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YouTube is one of the primary platforms for the creation and distribution of audiovisual content. Consequently, brands leverage its potential for the dissemination of branded content projects. This paper examines the case of BBVA's "Aprendemos juntos" ("Learning Together"), whose YouTube channel boasts over four million subscribers. The research objectives are to characterize the distribution model and analyse the content to identify its key elements, delving into the fundamental principles of branded content. In order to achieve this objective, a methodology has been devised which employs a quantitative analysis of the channel's videos between 2019 and 2023, in addition to a content analysis of the most significant pieces. [ABSTRACT FROM AUTHOR]

Branded content creation is seeing a surge in response to the gradual loss of effectiveness of conventional advertising. This paper analyzes the degree of suitability of the radio medium for the development of the branded content technique, in contrast to podcasting, from the perspective of professionals in both sectors. To this end, exploratory research is proposed, through a methodological triangulation. Specifically, open interviews are conducted with 6 managerial professionals linked to these media, which are completed with a survey of 50 professionals from the radio company and a content analysis of the advertising rates in force in 2023 of the 31 generalist and thematic stations included in the General Media Study. The research shows that, at a formal level, despite the obstacles experienced in terms of the commercialization of the technique, radio is a valid medium for branded content and that the prestige provided by certain stations, their audience and expertise, in terms of the production of journalistic products, provide added value to the brand. However, considering the tactical nature of the medium, depending on the objectives and results pursued by the brand, podcasting may be the most appropriate spoken sound medium. [ABSTRACT FROM AUTHOR]

The creation of branded content through the podcast is gaining weight in brand communication strategies. With branded content, brands reach new consumers with contents imbued with their values and personality and no persuasive intrusions. However, there are branded podcasts with a marked brand presence aimed at the selling or contracting of the products or services the brand represents. The main aim of this study is to propose a classification of branded podcasts based on the presence of the brand in the audio narrative and to analyse whether a high degree of branding in the branded podcast undermines the unintrusive nature of branded content and whether this converts the format into one of conventional advertising. To this end, we developed a proprietary qualitative-quantitative deductive method adapted to the research subject with which we examined 10 branded podcasts. Among the main conclusions, we highlight that the presence of a high degree of branding in the content undermines the brand-free nature of the branded content technique. When the brand’s presence is high and its persuasive intention is perceived, the branded podcast acquires the intrinsic character of conventional advertising. [ABSTRACT FROM AUTHOR]

This manuscript investigates the particularities of the creation of Bangtan, a transmedia narrative universe in the South Korean music industry and its relationship with content consumption by its followers. Specifically, the study focuses on BTS, the most popular and awarded k-pop band. Therefore, the main goals are to determine the main characteristics of transmedia branded content in the South Korean music sector and to examine the 22 main communication strategies carried out by the band that integrate this type of strategy based on branded content and its consumption trends by ARMy, its fandom. For these purposes, a qualitative analysis is proposed based on variables from the specialized literature of the 22 main communication strategies carried out by the band and their consequent coding according to the type of story, content, message and objectives and interaction that the fans carry out with the music band. The results allow us to conclude that BTS has found a way to introduce a successful branded content strategy in a communicatively conservative country through a peculiar connection between the band and the fans, who voluntarily engage in actions to spread the brand, amplifying the content previously created by the band, and producing new ones that expand the transmedia narrative universe promoted by the entertainment production company: HyBE. [ABSTRACT FROM AUTHOR]

In the digital era, the uilisaion of social media strategies has become a common pracice to achieve communicaion and branding objecives across various organisaions. This quanitaive study, adoping an experimental methodology, focuses on the hospital sector, where it has been observed that social media engagement is directly related to the quality of paient experience, and the corporate reputaion and brand recogniion of hospitals. The purpose of this research is to develop and validate a muli-criteria evaluaion model of hospitals' use of social media to discover the factors that enhance paient engagement and, consequently, the corporate reputaion of these eniies. For this purpose, a systemaic literature review is conducted, an expert judgement assessment is carried out to validate the indicators used in the proposed model, and a content analysis of 2758 posts from 10 Spanish hospitals on Instagram and LinkedIn networks is performed. The results reveal that the indicators influencing engagement vary according to the plaform. On Instagram, the format and type of content, as well as the informaion provided are the most determinant factors. On the other hand, on LinkedIn, the informaion and the number of followers are the aspects that most impact paricipaion. The robustness of this model contributes, both theoreically and pracically, to the understanding of the factors of the hospitals' brand content that simulate social media engagement. Furthermore, it provides guidelines for communicaion and brand managers to efficiently manage the content markeing strategy on Instagram and LinkedIn. [ABSTRACT FROM AUTHOR]

Branded content in its informative modality is based on publications that imitate the style and character of editorial content, trying to make its sponsored status go unnoticed by the audience. This research aims to analyse the journalistic quality of these publications through two specific objectives. Firstly, a qualitative methodological proposal is developed to evaluate these sponsored contents. This index considers ten fundamental criteria of journalistic quality and assigns a rating (<10) on a four-level scale (poor, minimal, good and excellent). Secondly, the index is applied to a sample of items published during one month (N=372) in six of the main Spanish digital media. The results reveal minimal standards in informative branded content. Only one of the six analysed media meets the standards of good quality, with a rating of 6.8, while the rest show poor levels of journalistic rigour. Four of the media do not even achieve an overall rating of five out of ten. From a journalistic point of view, informative branded content is concerned with the selection of topics of interest to the public and with the journalistic roles of service and social journalism. However, the sources are few, linked to the sponsoring company, and often unsuitable for addressing the topic. The close link between the content and the brand highlights the risk that branded content poses in guaranteeing the distance between editorial and commercial content. The financial salvation attributed to this advertising becomes, paradoxically, a threat to the legitimacy and independence of journalistic enterprises. [ABSTRACT FROM AUTHOR]

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Copyright of Uru: Revista de Comunicación y Cultura is the property of Universidad Andina Simon Bolivar, Sede Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Fotocinema is the property of Revista Fotocinema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The creation of branded content through the podcast is gaining weight in brand communication strategies. With branded content, brands reach new consumers with contents imbued with their values and personality and no persuasive intrusions. However, there are branded podcasts with a marked brand presence aimed at the selling or contracting of the products or services the brand represents. The main aim of this study is to propose a classification of branded podcasts based on the presence of the brand in the audio narrative and to analyse whether a high degree of branding in the branded podcast undermines the unintrusive nature of branded content and whether this converts the format into one of conventional advertising. To this end, we developed a proprietary qualitative-quantitative deductive method adapted to the research subject with which we examined 10 branded podcasts. Among the main conclusions, we highlight that the presence of a high degree of branding in the content undermines the brand-free nature of the branded content technique. When the brand’s presence is high and its persuasive intention is perceived, the branded podcast acquires the intrinsic character of conventional advertising.

En el contexto de la “audificación” y el creciente protagonismo del sonido, el podcast se ha convertido en una herramienta poderosa para las marcas. Este artículo tiene por objetivo describir y analizar el uso del branded podcast por parte de la empresa argentina Ledesma, como una estrategia innovadora y efectiva para conectar con su audiencia de manera creativa y emocional. A través del proyecto “Experiencia sonora en el Universo Ledesma”, su centro de visitantes se ha convertido en un espacio interactivo, donde, mediante técnicas de sonido envolvente y grabaciones binaurales, se brinda la posibilidad de sumergirse en cinco propuestas acústicas. Esta iniciativa inmersiva permite conocer diferentes relatos y narrativas que transmiten los valores y la identidad de la marca, lo que crea una experiencia única y memorable para los visitantes. En el marco del estudio de caso, la triangulación metodológica que combina análisis de contenido web, entrevistas y observación participante ha permitido analizar cómo la tecnología de micropodcasting se ha convertido en un vehículo estratégico para Ledesma. En las conclusiones, se indica cómo la estrategia de branded podcast implementada —una forma efectiva de construir relaciones con los clientes, asociar la marca con valores particulares y enfocarse en servir en lugar de vender— ha sido una opción acertada para la empresa jujeña, en su búsqueda de una comunicación más auténtica y significativa con la comunidad. Así también, queda demostrado que el podcasting representa una forma poderosa de contar historias y conectar emocionalmente con los oyentes.

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Correspondencias & Analisis is the property of Universidad de San Martin de Porres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El pódcast se ha convertido en un formato de audio emergente para la explotación publicitaria mediante la técnica branded content, empleando el contenido para transmitir los valores de la marca sin hacer uso de mensajes de carácter intrusivo. La técnica aplicada al medio sonoro supone un valor añadido para las marcas gracias al poder evocador del sonido. En este contexto unisensorial, las narrativas de inmersión sonora incrementan la experiencia auditiva convirtiendo al oyente en parte integrante del storytelling. A través del estudio de Sonidos que nos transforman de Endesa, el primero y único branded pódcast inmersivo producido en España hasta la fecha, analizaremos cómo se integra la marca en la narrativa y hasta qué punto el pódcast se configura como un formato adecuado para transmitir el mensaje de la marca a través de la inmersión sonora. La metodología se completa con entrevistas exploratorias a los responsables del proyecto. Los resultados constatan que las técnicas sonoras inmersivas no son un mero ornamento técnico-sonoro aplicado sin casuística, sino que favorecen notablemente el incremento del engagement con la marca debido a la intensidad con la que el oyente vive la experiencia. Asimismo, pone de relieve la existencia de una narrativa propia para el pódcast, que encuentra su metodología y fuentes de producción en la radio –el medio sonoro por antonomasia–, pero amplifica sus posibilidades debido a la ausencia de límites espacio temporales y a su naturaleza grabada.

Advertising ethics is more fashionable than ever and has become an important branch within what is known as Corporate Social Responsibility. For this reason, it is exploring how the different advertising formats can be adapted to the new objective of companies to transmit brand values and purposes in an effective way. Branded content is positioned as one of the star formats for this purpose and that is what we are going to discuss in this article. To do this, we will analyze the branded content actions that have been launched in Spain in the last four months of 2022, which will allow us to know what are the themes, genres, formats and types of companies that use it, as well as the advantages and limitations of its use. [ABSTRACT FROM AUTHOR]

The current communication paradigm has given rise to new advertising formats. Branded content is one of the disciplines that is experiencing a greater extension, due to the good results obtained. It is well known that, in part, the success of advertising campaigns lies in the coordination of the different phases involved in their production, from the creation of the advertising concept to its diffusion in the media. The purpose of this study is to examine whether the advertising format of branded content has led to modify the strategies and planning in the media, in order to maintain the effectiveness of the campaigns. The study analyzes the campaign "Aprendemos juntos", of BBVA, as a successful case of a branded content campaign recogniced by de advertising industry. The research is divided into three phases: firstly, the content of the campaigns is analyzed, based on a defined sample; secondly, in-depth interviews are conducted with experts in the field and protagonists of the design of the strategy and media planning of the campaign; finally, a comparative analysis of the evolution of media strategy trends in the advertising sector, specially of the case studie, is carried out. The study shows how the integration of new advertising formats is changing media strategies, where the digital channel is becoming more relevant in the plans. [ABSTRACT FROM AUTHOR]

Copyright of Correspondencias & Analisis is the property of Universidad de San Martin de Porres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En la última década, los fashion films han adquirido especial relevancia en la industria de la moda como un contenido estratégico de este sector; por lo que es preciso ahondar en su riqueza narrativa para comprender la naturaleza de este contenido. La finalidad es encuadrar los fashion films en el marco del branded content y distinguir sus características específicas en el sector de las marcas de moda de lujo, como Louis Vuitton, Hermès, Burberry y Dior. Para ello, se emplea una metodología cualitativa de estudio de los fashion films más representativos de las marcas seleccionadas, mediante un análisis estético y un análisis diegético. Los resultados de la investigación muestran que las marcas conciben los fashion films como content marketing, advertainment y branded entertainment, con características estéticas y narrativas distintas.

Social networks have become crucial communication channels for brands through awareness, engagement, and word of mouth. Instagram is firmly positioned as a direct gateway between brands and consumers, as it became the fifth most-used social network globally in 2021. As such, branded content is expected to increase the brand’s likability, by capturing the interest and attention of the consumer, which could differ depending on what social media platform is used. This study aims to analyze whether there is a relationship between the branded content published on the Instagram profile of luxury brands (Manolo Blahnik and Loewe) and the interactions of and with its followers, focusing on branded content communication associated to industrial, social responsibility, and commercial issues. A correlational study is presented using a quantitative methodology to test the hypotheses through an ANOVA analysis. The results show which type of content is more productive on Instagram’s social network profile, helping diffusion of the firm, as it provokes more reactions from followers when using branded content related to social responsibility. It is also worth noting the extent of the interactions that branded content shows within the brand, whose influence is detected not in averages but in reach. The study’s conclusions allow us to affirm that branded content directly impacts brand reputation, generating positive engagement in all the cases analyzed. The study contributes to a better understanding of the branded content effect on consumers.

In search of profitability, digital media have for years been exploring innovative strategies to produce and finance their content. Specifically, digital-native media, those news organisations that operate solely in digital networks, have generally evolved from an ad-based free content model to multi-revenue stream business models in which formulas like branded content have gained relevance. Drawing upon three cases --BuzzFeed, Vice and Vox--, this article analyses the evolution of the business strategies of global digital-native organisations towards multi-revenue streams paying attention to the role of the new forms the commercial content is adopting in this competitive scenario. This article uses a multiple case study approach that examines both relevant news stories (n=1,000) and in-depth interviews with managers and editors (n=7) to understand how the emphasis of these three leading digital-native media brands on branded content formats as a revenue source have impacted their business models. These brands have evolved towards a combination of news and branded editorial content, which is constantly adapted to user behaviour while looking for innovative ways to engage with the audience. Results show that although branded content and other alternative means of revenue have become essential for these digital-native media organisations, they do not provide an ultimate and long-term model. On the contrary, this study demonstrates that global digital-native media's business model is characterised by a state of flux in which revenue streams are constantly re-assessed in order to adapt to fast changes in the audience and the news market. [ABSTRACT FROM AUTHOR]

Podcasting is all the rage. The distribution of audio content has recently gained great momentum on a personal, media and business level. In this context, brands have begun to see the opportunity to use this communication tool to connect with the audience and generate emotional bonds through attractive content. However, there are still few studies that take a rigorous look at branded podcast. This research explores the phenomenon of podcasting as branded content in Spain and Latin America, making a radiography of the current situation of the branded podcast, from a mixed approach, delimiting its features, observing some trends and making a proposal for classification (according to the type of brand involvement, according to formal criteria and basic descriptors of the podcast, according to content, functional and narrative criteria, and according to the nature of the sponsoring company and its relation to the production of the podcast). The search for and analysis of branded podcasts is the main work of this research, with a sample of 100 podcasts, differentiating the branded podcast from other typologies such as podcast sponsorship, corporate podcasts and institutional podcasts. Among the results we highlight the variety of styles and themes in their own sound content, all of them linked to a greater or lesser extent to the business sector of the companies. In addition, these podcasts are broadcast on their websites and audio platforms and are more educational and informative than entertaining. It is therefore an approach to branded podcasting with a proposal for classification that aims to be a first conceptualisation of this phenomenon. [ABSTRACT FROM AUTHOR]

Netflix tries to attract the public with promotional actions which go beyond conventional advertising. The company opts for branded content, through strategies based on its own catalog. The objective of this research is studying how Netflix promotes itself through a previously unused format, the talk show La Tarotista, produced for YouTube. After a content analysis, a tendency towards the transmission of organizational identity through the aesthetic-visual code is observed, focusing the discourse on the life stories of the guest cast. Thus, Netflix humanizes its catalog, giving as much relevance to fiction as to the context in which it takes place. [ABSTRACT FROM AUTHOR]

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of aDResearch ESIC: International Journal of Communication Research / Revista Internacional de Investigación en Comunicación is the property of ESIC Business & Marketing School and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The commodification of mobile devices and penetration of high-speed Internet continue to make social media an ideal platform for businesses to reach consumers. Despite ample studies have been conducted to understand the factors that affect social media marketing effectiveness, the specific nature of tourism and hospitality products (i.e., highly experiential) has rarely been considered. Based on computer-mediated communication (CMC) theories and relevant work in the communication literature, this study investigates what affect the effectiveness of hotel social media branded contents. Self-reported data were collected from 318 respondents and were tested using confirmatory factor analysis and structural equation modeling. The findings demonstrate the positive impact of telepresence and social presence on customer purchase intention through trust and perceived usefulness. This work integrates CMC theories and technology acceptance model to provide a comprehensive explanation of social media branded content effectiveness. Practical implications are provided for hoteliers to design more effective social media branded contents. [ABSTRACT FROM AUTHOR]

Objetivo: YouTube se ha convertido en uno de los espacios más rentables a la hora de realizar inversión publicitaria y captar a públicos cada vez más jóvenes, de gran interés para las marcas. Los objetivos de la investigación son estudiar el uso que los anunciantes españoles realizan de su canal en YouTube e identificar rasgos comunes en los contenidos que publican en esta plataforma. Diseño/metodología/enfoque: Se realiza un estudio descriptivo, utilizando como herramienta metodológica el análisis cuali-cuantitativo de contenido y del discurso. La muestra está formada por los 1.029 vídeos publicados en YouTube en 2019 por las diez marcas españolas más importantes según volumen de inversión en 2019, de acuerdo con InfoAdex (2020). A partir de nueve preguntas de investigación, se analizan variables relativas a cuatro dimensiones: presencia, audiencia, interacción y discurso. Resultados: Nueve de las diez compañías tienen canal en YouTube. Aunque los canales de El Corte Inglés, Orange y Telefónica son los que realizan más publicaciones, el de L´Oréal es el que obtiene más interacciones. El tipo de contenido de marca en YouTube más habitual entre los principales anunciantes españoles es el branded content, especialmente de información/educación, seguido del spot corto y de los vídeos corporativos. Limitaciones/implicaciones: Las limitaciones del estudio radican en la diversidad de sectores de las marcas analizadas, circunstancia que influye en los resultados, y en la amplia variabilidad en lo que a la publicación de contenidos en YouTube por parte de las marcas se refiere. Originalidad/contribución: El valor del estudio radica en el tamaño muestral. Los resultados demuestran que la estrategia de contenidos de estas marcas necesita de una mayor definición, al encontrarse en estado de desarrollo intermedio, con publicaciones escasas, periodicidad de publicación irregular y poca adaptación de contenidos a las particularidades del canal, lo cual resta creatividad a las publicaciones.

Purpose: The article sought to answer research questions regarding investigated branded content generated by players in simulation video games. How does the process work in video games? What are the characteristics of branded user-generated content in video games? To what extent players are willing to participate in branded content creation?

Social media has become a primary medium for brands to engage their customers. Brands are continually looking for ways to provide favourable experiences to engage customers on social media platforms. Despite the prolific research on social media in the marketing context, the consumer experience concept in social media remains underexplored to date. This paper addresses this gap by understanding consumer experience with the social media branded content using theoretical underpinnings of consumer culture theory and presenting a precise conceptualisation of consumer experience with the social media branded content. An accurate understanding of branded content experience will help practitioners enhance consumer engagement with their brands in social media. This study concludes with managerial implications and future research directions related to consumer experience in the social media context. [ABSTRACT FROM AUTHOR]

This article studies how kidfluencers (influencers under 15 years of age) create content in YouTube and Instagram and how they integrate branded content for brands. Twelve active profiles of kidfluencers in Spanish with a greater number of followers have been studied in order to know how they incorporate the brand presence in the audiovisual formats, what information they provide and how through storytelling and creativity they connect with their audience. In addition to self-promotional content, brands have an important role, especially those presented through games. Although the script is detected to make it more attractive, the brands coexist with a high presence of linguistic errors, opinions and comments that show how the videos are created by kids although there is post-production. It's remarkable that in both social networks it is avoided to signal commercial content, both in the video and in its title. [ABSTRACT FROM AUTHOR]

Copyright of Correspondencias & Analisis is the property of Universidad de San Martin de Porres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)