Media Business Advertising Model

The blockchain and the economy of attention

The surge in the value of cryptomones in the second half of the year had the merit of making the blockchain concept even more popular.

While crypto-trading may seem far removed from advertising and brands, currencies such as AdCoin (online media buying) or Sandblock (loyalty programs) are beginning to emerge. Louis Bonichon (MNSTR), for his part, cites the example of The Pirate Bay, which has abolished advertising on its website. “To make up the shortfall, TPB uses the computing power of your computer’s processor to undermine Monero cryptomonnaise[XMR]. In other words: the time spent by Internet users on its site could generate enough money to replace the benefits of advertising.

Beyond the interest in the media business model, such an initiative heralds the beginning of a new attention economy. For Louis Bonichon, it is also an opportunity for consumers to capitalize “on the value generated by their visit time: in the form of a currency that they could return to a cause they consider just”. This is the case, for example, of UNICEF, which recently proposed to the public to make a donation by “mining” – i.e. generating – cryptomonnaise, such as a decentralised bank running the banknote printing machine… for a good cause.

The associate creative director of MNSTR also mentions Donate your tab projects (give to an NGO thanks to a tab in your browser that will undermine cryptomonnaise) or Sweatcoin, which transforms steps into cryptomonnaise.

The advent of brand voice identity

Matthieu Elkaïm (BBDO Paris) observes the emergence of voice in international brand communication, particularly in the United States and Asia where the number of voice assistants is much larger than in Europe. “Communications like Burger King’s with Google Home were isolated cases until then. This territory will quickly be pre-empted by brands, and not only in terms of advertising. The question of interaction with a voice assistant through AI will arise for many contact points. “The fact that the advertising for Alexa for Amazon was one of the most noticed of the last Super Bowl is therefore not just a happy coincidence…

These new assistants ask Matthieu Elkaïm the question “of the vocal identity of brands through”, as also raised in our minute interview with Tanguy Riou (Lonsdale).

For Marion Thiéry and Delphine Tabutin, creative directors at WNP, the voice also crystallizes a certain “saturation of the image and an instinctive desire to leave the screens a little bit” while remaining “infotainment addict” since the time is one of entertainment as mentioned in another trend in this issue. “This leads to the development of podcasts, which allow brands to create snackable content without falling into the bottleneck of social networks. “A fundamental trend, which is slowly but surely gaining in power, as mentioned in our campaign review of GE’s podcast.

Marion Thiéry and Delphine Tabutin conclude with malice: “New forms of media coverage of this content will appear and open the way… to the voice. »

Pop culture and brand entertainment

As last year – which is a rather good sign – brand entertainment should be a strong trend in 2018.

Why? Why? First of all because the public “needs reference points, references in a world where everything moves very (too?) fast” as explained by Guillaume Lartigue, co-president and creative director of the Steve agency. Benchmarks that “popular culture can offer” to the public. “It restores connection, creates proximity and sharing. »

Secondly, because brands tend to rush” to mobile and social networks, where audiences are exploding. But they do it wrong, too often replicating old media buying patterns. They are buying a forced intrusion of their commercial messages into our digital privacy. Targets suffer, adblockers resist” as Ghislain de Villoutreys, co-founder and creative director of Peoplewelike, explains. Brand content, on the other hand, allows brands to integrate into social flows in a more natural and legitimate way.

To move from brand content to brand entertainment, Ghislain de Villoutreys recommends that brands think of their content “as programmes, series, stories with a strong cultural impact that do not have to be ashamed of the immediate proximity, in our feeds, to the entertainment we consume every day”.

What are some recent examples of the use of popular culture by brands? Guillaume Lartigue cites “the ING Direct bank that used blockbuster codes to re-humanize the relationship with the advisor”. Or “Sader’s Fixer Sans Percer glue, which has become the brand for fixing for everyone thanks to a popular rap clip”. A campaign carried out by the Steve agency, which we have reviewed as its impact has been so positive on sales. So much so that the agency’s co-founder sees “popular culture not only as a creative trend, but also as a vector of efficiency in 2018”.

To achieve this, however, Ghislain de Villoutreys prefers to warn us: “We will have to change the way we work. Advertisers and agencies become co-producers. We must open up to collaborations with all actors in the entertainment industry: film, series, video game producers, the media, broadcasters, telecom operators, SVODs, authors, artists, and co-create together. You have to think of campaign production as entertainment marketing: achieve a sexy alchemy between storytelling and casting all creative assets. »

Is this trend really new? The co-founder of Peoplewelike concedes: “The marriage between advertising and pop culture or entertainment is not new. Andy Warhol has already invented everything, Beyoncé has sung Coca-Cola, and Georges Clooney still sells coffee. But today, it has never been so strategically essential to go even further, because brands are not at best ignored or rejected. What is more, in an era that demands ever greater respect, values and commitment from them, and therefore anything but the pollution of our brains. “Will this trend continue in 2019? That’s likely.

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