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This paper aims to contribute to the development of a film brand theory and in doing so, illustrate the utility of a socio‐cultural approach to branding. The purpose is to develop the conceptual framework within which the film brandscape may be considered. An illustrative case study of the James Bond franchise is provided so that the potential application of the framework can be clearly understood.

The paper approaches the topic from a socio‐cultural perspective in order to take particular account of the symbolic nature of film offerings. It combines insights from contemporary production and consumption practices in the film industry with theoretical perspectives from marketing, branding, consumer, cultural and film studies. Although a conceptual paper, it incorporates an illustrative case, the James Bond franchise, in order to support the proposed brandscape.

Films are marked with signs of ownership and may carry other cues which function as risk‐reducing shorthand devices. Consumers look to brand characteristics as communicated through brand cues. Particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time.

This paper presents a theory of film branding which is primarily applicable to mainstream commercial films. The implications for marketing and branding scholars are highlighting the need to view brands within their wider brandscapes in order to understand how consumers understand brands in relation to one another. There is also a need to move beyond dominant relational modes of thinking about brands and consumers to consider the temporal nature of brand meanings.

The paper offers a theoretical approach enabling scholars in a range of disciplines to engage in cross‐disciplinary dialogue about film brands, thus facilitating debate and opening up new lines of research inquiry. The case study included is merely illustrative and further empirical studies are needed to test and develop the brandscape.

The paper develops the cultural approach to branding through introducing the idea of the granularity of the brandscape: particular brandscapes can be viewed as loosely bounded sites within which meaning is derived from making sense of the various, interrelated brands within this brandscape. Such meaning is dependent on cultural cues which evolve over time. Managerial decision making can be understood through considering the various cast and crew decisions, genre and positioning. Through understanding the granularity of the brandscape, marketing and branding practitioners can have a greater understanding of consumer sensemaking which can be used in strategic decision making.

The purpose of this paper is to understand the growing phenomenon of brand placements in the Indian movie industry. The study goes further to compare the incidence and the nature of brands placed within movies for the same time period.

A content analysis of 106 successful Bollywood movies between 1997 and 1999 was conducted and the incidence of brand placements within them and the execution style adopted were documented. Analysis of the brand appearances in 110 Hollywood movies was carried out and the volume of placements, kind of brands placed and the movie genre in which they were found was noted.

In‐film placements of entertainment and automobile brands were found to be highly prevalent in Indian movies. Showing the usage of the brand was the most common style of execution. The volume of in‐film placements in Hollywood movies was found to be far higher than that in Indian movies.

This study being exploratory in nature has the inherent limitation of generalizability of the results.

This paper provides implications for marketing managers and movie producers employing this form of communication.

This study is one of the first to systematically record, analyse and compare the occurrence and the execution of brand placements in Indian movies in a non‐US context and compare and contrast the placement practices of these two movie industries.

This study investigates the effect of consumers' brand attitude changes according to the fashion film type. Furthermore, it examines the psychological mechanism by engagement and consumer fantasy proneness. This study is meaningful because it provides a more in-depth understanding of the use of fashion film as a means of consumer-oriented persuasion communication.

This research uses a 2(fashion film type: narrative vs non-narrative) × 2(consumer fantasy proneness: high vs low) mixed factorial design to test the hypotheses. ANOVA and the PROCESS macro mounted on SPSS was used to test hypotheses.

The group with high consumer fantasy proneness showed more changes in brand attitude when exposed to non-narrative than narrative fashion films, but the group with low consumer fantasy proneness showed no significant difference in brand attitude change according to the fashion film type. In addition, when consumer fantasy proneness is high, media and brand engagement for non-narrative fashion films increase sequentially, resulting in a greater change in brand attitude, whereas these psychological mechanisms do not work in groups with low consumer fantasy proneness.

Fashion brands should identify their respective target group when producing fashion films and choose differentiated narrative forms. In the case of pursuing a fantastic aesthetic value, the non-narrative type induces more attention and curiosity from consumers than the narrative type, which affects the feeling of a special bond or relevance with the brand.

This study has value in that it demonstrates the rationale for why a fashion brand needs to select a differentiated content structure according to the aesthetic value pursued when making a fashion film in branding work.

Employing the Star Wars brand as a case study, this paper seeks to critically discuss the importance of comparative mythology for inter-generational branding and consumption practices within arts related markets.

Secondary data have been gathered focusing on the analysis of material in the form of books, academic journals, films, videos, television programs, websites and media reports related to the interface between comparative mythology, the Star Wars brand.

First, this paper indicates how the long-standing success of the Star Wars brand mirrors and reflects the power of monomythic storytelling in creating a platform for arts and place building branding associations and extensions for numerous products and services. Second, this study shows and highlights the potential of monomythic structures/storytelling and comparative mythology in acting an underlying cultural platform whereupon several arts brand associations, narratives, extensions and overall strategies can emerge. Finally, this project suggests how arts marketing scholars could further explore the infusion of mythological narratives within branding practices in the areas of performing/visual arts, museums, entertainment and arts related tourism campaigns.

Focusing on the most successful film franchise of all times, this study argues that comparative mythology constitutes an endless source for common templates of artistic, cross-cultural and inter-generational marketing practices focusing on universal moral codes and archetypes.

Building strong human brands inscribed in social and symbolic recognition is a strategic issue for branded individuals. In the context of film director human brands, this study aims to examine the respective influences of the economic and critical performance of films, on the one hand, and the professional legitimacy bestowed by internal stakeholders, on the other, on changes in human brand identity. Contrary to what is generally believed, it shows that the specific legitimacy bestowed by producers and the institutional legitimacy bestowed by elite peers mediate the effects of performance on changes in human brand identity. Brand extension (i.e. new films) incongruence and initial human brand identity moderate the effect of performance on legitimacy.

This study is applied to film director human brands and to their extensions through the films they make. Data were collected for 81 films, including information before and after the brand extension occurs, to capture changes in human brand identity and extension effects.

The results show that economic performance influences both specific and institutional legitimacy, whereas critical performance only impacts institutional legitimacy. These relationships are moderated by initial human brand identity and congruence. Both types of professional legitimacies also help reinforce human brand identity.

The study challenges the role of performance on the building of human brand identity and shows that the latter is co-constructed by the branded individual and internal stakeholders. It also enhances the key roles of global incongruence and genre incongruence in the model.

This paper aims to contribute to the marketing literature and practice by examining the effect of product placements on the host brand. The declining effectiveness of traditional advertising has prompted increasing interest in strategies for placing products in media programming. Most existing research adopt the perspective of the brands embedded in media products, with limited attention to the impact that product placement has on the media product that serves as a host brand for the embedded brands. The authors investigate this effect in the context of motion pictures and develop a theory-driven conceptual model.

The authors test their hypotheses with two experiments in which randomly assigned participants view one of seven versions of a custom-made, seven-minute short film that differ in their level of placement prominence.

The results from a mediation analysis indicate that, after controlling for audiences’ general attitudes toward the embedded brand, greater placement prominence heightens consumers’ reactance to persuasion attempts and negatively affects their evaluations of the host brand. A post hoc experiment confirms that even very low levels of placement prominence can worsen host brand evaluations.

This research is among the first to investigate the effects of product placement from a host brand perspective. It issues a warning to producers of entertainment content: a product placement strategy may generate additional earnings, but it also can lower audiences’ evaluations of the focal entertainment product.

The purpose of this paper is to illustrate the way in which product and brand placement function in the Indian film industry.

The case study is based on extensive field work conducted by the author in India, including interviews with many film industry figures.

Product placement is pervasive in the Indian film industry, but there can be tension between the artistic goals of the film director and the commercial goals of the brand owner.

As far as is known, this is the first case study to address product and brand placement in the Indian film industry. Since this is the largest film industry in the world, this represents an important contribution to understanding the interface between commercial interests and artistic direction.

The purpose of this paper is to contribute to the marketing literature by developing and testing a conceptual model to examine the effects of product placement across a country low in assertiveness and performance orientation (the UK) and a country high in assertiveness and performance orientation (Hong Kong (HK)).

A content analysis of brand appearances in high grossing films within the UK and HK was conducted followed by a 2×2 between-subjects experiment (n=572).

The results indicate participants exposed to prominent placements have a less positive brand attitude and lower purchase intention toward the placed brand. Likewise, respondents exposed to a less well-known placed brand tend to have a less positive brand attitude and lower purchase intention toward the placed brand. There is evidence of interaction effects with cultural dimensions such as assertiveness and performance orientation within the UK and HK.

The results suggest that product placements can be optimized through tailored campaigns targeted at markets with known cultural characteristics. With advances in digital technology, such practices are becoming more frequent and more feasible.

This is one of the first studies to explore the effect of culture on perceptions of product placement and the first study to empirically examine the role of prominence and brand awareness, and their interactions with GLOBE values on the effectiveness of product placement.

Placement prominence is a multidimensional concept. Previous studies have defined and operationalized prominence in different ways, and no studies have tried to systematically examine what should and should not be counted as prominence. This study aims to fill this gap.

Using a content analysis of six short films and a survey study on 129 Chinese young adults, this study systematically examined 13 dimensions of placement prominence on the memory of placed brands.

Factor analysis has reduced the 13 dimensions into five factors: contextual, narrative, sensory, exposure and spatial prominence. Fuzzy-set qualitative comparative analysis (QCA) software was used to conduct a contrarian case analysis and test for predictive validity. This was followed by a QCA to identify the optimal configurations of the five factors that may lead to a high recognition of the placed brands. The optimal configurations were also contrasted across two gender and brand familiarity groups. While the optimal configurations of prominence on brand memory for male and female participants were largely the same, the combinations differed between participants with low and high brand familiarity.

Previous studies in product placement usually operationalize prominence with a few dominant dimensions intuitively though several other dimensions, and their interactions could also affect the prominence level. To the best of authors’ knowledge, this is the first study that used multiple dimensions of prominence configurations to identify paths that may lead to low and high brand memory. The empirical results contribute to the theory and understanding of the effect of prominence on brand memory and provide guidance to brand managers in determining which prominence configuration is the most suitable for achieving their promotional objective.