Mad Men and Scandal: Marketing via Fan Tastes

Bessie Chu
Bessie ChuDirector, Global Product Management at GroupM
Marketing Via Fandom
use	
  of	
  taste	
  
hierarchies	
  in	
  
participatory	
  culture	
  
Prepared By Bessie Chu
Fandom, Participatory Culture, and Web 2.0
Agenda
-­‐What	
  I’m	
  doing	
  and	
  Why	
  
-­‐Theoretical	
  Framework	
  to	
  Approach	
  
-­‐Recent	
  Scholarship	
  
-­‐Initial	
  Observations	
  
-­‐Initial	
  Conclusions	
  
-­‐Would	
  love	
  feedback!	
  
Intentional Activations
Normalization of 
“Commercial Fan Practices”
Awareness	
  of	
  using	
  fan	
  practices	
  vis	
  a	
  vis	
  
Web	
  2.0	
  capabilities	
  	
  
Deliberate	
  use	
  of	
  taste	
  hierarchies	
  in	
  
marketing	
  shows	
  and	
  fan	
  interactions	
  
Mad Men versus Scandal
Why Does it Matter
Further	
  fan	
  studies	
  awareness	
  of	
  marketing	
  
mimicry	
  of	
  fan	
  practices	
  and	
  its	
  impact	
  in	
  Web	
  
2.0	
  and	
  larger	
  societal	
  rhetoric	
  
But First a Theoretical
Framework…
Hierarchy of Legitimate Tastes
Bourgeois	
  distance	
  	
  
“legitimate	
  consumption	
  
	
  of	
  legitimate	
  works”	
  
Taste	
  cultures	
  relating	
  to	
  demarcations	
  of	
  identity	
  
classifying	
  people	
  and	
  things	
  	
  
“Discriminating	
  taste	
  above	
  fandom”	
  
Bourdieu (1980)
Third Phase of Fandom
Conceptualizing	
  three	
  distinct	
  
“waves”	
  of	
  fandom	
  since	
  1980s	
  
•  “Guerilla	
  style	
  tactics	
  “	
  in	
  first	
  
phase	
  
•  1990s	
  proliferation	
  of	
  new	
  
media	
  and	
  fan	
  communities	
  
•  Third	
  phase	
  of	
  examining	
  the	
  
role	
  of	
  fan	
  objects	
  and	
  fans	
  as	
  
active	
  producers	
  because	
  of	
  
digital	
  media	
  
Gray (2007)
Web Practices as a Culture
Looking	
  at	
  the	
  Web	
  Commons	
  as	
  
a	
  “mind-­‐set,	
  not	
  a	
  specific	
  
form	
  of	
  technology.”	
  
	
  “Just	
  as	
  there	
  is	
  a	
  change	
  in	
  the	
  
interconnected	
  nature	
  of	
  
contemporary	
  media,	
  so	
  too	
  is	
  
there	
  are	
  revolution	
  in	
  the	
  way	
  
media	
  technologies	
  are	
  used.	
  	
  
We	
  can	
  see	
  it	
  in	
  the	
  collective	
  
communal	
  nature	
  of	
  the	
  web,	
  
in	
  the	
  self-­‐conscious	
  nature	
  of	
  
the	
  use	
  of	
  the	
  web,	
  and	
  in	
  the	
  
assertiveness	
  of	
  fans”	
  (p.	
  23).	
  	
  	
  	
  
Booth (2010)
Power Struggles in Web 2.0
Themes	
  of	
  how	
  does	
  fandom	
  cope	
  with	
  new	
  power	
  
in	
  the	
  Web	
  2.0	
  age.	
  	
  
“The	
  blurring	
  of	
  the	
  borders	
  between	
  consumers	
  
and	
  producers,	
  as	
  well	
  as	
  growing	
  awareness	
  of	
  
the	
  added	
  value	
  of	
  fan	
  labor	
  (Ross,	
  2008;	
  Baym	
  &	
  
BurneD,	
  2009),	
  have	
  led	
  to	
  a	
  percepGon	
  of	
  
unprecedented	
  power	
  held	
  by	
  audiences	
  over	
  
producGon	
  companies.”	
  	
  
Hadas & Shifman (2013)
Race and Ethnicity in Fandom
Gatson (2011)
Over	
  time,	
  we	
  have	
  come	
  to	
  focus	
  particularly	
  on	
  the	
  racialized	
  flow	
  
of	
  cultures,	
  historical	
  marginalizations	
  of	
  specific	
  populations	
  based	
  
on	
  race/ethnicity,	
  class,	
  and	
  gender/sexuality	
  in	
  media,	
  education,	
  and	
  
scholarship,	
  and	
  the	
  implications	
  of	
  how	
  particular	
  forms	
  of	
  culture	
  
flow	
  more	
  easily	
  than	
  others.	
  	
  
Cultural	
  forms	
  originated	
  and	
  produced	
  by	
  minority	
  groups	
  are	
  co-­‐
opted,	
  whitewashed	
  (and,	
  conversely,	
  hyperracialized),	
  and	
  
historically	
  monetized	
  for	
  the	
  benefit	
  of	
  white	
  producers	
  and	
  
consumers.	
  Simultaneously,	
  cultural	
  forms	
  produced	
  in	
  racial/ethnic	
  
spaces	
  and	
  communities	
  for	
  local	
  racial/ethnic	
  audiences	
  exist	
  in	
  and	
  
of	
  themselves,	
  for	
  their	
  respective	
  communities.	
  
Television and Fandom Framework
“No Network is an Island”
•  Idea	
  of	
  a	
  show	
  enabling	
  fans	
  to	
  participate	
  in	
  
“immersive	
  environment”	
  (p.211)	
  	
  	
  
•  “One	
  of	
  the	
  more	
  intriguing	
  relationships	
  I	
  
found	
  across	
  the	
  earlier	
  and	
  later	
  years	
  of	
  my	
  
audience	
  research	
  revolved	
  around	
  viewers’	
  
sense	
  of	
  whether	
  or	
  not	
  they	
  were	
  
watching	
  “acceptable”	
  or	
  
mainstream	
  television,	
  and	
  whether	
  or	
  not	
  
they	
  perceived	
  their	
  TV-­‐related	
  activities	
  to	
  
be	
  “typical”	
  (p	
  12)	
  
•  “In	
  other	
  words,	
  many	
  of	
  the	
  activities	
  fans	
  of	
  
this	
  show	
  engaged	
  in	
  resembled	
  those	
  of	
  cult	
  
fans	
  -­‐	
  but	
  these	
  activities	
  were	
  not	
  likely	
  to	
  
have	
  occurred	
  if	
  not	
  for	
  the	
  strategies	
  
evident	
  within	
  the	
  text	
  and/or	
  on	
  the	
  
website”	
  (p.15)	
  	
  
Ross (2008)
Mainstreaming of Fan Practices
Gillian (2011)
•  Dawson’s	
  Desktop	
  created	
  as	
  an	
  
extension	
  of	
  the	
  storyworld	
  
because	
  producers	
  engaged	
  in	
  
“viewing	
  practices	
  that	
  mirrored	
  
those	
  of	
  dedicated	
  fans	
  of	
  the	
  
series,	
  which,	
  in	
  term,	
  impacted	
  the	
  
kind	
  of	
  content	
  she	
  provided”	
  (p.43)	
  	
  
•  Grey’s	
  Anatomy	
  in	
  2000	
  public	
  
broad	
  adoption	
  of	
  fan	
  practices	
  (p	
  .
233)	
  
•  Grey’s	
  Anatomy	
  	
  flogs	
  (p.	
  224)	
  
Mainstreaming of Fan Practices
Producers	
  and	
  stars	
  embedded	
  
in	
  fan	
  conversations	
  as	
  “one	
  
of	
  us”	
  
“Shonda,	
  you	
  have	
  taken	
  care	
  
of	
  us	
  for	
  so	
  long	
  that	
  now	
  it	
  
is	
  time	
  for	
  us	
  to	
  take	
  care	
  of	
  
you.	
  	
  Trust	
  me,	
  we	
  all	
  got	
  
your	
  back	
  and	
  will	
  be	
  
planted	
  in	
  front	
  of	
  the	
  TV	
  
watching”	
  (9/19/06)	
  p.	
  226	
  	
  
Gillian (2011)
Mainstreaming of Fan Practices
Historical	
  note	
  on	
  Twitter	
  initially	
  
a	
  contested	
  medium	
  (p.	
  244,	
  p	
  
p.234)	
  
“Some	
  pointed	
  out	
  how	
  ill-­‐suited	
  
a	
  TwiDer	
  feed	
  was	
  for	
  
a	
  television	
  series	
  as	
  it	
  made	
  it	
  
impossible	
  to	
  concentrate	
  on	
  
the	
  acGon	
  and	
  took	
  up	
  far	
  too	
  
much	
  screen	
  space”	
  (p.	
  234)	
  
Gillian (2011)
Media	
  dependency	
  on	
  Participatory	
  Culture?	
  	
  
"Fans	
  are	
  the	
  most	
  active	
  segment	
  of	
  the	
  media	
  audience,	
  one	
  that	
  refuses	
  
to	
  simply	
  accept	
  what	
  they	
  are	
  given,	
  but	
  rather	
  insists	
  on	
  the	
  right	
  to	
  
become	
  full	
  participants"	
  (p.	
  131)	
  
“The	
  media	
  industry	
  is	
  increasingly	
  dependent	
  on	
  active	
  and	
  committed	
  
consumers	
  to	
  spread	
  the	
  world	
  about	
  valued	
  properties	
  in	
  the	
  
overcrowded	
  media	
  marketplace,	
  in	
  some	
  cases	
  they	
  are	
  seeking	
  ways	
  to	
  
channel	
  the	
  creative	
  output	
  of	
  media	
  fans	
  to	
  lower	
  their	
  production	
  costs”	
  
at	
  the	
  same	
  time	
  "terrified	
  of	
  what	
  happens	
  if	
  this	
  consumer	
  power	
  gets	
  
ouf	
  ot	
  control"	
  a	
  la	
  Napster	
  (p	
  .	
  134)	
  
Media Dependency on Fans
Jenkins (2006)
Producer Relations Web 2.0
Producers	
  were/are	
  not	
  sure	
  what	
  to	
  do	
  with	
  fan	
  
activity	
  and	
  it	
  became	
  a	
  haphazard	
  and	
  contested	
  
space.	
  
“If	
  AMC	
  evaluated	
  the	
  success	
  of	
  promoting	
  Mad	
  Men	
  only	
  
by	
  easily	
  measurable	
  traffic	
  through	
  its	
  officials	
  channels,	
  
then	
  discouraging	
  anything	
  that	
  might	
  distract	
  people	
  from	
  
these	
  destinations	
  makes	
  sense.	
  	
  From	
  that	
  mindset,	
  fan-­‐
created	
  material	
  off	
  official	
  Mad	
  Men	
  channels	
  is	
  in	
  
competition	
  with	
  the	
  show,	
  and	
  any	
  traffic	
  from	
  those	
  
outlets	
  receive	
  dilutes	
  the	
  reach	
  of	
  the	
  show’s	
  official	
  
presence”	
  (p.	
  33)	
  	
  	
  
Jenkins (2013)
Engagement Tactics via Fandom
Mad Men Official
Deliberate	
  distance	
  from	
  conversation	
  
Elevating	
  the	
  show	
  to	
  artful	
  medium	
  
Mad Men Fan Reactions
Mad Men Advertising Ties
Scandal Official
Mass	
  participation	
  from	
  cast	
  and	
  crew	
  
Experiencing	
  the	
  drama	
  with	
  the	
  audience	
  
Scandal Fan Participation
Scandal Tie-Ins
External Perceptions
of Show and Fans
Mad Men
Scandal
Conclusions
Policing	
  and	
  order	
  surrounding	
  fan	
  tastes	
  
Shifts	
  in	
  producer	
  relations	
  both	
  on	
  part	
  of	
  
technology	
  &	
  culture	
  surrounding	
  that	
  
technology	
  
Movement	
  toward	
  mainstreaming	
  of	
  practices	
  
and	
  participatory	
  culture	
  as	
  modus	
  operandi?	
  	
  
Does any of this matter?
Thank You
Questions?	
  
1 of 30

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Mad Men and Scandal: Marketing via Fan Tastes

  • 1. Marketing Via Fandom use  of  taste   hierarchies  in   participatory  culture   Prepared By Bessie Chu Fandom, Participatory Culture, and Web 2.0
  • 2. Agenda -­‐What  I’m  doing  and  Why   -­‐Theoretical  Framework  to  Approach   -­‐Recent  Scholarship   -­‐Initial  Observations   -­‐Initial  Conclusions   -­‐Would  love  feedback!  
  • 3. Intentional Activations Normalization of “Commercial Fan Practices” Awareness  of  using  fan  practices  vis  a  vis   Web  2.0  capabilities     Deliberate  use  of  taste  hierarchies  in   marketing  shows  and  fan  interactions  
  • 4. Mad Men versus Scandal
  • 5. Why Does it Matter Further  fan  studies  awareness  of  marketing   mimicry  of  fan  practices  and  its  impact  in  Web   2.0  and  larger  societal  rhetoric  
  • 6. But First a Theoretical Framework…
  • 7. Hierarchy of Legitimate Tastes Bourgeois  distance     “legitimate  consumption    of  legitimate  works”   Taste  cultures  relating  to  demarcations  of  identity   classifying  people  and  things     “Discriminating  taste  above  fandom”   Bourdieu (1980)
  • 8. Third Phase of Fandom Conceptualizing  three  distinct   “waves”  of  fandom  since  1980s   •  “Guerilla  style  tactics  “  in  first   phase   •  1990s  proliferation  of  new   media  and  fan  communities   •  Third  phase  of  examining  the   role  of  fan  objects  and  fans  as   active  producers  because  of   digital  media   Gray (2007)
  • 9. Web Practices as a Culture Looking  at  the  Web  Commons  as   a  “mind-­‐set,  not  a  specific   form  of  technology.”    “Just  as  there  is  a  change  in  the   interconnected  nature  of   contemporary  media,  so  too  is   there  are  revolution  in  the  way   media  technologies  are  used.     We  can  see  it  in  the  collective   communal  nature  of  the  web,   in  the  self-­‐conscious  nature  of   the  use  of  the  web,  and  in  the   assertiveness  of  fans”  (p.  23).         Booth (2010)
  • 10. Power Struggles in Web 2.0 Themes  of  how  does  fandom  cope  with  new  power   in  the  Web  2.0  age.     “The  blurring  of  the  borders  between  consumers   and  producers,  as  well  as  growing  awareness  of   the  added  value  of  fan  labor  (Ross,  2008;  Baym  &   BurneD,  2009),  have  led  to  a  percepGon  of   unprecedented  power  held  by  audiences  over   producGon  companies.”     Hadas & Shifman (2013)
  • 11. Race and Ethnicity in Fandom Gatson (2011) Over  time,  we  have  come  to  focus  particularly  on  the  racialized  flow   of  cultures,  historical  marginalizations  of  specific  populations  based   on  race/ethnicity,  class,  and  gender/sexuality  in  media,  education,  and   scholarship,  and  the  implications  of  how  particular  forms  of  culture   flow  more  easily  than  others.     Cultural  forms  originated  and  produced  by  minority  groups  are  co-­‐ opted,  whitewashed  (and,  conversely,  hyperracialized),  and   historically  monetized  for  the  benefit  of  white  producers  and   consumers.  Simultaneously,  cultural  forms  produced  in  racial/ethnic   spaces  and  communities  for  local  racial/ethnic  audiences  exist  in  and   of  themselves,  for  their  respective  communities.  
  • 13. “No Network is an Island” •  Idea  of  a  show  enabling  fans  to  participate  in   “immersive  environment”  (p.211)       •  “One  of  the  more  intriguing  relationships  I   found  across  the  earlier  and  later  years  of  my   audience  research  revolved  around  viewers’   sense  of  whether  or  not  they  were   watching  “acceptable”  or   mainstream  television,  and  whether  or  not   they  perceived  their  TV-­‐related  activities  to   be  “typical”  (p  12)   •  “In  other  words,  many  of  the  activities  fans  of   this  show  engaged  in  resembled  those  of  cult   fans  -­‐  but  these  activities  were  not  likely  to   have  occurred  if  not  for  the  strategies   evident  within  the  text  and/or  on  the   website”  (p.15)     Ross (2008)
  • 14. Mainstreaming of Fan Practices Gillian (2011) •  Dawson’s  Desktop  created  as  an   extension  of  the  storyworld   because  producers  engaged  in   “viewing  practices  that  mirrored   those  of  dedicated  fans  of  the   series,  which,  in  term,  impacted  the   kind  of  content  she  provided”  (p.43)     •  Grey’s  Anatomy  in  2000  public   broad  adoption  of  fan  practices  (p  . 233)   •  Grey’s  Anatomy    flogs  (p.  224)  
  • 15. Mainstreaming of Fan Practices Producers  and  stars  embedded   in  fan  conversations  as  “one   of  us”   “Shonda,  you  have  taken  care   of  us  for  so  long  that  now  it   is  time  for  us  to  take  care  of   you.    Trust  me,  we  all  got   your  back  and  will  be   planted  in  front  of  the  TV   watching”  (9/19/06)  p.  226     Gillian (2011)
  • 16. Mainstreaming of Fan Practices Historical  note  on  Twitter  initially   a  contested  medium  (p.  244,  p   p.234)   “Some  pointed  out  how  ill-­‐suited   a  TwiDer  feed  was  for   a  television  series  as  it  made  it   impossible  to  concentrate  on   the  acGon  and  took  up  far  too   much  screen  space”  (p.  234)   Gillian (2011)
  • 17. Media  dependency  on  Participatory  Culture?     "Fans  are  the  most  active  segment  of  the  media  audience,  one  that  refuses   to  simply  accept  what  they  are  given,  but  rather  insists  on  the  right  to   become  full  participants"  (p.  131)   “The  media  industry  is  increasingly  dependent  on  active  and  committed   consumers  to  spread  the  world  about  valued  properties  in  the   overcrowded  media  marketplace,  in  some  cases  they  are  seeking  ways  to   channel  the  creative  output  of  media  fans  to  lower  their  production  costs”   at  the  same  time  "terrified  of  what  happens  if  this  consumer  power  gets   ouf  ot  control"  a  la  Napster  (p  .  134)   Media Dependency on Fans Jenkins (2006)
  • 18. Producer Relations Web 2.0 Producers  were/are  not  sure  what  to  do  with  fan   activity  and  it  became  a  haphazard  and  contested   space.   “If  AMC  evaluated  the  success  of  promoting  Mad  Men  only   by  easily  measurable  traffic  through  its  officials  channels,   then  discouraging  anything  that  might  distract  people  from   these  destinations  makes  sense.    From  that  mindset,  fan-­‐ created  material  off  official  Mad  Men  channels  is  in   competition  with  the  show,  and  any  traffic  from  those   outlets  receive  dilutes  the  reach  of  the  show’s  official   presence”  (p.  33)       Jenkins (2013)
  • 20. Mad Men Official Deliberate  distance  from  conversation   Elevating  the  show  to  artful  medium  
  • 21. Mad Men Fan Reactions
  • 23. Scandal Official Mass  participation  from  cast  and  crew   Experiencing  the  drama  with  the  audience  
  • 29. Conclusions Policing  and  order  surrounding  fan  tastes   Shifts  in  producer  relations  both  on  part  of   technology  &  culture  surrounding  that   technology   Movement  toward  mainstreaming  of  practices   and  participatory  culture  as  modus  operandi?     Does any of this matter?