Lecture 1 Brand and branding

Question 1

De Chernatony, L., & Dall’Olmo Riley, F. (1998). Defining a” brand”: Beyond the literature with experts’ interpretations. Journal of Marketing management, 14(5), 417-443.
De Chernaton & Dall’Olmo Riley (1998)

Answer 1

A brand is about what customers perceive a company and what value the business have.

Question 2

Branding at botom is a bit like onscenity. it is easy t recognise but difficult to define (brown 2016)

Answer 2

if you give a short definition it is likely limited

Question 3

branding

Answer 3

historically an instrument of distinction, a burning mark on a cattle , this is mine, this is yours

Question 4

brand evolvement

Answer 4

evolving into a mark of distingusihing producers from another - development of uniqueness but also making a company responsible for the product :)

for a long time the product was at the center and the brand just a technical add-on

Question 5

today however a strong brand is considered a strategic asset and could be valued many times over the price of producing a product

Answer 5

the brand metamorphosed into being more valuable than the prodcts sold

Question 6

the way we see brands are valued ar the expectation of the future? list of brands at the stockmarket
brand value , brand revenue

Answer 6

expectations of the future and the brand, and how they are valued. the old brands in the top are now far behind, technology fashion good now?? new company like tessla how it is valued in comparison to traditonal companes? very interesting. built up in our mind of what they are capable of delivering, not now but in the future. you also have to deliver. aspect of sustainability, part of the expectations today. interesting development on the stockmarket - being sustainable brand to boost your brand. how big hedgefonds don’t want companies that dont builds a sustainable brand as they are the most valuable .
- the surplus you pay are the brand value. expectations of revenue is about branding, how these companies survives in the future.

Question 7

currently

Answer 7

from

Question 8

story telling that entreprenurs use when getting investors, and how they interviewed investors what was it they really triggered on this ability to tell a compelling story; which is what branding is about, and which is what people buy into.

Answer 8

it is about having a good story to tell

Question 9

currently

a brand is a promise , a convey of meaning and story

Answer 9

from brand conveyor informatoin to brand as conveyor of image and image
- we live in a branded society where the branding process is associated not only with the business but ith the social life, personal life, identity, fame celebrities, etc.
-

Question 10

branding as cultural resources

Answer 10

• we buy brands to define ourselves
• they are part of who we are, either what we don’t or do buy
• cultural resources important part of branding

Question 11

branding adn marketing

Answer 11

if you are. a business, branding is who you are - and marketing is how you build awareness

• for the business practitioner, branding is the strategy, while marketing encompasses the tactical goals
• what story do you think about when you think about a brand
• a brand is created in the mind
• look at notes there are more !! :)

Question 12

the discourse of branding is a bit like an invasive species (brown, 2016: 11)

Question 13

the state can form what a brand means, and people also, tiffany & co , tiffany’s wanted to attracted a new crowd and played with graffiti,

Question 14

https://static.squarespace.com/static/52f06caee4b0c058f6084354/t/539070a1e4b0b4380bb48719/1401974945820/Levy_ProductandBrand.pdf The Product and the brand Gardner, Burleigh and Sidney Levy 1995

Answer 14

https://static.squarespace.com/static/52f06caee4b0c058f6084354/t/539070a1e4b0b4380bb48719/1401974945820/Levy_ProductandBrand.pdf The Product and the brand Gardner, Burleigh and Sidney Levy 1995
- a brand has to decide who they want to target:
* Accordingly, management has to determine what kind of brand it wants to present. Does it
wish to be very dignified (and forego the teen-age, dime-store customers); does it want to be
smart and individual (and latch onto The New Yorker readers); or does it want to seem a bit
daring and frivolous (and skip a lot of moral middle-class housewives)?
- companies have to do an evaluation of what the public think of the brand: good by merely telling them loud and often about its benevolent intentions.
For management to be able to handle this problem effectively it should evaluate its brand’s
current public image, the differences seen by different important consumer groups, and the
images of competitive brands. Otherwise, it does not know just what it is working against, what
limitations in image must be overcome, and what strengths it has to build on.

Building the Brand
In creating, developing, or modifying a brand image, the advertising people must have a good
understanding of the situation that confronts them. This includes a nuanced appreciation of the
brand image as it already exists–with an awareness that the momentary sales position of the
brand may be less important for its future than the danger that people may think of it as getting
increasingly passé, perhaps.
Advertising men must think about such problems as:
1. In a lively product area, is the brand thought of as dull?
2. In a conservative product area, is the brand too frivolously presented?
3. Does it involve anxious connotations?
4. Does its use pattern seem increasingly circumscribed?
5. Is it an “unfriendly” brand, an overly masculine brand, a weak-seeming brand, and so on?

Question 15

https://static.squarespace.com/static/52f06caee4b0c058f6084354/t/539070a1e4b0b4380bb48719/1401974945820/Levy_ProductandBrand.pdf The Product and the brand Gardner, Burleigh and Sidney Levy 1995

Should companies think of the colour they have and how it psychologically can influence what people think of them?

Answer 15

https://static.squarespace.com/static/52f06caee4b0c058f6084354/t/539070a1e4b0b4380bb48719/1401974945820/Levy_ProductandBrand.pdf The Product and the brand Gardner, Burleigh and Sidney Levy 1995

YES Too many advertisements are built as individual units, with a conglomeration of
elements to satisfy different agency and client tastes rather than with reference to a guiding,
governing product and brand personality that is unified and coherently meaningful.
In many advertising conferences someone will ask: “Which of these campaigns will sell the
most packages?” This is not an irrelevant question, certainly, since presumably advertising that
does not sell is unproductive. Nevertheless, a single campaign is not the manufacturer’s only
salesman, and he usually intends to remain in business for many following years. From this point
of view it is more profitable to think of an advertisement as a contribution to the complex symbol
which is the brand image –as part of the long-term investment in the reputation of the brand.
This point of view has many implications. It means that:
- Copy should be thought about in terms of its symbolic and indirect meanings as well as its
literal communication.
- Color and illustration are not merely esthetic problems since they also have social and
psychological implications.
- Media selection should be related to a brand image plan and not merely geared to circulation
figures.
- Research should seek out ideas and meanings as well as audience statistics.
CONCLUSION
We have sought to highlight some ideas that seem to be important in the thoughtful
presentation of products and brands. Products and brands have interwoven sets of characteristics
and are complexly evaluated by consumers. Hence, advertising a product is not a matter of
isolated messages. It calls for analyses of attitudes and motives. It also calls for a differentiated
knowledge and judgment on the part of management and advertising people; in a sense, their
tasks become richer, and the division of responsibility more meaningful.
With the findings of qualitative research, management can see its product in a clearer
perspective. Advertising people can increase their awareness of the social-scientific nature of the
communication process and the way in which their actions influence it. Those on the creative
side of advertising, particularly, can find new sources of stimulation and inspiration in breaking
away from the preconceptions and conventions that have fixed so much advertising in set molds.

Question 16

https://static.squarespace.com/static/52f06caee4b0c058f6084354/t/539070a1e4b0b4380bb48719/1401974945820/Levy_ProductandBrand.pdf The Product and the brand Gardner, Burleigh and Sidney Levy 1995

We have sought to highlight some ideas that seem to be important in the thoughtful
presentation of products and brands.

Answer 16

https://static.squarespace.com/static/52f06caee4b0c058f6084354/t/539070a1e4b0b4380bb48719/1401974945820/Levy_ProductandBrand.pdf The Product and the brand Gardner, Burleigh and Sidney Levy 1995

Products and brands have interwoven sets of characteristics
and are complexly evaluated by consumers. Hence, advertising a product is not a matter of
isolated messages. It calls for analyses of attitudes and motives. It also calls for a differentiated
knowledge and judgment on the part of management and advertising people; in a sense, their
tasks become richer, and the division of responsibility more meaningful.
With the findings of qualitative research, management can see its product in a clearer
perspective. Advertising people can increase their awareness of the social-scientific nature of the
communication process and the way in which their actions influence it. Those on the creative
side of advertising, particularly, can find new sources of stimulation and inspiration in breaking
away from the preconceptions and conventions that have fixed so much advertising in set molds.

Question 17

PUBLIC IMAGE
In similar fashion, a brand name is more than the label employed to differentiate among the
manufacturers of a product.

Answer 17

It is a complex symbol that represents a variety of ideas and
attributes. It tells the consumers many things, not only by the way it sounds (and its literal
meaning if it has one) but, more important, via the body of associations it has built up and
acquired as a public object over a period of time. A well-chosen brand name may have a
rhythmic quality (like Jell-O for desserts) or an apt air (like Bell for telephones). It will also
convey meanings which advertising, merchandising, promotion, publicity, and even sheer length
of existence have created.
The net result is a public image, a character or personality that may be more important for the
over-all status (and sales) of the brand than many technical facts about the product. Conceiving
of a brand in this way calls for a rethinking of brand advertising, and of the kinds of judgments
that have to be made by an informed management about its communications to the public.
CRUCIAL SYMBOLS
The image of a product associated with the brand may be clear-cut or relatively vague; it may
be varied or simple; it may be intense or innocuous. Sometimes the notions people have about a
brand do not even seem very sensible or relevant to those who know what the product is “really”
like. But they all contribute to the customer’s deciding whether or not the brand is the one “for
me.”
These sets of ideas, feelings, and attitudes that consumers have about brands are crucial to
them in picking and sticking to ones that seem most appropriate. How else can they decide
whether to smoke Camels or Marlboro; to use Nescafe or Maxim’s instant coffee; to drive a Ford
or a Chevrolet or a Plymouth.
Justifying choice is easier with the cars; there at least the products have clearly visible
differences. But the reasons people give for choosing a brand of cigarettes (and soap and bread
and laxatives) are pretty much the same. Thus you find drinkers of any brand of beer justifying
their preference in identical terms: “Millers is better because it’s dry.” “I like a dry beer, so I
prefer Bud to Millers.”

Question 18

Corporate branding in
perspective: a typology
Jonathan E. Schroeder
Department of Communication, Rochester Institute of Technology,
Rochester, New York, USA 2017vThe four perspectives demonstrate the growing interdisciplinary interest in brands. They also
signal a move away from a focus on the brand-consumer dyad, towards broader social cultural and theoretical
concerns. Studies that extend brand research into cultural and historical realms may provide an essential
bridge between our understandings, on the one hand, of value residing within the product or producer

Answer 18

Schroeder 2017
The purpose of this paper is to review a typology of branding that identifies four perspectives on
branding: corporate perspectives, consumer perspectives, cultural perspectives and critical perspectives. This
typology helps organise and synthesise the growing interdisciplinary literature on brands and branding, and
sheds light on the various ways corporate brands work.

intention, and on the other, value created by individual consumers or brand communities.

Question 19

Schroeder 2017

The corporate perspective

Answer 19

Schroeder 2017

The corporate perspective focuses on brands from a strategic point of view. Within the
corporate perspective, models of brand identity, brand image and brand equity are central to
understanding issues such as brand DNA, brand essence, brand equity and brand value. A
key concept within the corporate perspective is the corporate brand, introduced and refined
by Balmer and his colleagues (Balmer, 1995, 1998, 2011; Balmer and Gray, 2003; Urde et al.,
2007). Also, one can speak of a brand culture within a corporation, with reference to how
closely the organisation aligns with brand values (He and Balmer, 2007), or how firmly its
employees embody operational identity (Borgerson et al., 2009). Furthermore, much research
within this perspective emphasises the corporate brand over consumer brands or products
(Balmer, 2001, 2011, 2013; Balmer and Greyser, 2006; Burghausen and Balmer, 2015;
Cornelissen et al., 2007). Many of the world’s biggest companies and most valuable brands,
such as Apple, Google, IBM and Mercedes, are seen as corporate brands rather than
corporate entities, each valued for its intangible brand attributes as well as other assets.
These corporate brands form an increasingly important, powerful and visible part of the
economy (Balmer, 2001, 2011; Urde et al., 2007). Corporate marketing represents a key
strategic aspect of corporate brands.
Corporate films have emerged as a key tool for corporate marketing, reflecting a visual
turn in management (Bell et al., 2014; Meyer et al., 2013). A number of high-profile brands
have hired well known film directors to produce films for their corporate marketing, such as
Martin Scorsese for Dolce and Gabbana, Wes Anderson for Prada and Ridley Scott for
BMW. A related strategic initiative involves “the making of” branding and advertising
campaigns, in which brands hire a second camera crew to make a short video about a high
profile brand campaign or corporate marketing shoot. In addition to hosting both print and
video advertisements, many brands feature the “making of” such content on their corporate
websites, as a way to offer “behind the scenes” looks at the brand and its promotional
activities. As this represents a fairly recent phenomenon in corporate marketing, it is useful
to take a look at a few examples to illustrate their strategic roles.

Question 20

Schroeder 2017

Corporate perspective

Answer 20

Schroeder 2017 - Corporate perspective
Although these three videos – for Dr Martens, Burberry and Shanghai Tang – hew
closely to their distinctive brand identities, the basic scenario – live action shots of
advertising campaigns being photographed, informal interviews with the campaigns’ stars,
“off camera” comments and looks of the models, and the appearance and feel of a
documentary – is similar across the three brands. This type of corporate marketing offers
brands new ways to realise their visual identities, and offer loyal consumers further
connections to the brand (Baker and Balmer, 1997). In an increasingly fragmented media
landscape, these behind the scenes films make compelling corporate branding tools.

Question 21

SCHROEDER 2017 - the consumer perspective

Answer 21

SCHROEDER 2017 - the consumer perspective
The consumer perspective has shifted attention from corporate perspectives toward a
consumer perspective to understand the roles of brands and branding in the everyday lives
of consumers, and the roles brands play in consumer culture. Consumer research has shown
that brands are interpreted in multiple ways, prompting an important and illuminating
reconsideration of how branding works. Consumers are seen to construct and perform
identities and self-concepts, trying out new roles and creating their identity within and in
collaboration with brands (Allen et al., 2008; Holt, 2002; Schroeder, 2015a, for a review).
From a consumer perspective, brands can be understood as aspects of consumer identity, as
well as managerial tools.
Key concepts within the consumer perspective include brand relationships, brand
community and brand tribes. Brand relationships encompass how consumers form relationships and attachments to brands, fostered by strategic brand communication and
negotiated by consumers (Fournier et al., 2015; Ind, 2014; Meyvis and Dhar, 2008).

Question 22

Schroeder 2017 - the consumer perspective

Answer 22

Schroeder 2017 - the consumer perspective
Brand communities and brand tribes refer to groups of followers of a brand, who often get together,
online or in person, to celebrate their chosen brand. Brand communities are marked by
shared ideals about the brand, brand routines and rituals and a sense of obligation to the
brand (Muñiz and O’Guinn, 2001). A key visual aspect of consumer interaction with brands
concerns consumer-generated brand content, in the form of photographs, films and videos.
Consumer-generated photography – encompassing selfies, uploaded photographs on
social media sites, corporate websites and brand community sites, consumer generated
advertising (including critical viewpoints, parody videos and spoof ads), consumer
unpacking videos, fashion blogs and product review sites – has expanded tremendously,
punctuated by the incorporation of the camera into the mobile phone and the advent of the
web-enabled smartphone (Schroeder, 2015b). Many consumers seem driven to photograph
themselves with their favourite brands – consuming, unpacking, sharing and rating them on
corporate websites as well as on their own social media platforms (Marwick, 2015). This
complicates how brands are managed, as these consumer-driven images of brands compete
for attention with corporate expressions of brand identity.

Question 23

Schroeder 2017 - the consumer perspective
For example, an increasing number of corporations have embraced seflies as a marketing
tool.

Answer 23

Schroeder 2017 - the consumer perspective

Corporate branding campaigns such as Equinox sports club’s “My Body, My
Biography” promotion, which encourages consumers to upload images of their “gym
bodies”, discount retailer TK Maxx’s “Me by Me” campaign, which encouraged their
customers to post pictures of themselves showing off their TK Maxx bargains and Calvin
Klein’s selfie initiative – “Show Yours. #mycalvins”. A more elaborate example is Axe’s
“Kiss for Peace” social media campaign that urged consumers to share a photograph of
themselves kissing in a strategic collaboration with Peace One Day, an international nonprofit group that promotes world peace.

Question 24

Schroeder 2017 - the consumer perspective
The use of selfies in strategic brand campaigns signals a shift from corporate-generated
to consumer-generated strategic imagery

Answer 24

Schroeder 2017 - the consumer perspective

Moreover, strategic use of selfies offers broader
insights into strategic implications of social media use. Selfies can appear authentic, as if
they are beyond the artificially constructed world of typical advertising photography and
corporate imagery. They present a slice of life or a visual testimonial. This visual quality can
be harnessed to promote brands as authentic, to invoke the average consumer – or
employee – as a credible product endorser, and to demonstrate how the brand might fit in
with consumer’s lifestyles, creating value (Iqani and Schroeder, 2016). The seflie’s use in
marketing campaigns reveals changes in the traditional functions of the branding
photograph – from sources of information, persuasion and representation to emblems of
social currency

Question 25

The cultural perspective

Schroeder 2017

Answer 25

Schroeder 2017: The cultural perspective considers brands as part of culture rather than primarily a
management tool. An emphasis on culture forms part of a larger movement within the brand
research canon, reinforcing a basic premise that culture and history can provide the
necessary context for corporate perspectives of the interaction of branding with consumers
and society (Cayla and Eckhardt, 2008; Hémar-Nicolas and Rodhain, 2017; Schroeder and
Salzer-Mörling, 2006; Schroeder, 2009; Urde et al., 2007; Zhiyan et al., 2013).

Question 26

the cultural perspective: schroeder 2017
Brand research from a cultural perspective occupies the theoretical space between
strategic concepts of brand identity and consumer interpretations of brand image, shedding
light on the gap often seen between the corporate and consumer approaches (Schroeder,
2015a).

Answer 26

The cultural perspective - schroeder 2017 - often emphasises brand heritage, history and legacy, and
how these create associations, meaning and value (Balmer, 2013; Balmer and Chen, 2015;
Conejo and Wooliscroft, 2015; Gaski, 2015; Schroeder et al., 2015). In particular, corporate
Corporate
branding in
perspective
1525
heritage brands are often linked to a particular place or culture (Balmer and Chen, 2015).
Brand culture has been defined as “the cultural codes of brands – history, images, myths, art
and theatre – that influence brand meaning and value in the marketplace” (Schroeder, 2009).
Brand culture focuses on how brands share stories, build community and solve problems.
As cultural forms, brands evolve in accordance with changes in historical, geographical and
social contexts. From this perspective, cultural, ideological and political environments
influence the process of building brands, brand meaning and brand value (Balmer and Gray,
2003). Brands, understood as cultural forms, reflect people’s ideologies, their lifestyles and
their cultural values (Heilbrunn, 2015).

Question 27

1. what’s the definition of brand culture and 2. what does it focus on, for instance does brand culture focus on telling stories? 3. Does ideology and politics influence the process of building brands, brand meaning and brand value? schroeder 2017

Answer 27

1. Brand culture has been defined as “the cultural codes of brands – history, images, myths, art
   and theatre – that influence brand meaning and value in the marketplace” (Schroeder, 2009).
2. YES brand culture focuses on how brands share stories, build community and solve problems.
   As cultural forms, brands evolve in accordance with changes in historical, geographical and
   social contexts.
3. YES from this perspective, cultural, ideological and political environments influence the process of building brands, brand meaning and brand value (Balmer and Gray,
   2003). Brands, understood as cultural forms, reflect people’s ideologies, their lifestyles and
   their cultural values (Heilbrunn, 2015).

Question 28

Critical perspectives schroeder 2017
Does critical perspectives on brands provide an important reflective point of view, revealing
ways in which brands function as ethical, ideological and political objects?
are brands criticised??

Answer 28

Critical perspectives schroeder 2017
YES, and also, a critical
perspective on brands remains essential for understanding powerful roles corporate brands
play in consumers’ and employees’ lives and in cultural discourse, for researchers and well
as managers. Not everyone likes brands, and the internet provides a ready forum for
expressing concern and displeasure, as well as enthusiasm.
Brand critique often focuses on advertising imagery, as this represents the most visible
aspect of many corporations (Bell et al., 2014).

Question 29

are there other criticism (critical perspective) of brands ? schroeder 2017

Answer 29

Another line of criticism concerns the
expansion of brands and a corporate branding logic into a wide range of institutions,
including hospitals, nations, politics, universities and personal lives (Jeanes, 2013). – why?? author does not explain? can ask on seminar —-
Furthermore, social media tends to encourage branding in one’s own online life via
Facebook, Twitter and other platforms. Brand relationships and “living the brand”
initiatives have been criticised as fostering relationships with corporate for-profit entities, as
well as celebrity brands, rather than with friends and family, promoting online brand
communities over local communities.

Question 30

schroeder 2017 final words?

Answer 30

Corporate, consumer, cultural and critical brand perspectives form a typology of how
brands articulate, embody and embrace cultural contradictions and corporate strategy
(Askegaard, 2006; Cayla and Eckhardt, 2008; Schroeder et al., 2015). Brands, brand
meanings and brand values can be understood as cultural, political and ideological forms,
and brand researchers and others are encouraged to develop multiple perspectives to
understand brands as a fundamental aspect of contemporary consumer culture. The visual
dimension represents a key aspect of contemporary corporate branding (Schroeder, 2015b).
In particular, the strategic role of film, photography and video deserves further reflection
and research.
Placing corporate branding and corporate marketing in context opens up practice and
research to consider brands in all their complexity, and provides a set of tools that shed light
on the various aspects of contemporary brands, as well as organising a burgeoning brand
literature. Crucial concerns for future work on corporate brands and corporate marketing
include the growth of social media and digital culture, co-creation of brands, measuring
brand value, big data and brands, corporate brands in emerging economies and the
psychological, interpersonal and cultural effects of consumers’ relationships to brands.