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This study aims to examine the ability of the social influence heuristics framework to capture skillful and creative social media influencer (SMI) marketing in long-form video content on YouTube for influencer-owned brands and products.

The theoretical lens was a framework of seven evidence-based social influence heuristics (reciprocity, social proof, consistency, scarcity, liking, authority and unity). For the methodological lens, a qualitative case study approach was applied to a purposeful sample of 6 SMIs and 15 videos on YouTube.

The evidence shows that self-promotional influencer marketing in long-form video content is relatable to all seven heuristics and shows signs of high elaboration, innovativeness and skillfulness.

The study reveals that a heuristic-based account of self-promotional influencer marketing in long-form video content can greatly contribute to the understanding of how various well-established marketing concepts (e.g. source attractivity) might be expressed in real-world communications and behaviors. Based on this improved, in-depth understanding, current research efforts, such as experimental studies using one video with a more or less arbitrary influencer and pre-post measure, are advised to explore research questions via designs that account for the observed subtle and complex nature of real-world influencer marketing in long-form video content.

This structured account of skillful and creative marketing can be used as educational and instructive material for influencer marketing practitioners to enhance their creativity, for consumers to increase their marketing literacy and for policymakers to rethink policies for influencer marketing.

Prior research has created a body of knowledge on influencer marketing. However, a conceptual disconnect has hampered the advancement of the field. The social influence heuristics framework is a highly functional conceptual bridge that links the qualitative and quantitative evidence and will advance the understanding of influencer marketing more effectively.

The purpose of this study is to examine the impact of self-brand congruity and ad duration on the effectiveness of in-stream online video advertisements.

Two online experiments were administered based on a 2 (self-brand congruity) * 2 (ad duration) between-subjects design. Three brand personality dimensions (excitement, sophistication and ruggedness) were included in the model as replicates, and effectiveness was measured using six dependent measures.

High self-brand congruity resulted in significantly greater attention, attitude toward the ad, attitude toward the brand and purchase intention when compared to low self-brand congruity. Higher recall of ad information was found for subjects who viewed ads low in congruity with their self-concepts. Attention, recall and recognition were significantly higher for participants who viewed 30-s ads. An interaction effect of self-brand congruity and ad duration was found on purchase intention.

This study considered the impact of self-brand congruity and ad duration on the effectiveness of ads for only well-known brands inserted into short-form content. Future research should consider using ads without celebrities present or ads for fictitious brands inserted into long-form video content.

When producing video advertisements, an adequate selection of brand cues should be included that are deemed self-congruent with target audiences. Ad managers aiming to drive favorable consumer attitudes and purchase intention should select 15-s over 30-s ads.

This study examines the impact of self-brand congruity and ad duration on each stage of the hierarchy of effects model, including attention as a precursor to recall and recognition. The interaction effect between self-brand congruity and ad duration is also assessed.

The purpose of this paper is to show how sonic logos, despite their brief exposure time, resonate with consumers’ emotions and attitudes in a manner that until now has been attributed to only longer background music in advertising. The moderating role of sonic logo placement within the ad (beginning versus ending) and the mediating role of emotion felt after exposure to the brand and advertisement are also explored.

An expansion on sonic logo research is completed through two experiments testing nine hypotheses. A pretest is also conducted to create two orthogonal sonic logos (sad sonic logo and happy sonic logo) which are then used in the two experiments.

Participants had higher attitude scores for an advertisement that had a happy sonic logo over the ad that had a sad sonic logo. These consumer attitudes are mediated by emotion felt because of the exposure to the brand and advertisement and are moderated by placement of the sonic logo within the ad. Placement drove more positive consumer attitudes of a sad sonic logo at the beginning and a happy sonic logo at the end of the advertisement.

Given the short nature of a sonic logo, sonic logo placement in the advertisement is shown to change consumer perceptions. This effect uncovers an important aspect of placement of the sonic logo in the advertisement which gives practitioners a means of application. Furthermore, consumer emotions drive these strong attitudes despite the short exposure times of the sonic logo.

This paper expands upon the limited sonic logo research and shows how the short exposure time of a sonic logo can have the same emotional qualities as long-form music, previously reserved for background music in advertising. In addition, by uncovering the mediating relationship of emotion felt after exposure to the brand and advertisement, it is shown how these short audio branding elements can help shape emotion and consumer attitude toward brands. Finally, altering placement of the sonic logo can enhance consumer attitudes of the advertisement and brand.

This study aims to investigate how business-to-business (B2B) companies use message strategies on social media platform and how these strategies are effective in improving customer perceived value and encouraging customer engagement, as well as how B2B companies differ from business-to-customer (B2C) counterparts in terms of utilization and effectiveness of social media message strategy.

Based on content analysis of Sina Weibo brand pages and survey of website visitors, this paper examines the differences of social media message strategies and their impacts upon customer perceived value and customer engagement between B2B and B2C companies.

B2B companies use more rational appeals and less emotional appeals, have lower degree of informativeness and perform better in interactivity and variety than B2C companies. These five dimensions of message strategy have different roles in engaging customers via perceived value across B2B and B2C settings.

The research makes significant contributions to B2B social media marketing literature by answering two interrelated questions, namely, “What companies are doing?” and “What companies should do?” on social media websites. Besides, it provides insightful implications for B2B companies on how to implement appropriate message strategies in their social media marketing efforts by conducting Importance-Performance Analysis.

Although the short-video-based application TikTok and its AI-enhanced technology have achieved enormous success and reshaped the user experience, few studies have focused on the user experience in the TikTok context. This study adopts a technology affordance theory lens to identify the main mechanisms contributing to the user experience in the short-video platform context while including user experience level and video length as moderating effects.

This study collected 401 valid questionnaires from TikTok users and used the structural equation modeling approach to examine the proposed research model.

Three technology affordances (perceived effortlessness, perceived recommendation accuracy, and perceived recommendation serendipity) contribute to TikTok users' optimal flow experience. Multi-group analysis results further indicate that individuals react differently to the same stimuli as their experience level increases. Finally, video length critically influences the impact of technology affordances on users' cognitive responses.

As a burgeoning industry, the mechanisms enabling short-video platforms to engage users remain unclear to practitioners and researchers. Thus, this study's technology affordance lens provides necessary insights into how TikTok's innovative and advanced technologies contribute to user flow experience from a context-dependent perspective. Furthermore, given that most existing studies have neglected possible variations in user preferences when investigating the effects of technology, this study enriches the existing literature by employing user experience level and video length as moderators.

This chapter takes a look at the Social Web. Humanities scholars are, by and large, a fairly social group. Attend any of the Modern Language Association conferences and you will be inundated with invitations to attend events hosted by publishers, groups within MLA, universities, and alumni organizations. The way we now include apps as an inherent part of our socialization, however, is changing and evolving as a result of some of the tools that are to be associated with the digital humanities, albeit not necessarily as apparently so as some others. This chapter explores the familiar players like Facebook™, Google+™, Twitter™, and others and discusses how they are being used by those in the field, contextualizing them within a variety of disciplines in the humanities through case studies while situating the category alongside theories that make sense of their use. Not as commonly used in academic social networks are vlogging applications along with student blog sites, which are also examined in this chapter. It is in this and subsequent chapters where augmented reality enhancements will be used. Please follow the directions at the beginning of Chapter 2 to access these additions.

News, as one of many forms of newspaper output, has long been synonymous with journalism. The “crisis of journalism” is primarily a crisis of the news as a cultural form. Drawing on Carey (2008), this chapter argues that news has lost its monopoly as a source of global experience and everyday drama, and, thus, has lost its commodity value. The decline of traditional forms of news is transforming journalism, and its democratic function as vehicle of public conversation, toward long-form, long-term, and affective narratives.

Purpose: This chapter explores the current hybridization between true crime and nonfiction investigative documentaries on Video on Demand (VOD) platforms. It would seem necessary to distinguish true crime productions from long-form journalistic documentaries in order to avoid confusion between different products that do not pursue the same ends, such as audiovisual products with highly emotive and engaging components versus a journalistic approach to the truth about what happened. Methodology/approach: The analysis is based on the specific theory of true crime developed by Punnett, who provides genuine narrative codes (Justice, Subversive, Geographic, Forensic, Vocative, and Folkloric) for true crime to distinguish it from the formal conventions and social objectives of journalistic documentaries. The case study (El crimen de Alcàsser) was selected because of its potential to drive a detailed and in-depth study on one of the most traumatic crimes in the country’s recent history: the kidnapping, rape, torture, and killing of three teenagers in 1992. Findings: Several scholars have identified journalistic elements in true crime productions in the digital context, adopted in an attempt to distance them from the true crime tradition of appealing to primitive instincts. Although it has been perceived also as a renewed formula for journalism to reach a wide audience and mainstream success, it banishes journalism from its origin and goals: to guarantee the citizenship’s right to be truly informed about crime. In this way, journalistic documentaries inspired by real crimes may play a crucial role in a democratic society, while true crime only exploits the empathy of viewers and places them in the active participation of determining the suspect-protagonist’s guilt as a mode of “clickable” entertainment in the digital culture. Research limitations: This is the first in a series of studies within a broader research project on true crime documentaries released on the VOD platforms in Spain. The findings are, in this case, preliminary. The analysis needs additional testing before its utility can be reasonably determined and a theory about true crime made in Spain could be developed. Originality: First, there is no specific research in the field of true crime in Spain, although crime stories already enjoyed a prominent place in Spain’s conventional TV programming. Second, the Punnett analysis model introduces an interesting way to complement existing theoretical references about the connections between true crime and journalism.