Thematische Bibliographien / Artist branding and storytelling

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Auswahl der wissenschaftlichen Literatur zum Thema „Artist branding and storytelling“

Autor: Grafiati

Veröffentlicht am 25. November 2024

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Zeitschriftenartikel zum Thema "Artist branding and storytelling"

Mukherjee, Dhrubaa. „Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict“. Studies in South Asian Film & Media 12, Nr. 1 (01.02.2021): 3–17. http://dx.doi.org/10.1386/safm_00034_1.

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This article analyses Bhooter Bhabisyat, a Bengali political horror satire, as a counter-narrative to Bengali cinema’s monocultural bhodrolok branding. The article argues that Bhooter Bhabisyat is radical in its refusal to follow hegemonic homogenizing musical styles classified into genres such as folk, popular, traditional and modern, which tend to be ethnocentric and class based with serious value judgments about the superiority of certain musical forms over others. Instead, Bhooter Bhabisyat uses a variety of distinct Bengali musical traditions to problematize the historic role of capitalist media that work to homogenize and popularize the dominant culture of the ruling classes. The hybrid songs of the film disrupt a sense of homogeneous bhodrolok class position that Bengali cinema has historically sustained. Through the strategies of musical pastiche, Bhooter Bhabisyat offers a meta-historic narrative about Bengali cinema, which makes possible a critical investigation of the cultural discourses and historical narratives that are discursively embedded within the history of filmic production, circulation and consumption. If film histories are produced by repressing differences between social groups and constructing universal identification, then foregrounding film songs as decolonial storytelling methods that reemphasize local voices and subject matters can lead to an effort to read history from below. The vulgar representation of time as a precise and homogeneous continuum has […] diluted the Marxist concept of history. (Giorgio Agamben) The history of all hitherto existing society is the history of class struggles. (Karl Marx)

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Silver, Larry. „Branding Baldung“. Arts 10, Nr. 4 (14.10.2021): 70. http://dx.doi.org/10.3390/arts10040070.

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Hans Baldung (1484/85–1545) emerged as an artist under the shadow of Germany’s most famous contemporary artist, Albrecht Dürer (1471–1528), thus as a younger rival with considerable catching up to do. His time as a young artist with Dürer in Nuremberg (1503-ca. 1507) prompted Baldung to develop his own innovative imagery, even as it prepared him with the skills of later activity in drawings, woodcut prints, and, finally, paintings. Nuremberg also gave him his first contacts with prestigious patrons, local at first but also farther away, surely through Dürer’s well established network to nobility in Saxony. Afterward, once he was out on his own, Baldung quickly turned his acquired skills and recognizable style into his own definitive, deeply pessimistic imagery about human limitations and mortality, especially when measured against the awesome, holy magnitude of Christ and the saints.

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Shilina, Marina G., Maria Sokhn und Julia Wirth. „VR-mediated storytelling of experience in destination branding: hybrid 4D transformations“. RUDN Journal of Studies in Literature and Journalism 28, Nr. 1 (30.03.2023): 165–74. http://dx.doi.org/10.22363/2312-9220-2023-28-1-165-174.

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In COVID-19 era, destination branding faces the challenge of digitalization and virtual reality (VR) in particular. The fundamentals of VR-mediated storytelling in destination branding are in the process of being developed. There is a luck of research on immersive VR-mediated storytelling, scenarios, and messages in destination branding, especially realised with technologies of more complex - hybrid - immersivity (4D). The shift from 2D, 3D to 4D hybrid multisensory VR technologies is not only among the main technology developments - it provokes new research problems with VR-mediated destination branding and storytelling. The authors present the results of theoretical and empirical research of VR-mediated destination storytelling of a brand driven by the newest 4D hybrid multisensory technological approaches on the case of Switzerland. In Switzerland, VR-mediated projects in destination branding are developing actively last years but VR-mediated storytelling research in this field was not provided yet. In this regard, it was chosen 100 destination brand VR projects, presented in 2016-2022, to compare the parameters of VR-mediated storytelling of a brand. VR has to be included into brand storytelling paradigm, which must be rethought for this specific sphere. It was proved that it is more effective to combine different types of experience, virtual and physical both and make the VR-mediated brand storytelling hybrid. In terms of theoretical implications, this paper opened a specific research area by bridging theoretical and empirical ideas of destination branding, VR-mediated storytelling and digital media, technical and social communication.

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Belova, Alla. „Storytelling in advertising and branding“. 22, Nr. 22 (02.08.2021): 13–26. http://dx.doi.org/10.26565/2218-2926-2021-22-01.

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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 narrative – a 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.

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Fadhli, Rahmat, Rosiana Nurwa Indah, Novi Widya und Wulan Oktaviani. „STRATEGI PERPUSTAKAAN SEKOLAH DASAR DALAM MENGEMBANGKAN EMOTIONAL BRANDING MELALUI STORYTELLING“. JMIE (Journal of Madrasah Ibtidaiyah Education) 4, Nr. 1 (01.06.2020): 68. http://dx.doi.org/10.32934/jmie.v4i1.172.

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Penelitian ini bertujuan untuk membahas bagaimana implementasi kegiatan storytelling di perpustakaan serta membahas bagaimana perpustakaan sekolah mengembangkan emotional branding melalui storytelling di SDN 035 Soka Bandung. Metode penelitian yang digunakan adalah kualitatif. Informan pada penelitian ini terdiri atas Kepala Perpustakaan, Pustakawan, Guru serta, Siswa. Metode Pengumpulan data yakni observasi, wawancara mendalam serta studi literatur. Teknik analisis data yakni reduksi data dengan koding, penyajian data dan penarikan kesimpulan. Hasil pada penelitian ini yakni implementasi kegiatan storytelling di perpustakaan mendukung program gerakan literasi sekolah serta memberikan dampak positif bagi siswa seperti meningkatkan minat kunjung ke perpustakaan, meningkatkan minat baca dan menulis serta meningkatkan kemampuan komunikasi siswa. Program storytelling ditinjau dari segi emotional branding menjadi sebuah strategi perpustakaan sekolah dasar dalam menciptakan citra positif pemustaka terhadap perpustakaan sehingga pemustaka menjadi loyal menggunakan perpustakaan dan tercipta kedekatan emosional antara pustakawan dengan pemustaka. Pustakawan berperan sebagai aktor kunci dalam mengembangkan storytelling sebagai strategi emotional branding dengan melakukan kegiatan pengembangan kompetensi dalam storytelling, pengembangan koleksi dan kualitas serta kuantitas layanan perpustakaan sekolah.

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Nyagadza, Brighton, Ernest Kadembo und Africa Makasi. „conceptual model of corporate storytelling for branding“. Communicare: Journal for Communication Studies in Africa 39, Nr. 2 (06.10.2022): 25–48. http://dx.doi.org/10.36615/jcsa.v39i2.1519.

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The purpose of this conceptual paper is to ascertain the relationship between corporate storytellingfor branding and internal stakeholders’ perceptions of the corporate brand. The paucity of existingknowledge found in reviewing a variety of literature sources relating to corporate brand storytellingspurred the authors into carry out the research. The link between themes and elements of corporatestories for branding and strategies for impression management indicates that these elementsrelate to audiences’ perceptions of the corporate brand. From the literature review, there is a linkbetween elements of corporate stories for branding (such as corporate personalities, corporateactivities, corporate values, and corporate associations) and internal stakeholders’ perceptionsand emotional attachment to a corporate brand. Corporate management needs to actively involveinternal stakeholders in developing corporate stories for branding as this is crucial in creatingpositive corporate brand perceptions. The study contributes to the body of knowledge by allowinglisted corporates to maximise the effectiveness of their corporate stories for branding in shapingthe internal stakeholders’ corporate brand perceptions. The paper suggests a conceptual modelfor depicting the relationship between corporate storytelling for branding and internal stakeholders’corporate brand perceptions.

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Geetha, Dr V., Dr C. K. Gomathy, Mr S. Aravind und V. Venkata Surya. „BRANDING AND MARKETING FOR STARTUPS“. INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, Nr. 09 (24.09.2024): 1–6. http://dx.doi.org/10.55041/ijsrem37496.

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Building brand trust is crucial for any startup's success, but it holds particular importance for sustainable startups operating in an increasingly competitive and environmentally conscious marketplace. This study explores the effectiveness of storytelling as a branding and marketing tool for sustainable startups. We address the research gap by examining how narrative-driven communication strategies can foster trust and connection with target audiences who value environmental responsibility. Through a qualitative case study analysis, we examine the branding and marketing campaigns of three successful sustainable startups. The case studies delve into the startups' use of storytelling elements like brand narrative, customer testimonials, and social impact initiatives. We analyze how these narratives are communicated across various marketing channels, including social media, website content, and influencer partnerships. Keywords: Sustainable Startups, Brand Trust, Storytelling, Marketing Communication, Case Studies

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Priskila, Anastasya Mary, Ocvita Ardhiani und Paujiatul Arifah. „PEMBENTUKAN PERSONAL BRANDING MELALUI STORY TELLING (STUDI PADA AKUN INSTAGRAM IVY WIJAYA)“. BroadComm 6, Nr. 1 (01.04.2024): 13–24. http://dx.doi.org/10.53856/bcomm.v6i1.347.

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Penelitian ini bertujuan untuk melihat bagaimana pembentukan storytelling sebagai strategi personal branding di media sosial. Fokus penelitian ini adalah pada akun Instagram Ivy Wijaya, seorang content creator dan Co-Founder dari Ali Kopi. Menggunakan pendekatan Teori Transmedia penelitian ini menganalisis storytelling yang dijadikan sebuah strategi baru dalam membangun citra personal di platform Instagram. Metode kualitatif dan paradigma konstruktivisme digunakan dalam penelitian dengan teknik pengumpulan data melalui observasi, wawancara, dan dokumentasi. Informan utama adalah pemilik akun Ivy Wijaya, manager serta followers dari akun Instagram Ivy Wijaya. Penelitian ini akan memberikan kontribusi penting dalam mendapatkan pemahaman yang mendalam dalam komunikasi di media sosial terutama mengenai personal branding. Hasil penelitian menunjukkan bahwa penggunaan storytelling dan personal branding di Instagram oleh Ivy Wijaya telah menjadi strategi yang efektif dalam membangun citra personal yang positif. Strategi ini tidak hanya menciptakan narasi yang mendalam dan menarik, tetapi juga membangun keterlibatan yang kuat dengan pengikutnya. Implikasi penelitian ini mencakup panduan praktis untuk individu atau merek yang ingin memanfaatkan storytelling sebagai strategi personal branding di media sosial.

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Sudiwijaya, Erwan, Fajar Junaedi und Mujono Mujono. „Designing Kapanewon Nanggulan Branding through Storytelling“. Proceeding International Conference of Community Service 1, Nr. 2 (31.12.2023): 348–55. http://dx.doi.org/10.18196/iccs.v1i2.239.

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Abstract. Kapanewon Nanggulan is the sub-district capital in the Kulon Progo area of the Special Region of Yogyakarta (DIY), which has a lot of tourism potential, both natural tourism and culinary tourism, which, of course, offers excellent comfort for all tourists or visitors from outside the area. The problems found in Nanggulan are tourism actors in the Nanggulan area that have not been well coordinated. Nanggulan does not yet have a brand identity that can cover all tourism brands in the region. Natural tourism potential has not been positioned consistently. Therefore, the community service team recommends the solution for making the umbrella brand Nanggulan a regional identity that accommodates all tourism brands in Nanggulan and Making a Graphic Standard Manual as a reference book for applying the umbrella brand to all promotional media. The result of this dedication is the identity of the Kapanewon Nanggulan destination, which is designed as a differentiator from the image of rice fields on the hillsides of Menoreh. Novelty in this study is visualized through the key visual of terraced rice fields, which are made in a topographical style, a la digital map, so that it is hoped that potential tourists will be familiar with them.

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Scolari, A. Carlos. „Transmedia branding: Brands, narrative worlds, and the mcwhopper peace agreement“. Semiotica 2018, Nr. 224 (25.09.2018): 1–17. http://dx.doi.org/10.1515/sem-2016-0216.

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Abstract In recent years there has been much discussion about the links between brands and storytelling. This article briefly describes transmedia storytelling, reflects on some exemplary works to understand its cultural dynamics, and then focuses on one particular aspect: the development of transmedia strategies in branding. This article delves into that area where branding melts and recombines with storytelling, keeping an eye on transmedia worlds throughout. After presenting a semio-narratological analytical model the article applies the categories to Burger King’s successful and internationally recognized McWhopper campaign (Campaign, Brief. 2015. Y&R’s Burger King “McWhopper” campaign: How a big idea from little New Zealand went global (interview to Tom Paine). Campaign Brief December 31. http://www.campaignbrief.com/ (accessed 16 October 2016)). The analysis spans from the construction of McWhopper’s storytelling to the positioning of competitors in this particular transmedia narrative world. The article concludes with a series of reflections and recommendations for applying semio-narratologic categories to transmedia branding analysis and design.

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Mehr Quellen

Dissertationen zum Thema "Artist branding and storytelling"

Lund, Niels Frederik. „Social media storytelling alliances and destination branding“. Thesis, University of Surrey, 2018. http://epubs.surrey.ac.uk/846327/.

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The emergence of social media necessitates a fundamental rethink of marketing practises as brands are now co-created with social media users. Destination management organisations (DMOs) therefore need to develop new social media strategies. This thesis suggests that DMOs ought to strengthen their storytelling capabilities as it is an essential tool in increasing social media engagement. A conceptual framework is therefore developed drawing on four particular sociological concepts: storytelling, mobilities, performance and performativity. Based on Foucauldian thinking, they are conceptualised as ‘technologies of power’, which are techniques used in the practical operation of power. They demonstrate that a combination of individuals’ storytelling performances, performative acts and mobilities enable stories to spread and influence brand narratives. DMOs can employ the conceptual framework to understand and analyse the underlying mechanisms that shape social interaction in social media and they can operationalise the technologies of power to engage with social media users and spread their preferred brand narratives. The findings show that social media platforms have grown into a ‘virtual apparatus’ utilising institutional technologies to suppress certain kinds of user behaviour. However, some users resist the constraining structures and they use the technologies of power to mediate engaging stories. The findings also show that DMOs’ social media strategies and practices are largely dependent on alliances with various storytellers. DMOs employ a strategy of ‘free value utilisation’ by sourcing content from users, while also enticing users to contribute stories to their social media platforms by providing culturally driven raw material. It is recommended that DMOs should operationalise the conceptual framework in their social media strategies to mediate appealing narratives that connects with people. They should also employ a strategy of ‘experiential micro-branding’, where every shared user story can be utilised as it represents a micro-brand appealing to a specific target segment.

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Gonçalves, Rita Maria Pinto do Souto Pinto. „Storytelling in corporate branding : application to a McDonald's Portugal Digital Platform“. Master's thesis, Instituto Superior de Economia e Gestão, 2011. http://hdl.handle.net/10400.5/10202.

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Mestrado em Marketing
Esta tese é uma reflexão teórica e prática sobre a presença do storytelling na comunicação corporativa, numa perspectiva que compreende a semiótica e a narratologia num contexto de comunicação estratégica de marketing. Analisamos a junção entre os conceitos de storytelling corporativo, storytelling da marca, storytelling do consumidor e storytelling digital, uma vez que todos se reúnem num diálogo da marca, entre a empresa e o consumidor. O estudo exploratório assentou na nova plataforma da McDonald's "Histórias com M" e foi conduzido de forma a aferir a presença de uma comunicação estruturada na forma de história e para ressaltar quais os pontos comuns na comunicação da marca, através da representação de arquétipos. Apuramos que o storytelling corporativo da McDonald's, relativamente à sua imagem de empregador comunica essencialmente inspiração e determinação como os elementos-chave comuns e partilhados entre os (antigos) trabalhadores.
This dissertation is a theoretical and practical reflection on the presence of Storytelling in Corporate Branding, from a perspective that includes semiotics and narratology in the context of marketing communication strategy. We analyze the merging among the concepts of organizational storytelling, branding storytelling, consumer storytelling and digital media storytelling as they all mingle into a branded dialogue between the company and the consumer. The exploratory research on McDonald's new platform "Histórias com M" was conducted in order to assess the presence of a story form structured communication and to enhance the touching points in the brand's communication, by means of archetypal representation. We found that McDonald's corporate storytelling on branding an employer image essentially communicates inspiration and determination as the key collective and shared elements between (former) workers.

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Kim, Pielah. „A New Approach to Co-branding: Visual Artist and Fashion Retailer Ingredient Branding and Hedonic Brand Extension“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436882468.

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Larsson, Joakim, und David Arkhult. „Authenticity : And its role within the branding of an artist“. Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Företagsekonomi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-15540.

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Problem: One of the most important parts in making an artist succeed is to brand him/her in the most suitable way possible. There is often a general consensus among people in the music business that it is important for an artist to be authentic. Definitions on the word authenticity are often vague, subjective and differs depending on whom you ask. It is therefore hard for employees in the music business to use authenticity as a tool in their branding strategy, because they cannot measure authenticity in numbers. It also becomes hard to find out how important it is for an artist to be authentic in order to succeed due to the fact that you cannot measure it in numbers. Due to these problemswe hope that our study will bring a higher level of clarity on authenticity and its role in the branding of an artist. Purpose: The purpose of this thesis will be to investigate what role authenticity has within the branding of an artist. To do this we also need to investigate what authenticity is and what an authentic artist is? Our Research will examine if it is crucial for an artist to be authentic in order to grow. Our focus will be in the actual production of authenticity from the different parts in the music industry. Method: Using an inductive approach we will conduct telephone interviews with already established contacts in the music industry. Data will be collected using a qualitative method since our research problem is poorly understood and so an exploratory design will give us in depth information. Interviews will be conducted in an unstructured way with open-ended questions that will allow the respondent to speak as freely as possible. Conclusion: The term authenticity is relative in its meaning since what is authentic to one person might not be to another. But when weighing the information we have gathered then something being authentic is when it is original, credible and offer something that is hard for competitors to replicate. Information collected concludes that there are mainly two ways that the industry affects an artist’s authenticity, social medias and that the artist surrounds him/her self with the right people. The information from previous research and interviews conducted points towards that an authentic artist knows why they are in the business and can stand by what they do and say. An authentic artist should think long-term before making a decision, reflecting upon how does it affect my image? Will I be comfortable with this? Can I stand for this? This is so that the artists remain true to themselves and their audience.

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Amini, Vida. „Music Branding : Varumärkens kommunicerande toner“. Thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104629.

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Denna uppsats grundar sig i kommunikationens värld där det konstant byggs nya varianter av kommunikationsmedel. Music branding är ett kommunikationsmedel med musik som sitt verktyg. Med sin emotionella kraft används music branding av företag för att marknadsföra och bilda varumärken. Syftet med denna uppsats är att ta reda på vad music branding innebär, och hur musik kan bära budskap för varumärkesprofilering. För att ta reda på innebörden av musik som ett kommunikationsverktyg har musikartister blivit uppsatsens andra stora ämne, vilket flyter samman med music branding processen då erfarenheter har visat att artister faktiskt i sig är budskapsbärare och ger effekt på hur ett varumärke profileras. Arbetet avgränsas till sändarperspektivet i kommunikationsprocessen och tre olika respondenter har valts ut för att besvara lika många centrala frågeställningar. Respondenterna har varit en artistgrupp, en music branding-konsult, och en produktmanager på ett skivbolag. Frågeställningarna har varit: hur varumärken kommuniceras med musik? Vad har artister för roll i varumärkesprofileringen och vilka effekter eftersträvas? Hur ser artister på det egna varumärkesbyggandet? Resultaten är baserade på kvalitativa semistrukturerade intervjuer och litteraturstudier på tidigare forskning kring ämnet, och kan sammanfattas med att musiken är en viktig del av människors liv och något som berör oss dagligen emotionellt. Just därför har dess funktion betydelse för hur våra känslor, uppfattningar, och tolkningar skapas, och slutligen att varumärkesprofilering behöver musikens närvaro.

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Bylund, Jonas, Andreas Enqvist und Björn Ögren. „Design genom storytelling“. Thesis, Konstfack, Industridesign, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-863.

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Vår övertygelse är att en av de viktigaste budbärarna för ett företags identitet är produkterna och att ett långsiktigt varumärkesbyggande sker genom att knyta emotionella band mellan konsumenterna och varumärket. Detta handlar främst om vad konsumenten upplever när produkterna används. Vår målsättning var att bättre kunna förstå helheten runt användarupplevelsen och branding och därigenom skapa bättre verktyg för detta i vår designprocess. Målet var att komma fram till slutsatser kring hur vi som designer kan angripa dessa frågor på ett kreativt sätt. En stor del av vårt arbete har behandlat området branding i förhållande till design, men vi har även berört vissa områden som psykologi, innovation samt kreativa arbetsprocesser.
Årets examensarbete 2005, Idesignpriset.se. Frimurarordens stipendie 2005.

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Estrada, de Isolbi Ana Paula. „Documenting Life Stories through Artist Books“. Thesis, Griffith University, 2019. http://hdl.handle.net/10072/386567.

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I was there (vol. I and II) is a set of two limited-edition artist books that portrays and tells the life stories of Kevin and Esta, two unrelated older individuals who live close to my home. I was there translates my conversations with them into a material form through an unconventional combination of text, image, the blank space of the page, and the book structure itself. The tasks involved in the production of the artist books expanded to include photography, audio and video recordings, transcription, designing, printing and publishing. Accompanying the artworks, this exegesis reflects a critical exploration of issues surrounding the notions of language, storytelling, portraiture and representation, and unpacks ideas that concern and respond to a wider ongoing conversation found in the literature. In particular, the research responds to and draws upon Mexican artist Ulises Carrión‘s definition of the artist book; Italian microhistorian Carlo Ginzburg‘s theory of signs; American literature professor Walter Ong‘s ideas on the impact of the invention of writing; and the work of German philosopher Benjamin Walter and French literary theorist Roland Barthes. Within this framework, the research outcome demonstrates an original way of communicating life stories and proposes the artist book as an alternative space for documentary work.
Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Alsing, Camilla, und Åsa Bergman. „Storytelling som marknadsföringsverktyg : en studie om användandet av storytelling inom hotellbranchen“. Thesis, Gotland University, Department of Business Administration, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-116.

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Dagens samhälle brukar betecknas som en upplevelseindustri där kundens drömmar, fantasier och upplevelser står i fokus. I flertalet turism- och resetidningar syns reportage där unika koncept ökat för att uppfylla den efterfrågan som råder på upplevelser. Idag krävs något utöver det vanliga för att utmärka sig på marknaden och de senaste tio åren har begreppet storytelling intagit folks medvetande och beskrivs som ett effektivt marknadsföringsverktyg, vilket handlar om att berätta en historia kring sin verksamhet. Då konkurrensen ständigt hårdnar är det viktigt att hitta en speciell inriktning som får folk att komma tillbaka samt prata om verksamheten. Storytelling är en differentieringsstrategi inom marknadsföring som fler och fler verksamheter anammar då de inser hur berättandets kraft kan skapa starka varumärken.

Syftet med denna studie är att beskriva och undersöka begreppet storytelling genom att se hur tre gotländska hotell väljer att arbeta med detta, samt undersöka vilka eventuella effekter storytelling har gett verksamheterna. En kvalitativ utgångspunkt har använts där undersökningen har skett genom semi-strukturerade intervjuer med tre hotell, en verksam storyteller samt marknadschefen på Gotlands turistförening. En omvärldsspaning har genomförts för att urskilja dagens användning av storytelling inom hotellbranschen samt övriga samhället.

Studien kopplar ihop storytellingbegreppet med teorier inom marknadsföring såsom differentiering, varumärkesuppbyggnad, word-of-mouth samt profil-, image- och identitetsskapande. Teorier valdes då storytelling är en differentieringsstrategi, där förhoppningen är att uppnå ett starkt varumärke genom att profil, image och identitet harmoniserar, och en vanlig effekt är word-of-mouth. I analysen ställs sedan teorier mot intervjuunderlag för att få svar på ställd problemfråga där bland annat förtroende och trygghet, storytellingens sanningsgrad och uppkomna effekter diskuteras.

Slutsatsen i denna uppsats visar att storytelling är en effektiv strategi som hotell kan använda när de vill stärka sitt varumärke. När profil, image och identitet harmoniserar i en verksamhet blir varumärket starkt. Positiva effekter som nämns av de responderande hotellen är den nyfikenhet som väcks i kundens medvetande, word-of-mouth samt kundtillströmning. Det är viktigt att berättelsen är trovärdig och sann, och att all hotellpersonal har samma kunskap om berättelserna samt delar samma värderingar. Dock kan sanningen till viss del modifieras för att få historien eller berättelsen mer intressant samt vinkla berättelsen så den blir målgruppsanpassad.

Today’s society is called the experience society where customers’ experiences and dreams are in focus. Companies are finding ways to differentiate themselves in the market and customers are demanding more than just good service. A new marketing strategy has emerged called storytelling. Storytelling is about telling a story about the organization to create an interest in, for example, the history of a hotel. It is important to find a way to get the guests to talk about your hotel and an effect of storytelling could be word-of-mouth.

The purpose of this study is to describe and analyze the word storytelling, how it is used in the hospitality industry as well as how it affects the hotels. The method used is qualitative and semi-structured interviews were conducted. The respondents chosen are three gotlandic hotels, a storyteller and the marketing manager at Gotland’s Tourist association.

The conclusion of the study, through the interviews combined with used theories, shows that storytelling is an effective strategy to use when hotels want to strengthen their brand. When profile, image and identity of a business are harmonized, the brand will be strong if the story is true. Positive aspects mentioned by the respondent hotels when using storytelling as a marketing tool was the curiosity it creates in the brand, word-of-mouth and customer flow. It is also important that the story is true and credible and that everyone working for the hotel has the knowledge of the story and shares the same values.

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Monteiro, Vanessa Alves Silva. „Storytelling nas marcas de moda : comunicação e criação de valor“. Master's thesis, Universidade da Beira Interior, 2013. http://hdl.handle.net/10400.6/1722.

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Esta dissertação procura relacionar o património do storytelling e as vantagens que este pode trazer para a gestão das marcas de moda. Apesar da influência que estas marcas têm na vida contemporânea, existe uma crise de valores relacionada com a indústria, motivo que levou este estudo a relacionar o storytelling com a estratégia de branding das marcas de moda. O Homem sendo compreendido como uma espécie social e cultural que resistiu por milhares de anos através da transmissão das suas experiências e conhecimentos, criou uma característica de diferenciação face às demais espécies da Terra, as histórias. Neste sentido analisámos o storytelling, estratégia que recorre a esta atividade ancestral, para perceber o contributo que traria à comunicação entre a marca e o consumidor. Os objetivos que se procuram alcançar são: o esclarecimento de conceitos que integram este tema; o levantamento das vantagens, caso existam, da combinação dos conceitos moda e storytelling; e de que forma as marcas tiram partido das histórias na transmissão da sua identidade. Para a obtenção destes resultados o estudo recorreu a uma metodologia que assentou primeiramente na definação do problema, seguido de análise de referências bibliográficas capazes de explicar o estado da arte que procurou servir de base teórica para os casos de estudo que se seguiram, e que procuraram validar em exemplos reais a abordagem teórica realizada.

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Biro, Angeliqa, Maria Pettersson und Sanna Wettergren. „“Sense the band, Feel the artist” : En studie om differentiering av artister online med hjälp av sensory branding“. Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40386.

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Syfte Uppsatsens syfte är att genom en analys av dagens digitala marknadsföring av artister i Sverige få fram olika strategier som kan leda till differentiering online, samt få vidare förståelse om hur artister aktivt kan arbeta med strategierna online för att förstärka helhetsupplevelsen av varumärket och hur fansen upplever det digitala arbetet. Metod Denna uppsats är genomförd utifrån en kombination av kvalitativ och kvantitativ metod och har en abduktiv ansats. Vi har samlat in det empiriska materialet via kvalitativa intervjuer med utvalda personer från olika delar av musikbranschen för att få olika synvinklar. Samt gjort en enkätundersökning för att få in konsumenternas aspekt, som vi i uppsatsen benämner som fans. Dessa tillvägagångssätt har kompletterats med primär- och sekundärkällor inom branding, sensory branding och digital marknadsföring. Slutsatser Vi har genom vår analys och slutdiskussion kommit fram till följande: genom att tillämpa de fyra strategier som vi har valt att kalla; branding-strategi, sensory branding-strategi, digital marknadsförings-strategi och storytelling-strategi, är artisten på god väg att utmärka sig för både fans och musikbransch. Fansen anser att man ska ha en bra story kombinerad med en röd tråd och ett helhetskoncept. Genom att då arbeta aktivt och hitta sin balans i huruvida personlig eller informativ man ska vara i sin kommunikation, men även att vara konsekvent i sin marknadsföring som helhet.

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Bücher zum Thema "Artist branding and storytelling"

Christian, Budtz, und Yakaboylu Baris, Hrsg. Storytelling: Branding in practice. Berlin: Springer, 2005.

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Christian, Budtz, Munch Philip, Blanchette Stephen und SpringerLink (Online service), Hrsg. Storytelling: Branding in Practice. Berlin, Heidelberg: Springer-Verlag Berlin Heidelberg, 2010.

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Oliveira, Antonella Carvalho de, Hrsg. Comunicação, branding e storytelling 2: -. Brasil: Atena Editora, 2023.

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Schmidt, Rigmor Kappel. Storytelling: Fra don Quixote til Lars Larsen. Aarhus: Aarhus Universitetsforlag, 2012.

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1961-, Arruda William, und Alba Jason, Hrsg. Storytelling about your brand online & offline: A compelling guide to discovering your story. Cupertino, CA: Happy About, 2010.

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University, Limkokwing, Hrsg. Portrait of an icon: Tan Sri Dato' Dr. Lim Kok Wing, communications guru, branding maestro, educationist, philanthropist, artist, cartoonist, writer, designer, entrepreneur, corporate leader--. Cyberjaya, Selangor, Malaysia: Limkokwing University, 2003.

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Kolej Universiti Teknologi Kreatif Limkokwing., Hrsg. Portrait of an icon: Tan Sri Dato' Dr. Lim Kok Wing, communications guru, branding maestro, educationist, philanthropist, artist, cartoonist, writer, designer, entrepreneur, corporate leader--. Cyberjaya, Selangor, Malaysia: Limkokwing University College of Creative Technology, 2003.

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Fog, Klaus, Christian Budtz und Philip Munch. Storytelling: Branding in Practice. Springer, 2012.

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Fog, Klaus, Christian Budtz und Baris Yakaboylu. Storytelling: Branding in Practice. Springer, 2006.

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Fog, Klaus, Christian Budtz, Philip Munch und Stephen Blanchette. Storytelling: Branding in Practice. Springer, 2016.

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Buchteile zum Thema "Artist branding and storytelling"

Donham, Tammy, Amy Sue Macy und Clyde Philip Rolston. „Artist Branding“. In Marketing Recorded Music, 73–100. 4. Aufl. New York: Focal Press, 2022. http://dx.doi.org/10.4324/9781003153511-5.

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Fog, Klaus, Christian Budtz, Philip Munch und Stephen Blanchette. „Branding Through Storytelling“. In Storytelling, 15–27. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-540-88349-4_1.

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Kullmann, Thomas, und Dirk Siepmann. „Storytelling“. In Tolkien as a Literary Artist, 193–226. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69299-5_7.

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Gutjahr, Gert. „Branding by Storytelling“. In Markenpsychologie, 151–56. Wiesbaden: Gabler Verlag, 2011. http://dx.doi.org/10.1007/978-3-8349-6956-9_29.

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Gutjahr, Gert. „Branding by Storytelling“. In Markenpsychologie, 151–56. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-09161-3_29.

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Gutjahr, Gert. „Branding by Storytelling“. In Markenpsychologie, 149–54. Wiesbaden: Springer Fachmedien Wiesbaden, 2013. http://dx.doi.org/10.1007/978-3-658-01926-6_29.

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Gutjahr, Gert. „Branding by Storytelling“. In Markenpsychologie, 141–46. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-24282-4_29.

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Wentzel, Daniel, Torsten Tomczak und Andreas Herrmann. „Storytelling im Behavioral Branding“. In Behavioral Branding, 425–42. Wiesbaden: Gabler Verlag, 2012. http://dx.doi.org/10.1007/978-3-8349-7134-0_22.

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Wentzel, Daniel, Torsten Tomczak und Andreas Herrmann. „Storytelling im Behavioral Branding“. In Behavioral Branding, 425–42. Wiesbaden: Gabler, 2009. http://dx.doi.org/10.1007/978-3-8349-8744-0_22.

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Morrow, Guy. „Storytelling in the creative and cultural industries“. In Artist Management, 66–85. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315520896-5.

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Konferenzberichte zum Thema "Artist branding and storytelling"

Sheresheva, Marina, Ekaterina Kovalenko und Daniel Pavlov. „Gallery brand impact on artist name recognition: Evidence from Russia“. In XIX International May Conference on Strategic Management – IMCSM24 Proceedings. University of Belgrade, Technical Faculty in Bor, 2024. http://dx.doi.org/10.5937/imcsm24062s.

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This paper examines the influence of the gallery brand on artist name recognition in the contemporary art market in Russia. The authors first discuss theoretical approaches to understanding the phenomenon of branding in the art market, as well as private gallery brand formation, and offer a brief description of the art market structure, specifying the features of branding in this sphere. Then they present and discuss the empirical data obtained by means of semi-structured expert interviews and online survey conducted in 2024. The main findings from expert interviews show that gallery brand formation is an important part of artist promotion and art industry development. The used questionnaire consists of both questions based on the relevant literature, and questions elaborated by authors based on the insights gained from interviews. The analysis of survey results leads to the conclusion that gallery brand has a positive effect on artist recognition, and setting a higher price for his works; the main functions of a contemporary art gallery include promoting the artist, selling works of art, and developing contemporary art.

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Samoylenko, Irina. „STORYTELLING TECHNOLOGY APPLICATION IN FMCG GOODS BRANDING IN THE RUSSIAN MARKET“. In 6th SWS International Scientific Conference on Social Sciences ISCSS 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscss.2019.2/s05.091.

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Hashiba, Rei. „Chinese Yunnan Pu-er Tea Ecological Branding Design for the Japanese Market“. In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004977.

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Chinese tea culture, deeply rooted in history, is facing challenges in contemporary markets, particularly in appealing to younger consumers. Yunnan A Chang Pu-er tea, originating from a region with a long tradition of tea production, seeks to enter the Japanese market amidst China's vast tea industry yet weak branding. Japan also has a long history of tea culture, and a growing interest in health and beauty benefits of tea. A survey conducted by Itoen Corporation reveals increasing health consciousness among Japanese consumers, particularly in their 20s, with green tea's health benefits gaining prominence. This trend is reflected in a rise in tea consumption, driven primarily by health considerations. Despite the dominance of green tea in Japan, there is potential for introducing Chinese Pu-er tea to cater to evolving consumer preferences. Furthermore, the study highlights the enduring interest of young Japanese women in healthy tea consumption, a trend unaffected by time. Considering Japan's focus on eco initiatives, the study aims to conduct research of Pu-er tea's brand new image for Japanese market with environmentally friendly packaging, leveraging QR code technology to enhance consumer engagement and storytelling about Chinese tea history.

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Crisman, Phoebe. „Teaching through an Indigenous Ecologies Lens: Co-designing with Dakota and Xhosa Communities“. In 2023 ACSA/EAAE Teachers Conference, 101–7. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.teach.2023.15.

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How can architectural pedagogy engage climate change and other global challenges as we teach our students to design specific, sustainable buildings and places where all species can thrive? How can we ethically collaborate across diverse disciplines, cultures, and geographies? This paper explores my experiences at the University of Virginia devel-oping an Indigenous Ecologies pedagogy, which combines place-based learning with participatory action research, Traditional Ecological Knowledge (TEK), and collaborative design methods. Students in my transdisciplinary seminars and studios collaboratively designed a Dakota Cultural Center with the Sisseton Wahpeton Oyate on their Lake Traverse Reservation in South Dakota, and The Black Power Station with a Xhosa artist/activist collective in Makhanda, South Africa. University students developed cultural competency, environmental literacy, and new ways of co-producing knowl¬edge, including participatory cultural mapping, storytelling, and practices of decolonization. Combining TEK with norma¬tive architectural knowledge and methods can produce richer epistemologies, informed choices about building materials, and holistic strategies for climate change adaptation. This paper compares pedagogical strategies and contributes to socio-ecological systems research in architecture. These teaching experiments through an Indigenous Ecologies lens sought to change the way students learn to make the world, through empathy, imagination, and activism.

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Fuster pérez, Jaime. „La edición fotográfica en Ramón Masats“. In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.7055.

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Resumen-Abstract El Premio Nacional de fotografía 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), ha sido considerado como un fotógrafo intuitivo. Sin embargo, un detenido estudio de sus fotolibros y ensayos fotográficos publicados en las revistas ilustradas, permiten revindicar otra faceta completamente desconocida: su labor como maquetador. A lo largo de su carrera Masats toma conciencia de la edición fotográfica. Desde la solitaria imagen de la noticia de un periódico, al ensayo fotográfico, entendido desde el punto de vista de E. Smith como un conjunto mayor de imágenes que profundizan y trascienden, permitiendo un reflexión más detenida de la historia que se cuenta; hasta llegar al foto libro, considerado como una unidad expresiva, un todo con significación completa: el formato más complejo de todos... Un Masats sofisticado y erudito se nos muestra consciente del montaje, del ritmo, del diálogo entre imágenes, de modo que la suma altera la percepción del conjunto. Un lenguaje que le llevará finalmente a explorar en el mundo del montaje cinematográfico y la dirección de documentales audiovisuales. En una época de auténtica explosión del fotolibro español como la que vivimos, conviene reconocer, recordar y aprender de nuestros antecedentes, de aquellos maestros en el arte de contar historias. The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling. Palabras clave: Fotolibro, narración, edición, diseño, coherencia, autoría, comunicación, ritmo, análisis. Keywords: Photobook, narration, edition, design, coherence, authorship, communication, rhythm, analysis

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Chooi, Don. „Bear Bodies in Motion: A creative approach in telling a story of bigger, gay male bodies of colour through artistic means as practice-led research.“ In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.80.

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In 2020, I created a body of work that paid attention to the concerns of body image representation of the gay male. The work was shown in a local exhibition in Auckland, called ‘Bear Bodies in Motion’, and it aimed as a critique on the anxieties of body image, especially in the gay bear subculture where there are considerable levels of stigma and shaming of bigger male bodies – made more profound towards bodies of colour. In an attempt at subversion, the creative work, portrayed the bigger body as energetic and aesthetically potent. It combined photography with digital painting and the result was an expression of body acceptance and authorship. Thematically, the image of the gay bear builds on a rich history of homo-oriented art. It plays on the tapestry of the gay identity which determines how it is being represented, negotiated and remixed continually in the gay mainstream. Discourse emanating from gay communities of colour, speaks of attempts to remove colonised attitudes, and in reimagining their heritage and sexual identities authentically. This artistic body of work sought to add to the dialogue that surrounds issues of race, queerness and ‘otherness’. The subsequent conversations which followed the exhibition, unpacked concerns of cultural identity, masculinity and belonging – in which seem to be heavily burdened by western-influenced and racialised notions of performativity. Through research, and taking in the ephemera that surrounds the discourse of the colonised body image, I begun to create work that seeks to further add to the discourse. This heavily illustrated paper reflects on the creative process in the art making of ‘Bear Bodies in Motion’. The methodology underpinning this artistic body of work is ‘reflection-in-action’, and it draws inspiration from research in the ‘lived experience’. Additionally it also consider its move from traditional mediums to the consideration of technology as a platform for storytelling, from the print medium to digital spaces – in this instance, the inclusion of Augmented Reality (AR). With this extension, AR provides the viewer the opportunity to take a more active role in reading the text. The experience moves the work into a more participatory space, where the narrative becomes more palpable and appreciated. The making journey is outlined from conceptual stage to the finalised artistic work from my personal lens who is both artist-maker and design practitioner. This paper also discusses the challenges and conflicts in creating a body of work of this nature. Especially of concern is its need for sensitivity in the representation of non-euro cultures – with greater emphasis given to the consideration for its homosexual themes, and to the identities of my participants as they were from the community itself. This paper also includes my reflections and personal insights in how this approach to a practice-led research has contributed to my own learning and teaching approach. Being an educator myself, this process has given me greater empathy and understanding in the student journey within today’s higher education environment.

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Williams, Toiroa. „NO HEA KOE? Where are you from?“ In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.

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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about historical grievances within Te Whakatōhea and Te Whānau ā Mokomoko. The project artistically explores the potentials of documentary form in relation to Mātauranga Māori (Māori customs and knowledge) and kaupapa Māori (Māori research approaches). The research seeks to exhume stories from iwi members and question certain Pākehā constructed narratives (The Church Missionary, 1865; Taylor, 1868; McDonnell, 1887: Grace, 1928). Accordingly, the documentary will communicate outwards from accumulated experience and storytelling within my whānau. Thus, it will interweave the narratives of people whose whakapapa (genealogy) has been interwoven with historical events and their implications, related to the execution of my ancestor Mokomoko in 1866, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. Artistically and theoretically, the project constructs a new form of Māori documentary through a consideration of pūrākau (Pouwhare and McNeill 2018). The significance of the study lies in the potential to rethink documentary form based on the tenets of pūrākau. In so doing, the study will not only expand the corpus of research about Mokomoko but also extend how indigenous documentaries might be thought of as structures. Four key concepts that will guide the development of the film are: WHAKAPAPA - GENEALOGY Through genealogy, it builds my personal connection with the film, the interviewees and the community. But it also holds a strong responsibly for me to complete this film with the utmost respect and care. WHENUA and WHANAU – LAND and FAMILY With land and family at the centre of the film. Embodiment is an important part of how this film is created. I reconnected more with my extended family and actively seek out opportunities to attend wānanga (discussions) and perform kapa haka (Māori performing arts) specific to our land and family. TIKANGA – CUSTOMS The process and structures of making this film have followed tikanga Māori (Māori customs). Practising karakia and waiata (Māori prayers and songs) to perform before and after we film were key customs we believe are important when creating this film. These protocols are practised by the crew and affirm our rōpu (group) as a family. KOHA - RECIPROCATION Unlike traditional filming structures that schedule films to be completed in an economically and efficient way. Koha reinforces the concept of reciprocation, to give and receive. As the community gifts their time and stories, the film will be gifted back to those from which it came. Myself as the ringa toi (artist) must make conscious effort to go back to the iwi (local tribe) and being an active member within the town and supporting community initiatives. In addition, the study will demonstrate how the process of documentary making inside iwi can function as a form of raranga (weaving) where collaborating fragments may take form and through this increase feelings of value, healing, and historical redress.

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