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Learning outcomes are as follows: understanding the difference between brand identity and brand image; applying various segmentation tools; understanding the appeal of the aspirational brand and its consequence on private and public consumption; exploring the strategic options available to a brand facing a brand appropriation; exploring the pros and cons of opposing a brand appropriation; and developing a plan for the implementation of this strategy.

This case will help students understand the difference between the brand identity that the brand owners intend and the brand image that consumers actually perceive.

This case is designed to be used in marketing management, brand strategy or consumer culture course. Specifically, the case is designed for college seniors or master students with basic strategic marketing training. It should provide the basis of discussions on the topics of brand management, consumer culture, brand portfolio management, international marketing, repositioning strategy, brand architecture, brand equity, brand assets, brand appropriation and consumer relationships with brands.

Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

CSS 8: Marketing

Purpose: The first objective is to explore how narcotelenovelas and news can be compared in their representation of drug violence and figures. The second is to explore a method which identifies intertextual references in fiction by contrasting them with journalistic reports. Methodology/approach: Qualitative content analysis is of three narcotelenovelas: El Señor de los Cielos, El Chapo, and Narcos: México. After documenting clear historical references and figures, a search was made through news engines and portals to make a comparison of the fictional versus journalistic representation of such references. Findings: Many elements of narcotelenovelas such as events and public figures are highly comparable to those described in news. While producers openly warn that they changed facts for dramatic purposes, it’s possible to propose hypotheses in which audiences construct their historical memories based on fictional narratives. Research limitations: This chapter does not offer an exhaustive list of intertextual references from all three narcotelenovelas. Originality/value: This type of comparative analysis between fiction and journalism hasn’t been explored for the study of narcoculture media products. The author poses a hypothesis, in which fiction contributes significantly to collective memories and imaginaries, especially when it appeals to historical references audiences might identify.

This chapter offers feminist perspectives on the violence exercised by female avengers in popular audiovisual products about narcotrafficking from Mexico and Colombia. Through the case studies of the narcotelenovela Rosario Tijeras (RCN Televisión, 2010) and the B movie Sanguinarios del M1 (Alonso Ortiz Lara, 2011), we explore how recent Latin American narco-narratives rearticulate the ‘rape-revenge’ film. Following Valencia's conceptualisation of necroempowerment (2012), we argue that female characters respond to rape with ruthless methods in an effort to regain agency. We combine existing literature in feminist film studies with postcolonial readings of the specificities of rape-revenge in the narco-universe where the violence these heroines use as retaliation is already the norm for their male counterparts. A close reading of revenge sequences underscores how vengeance can constitute a cathartic outlet for enraged female characters, challenging stereotypes of feminine passiveness and subverting gender hierarchies. However, it also perpetuates a patriarchal order based on toxic ideals of individual power achieved through bloody methods. We examine how empowerment can entrap female protagonists and serve to differentiate the types of violence that each gender has access to, and we discuss the problematic representation of rape as a transformative moment necessary for women to later become powerful.

The purpose of this study is to focus on analyzing the role of music subcultures in the communication and promotion of conspicuous consumption practices. The object of study is the “altered movement” as the music style of the drug subculture in Mexico.

A qualitative content analysis of 78 lyrics and music videos of “altered movement” was carried out between August and December 2018.

The analysis of lyrics and music videos leads to the identification of four narratives (from poor to rich, power through violence, lavish lifestyle and power over women) and diverse symbolic markers (luxury brands mainly) that together, display messages aimed at promoting conspicuous consumption practices.

The current research expands the body of literature of music subcultures in the consumer research area by contesting the common conception of this phenomenon as a healthy source of self-identity formation and deepening into its role as a source of conspicuous consumption practices.

The purpose of this study is to explore drug consumption from a cultural perspective, in the context of the consumer culture. It aims to identify if, through the branding process, cryptomarket vendors are attaching a sign-value to their products to facilitate the process by which consumers will recognize and appreciate it.

The study was done by performing a qualitative content analysis loosely inspired from semiotics on a sample of 40 seller pages from the Dream Market and samples of their listings, collected in 2018. The vendors who had over 1,000 successful transactions were selected, as they were considered to be the ones who have gained a certain level of trust on the cryptomarket and were considered to having to compete by differentiating their services through their brands of choice.

The results have shown that the sign-value attached to the drugs sold by the vendors from this sample can be divided in two different types of sign-systems: the popular culture and the drug cultures. The popular culture includes sign-value borrowed from established brands, popular media and media representations of crime worlds. The drug cultures include values from three types of subcultural systems: cannabis, party and psychonaut subculture.

The study is trying to stir the discussions around the regulation of the drug markets by looking at the market forces within them as rather a product of consumer capitalism and not as processes that happen outside the postmodern cultural and societal trends.