus dem Hintergrund stürmt einer kleiner Junge heran, der sich übermütig auf das Boot stürzt. Was dann passiert, beschreiben die Initiatoren mit typisch britischem Understatement: "At the last moment the action was subverted in a way that totally defied viewer expectation." Lediglich eine kurze Einblendung am Ende des Zwölfsekünders verweist auf die Urheber bzw. auf deren URL. Headrush macht von Anfang an die sehr eigene Vorgehensweise von The Viral Factory deutlich. "We see Virals as sponsored content. We come up with viral scripts, and attach brands to them rather than the other way round", beschreibt Matthew Smith das Grundkonzept. Diese Aussage macht deutlich: Content ist King im Reich der Virenfabrikanten. Virals funktionieren nur dann, so Smith und Robinson, wenn sich alles andere dem Inhalt unterordnet, der Kunde und die Marke mit eingerechnet. "In order to create a viral that works, it is more important to service the creative work than the client." Klar, das dies kein Kunde gerne hört. Aber in dieser Haltung sehen die beiden Virenzüchter die Grundlage für das Gedeihen eines Marketingvirus. "We see content as the catalyst to drive a marketing message. If the content does not work, then the message will not move and the virus will die." Der außergewöhnliche Inhalt ist aber nur ein Punkt im Kriterienkatalog für die Produktion von Virals. Hinzu kommen formale Kriterien wie die Filegrösse und die Fileart sowie inhaltliche Kriterien. Dazu gehören die kulturelle Unabhängigkeit der Story, die Konzentration auf visuelle Gags und das Formulieren universeller Situationen.
(uit: http://www.vm-people.de/de/vmknowledge/casestudies/casestudies_detail.php?id=2)
http://www.imh.unisg.ch/org/imh/web.nsf/SysWebRessources/Tomczak-pdf-Files-Persoenlich-August02/$FILE/BestPractice_August+02.pdf
How the Viral Marketing Proces works:
http://www.intrapromote.com/vmm/vmm_oct2001.html
(Viral Marketing Monthly)
Interesting discussions on the topic:
http://www.ecademy.com/node.php?id=1654
Questions:
Will advertisement be implemented in the series in the future ?
As we see films like Tomorrow Never Dies, with advertisements in the film from Heineken, Smirnoff, BMW, Visa and Ericsson, or Austin Powers: The Spy Who Shagged Me had advertising partnerships with Heineken, Visa, Mitsubishi, Virgin Atlantic, Philips Electronics, Starbucks coffee, and the American Academy of Periodontology (‘Don’t forget to floss, baby!’)(Bordwell and Thompson, 2001), it’s clear that advertisement has blurred the barriers between entertainment and advertisement. Now the same thing is happening on the Internet where different media are allready combined. It seems this is going to be the new style. No commercials, but ‘ ‘entertisement’. Games are already starting to be more and more advertising virtual worlds, like 1080 on the nintendo 64. This game is filled with Burton snowboards and boardwear.
Will regular commercials become too slow ‘snail mail’? (Jenkins, 2002)
Will fans of BMW find the ‘normal’ television commercials too slow, or not interesting now they found the BMW films, which are fast, expensive and attractive?
Are the BMW Films mainly for a manly public? If yes, how does it show?
Fast cars and beautifull women are mostly for the manly part of society. They think they ‘re tough when driving fast and being the hero. Women are more catchy for safety and practical use. These stereotypings, may be a part of the targetgroup BMW is heading for. Is it a men thing?
Why is BMW focusing on boundary branding instead of clear branding?
It’s strange to see that BMW launches all kinds of boundary branding strategies. First they came with the BMW Film series and now they’ve got games in which you can do all kinds of funsports like downhill mountainbiking, snowboarding, wild water kanoeing. Of course the brand apears everywhere in this game and you have to drive a BMW x3 to get to the top of the mountain. These cars can’t be damaged, no matter how often you crash into a wall. Isn’t this a manly advertising way too?
Are other carbrands competing thrue Film Advertisements?
A brand like volvo does nothing like this. The only strange thing they have is the Volvo Saved My Life Club. Where people tell how Volvo saved....their life of course. I could add my story there too. An V70 XC AWD saved mine. Long live Traction Control! (http://www.volvocars.us/VolvoOwnership/volvosavedmylife/)
Audi hasn’t got something interesting to watch either. Except of course for the beautiful cars. They offer racing courses and trips lioke that. www.audi.com (hear the sound)
Mercedes has an interesting site for interested I guess male visitors. They tell about the philosophies behind models with movies. Not as trendy as BMW, but more adult. http://www.mbusa.com/microsite/gst/index.jsp
Saab only tells that their cars are good for military purposes too. A visitor can combine carparts and safe those. Further not much is happening here. http://www.saabusa.com/main/US/en/sitemap.xml
Posted at Friday, May 28, 2004 by rg3lolkema
Wednesday, May 12, 2004
So again I performed. This time it was on the USC society for a prom from a school in Utrecht. We played for a while, but it was more a highschool kind of party. Kids came with requests for R&B and other crapy hitsongs. The sax and I played along for a while, but gave up quick.
The next thing I'm doing is a play in the Stadsschouwburg. It's on saturday and sunday for a hall of thousand people. I'm performing with a band, which is performing with a big band. Yep. Two drums, two bassplayers, two guitars, two piano's. A waiste. Well we'll see. You'll hear.
Greetings
Posted at Wednesday, May 12, 2004 by rg3lolkema
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