People spent around 90% of smartphone usage time on mobile applications (apps). In response to these opportunities, companies have developed branded apps to interact with consumers and facilitate loyalty. However, companies have hard time retaining consumers to their own brand due to the fierce competition in the app market. As such, it is imperative to unveil factors driving continuance intention of branded apps. This is one of a key research themes in a recent literature review of marketing research on mobile apps. Most of prior studies have adopted the utilitarian perspective where perceived usefulness and ease of use are identified as the key drivers. However, the fit perspective has received limited attention. It has gained increasing importance as recent studies have emphasized the role of person-app fit and person-brand fit in driving consumers’ purchase decision performance and as consumers’ lives are highly embedded into branded apps. This study aims to investigate continuance intention of branded apps from the fit perspective. This research selected the target branded apps in Taiwan based on prior studies. A market research firm was contracted to collect data randomly on various social media sites, and its membership database by using online questionnaires. 198 usable questionnaires were obtained. Partial least squares structural equation modeling was used to analyze the data.

Digital video advertising is an emerging creative format increasingly prevalent online. To attract audiences, creative strategies often employ narrative storytelling techniques that transport the viewer into an entertaining cognitive and affective experience. This study explores key engagement characteristics of creative executions across categorical digital video advertising formats.

The purpose of this study is to examine how a “paring” of a sponsoring brand with wellmatched products in a branded content (e.g., branded entertainment content and/or commercial) possibly leverages consumers’ attitude toward the sponsoring brand. For instance, to maximize the perceived benefit and desirability of their product, Guinness previously portrayed their product along with foods, such as oysters, steaks, and cheese, that would all be much better if consumers enjoyed it with a bottle of Guinness. We refer this type of practice as a “paring strategy,” another form of Leveraged Marketing Communications (LMC), and aim to explore how such paring practice successfully benefits the brand through association. In this context, this study shows a) a proportion of a sponsoring brand and a paring product portrayed in a content (e.g., 20/80 vs. 80/20), b), the attribute of the branded content (desirability vs. feasibility orientation), c) the demonstration natures of the paring strategy (integrated vs. sequential) creates association between a sponsoring brand and matching products, and amplify the perceived benefits of the sponsoring product. Finally, this study aims to explore the moderating role of consumer’s general tendency of processing style (holistic vs. analytic) in the effect of paring strategy.

Introduction The social Web is becoming more and more visual. While Facebook remains the leading social networking site (SNS), visual-based platforms such as Instagram and Pinterest have showed a significant increase in the proportion of online users worldwide (Greenwood, Perrin, & Duggan, 2016; Statista, 2017; Pew Research Center, 2017). The trend toward visual communication on SNSs is influenced by the emergence of advanced mobile technologies and the shifting habits of how social media users consume content today. While images displayed on Instagram are past-oriented sharing of memories, or present-oriented displays of creativity, Pinterest presents opportunities for future-oriented inspiration to evolve (Jin, Lin, Gilbreath, & Lee, 2017; Phillips, Miller, & McQuarrie, 2014). Pinterest also serves as a searchable archive of visual content, allowing users to seek and include brand-relevant pins and boards into their own aspirations and inspirations, thus facilitating the sharing of branded content (Phillips et al., 2014). Extant industry reports also suggest that Pinterest users are more likely to image-search for products, interact with sponsored pins, and show favorable attitudes toward advertising, compared with Facebook or Twitter users (McMullen, 2015; Ruscillo, 2017; Williamson, 2015). Considering the benefits of social media for global marketing and the role that imagery plays for developing international brands (Mikhailitchenko, Javalgi, Mikhailitchenko, & Laroche, 2009), this research focuses on the visual aspects of consumer engagement with branded content on Pinterest and investigates how such engagement leads to consumer-brand relationship building and Pinterest-inspired purchase intention. Theoretical Frameworks The extant consumer research has documented the superiority effect of visual content on facilitating persuasion (Childers & Houston, 1984; Miniard, Bhatla, Lord, Dickson, & Rao, 1991). Recent research on social media marketing also suggests that branded content with visual elements help generate favorable consumer responses (De Vries, Gensler, & Leeflang, 2012; Trefzger, Baccarella, & Voigt, 2016). The presentation of branded posts is directly related to the flow construct and trust (Bart, Shankar, Sultan, & Urban, 2005; Hoffman & Novak, 1996). Along this logic, consumer engagement, the degree to which consumers consume, contribute, and create social media content in relation to brands (Schivinski, Christodoulides, & Dabrowski, 2016), is likely to be influenced by brand-related visual cues on Pinterest. While consumption refers to consumers’ acquisition of both brand-created and user-generated content (Muntinga, Moorman, & Smit, 2011), contribution refers to consumers’ inputs to content created by brands or by other consumers (Shao, 2009). Further, creation is the highest level of engagement, which refers to consumers’ generation of brand-related content that could stimulate further consumption and contribution (Muntinga et al., 2011). Therefore, the visually dominant and appealing presentation style, such as appearance, layout, and images, on Pinterest would provide users with high information content, and is likely to increase both active and passive consumer engagement with brands (Bart et al., 2005). Consumer engagement is then expected to encourage social media users’ willingness to actively promote and endorse brand-related content, including organic and sponsored pins. Such volunteer display of their preferred brand-related content is likely to help engender eWOM communication and make such content become more influential in the social Web (Chu & Kim, 2011). As a result, users’ brand-related Pinterest activities are likely to enhance their relationships with brands (Rapp, Beitelspacher, Grewal, & Hughes, 2013) and their intention to purchase from the brands featured in the pins and boards (King, Racherla, & Bush, 2014). All hypothesized relationships are therefore formulated and displayed in Figure 1. Methods To test the proposed conceptual model, an online survey was conducted with participants recruited from a consumer panel administrated by Qualtrics. A total of 467 Pinterest users (58.2% female, Mage = 28.9, SDage = 5.6) comprised the sample, including Caucasian (76%), African American (7.5%), Hispanic (7.4%), Asian (6.9%), multiracial (1.3%), and others (.9%). The participants spent an average of 9.5 hours on Pinterest per week. Smartphones (54.8%) emerged as the most dominant devices for their Pinterest usage, followed by computers (34.9%) and tablets (10.3%). They had an average of 33.7 boards (Range = 1,233), 1,384.1 Pins (Range = 69,000), 930.1 likes (Range = 100,000), 319.0 followers (Range = 44,231), 65.0 following topics (Range = 3,442), 173.0 following people (including brands, Range = 7,000), and 102.0 following boards (Range = 6,000). To note, 78.3% of the participants reported that they made Pinterest-inspired purchases frequently (including 24.8% always, 24.4% usually, and 29.1% often). In addition, the participants were asked to answer questions pertaining to their perceptions of visual cues related to a self-selected brand on Pinterest, engagement with brand-related content, brand endorsing behavior, consumer-brand relationships, and Pinterest-inspired purchase intention (see Table 1). Results To test the proposed hypotheses, a two-step modeling approach following Anderson and Gerbing’s (1988) procedures was employed. The results of confirmatory factor analysis (CFA) showed that the measurement model achieved acceptable fit for the data (χ2 = 1178.30, df = 393, χ2/df = 2.99, RMSEA = .065, SRMR = .054, CFI = .930, TLI = .922). The constructs had good composite reliability (>.70). Factor loadings of the construct indicators were all above .70 with significant t values, which indicated good convergent validity for each of the construct items (Nunnally & Bernstein, 1994). Following Fornell and Larcker’s (1981) criteria, the results achieved satisfactory discriminant validity because the average variance extracted (AVE) for each factor was above .50 and greater than the squared correlations between each pair of constructs. The factor scores were then used to perform a path analysis for hypothesis testing which showed satisfactory fit of the conceptual model (see Figure 2). The results indicated that visual cues positively influenced consumer engagement with brand-related content (β = .68, p < .001), which positively led to brand endorsing behavior (β = .86, p < .001). Consequently, brand endorsing behavior positively enhanced the development of consumer-brand relationships (β = .97, p < .001) and increased Pinterest-inspired purchase intention (β = .48, p < .001). In turn, all hypotheses were supported. Discussion and Conclusion In response to the thriving academic interests in understanding how social media users connect and interact with international brands across SNSs (Hennig-Thurau, et al., 2010), this research sheds light on factors that determine social media users’ active discovery, creation, and distribution of visual branded content and the effects of consumer engagement on social media marketing outcomes. By focusing on Pinterest, the research findings showed that users, both men and women, actively seek inspiration from Pinterest across brand-relevant categories. They are highly engaged, open to brand activities, and ready to take Pinterest-inspired actions in the real world. The visual presentation of branded content plays an important role in generating consumer engagement, which is likely to act as a form of perceived relationship investment and subsequently stimulates brand endorsing and advocacy behavior (Simon & Tossan, 2018). Engaged Pinterest users search and select brand-relevant visual content, including sponsored pins, as part of their self-presentation to others (Phillips et al., 2014). Through such interactions with brands and other like-minded users on the platform, their relationships with brands and purchasing behavior are likely to be further enhanced. This research integrates several important literature streams in the conceptual model and employs a representative adult sample to provide theory-driven and generalizable insights into how visually-focused social media marketing works. Marketing managers face opportunities and challenges that social media and the interconnected international business environment present. Therefore, it is crucial to understand how social media users interact with brands on different platforms in order to tailoring brand strategies accordingly for fostering consumer engagement. Specifically, as Pinterest’s popular visual discovery engine continues to attract myriads of global users, managers should harness the power of visual content marketing and engage current as well as potential consumers on the platform, which could have a significant impact on consumer-brand relationship building and business performance in domestic and foreign markets. Building on the findings of this research, future studies should further delve into the psychological underpinnings and motivations that drive consumer engagement with visual branded content on SNSs across cultures and discover how paid, owned and earned brand communication on visual-based SNSs can help strengthen consumer-brand relationships.

The market for luxury is changing with new competitors to the market, more modest growth, and new types of customers (Kim and Ko 2012, Ko, Phau and Aiello 2016) as well as the ubiquity of digital marketing channels (Okonkwo 2009). Moreover, social media has transformed the logic of fashion marketing by providing new ways of engaging, interacting, and connecting with customers (Dhaoui 2014) as well as enabling consumers to participate in branding process (Burman 2010). As a consequence, also luxury brands need to develop experience-based marketing strategies that emphasise interactivity, connectivity and creativity (Atwal and Williams 2009). What is more, despite of growing importance of social media marketing in luxury industry, extant research on the topic still remains quite limited (Ko and Megehee 2012). While the previous studies have well documented the benefits of luxury marketing on social media (Kim and Ko 2012, Kim and Ko 2010, Brogi et al. 2013, Kontu and Vecchi 2014, Godey et al. 2016), and their implications on luxury brand management (Dhaoui 2014, Larraufie and Kourdoughli 2014), and even co-creative marketing practices (Choi, Ko and Kim 2016, Tynan, McKehnie, and Chuon 2010), no studies to this date have looked at co-creation from consumer-perspective. This article provides a novel perspective on luxury branding, by following the resource-based theory of consumer (Arnould, Price and Malshe 2006) to study the brand identity as co-created in social media. To do this, visual frame analysis (Goffman 1974, Luhtakallio 2013) is applied on consumer generated images downloaded from Instagram feed of brand exhibition staged by luxury brand Louis Vuitton. Based on the analysis, a typology of co-created brand identities is proposed. The findings indicate that in the branded exhibitions, consumers co-create brand identity by utilising resources available in the experiential brandscape by taking and posting these objectifications of brand on social media (Presi et al. 2016) and in so doing create symbolic/expressive, and experiential/hedonic value (Tynan et al. 2010). Theoretically, this article provides a novel perspective on luxury brand as co-created and in so doing, demonstrates the dynamics of firm-consumer co-creation. What is more, to extend the emerging stream of visual analysis of luxury (Kim et al. 2016, Freire 2014, Megehee and Spake 2012), an application of novel is demonstrated in the article. Managerially, this explorative study provides new insights on luxury marketing in social media by suggesting that branded experiences should be designed in a manner that engages the consumer to actively use the resources available to them. The financial implications of this shift are also significant as according to McKinsey study, three out of four luxury purchases are influenced by social media (Hope 2016)

Scholars have described compulsive behaviour as “hyperstimulation, sometimes unintentional and repeated overindulgence despite negative consequences, deception and self-neglect” (Hartston 2012). Compulsive buying behaviour has become an addiction amongst many consumers and it has fuelled the growth of the retail market since the 1990’s (Neuner, Raab and Reisch 2005; Koran et al. 2006). The higher spending power of the middle-class consumer has led to a greater demand of luxury branded products so that consumers can attain a higher level of social class within the society. This study will explore the impact of emotional factors (self-esteem, FOMO, brand prestige, and brand consciousness) and rationale factors (product quality, price consciousness and sale proneness) on compulsive buyer’s purchase intention. This is the first study to explore the impact of emotional and rationale factors on compulsive buying behaviour in the luxury branded product category. The results show that young consumers with high compulsive buying tendencies are more heavily influenced by emotional factors. Therefore, retailers could target young consumers by focusing on brand prestige and the brand name.

Luxury brands embed meanings in advertising and encourage brand/category ritualistic behavior (Johar, Holbrook, & Stern, 2001; Otnes & Scott 1996). The ritualization of a luxury brands, such as champagne, is important because rituals encourage transformation and status attainment (Driver, 1991; Otnes & Scott, 1996). Yet, do all luxury consumers interpret the rituals communicated in advertising similarly? We consider Collins (2004) Interaction Ritual Theory (IRT) to examine how advertised rituals transform consumption practices of luxury products. We used a hermeneutic phenomenological research method (Langdridge, 2007), collecting data (interviews and photos) from 18 informants (Atkinson & Flint, 2001) using a two-tier collection strategy (see Ziller, 1990). After informants provided images of champagne (see Collier & Collier, 1986; Heisley & Levy, 1991), semi-structure interviews were conducted. The questions related to topics such as champagne sharing, ritual influence, image descriptions, and personal consumption. The data were analyzed using a grounded theory approach (Glaser, 1978), inductively coded based on IRT’s conditions. A thematic analysis of the images was also conducted (Fereday & Muir-Cochrane, 2006) as was an iterative analysis of the transcripts. The researchers separately and then together analyzed the images and transcripts to determine similarities, understandings, and interpretations of emergent themes. Consistent with taste regimes literature (Arsel & Bean, 2013), we find champagne consumption is also practiced and ritualized according to two types of regimes. Within an open regime, informants experience champagne as a medium for engaging with limited individuals, with the product as the kernel of the experience. The open regime is a negotiated (beyond what is advertised) ritual that can be explored and extended. Alternatively, a closed regime represents a more stagnant system of social interaction, emerging as a product of the situation, often a celebration (as typically advertised). Those practicing a closed regime banalize the ritual, have hegemonic discourses related to product, and have more difficulty naming brands. Consumer’s luxury brand expectations, including rituals, are often interpreted through advertising and brand-created communications. Understanding how consumers integrate brand messages into rituals with the products and brands as well as the brand role in rituals is important. While it can be hard for brands to know their target customers’ ritual regime, brands may choose varied communications approaches to reach both consumer types. Either way, consumer expectations of open regimes are likely built through advertising, while closed regimes are built through special events and intensive distribution strategies.

The authors of this research show that gender plays a role in whether public star ratings of branded content films (e.g., ratings on Rotten Tomatoes) and increased awareness of surroundings differentially affect movie viewers’ willingness to spread word-of-mouth about films. For men, no matter whether they have high or low awareness of surroundings, a higher versus lower star rating uniformly enhances the likelihood they will recommend the film to others. In contrast, for women, momentarily heightened awareness of their surroundings enhances (diminishes) the likelihood of recommending the higher (lower) star-rated film. If women have low awareness of their surroundings, however, the differences do not emerge.

This survey was conducted to investigate consumer preferences for branded and imported pork, including favorite cooking styles. Data were collected from a total of 252 consumers and analyzed. The results are summarized as follows. Consumers of branded pork showed a moderate preference「moderate」(54%). There was no significant difference in consumer preference for branded pork according to educational level or living area. However, there was a significant difference according to yearly income (p<0.05). Consumers in the high-income group preferred branded pork more than those in the low-income group. Most consumers did not like imported pork (64.6%). There was no significant difference in consumer preference for imported pork according to educational level or living area, whereas there was in the yearly income group (p<0.05). Whereas low-income consumers did not like imported pork, high-income consumers did. The royalty for purchasing of branded pork was shown「3.65」out of 5 points. Whereas there was no significant difference according to educational level, there was for living area and yearly income (p<0.05). Consumers living in large cities or having low income showed high royalty of purchase for branded pork. The royalty for purchase of imported pork was「2.08」out of 5 points. Significant differences for purchase royalty of imported pork were observed according to educational level, living area, and yearly income group (p<0.05). Consumers responded that they liked roasted pork (47.6%). Secondly, consumers liked stew (16.7%). There were no significant differences among various cooking styles in any of the groups.

Marketers commence to use types of brand alliance strategies including co-branding. Many previous studies focused on the strategic performance of the co-branded credit card or loyalty programs. The introduction of the department store co-branded credit card successfully increases revenues and expands the market shares for both the banking industry and the department store industry in Taiwan. In view of the importance of co-branding strategy to extend market share for both the banking industry and the retailing industry in Taiwan, it is worthy to have a better understanding of whether or not consumer’s affective loyalty to the bank and/or consumer’s affective loyalty to the department store will influence his/her attitude toward the department store co-branded credit card, which in turn influence his/her intention to continue to use or apply for the co-branding credit card. This study aims to ascertain what factors determine consumer’s intention to continue to use and/or to apply for the department store co-branded credit card. This study collected data on the Internet Website from December 8, 2013 to January 30, 2014. A total of 444 valid data were used in this study. The two-stage procedure of structural equation model (SEM) analysis was conducted to examine the hypothetical causal relationship in the proposed theoretical model. The results indicate that for those who had applied for the department store co-branded credit card, consumer’s affective loyalty to the bank and consumer’s affective loyalty to the department store indeed exert positive impacts on his/her attitude toward department store co-branded credit card, which in turn influence his/her intention to continue to use the co-branded credit card. In addition, for those who did not have the department store co-branded credit card, consumer’s affective loyalty to the department store can induce his/her attitude toward department store co-branded credit card, which in turn influences his/her intention to apply for co-branding credit card. The implications and suggestions for both the banking industry and the retailing industry are also provided in this study.

A study of the comparison of customers' satisfaction and loyalty at McDonald's two types of outlets is presented. The objective of this study is to test correlation among selection attributes, customer satisfaction and loyalty of customers patronizing two types of Mcdonald's restaurants - stand alone and co-branded, as Mcdonald's is known to be actively participating in co-branding with discount stores such as E-Mart. In order to measure customer loyalty, benchmark scores from customers showing extreme satisfaction are compared to the mean scores of total sample customers at each outlet. Meeting or exceeding benchmarking scores does not automatically bring in and create loyal customers but in doing so will certainly help build up strong customer relationship which will create additional loyalty. Marketers should be well aware that statistically significant difference do exist between these two groups of customers and should take into consideration these findings in opening up new outlets or renovating existing outlets.

The dynamics of communications powered by the Internet, specifically from the increased use of social media, has led marketers to find creative channels to engage with the customers. One of the recent channels, “branded entertainment”, is becoming familiar as an advertising strategy in which the content presented is a marketing tool for the advertising of certain brands. The current study examined the case of a branded-entertainment channel and the mechanism of the advertising instrument that leads to purchase intention. The specific purpose of this research is to investigate whether there is evidence of the role of narrative transportation and the fantasy proneness leading towards purchase of the brand advertised. To arrive at the conclusion, the study using web series sponsored by an artificial sweetener brand and employs a quantitative survey to question the audience. The findings contribute toward the understanding of how consumers respond to branded entertainment via video-sharing platforms. It is indicated that the stories presented in the web series can stimulate the audience to fantasize. Thus, the advertising message conveyed through narrative persuasion can form a favorable attitude toward the brand, which leads to intention to purchase. Practical elements are identified along with limitations and future research suggestions.

본 연구는 최근에 각광받고 있는 브랜디드 콘텐츠 광고 중에 스토리텔링을 기반으로 하는 웹드라마형과 일반 감성광고가 몰입에 차이점이 있는지 알아보고 독특성 욕구의 조절효과와 즐거움의 매개효과를 검증하고자 하였다. 이를 위해 2(브랜디드 콘텐츠vs. 감성광고) x2(독특성 욕구 낮음 vs. 독특성 욕구 높음)의 집단 간 디자인으로 연구를 설계하여 진행하였다. 연구결과 첫째, 브랜디드 콘텐츠와 감성광고는 몰입에 유의미한 차이가 없는 것으로 나타났다. 둘째, 브랜디드 콘텐츠와 감성광고가 독특성 욕구에 따라 몰입에 미치는 영향을 검증한 결과 독특성 욕구가 높은 집단의 경우 브랜디드 콘텐츠가 높게 나타났고, 독특성 욕구가 낮은 집단에서는 브랜디드 콘텐츠와 감성광고는 차이가 없는 것으로 나타났다. 셋째 몰입의 경우 구매의도에 영향을 미치지 못했고, 즐거움에 유의한 영향을 미치는 것으로 나타났다. 이러한 즐거움은 구매의도에 유의한 영향을 미치는 것으로 나타났다. 이와 같이 브랜디드 콘텐츠와 감성광고는 독특성 욕구에 따라 몰입이 다르게 나타날 수 있다는 점과 몰입이 즐거움을 통해 구매의도를 높일 수 있다는 결과들은 이론과 실무에 유용한 지침을 제공할 것이다.

본 연구는 디지털미디어 시대 뉴 플랫폼 시장의 형성으로 폭발적인 성장을 하고 있는 브랜디드 콘텐츠 유형을 분류하여 콘텐츠노블티, 몰입, 적합성에 차이가 있는지 살펴보고, 브랜드 태도, 구매 의도 간의 구조적 관계를 살펴보고자 하였다. 연구 결과, 콘텐츠노블티와 몰입, 적합성은 모두 웹드라마, 뮤직비디오, 1인미디어 순으로 유의한 차이가 나타났다. 또한 콘텐츠 노블티, 적합성은 브랜드 태도에 유의한 수준으로 정(+)의 영향을 미쳤다, 반면 몰입은 브랜드 태도에 영향을 미치지 못하는 것으로 나타났다. 이러한 브랜드 태도는 구매의도에 정(+)의 영향을 미쳤다. 이러한 결과를 통해 브랜디드 콘텐츠를 제작하는 기업은 콘텐츠 자체로서 소비자들이 즐길 수 있도록 참신함과 즐거움, 공감을 불러일으킬 수 있는 웹드라마 형식의 콘텐츠를 제작하는 것이 마케팅 관점에서 유리할 것이라는 전략적 시사점을 제공하였다.

본 연구는 디지털 미디어 기반의 환경에서 증가된 콘텐츠 소비 성향에 맞는 콘텐츠 마케팅 전략으로 나타난 브랜디드 콘텐 츠(branded contents)와 인게이지먼트(engagement), 소비자 공감, 브랜드 태도 간의 구조적 관계를 살펴보고자 한다. 소비자가 브랜디드 콘텐츠에 얼마나 몰입, 관여, 집중하였는지를 가늠할 수 있는 정성적 지표인 인게이지먼트 속성을 핵심변수로 상정하였으며, 이러한 인게이지먼트 속성이 소비자 공감과 브랜드 태도에 어떠한 영향력을 미치는지 살펴보고자 하였다. 연구결과 브랜드 인게이지먼트와 크리에이티브 인게이지먼트는 소비자 공감에 정(+)의 영향을 미치는 것으로 나타났 다. 반면 미디어 인게이지먼트는 유의한 영향을 미치지 못하는 것으로 나타났다. 크리에이티브 인게이지먼트, 미디어 인게 이지먼트, 브랜드 인게이지먼트는 브랜드 태도에 모두 유의한 영향을 미치지 못하는 것으로 나타났다. 마지막으로 소비자 공감의 경우 브랜드 태도에 정(+)의 영향을 미치는 것으로 브랜디드 콘텐츠 인게이지먼트는 소비자 공감의 완전매개를 통 해 브랜드 태도에 영향을 미치는 것을 알 수 있다. 이는 소비자들이 스토리텔링에 몰입되어 동일시되면서 브랜드에 자신을 거울처럼 비추는 반응을 통해 브랜드 태도에 긍정적 영향을 미치는 것으로 해석할 수 있다. 소비자가 스토리에 대한 관심과 몰입을 통해 자기 실재감을 강화시킨다는 측면에서 브랜디드 콘텐츠를 기획, 제작 단계에서 실무적으로 고려해야 할 중요 요소임을 시사한다.