Archive for the ‘ branded entertainment ’ Category

Brands are now Production Studios…will Government Brands be left behind, or will they produce content…and is that propanda?

FULL DISCLOSURE AND DISCLAIMER- I am a Public Affair Officer for the U.S. Army, and thus an employee of the Federal Government. The following are my opinions and should not in any way be perceived as an official statement or position of the U.S. Government.

Red Bull USA

Most marketing pros these days have either expressed, or heard of the idea that brands can be/are/should be their own production studios. I mean, current technology allows it. Studio quality HD cameras and full editing suites are now even affordable to individuals and don’t require the massive investments they used to. Traditional advertising is less effective and more expensive, so it makes sense to venture into this new territory of brand-based entertainment. Lots of major brands are already doing it…Coca Cola, McDonald’s, Red Bull, GE, BMW, etc., etc.

So, if brands are essentially becoming (or have already become) production studios, creating compelling and entertaining content, what is going to happen to government brands? Will they jump on the production-house band wagon, or will they be left behind? After all, our government is full of brands. Every Congressman and Senator is their own brand (like any pro athlete or entertainer), nearly every department (CIA, FBI, EPA, Army, Marines, Treasury, etc., etc., etc….) is their own brand (like any corporation), and you could even argue that the Supreme Court is their own brand (as a body and as individuals).

Government agencies are already producing their own content. The military has its own network of global media outlets. Granted most of them are targeting internal audiences, but cable providers distribute “The Pentagon Channel”  nationwide. The Army has even produced entertainment content, although they are legally permitted to do so provided it supports their recruiting effort…but that’s a broad and easily defensible test. Where’s the line? Who draws it? Technology is moving faster than our legislative bodies are able to adapt, so who’s keeping our government from overstepping its bounds?

The U.S. Army iPhone App

Today, nearly every government agency has a web site with its own internally produced

news items, and some not-so-newsy-items. The government, like everyone else, used to rely on the media to communicate and filter their messages. But not anymore. Frankly, we can all go direct to our audiences now. The Army, and even the White House now have their own free iPhone applications (both are free…you should check them out for yourself, click here for the THE ARMY APP and THE WHITE HOUSE APP). But how healthy is that for a democracy when the government skips the “fourth estate” …who arguably is asleep at the wheel while dying on the

vine (excuse the mixed metaphors please). Where are the watchdogs in all of this?

The White House iPhone app

Further, in this emerging era of “transmedia” where the lines between news and entertainment, tv and the internet, fact and fiction are getting blurrier with every evolutionary phase of Moore’s Law, when does government communication become propaganda?

Below is an excerpt from Kevin R. Kosar’s, “The Law: The Executive Branch and Propaganda: The Limits of Legal Restrictions,” Presidential Studies Quarterly, 35, no. 4, December 2005. Would love to hear your thoughts on this. Especially my readers who are, or were, government communicators.

“How is it that the federal government can produce propaganda?” Well, the answer is rather simple: the laws of our nation do little to stop propaganda.

If you search American law, the U.S. code [http://uscode.house.gov/] for the word “propaganda,” you won’t find much. You might read that “foreign agents” who propagandize must register with the U.S. government, but you won’t find any law that prohibits the U.S. government from promoting the U.S. and its policies to citizens in other nations. “Public diplomacy” and, in the military context, “information warfare” are permissible and have long been practiced by the federal government.

But, what about federal propaganda targeting domestic audiences?  (5 U.S.C. 3107) prohibits our government from using federal money “for the compensation of any publicity expert unless specifically appropriated for that purpose.” And Congressional appropriations acts often include provisions stating “No part of any appropriation contained in this Act shall be used for publicity or propaganda purposes not heretofor authorized by Congress.” Together, these prohibitions might seem like a formidable bulwark against federal agencies and officers engaged in activities to promote government policies and people.

Why, one might wonder, don’t they? Well, a host of minor reasons might be cited, but the big problem is that Congress never bothered to define what constitutes “propaganda” or “public relations.” 1 A search of the public record for Congress’s intent turns up only a brief colloquy in 1913 before the adoption of the prohibition against the employment of publicity experts. Rep. Frederick H. Gillett (R-MA), who was displeased to learn that the Office of Public Roads of the Department of Agriculture sought to hire a publicity expert, proposed an amendment to an appropriations bill. Rep. Asbury F. Lever (D-SC) sought clarification — “The gentleman has defined the publicity expert … [as] a man whose business is to extol and exploit the virtues of [an] agency. The gentleman does not undertake in this amendment to prevent some one employed by the Department of Agriculture, for instance, giving to the country information as to the work of the department?” Rep. Gillett responded, “Of course not.” And there you have it — the law prohibits hiring a public relations flack to promote an agency itself, but does not prohibit the promotion of an agency’s policies or works.

Readers might be tempted to condemn Congress for failing to define what constitutes acceptable agency communications with the public and what is “propaganda.” The problem, though, is that defining good government communications from bad ones is not easy task. Crack open the Oxford English Dictionary and one finds “propaganda” defined as the “systematic propagation of information or ideas by an interested party, especially in a tendentious way in order to encourage or instill a particular attitude or response.” Defined thus, the Department of Transportation’s media campaigns to discourage drunken driving and nearly every campaign for public office might constitute “propaganda.” A peek at Dictionary.com also doesn’t carry one much further — “The systematic propagation of a doctrine or cause or of information reflecting the views and interests of those advocating such a doctrine or cause.”

The challenges of defining propaganda are formidable and may call to the reader’s mind Supreme Court Justice Potter Stewart’s concurrence in Jacobellis v. Ohio (1964), which involved a theater manager being arrested for showing an erotic French film. Stewart wrote, “I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description [of “hard-core pornography”]; and perhaps I could never succeed in intelligibly doing so. But I know it when I see it…” or a more thorough discussion of this subject, see Kevin R. Kosar, “The Law: The Executive Branch and Propaganda: The Limits of Legal Restrictions,” Presidential Studies Quarterly, 35, no. 4, December 2005.

Finding the right entertainment projects for your brand

OK, it’s been a while since my last blog. Too long really. I planned to take a break during the holidays, but then it extended a little beyond that. Why? Well, I started teaching a class at USC’s Annenberg School for Communication and Journalism (PR Research & Analysis), work has been pretty busy with Season 4 of Army Wives kicking back up production  and assorted other projects big and small, and I spent the last four days in Park City, Utah at Sundance with the movie “The Dry Land“…how’s that for excuses.

But, this blog entry is titled “Finding the right entertainment projects for your brand” not “lame excuses for not blogging lately,” so here we go.

People often ask, when they realize what job I have, “how does the Army decide what projects to support and what projects they don’t?” While our M.O. is slightly different from commercial brands because they have to pay for their brand integration and we have the luxury of being the only organization with tanks, military helicopters, recent war experience, etc., so they need us, the decision process is the same.

Bottom line, it’s all about strategy.

What are your organization’s strategic communication goals? What entertainment properties will help you accomplish those goals? And can you integrate the two into a seamless brand experience without taking the audience out of the story for one of those “ahhh, look….a product placement ad stuck in the middle of my TV show” experiences.

A great example of this is the aforementioned “The Dry Land” movie. This movie is about a Soldier who returns from Iraq and is suffering from PTSD (Post-Traumatic Stress Disorder). A lot of people wondered why the Army was supporting a movie that wasn’t a “pro-Army” movie. Well, the answer was simple. It fit our strategy.

One of the Army’s top priorities is taking care of our wounded troops, thus one of our top communication priorities is to talk about what we’re doing to help our wounded warriors. While this movie doesn’t address that directly, it will present opportunities to further the dialogue. Moreover, it will demonstrate to our Soldiers that the Army is comfortable talking about this issue, thus encouraging them to seek help openly and fearlessly.

Ok, but following strategy is pretty obvious…how do you FIND projects?

We like to think in terms of offense and defense (or proactive and reactive).

Offense. One obvious place is to keep up with the trade pubs, websites, etc. But sometimes their “radar” doesn’t extend far or wide enough. There are other ways to get serious about this.

We don’t use agencies to find brand integration opportunities. But if your organization doesn’t have a presence in Hollywood or lacks the cache or network to find projects on your own, it’s not a bad idea to partner with some experts. There are a lot of agencies that provide this service. Some specialize, like BNC, Momentum Worldwide, and dozens more, and others dabble, like most advertising agencies who are scrambling to find a position in this marketing space. Most of the big talent agencies are also very much involved in this business.

The benefit of using talent agencies is that their tentacles are in every aspect of the business. They rep writers so they know what scripts are in early development, directors so they know how the scripts will be interpreted, and actors so they know what cache the project will carry. They are excellent at marrying brands to projects. But this kind of help is pricey.

Another great place to start is The Lounge at the LA Office. It’s a social network of branded entertainment professionals from corporations and most of the major networks, studios, video game companies, agencies, etc. who are shopping their upcoming projects to potential brand partners. It’s a little costly for individuals, but it’s a great deal for firms.

The defense. For the U.S. Army, we are in the fortunate position that projects typically find us first. Like I said earlier, we’re the only organization with the latest tanks, helicopters, tactical experience, etc., so we typically find ourselves in reactive mode. However, if you’re able to make it known in the industry (through networking or other means) that your brand is openly and actively seeking brand integration opportunities, the projects may very well find you as well.

Again, the bottom line, it’s about strategy.

Producers of entertainment properties are looking for new revenue streams, and integrating brands into the story is one of the ways they’re doing that. It’s not new…frankly it’s how TV started, but there are still a lot of unanswered questions regarding monetization, value, etc.

Would love to hear thoughts on this post! Send your comments or questions!

A great article on Avatar’s marketing campaign

The following is from Chris at www.moviemarketingmadness.com

How do you follow up Titanic?

That’s the question that’s been on everyone’s mind for the last 12 years or so, ever since director James Cameron released what would go on to become the highest-grossing film of all time and a star-making vehicle for its two young stars. While various rumors have circulated through the decade-plus since the pride of the White Star line met its cinematic fate about what the director would do next there’s been nothing in the way of actual output aside from producer credits on a couple of documentaries, including at least one the revisited the Titanic’s history but without the schmaltzy bookending.

Of course it’s not as if Titanic was Cameron’s arrival on-screen. He had already built up an amazing list of credits, including both (to date) Terminator movies, Aliens, True Lies and others that had already cemented him as a Hollywood powerhouse, meaning he was going in to Titanic with a lot behind him.

So the anticipation has been huge about how Cameron would return after such a long absence. But whatever it was going to be, the one thing that everyone was more or less agreed upon was that it was going to be huge.

And huge it is….(read more)