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This is the history of advertising in motion pictures from the slide ads of the 1890s to the common practice of product placement in the present. Initially, product placement was seen as a somewhat sleazy practice and also faced opposition from the film industry itself; it has grown dramatically in the past 25 years. From Maillard's Chocolates advertising with a shot of Cardinal Richelieu enjoying a hot cup of cocoa in 1895, to product placements in 2002's Minority Report, for which advertisers were rumored to have paid $25 million, this book explores the developing union of corporate America and Hollywood. This work addresses such topics as television's conditioning of filmgoers to accept commercials, companies' donation of props, the debate about advertising such activities as smoking and drinking in films, and "product displacement," or demands by companies to keep their products absent from unpopular or controversial films. Film stills and a bibliography complete the book.
Through an examination of filmic portrayals of the trademarked product as a signifier of real ownerships and meanings of commodities, this paper is concerned with the conjunction of aesthetic and economic issues of the Product Placement industry in the Hollywood film. It analyzes Product Placement as the embedding of an advertising message within a fictional one, as the insertion of a trademarked object into the realisms of filmic space, and as the incorporation of corporate remakings of the world with film fictions. Product Placement images are therefore seen as a systematic surfacing of frameworks and discourses - legal, corporate, economic, and filmic - as both seamless and disruptive layers in film images and film making.
Product placement, or placing brands in movies, is a widely recognized practice that dates from the 1980s. This study is a content analysis of product placement in 15 Bollywood and 15 Hollywood movies from 2005 to 2009. Statistical tests showed that there were a significantly higher number of product placements in Hollywood movies that were integrated into the storylines, verbally referred to by characters in the movies, appropriate to the movie scenes, and containing implied endorsements by the actors than product placements in Bollywood movies. However, in terms of duration of the time that brands were onscreen, product placements in Bollywood movies in 2006 and 2007 were significantly greater than in Hollywood movies. The results also showed many similarities between the movie industries in the two countries. Transportation was the most prominent product category followed by electronics in both Bollywood and Hollywood. Brands from both the industries were primarily presented in a positive context and were mainly associated with the primary movie characters. Almost all the products were featured in such a way that their brand names or logos were shown as well their other functional or aesthetic qualities.
In the contemporary moment, product placement-the insertion of branded props into a film's mise-en-scène-is an integral financial feature of the American film industry. While most scholars identify the 1980s as the era in which product placement first took on greater prominence in American cinema, literature on the subject neglects the lengthy evolution of this practice prior to its mainstream emergence. This dissertation offers a comprehensive exploration of the industrial, discursive, legal, and aesthetic causes that laid the groundwork for product placement's proliferation in the movies. Rather than tracing a single historical through line, this dissertation joins together multiple threads to explore not just why product placement became such a significant element of the film industry, but also why this mainstream emergence occurred in the 1980s. I explore how product placement's methods of money-saving and revenue generation became an attractive method of risk management to the American film industry in the wake of the Paramount Decision. I detail the rise of an industry solely devoted to product placement marketing, whose companies streamlined the practice, allowing for the insertion of branded props at a previously unseen scale. Because these companies sold their services to prospective clients in both the film industry and in product manufacturing, the product placement marketer existed in a gray area between the spheres of commercialism and art. I investigate the legal history of product placement in America, outlining how a lack of governmental regulation differentiated the film industry from its comparably more restricted competitors in radio and television. I survey public historical discourses about product placement, maintaining that these criticisms ultimately pushed product placement underground without ever seriously threatening an end to the practice. And I inspect the narrative and aesthetic dimensions of product placement, arguing that on-screen product placement leads a contradictory existence, at once hoping to be seen by viewers without being overly distracting or obvious. Ultimately, this dissertation serves as a thorough explanation for product placement's mainstream emergence in the 1980s, and thus, an important history that sheds insight on one of the contemporary film industry's most common and financially significant features.
In a globalized world full of noise, brands are constantly launching messages through different channels. For the last two decades, brands, marketers, and creatives have faced the difficult task of reaching those individuals who do not want to watch or listen to what they are trying to tell them. By producing fewer ads or making them louder or more striking, more brands and communications professionals are not going to get those people to pay more attention to their messages; they will only want to avoid advertising in all media. The Handbook of Research on the Future of Advertising and Brands in the New Entertainment Landscape provides a theoretical, reflective, and empirical perspective on branded content and branded entertainment in relation to audience engagement. It reviews different cases about branded content to address the dramatic change that brands and conventional advertising are facing short term. Covering topics such as branded content measurement tools, digital entertainment culture, and government storytelling, this major reference work is an excellent resource for marketers, advertising agencies, brand managers, business leaders and managers, communications professionals, government officials, non-profit organizations, students and educators of higher education, academic libraries, researchers, and academicians.
Desde que las marcas modernas hicieron su aparición, los mensajes de los anunciantes han pasado a centrarse, más que en los objetos que producen, en las marcas que los diferencian, poniendo de relieve la importancia de los intangibles en sus comunicaciones. Por otra parte, la situación de medios y mercados, donde la saturación dificulta la eficacia de los mensajes comerciales, obliga a investigar sobre nuevas fórmulas para llegar a los potenciales consumidores. Dentro de este contexto, el product placement se muestra como una herramienta con muchas ventajas tanto para anunciantes como para productoras audiovisuales. En este libro se analiza en profundidad la marca en todas sus vertientes (imagen, identidad, posicionamiento, valor…) y su relación con el emplazamiento del producto; una técnica que facilita el encuentro del potencial consumidor con las marcas en un “espacio” que él elige voluntariamente. Pero el product placement es una técnica compleja; a través de ella el mensaje comercial de un anunciante se integra dentro de un mensaje con otros objetivos. Y la marca tiene que ocupar el espacio que le corresponde, porque tanto por exceso como por defecto, el resultado puede ser negativo. A través de un amplio recorrido por el emplazamiento de producto se muestran sus posibilidades, los riesgos que supone y como evitarlos, sus ventajas, el papel de la marca, la medida de su efectos… En resumen, en sus páginas se puede encontrar una ayuda para que todos, tanto profesionales como investigadores, lleguen a conocer las claves para su eficacia. Índice Prólogo de Ricardo H. Ontalba.- Introducción.- La marca.- Dimensiones operativas de la marca.- El branding.- Product placement.- El product placement como herramienta de comunicación. Bibliografía.
Studienarbeit aus dem Jahr 2016 im Fachbereich Medien / Kommunikation - Public Relations, Werbung, Marketing, Social Media, , Sprache: Deutsch, Abstract: Das Ziel dieser Arbeit ist es, den Einfluss von Product Placement am Beispiel des James Bond Films „Spectre“ zu beleuchten. Es soll ermittelt werden, wie stark gerade männliche Filmzuschauer durch die alternative Werbeform in ihrer Markenwahrnehmung beziehungsweise in ihrem Kaufverhalten beeinflusst werden können und wie der Film es schafft, die Exklusivität der platzierten Produkte zu fördern. Der Aufbau des Images verschiedener Produkte und Marken entwickelt sich bereits seit mehreren Jahrzehnten. Aufgrund des begrenzten Umfangs der Arbeit handelt es sich hier nicht um eine Analyse der Produkte im Zeitverlauf. Auch geht es um die Einordnung eines global ausgerichteten Kinofilms in seinen deutschen Kontext. Da seine Verwertung ebenfalls im Fernsehen stattfindet, werden im Folgenden auch Aspekte der Fernsehvermarktung betrachtet. Filmproduktionen werden in der Regel immer teurer aufgrund der steigenden Erwartungshaltung der Zuschauer und Werbeplätze im TV rarer. Product Placement ist ein zusätzliches Instrument der Kommunikationspolitik und bietet weitere Möglichkeiten zur klassischen Werbung bspw. Werbespots und Zeitungsannoncen. Ein bekanntes Beispiel für Product Placement bietet die Filmreihe „James Bond“. Es handelt sich um die Verfilmung verschiedener Fälle eines Geheimagenten, welche seit 1962 produziert werden und von denen bereits 24 Filme existieren. Der Film James Bond dient als Beispiel dieser Arbeit, da hier besonders die Möglichkeiten der Finanzierung von Filmen durch Product Placement nachvollzogen werden können, sowie das Product Placement an sich.
Branding has become central to the modern blockbuster economy. In a wide-ranging analysis focusing on companies such as Disney, Dolby, Paramount, New Line and, in particular, Warner Bros., 'Brand Hollywood' provides a sustained examination of the will-to-brand in the contemporary movie business.