prof. romana andò october 10th 2016€¦ · generated cg (consumer generated) advertising, and it...

Prof. Romana Andò

October 10th 2016

Key-word

We conceptualize celebrity as an organic and ever-changing performative practice rather than a set of intrinsic personal characteristics or external labels. This practice involves ongoing maintenance of a fan base, performed intimacy, authenticity and access, and construction of a consumable persona.

Marwick, boyd, 2011, Convergence: The

International Journal of Research into New Media Technologies 17(2) 139–158

“Traditional” celebrities like pop stars and actors have embraced social media to create direct, unmediated relationships with fans, or at least the illusion of such.

The down-to-earth, ‘authentic’ moments give celebrities the opportunity to connect with fans.

It’s precisely this relatability that explains why followers love celebs’ bathroom selfies

The relatability of celebs—that authenticity that people love to describe as ‘so real’—is about sharing moments from their lives that are a tad less glamorous than the usual red carpet shot.

Affiliation: is the process of publicly performing a connection between practitioners and fans using language, words, cultural symbols, and conventions.

Intimacy: celebrity practitioners to create a sense of closeness and familiarity between themselves and their followers. Performed intimacy is synonymous with parasocial interaction and a poor substitute for actual interaction.

Sincerity and Authenticity: Lionel Trilling (1972) conceptualizes authenticity as a display of the hidden inner life, complete with passions and anguish, while sincerity is the opposite of hypocrisy – honesty without pretense.

Marwick, A. (2011). To see and be seen: Celebrity practice on Twitter. Convergence: the international journal of research into new media technologies, 17(2), 139-158.

“Parasocial interaction” is the illusion of real, face-to-face friendships with performers that is created through watching television shows or listening to music (Horton and Wohl 1956).

In parasocial relationships, a fan responds to a media figure as if he or she were a personal acquaintance (Giles 2002).

Social media transform the parasocial into the potentially social and increase the emotional ties between celebrity and fan (Marwick and boyd 2011a; Muntean and Petersen 2009).

Marwick 2015 Public Culture 27:1 doi 10.1215/08992363-2798379

With the increase in broadband and mobile access, the “always-on” nature of social media encourages celebrities and those aspiring to be famous to share constant details of their day-to-day lives (Mullen 2010).

Simultaneously, the highly visible metrics of social media success—the number of followers or “likes” attached to a piece of content—encourage people to actively foster an audience.

As a result, celebrities and microcelebrities alike use social media to create persistent streams of content, competing for the largest audience numbers.


Terri Senft defined micro-celebrity as “a new style of online performance in which people employ webcams, video, audio, blogs, and social networking sites to ‘amp up’their popularity among readers, viewers, and those to whom they are linked online” (2008, 25).

Micro-celebrity can be further understood as a mindset and set of practices in which the audience is constructed as a fan base, popularity is maintained through ongoing fan management, and self-presentation is carefully assembled to be consumed by others.

Marwick, A. 2015 “ You May Know Me From YouTube: (Micro)-Celebrity in Social Media.”

Microcelebrity is linked to the increasingly pervasive notion of “self-branding,” a self-presentation strategy that requires viewing oneself as a consumer product and selling this image to others (Hearn 2008; Lair, Sullivan, and Cheney 2005).

Celebrity thus becomes a continuum of practices that can be performed by anyone with a mobile screen, tablet, or laptop.

In the broadcast era, celebrity was something a person was; in the Internet era, microcelebrity is something people do.


Microcelebrities creating content that portrays them in a high-status light, simulating the attention given to celebrities (Marwick 2013a).

While nobody may actually be paying attention, aspirational producers want the audience to think that they are being snapped by the paparazzi even if their pictures are actually taken by a best friend or boy-friend.

https://www.youtube.com/watch?v=9BeiSyJbSN8





Instafame as a variety of microcelebrity as it exists on a particular platform, Instagram.

Microcelebrity is a mind-set and a collection of self-presentation practices endemic in social media, in which users strategically formulate a profile, reach out to followers, and reveal personal information to increase attention and thus improve their online status (Senft 2013).

These practices are pursued in view of the so-called attention economy, a marketing perspective assigning value according to something’s capacity to attract “eyeballs” in a media-saturated, information-rich world (Fairchild 2007).


https://vimeo.com/86023743



While Instagram makes it possible for “regular people” to attract the mass audiences historically limited to broadcast media, the Instafamous tend to be conventionally good-looking, work in “cool” industries such as modeling or tattoo artistry, and emulate the tropes and symbols of traditional celebrity culture, such as glamorous self-portraits, designer goods, or luxury cars.

Instafame demonstrates that while microcelebrity is widely practiced, those successful at gaining attention often reproduce conventional status hierarchies of luxury, celebrity, and popularity that depend on the ability to emulate the visual iconography of mainstream celebrity culture.


https://www.youtube.com/watch?v=NrE8QgYFZ3I



“haul vlogger”—typically is a teenage girl filming herself in her bedroom as she shows off, in mind-numbing detail, the bounty of her latest shopping spree, which typically consists of the beauty and fashion treasures to be found in the aisles of bargain emporiums

The Internet, YouTube specifically, is increasingly used as a medium through which many women post videos that “show and tell” their most recent fashion and beauty product purchases.

This phenomenon, most commonly known as “hauling,” takes place on YouTube, and has exploded on an international scale.

The appeal of the YouTube beauty vlogger is that you can go online and get tips from simple, relatable girls, just sitting in a messy bedroom, like you would from a friend.

At least that’s what it used to be. These videos initially created a community for trusted advice, away from girls at the department store who just wanted to sell you things. They created a place for girls to talk about what they loved.

Now, clicking on a beauty or fashion video is equivalent to watching an ad, except there’s no skip button after a few seconds. There's now even sneaky advertising for completely unrelated things, like audio books, tissues, and food services.

https://www.youtube.com/watch?v=mOkg3h0W7xg



Product placement on YouTube can be more effective than traditional tv/cinema placement or celebrity endorsement because it is infiltrated by the strong personal bond that connects a Youtuber with his/her audience.

Celebrity vloggers understand their demographic more than any television producer do – in fact, they ARE their demographic.

The relation between a vlogger and their audience sits somewhere between a TV star and a friend. These more “relatable” stars have a much stronger power to influence because their effortless sincerity, spontaneity and authenticity is much more credible than those of an anonymous gentleman who plays a role of a doctor in a random TV ad.

Authenticity makes it all different. What is more, prominent Youtube

vloggers also offer a truly creative approach to engaging with brands.

The extraordinary rise of video hosting sites such as YouTube has permitted consumers to become broadcasters, and this is fueling a revolution in advertising.

CG advertising, which can be seen as a form of user-generated content, refers to specific instances where consumers create brand-focused messages with the intention of informing, persuading, or reminding others

We term this phenomenon consumer generated CG (Consumer Generated) advertising, and it represents a subset of the more general swell in user-generated content. User-generated content refers to situations whereby consumers freely choose to create and share information of value (Stoeckl, Rohrmeier, and Hess 2007).

C. Campbell et al. “Understanding consumer conversations around ADS in a web 2.0 world”, Journal of Advertising, vol. 40, no. 1, (2011), 87-102, (88)

“consumer-generated ads are any publicly disseminated, consumer-generated advertising messages whose subject is a collectively recognized brand.”

https://www.youtube.com/watch?v=YyHnpZ-bivE

C. Campbell et al. “Understanding consumer conversations around ADS in a web 2.0 world”, Journal of Advertising, vol. 40, no. 1, (2011), 87-102, (88)





Consumer-generated ads can be critical of, or complimentary to, a brand, so advertisers and brand managers have to think seriously about what they should do when their brands are targeted.

https://www.youtube.com/watch?v=T83nZiwYiiE




Key-word

Conventional wisdom suggests that a satisfied customer may tell some people about his experience with a company, but a dissatisfied customer will tell everybody he meets.

Mangold, W.G. and K.T. Smith. 2011. Selling to Millennials With Online Reviews. BusinessHorizons, Vol. 55, No. 2 (March-April): 141-153.

https://dupress.deloitte.com/dup-us-en/industry/retail-distribution/understanding-consumer-behavior-shopping-trends.html

















Stern describes WOM as “utterances that can be taken as the verbal acts of real persons on specific occasions in response to particular circumstances.

These utterances are personally motivated, spontaneous, ephemeral, and informal in structure—that is, they are not paid for by a sponsor; they are not composed and revised over time” (1994, p. 7).

Online reviews are a type of product information created by users based on personal usage experience (Yubo & Jinhong, 2008).

In essence, online reviews are word of mouth via the Internet.

Product reviews voiced by consumers online are an emerging market phenomenon that is becoming a vital component in peoples’ purchasing decisions.

It is commonly accepted that word-of-mouth communication can have a substantial influence on product choice (Walsh et al., 2004).

Word of mouth (WOM) is seen as more credible than advertising as it is perceived as having passed through the evaluation of “people like me” (Allsop, Bassett, & Hoskins, 2007).

According to Keller (2007), WOM has become the most influential communication channel.

Product reviews occur every day, both online and offline, when people provide recommendations regarding the products and services they consume.

Social media venues such as Facebook, YouTube, Twitter, and various blogs are common outlets for product recommendations.

Reviews can help consumers construct a set of criteria for evaluating a product and reduce their cognitive costs of making a purchase decision (Liu, Karahanna, & Watson, 2011).

“If presented properly, [online product reviews] can help consumers

(1) form an unbiased understanding of a product,

(2) construct a set of criteria for evaluating a product,

(3) make an accurate choice, and

(4) reduce the cognitive costs of making such a choice” (Liu et al., 2011, p. 239).

https://www.emarketer.com/Article/Online-Reviews-Influence-UK-Apparel-Accessories-Shoppers/1014652














Millennials often look to peers for purchase-related information and this information seeking behavior is facilitated by their digital connectedness.

Being highly connected to friends and information sources, this generation is looking online for product recommendations.

They can participate in information processing at any time, anywhere, and through multiple venues.

Millennials are talking about products and services online more than the general population

59% of millennials say they use CGC to inform their purchase decisions about major electronics. That's followed by cars (54%), major appliances (53%), mobile phones (46%), hotels (45%), and travel plans (40%). (Crowdtap)

86% of businesses use content marketing; of those, 70% are creating more content than they did a year ago. (Content Marketing Institute)

73% of consumers place peer recommendations and reviews above professionally written content. (Reevo)

Web content increasingly is dominated by user-generated content as Pinterest pin creation is up 75%, Twitch video broadcasts are up 83%, Wattpad stories are up 140%, and Airbnb reviews are up 140% year-over-year. (Kleiner Perkins Caufield Byers)

65% of social media users from ages 18 to 24 consider information that's shared on social networks when making a purchasing decision. (eMarketer)

http://www.dmnews.com/content-marketing/10-stats-that-show-why-user-generated-content-works/article/444872/





















Consumers who are between the ages of 25 and 54 are the biggest content drivers—contributing 70% of all CGC. (SparkReel)

25% of search results for the world's 20 largest brands are links to user-generated content. (Kissmetrics)

84% of millennials report that CGC on company websites has at least some influence on what they buy. (Bazaarvoice)

86% of millennials say that consumer-generated content is generally a good indicator of the quality of a brand or service. (Bazaarvoice)

Brand engagements rise by 28% when consumers are exposed to both professional content and user-generated product video. (comScore)






















Some researchers have found young people more likely to be market mavens (Wiedmann, Walsch, & Mitchell, 2001; Williams & Slama, 1995).

Market mavens are consumers with general product knowledge who act as disseminators of product information and are eager to share their expertise and opinions with other consumers (Goldsmith, Clark, & Goldsmith, 2006; Walsh, Gwinner, & Swanson, 2004).

In reaching Millennials, marketers could be reaching numerous market mavens.

prof. romana andò october 10th 2016€¦ · generated cg (consumer generated) advertising, and it...

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