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This paper aims to demonstrate how consumer attachment to celebrity brands is driven by perceived narratives about the celebrity’s persona, which triggers communal (i.e. altruistic) relationship norms. The research investigates the differential role of narratives about celebrities’ personal vs professional lives in creating attachment and identifies and tests moderating effects of narrative characteristics including perceived source of fame, valence and authenticity.

Three online experiments tested the proposed direct, meditating and moderating relationships. Data was analyzed using mediation analysis and multiple ANOVAs.

The results suggest relationship norms that are more altruistic in nature fully mediate the relationship between narrative type and brand attachment. Additionally, personal narratives produce stronger attachment than professional narratives; the celebrity’s source of fame moderates narrative type and attachment; and on-brand narratives elicit higher attachment than off-brand narratives, even when these narratives are negative.

The authors offer recommendations for how marketers can shape celebrity brand narratives to build stronger consumer attachment. Notably, personal (vs professional) narratives are critical in building attachment, especially for celebrity brands that are perceived to have achieved their fame. Both positive and negative personal narratives can strengthen attachment for achieved celebrity brands, but only if they are on-brand with consumer expectations.

This research is an introductory examination of the fundamental theoretical process by which celebrity brand relationships develop from brand persona narratives and how characteristics of those narratives influence consumer-brand attachment.

This paper aims to assess the effect of narrative transportation, portrayed action and photographic style on viewers’ likelihood to comment on posted consumer photos.

Integrating visual semiotics and experiments, this research examines the influence of consumer photos on viewers’ likelihood to comment on the visualised narrative. One pilot, three experimental and a content analysis involve photos varying in their narrative perspective (selfie vs elsie) and portrayed content (no product, no action or directed action). The authors also test for the boundary condition of the role of the photographic style (snapshot, professional and “parody” selfie) on the likelihood to comment on consumer photos.

Viewers are more likely to comment on photos displaying action. When these photos are selfies, the effect is exacerbated. The experience of narrative transportation – a feeling of entering a world evoked by the narrative – underlies this effect. However, if a snapshot style is used (primed or manipulated) – namely, the photographic style appears genuine, unconstructed and natural – the superior effect of selfies disappears because of greater perceived silliness of the visualised narrative.

Managers should try to motivate consumers to take selfies portraying action if their aim is to encourage electronic word-of-mouth.

Organisations can effectively use consumer photos portraying consumption for educational purpose (e.g. eating healthfully and reducing alcohol use).

This research links consumer photos and electronic word-of-mouth and extends the marketing literature on visual narratives, which is mainly focused on company rather than user-generated content.

Considering the central role of narratives in the articulation of the self, processing experiences and conveying meaning, many scholars in marketing and consumer behaviours have tried to study the subject. This pool of multi-disciplinary studies has yielded fragmented literature resulting in ambiguity. Therefore there is a need for an article, which studies the extant literature comprehensively. Hence, this paper aims to pursue two objectives, to summarize prominent research studies in consumption narratives and to suggest directions for future research.

The paper reviews 25 key studies on consumption narratives and highlights their most important contributions, methods and findings.

As in consumer narrative research, the concept almost always has been borrowed from different domains, the findings suggest a concise definition to fill this gap. Also, to enrich the findings, three-level of consumption narratives are discussed.

This paper serves as a basis to comprehend the essence of consumption narratives in the consumption context, to understand the research gaps and provides directions for future research.

Considerando el papel central de las narrativas en la formulación de uno mismo, el procesamiento de las experiencias y la transmisión de significados, muchos académicos en marketing y comportamiento del consumidor han tratado de estudiar este tópico. Este conjunto de estudios de carácter multidisciplinar ha dado lugar a una literatura muy fragmentada y ambigua. Por tanto, se hace necesario un trabajo de investigación que estudie de menara exhaustiva la extensa literatura existente. En definitiva, este artículo persigue dos objetivos, resumir las investigaciones más destacadas sobre narrativas de consumo existentes en la literatura y sugerir orientaciones para futuras investigaciones.

Este artículo revisa 25 estudios clave sobre narrativas de consumo y resalta sus contribuciones, métodos y hallazgos más relevantes.

Teniendo en cuenta que en la investigación sobre narrativas de consumo el concepto ha sido casi siempre tomado de diferentes ámbitos, los hallazgos sugieren una delimitación conceptual más concisa para cubrir este vacío. Asimismo, para enriquecer los resultados se analizan tres niveles de narrativas de consumo.

Este artículo sirve de base para comprender la esencia de las narrativas de consumo en el contexto del consumo, entender las brechas de investigación que aún existen en este ámbito y proporcionar guías para futuras investigaciones.

考虑到叙事在自我表达、处理体验感受和传达意义方面的中心作用, 许多营销学者和消费者行为学者都试图对这一主题进行研究。由于研究成果横跨多个学科, 而导致文献支离破碎, 造成了歧义。因此, 有必要对现存文献进行综合研究。因此, 本文的研究目标有二, 一是总结当前消费叙事研究的主要成果, 二是为今后的研究指明方向。

本文回顾了关于消费叙事的25个主要研究, 并强调了它们最重要的贡献、方法和发现。

由于之前的消费者叙事研究中, 消费者叙事的概念几乎总是从不同的领域借用, 研究结果提出了一个简明的定义来填补这一空白。此外, 为了丰富研究结果, 本文还讨论了三个层次的消费叙事。

本文作为理解消费语境中消费叙事本质的基础, 来理解研究的差距, 为今后的研究指明方向。

Narratives are central to consumers’ understanding of brands especially during change. The financial crisis that began in 2008 offered a changing marketplace from which to develop two managerially useful frameworks of consumer narratives. The paper aims to discuss these issues.

Consumer focus groups, interviews with bankers and qualitative consumer surveys were used to gather consumers’ narratives about retail banking. The narratives were examined through frameworks from both the humanities and psychology (narrative identity).

The individual consumer narratives were used to create first a possible cultural narrative or bird’s eye view and later archetypal narratives of groups of consumers for a ground-level view of the changing marketplace.

Like all early research, the findings must be examined in other contexts to improve generalizability.

The narrative results revealed the impact of change on consumers’ identities, views of other entities and retail banking activity to yield managerially actionable information for segmentation, target marketing, branding and communication.

Frameworks are developed for consumer narratives which are shown to be useful tools in examining consumers’ reactions to changing markets and in formulating marketing responses.

This paper aims to present a study using encephalography (EEG) to investigate consumer responses to narrative videos in energy efficiency social marketing. The purpose is to assess the role of attention, working memory, emotion and imagination in narrative transportation, and how these stages of narrative transportation are ordered temporally.

Consumers took part in an EEG experiment during which they were shown four different narrative videos to identify brain response during specific video segments.

The study found that during the opening segment of the videos, attention, working memory and emotion were high before attenuating with some introspection at the end of this segment. During the story segment of the videos attention, working memory and emotion were also high, with attention decreasing later on but working memory, emotion and imagination being evident. Consumer responses to each of the four videos differed.

The study suggests that narratives can be a useful approach in energy efficiency social marketing. Specifically, marketers should attempt to gain focused attention and invoke emotional responses, working memory and imagination to help consumers become narratively transported. The fit between story object and story-receiver should also be considered when creating consumer narratives.

Policymakers and organisations that wish to promote pro-social behaviours such as using energy efficiently or eating healthily should consider using narratives.

This research contributes to theory by identifying brain response relating to attention, working memory, emotion and imagination during specific stages of narrative transportation. The study considers the role of attention, emotion, working memory and imagination during reception of stories with different objects, and how these may relate to consumers’ narrative transportation.

Brand narratives are created to differentiate brands, and consumers base their assessments of a brand’s authenticity on this narrative. We propose that the default consumer position is to accept a brand’s narrative, and we find that consumers maintain belief in this narrative even when explicitly reminded that it is manufactured by firms with an underlying profit motive. Because belief seems to be the default position adopted by consumers, we investigate what factors act as disruptors to this default position, thereby reducing assessments of authenticity.

This research uses a series of studies to investigate when and why consumers view some brand stories as authentic and others less so. In addition, we examine the impact of changes to authenticity assessments on managerially important brand outcomes.

Only when one or more authenticity disruptors are present do consumers begin to question the authenticity of the brand narrative. Disruption occurs when the focal brand is perceived to be nakedly copying a competitor, or when there is a gross mismatch between the brand narrative and reality. In the presence of one or both of these disruptors, consumers judge brands to be less authentic, report lower identification, lower assessments of brand quality and social responsibility, and are less likely to join the brand’s community.

Creating compelling brand stories is an important aspect of any marketing manager’s job; after all, these narratives help drive sales. Care must be taken when crafting narratives however, since consumers use these as the basis of their authenticity assessments, and brands deemed inauthentic are penalized.

This study aims to investigate consumer perceptions of inauthenticity due to adulteration of a narrative brand ending by using the research context of the final season and ending of the television series, Game of Thrones.

Two data sets totalling 2,032 online comments detailing consumer reactions to the final season of Game of Thrones were analysed using thematic analysis and human interpretive analysis. The coding was an iterative and continuous process, and posts were returned to and re-examined to refine codes and groupings as the analysis progressed.

The results indicate consumers perceived the ending of the eighth and final season of the television series, Game of Thrones, did not meet their expectations and was not authentic due to rushed writing and illogical character and plot developments. Consumers judged this adulteration was so great that it was a moral violation and transgression. Consumers also sought to assign blame for the inauthenticity, which they attributed to the writers and showrunners, who became the subject of revenge behaviours.

This study indicates consumers of narrative brands, due to their strong emotional attachments to their characters and storyworlds, may perceive unexpected and extensive changes to them as moral violations and transgressions and thus inauthentic. Consumers establish the authenticity of a narrative brand by regularly scrutinising narrative and character development against their expectations as shaped by prior narrative content. Due to their emotional attachment, consumers may attempt to attribute blame for the inauthenticity. The findings have not been established in prior research, and inauthenticity in a narrative brand context is also explored for the first time.

The purpose of this paper is to examine the extent to which presence, media richness, and narrative experiences yield the highest experiential value in augmented-reality interactive technology (ARIT).

A survey is performed to collect data. Valid questionnaires of 344 ARIT users are identified. The hypothesized associations are analyzed using structure equation modeling.

Empirical results indicate that narrative experience induces a higher experiential value than other simulative experiences, including presence and media richness.

Results of this study provide a valuable reference for managers attempting to design an ARIT process in order to optimize the experiential value in various online simulation environments.

This study adopts an integrated framework that incorporates narrative theory, media richness theory, and presence in the online ARIT. Exactly how narrative experience, media richness, and presence affect the formation of experiential value in the ARIT process is explored as well.

Drawing on extant literature on narrative persuasion, online advertising, and transportation theory, this research aims to study Internet‐based online narrative advertising and investigate the effects of four pertinent advertising design elements, interactivity, entertainment, vividness, and self‐referencing, on consumer products and the moderating effects of advertisement involvement on these relationships.

Data were collected using an online questionnaire that contained measures adapted from prior studies. Participants first selected a product that they would seriously consider purchasing and answered a set of questions prior to viewing a narrative online advertisement, which was followed by a different set of questions. Structural equation modeling was used to empirically test the authors’ proposed model.

Greater levels of interactivity, vividness, entertainment, and self‐referencing in narrative online advertisements led to more favorable attitudes toward a product. In particular, self‐referencing had a substantial effect on transportation in forming product attitudes. Advertisement Involvement moderates (i.e. enhances) the effect of self‐referencing on attitudes toward a product.

If properly designed, a narrative online advertisement can fully utilize Internet‐enabled features and can maximize their potential to produce a favorable consumer attitude toward a featured product.

This study advances narrative advertising research and provides empirical evidence to highlight the effects of the pertinent characteristics of Internet‐based advertising, interactivity and entertainment in the conversion process of transportation and consumer attitudes. Moreover, this study identifies and sheds light on important contingencies (i.e. advertisement involvement) of the focal relationships.

The purpose of this research is to examine the nature of consumers' relationships with branded spokescharacters by drawing upon brand personality theory and reader‐response theory, focusing specifically on food trade characters. We aim to show that the persuasive power of these characters resides not only in their appearance, but also in the complex narratives consumers project (sometimes unwittingly) onto the spokescharacter.

The paper reports the results of a survey – blending quantitative and qualitative methodologies – designed to document consumer perceptions, affective responses and spontaneous associations to different characters (i.e. Aunt Jemima, Robin Hood, Betty Crocker, Uncle Ben, Poppin' Fresh the Pillsbury's Doughboy, and M. Felix and Mr Norton, characters created by a Montreal‐based cookie company).

The results revealed that consumers associate spokescharacters with distinct personality profiles. Also, a connection was found between spokescharacters and narrative: a relationship where the characters become part of a larger narrative paradigm and more importantly, a relationship where the consumer is cast in a specific role vis‐à‐vis the spokescharacter.

These results should invite brand managers to stay current with the variety of associations that consumers form and how these associations influence the perception of their brand's personality. The results further underscore the need to understand the role into which consumers are cast vis‐à‐vis a branded character. Future research should examine cross cultural differences in the perception and narratives of branded characters, especially since many multinational companies use branded characters across cultural divides.

The paper shows how consumers play an active role in rendering a spokescharacter likeable, credible, and even memorable and documents the narratives that engage consumers and are both constructed collaboratively with them and propagated by them.