The strategic value of authentic narrative in branded entertainment

472 Pages·2017·5.38 MB·English

by  Marthinus Van Loggerenberg

The strategic value of authentic narrative
in branded entertainment
Marthinus van Loggerenberg
Dissertation presented in fulfilment
of the requirements for the degree of
Doctor of Philosophy in Business Management and Administration
at the University of Stellenbosch Business School
Principal supervisor: Dr Carla Enslin
Co-supervisor: Prof Marlize Terblanche-Smit
Degree of Confidentiality: A December 2017
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DECLARATION
By submitting this dissertation electronically, I, Marthinus Johannes Coetzee van
Loggerenberg, declare that the entirety of the work contained therein is my own,
original work, that I am the owner of the copyright thereof (unless to the extent explicitly
otherwise stated) and that I have not previously in its entirety or in part submitted it for
obtaining any qualification.
Marthinus J.C. van Loggerenberg December 2017
Copyright © 2017 Stellenbosch University All Rights Reserved
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ABSTRACT

This study explored the strategic value of authentic narrative in branded entertainment.
Authentic narrative gives form to narrative that is original, communicates the brand’s
identity and purpose, and aligns with the target audience’s value system in a
meaningful way, with the potential to achieve customer-brand resonance – therefore,
its strategic value.

The discipline of branded entertainment is imbedded in alternative brand contact
planning. The term branded entertainment seemingly holds varied meanings among
industry professionals and academics. This is of concern as the discipline is growing
in importance as a means to disrupt conventional brand communication practice and
to break through commercial clutter. One can compare this problem to an industry that
for argument’s sake does not understand or agree on the fundamental principles of
advertising or public relations, resulting in ineffective communication efforts.

In many instances, branded entertainment is employed with an overt sales orientation
as opposed to a brand orientation that engages an authentic brand identity-based
narrative. The brand communication effort thus comes across as insincere, in
particular where Millennials are concerned. This generation responds to brand
communication that they can make a genuine emotional connection with and they
expect of brands to provide entertaining content in their brand communication
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campaigns. They furthermore engage with brands on their own terms, something that
branded entertainment enables and encourages.

The lack of a cohesive understanding and application of branded entertainment erodes
its core value, that is to break through clutter and connect with audiences through
authentic narrative and thus, the potential for branded entertainment to achieve
resonance is depleted.

Using a qualitative interpretivist approach with a judgement sampling design, this
exploratory study was conducted to engage the perceptions of globally recognised
brand communication decision makers, i.e. advertising agency-side strategists and
creatives, and client-side marketers on the strategic value of authentic narrative in
branded entertainment. Interviews were conducted across six continents with these
planners and creators, all who have received the highest international recognition of
excellence in the form of multiple Grand Prix and Gold wins at the world’s most
respected advertising award shows, for branded entertainment campaigns that they
were directly responsible for. Depth of thought and opinion was gained through the
exploration of the potential of authentic narrative to achieve brand resonance.

The qualitative exploratory research that was conducted delivers a proposed
definition: Branded entertainment is a communication effort that employs a compelling
authentic narrative to achieve brand resonance, being the primary contribution of the
study. This definition is of significance as it provides a common understanding of the
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branded entertainment construct towards brand resonance and guides the application
thereof. Key findings were employed during this study to deliver a conceptual
framework for the strategic value of authentic narrative in branded entertainment,
being the secondary contribution of the study. The findings can advise brand
communication decision makers on sound branded entertainment practice that
engages authentic narrative for strategic brand-building success.

It is envisaged that those agencies and clients that are responsive to the explorative
and experiential nature of authentic narrative employment in branded entertainment
planning will find the proposed conceptual framework to be of immediate strategic
value. Companies and agencies in need of empirical evidence can apply the key
findings of this study in the development of hypotheses for future research.
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KEY WORDS

Authentic narrative; branded entertainment; brand narrative; brand resonance; content
marketing; customer-based brand equity; digital marketing; Millennials.
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DEDICATION

This study is dedicated to my parents,
Dr Johan and Mrs Annette van Loggerenberg
You are my guiding light, always
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ACKNOWLEDGEMENTS
Dr Carla Enslin
For your wisdom, mentorship and belief in me

My gratitude to:
 Prof Marlize Terblanche-Smit, for your invaluable insights and encouragement
 Anne Myers, who inspired me to undertake this study
 Michelle Wolfswinkel, for your unequivocal support and sound sense of reason that
made me see the wood for the trees on many occasion
 The Vega School of Brand Leadership; Foote, Cone & Belding (FCB) Cape Town;
and Hellocomputer Cape Town, for your support in making this study possible
 David Smythe, Strategic Planning Director at FCB, for backing me all the way
 Jeanne Enslin, Natalie Leicher and Babette Carstens for your skilled assistance
 Susanna Griffiths, for your love, friendship and support
 My brother Ben, my rock, and my godchild Dunay, my darling, for your love
All participants across six continents that brought this study to life:
Kieran Antill; Jamie Robinson; Lauren Turnbull; Irene Steyger; Lauren McInnes; Amr
Darwish; Dr Gordon Euchler; Björn Engström, Annika Viberud, Damien Eley; Ricardo
John; Matthew Pullen; Dean Paradise and Aste Gutiérrez. And James Mok, FCB
Executive Creative Director for Asia-Pacific, for your uninhibited support and profound
knowledge that made a significant contribution to this study.
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TABLE OF CONTENTS
DECLARATION ii
ABSTRACT iii
KEY WORDS vi
DEDICATION vii
ACKNOWLEDGEMENTS viii
LIST OF ACRONYMS AND ABBREVIATIONS xvi
CLARIFICATION OF KEY TERMS AND CONCEPTS xvii
CHAPTER 1 INTRODUCTION, RESEARCH PROBLEM & OVERVIEW OF THE STUDY 1
1.1 INTRODUCTION 1
1.2 BACKGROUND 8
1.3 PROBLEM STATEMENT 9
1.4 RESEARCH QUESTION 13
1.5 RESEARCH OBJECTIVES 13
1.6 DELINEATION, ASSUMPTIONS AND DEFINITION OF TERMS 15
1.6.1 Delineation 15
1.6.2 Assumptions 15
1.6.3 Definition of terms 15
1.7 LITERATURE REVIEW 16
1.7.1 Introduction 16
1.7.2 Authenticity and branded entertainment 19
1.7.3 Narrative and branded entertainment 19
1.7.4 Resonance and branded entertainment 20
1.7.5 The authentic narrative construct in context of branded entertainment 22
1.7.6 The branded entertainment construct 22
1.8 IMPORTANCE/ SIGNIFICANCE OF THE STUDY 23
1.9 RESEARCH DESIGN AND METHODS 24
1.9.1 Research design 24
1.9.2 Research methods 25
1.10 STRUCTURE OF THE STUDY 29
1.12 CONCLUSION 31
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CHAPTER 2 TOWARDS A DEFINITION FOR BRANDED ENTERTAINMENT 33
2.1 INTRODUCTION 33
2.2 BACKGROUND 34
2.2.1 Introducing branded entertainment 34
2.2.2 Branded entertainment’s growth and growing need 43
2.2.3 Branded entertainment by example: Dove’s Real Beauty Sketches 52
2.3 THE CORE VALUE AND STRATEGIC POTENTIAL OF BRANDED
ENTERTAINMENT 57
2.3.1 The core value of branded entertainment 57
2.3.2 The strategic potential of branded entertainment 58
2.3.3 Kevin Lane Keller’s take on BMW’s The Hire for resonance 59
2.3.4 Conclusion 60
2.4 THE CHALLENGES BRANDED ENTERTAINMENT FACES AT PRESENT 61
2.4.1 Deliverance of inauthentic content 61
2.4.2 Deliverance of poor quality content 64
2.5 BRANDED ENTERTAINMENT MOST CONDUCIVE TO BRAND
RESONANCE 67
2.5.1 Exploring different meanings of branded entertainment and introducing the concept of
authenticity 69
2.5.2 The branded entertainment vs. branded content debate and introducing the concept of
narrative 87
2.5.3 Summative discussion on branded entertainment most conducive to brand
resonance 93
2.6 CONCEPTUALISING A PROPOSED WORKING DEFINITION FOR
BRANDED ENTERTAINMENT 95
2.7 CONCLUSION 98

CHAPTER 3 AUTHENTIC NARRATIVE TO ACHIEVE BRAND RESONANCE 100
3.1 INTRODUCTION 100
3.2 TOWARDS AUTHENTIC NARRATIVE IN BRANDED ENTERTAINMENT 101
3.2.1 The authenticity concept 102
3.2.2 The narrative concept 108
3.2.3 Constructing a set of authentic narrative characteristics in branded entertainment 114
3.3 THE STRATEGIC VALUE OF AUTHENTIC NARRATIVE IN BRANDED
ENTERTAINMENT 133
3.3.1 The brand resonance concept 135
3.3.2 Authentic narrative to achieve brand resonance 143
3.4 CONCLUSION 150