lecture on new media and marketing communications

4. Redefining positioning-segmentation-targeting
 The immutable laws of positioning (Ries) are increasingly disrupted
 A coherent positioning may be feasible, but with constantly shifting imagery (Kotler 2017)
 Communicative consistency across channels is constantly mitigated by acts of co-creation
 Paradigmatic shift from segmentation bases according to fixed demographic variables
and lifestyle parameters towards emergent consumer typologies stemming from real-
time interaction with branded content
 Online communities are the new segments (Kotler 2017)
 Targeting criteria shift from individual consumers to online communities defined by
social dynamics
 Connectivity is the new mantra: horizontally connected networks consisting of
leaders, influencers and followers
 The immutable laws of positioning (Ries) are increasingly disrupted
 A coherent positioning may be feasible, but with constantly shifting imagery (Kotler 2017)
 Communicative consistency across channels is constantly mitigated by acts of co-creation
 Paradigmatic shift from segmentation bases according to fixed demographic variables
and lifestyle parameters towards emergent consumer typologies stemming from real-
time interaction with branded content
 Online communities are the new segments (Kotler 2017)
 Targeting criteria shift from individual consumers to online communities defined by
social dynamics
 Connectivity is the new mantra: horizontally connected networks consisting of
leaders, influencers and followers

5. From one-to-many to one-to-one to many-to-many
communications
Chaffey & Ellis-Chadwick 2016

6. Marketing 4.0: From the 4Ps to the 4Cs
(Kotler 2017)
 Co-creation
 Consumers actively participate in shaping the meaning and the imagery of brands
 Collaborators rather than passive recipients
 Erosion of centralized control of brand meaning by the marketing function
 User-generated content (and advertising) have become mainstream ‘promo’ vehicles
 Currency
 Pricing becomes increasingly dependent on real-time buying behavior
 Dynamic pricing based on shifting demand patterns (e.g. Amazon)
 Conversation
 Consumers more prone to seek advice and recommendations about products’/services’
features and performance from network peers
 Less reliance on brand communications
 Communal activation
 Consumers becoming increasingly dependent on multiple social networks in their purchase
and usage decision making
 Brand activation and engagement are incumbent on building relationships with online
community leaders
 Co-creation
 Consumers actively participate in shaping the meaning and the imagery of brands
 Collaborators rather than passive recipients
 Erosion of centralized control of brand meaning by the marketing function
 User-generated content (and advertising) have become mainstream ‘promo’ vehicles
 Currency
 Pricing becomes increasingly dependent on real-time buying behavior
 Dynamic pricing based on shifting demand patterns (e.g. Amazon)
 Conversation
 Consumers more prone to seek advice and recommendations about products’/services’
features and performance from network peers
 Less reliance on brand communications
 Communal activation
 Consumers becoming increasingly dependent on multiple social networks in their purchase
and usage decision making
 Brand activation and engagement are incumbent on building relationships with online
community leaders

7. Increased consumer empowerment and control over
message exposure, content and mode of interaction
 Marketers are constrained by opt-in/opt-out policies
 Availability of software for blocking unwanted advertising, but also ability to report
impertinent messages in social media
 Cluttered online ad environment  need for adopting relevant, timely, flexible media
planning tactics
 Content is king Brand marketers need to provide continuously relevant and unique
content to consumers
 Converting them to brand ambassadors
 e.g. in the context of online brand communities: bespoke contests, exclusive offers, exclusive information
about new product launches and ad campaigns, paraphernalia (Doritos– Mariachi Brothers, backstage
passes)
 Consumers transformed from passive message recipients to active participants in shaping brand
culture
 Collaborative brand memory: Posting selfies from brand sponsored events to social media
 Gift and sharing economy increasingly leveraged by brands for rendering them part of peer-to-peer
communications, rather than impersonal, distanced logos
 Marketers are constrained by opt-in/opt-out policies
 Availability of software for blocking unwanted advertising, but also ability to report
impertinent messages in social media
 Cluttered online ad environment  need for adopting relevant, timely, flexible media
planning tactics
 Content is king Brand marketers need to provide continuously relevant and unique
content to consumers
 Converting them to brand ambassadors
 e.g. in the context of online brand communities: bespoke contests, exclusive offers, exclusive information
about new product launches and ad campaigns, paraphernalia (Doritos– Mariachi Brothers, backstage
passes)
 Consumers transformed from passive message recipients to active participants in shaping brand
culture
 Collaborative brand memory: Posting selfies from brand sponsored events to social media
 Gift and sharing economy increasingly leveraged by brands for rendering them part of peer-to-peer
communications, rather than impersonal, distanced logos

8. Web 2.0 (social media) unique capabilities
compared to traditional media vehicles
 Social media technological platforms: Novel challenges, but also constraints
 Planning, implementing and monitoring the results of social media campaigns has
become equally complex to traditional AtL, BtL and through-the-line marcomms
 Different social media = different communicative opportunities (and constantly
changing)
 Twitter: message length limited to 15 words
 Facebook: ideal for brand community building
 YouTube: ideal for video marketing
 Planning: Opportunities for micro/narrow-targeting based on actual behavioral
patterns in social media community settings
 Implementation: Opportunities for enhanced consumer engagement with brand values
through relevant presence in online communities
 Control: Listening technologies
 for monitoring brand engagement in online communities
 for revising advertising and reviewing its performance in real time
 Social media technological platforms: Novel challenges, but also constraints
 Planning, implementing and monitoring the results of social media campaigns has
become equally complex to traditional AtL, BtL and through-the-line marcomms
 Different social media = different communicative opportunities (and constantly
changing)
 Twitter: message length limited to 15 words
 Facebook: ideal for brand community building
 YouTube: ideal for video marketing
 Planning: Opportunities for micro/narrow-targeting based on actual behavioral
patterns in social media community settings
 Implementation: Opportunities for enhanced consumer engagement with brand values
through relevant presence in online communities
 Control: Listening technologies
 for monitoring brand engagement in online communities
 for revising advertising and reviewing its performance in real time

10. Digital marcomms in the context of an IMC plan
 There is a popular misconception that digital marcomms have severed ties with
traditional media and that the role of non-digital media has diminished since the
advent of Web 2.0
 This is neither proven by media consumption trends (at least to such an extent as
occasionally portrayed), nor by the rising importance of non-digital marcomm
vehicles, such as experiential marketing in a communicative mix
 The same sequence of strategic and tactical territories that are addressed in offline
marcomms planning also holds for digital marcomms:
 Business objectives Marketing/sales objectives  Communication objectives 
Media/Creative objectives
 Planning for digital marcomms entails integrating them strategically in an IMC plan
that is more likely than not to feature other than digital communicative vehicles
 There is a popular misconception that digital marcomms have severed ties with
traditional media and that the role of non-digital media has diminished since the
advent of Web 2.0
 This is neither proven by media consumption trends (at least to such an extent as
occasionally portrayed), nor by the rising importance of non-digital marcomm
vehicles, such as experiential marketing in a communicative mix
 The same sequence of strategic and tactical territories that are addressed in offline
marcomms planning also holds for digital marcomms:
 Business objectives Marketing/sales objectives  Communication objectives 
Media/Creative objectives
 Planning for digital marcomms entails integrating them strategically in an IMC plan
that is more likely than not to feature other than digital communicative vehicles

11. The IMC wheel (Pickton & Broderick 2001)

12. Differences in marcomms planning between traditional
and new media (Chaffey & Ellis-Chadwick 2016)
Traditional media planning Digital media planning
General profile: basic
demographic, psychographic,
category/brand usage information
about customers
Digital profile
– Digital usage habits: usage
of different digital media channels,
types of sites used and digital
platforms
– Content consumption
preferences : favored sources of
information related to the product
category from portals specific to the
product, comparison sites and
specialist blogs.
– Content creation profile : the
propensity to participate online. For
example, in contests where they
upload photos or ringtones, blogs
or forums they comment on
including neutral sites and
competitor sites.
Digital profile
– Digital usage habits: usage
of different digital media channels,
types of sites used and digital
platforms
– Content consumption
preferences : favored sources of
information related to the product
category from portals specific to the
product, comparison sites and
specialist blogs.
– Content creation profile : the
propensity to participate online. For
example, in contests where they
upload photos or ringtones, blogs
or forums they comment on
including neutral sites and
competitor sites.

13. Differences in marcomms planning between
traditional and new media
Traditional media planning Digital media planning
Customer retention/acquisition
objectives based on tenuous sales
response functional relationships
(e.g. between SOV and MS)
Behavioral targeting: Assessing
customers’ past actions in following
links, reading content, using online
services or buying products, and then
following up with relevant messages
based on the propensity to act
(Chaffey & Ellis-Chadwick 2016)
Behavioral targeting: Assessing
customers’ past actions in following
links, reading content, using online
services or buying products, and then
following up with relevant messages
based on the propensity to act
(Chaffey & Ellis-Chadwick 2016)
Projections (e.g. reach) to the total
population based on representative
samples
Accurate estimates based on
individual responses to branded
content
Translation of marketing to
communication objectives:
Dependent on a delayed effect
between message emission and
actual purchase behavior
Translation of marketing to
communication objectives: Based on
historical conversion data on an
individual customer basis (from
prospect to interested to purchaser)

15. Key differences between digital and traditional
media I (Mulhern 2009)
Traditional media Digital media
Television can only be watched when the consumer
is physically positioned in front of a screen
Infinite reproduction and sharing: media content is
free of the physical constraints of print; broadcast
material can be shared repeatedly, at little or no cost
and with no loss of quality
In traditional media, news, entertainment and
advertising are bundled by editors and
producers into relevant packages for audiences
Modularity of content: A digital, networked
infrastructure enables individual pieces to be
unbundled and freely distributed separately from
packaged content
In traditional media, news, entertainment and
advertising are bundled by editors and
producers into relevant packages for audiences
Modularity of content: A digital, networked
infrastructure enables individual pieces to be
unbundled and freely distributed separately from
packaged content
Individual media consumption habits, aggregated
into segments and explained by recourse to
psychological theories
Prevalence of social network analyses (e.g.Gephi)
and segmentation of users based on level of
influence in the context of interaction in virtual
communities
Media companies and advertising agencies have
long operated in a centralized environment where
content producers and distributors serve as
gatekeepers for what gets produced and
disseminated
Technologies now empower consumers to control
what information they receive and to produce text,
images, audio and video content for others to
access

16. Key differences between digital and traditional
media II (Branthwaite et al. 2000)

17. Digital marketing creative options
Traditional creative outlets Digital creative options
TV: 15’’, 30’’ TVC format, expensive to air
and perishable after airing
Facebook, YouTube video marketing: 2-5’
mins commercials; significantly lower cost
compared to TV and, most importantly,
narrowly targeted; available for infinite
playback and download; leveraging
extensive storytelling techniques 
alternative story-telling routes open to
consumers’ imaginaries
Print: static visuals Display advertising(paid ad placement on
third-party sites, e.g. publishers, social
networks): Dynamic banners / rich media
with rotating / moving visuals  enhanced
appeal/ involvement/ processing
Microsites: Embedded in a brand’s main
site, intended for bespoke promotions (e.g.
Kellogg’s Weight Management lifestyle
promos) or new product launches

18. Digital marketing creative options
Traditional creative outlets Digital creative options
Creative commissioned and controlled by
the marketing function
User-generated branded content and
advertising: “consumers do not passively
consume content, but they actively
participate in creating, sharing,
and consuming it”
 co-ownership of brand imagery, active
involvement in the generation of brand
meaning
once aired costly and timely to revise ability to change the creative on-the-fly if
underperforming
once aired costly and timely to revise ability to change the creative on-the-fly if
underperforming
Web 2.0: Facebook brand pages potentially
constituting an archive of user-generated
content: from brand sites featuring own
developed TVCs/print to a brand
community building platform

19. Digital marketing creative options
Traditional creative outlets Digital creative options
Direct mail: costly production, distribution
and delayed response
E-mail marketing: cost-efficient production,
distribution; higher sales response (conversion
%); more versatile uses (from invitations to
product demonstrations to direct sales-
oriented messages); viral potential
Costly on pack gifts and free product promos Value added apps, no cost to replicate ad
infinitum
Value added apps, no cost to replicate ad
infinitum
Joint promos (co-promotions) with marketers
of products with similar positioning for cost-
spreading and/or message enhancement
purposes (communicative synergies)
Affiliate marketing: Creating a network of
affiliated websites and offering incentives or
entering into barter agreements for promoting
one’s services
SE marketing: cost-efficient method for cutting
through the clutter on a first-to-serve basis
according to keyword search patterns in
popular search engines (e.g. Starbucks
appearing first on ‘coffee’ keyword searches);
maintaining TOM at all times, pre-empting
competition

20. Social media brand communities
• Social media brand communities can set the stage for sharing consumption
experiences, brand stories and their symbolic interpretations (Habibi et al. 2014)
• Feelings of community positively influence consumers’ involvement in UGC, which, in
turn, enhance consumer-based brand equity (Christodoulides et al. 2012)
• The term ‘Social Media’ is a construct from two areas of research, communication
science and sociology.
• A medium, in the context of communication, is simply a means for storing or delivering
information or data.
• In the realm of sociology, and in particular social (network) theory and analysis, social
networks are social structures made up of a set of social actors (i.e., individuals, groups or
organizations) with a complex set of dyadic ties among them.
• Combined, social media are communication systems that allow their social actors to
communicate along dyadic ties (Peters et al. 2013)
• Social media brand communities can set the stage for sharing consumption
experiences, brand stories and their symbolic interpretations (Habibi et al. 2014)
• Feelings of community positively influence consumers’ involvement in UGC, which, in
turn, enhance consumer-based brand equity (Christodoulides et al. 2012)
• The term ‘Social Media’ is a construct from two areas of research, communication
science and sociology.
• A medium, in the context of communication, is simply a means for storing or delivering
information or data.
• In the realm of sociology, and in particular social (network) theory and analysis, social
networks are social structures made up of a set of social actors (i.e., individuals, groups or
organizations) with a complex set of dyadic ties among them.
• Combined, social media are communication systems that allow their social actors to
communicate along dyadic ties (Peters et al. 2013)

21. Social media brand communities (Habibi et al.
2014)
Benefits for marketers
 Sharing information and maintaining relations with loyal consumers
 Integrating consumers into the brand identity and enhancing their loyalty
 Obtaining valuable insights from consumers for marcomms and new product
development purposes
 Co-creating value with consumers
Benefits for consumers
 Realization of social/cultural capital (e.g. participation in leisure related communities)
 Sharing information and resources with peers and with brand owners
Benefits for marketers
 Sharing information and maintaining relations with loyal consumers
 Integrating consumers into the brand identity and enhancing their loyalty
 Obtaining valuable insights from consumers for marcomms and new product
development purposes
 Co-creating value with consumers
Benefits for consumers
 Realization of social/cultural capital (e.g. participation in leisure related communities)
 Sharing information and resources with peers and with brand owners

22. Scheduling activities across social media platforms

24. Display advertising: More detailed and qualitatively
nuanced effectiveness metrics
Traditional media effectiveness metrics Digital media effectiveness metrics
TV/print/radio: CPM/Reach/Frequency/TRP’s
 not traceable on an individual consumer
level
 budget waste
Display advertising
Click-through-rate; Cost-per-click; Cost-per-
action
Most importantly: softer metrics pertaining to
the quality of the interaction experience with
branded content, e.g. entry/exit points to/from
a branded site, time spent on specific pages,
sites visited before and after branded site
 ability to track individual consumer
behavior, greater customization potential and
loyalty building over time
Search engine marketing
PPC- pay per click (on brand related links that
appear due to search engine optimization)
(cf. IAB for a list of web and m-metrics)
Display advertising
Click-through-rate; Cost-per-click; Cost-per-
action
Most importantly: softer metrics pertaining to
the quality of the interaction experience with
branded content, e.g. entry/exit points to/from
a branded site, time spent on specific pages,
sites visited before and after branded site
 ability to track individual consumer
behavior, greater customization potential and
loyalty building over time
Search engine marketing
PPC- pay per click (on brand related links that
appear due to search engine optimization)
(cf. IAB for a list of web and m-metrics)
Creative use of AtL media (e.g. sponsored radio
show brand mentions, advertorials, product
placement in movies/TV shows, ‘TV timers’)
Not directly linked to action (purchase)
Potential for combining involving creative
media use with direct call 2 action

25. Web 2.0: The 3 A’s of social media analytics:
Audience, Activity, Actions (Lovett 2011)
 Audience: Producing socialgraphics, i.e. identifying a community’s leaders,
influencers, followers
 Activity: Reveals how an audience reacts to campaigns or messages, how they
spread information across various social channels, and the level of attention
they give to a brand
 Actions: Which actions should be undertaken in the light of the above for attaining the
marketing objectives
 Audience: Producing socialgraphics, i.e. identifying a community’s leaders,
influencers, followers
 Activity: Reveals how an audience reacts to campaigns or messages, how they
spread information across various social channels, and the level of attention
they give to a brand
 Actions: Which actions should be undertaken in the light of the above for attaining the
marketing objectives

26. Foundational social analytics (Lovett 2011)
the volume of people who are attracted to
specific marketing initiatives and the rate
at which they complete intended actions
characteristics that determine impact
include conversion events such as sales,
leads, downloads, donations,
completed projects

27. Social media dashboard metrics
 Dashboard: “a relatively small collection of interconnected key performance metrics
and underlying performance drivers that reflects both short and long-term interests to
be viewed in common throughout the organization” (Pauwels et al. 2008)
 Types of metrics included in third-party dashboards:
 audience metrics
 social listening and monitoring metrics (e.g. sentiment)
 engagement metrics
 content performance metrics
 social graphs
 customer relationship metrics
 Dashboard: “a relatively small collection of interconnected key performance metrics
and underlying performance drivers that reflects both short and long-term interests to
be viewed in common throughout the organization” (Pauwels et al. 2008)
 Types of metrics included in third-party dashboards:
 audience metrics
 social listening and monitoring metrics (e.g. sentiment)
 engagement metrics
 content performance metrics
 social graphs
 customer relationship metrics

28. Social media dashboard- Targeting metrics

29. Social media dashboard- Facebook ad
effectiveness metrics

30. Social media dashboard- Cross-platform reporting

31. Engagement: The pinnacle of social media metrics
 An intermediate metric that impacts directly on, but is not tantamount to ROI: “a
slippery metric that ventures into the gray corners of measurement because it seeks
to quantify the intangible” (Lovett 2011)
 Active Engagement metrics include components of customer feedback, interaction,
and loyalty. For each of these measures, consumers must proactively demonstrate
attention by participating in social media initiatives (Lovett 2011)
 Multifariously operationalized in different social media platforms, as a function of likes,
shares, downloads, retweets (in the case of Tweeter)
 An intermediate metric that impacts directly on, but is not tantamount to ROI: “a
slippery metric that ventures into the gray corners of measurement because it seeks
to quantify the intangible” (Lovett 2011)
 Active Engagement metrics include components of customer feedback, interaction,
and loyalty. For each of these measures, consumers must proactively demonstrate
attention by participating in social media initiatives (Lovett 2011)
 Multifariously operationalized in different social media platforms, as a function of likes,
shares, downloads, retweets (in the case of Tweeter)

32. Social sentiment analysis
 Engagement is also reflected in social sentiment analyses: “Sentiment ratio is the
ratio of positive, neutral, and negative brand mentions about specific products or
services over a given time period”
 Positive sentiment can be used to identify advocates and communities where a brand is
welcomed
 Neutral sentiment can help to interpret where conversations about your brand can be
swayed through reinforcement, dialogue, and advocacy
 Negative sentiment should be addressed directly and countered with support, advocacy,
dialogue, or some combination therein
 Engagement is also reflected in social sentiment analyses: “Sentiment ratio is the
ratio of positive, neutral, and negative brand mentions about specific products or
services over a given time period”
 Positive sentiment can be used to identify advocates and communities where a brand is
welcomed
 Neutral sentiment can help to interpret where conversations about your brand can be
swayed through reinforcement, dialogue, and advocacy
 Negative sentiment should be addressed directly and countered with support, advocacy,
dialogue, or some combination therein

33. Social sentiment analysis output

36. Assessing engagement with UGA: The challenge of social
semiotics
 The need for theoretically informed linguistic analysis that takes positive steps beyond
simple sentiment analysis and automated word-crunching has been repeatedly
stressed in the relevant literature (Russell 2009).
 The purpose of sociosemiotic analysis is to show how ‘texts’ construct realities
(Iedema 2001).
 In these terms, sociosemiotics, in line with its systemic functional linguistic origins
(O’Halloran 2008; Bateman 2013), displays epistemological affinities with post-
structuralism that views the subject as the construal of multiple orders of discourse.
 These orders constitute distinctive ‘semiotic domains’ (Halliday and Matthiessen
2006) which interlock and interact, thus giving rise to seamless ordinary experience.
 Distinctive domains are made up of cultural practices which are instantiated in
semiotic registers (e.g. advertising genres; cf. Lee 2001; Martin and Rose 2008) and
cultural representations.
 The need for theoretically informed linguistic analysis that takes positive steps beyond
simple sentiment analysis and automated word-crunching has been repeatedly
stressed in the relevant literature (Russell 2009).
 The purpose of sociosemiotic analysis is to show how ‘texts’ construct realities
(Iedema 2001).
 In these terms, sociosemiotics, in line with its systemic functional linguistic origins
(O’Halloran 2008; Bateman 2013), displays epistemological affinities with post-
structuralism that views the subject as the construal of multiple orders of discourse.
 These orders constitute distinctive ‘semiotic domains’ (Halliday and Matthiessen
2006) which interlock and interact, thus giving rise to seamless ordinary experience.
 Distinctive domains are made up of cultural practices which are instantiated in
semiotic registers (e.g. advertising genres; cf. Lee 2001; Martin and Rose 2008) and
cultural representations.

37. Social semiotics and UGA: Unearthing systems of choice
 “Semiotic activity involves semiotic choice: meaning this rather than meaning that” (Halliday
2013)
 The development of advertising texts, either from professional agencies or end-consumers,
constitutes a striking example of semiotic choice.
 “The semiotic activity of choosing what to mean can be represented as selecting a path through
various networks of systems” (Halliday 2013)
 Semiotic choice entails selecting cultural representations paradigmatically from a pool of
semiotic resources, alongside considerations that pertain to at least three identifiable
dimensions: domain, register and individual text.
 Domain concerns the cultural practice wherein a cultural representation customarily assumes meaning,
for example “the family of culinary procedures encompasses a variety of different kinds of recipes, or the
extended family of procedures for creating artefacts” (Halliday and Matthiessen 2006: 324).
 “A register represents recurrent patterns of choice from the system found in texts in the environment of
recurrent and culturally recognisable situations” (Thompson 2013: 226).
 In the case of advertising texts, register concerns the genre (Lee 2001) that constrains semantically and expressively the meaning
of cultural representations, that binds sender and receiver of a message in a common cultural predicament and that is embedded
in larger systems of cultural hierarchies (Mittell 2001).
 “Semiotic activity involves semiotic choice: meaning this rather than meaning that” (Halliday
2013)
 The development of advertising texts, either from professional agencies or end-consumers,
constitutes a striking example of semiotic choice.
 “The semiotic activity of choosing what to mean can be represented as selecting a path through
various networks of systems” (Halliday 2013)
 Semiotic choice entails selecting cultural representations paradigmatically from a pool of
semiotic resources, alongside considerations that pertain to at least three identifiable
dimensions: domain, register and individual text.
 Domain concerns the cultural practice wherein a cultural representation customarily assumes meaning,
for example “the family of culinary procedures encompasses a variety of different kinds of recipes, or the
extended family of procedures for creating artefacts” (Halliday and Matthiessen 2006: 324).
 “A register represents recurrent patterns of choice from the system found in texts in the environment of
recurrent and culturally recognisable situations” (Thompson 2013: 226).
 In the case of advertising texts, register concerns the genre (Lee 2001) that constrains semantically and expressively the meaning
of cultural representations, that binds sender and receiver of a message in a common cultural predicament and that is embedded
in larger systems of cultural hierarchies (Mittell 2001).
A system is a metafunctionally regulated grouping of calibrated features,
capable of specifying the values of a specific unit through the systemic
paths of the choices and their realisations (Hasan 2013)

38. What do semiotic choices in UGA tell us about consumers’
habituses?
 Semiotic choices about cultural representations are always coupled with implicit
choices as to their conditioning dimensions.
 These choices are largely subconscious, as they constitute the outcome of an UGA
generator’s habitus or his cultural baggage.
 “Choosing to act, whether materially or semiotically, is typically a subconscious
process. But it can always be brought into conscious attention, and reflected on”
(Halliday 2013: 17).
 This Hallidayan premise resonates quite positively with the post-structuralist
orientation of the habitus concept that was popularized by Bourdieu
 a subconscious set of meaning structures that constrain cultural praxis and its
interpretative horizon.
 dispositions that constrain choices, although not being deterministic.
 coding orientations (Kress and van Leeuwen 2006).
 Semiotic choices about cultural representations are always coupled with implicit
choices as to their conditioning dimensions.
 These choices are largely subconscious, as they constitute the outcome of an UGA
generator’s habitus or his cultural baggage.
 “Choosing to act, whether materially or semiotically, is typically a subconscious
process. But it can always be brought into conscious attention, and reflected on”
(Halliday 2013: 17).
 This Hallidayan premise resonates quite positively with the post-structuralist
orientation of the habitus concept that was popularized by Bourdieu
 a subconscious set of meaning structures that constrain cultural praxis and its
interpretative horizon.
 dispositions that constrain choices, although not being deterministic.
 coding orientations (Kress and van Leeuwen 2006).

39. What do semiotic choices in UGA tell us about consumers’
habituses?
 According to Bourdieu, a habitus is a structured structuring structure
 a set of constraints that, nevertheless, enables the generation of structured meaning.
 a set of habitual conditions that constrain choice subconsciously among a potentially
infinite set of paradigmatic probabilities.
 reflective of the constant dialectic between agency and structure in decision-making
 This quasi-deterministic nature of one’s habitus as regards the expressive and semantic
choices made while developing UGA posit constraints in speculative approaches that
identify participatory empowerment with engagement (Van Dijck 2008)
 According to Bourdieu, a habitus is a structured structuring structure
 a set of constraints that, nevertheless, enables the generation of structured meaning.
 a set of habitual conditions that constrain choice subconsciously among a potentially
infinite set of paradigmatic probabilities.
 reflective of the constant dialectic between agency and structure in decision-making
 This quasi-deterministic nature of one’s habitus as regards the expressive and semantic
choices made while developing UGA posit constraints in speculative approaches that
identify participatory empowerment with engagement (Van Dijck 2008)

41. Accounting for the underlying dimensions of semiotic choices:
The cline of instantiation
 The dimensions of meaning interlock as sub-systems within an
encompassing system that is customarily approached in systemic functional
linguistics (SFL) through a ‘cline of instantiation’ :
“Constellation of related systems from which any one
feature acquires value in the overall meaning potential”
(Halliday 2013: 25).
 The notion of system points to unrealized potential awaiting to be realized in
lower sub-systems (Halliday 2004)
 Each realization constitutes an instantiation along a cline
 The dimensions of meaning interlock as sub-systems within an
encompassing system that is customarily approached in systemic functional
linguistics (SFL) through a ‘cline of instantiation’ :
“Constellation of related systems from which any one
feature acquires value in the overall meaning potential”
(Halliday 2013: 25).
 The notion of system points to unrealized potential awaiting to be realized in
lower sub-systems (Halliday 2004)
 Each realization constitutes an instantiation along a cline

42. The cline of instantiation I (Hasan 2013)
ad filmic
storylinesgenre
Cultural
domain/prac
tice
cultural
resources
 Culture (upper left corner) constitutes the wider systemic contours from which an ad developer
selects paradigmatically or makes semiotic choices as to
 register / ad genre (bottom left corner)
 text type or storyline wherein individual cultural representations are ordered (bottom right corner)
 Cultural resources (settings and actors) that are employed in each film (upper right corner)
 The cultural domain (and practice) and register (or genre) constitute sub-systems.
 The ad filmic texts and the specific cultural representations that comprise it constitute instance
types.

43. The cline of instantiation II (Hasan 2013)
ad filmic
storylines
genre
Cultural
domain/prac
tice
cultural
resources
 Each level in a cline essentially instantiates at a more concrete level meaning potentialities that
are embedded in a sub-system, higher up the cline.
 Each sub-system constrains more or less the choices that are made at lower strata in the cline.
 Thus, when we are referring to the predictive ability of this model we are concerned with a set of
semiotic constraints that co-occur, more or less rigidly, in the realization of each sub-type.
 In UGA we are concerned not only with verbal grammar, but with inter-semiotic relations
(O’Halloran 2011) among cultural resources inscribed in visual and sonic modes
 Our focus rests on producing chains of semiotic choices along the four dimensions of the cline.

44. Issues with sentiment analysis and why we need
‘small’ data along with ‘big’ data analytics
 Sentiment analysis or opinion mining (Siersdorfer et al. 2014) is one of the most criticized
measures in social media because of its inaccuracy.
 Automated analysis (the so-called ‘bag of words’ approach’) not capable of capturing rhetorically
loaded language use (e.g. irony)
 “The main issue is that sentiment as it is commonly practiced today is based on the “bag of
words” approach to parsing. If they include the words “hate” or “bad” or “ridiculous,” then it
must be negative” (Sterne 2010: 87).
 Big data approaches to sentiment analysis are insufficient in dimensionalizing verbal comments
in cultural terms.
 They are not sensitive to multiple modes and their interactions, over and above the verbal one.
 Especially in the case of UGA, retweeting comments in Twitter or repinning pictures and videos
in Pinterest and Instagram tells us that some form of engagement is evident, but not how
engagement is attained in terms of consumer selection criteria of the employed cultural artifacts.
 Sentiment analysis is far from being a sufficient route for appreciating the meaning of UGA as
intended by its generators and how this meaning may be successfully leveraged by brands.
 Sentiment analysis or opinion mining (Siersdorfer et al. 2014) is one of the most criticized
measures in social media because of its inaccuracy.
 Automated analysis (the so-called ‘bag of words’ approach’) not capable of capturing rhetorically
loaded language use (e.g. irony)
 “The main issue is that sentiment as it is commonly practiced today is based on the “bag of
words” approach to parsing. If they include the words “hate” or “bad” or “ridiculous,” then it
must be negative” (Sterne 2010: 87).
 Big data approaches to sentiment analysis are insufficient in dimensionalizing verbal comments
in cultural terms.
 They are not sensitive to multiple modes and their interactions, over and above the verbal one.
 Especially in the case of UGA, retweeting comments in Twitter or repinning pictures and videos
in Pinterest and Instagram tells us that some form of engagement is evident, but not how
engagement is attained in terms of consumer selection criteria of the employed cultural artifacts.
 Sentiment analysis is far from being a sufficient route for appreciating the meaning of UGA as
intended by its generators and how this meaning may be successfully leveraged by brands.

45. Research questions in the grounded theoretical discovery process
 In what ways UGA generators became engaged with the main
message ‘for the bold’ along the expression and content planes?
 How did consumers’ ‘habitus’ as systematic choices indicative of
dispositions and structured structuring structures become evinced
across the strata of the cline and in the interaction among the strata?
 How do semiotic constraints operate in UGA and how can these
constraints be turned into consumer insights for brand and ad
planning?
 In what ways UGA generators became engaged with the main
message ‘for the bold’ along the expression and content planes?
 How did consumers’ ‘habitus’ as systematic choices indicative of
dispositions and structured structuring structures become evinced
across the strata of the cline and in the interaction among the strata?
 How do semiotic constraints operate in UGA and how can these
constraints be turned into consumer insights for brand and ad
planning?

46. Main Findings from the quantitative analysis: sub-type I-actors
Cultural
practice/repr
esentation
cultural
resources
32%
38%
Other
Family
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Sub-type 1 (Actors)
32%
Friends
 Other actors involve a bewildering variety of figures such as a
henchman, a spaceman, a ghost etc.
 Anthropomorphism was found to be a favored creative route in this
corpus, and particularly talking dogs.
 This route was adopted by 16% of UGA generators, including the
winning Superbowl commercial.

47. Main Findings from the quantitative analysis: sub-type I-settings
Cultural
practice/repr
esentation
cultural
resources
52%
24%
6%
18%
Other
Office
Outdoors
(Park, forest,
street)
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Sub-type 2
(Settings)
Home
 The majority of films (52%) were shot within the broader home territory
(including garden and backyard)
 Indicative of UGA generators’ proclivity of intimating brand
discourse, bringing the brand ‘at home’, rendering it part of their
own cultural milieu (habitus)
 other places (18%; ranging from outer space to boxing ring).

48. Main Findings from the quantitative analysis: sub-type II- ad
narrative
Cultural
practice/repr
esentation
cultural
resources
 Almost all narratives (sub-type II) featured a complicating action that
constitutes the deciding point for making a ‘bold’ decision.
 removing a space-suit mask in outer space in order to eat a Doritos
chip
 leaving one’s driver seat in a school-bus in order to eat Doritos that
are distributed by a new kid at school
 eating an almost extinct Doritos-moth during a tourist expedition
 These complicating actions, as counterexpectancies (Martin and Rose
2008: 81) constitute the very moments where consumers become
culturally engaged with the brand, either due to creating novel
expressive pathways for the brand or because, and even more
importantly, they bring the brand ‘at home’, they intimate its values and
begin to re-imagine their habitus through the transformative potential of
the brand discourse.
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
 Almost all narratives (sub-type II) featured a complicating action that
constitutes the deciding point for making a ‘bold’ decision.
 removing a space-suit mask in outer space in order to eat a Doritos
chip
 leaving one’s driver seat in a school-bus in order to eat Doritos that
are distributed by a new kid at school
 eating an almost extinct Doritos-moth during a tourist expedition
 These complicating actions, as counterexpectancies (Martin and Rose
2008: 81) constitute the very moments where consumers become
culturally engaged with the brand, either due to creating novel
expressive pathways for the brand or because, and even more
importantly, they bring the brand ‘at home’, they intimate its values and
begin to re-imagine their habitus through the transformative potential of
the brand discourse.

49. Main Findings from the axial coding procedure: sub-type II- ad
narrative
Cultural
practice/repr
esentation
cultural
resources
 Two underlying axes were identified in the grounded theoretical
process, with regard to the concept of boldness, from the angle of what
is possible and what is not (based on what we know in this world)
 The first axis concerns the extent to which each UGA evokes an
unconventional cultural predicament, in a continuum that stretches
from least to most unconventional, where a least expected predicament
concerns a response or an action undertaken by an actor in the face of
a cultural situation.
 The second axis concerns the extent to which each UGA evokes a
counterfactual cultural predicament, in a continuum that stretches from
least to most counterfactual, where a most counterfactual expected
predicament concerns the degree of feasibility based on what we know
in this world, of a response or an action undertaken by an actor in the
face of a cultural situation.
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
 Two underlying axes were identified in the grounded theoretical
process, with regard to the concept of boldness, from the angle of what
is possible and what is not (based on what we know in this world)
 The first axis concerns the extent to which each UGA evokes an
unconventional cultural predicament, in a continuum that stretches
from least to most unconventional, where a least expected predicament
concerns a response or an action undertaken by an actor in the face of
a cultural situation.
 The second axis concerns the extent to which each UGA evokes a
counterfactual cultural predicament, in a continuum that stretches from
least to most counterfactual, where a most counterfactual expected
predicament concerns the degree of feasibility based on what we know
in this world, of a response or an action undertaken by an actor in the
face of a cultural situation.

50. Axial coding: Conventionality/Counterfactuality- The underlying
dimensions as dominant cultural representatons of the UGA system
Cultural
practice/repr
esentation
cultural
resources
unconventi
onal and
counterfact
ual (38%)
unconventi
onal, but
not
counterfact
ual (22%)
Counterfactual
Unconventional
notcounterfactual
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
neither
counterfactual,
nor
unconventional
(28%)
unconventi
onal, but
not
counterfact
ual (22%)
counterfactual, but
not unconventional
(12%)
Counterfactual
notcounterfactual
not unconventional

51. Axial coding: Conventionality/Counterfactuality- The underlying
dimensions as dominant cultural representatons of the UGA system
Cultural
practice/repr
esentation
cultural
resources
unconventi
onal and
counterfact
ual (38%)
unconventi
onal, but
not
counterfact
ual (22%)
Counterfactual
Unconventional
notcounterfactual
baby crying, father soothing it by eating
from Doritos bag; baby laughs; father
starts crying in turn as soon as the bag
runs out: One would not expect a father to
start crying in front of his baby in the face
of an empty snack-bag, although this
hyperbolic scenario is not counterfactual,
that is impossible based on what we know
in this world as possible responses to
cultural situations
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
neither
counterfactual,
nor
unconventional
(28%)
unconventi
onal, but
not
counterfact
ual (22%)
counterfactual, but
not unconventional
(12%)
Counterfactual
notcounterfactual
not unconventional
baby crying, father soothing it by eating
from Doritos bag; baby laughs; father
starts crying in turn as soon as the bag
runs out: One would not expect a father to
start crying in front of his baby in the face
of an empty snack-bag, although this
hyperbolic scenario is not counterfactual,
that is impossible based on what we know
in this world as possible responses to
cultural situations

52. Axial coding: Conventionality/Counterfactuality- The underlying
dimensions as dominant cultural representatons of the UGA system
Cultural
practice/repr
esentation
cultural
resources
unconventi
onal and
counterfact
ual (38%)
unconventi
onal, but
not
counterfact
ual (22%)
Counterfactual
Unconventional
notcounterfactual
male eating Doritos; accidentally
dropping a chip on the couch, only to
discover that the couch is actually eating
it; finally getting to terms with the idea
and starting feeding the couch: couches
do not consume food, as far as we know, and
hence it is quite unlikely that someone will
feed a couch (although such counterfactual
scenarios have been provided for in various
cinematic discursive genres)
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
neither
counterfactual,
nor
unconventional
(28%)
unconventi
onal, but
not
counterfact
ual (22%)
counterfactual, but
not unconventional
(12%)
Counterfactual
notcounterfactual
not unconventional
male eating Doritos; accidentally
dropping a chip on the couch, only to
discover that the couch is actually eating
it; finally getting to terms with the idea
and starting feeding the couch: couches
do not consume food, as far as we know, and
hence it is quite unlikely that someone will
feed a couch (although such counterfactual
scenarios have been provided for in various
cinematic discursive genres)

53. Axial coding: Conventionality/Counterfactuality- The underlying
dimensions as dominant cultural representatons of the UGA system
Cultural
practice/repr
esentation
cultural
resources
unconventi
onal and
counterfact
ual (38%)
unconventi
onal, but
not
counterfact
ual (22%)
Counterfactual
Unconventional
notcounterfactual
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
neither
counterfactual,
nor
unconventional
(28%)
unconventi
onal, but
not
counterfact
ual (22%)
counterfactual, but
not unconventional
(12%)
Counterfactual
notcounterfactual
not unconventional
woman talks to dog about having
purchased Doritos, dog talks back
about wanting Doritos: although it is
not unconventional of pet owners to talk
to their pets, it is counterfactual to expect
of pets to talk back. Again, such
impossible scenarios are creatively
resolved in the fabular narrative
universes of cinematic discourse where
talking pets have been accommodated.

54. Axial coding: Conventionality/Counterfactuality- The underlying
dimensions as dominant cultural representatons of the UGA system
Cultural
practice/repr
esentation
cultural
resources
unconventi
onal and
counterfact
ual (38%)
unconventi
onal, but
not
counterfact
ual (22%)
Counterfactual
Unconventional
notcounterfactual
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
neither
counterfactual,
nor
unconventional
(28%)
unconventi
onal, but
not
counterfact
ual (22%)
counterfactual, but
not unconventional
(12%)
Counterfactual
notcounterfactual
not unconventional
daughter demonstrates detection
software to father and warns him not
to touch her Doritos while she's
taking a call; father eats Doritos, is
detected by the software and the
police arrives at his residence: based
on what we know, neither is such
software impossible, nor the police to be
immediately alerted.

55. Axial coding: Conventionality/Counterfactuality- The underlying
dimensions as dominant cultural representatons of the UGA system
Cultural
practice/repr
esentation
cultural
resources
unconventi
onal and
counterfact
ual (38%)
unconventi
onal, but
not
counterfact
ual (22%)
Counterfactual
Unconventional
notcounterfactual
baby crying, father soothing it by eating
from Doritos bag; baby laughs; father
starts crying in turn as soon as the bag
runs out: One would not expect a father to
start crying in front of his baby in the face
of an empty snack-bag, although this
hyperbolic scenario is not counterfactual,
that is impossible based on what we know
in this world as possible responses to
cultural situations
cultural
resources
male eating Doritos; accidentally
dropping a chip on the couch, only to
discover that the couch is actually
eating it; finally getting to terms with
the idea and starting feeding the
couch: couches do not consume food,
as far as we know, and hence it is quite
unlikely that someone will feed a couch
(although such counterfactual scenarios
have been provided for in various
cinematic discursive genres)
 The entire corpus concerned a configuration of
counterfactuality/unconventionality amongst the four quadrants in the form
of a transgression that valorizes brand choice.
 This cultural representation as dominant brand value and brand image
attribute is evinced in the form of engaging in a bold action that is worth
undertaking regardless of bodily, moral, financial repercussions, such as
worth even eating your friend (cannibalistic drive), worth dying for, worth
breaking home rules.
 In this context, consumer cultural engagement is manifested as employing
cultural resources, semiotically constrained by the aforementioned genres
and cultural domains/practices in order to transgress one’s habitus or to
access a counterfactual reality. ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
neither
counterfactual,
nor
unconventional
(28%)
unconventi
onal, but
not
counterfact
ual (22%)
counterfactual, but
not unconventional
(12%)
Counterfactual
notcounterfactual
not unconventional
daughter demonstrates detection
software to father and warns him not
to touch her Doritos while she's
taking a call; father eats Doritos, is
detected by the software and the
police arrives at his residence: based
on what we know, neither is such
software impossible, nor the police to be
immediately alerted.
baby crying, father soothing it by eating
from Doritos bag; baby laughs; father
starts crying in turn as soon as the bag
runs out: One would not expect a father to
start crying in front of his baby in the face
of an empty snack-bag, although this
hyperbolic scenario is not counterfactual,
that is impossible based on what we know
in this world as possible responses to
cultural situations
ad filmic
storylines
Complicating
action
woman talks to dog about having
purchased Doritos, dog talks back
about wanting Doritos: although it is
not unconventional of pet owners to talk
to their pets, it is counterfactual to expect
of pets to talk back. Again, such
impossible scenarios are creatively
resolved in the fabular narrative
universes of cinematic discourse where
talking pets have been accommodated.
cultural
resources
male eating Doritos; accidentally
dropping a chip on the couch, only to
discover that the couch is actually
eating it; finally getting to terms with
the idea and starting feeding the
couch: couches do not consume food,
as far as we know, and hence it is quite
unlikely that someone will feed a couch
(although such counterfactual scenarios
have been provided for in various
cinematic discursive genres)
 The entire corpus concerned a configuration of
counterfactuality/unconventionality amongst the four quadrants in the form
of a transgression that valorizes brand choice.
 This cultural representation as dominant brand value and brand image
attribute is evinced in the form of engaging in a bold action that is worth
undertaking regardless of bodily, moral, financial repercussions, such as
worth even eating your friend (cannibalistic drive), worth dying for, worth
breaking home rules.
 In this context, consumer cultural engagement is manifested as employing
cultural resources, semiotically constrained by the aforementioned genres
and cultural domains/practices in order to transgress one’s habitus or to
access a counterfactual reality.

56. Cultural
practice/repr
esentation
cultural
resources
44%Fantasy
Drama/slice-of-
life
Main Findings from the quantitative analysis: sub-system I-genre
 the corpus is split almost equally between two major genres,
drama/slice-of-life (50%) and imagination (or fantasy, 44%)
 three individual instances of pure entertainment (a film revolving
around the cultural domain/practice of entertainment/theater/opera),
lessons/demonstration (anti-theft software) and lessons/analogy
(Doritos is so indispensable as to make a father cry in front of his
baby).
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
Sub-system 1 (genre)
50%
Drama/slice-of-
life
 the corpus is split almost equally between two major genres,
drama/slice-of-life (50%) and imagination (or fantasy, 44%)
 three individual instances of pure entertainment (a film revolving
around the cultural domain/practice of entertainment/theater/opera),
lessons/demonstration (anti-theft software) and lessons/analogy
(Doritos is so indispensable as to make a father cry in front of his
baby).

57. Findings from the quantitative analysis: sub-system II- cultural
domains/practices
Cultural
practice/repr
esentation
cultural
resources
 The dominant cultural domain that
was leveraged by consumers (40%)
was leisure, spanning a versatile
spectrum of cultural practices, such
as dinner, a trip to the forest, party,
expert tasting session, fishing, card
game.
 The rest sufficiently sizeable
domains were family (8%), spanning
practices such as baby-care,
teaching and snacking, pet care
(8%), and sports (6%), spanning
practices such as boxing, rugby. ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
 The dominant cultural domain that
was leveraged by consumers (40%)
was leisure, spanning a versatile
spectrum of cultural practices, such
as dinner, a trip to the forest, party,
expert tasting session, fishing, card
game.
 The rest sufficiently sizeable
domains were family (8%), spanning
practices such as baby-care,
teaching and snacking, pet care
(8%), and sports (6%), spanning
practices such as boxing, rugby.

58. Inter-stratal relations I: Axial codes instantiated in storylines
(underlying complicating actions)
Cultural
practice/repr
esentation
cultural
resources
unconventional and
counterfactual (38%)
unconventional, but
not counterfactual
(22%)
Counterfactual
Unconventional
notcounterfactual
not
unconventional
Unconventionality (due to the brand’s boldness) is also occasionally
coupled with a transformative potential of a complicating action scene that
disrupts expectancies: even a boring game, such as Bingo, may turn into a
fun game for the elderly featuring jumping on a bed.
The disruptively transformed cultural practice of Bingo functions, thus, as a
visual metonymy for the unexpectedly savory consumption of Doritos.
The corpus, almost in its entirety, features such complicating actions that
form a homological chain of visual metonymies:
Doritos is as unexpectedly savory as the possibility of a gigantic fish
landing on the dock which functions homologically in this hypertext (i.e. the
collection of texts making up this corpus) with the possibility of dogs
playing poker and the possibility of a dog’s speaking.
.
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
neither counterfactual, nor
unconventional (28%)
counterfactual, but not unconventional
(12%)
Unconventionality (due to the brand’s boldness) is also occasionally
coupled with a transformative potential of a complicating action scene that
disrupts expectancies: even a boring game, such as Bingo, may turn into a
fun game for the elderly featuring jumping on a bed.
The disruptively transformed cultural practice of Bingo functions, thus, as a
visual metonymy for the unexpectedly savory consumption of Doritos.
The corpus, almost in its entirety, features such complicating actions that
form a homological chain of visual metonymies:
Doritos is as unexpectedly savory as the possibility of a gigantic fish
landing on the dock which functions homologically in this hypertext (i.e. the
collection of texts making up this corpus) with the possibility of dogs
playing poker and the possibility of a dog’s speaking.
.

59. Inter-stratal relations II: Genres constraining semiotically the choice
of cultural resources
Cultural
practice/repr
esentation
cultural
resources
While looking for patterns of co-occurrence
between the strata of the cline, an almost 100%
correlation was found between the employment of
a text rooted in cinematic discourse and the genre
of fantasy (imagination, in Franzen’s typology).
This finding, in line with the principle of
conditional probability “where a choice at one
point in the system increases the likelihood of a
particular choice somewhere else in the same
stratum” (Urbach 2013: 303) suggests
unequivocally that UGA creators’ imaginary at the
plane of expression is fully constrained by
cinematic discourse
ad filmic
storylinesgenre
Cultural
practice/repr
esentation
cultural
resources
Complicating
action
While looking for patterns of co-occurrence
between the strata of the cline, an almost 100%
correlation was found between the employment of
a text rooted in cinematic discourse and the genre
of fantasy (imagination, in Franzen’s typology).
This finding, in line with the principle of
conditional probability “where a choice at one
point in the system increases the likelihood of a
particular choice somewhere else in the same
stratum” (Urbach 2013: 303) suggests
unequivocally that UGA creators’ imaginary at the
plane of expression is fully constrained by
cinematic discourse
 In terms of inter-stratal co-occurrence, 64% of the identified cultural
representations were coupled with the slice-of-life genre, as against
28% that were coupled with the imagination genre, a statistically
significant differential distribution compared to the corpus-wide
distribution of genres (chi-square: p<0.05, 99%CI).

60. Multiple Correspondence Analysis (MCA)
The interdiscursivity approach to the constitution of a cultural phenomenon
as a discourse formation that is simulated in this map displays a dual
orientation:
-it allows us to identify how consumers imaginatively negotiate the brand’s
language consisting of cultural orders and types, within each of the identified
depth grammatical quadrants comprised of the axes
counterfactuality/unconventionality
-In this case, we notice in the upper left part of the MCA map that the
‘unconventional, but not counterfactual’ axis is clustered more closely with
the discursive orders of leisure, schooling and family affairs, and, at an
immediately lower abstraction level, with discursive types such as blind date,
schoolbus riding, family sports.
-Such relationships of sheer contiguity may suggest more nuanced patterns
that are reflective of the inner cultural logic of a discursive formation that lies
with uniform relata among seemingly dissonant surface discursive narratives.
-It is such nodal points as relata, rather than expressive units, that may be
effectively leveraged by an advertiser in the context of a long-term creative
communicative strategy.
George Rossolatos, Interdiscursive Readings in Cultural Consumer
Research, Cambridge Scholars Publishing 2018
The interdiscursivity approach to the constitution of a cultural phenomenon
as a discourse formation that is simulated in this map displays a dual
orientation:
-it allows us to identify how consumers imaginatively negotiate the brand’s
language consisting of cultural orders and types, within each of the identified
depth grammatical quadrants comprised of the axes
counterfactuality/unconventionality
-In this case, we notice in the upper left part of the MCA map that the
‘unconventional, but not counterfactual’ axis is clustered more closely with
the discursive orders of leisure, schooling and family affairs, and, at an
immediately lower abstraction level, with discursive types such as blind date,
schoolbus riding, family sports.
-Such relationships of sheer contiguity may suggest more nuanced patterns
that are reflective of the inner cultural logic of a discursive formation that lies
with uniform relata among seemingly dissonant surface discursive narratives.
-It is such nodal points as relata, rather than expressive units, that may be
effectively leveraged by an advertiser in the context of a long-term creative
communicative strategy.
George Rossolatos, Interdiscursive Readings in Cultural Consumer
Research, Cambridge Scholars Publishing 2018

62. Digital marcomms in an IMC setting
 IMC: “the concept under which a company carefully integrates and coordinates its
many communications channels to deliver a clear, consistent message about the
organisation and its products” (Kotler et al. 2001)
 The 4 C’s of IMC (Pickton & Broderick 2001)
 Coherence – different communications are logically connected
 Consistency – multiple messages support and reinforce, and are not
contradictory
 Continuity – communications are connected and consistent through time
 Complementarity – synergistic, or the sum of the parts is greater than the whole
 How should digital brandcomms be optimally activated in order to meet
communicative and media objectives in terms of creative execution(s),
sequencing, frequency?
 IMC: “the concept under which a company carefully integrates and coordinates its
many communications channels to deliver a clear, consistent message about the
organisation and its products” (Kotler et al. 2001)
 The 4 C’s of IMC (Pickton & Broderick 2001)
 Coherence – different communications are logically connected
 Consistency – multiple messages support and reinforce, and are not
contradictory
 Continuity – communications are connected and consistent through time
 Complementarity – synergistic, or the sum of the parts is greater than the whole
 How should digital brandcomms be optimally activated in order to meet
communicative and media objectives in terms of creative execution(s),
sequencing, frequency?

63. IMC transitioning towards integrated touchpoints
management
 Analyzing media
consumption
behavior by cultural
activity
 Seamlessly
integrating brand
messages into daily
activities
(IPA Touchpoints
Integration)
 Analyzing media
consumption
behavior by cultural
activity
 Seamlessly
integrating brand
messages into daily
activities
(IPA Touchpoints
Integration)