Branding on a Broken Web – The APG @ The Economist

Exciting. Inspirational. Thought-provoking. And that was just the view from the room we were in. Last month, the Account Planners Group hosted an event called Ideas Exchange, in association with The Economist. Unlike New York, it is always remarkable just how far you can see being only fourteen floors in the air. The London Eye, Big Ben, the Shard and Canary Wharf reached into the sky, with rolling Surrey hills in the background. Many a visiting planner was captivated, before being regrettably distracted by some sort of talk going on elsewhere in the room.

Unfulfilled potential?

Opening the exchange of ideas was Aleks Krotoski, author of ‘Untangling the Web’ and visiting fellow of the London School of Economics. Aleks’ polemic rests on the idea that the Internet is not quite the idyll we initially imagined it would be. The Internet, according to Aleks, gave society a tabula rasa, a chance to create and nurture a platform that was unblemished with influence, or history, or imperfection. Instead we just went about transposing all the biases, prejudices and ways of working from the offline world onto the online one, creating the same communities and social hierarchies. The Internet was supposed to help us reach beyond our closeted knowledge and beliefs, to interact with those we had not met before, the types of people we would have not otherwise interacted with. Instead the opposite has become the case. There has been no utopian transcendence; none of us is virtually swanning round something akin to the pleasure gardens in Metropolis.

Moreover, the serendipity of the Internet that was, among other things, supposed to bring about such felicitous interactions, has been trampled on and abused (think Chatroulette). Aleks declared the web “broken”, breaking a little more every time a user has pushed to them what they want– or what they think they want – instead of having to proactively go looking for something. What we want is supposedly served up on a platter for us now, whether it be Amazon recommendations, or advertisements for sites / products we looked at quickly but have long since lost interest in. This collation and analysis of user behaviour has led to a backlash of sorts, evident in Microsoft’s recent announcement that it will have ‘Do Not Track’ set as a default option on its new browser.

The power of social influence and the declinism of serendipity

In discussing messaging and influence online, Aleks contended that attitudes and behaviour were shaped and formed in exactly the same way online as they are offline. She called the notion of influence “messy” and “unpredictable”. But on the question of how users decide which stuff to pay attention to online, the answer was clear; social influence. The way people become aware of content (and, by extension, opinion) is increasingly through social media, particularly on Twitter. Because we tend to seek out people similar to us online as in real life, this does not bode well for the objectivity of, for example, Fox News fans, as online their beliefs will be reinforced by the echo chamber they have created for themselves. Worse, this echo chamber is created more or less unbeknownst to the user, imperceptible as it is. Not entirely encouraging…

 

Alan Dunachie, director of operations at The Economist Group, focussed more explicitly on the business challenge of how brand owners can communicate in a world of, to paraphrase Aleks, tangled webs, and the role that ideas play in the network.

Tangled Distribution

Alan noted that for ideas to be powerful, they need to be shared and discussed. This sharing encourages something to spread far more quickly than it would have done in the past. The downside of such a system of distribution, as Alan admitted, was that, for anything a brand owner says, consumers can get instant feedback from friends, family and others. This goes for everything from chocolate bars to hotels and wine. Brands must express a view rather than tout a product.

Using stories to influence

The Economist Intelligence Unit, part of the Group, has helped brands solve problem with, what he calls, “editorially-oriented ideas”. Philips wanted to be seen by consumers as a ‘wellbeing’, rather than an electronics company. The Unit developed the idea of Liveanomics with the aim of making cities more productive, and thus enhance wellbeing. They collated urban experts, government policymakers and other from disparate associations, whose conversations then sparked engagement over social networks and traditional media with opinion leaders around the world, enhancing and reshaping Philips’ reputation.

The group also turned their attention inwards, developing the recent advertising campaign for The Economist with their “Where Do You Stand?” campaign, looking at the feeling a reader gets when engaging with the magazine, rather than just selling on its own reputation. As a result, the magazine saw an 11% increase in circulation, a 15% readership increase and 16,000 SMS responses, half of whom ended up subscribing.

All in all it was a fascinating debate on the Internet; how we shape it as users and how we can hope to influence it acting as intermediaries between the brand and the consumer.

Marketing “Tron”

Form follows profit is the aesthetic principle of our times

– Richard Rogers

You know your movie is knocking on the door of the cultural zeitgeist when razor brands are piggybacking off your product. Disney’s ‘Tron: Legacy’, released around a month ago, has accrued a great deal of spilled ink in newspapers and online. The reporting has focussed not only on the film itself, but also its unique design aesthetics and marketing formula across multiple platforms.

Zeitgeist has mentioned the film’s marketing activities before in it’s blog, including it’s three and a half year journey as a promotional campaign to screen, (surely a record). It was a good eighteen months before the December 2010 release of the film that electronic music duo Daft Punk were revealed to be composing the soundtrack. On a brand level, this was a good fit; those who were inclined to see Tron would find this news very exciting; it would hopefully also pique fans of Daft Punk’s interest in the film. The collaboration naturally allows for figurines, bears and awesome headphones to be created, too.

The razor mentioned earlier – the Philips Norelco Senso Touch 3D – could have been an exploitative gimmick launched without much thought of the product itself and how it connects to the movie or their audience. To it’s credit, as reported by brandchannel,

The maker of the new Senso Touch 3D electric razor is offering tickets to an advance screening of Tron: Legacy via a special website that includes a rebate offer, the ability to “customize your photo into the world of Tron,” and a sweepstakes with a $10,000 prize.

The above tactics all help build a connection with the movie itself, ameliorating the product in the eyes of the film’s audience, as well as building anticipation for the film’s release. The week of the release was when footwear designer Edmundo Castillo announced the arrival of a pair of LED ‘Light Sandals’ that, according to Luxuo “pay homage” to ‘Tron: Legacy’. They will retail at $1,650 at Sak’s from February 1st. The article also mentions eyewear manufacturer Oakley is releasing special 3D glasses to tie-in with the film’s opening. Nokia have employed a similar effort with the release of a new handset. More collaborations can be found in a very comprehensive article by brandchannel, here.

In the digital world, it would be ironic if Disney had dropped the ball. Similar to other recent accounts like that for the film ‘Inception’, the film featured several region-specific accounts on Facebook that were regularly updated, informal and promoted reaction and engagement. One of the best things that Zeitgeist saw on the account was the brief chance to attend a free 20-minute preview of the film in several locations around the country. Zeitgeist attended and found himself surrounded by a very particular type of demographic, who doubtless were exceedingly excited to be there, as evinced by their cheering when anything vaguely exciting happened during the select scenes shown. The other digital platform to be wisely exploited was that of videogames. We’re not there yet, but we are fast approaching a time when movies open to support the release of a new videogame, rather than the other way around. There has been a significant fanfare around the release of the videogame based on the film. The game(s) make the bold, yet logical and laudatory move, of differing greatly between platforms, based on the typical owner of such consoles, reports Reuters. For example, the more family-friendly Nintendo Wii’s version lets you race around on a variety of the vehicles featured in the movie. For other platforms, where hard-core gamers make up a bigger portion of the audience, the game delves deeply into the mythology of the films, providing a back-story only hinted at in the new film.

The film itself also sees a number of product placements, including Coors, Apple (so to speak) and Ducati. The latter’s placement seemed rather glaring to Zeitgeist, but to those not on the lookout for such placement it might blend in more easily and authentically. The prominent placement of the motorcycle was spotted by many on Twitter however, with mostly positive reactions:

Associating one’s brand or product with such a cool film is a way of adding to your cachet, to be cool by proxy. Most surprising of all the collaborations then, is that of Apple, who need engage in no such ‘cool by association’ tactics. Yet here they are with a very, very cool app on the iPad. Between the film and the tablet, which is promoting the other in this case is hard to divine.

All this talk of marketing ploys ignores the film’s greatest asset, it’s aesthetic beauty. The film is indeed a wonder to look at, hence how it has inspired so many product collaborations, particularly in the world of fashion. While Zeitgeist realised he was supposed to be feeling somewhat tense and anxious near the end of the film as the goodies race for home, the climactic chase scene is one of a stunning light display that leaves one fairly awe-struck. The design of the film as a whole has been influential enough for the Los Angeles Times to produce a feature on it recently.

You may of course just be looking for a Tron: Legacy Coliseum Disc Battle Play Set, or one of the 37 other items related (vaguely) to the film that Disney has commissioned. In which case, best to head here.

Shut that Window – On platform release dates for movies

Speaking of Disney, the film wing is in the news today for its proposals to release Tim Burton’s 3D extravaganza “Alice in Wonderland” early on DVD, i.e. in less than four month’s after its theatrical release, a date reached by gentlemen’s agreement betwixt studio and exhibitor. In return, major exhibitors are planning to boycott the release of the film unless Disney backs down. Zeitgeist has reported on the narrowing of release windows and its implications before. Variety, and the following day the FT, have more.

UPDATE: In related news, Ridley Scott Associates are planning with Philips to premiere select films online. The tide is definitely turning toward a time when a film is released simultaneously on multiple platforms.

UPDATE: Odeon cinemas will not be showing “Alice in Wonderland”, according to the BBC.

UPDATE: Odeon cinemas WILL be showing “Alice in Wonderland”, according to the BBC.