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Branded content
Branded content (also known as branded entertainment) is a type of entertainment product made or otherwise funded by an advertiser. They are designed to build awareness for a particular brand by presenting content that reflects its values and image, without necessarily being presented as a promotion first and foremost. Branded content is distinguished from product placement—a business practice in which advertisers pay to have references to their brands incorporated into a work (although branded content may still otherwise contain product placement), and content marketing—the use of content to specifically promote a product, service, or company.
Unlike conventional forms of editorial content, branded content is generally funded entirely by a brand or corporation rather than a studio or a group of solely artistic producers. Branded content has taken the form of television programming, films, internet video and other digital content, video games, events, and other installations. Modern branded marketing strategies are intended primarily to counter market trends, such as the decreasing acceptance of commercials and advertorials.
The concept of branded content dates back to the early era of broadcasting; many early radio and television programs were controlled by their sponsors and branded with their names, including the Colgate Comedy Hour, Hallmark Hall of Fame, and Westinghouse Studio One. Typically, the sponsor coordinated the entire production of the program, with the broadcaster only providing studios and airtime. These programs featured advertising segments for the sponsor's products, typically featuring the brand's spokesperson and demonstrations of new products. Notable spokespeople often became celebrities in their own right, such as Betty Furness, a B-movie actress whose fame was elevated after becoming a spokesperson for Westinghouse appliances on Studio One (Furness would later work as a consumer affairs reporter for WNBC-TV in New York City).
Many melodramatic serial dramas targeting women, such as As the World Turns, were produced by the consumer goods company Procter & Gamble; this prompted the genre as a whole to be dubbed a "soap opera". The Revlon cosmetics company gained significant prominence after sponsoring the quiz show The $64,000 Question—which was, for a time, the most-watched program on U.S. television. In 1956, the Ford Motor Company's new marque Edsel sponsored a CBS variety special, The Edsel Show, which starred Bing Crosby, Frank Sinatra, and Bob Hope. The special was a critical success and widely viewed, but its success did not transfer to Edsel itself, which was a high-profile commercial failure. By request of Crosby, the special was credited as a production of his alma mater Gonzaga University, with its revenues helping to fund the construction of a new campus library.
In the late 1950s, the quiz show scandals exposed that several major television game shows had been manipulated, or outright rigged under demand of their sponsors, in order to maintain viewer interest and ratings. Dotto and Twenty One were at the center of the scandal, with both shows having been accused of presenting staged matches with pre-determined outcomes as if they were genuine. Testimony by a producer of The $64,000 Question revealed that Revlon founder Charles Revson had personally exerted control over the program in order to favor specific contestants, but did not go as far as to rig the show. The aftermath of the scandals, as well as increasing production costs due to factors such as the rollout of color television, prompted networks to begin asserting creative control over the production and scheduling of their programming. Broadcasters also phased out of the "single sponsor" model, in favor of having sponsors purchase blocks of time during breaks in a program to run commercials instead.
Conventional product placement and cross-promotion still appeared in films and television, but it was often argued that overuse of placements can distract from the entertainment value of the work. The film Mac and Me was widely criticized for containing extensive placements of Coca-Cola and McDonald's as major plot elements (going as far as crediting the chain's mascot Ronald McDonald as appearing in the film "as himself"). Hallmark Hall of Fame still occasionally aired on broadcast TV until 2014, when it was announced that the franchise would move to Hallmark's co-owned cable channel Hallmark Channel in the future.
After releasing its hockey-themed film The Mighty Ducks, Disney established a National Hockey League expansion team known as the Mighty Ducks of Anaheim, which was named in reference to the film. Disney subsequently produced two Mighty Ducks film sequels, and an animated series inspired by the team set and in a fictional version of Anaheim. The films and cartoon series also featured cameos by Mighty Ducks players. These works were designed to increase awareness of the Mighty Ducks as a brand, and create synergies with Disney's core entertainment businesses. The NHL felt that the Mighty Ducks cartoon could help to promote the game of hockey among a younger audience, and counter the stereotype of hockey being associated with Canada and the U.S. Northeast. The team's merchandise, which was sold at Disney Parks and Disney Store locations in addition to the NHL's main retail channels, was the best-selling among all teams for a period.
In 2001, automaker BMW began a marketing campaign entitled The Hire, in which it produced a series of short films that prominently featured its vehicles, staffed by prominent directors (such as Guy Ritchie) and talent. The films were advertised through television, print, and online marketing which directed viewers to a BMW Films website, where they could stream the films, and access ancillary information such as information about their featured vehicles. BMW also distributed the films on DVD with Vanity Fair magazine to increase their distribution among the company's target audience. By the end of the campaign in 2005, the eight-film series had amassed over 100 million views, and several of the films had received both advertising-related and short film awards.
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Branded content
Branded content (also known as branded entertainment) is a type of entertainment product made or otherwise funded by an advertiser. They are designed to build awareness for a particular brand by presenting content that reflects its values and image, without necessarily being presented as a promotion first and foremost. Branded content is distinguished from product placement—a business practice in which advertisers pay to have references to their brands incorporated into a work (although branded content may still otherwise contain product placement), and content marketing—the use of content to specifically promote a product, service, or company.
Unlike conventional forms of editorial content, branded content is generally funded entirely by a brand or corporation rather than a studio or a group of solely artistic producers. Branded content has taken the form of television programming, films, internet video and other digital content, video games, events, and other installations. Modern branded marketing strategies are intended primarily to counter market trends, such as the decreasing acceptance of commercials and advertorials.
The concept of branded content dates back to the early era of broadcasting; many early radio and television programs were controlled by their sponsors and branded with their names, including the Colgate Comedy Hour, Hallmark Hall of Fame, and Westinghouse Studio One. Typically, the sponsor coordinated the entire production of the program, with the broadcaster only providing studios and airtime. These programs featured advertising segments for the sponsor's products, typically featuring the brand's spokesperson and demonstrations of new products. Notable spokespeople often became celebrities in their own right, such as Betty Furness, a B-movie actress whose fame was elevated after becoming a spokesperson for Westinghouse appliances on Studio One (Furness would later work as a consumer affairs reporter for WNBC-TV in New York City).
Many melodramatic serial dramas targeting women, such as As the World Turns, were produced by the consumer goods company Procter & Gamble; this prompted the genre as a whole to be dubbed a "soap opera". The Revlon cosmetics company gained significant prominence after sponsoring the quiz show The $64,000 Question—which was, for a time, the most-watched program on U.S. television. In 1956, the Ford Motor Company's new marque Edsel sponsored a CBS variety special, The Edsel Show, which starred Bing Crosby, Frank Sinatra, and Bob Hope. The special was a critical success and widely viewed, but its success did not transfer to Edsel itself, which was a high-profile commercial failure. By request of Crosby, the special was credited as a production of his alma mater Gonzaga University, with its revenues helping to fund the construction of a new campus library.
In the late 1950s, the quiz show scandals exposed that several major television game shows had been manipulated, or outright rigged under demand of their sponsors, in order to maintain viewer interest and ratings. Dotto and Twenty One were at the center of the scandal, with both shows having been accused of presenting staged matches with pre-determined outcomes as if they were genuine. Testimony by a producer of The $64,000 Question revealed that Revlon founder Charles Revson had personally exerted control over the program in order to favor specific contestants, but did not go as far as to rig the show. The aftermath of the scandals, as well as increasing production costs due to factors such as the rollout of color television, prompted networks to begin asserting creative control over the production and scheduling of their programming. Broadcasters also phased out of the "single sponsor" model, in favor of having sponsors purchase blocks of time during breaks in a program to run commercials instead.
Conventional product placement and cross-promotion still appeared in films and television, but it was often argued that overuse of placements can distract from the entertainment value of the work. The film Mac and Me was widely criticized for containing extensive placements of Coca-Cola and McDonald's as major plot elements (going as far as crediting the chain's mascot Ronald McDonald as appearing in the film "as himself"). Hallmark Hall of Fame still occasionally aired on broadcast TV until 2014, when it was announced that the franchise would move to Hallmark's co-owned cable channel Hallmark Channel in the future.
After releasing its hockey-themed film The Mighty Ducks, Disney established a National Hockey League expansion team known as the Mighty Ducks of Anaheim, which was named in reference to the film. Disney subsequently produced two Mighty Ducks film sequels, and an animated series inspired by the team set and in a fictional version of Anaheim. The films and cartoon series also featured cameos by Mighty Ducks players. These works were designed to increase awareness of the Mighty Ducks as a brand, and create synergies with Disney's core entertainment businesses. The NHL felt that the Mighty Ducks cartoon could help to promote the game of hockey among a younger audience, and counter the stereotype of hockey being associated with Canada and the U.S. Northeast. The team's merchandise, which was sold at Disney Parks and Disney Store locations in addition to the NHL's main retail channels, was the best-selling among all teams for a period.
In 2001, automaker BMW began a marketing campaign entitled The Hire, in which it produced a series of short films that prominently featured its vehicles, staffed by prominent directors (such as Guy Ritchie) and talent. The films were advertised through television, print, and online marketing which directed viewers to a BMW Films website, where they could stream the films, and access ancillary information such as information about their featured vehicles. BMW also distributed the films on DVD with Vanity Fair magazine to increase their distribution among the company's target audience. By the end of the campaign in 2005, the eight-film series had amassed over 100 million views, and several of the films had received both advertising-related and short film awards.