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Images had long conveyed politics through forms as varied as private paintings and public coins. If images are storytelling vectors (Fusari, 2017), visual artefacts were…
Images had long conveyed politics through forms as varied as private paintings and public coins. If images are storytelling vectors (Fusari, 2017), visual artefacts were intended to re/shape human perception of current events and, consequently, their states of ‘being in the world’ (Heidegger, 2001); this is the reason why the visual quality of communication might be hard to disjoin from that of ‘performativity’ (Cartier-Bresson, 2018).
The polysemic (Barthes, 1977), if not fully open (Eco, 1989), quality of visual semiotics complicates identification of any framework of reference and adds to the need for practical and sensible research in digital communication (Fusari, in press).
Since the first US Presidential debate televised in 1968, a new interest surged towards the understanding and production of visual communication of politics. Increasingly so, images (both still and moving ones) have affected, if not thoroughly shaped, understanding of all recent political affairs, particularly so from the 1992's Gulf War onward (Baudrillard, 1995; Kellner, 1992).
The 2012 Invisible Children (IC)'s campaign is here assessed as the milestone marking the potential for global impact acquired by socio-political visual-centred storytelling.
The intertwining of the digital with the visual has yet to be precisely arranged for socio-political storytelling; also, storytelling as a format and approach has increasingly gained relevance, adding new concerns to issues of veracity.
In response, this chapter advances the notion of ‘storyline’ in conjunction with that of ‘storytelling’: the resulting taxonomy aims to review specific notions of truth- and trust-fulness from a visual-centred perspective.
The chapter thus explores the requirements for communicating and understanding visual storytelling on digital media; by doing so, it addresses the extent to which ‘visual storytelling’ might be a notion fit for the job of disseminating today's digital cultures.
Eventually, the chapter will question how to design visually centred communication formats and, in turn, engage these as storytelling of socio-political issues for digital platforms.
Purpose – The purpose of our study was to better understand how bloggers organize branded storytelling in fashion and luxury blogs using explicit and implicit self-brand…
Purpose – The purpose of our study was to better understand how bloggers organize branded storytelling in fashion and luxury blogs using explicit and implicit self-brand association.
Methodology/approach – We have carried out a Netnography on a sample of 60 fashion and luxury blogs. Data analysis relied on a visual denotational and connotational analysis. We have also conducted hermeneutic interviews of influential fashion bloggers and readers to validate our findings.
Findings – Bloggers differently combine explicit and implicit textual and visual branded stimuli depending on their character types. The most influential blogs combine textual implicitness and visual explicitness, regardless of their character types. Other influential bloggers combine visual and textual elements of the story more or less explicitly depending on the archetypes they have constructed. Bloggers reintermediate the relationship between brands and consumers and serve as a “lens” through which readers may select a brand and decide on purchase. The quality of the relationship between the bloggers and the readers relies on the initial reading contract, the evolving presence of the advertised brands in the blog's content, and the amount of privacy shared by the bloggers with their audience.
Research limitations/implications – Our sample is very limited and includes very influential and professionalized blogs.
Practical implications – Our study should help brand managers in selecting fashion blogs as a new relay for advertisement or sponsored content.
Originality/value of paper – Our study provides a framework to brand managers by highlighting recognizable storytelling patterns.
This study aims to provide a holistic understanding of how visual storytelling influences the objective and subjective cognitive responses of consumers, namely objective…
This study aims to provide a holistic understanding of how visual storytelling influences the objective and subjective cognitive responses of consumers, namely objective aesthetic impression and subjective aesthetic association, and aesthetic judgments in response to differing levels of novelty in design innovations.
A mixed-factorial experimental study manipulating the novelty of chair designs (moderate/high) and visual design stories (present/absent) was conducted among 263 female US consumers to test the proposed research model.
With respect to the main effects of novelty and visual design stories, consumers had more positive cognitive responses and aesthetic judgments to: product designs with moderate (vs high) novelty; and products with visual design stories than without. A significant interaction effect uncovered that visual design stories particularly aided products with high (vs moderate) design novelty with respect to objective aesthetic impressions. Examination of the structural relationships between the variables revealed that subjective aesthetic associations mediate the relationship between objective aesthetic impressions and aesthetic judgments.
To mitigate risk in radical design innovations, marketers should use visual storytelling to communicate product form associations and enable consumers to successfully decode the meaning of novel designs during initial encounters.
By examining a holistic model involving both perceptual and conceptual product concepts, this study fills a critical research void to develop insightful implications on bridging the gap between novel product designs and consumer understanding.
The authors analyze how conflicting institutional demands become deployed in organizational storytelling in the context of wildlife documentaries. Documentary producers…
The authors analyze how conflicting institutional demands become deployed in organizational storytelling in the context of wildlife documentaries. Documentary producers increasingly feel the pressure to entertain the audience, while simultaneously addressing serious environmental issues. Using a mixed-method analysis of BBC wildlife documentaries produced between 2009 and 2017, the authors identify two narrative strategies, alternation and amplification, to balance demands for entertainment and environmental conservation. Alternation switches entertaining and serious content to offset conservation concerns, while amplification uses entertainment to accentuate conservation. Emotions play a significant role in both ways of storytelling. The findings of this chapter contribute to the literatures on institutional microfoundations, storytelling, and emotions.
The new focus of brand communication in social media has driven firms to develop the effective visual content strategy. In light of narrative transportation theory, this…
The new focus of brand communication in social media has driven firms to develop the effective visual content strategy. In light of narrative transportation theory, this study aims to investigate the impact of a photo’s narrative elements on self-brand connection through viewers’ transportation and emotional responses. Additionally, this study tests the role of telepresence on Instagram in this psychological mechanism.
Using between-subjects experimental design, two experimental studies test the effect of implied movement (Study 1) and diverse narrative elements such as a character, implied motion for chronology and the relevant background (Study 2).
Results demonstrate that a single narrative element, i.e. implied motion, does not induce a viewer’s transportation to the presented image. Rather, the viewer’s transportation occurs as a function of complex and diverse narrative elements, such as implied motion and the background as a context.
Findings suggest that the concept of photo narrative should be taken into consideration in a visually-oriented social media environment. To increase self-brand connection, social media communication should be designed with diverse elements to promote viewers’ active simulation and create meaning to the branded photo story.
This study expands the theory of narrative transportation by applying it to a visual form. Additionally, this research investigates the effect of social media communication on self-brand connection; the findings of this study demonstrate that a major goal of social media communication is not to sell products but to strengthen consumer-brand relationships through branded storytelling.
Drawn from the concepts of processing fluency and mental imagery, the present study aims to fill the void by developing the mechanism underlying consumers' cognitive…
Drawn from the concepts of processing fluency and mental imagery, the present study aims to fill the void by developing the mechanism underlying consumers' cognitive processing of visually appealing digital content in social media (i.e. Instagram) of retail brands.
Data were gathered using a web-based survey method with consumers residing in the USA (N = 328). Structural equation modelling (SEM) was employed to investigate the proposed hypotheses. In addition, measurement invariance and multigroup analyses were conducted to test the moderation effect of need for cognition (NFC).
The results supported the pivotal role of mental imagery when consumers process visual messages in the context of a retail brand's Instagram. Both comprehension fluency and imagery fluency positively influence mental imagery, which in turn cultivates positive attitude towards the brand. The mediating role of mental imagery is confirmed. Furthermore, individuals' NFC interacts with imagery fluency but not with comprehension fluency such that high NFC strengthens the effect of imagery fluency on mental imagery. That is, when high-NFC consumers process information on Instagram, their perceptions of ease of generating imagery likely evoke visual representation of the brand's messages on Instagram in their minds.
This research provides feasible ways for brands to increase the effectiveness of digital marketing communications in social media (e.g. optimising of the contextual features of visual information and employing interactive features such as filters of social media to enhance processing fluency).
Within the context of digital retailing, this study provides a new perspective of consumers' imagery processing to investigate the effectiveness of visual-focussed messages.
This paper aims to examine the effects of visual themes and view perspectives on users’ visual attention to brand posts on Instagram. The impact of visual attention on…
This paper aims to examine the effects of visual themes and view perspectives on users’ visual attention to brand posts on Instagram. The impact of visual attention on brand attitude and recognition is also explored.
The authors conducted a 4 (visual themes: customer-centric, employee-centric, product-centric and symbolic visuals) × 2 (view perspectives: first-person view vs third-person view) between-subject factorial eye-tracking experiment to explore their effects on viewers’ visual attention (fixation frequency and fixation duration), attitude toward the brand and brand recognition.
Results showed that, under a first-person view, participants spent the longest time viewing customer-centric images and paid the most attention to product-centric and customer-centric images. For images in the third-person view, product-centric images received the longest fixation duration and highest fixation frequency. Customer-centric image and product-centric image generated significantly higher amount of fixation duration and fixation frequency than the symbolic image, regardless of view perspective. Brand recognition was positively influenced by fixation frequency but not by fixation duration.
This study is an extended application of Aaker’s (1996) brand identity planning model in visual branding on Instagram. As the findings indicated, the effective use of visual strategies could lead to more positive responses toward the brand. By understanding how optical elements stimulate visual branding processing, marketing professionals will be able to improve information designing skills in visual-based social media platforms (such as Instagram).