AI �s � Co-Cre�tor in visu�l storytelling �nd br�nding for Gener�tion Z Dissertation Plan Proposal 1 (2025)

The History of Branding Narratives

Handbook of Research on Transmedia Storytelling and Narrative Strategies

This chapter contends that along with the digital culture being effective in the lives of individuals, the demands, tastes, entertainment and shopping patterns of groups have also changed. This change is undoubtedly a major influence on the development of communication technologies. However, as the communication technologies evolve, the decision is made by individuals using these technologies in their lives effectively. Listening to the story, imagining the heroes of this story, and mental communication with the heroes of the dream-like story are the features that human beings bring from the oral culture period. Nowadays, the desire to listen and listen to the stories of the individual is part of the consumption process. In this context, transmedia, history and transmediatic transformation of brands will be explained in the chapter.

Storytelling in advertising and branding

Cognition, communication, discourse, 2021

Information communication technologies accelerated numerous trends in the world including the shift to online communication and further content digitalization. Technological innovations reverberate throughout complex social and demographic trends which make a significant impact on business, international companies including. The article focuses on linguistic analysis of the current changes in advertising and branding, mainly in the fashion industry. COVID-19 pandemic with online communication and remote work contributed to further transformation of choice, preferences, and options as well as to popularity of social media as an instrument of information search, as the environment for communication and sharing opinions. Lockdowns and quarantines during COVID-19 pandemic, lack of direct contact with clients entailed the shift to online marketing and advertising. Looking for effective online marketing instruments some companies select storytelling as a basis for their videos. Underpinned theoretically by multimodal discourse analysis and narrative studies, this paper shows how storytelling with its appeal to emotions and memorability potential is becoming a noticeable marketing trend and advertising strategy against the background of current radical technological changes in the information abundant world. Companies manufacturing lux products began to diversify marketing strategies and generate multimodal narrativea string of stories about the brand, its founders, technologies they use. COVID-19 pandemic accelerated the shift to multimodal videos. During COVID-19 pandemic, fashion houses created marketing masterpieces to attract attention to new collections. They replaced traditional physical shows and set a new perspective for online fashion shows. These short films telling brand stories become chapters of a brand's lookbook available in social media.

Algorithmic brands: A decade of brand experiments with mobile and social media

This article examines how brands have iteratively experimented with mobile and social media. The activities of brands – including Coca-Cola, Virgin and Smirnoff – at music festivals in Australia since 2005 are used as an instructive case. The article demonstrates how these brands imagined social media, attempted to instruct consumers to use mobile devices, and used cultural events to stimulate image production tuned to the decision-making of social media algorithms. The article contributes to debate by articulating how brands are important actors in the development of algorithmic media infrastructure and devices. Accounts of algorithmic media need to examine how the analytic capacities of social and mobile media are interdependent with orchestrating the creative participation of users.

Experiential Branding and Curating the Social Space

Experiential Branding and Curating the Social Space Overview and Rationale Branding is as an important critical lens through which to view our cultural norms. This is especially so when it comes to experiential branding. Notable examples of experiential branding include Samsung Studios 2012 Olympics booth where visitors could try their Olympic Games app and have their photos taken, while the booth itself sold no products. Disney promoted their Doc McStuffin children's show about a child that heals toys by offering ten-minute immersive clinics in toy stores where children took the role of Doc and diagnosed with other children what was wrong with a large teddy bear. In the UK, Adidas created a pop-up store with NBA star Derrick Rose and watched as fans competed to win a new pair of sneakers by jumping ten feet in the air in order to try to reach them on a high shelf. The branding of experience, which works to strengthen consumption practices by tying them into social and group behavior, is an extension of previous efforts that likewise attempt to brand traditionally non-commodified societal institutions including education (Twitchell, 2004), religion (Banet-Weiser, 2012; Twitchell, 2004), and our everyday lives (Moor, 2007). The logic of branding has crept into areas of our lives that previously were not branded – into large institutions like schools and museums and into micro-level everyday experiences and social relationships. This is possible today, in part, due to the rise of networked, social-media-based, smart phone technology that transforms our communication and looking into labor. This communication is increasingly visual; photos, gifs, video, and emoticons, for example, mirror the basic components of a brand. This current assignment does not engage with the prescriptive marketing practices of " self-branding " because undergraduates often lack the intermediate steps that allow them to pull back and interrogate this advice from critical perspective. Students tend to see branding and the branding of themselves as positive, uncontestable strategies they need to employ as they transition from undergraduate to graduate. As such, this assignment attempts to build that critical lens by investigating the branding of students' relationships and environment. Instructors wishing to engage with self-branding can draw upon Hearn (2008) and Banet-Weiser (2012) and repurpose the framework of this assignment for a latter-half of the semester follow-up assignment to examine the pros and cons of self-branding. This activity is focused on sociologist Adam Arvidsson's work on experiential branding, with a particular focus on the social relations formed around brands and the meaning-making from which brands derive their value (Arvidsson, 2005). Ultimately, for Arvidsson (2005), brand value is also based upon consumer-sustained community, commitments, and values—the space these brands occupy within the life-worlds of individuals. This activity also draws upon Jenkins' (2006) concept of convergence culture, which has helped shape the active role that branding plays within the public's vocabulary, understanding, and imaginary. While this lesson is certainly not built upon a " strong effects " style argument, it nonetheless assumes that brands act as cognitive organizers and invite individuals to use brands in ways that favor certain lifestyle choices. The increasingly immaterial component of our digital cyborg (Haraway, 1985) selves allows our communication and social behaviors to be valorized via our labor of looking, liking,

From Artifacts to Experiences: Brands in the Era of Prosumeration

2016

Consumer behavior is a complex and dynamic phenomenon as it embraces cultural and social aspects, previous experience and mass media influence. This paper proposes that in order to study how brands frame consumers' perception and preferences an interdisciplinary perspective is fruitful. It uses a socio-semiotic perspective to define and analyze some contemporary marketing practices in brand building and consumer relationship management that demonstrate the relativity of the notion of " product " and underline the active communicative interaction between a brand and its consumers regarding the experience provided. Some of the most prominent analytical models of the product value building are presented, along with a discussion of the cultural typology of experience production. Finally, it is argued that multimodality has a special place as an actual and useful tool for improving the communication management via sensorial and cognitive stimulation.

Conversations with(in) the collective unconscious by consumers, brands, and relevant others

Journal of Business Research, 2012

Jung's (2009) paintings of his dreams to enable conscious interpretation of his conversations within the collective unconscious informs a call for creating visual narrative art to inform meanings of personal and collective unconscious relating to stories consumers tell about buying and using brands. This study describes 13 conversations relevant to the study of conscious and the collective unconscious for consumer-brand relationships/communications. The 13 conversations' paradigm is useful for complementing the dominant logic by scholars of asking questions and relying on consumer conscious interpretations in their responses. The article advocates the use of multiple methods for both collecting and interpreting consumer-brand relationships, and illustrates the usage of storyboard-art of consumer-brand relationships in natural contexts. Brand strategy implications focus on the value of identifying how brands enable consumers to enact primal forces (archetypes).

Navigating Narratives and Altering Time: Consumption Practices in the Digital Age

ACR North American Advances, 2016

Creating visual narrative art for decoding stories that consumers and brands tell

Psychology and Marketing, 2000

Creating visual narrative art (VNA) of stories that consumers and brands tell achieves several objectives. First, creating VNA revises and deepens sense making of the meaning of events in the story and what the complete story implies about oneself and others. Second, creating VNA surfaces unconscious thinking of the protagonist and other actors in the story as well as the storyteller (recognizing that in many presentations of stories an actor in the story is also the storyteller); unconscious thinking in stories relating to consumer and brand experiences reflect one or more archetype (Jung, 1916/1968) fulfillments by the protagonist and the storyteller; given that almost all authors agree on a distinction between processes that are unconscious, rapid, automatic, and high capacity (System 1 processing) and those that are conscious, slow, and deliberative (System 2 processing; see Evans, 2008), VNA enables and enriches processing, particularly relating to System 1 processing-enabling more emotional versus rational processing. Third, creating VNA of stories is inherently and uniquely fulfilling/pleasurable/healing for the artist; using visual media allows artists to express emotions of the protagonist and/or audience member, to vent anger, or to report bliss about events and outcomes that words alone cannot communicate; VNA provides a tangible, emotional, and holistic (gestalt) experience that

Brands and their Meaning Makers

Making Meaning: How Consumers Build Their Identity Into Their Own Creative Outcomes

ACR North American Advances, 2017