What drives city branding?

The article revises the role of architecture and iconic buildings in the branding of urban spaces.

My generation(s): cycles, branding and renewal in E4’s 'Skins'

In an era of fragmenting audience and diversified viewing platforms, youth television needs to move fast and make a lot of noise in order to capture and maintain the attention of the teenage viewer. British ensemble youth drama Skins (E4, 2007-2013) calls attention to itself with its high doses of drugs, chaotic parties and casual attitudes towards sexuality. It also moves quickly, shedding its cast every two seasons as they graduate from school, then renewing itself with a fresh generation of 16 year old characters - three cycles in total. This essay will explore the challenges of maintaining audience connections whilst resetting the narrative clock with each cycle. I suggest that the development of the Skins brand was key to the programme’s success. Branding is particularly important for an audience demographic who increasingly consume their television outside of broadcast flow and essential for a programme which renews its cast every two years. The Skins brand operate as a framework, as the central audience draw, have the strength to maintain audience connections when it ‘graduates’ those characters they identify with at the close of each cycle and starts again from scratch. This essay will explore how the Skins brand constructs a cohesive identity across its multiple generations, yet also consider how the cyclic form poses challenges for the programme’s representations and narratives. This cyclic form allows Skins to repeatedly reach out to a new audience who comes of age alongside each new generation and to reflect shifts in British youth culture. Thus Skins remains ever-youthful, seeking to maintain an at times painfully hip identity. Yet the programme has a somewhat schizophrenic identity, torn between its roots in British realist drama and surrealist comedy and an escapist aspirational glamour that shows the influence of US Teen TV. This combination results in a tendency towards a heightened melodrama at odds with Skins claims for authenticity - its much vaunted teenage advisors and young writers - with the cyclic structure serving to amplify the programme’s excessive tendencies. Each cycle wrestles with a need for continuity and familiarity - partly maintained through brand, aesthetic and setting - yet a desire for freshness and originality, to assert difference from what has gone before. I suggest that the inevitable need for each cycle to ‘top’ what has gone before results in a move away from character-based intimacy and the everyday to high-stakes drama and violence which sits uncomfortably within British youth television.

El lugar de la expresión oral con respecto a las demás destrezas lingüísticas en el material docente Ejercicios Amigos Dos

This dissertation research aims to analyze the material Ejercicios Amigos Dos used by students learning Spanish as a foreign language in a Swedish school. Specifically, it examines the place of speaking skills, in the context of basic language skills. This study was an exploratory and descriptive analysis of the material Ejercicios Amigos Dos.Qualitative method used was action research, which was based on the real needs of the author of this study to enhance their teaching.Sheet one and Sheet two containing educational criteria for the analysis of teaching materials were used to measure the place of speaking skills.The main findings in the analysis showed that speaking skills are taken into account in the teaching material, however there are some micro skills missing. Speaking skills do not take a prominent role in the teaching material. Writing skills are emphasized to a greater extent.

A proposed Model for Country Branding : an experimental Application on Nigeria

In the era of globalization, countries compete with each other for attention, respect and trust of potential consumers, investors, tourists, media and governments of other nations. Branding is the most powerful tool that a nation can utilize for effective differentiation strategies and for creating competitive advantage over other nations. Unfortunately, not every nations or destination marketers have a broad understanding of the concept of branding and how a country can be successfully branded. Hence, this study has proposed a model that could be used as a valuable guide for country branding. Also the model is recommended for countries struggling with image crisis; on the mission to improve the image internationally. Nigeria is a good example of countries with image crisis; it is one of the most populated countries in the world with a population of about 160 million inhabitants and growth rate of 2.553percent annually. Despite the abundant resources (e.g. coal, petroleum, natural gas etc.) that the nation is endowed with, it is quite disappointing that the population below poverty line is still at the alarming rate of 70percent of the total population. The mismanagement and poor leadership of the nation characterised by corruption, fraud, embezzlement of public fund etc. has culminated into serious image crisis that is slowing down the potential for investment and economic growth. However, there has been series of image rebranding campaigns but no tangible achievement has been recorded. It is quite questionable though, if image rebranding will provide the kind of future that Nigeria envisaged, considering the socio-political situation and the economic imbalance; compounded by the obvious fact that the nation has no known brand. Therefore, this paper argues that there is need to redirect the effort invested on image rebranding to the creation of a unique and competitive brand for the country. It was established from the study that a nation’s brand is capable of improving the reputation of the nation as well as stimulate the expectation of the target audience. However, it was also established from the study that a wrong approach to branding could mislead the target audience and attract negative publicity. Hence, as a contribution of the study to the field of branding, a model was proposed as a functional guide for country branding. Also, considering the abysmal performance of Nigeria’s image in the international community and to strengthen the argument that brand creation is required for the country; an experimental application of the proposed model was conducted using Nigeria as the case country. The first phase of the model suggested a major improvement in the society; this is required to further enhance the strengths of the country and to motivate the much needed community participation and confidence in the brand creation. It is the conclusion of the study that a strong nation brand can offset the image problem if it is built on something concrete, genuine, and uniquely identifiable with the country, capable of connecting to the cognitive psychology of the target audience.

Don't tate us! The impediments and drivers of branding museums

This study examines the applicability of brand orientation, and its drivers and impediments in the museum context. A multiple case study approach, with 12 institutions across two countries (United Kingdom and Australia) was carried out. Results suggest that brand orientation provides the cultural platform to retain the distinctiveness of the institution and build the symbolic representation required to remain competitive in the future.

Branding the individual

This paper by Heath McDonald and Julian Vieceli from Deakin Business School explores the value of branding the individual, basic branding principles, reasons to brand yourself and ways of going about it.

Just do it? Branding, fashion and globalisation. A teaching and learning unit in global citizenship for the middle years

Presents to teaching guide on global citizenship for the middle years in Australian schools. Position of young people in consumerism; Impact of advertising on young consumers; Attitudes of students toward global branding.

Global branding and strategic CSR : an overview of three types of complexity

Purpose – There is general agreement that global brands should ensure that they incorporate social responsibility. To do this properly, organisations must understand what it means to be socially responsible and how they can leverage their actions. The paper proposes consideration of three distinct areas: the range of social responsibility issues, what the organisations actually do and how to leverage those corporate social responsibility (CSR) actions. This paper seeks to conceptually develop these three areas of complexity – Issue, Organisational and Communication – as it is only after organisations understand these three areas that they can effectively leverage socially responsible activities in their brands.

Design/methodology/approach – This research undertakes a review and synthesis of the academic, practitioner and industry literature examining CSR and the brand, addressing the three areas of complexity – issue, organisational and communication.

Findings – The research finds that within these three areas of complexity there are a number of sub-issues that must be addressed if CSR is to be strategically integrated into a global brand. This includes sub-issues associated with social issue complexity (identification, heterogeneity, measurement, and interpretation); organizational complexity (overall corporate brand, multiple products and brands, functional activities, and supply chain); and communication complexity (intensity of action/positioning, communicating action, types of programs utilised, and integration issues.) It thus provides an agenda for future research.

Research limitations/implications – There is limited academic literature examining how global organisations incorporate CSR activities into their brand and the research proposes the issues that need to be considered when integrating CSR into branding strategy. Future research needs to be undertaken to explore the internal processes that global firms use to develop their CSR positioning strategies and some research propositions for future research are proposed. Additionally further exploration of each of the issues (and sub-issues) identified in this paper is warranted, and some suggestions are made for this.

Practical implications – The results of this study show that developing a CSR leveraged brand in a consistent way that is salient to all stakeholders is no simple task for global organisations. By considering the three areas of complexity developed here organisations will be able to better understand and align their activities in line with CSR related issues. Being global means that organisations will likely need to ensure they address the highest set of global expectations, as any lower level may be criticised as being less than appropriate.

Originality/value – The paper develops the sub-issues of issue, organisational and communication complexity associated with global brands' CSR activities. This strategic perspective goes beyond focusing on the tactical activities undertaken or the philosophical issue of whether CSR should be undertaken. The work therefore allows global organisations to look at CSR more strategically as a branding issue.

An initial classification of branding strategy in Australian arts organisations

This research examined the corporate branding approaches and strategies adopted by six prominent Australian arts and cultural organisations. The aim of this exploration was to identify patterns in branding across different arts and cultural organisations, and attempt to provide an initial classification for understanding how these organisations approach branding strategy. We found that three factors influenced branding strategy in the surveyed organisations, viz., the focus of branding process, the degree of consistency in branding communication, and the required level of customers’ involvement in the branded products. The organisations studied were then plotted on a continuum that considered each of these factors.

Regional branding : perspectives of tourists in Australia

This paper aims to explore the overlap and gap between the communication efforts of destination marketing organisations (DMO)’s and consumer perspectives of tourism destination within Australia. This paper applies qualitative and quantitative methodologies. Three stages of analysis are discussed. The web site content of state tourism authorities are analysed using Leximancer. The results show that states are using differing perceptual dimensions to portray characteristics of state tourism destinations. It is also found that consumers can recall the slogans and positioning of some states to a much greater extent than others. Finally it was shown that there was little correspondence and consistency between state positioning slogans and the destination promise and actual content on the web site.

The branding of arts and culture : an international comparison

This paper explores the approach of arts and cultural organisations towards branding in Italy and Australia. Data were collected through extended interviews with general managers and marketing managers of 18 arts and cultural organisations, including museums, galleries, theatres and festivals of both countries. Through the analysis of the data collected, five initial elements emerged when seeking to classify the branding paradigms of the organisations, viz., the orientation of the brand management, the type of brand management, the level of customers’ involvement in the brand “idea”, the degree of consistency in branding and attitudes toward risk in branding. For this article, we focus on two particular elements, the orientation of the brand management and the degree of consistency in branding, as these elements have an important influence on how an arts organisation will strategically manage its brand.

On the basis of the assumption that branding is driven by different factors in different countries, the paper identifies two main paradigms/models of branding characterised by specific drivers: marketing tools and strategies in Australian arts and cultural organisations; history and tradition of the cultural product/offer in the Italian ones. What emerges in this study is that the importance of brands in the arts and culture context should not be underrated by arts and cultural managers. Both models (the Italian and the Australian) represent valid examples for managers to look at in relation to the brand management process.