• 제목/요약/키워드: Brand-myth

검색결과 5건 처리시간 0.018초

스토리텔링 광고에서 스토리유형에 따른 광고모델의 효과 분석 (The Effects of Advertising Endorsers and Story Types in Storytelling Advertising)

  • 소현진;박범순
    • 한국콘텐츠학회논문지
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    • 제18권7호
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    • pp.74-83
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    • 2018
  • 본 연구는 스토리텔링 광고에서 스토리유형에 따른 유명인 모델과 일반인 모델의 효과 차이를 분석하였다. 광고모델유형(유명인, 일반인)과 스토리유형(라이프체험형, 신화상징형)을 조작한 $2{\times}2$ 요인설계 실험이 진행되었다. 수도권에 거주하는 30-40대 여성 200명을 대상으로 온라인 조사를 수행하였다. 연구결과, 라이프체험형 광고의 경우, 광고태도, 브랜드태도, 구매의도 등 세 가지 종속변인 모두에 대해 일반인 모델이 유명인 모델보다 높은 광고효과를 보이는 것으로 나타났다. 신화상징형 광고의 경우, 광고태도에 대해서는 유명인 모델이 일반인 모델보다 높은 광고효과를 보이고 있었으나, 브랜드태도와 구매의도에 있어서는 모델 유형간 차이가 발견되지 않았다. 연구결과의 이론적 실무적 함의는 결론에서 논의되었다.

일본의 신화적 상상계와 전통공간디자인의 상징적 구조 (Japanese Mythic Imaginaries and the Symbolic Structure of Traditional Space Designs)

  • 박경애
    • 한국실내디자인학회논문집
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    • 제24권3호
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    • pp.79-86
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    • 2015
  • Myths and architectural spaces are cultural products symbolizing ideologies and objects respectively. Myth has the structure and the contents of a unique view of the world that reflects thoughts and representations of the nationalities. This study is about 'the spaces of the memory' adapted by the mythic tradition among many aspects of the Japanese tradition. The process of this study is illustrated as follows: At first, it mentions the concept of Gilbert Durand's mythic imaginaries and prototype with the method on how the myth is applied to the architectural spaces in the cultural context. Secondly, It clarifies basic meaning arrangement of the Japanese traditional spaces related to the myth. It shows sourceful 'prototipical system' that lies in the relation between thoughts and representations, regarding the shinto's spaces in terms of mythical imaginaries and Japanness. Thirdly, it ascertains mythical structure represented in the traditional space designs on terms with 'prototype' from symbolic system of the myth. It selects the cases among Japanese contemporary architects's works designed after 1960's, and analyses the meanings. In conclusion, it clarifies that this way can be a suggestion as the space design method combining the human's imaginary property with the time-stratigraphic region, and offering creative ideas for the strategy of the space design brand image that embraces a wide range of culture, ecology, and sensibility.

포털사이트, SNS의 빅데이터를 이용한 신화소재의 브랜드 캐릭터와 연관어, 연관도 분석 (A Study on analyzing brand character of myth material, relevant keyword and relevance with big data of portal site and SNS)

  • 오세종;두일철
    • 디지털산업정보학회논문지
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    • 제11권1호
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    • pp.157-169
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    • 2015
  • In digital marketing, means of public relations and marketing of enterprises are changing into marketing techniques of predictive analytics. A significant study can be carried out by an analysis of 'the patterns of customers' uses' using big data on major portal sites and SNSs and their correlation with related keywords. This study analyzes the origins of mythological characters in major brands such as Nike, Hermes, Versace, Canon and Starbucks. Also, it extracts related keywords and relevance using big data on portal sites and SNS and their correlation. Nike marketing that reminds people of 'the goddess of victory, Nike' formed a good combination of the brand with relevance. Most of them are based on Greek mythology and have rich materials for storytelling and artistic values in common. Hopefully, this case analysis of foreign brands would become a starting point of discovering the materials of the domestic mythological characters.

A Case Study of Shanghai Tang: How to Build a Chinese Luxury Brand

  • Heine, Klaus;Phan, Michel
    • Asia Marketing Journal
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    • 제15권1호
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    • pp.1-22
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    • 2013
  • This case focuses on Shanghai Tang, the first truly Chinese luxury brand that appeals to both Westerners and, more recently, to Chinese consumers worldwide. A visionary and wealthy businessman Sir David Tang created this company from scratch in 1994 in Hong Kong. Its story, spanned over almost two decades, has been fascinating. It went from what best a Chinese brand could be in the eyes of Westerners who love the Chinese culture, to a nearly-bankrupted company in 1998, before being acquired by Richemont, the second largest luxury group in the world. Since then, its turnaround has been spectacular with a growing appeal among Chinese luxury consumers who represent the core segment of the luxury industry today. The main objective of this case study is to formally examine how Shanghai Tang overcame its downfall and re-emerged as one the very few well- known Chinese luxury brands. More specifically, this case highlights the ways with which Shanghai Tang made a transitional change from a brand for Westerners who love the Chinese culture, to a brand for both, Westerners who love the Chinese culture and Chinese who love luxury. A close examination reveals that Shanghai Tang has followed the brand identity concept that consists of two major components: functional and emotional. The functional component for developing a luxury brand concerns all product characteristics that will make a product 'luxurious' in the eyes of the consumer, such as premium quality of cachemire from Mongolia, Chinese silk, lacquer, finest leather, porcelain, and jade in the case of Shanghai Tang. The emotional component consists of non-functional symbolic meanings of a brand. The symbolic meaning marks the major difference between a premium and a luxury brand. In the case of Shanghai Tang, its symbolic meaning refers to the Chinese culture and the brand aims to represent the best of Chinese traditions and establish itself as "the ambassador of modern Chinese style". It touches the Chinese heritage and emotions. Shanghai Tang has reinvented the modern Chinese chic by drawing back to the stylish decadence of Shanghai in the 1930s, which was then called the "Paris of the East", and this is where the brand finds inspiration to create its own myth. Once the functional and emotional components assured, Shanghai Tang has gone through a four-stage development to become the first global Chinese luxury brand: introduction, deepening, expansion, and revitalization. Introduction: David Tang discovered a market gap and had a vision to launch the first Chinese luxury brand to the world. The key success drivers for the introduction and management of a Chinese luxury brand are a solid brand identity and, above all, a creative mind, an inspired person. This was David Tang then, and this is now Raphael Le Masne de Chermont, the current Executive Chairman. Shanghai Tang combines Chinese and Western elements, which it finds to be the most sustainable platform for drawing consumers. Deepening: A major objective of the next phase is to become recognized as a luxury brand and a fashion or design authority. For this purpose, Shanghai Tang has cooperated with other well-regarded luxury and lifestyle brands such as Puma and Swarovski. It also expanded its product lines from high-end custom-made garments to music CDs and restaurant. Expansion: After the opening of his first store in Hong Kong in 1994, David Tang went on to open his second store in New York City three years later. However this New York retail operation was a financial disaster. Barely nineteen months after the opening, the store was shut down and quietly relocated to a cheaper location of Madison Avenue. Despite this failure, Shanghai Tang products found numerous followers especially among Western tourists and became "souvenir-like" must-haves. However, despite its strong brand DNA, the brand did not generate enough repeated sales and over the years the company cumulated heavy debts and became unprofitable. Revitalizing: After its purchase by Richemont in 1998, Le Masne de Chermont was appointed to lead the company, reposition the brand and undertake some major strategic changes such as revising the "Shanghai Tang" designs to appeal not only to Westerners but also to Chinese consumers, and to open new stores around the world. Since then, Shanghai Tang has become synonymous to a modern Chinese luxury lifestyle brand.

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<극한직업>, '촛불혁명' 이후 어떻게 버티며 살아남을 것인가? -코믹 모드의 부활과 자기경영 시대의 코미디영화 (Extreme Job, How Will We Survive Since "Candlelight Protest"? -A Revival of Comic Mode and a Comedy Film in the Age of Self-Management)

  • 정영권
    • 대중서사연구
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    • 제26권3호
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    • pp.221-254
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    • 2020
  • 본 논문은 영화 <극한직업>의 1,600만 흥행에 질문을 던지면서, 절묘한 개봉 시기, 코미디영화의 부활, 이병헌 감독 코미디의 매력만으로는 설명할 수 없는 사회적 맥락에서 그 해답을 찾고자 한다. <극한직업>의 놀라운 흥행은 해당 영화에 대한 텍스트 분석만으로는 도저히 설명 불가능하다. 본 논문은 공론장으로서의 코미디의 기능과 역할을 규명한 후 보수정권이 집권한 2008년 이후 코미디와 타 장르에 나타난 대중의 욕망과 염원을 진단한다. 2008년 이후 어두운 톤의 액션 스릴러·사회문제영화·재난영화 등이 부상했고 이들 장르는 치안의 부재, 민주주의의 위기, 지배층에 대한 비판을 담고 있었다. 그에 비해 같은 시기 흥행한 코미디영화는 대체로 신파, 노스탤지어, 판타지 경향으로서 현실도피적인 모습을 보여주었다. 본격 코미디는 아니지만 <베테랑>(2015)의 커다란 성공 이후 대중영화에서 '코믹 모드'는 서서히 부활했다. <도가니>(2011)가 파생시킨 진지한 사회문제영화 대신 장르 관습에 더 충실한 밝은 톤의 영화들이 사회의 개혁과 변화에 대한 대중의 열망을 담기 시작했다. <극한직업>은 이러한 분위기의 산물이다. 한편, '촛불혁명'은 위기에 처한 정치적 민주주의를 회복하는 계기가 되었지만, 경제적·일상적 삶에서 변화한 것은 거의 없었다. <극한직업>은 민주주의의 회복이라는 촛불혁명 이후 어떻게 버티고 살 것인가의 문제로 읽힐 수 있다. 형사들이 잠복근무를 위해 치킨집을 인수하면서 벌어지는 자영업자로서의 삶은 끝없는 경쟁 속에 생존해야 하는 서민들의 모습이다. 또한 맛집으로 유명해지는 '대박신화'의 꿈과 브랜드 네이밍, 프랜차이즈 확장이라는 자기경영의 면모도 담고 있다. 조폭이 치킨 프랜차이즈를 통해 암암리에 마약을 배송하는 것은 시장질서를 교란하는 거대 유통산업으로 독해 가능하다. 경찰이 자영업자의 정체성을 갖고 이들을 소탕하는 것에 보내는 박수는 나와 다르지 않은 평범한 이웃에 대한 응원이자 오늘날 점점 사사화(私事化)하는 시장에서 공권력의 공공성 회복을 열망하는 대중의 염원이다. 본 논문의 의의는 <극한직업>을 2008년 이후 영화장르의 지형도와 코믹 모드의 부활이라는 관점에서 거시적으로 규명하고, 미시적 수준에서는 이 영화를 '촛불혁명' 이후에도 해결되지 않은 경제적·일상적 삶의 문제로 읽어내는데 있다.