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    Transmedia Branding: Engage Your Audience
    Transmedia Branding: Engage Your Audience
    Transmedia Branding: Engage Your Audience
    Ebook174 pages1 hour

    Transmedia Branding: Engage Your Audience

    By Burghardt Tenderich and Jerried Williams

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    About this ebook

    You’re either fully engaged with your audience or you’re irrelevant. The choice is yours.

    What do Chipotle and The Matrix and Intel and Old Spice and The Teenage Mutant Ninja Turtles know that you don’t? How have disruptive economics, consumerism, and spreadable media evolved the relationship between brands and their audiences?

    We’ve all heard it before — decreased barriers to entry, increased accessibility to technology, and the ability to virtually connect with experts around the globe have ignited a fiercely competitive battle for eyeballs. In this crowded media environment, how can brands create campaigns that people want to engage with and share with others? What mistakes do they need to avoid?

    In Transmedia Branding: Engage Your Audience, Burghardt Tenderich and Jerried Williams traverse the entertainment industry, technology sector, and consumer goods to show the timeless relevance of some of the greatest minds in communications: David Ogilvy, Edward Bernays, Philip Kotler, and Henry Jenkins. They provide a methodology for developing transmedia branding campaigns to engage audiences along with multiple case studies for further insight.

    The book targets marketing and public relations practitioners, students, academics and anybody interested in the rapidly evolving world of marketing communications and public relations.
    LanguageEnglish
    PublisherUSC Annenberg Press
    Release dateAug 1, 2015
    ISBN9781625179067
    Transmedia Branding: Engage Your Audience
    Author

    Burghardt Tenderich

    Burghardt Tenderich (PhD) is a professor at the University of Southern California Annenberg School for Communication and Journalism in Los Angeles, California, where he teaches and writes about transmedia branding, social media, strategic public relations, and media entrepreneurship. At the University of California at Berkeley, Burghardt was the executive director of the Center for Entrepreneurship & Technology and a lecturer on entrepreneurship. He is a founding partner of TnT Initiatives, LLC, a social media publishing and consulting firm focusing on web and healthcare-related technologies. Before his career in academia, he worked in marketing and communications in the information technology and Internet industries in the San Francisco Bay Area and in Europe, where he held senior positions in agencies and corporations. He has consulted for various corporations and partners with industry and practitioners in his teaching and research. Burghardt holds an MA and a PhD in economic geography from the University of Bonn, Germany. Jerried Williams (MA) is an integrated marketing strategist dedicated to helping brands grow their audience, develop new nontraditional revenue generating opportunities, and dominate their market positioning. His experience crosses many industries, but he is most interested in technology, entertainment, fashion, and e-commerce. He holds an MA in strategic public relations from the University of Southern California and a BA in business from Elon University.

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      Book preview

      Transmedia Branding - Burghardt Tenderich

      encouragement.

      Introduction

      On August 16, 2012, Intel and Toshiba released the first episode of The Beauty Inside, an interactive social film directed by Sundance award-winning director Drake Doremus. Featuring notable actors such as Topher Grace, The Beauty Inside is about a man named Alex who wakes up every day with a new face and body. Although he takes a new form externally as he morphs into a new person, he remains the same person on the inside. The film chronicles Alex’s daily life challenges, including where he will work, unique circumstances that arise out of his condition, and romantic relationships. He uses a Toshiba Protégé to journal his life and documents his ever-changing appearance with the Intel-powered Ultrabook serving as a crucial role in the film as the one constant in Alex’s life, the one thing he can rely on.¹

      The Beauty Inside

      The film encouraged viewers to interact with the main character over Facebook and YouTube. They were also invited to audition to portray Alex in one of his video diaries recorded on his Toshiba Ultrabook. The nature of Alex’s condition meant that anyone, male or female, could play the role.

      Doremus oversaw casting and would contact viewers if they were chosen to appear in the film. If their performance needed work, he would help rerecord the video. More than 100 unique faces were used for Alex’s 24 video diaries on YouTube, as well as six episodes of the film, which were sourced from a global audience.

      The Beauty Inside was created to get people thinking about a product they couldn’t see, the Intel processor that powers the Toshiba Protégé. This has been one of Intel’s greatest challenges, and the company has cycled through various strategies to overcome this challenge. It began with selling the functionality of the product, which became very technical and stodgy. To overcome this, Intel created the legendary Intel Inside campaign. Years later it evolved into a strategy focused on the empowerment to be had from using products powered by Intel through celebrity endorsements and partnerships. As of late, the company has shifted their strategy as the market began to demand more engaging content to build an audience.

      This something more, in the case of The Beauty Inside, was an evolved method of cross-channel communication and marketing, known as transmedia branding. As a prime example of the new marketing method, it is important to note that the minds behind The Beauty Inside did not set out specifically to create a transmedia branding campaign; they were merely attempting to solve a common problem (garnering attention) using an innovative solution.

      Branding and marketing is in a state of disruption and reinvention. Recent advances in Internet and consumer technologies have placed professional branding tools in the hands of consumers. Everyday people are able to appropriate, remix, and recirculate brand icons beyond the control of those who have historically shepherded them. Often these consumer-led brand evolutions become as important as the official brand itself. As a result, brand messages and icons are now shaped as much by the people who consume them as by those who originate them. Consumers have now become, in essence, extended members of an organization’s branding team.

      If old branding models were based on tight control over circulation and messaging, such controls are no longer practical or desirable in a world where, if it doesn’t spread, it’s dead. In this atmosphere, organizations need to embrace new engagement strategies that increase the range of possible and permissible meanings associated with brands, open valid channels of communication with all stakeholders, and play out across the full range of possible communication channels.

      Chapter 1

      The Power of Disruption

      Chapter 1—The Power of Disruption

      The age of disruption is upon us. Start-ups are emerging across all sectors and forever altering industry landscapes with new business models, products, and services. No one is safe—not even you.

      Disruption uproots and changes every aspect of life: from how business is conducted to the day-to-day grind. Harvard Business School professor and disruption guru Clayton Christensen says that disruption displaces an existing market, industry, or technology, and produces something new and more efficient and worthwhile. It is at once destructive and creative.² In the age of disruption, there is no compromise. One way of life must succumb to the will of another. This has a tremendous rippling effect across all industries.

      In 1994, Kodak executives asked expert brand strategist Darren Daye how they should think about their digital future. At the time, Kodak had a $20 billion market cap. Daye’s advice was to acquire both Adobe and LexMark, which all together would have cost Kodak less than $5 billion. During that time, Kodak was known for recruiting the best chemists from the best technical universities—a practice that did not mesh with the idea of acquiring emerging digital companies. According to Daye, Kodak was hermetically sealed in Rochester, New York, which was a long way from the disruptive risk-taking world of Silicon Valley. Kodak went on a decline. It missed its opportunity to pivot and suffered immensely. Today the market cap of Adobe and LexMark has greatly exceeded $20 billion.³

      Erik Brynjolfsson, a professor at the MIT Sloan School of Management, and his collaborator and coauthor Andrew McAfee propose that the impressive advances in computer technology—from improved industrial robotics to automated translation services—are the culprits behind the sluggish employment growth of the last 10 to 15 years.⁴

      A fundamental indicator of the growth and wealth within an economy is productivity, the resulting economic value generated from a single unit of input, such as one hour of labor. For years after World War II, the productivity and total employment levels in the United States generally remained relative to one another. An increase in jobs meant that there was an increase in productivity. As businesses generated more value from their workers, the country as a whole became richer, spurring more economic activity and new jobs.⁵

      Then, beginning in 2000, this previously strong relationship began to weaken; productivity continued to rise robustly, but employment suddenly wilted. By 2011, the pattern began to drastically change, with economic growth having virtually zero impact on job creation. Brynjolfsson and McAfee call this phenomenon the great decoupling. Brynjolfsson says he is confident that technology is behind both the healthy growth in productivity and the weak growth in jobs.

      It’s the great paradox of our era, he says. Productivity is at record levels, innovation has never been faster, and yet at the same time, we have a falling median income and we have fewer jobs. People are falling behind because technology is advancing so fast and our skills and organizations aren’t keeping up. He continues, digital versions of human intelligence are increasingly replacing even those jobs once thought to require people. It will change every profession in ways we have barely seen yet, he warns.⁶

      A perfect example of this theory is the change within the taxi industry. In its earliest stages, taxis consisted of electric-powered cabs that were slightly impractical (with batteries weighing upward of 800 pounds). In 1907, the New York Taxicab Company made the bold decision to import 600 gasoline-powered cars from France. As the industry flourished, price gouging, unfair labor practices, and other issues became more prevalent. To combat these issues, Mayor Fiorello H. La Guardia signed the Haas Act of 1937, which introduced official taxi licenses and the medallion system that remains in place to this day. Today, there are 12,187 taxis and some 40,000 drivers in New York City, transporting 200 million passengers almost 800 million miles a year. They make more than one billion dollars in revenue and drive passenger-less for almost a million miles a night.⁷

      All of this historic precedent for an industry more than a century old was thrown out the window on a cold winter’s day in late 2008. It was on this day, after getting stranded on the streets of San Francisco at 5:00 a.m. after a night of good music, good drinks, and jams, that Garrett Camp shared his big idea to solve the horrible and notorious taxi problem of San Francisco with Travis Kalanick. Camp had recently sold StumbleUpon to eBay and had been doing hard time at a big company. Kalanick had just completed a tour with Akamai after selling Red Swoosh to the company in 2007. The first iteration of the big idea came in the form of a limo timeshare service, delivered by an app. ⁸

      It wasn’t until March of 2009 that Camp started working in earnest to figure out what this iPhone app would look like. For Camp the app was still a side project, but by mid-2009 Camp began a charm offensive for ramping up Kalanick’s involvement. By that summer Kalanick joined on as chief incubator. His job was to temporarily run the company, get the product to prototype, find a general manager to run the operation full time, and generally see the car service company through its San Francisco launch. At the time, Camp and Kalanick both thought the business was going to be pretty low-tech and mostly an operational endeavor.⁹

      From the company website:

      Uber is evolving the way the world moves. By seamlessly connecting riders to drivers through our apps, we make cities more accessible, opening up more possibilities for riders and more business for drivers. From our founding in 2009 to our launches in over 70 cities today, Uber’s rapidly expanding global presence continues to bring people and their cities closer.¹⁰

      According to Forbes, taxi drivers are faced with eliminating their clannish group arrangements that have effectively secured their incomes over the years. Uber is very much aware of this. What you are seeing today is an industry that has not faced competition for decades. Now finally we are seeing competition from companies such as Uber which is bringing choice to customers, said Uber’s Regional General Manager for Western Europe, Pierre-Dimitri Gore-Coty to Reuters.¹¹

      Uber has been able to amass rapid user adoption by offering a simple service at the push of a button via a mobile app: transportation at competitive pricing. And this is just the beginning. Uber has plans to develop an infrastructure of

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