Brand placement o co-branding? Celebrities e attività di promozione nei film Zoolander 1 e 2

Brands’ promotional strategies are shifting towards liminal areas because their main strategic object seems to be, nowadays, hiding their original purpose and making difficult, for the audience, to avoid a content that is not so easy to classify as publicity. Among all the possibilities of this peculiar strategic communication, there are all the activities of non-conventional communication located in urban spaces but also, and especially, branded entertainment. So brands produce entertainment contents that seems to be free from promotional purposes and at the same time more similar to audiovisual fictional languages.One of oldest and most widespread strategic communication activity, also because of its opacity, is for sure product placement. This activity could be declined in various types, more and more sophisticated because they use a sort of “invisible” promotion, effective when they are connected with the plot. Brand insertion needs a coherent and plausible integration within the plot that testifies the blurring boundaries between promotion and entertainment. But what happens if we consider celebrities as brands and we focus on the practice of celebrities’ endorsement? This leads us to consider this practice also as a co-marketing activity and, in some cases, as a brand alliance activity. If we turn to analyse the motion picture sector, we will find many interesting cases but one of the most meaningful, because of the way it intertwines the storyline with promotional contents, is undoubtedly the film Zoolander (2001) and its 15-years-later sequel Zoolander 2. Those films, set within the fashion world, are full of models, designers, stylist, actors singers and pop icons playing themselves so that we can say that those celebrities are brands promoting themselves and using a strategy of brand alliance with another brand, that is the movie in itself. Moreover, is also interesting to analyse the proper promotional activities, in particular of Zoolander 2, that used this peculiar mixture between promotional and story levels. These films will give the opportunity to reflect upon celebrities’ self-branding practices and upon the concepts of brand placement and brand alliance

Much More than a Narrative Genre: Theoretical and Research Perspectives on Medical Drama

The book explores the sustained interest on medical drama TV series research encompassing various methods and approaches and offering a wide range of perspectives. Its primary objective is to promote insightful discussions on medical dramas TV series production and reception. By examining the possibilities of studying the medical genre, with its social and cultural value, the book critically explores new directions for studying audiovisual narrative media in broader terms. The contributions from the 14th Media Mutations conference provide remarkable insights into qualitative, quantitative and mixed methods for conducting research in film and media studies, with a specific focus on medical drama TV series. Additionally, the book emphasizes the significance of addressing diversity issues within these methodologies, acknowledging the importance of inclusivity and representation in research practices

Investigating medical drama TV series: approaches and perspectives

Since its inception in the 1960s, medical drama has emerged as a prominent genre within the television landscape. Its nomenclature derives from its dual focus: the hospital setting as the backdrop for events and the narrative exploration of medical cases, professional dynamics, and interpersonal relationships. This genre's widespread prevalence and success, primarily within the realm of television, have garnered the attention of media studies scholars, critics, medical device providers, and the broader healthcare community. In light of the recent Covid-19 pandemic, there is an increased imperative to examine the influence of this global health crisis on the portrayal of medical professionals in television series. While some of the most renowned medical TV series, notably E.R., have ceased airing, over-the-top (OTT) platforms like Netflix and Amazon Prime Video enable continued viewership. Additionally, there has been a notable surge in global medical drama productions in recent years. Research efforts have predominantly delved into the narrative structures of medical dramas and the role of the audience in their reception. These narratives are also appreciated for their pedagogical value, serving as potent educational tools. The popularization and societal impact of medical dramas have been studied, particularly in their influence on medical students and the public's perception of healthcare. Medical dramas often address significant social issues and have, as a result, been examined from a bioethical standpoint. They additionally play a pivotal role in the representation of marginalized groups, making them a focal point in gender studies as they explore the evolving depictions of diversity. Linguistically, the specialized language employed in these productions has generated substantial research in areas such as dubbing, medical terminology, and textual analysis. This multifaceted genre continues to be a rich and fertile field of academic inquiry. Drawing on these multi-disciplinary perspectives, the conference aims to promote discussion and share research results on medical drama TV series focusing on the different methods and approaches employed for their analysis

Brand placement o co-branding? Celebrities e attività di promozione nei film Zoolander 1 e 2

Brands’ promotional strategies are shifting towards liminal areas because their main strategic object seems to be, nowadays, hiding their original purpose and making difficult, for the audience, to avoid a content that is not so easy to classify as publicity. Among all the possibilities of this peculiar strategic communication, there are all the activities of non-conventional communication located in urban spaces but also, and especially, branded entertainment. So brands produce entertainment contents that seems to be free from promotional purposes and at the same time more similar to audiovisual fictional languages.One of oldest and most widespread strategic communication activity, also because of its opacity, is for sure product placement. This activity could be declined in various types, more and more sophisticated because they use a sort of “invisible” promotion, effective when they are connected with the plot. Brand insertion needs a coherent and plausible integration within the plot that testifies the blurring boundaries between promotion and entertainment. But what happens if we consider celebrities as brands and we focus on the practice of celebrities’ endorsement? This leads us to consider this practice also as a co-marketing activity and, in some cases, as a brand alliance activity. If we turn to analyse the motion picture sector, we will find many interesting cases but one of the most meaningful, because of the way it intertwines the storyline with promotional contents, is undoubtedly the film Zoolander (2001) and its 15-years-later sequel Zoolander 2. Those films, set within the fashion world, are full of models, designers, stylist, actors singers and pop icons playing themselves so that we can say that those celebrities are brands promoting themselves and using a strategy of brand alliance with another brand, that is the movie in itself. Moreover, is also interesting to analyse the proper promotional activities, in particular of Zoolander 2, that used this peculiar mixture between promotional and story levels. These films will give the opportunity to reflect upon celebrities’ self-branding practices and upon the concepts of brand placement and brand alliance