Entertainment Marketing

Front 1

The Leisure Triad

Back 1

Amusement

Entertainment

Recreation

Front 2

Amusement

Back 2

Diversions such as games & the satisfaction derived from playing games.

Front 3

Entertainment

Back 3

Live & mediated performance experiences such as a concert, dance, or drama, even comedy or magic.

Front 4

Recreation

Back 4

Activities we do either for personal satisfaction or creative enrichment

Front 5

Entertainment As Content

Back 5

As a Live Performance

As an Interactive Experience

As Media

Front 6

Experience Entertainment (4 ways)

Back 6

Passive

Educational

Escapist

Esthetic

Front 7

Passive

Back 7

Simply absorb an experience through our senses without much participation.

Front 8

Educational

Back 8

Requires the active engagement of the person’s mind, occurs with problem-solving.

Front 9

Escapist

Back 9

Provides a respite from real life in venues such as theme parks, casinos, role-playing video games.

Front 10

Esthetic

Back 10

Immerse yourself into a cultural experience, but remain witnesses.

Front 11

How Are Experiences Perishable?

Back 11

-Tastes of consumers change all the time.

-Entertainment is expected to be available “On-Demand”.

-Shelf-life is as long as audiences are willing to buy tickets for it.

-Experiences are time-sensitive.

Front 12

How Are Experiences Intangible?

Back 12

-They can’t be touched or grasped.

-Entertainment Marketers are selling a piece of time, a special moment, something that requires the audiences attention.

Front 13

5 Entertainment Genres

Back 13

Live Performance

Destinations & Places

Attractions & Themed Venues

Mediated Entertainment

Celebrities and stars

Front 14

Stealth Marketing

Back 14

Marketing where audience is not aware they are being marketed to.

Front 15

Tie-Ins

Back 15

Connecting one event or product wither another event and/or product so that both brands benefit.

Front 16

Horizontal Axis

Back 16

Details the level of guest participation

(Entertainment/Educational)

(Esthetic/Escapist)

Front 17

Vertical Axis

Back 17

The connection that unites the customer with the event or performance

(Entertainment/Esthetic)

(Educational/Escapist)

Front 18

Time & Attention In Entertainment Marketing

Back 18

Recording, Arts, Television, Radio (The Cultural Industries) are all selling & marketing experiences not physical products or services.

Front 19

3T Technique

Back 19

Tickle

Transfer

Trap

Front 20

Tickle

Back 20

Get audiences excited or intrigued well before an event.

Front 21

Transfer

Back 21

Turn that tickle into a desire to attend or see something.

Front 22

Trap

Back 22

Present the audience with an immediate way to purchase tickets & trap them into the experience.

Front 23

Evoked Set

Back 23

a running list of entertainment options that match their desires.

Front 24

Attention Economy

Back 24

Attention is currency

Front 25

Adver-Games

Back 25

Combine games and marketing content served up on the Internet.

Front 26

Adver-tainment

Back 26

pairing stars with branded products

Front 27

Product Messages

Back 27

advertising into scripted and unscripted television programming.

Front 28

Advertorial (inserts)

Back 28

written content that serves as branded advertising

Front 29

Licensed merchandise

Back 29

Toys, clothes….

Front 30

Advertiser funded programs

Back 30

“Presented by…..”

Front 31

Discount coupons

Back 31

“Buy Pepsi & get $5 off Sox Tickets”

Front 32

A good marketer seeks to understand their audience’s: (3 things)

Back 32

motives, needs, and behaviors.

Front 33

What Is An Audience?

Back 33

People who come together in one place to give attention to live performance, gaming, or viewing a spectacle.

Front 34

Taste Cultures

Back 34

Dependent upon entertainment products – outcomes of form, style, presentation or genre that match the lifestyle of an audience segment.

Front 35

Spectacle/Audience Paradigm

Back 35

Centered around the idea of “Performance”

Front 36

“Performance”

Back 36

relationship between the audience and the performer.

Front 37

4 levels of audience types

Back 37

Simple

Mass

Diffused

Postmodern

Front 38

Simple Audiences

Back 38

Simple Audience members attend concerts, plays, festivals, carnivals, sports, and religious events.

Front 39

Mass Audiences

Back 39

Mass Audiences are invisible because they are entertained at home or in movie houses.

Front 40

Diffused Audiences

Back 40

The idea that all the world is a stage.

Front 41

Postmodern Audiences

Back 41

Identities can vary in longevity & defining power.

Front 42

What is an audience's motivation?

Back 42

Usually, a consumer is motivated because they want to satisfy a need.

Front 43

Perceived lack

Back 43

the consumer must realize that they need something.

Front 44

Uneasiness As Motivation

Back 44

Once the consumer realizes their need, an uneasiness is created which they need to satisfy.

Front 45

Diversion

Back 45

Attend special events, visit amusement parks, travel etc… Active Participation & Immersion

(People want to get away)

Front 46

Stress Relief

Back 46

People want to let go of daily pressures and relax, experience sensory pleasures. Passive Participation & Absorption

Front 47

Emotion-Based Audience Motivations

Back 47

Humans need to feel a sense of safety, belonging, shared identity.

Front 48

4 emotion-based audience motivations

Back 48

Achievement

Power

Novelty

Self-Esteem

Front 49

Achievement

Back 49

The drive to experience emotion in connection with evaluated performance. Entertainment tied to self-esteem.

Front 50

Power

Back 50

-The drive to have control or influence over another person, group, or the world at large. Want to be recognized as an “expert”.

-Gain influence or prestige from others based on possessions or experiences.

Front 51

Novelty

Back 51

Making yourself stand out through entertainment and entertainment experiences.