Araştırma Makalesi
BibTex RIS Kaynak Göster
Yıl 2022, Cilt: 9 Sayı: 3, 115 - 126, 30.09.2022
https://doi.org/10.17261/Pressacademia.2022.1635

Öz

Kaynakça

  • Amirkhanpour, M. (2013). Mobile marketing and So-Lo-Mo convergence: the new trends in marketing. In Conference of the Euro MedAcademy-of-Business, Portugal.
  • Argan, M. (2007). Eğlence pazarlaması. Detay Yayıncılık. İstanbul.
  • Badzinska, E. (2013). Media convergence as a hallmark of modern marketing communication. Zeszyty Naukowe Szkoły Głównej Gospodarstwa Wiejskiego w Warszawie. Polityki Europejskie, Finanse i Marketing, 10 (59),32-44.
  • Baird, A., & Raghu, T. S. (2015). Associating consumer perceived value with business models for digital services. European Journal of Information Systems, 24(1), 4-22.
  • Baltacı, A. (2019). Nitel araştırma süreci: Nitel bir araştırma nasıl yapılır? Ahi Evran Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 5(2), 368- 388.
  • Barnouw, E., & Kirkland, C.E. (1992). “Entertainment” in Folklore, Cultural Performances, and Popular Entertainments: A CommunicationsCentered Handbook. Ed. Bauman, R., New York OUP.
  • Bates, S., & Ferri, A. J. (2010). What's entertainment? Notes toward a definition. Studies in Popular Culture, 33(1), 1-20.
  • Baybars, M., & Ventura, K. (2020). Understanding new consumers through the lens of a promising market segment: Lohas. New Communication Approaches in the Digitalized World. Cambridge Scholars Publishing: Newcastle upon Tyne, UK., 468-489.
  • Biggiero, L. (2006). Industrial and knowledge relocation strategies under the challenges of globalization and digitalization: the move of small and medium enterprises among territorial systems. Entrepreneurship and regional development, 18(6), 443-471.
  • Bryant, J., & Miron, D. (2002). Entertainment as media effect. In Media effects (pp. 559-592). Routledge.
  • Burton, S., & Soboleva, A. (2011). Interactive or reactive? Marketing with Twitter. Journal of Consumer Marketing. Vol. 28 No. 7, 491-499.
  • Castells, M., & Cardoso, G. (2005). The network society: From knowledge to policy (3-21). Washington, DC: Center for Transatlantic Relations, Paul H. Nitze School of Advanced International Studies, Johns Hopkins University.
  • Cedikçi, T. (2008). Eğlence Sektörünün Ülke Ekonomisindeki Yeri: Bir Uygulama Örneği, Müzikaller. Yüksek Lisans Tezi, İstanbul Kültür Üniversitesi Sosyal Bilimler Enstitüsü, İstanbul.
  • Cohen, D., & Crabtree, B. (2006). The qualitative research guidelines Project [online], (July, 2006), Princeton, Robert Wood Johnson Foundation, http://www.qualres.org/HomeSemi-3629.html [Date Accesed: September, 21.2022].
  • Cooper-Chen, A. (Ed.). (2006). Global entertainment media: Content, audiences, issues. Routledge.
  • Crawford, J. E. (2016). Cutting the cord—a marketing case: An examination of changing TV viewership. Atlantic Marketing Journal, 5(2), 136- 150.
  • Creswell, J. W. (2014), “Research design: qualitative, quantitative, and mixed methods approaches 4th ed.” Sage Publications, Inc. Apple Books.
  • Das, S., & Gochhait, S. (2021). Digital Entertainment: The Next Evolution in Service Sector. Springer Nature.Singapore. ISBN: 978-981-15- 9723-7
  • Doğruel, L., Joeckel, S., & Bowman, N. D. (2015). The use and acceptance of new media entertainment technology by elderly users: Development of an expanded technology acceptance model. Behaviour & Information Technology, 34(11), 1052-1063.
  • Elkins, E. (2019). Algorithmic cosmopolitanism: on the global claims of digital entertainment platforms. Critical Studies in Media Communication. 36 (4), 376-389.
  • Etikan, I. (2016). Comparison of convenience sampling and purposive sampling. American Journal of Theoretical and Applied Statistics, 5(1), 1-4.
  • Fidel, R. (1984). The Case Study Method: A Case Study. Library and Information Science Research, 6(3), 273-288.
  • Foutz, N. Z., (2017). Entertainment marketing. Foundations and Trends in Marketing, 10(4), 215-333.
  • Gajanova, L. (2020). Gamıfıcatıon in Marketing–A Fad Of Current Times? 56. International Scientific Conference on Economic and Social Development, July 2-3, 2020, Aveiro, Book of Proceeding, 287-293.
  • Gedik, Y. (2020). A New Window in Marketing: Digital Marketing. Journal of Business in the Digital Age, 3(1), 63-75.
  • Hirschman, E. C., & Holbrook, M. B. (1982). Hedonic consumption: emerging concepts, methods and propositions. Journal of Marketing, 46(3), 92-101.
  • Hoang, A. P., & Kauffman, R. J. (2016). Experience me! The impact of content sampling strategies on the marketing of digital entertainment goods. In 2016 49th Hawaii International Conference on System Sciences (HICSS) (pp. 4750-4759). IEEE.
  • Jin, S. V., Muqaddam, A., & Ryu, E. (2019). Instafamous and social media influencer marketing. Marketing Intelligence & Planning, 37(5), 567- 579.
  • Joy, A., & Sherry Jr, J. F. (2003). Speaking of art as embodied imagination: A multisensory approach to understanding aesthetic experience. Journal of Consumer Research, 30(2), 259-282.
  • Kaser, K., & Oelkers, D. B. (2021). Sports and entertainment marketing. Cengage Learning. Boston.
  • Kneidinger-Müller, B. (2017). Mobile communication as invader in face-to-face interactions: An analysis of predictors for parallel communication habits. Computers in Human Behavior, 73, 328-335.
  • Kumar, S. (2021). Consumer Engagement in Digital Entertainment: A Systematic Review. In: Das, S., Gochhait, S. (eds) Digital Entertainment. Palgrave Macmillan, Singapore. 1-22.
  • Lieberman, A., & Esgate, P. (2002). The entertainment marketing revolution: Bringing the Moguls, the media, and the magic to the world. FT Press.
  • Lieberman, A., & Esgate, P. (2013). The definitive guide to entertainment marketing: Bringing the moguls, the media, and the magic to the world. Pearson Education.
  • Mason, A. N., Narcum, J., & Mason, K. (2021). Social media marketing gains importance after Covid-19. Cogent Business & Management, 8(1), 1-17.
  • Mazri, N. (2016). Entertainment + Engagement: The key to getting an audience on mobile. Retrieved from https://www.entrepreneur.com/article/282892 [Date accessed: 30.11.2021].
  • Mendelsohn, H., & Spetnagel, H. T. (2014). Entertainment as a sociological enterprise. In The entertainment functions of television (pp. 23- 40). Psychology Press.
  • Metin, T. C. (2012). Türkiye’de Rekreasyon Kavramının Akademik Bir İnceleme Dalı Olarak Ortaya Çıkışı: Prof. Dr. Mustafa Sağcan’ın “Rekreasyon ve Turizm” Başlıklı Kitabı Üzerine Bir İnceleme’’, I. Rekreasyon Araştırmaları Kongresi, Antalya, 543- 558.
  • Mishra, T. (2021). Integrated Marketing Communication: A Systematic Study from Media Channels to Digital Connectivity of New Age Consumers. In Digital Entertainment (pp. 173-185). Palgrave Macmillan, Singapore.
  • Mondal, S. (2021). A systematic study of new age consumer engagement and exploration for digital entertainment for over-the-top platforms in various digital media. In Innovations in digital branding and content marketing (pp. 113-133). IGI Global.
  • Rishi, B., & Kuthuru, N. R. (2021). A Review for Managerial Guidelines for Social Media Integration of IMC in Digital Era. In Digital Entertainment (pp. 187-212). Palgrave Macmillan, Singapore.
  • Roberts, K. (2006). Leisure in Contemporary Society (2nd ed.), UK: Cabi Publishing.
  • Sarı, Ü., & Sancaklı, P. (2020). Küyerelleşmenin Dijital Platformların İçerik Tanıtımına Etkisi: Netflix Örneği. Erciyes İletişim Dergisi, 7(1), 243- 260.
  • Sayre, S., & King, C. (2010). Entertainment and society: Influences, impacts, and innovations. Routledge. New York.
  • Shpak, N., Kuzmin, O., Dvulit, Z., Onysenko, T., & Sroka, W. (2020). Digitalization of the marketing activities of enterprises: Case study. Information, 11(2), 1-14.
  • Shusterman, R. (2003). Entertainment: A question for aesthetics. The British Journal of Aesthetics, 43(3), 289-307.
  • Smith, K. T. (2019). Mobile advertising to Digital Natives: preferences on content, style, personalization, and functionality. Journal of Strategic Marketing, 27(1), 67-80.
  • statista.com, https://www.statista.com/statistics/264810/number-of-monthly-active-facebook-users-worldwide/ [Date accessed: 30.11.2021].
  • Trifts, V., & Aghakhani, H. (2018). Enhancing digital entertainment through personalization: The evolving role of product placements. Journal of Marketing Communications, 25(6), 607-625.
  • Turner, V. (1977). Process, system, and symbol: a new anthropological synthesis. Daedalus, 106(3), 61–80
  • Ventura, K. (2020). How Can Digitalization Enhance Customer Experıence? The Role of Emerging Technologies. New Communication Approaches in the Digitalized World, 551-574. Cambridge Scholars Publishing: Newcastle upon Tyne, UK.
  • Mohammad, R. D., & Widhaningrat, S. K. (2021,). Strategy of Instagram Marketing and Implementation of Competitive Design Packaging at SMEs Guriyana Baker Through Business Coaching. Business Innovation and Engineering Conference 2020, July, Atlantis Press. 181-183.
  • Wright, S. (2020). How to Successfully Engage With Your Customers Online. Retrived from: https://articles.bplans.com/seven-creative-waysto-engage-with-your-customers-online/ [Date accessed: 30.11.2021]
  • Yıldırım, A. & Şimşek, H. (2008). Sosyal Bilimlerde Nitel Araştırma Yöntemleri.Seçkin Yayıncılık. Ankara.
  • Yin, R. K. (2011). Applications of Case Study Research. Sage. Washington DC. ISBN: 978-1-4129-89-16-9.

EXPLORING DIGITAL MARKETING IN ENTERTAINMENT INDUSTRY: A CASE OF A DIGITAL MUSIC PLATFORM

Yıl 2022, Cilt: 9 Sayı: 3, 115 - 126, 30.09.2022
https://doi.org/10.17261/Pressacademia.2022.1635

Öz

Purpose- This study aims to investigate entertainment marketing activities in the digital entertainment era. In doing so, this study targets to
explore digital entertainment marketing activities and strategies.
Methodology- The study employs a qualitative method designed as an explorative study. Case study is conducted as a research method. A
purposive sampling method is performed. Purposive sampling methods are used to discover and explain facts and events. Typical case
sampling which is one of the purposive samplin is conducted. In this method the most typical cases are chosen among a series of cases where
a new application or innovation is wanted to be introduced by the researcher. Data is collected by the semi-structured interview technique
with the chief marketing officer of a dıgital music platform application.
Findings- Digitalisation is the most succesful tool of information and communication technology. Findings reveal that digital consumer
engagement is one of the essential methods to keep consumers' dynamism in the digital entertainment era, because of the consumers’ tastes
and needs change fastly. Also, personalized content enable consumers to have a great experience. So, digital consumer participation and
digital entertainment marketing related with the conseumer satisfaction. On the other hand, due to its' nature, convergence has a
tremendous impact on digital entertainment marketing. It is also essential to decide what content will be marketed and who will be the
target audience. Moreover, because the Internet removes the limits, globalization of the digital entertainment marketing strategies bring
remarkable differentiation.
Conclusion- Digital entertainment businesses must be dynamic to keep consumers on the conduit due to the short life cycle of the content.
Digital marketing channels are quite effective channels to convey the marketing message. Social media usage is the one of the most effective
methods for promotion activities. Social media utilization and using influencers as marketing campaigns significantly sustain the business and
profitability.

Kaynakça

  • Amirkhanpour, M. (2013). Mobile marketing and So-Lo-Mo convergence: the new trends in marketing. In Conference of the Euro MedAcademy-of-Business, Portugal.
  • Argan, M. (2007). Eğlence pazarlaması. Detay Yayıncılık. İstanbul.
  • Badzinska, E. (2013). Media convergence as a hallmark of modern marketing communication. Zeszyty Naukowe Szkoły Głównej Gospodarstwa Wiejskiego w Warszawie. Polityki Europejskie, Finanse i Marketing, 10 (59),32-44.
  • Baird, A., & Raghu, T. S. (2015). Associating consumer perceived value with business models for digital services. European Journal of Information Systems, 24(1), 4-22.
  • Baltacı, A. (2019). Nitel araştırma süreci: Nitel bir araştırma nasıl yapılır? Ahi Evran Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 5(2), 368- 388.
  • Barnouw, E., & Kirkland, C.E. (1992). “Entertainment” in Folklore, Cultural Performances, and Popular Entertainments: A CommunicationsCentered Handbook. Ed. Bauman, R., New York OUP.
  • Bates, S., & Ferri, A. J. (2010). What's entertainment? Notes toward a definition. Studies in Popular Culture, 33(1), 1-20.
  • Baybars, M., & Ventura, K. (2020). Understanding new consumers through the lens of a promising market segment: Lohas. New Communication Approaches in the Digitalized World. Cambridge Scholars Publishing: Newcastle upon Tyne, UK., 468-489.
  • Biggiero, L. (2006). Industrial and knowledge relocation strategies under the challenges of globalization and digitalization: the move of small and medium enterprises among territorial systems. Entrepreneurship and regional development, 18(6), 443-471.
  • Bryant, J., & Miron, D. (2002). Entertainment as media effect. In Media effects (pp. 559-592). Routledge.
  • Burton, S., & Soboleva, A. (2011). Interactive or reactive? Marketing with Twitter. Journal of Consumer Marketing. Vol. 28 No. 7, 491-499.
  • Castells, M., & Cardoso, G. (2005). The network society: From knowledge to policy (3-21). Washington, DC: Center for Transatlantic Relations, Paul H. Nitze School of Advanced International Studies, Johns Hopkins University.
  • Cedikçi, T. (2008). Eğlence Sektörünün Ülke Ekonomisindeki Yeri: Bir Uygulama Örneği, Müzikaller. Yüksek Lisans Tezi, İstanbul Kültür Üniversitesi Sosyal Bilimler Enstitüsü, İstanbul.
  • Cohen, D., & Crabtree, B. (2006). The qualitative research guidelines Project [online], (July, 2006), Princeton, Robert Wood Johnson Foundation, http://www.qualres.org/HomeSemi-3629.html [Date Accesed: September, 21.2022].
  • Cooper-Chen, A. (Ed.). (2006). Global entertainment media: Content, audiences, issues. Routledge.
  • Crawford, J. E. (2016). Cutting the cord—a marketing case: An examination of changing TV viewership. Atlantic Marketing Journal, 5(2), 136- 150.
  • Creswell, J. W. (2014), “Research design: qualitative, quantitative, and mixed methods approaches 4th ed.” Sage Publications, Inc. Apple Books.
  • Das, S., & Gochhait, S. (2021). Digital Entertainment: The Next Evolution in Service Sector. Springer Nature.Singapore. ISBN: 978-981-15- 9723-7
  • Doğruel, L., Joeckel, S., & Bowman, N. D. (2015). The use and acceptance of new media entertainment technology by elderly users: Development of an expanded technology acceptance model. Behaviour & Information Technology, 34(11), 1052-1063.
  • Elkins, E. (2019). Algorithmic cosmopolitanism: on the global claims of digital entertainment platforms. Critical Studies in Media Communication. 36 (4), 376-389.
  • Etikan, I. (2016). Comparison of convenience sampling and purposive sampling. American Journal of Theoretical and Applied Statistics, 5(1), 1-4.
  • Fidel, R. (1984). The Case Study Method: A Case Study. Library and Information Science Research, 6(3), 273-288.
  • Foutz, N. Z., (2017). Entertainment marketing. Foundations and Trends in Marketing, 10(4), 215-333.
  • Gajanova, L. (2020). Gamıfıcatıon in Marketing–A Fad Of Current Times? 56. International Scientific Conference on Economic and Social Development, July 2-3, 2020, Aveiro, Book of Proceeding, 287-293.
  • Gedik, Y. (2020). A New Window in Marketing: Digital Marketing. Journal of Business in the Digital Age, 3(1), 63-75.
  • Hirschman, E. C., & Holbrook, M. B. (1982). Hedonic consumption: emerging concepts, methods and propositions. Journal of Marketing, 46(3), 92-101.
  • Hoang, A. P., & Kauffman, R. J. (2016). Experience me! The impact of content sampling strategies on the marketing of digital entertainment goods. In 2016 49th Hawaii International Conference on System Sciences (HICSS) (pp. 4750-4759). IEEE.
  • Jin, S. V., Muqaddam, A., & Ryu, E. (2019). Instafamous and social media influencer marketing. Marketing Intelligence & Planning, 37(5), 567- 579.
  • Joy, A., & Sherry Jr, J. F. (2003). Speaking of art as embodied imagination: A multisensory approach to understanding aesthetic experience. Journal of Consumer Research, 30(2), 259-282.
  • Kaser, K., & Oelkers, D. B. (2021). Sports and entertainment marketing. Cengage Learning. Boston.
  • Kneidinger-Müller, B. (2017). Mobile communication as invader in face-to-face interactions: An analysis of predictors for parallel communication habits. Computers in Human Behavior, 73, 328-335.
  • Kumar, S. (2021). Consumer Engagement in Digital Entertainment: A Systematic Review. In: Das, S., Gochhait, S. (eds) Digital Entertainment. Palgrave Macmillan, Singapore. 1-22.
  • Lieberman, A., & Esgate, P. (2002). The entertainment marketing revolution: Bringing the Moguls, the media, and the magic to the world. FT Press.
  • Lieberman, A., & Esgate, P. (2013). The definitive guide to entertainment marketing: Bringing the moguls, the media, and the magic to the world. Pearson Education.
  • Mason, A. N., Narcum, J., & Mason, K. (2021). Social media marketing gains importance after Covid-19. Cogent Business & Management, 8(1), 1-17.
  • Mazri, N. (2016). Entertainment + Engagement: The key to getting an audience on mobile. Retrieved from https://www.entrepreneur.com/article/282892 [Date accessed: 30.11.2021].
  • Mendelsohn, H., & Spetnagel, H. T. (2014). Entertainment as a sociological enterprise. In The entertainment functions of television (pp. 23- 40). Psychology Press.
  • Metin, T. C. (2012). Türkiye’de Rekreasyon Kavramının Akademik Bir İnceleme Dalı Olarak Ortaya Çıkışı: Prof. Dr. Mustafa Sağcan’ın “Rekreasyon ve Turizm” Başlıklı Kitabı Üzerine Bir İnceleme’’, I. Rekreasyon Araştırmaları Kongresi, Antalya, 543- 558.
  • Mishra, T. (2021). Integrated Marketing Communication: A Systematic Study from Media Channels to Digital Connectivity of New Age Consumers. In Digital Entertainment (pp. 173-185). Palgrave Macmillan, Singapore.
  • Mondal, S. (2021). A systematic study of new age consumer engagement and exploration for digital entertainment for over-the-top platforms in various digital media. In Innovations in digital branding and content marketing (pp. 113-133). IGI Global.
  • Rishi, B., & Kuthuru, N. R. (2021). A Review for Managerial Guidelines for Social Media Integration of IMC in Digital Era. In Digital Entertainment (pp. 187-212). Palgrave Macmillan, Singapore.
  • Roberts, K. (2006). Leisure in Contemporary Society (2nd ed.), UK: Cabi Publishing.
  • Sarı, Ü., & Sancaklı, P. (2020). Küyerelleşmenin Dijital Platformların İçerik Tanıtımına Etkisi: Netflix Örneği. Erciyes İletişim Dergisi, 7(1), 243- 260.
  • Sayre, S., & King, C. (2010). Entertainment and society: Influences, impacts, and innovations. Routledge. New York.
  • Shpak, N., Kuzmin, O., Dvulit, Z., Onysenko, T., & Sroka, W. (2020). Digitalization of the marketing activities of enterprises: Case study. Information, 11(2), 1-14.
  • Shusterman, R. (2003). Entertainment: A question for aesthetics. The British Journal of Aesthetics, 43(3), 289-307.
  • Smith, K. T. (2019). Mobile advertising to Digital Natives: preferences on content, style, personalization, and functionality. Journal of Strategic Marketing, 27(1), 67-80.
  • statista.com, https://www.statista.com/statistics/264810/number-of-monthly-active-facebook-users-worldwide/ [Date accessed: 30.11.2021].
  • Trifts, V., & Aghakhani, H. (2018). Enhancing digital entertainment through personalization: The evolving role of product placements. Journal of Marketing Communications, 25(6), 607-625.
  • Turner, V. (1977). Process, system, and symbol: a new anthropological synthesis. Daedalus, 106(3), 61–80
  • Ventura, K. (2020). How Can Digitalization Enhance Customer Experıence? The Role of Emerging Technologies. New Communication Approaches in the Digitalized World, 551-574. Cambridge Scholars Publishing: Newcastle upon Tyne, UK.
  • Mohammad, R. D., & Widhaningrat, S. K. (2021,). Strategy of Instagram Marketing and Implementation of Competitive Design Packaging at SMEs Guriyana Baker Through Business Coaching. Business Innovation and Engineering Conference 2020, July, Atlantis Press. 181-183.
  • Wright, S. (2020). How to Successfully Engage With Your Customers Online. Retrived from: https://articles.bplans.com/seven-creative-waysto-engage-with-your-customers-online/ [Date accessed: 30.11.2021]
  • Yıldırım, A. & Şimşek, H. (2008). Sosyal Bilimlerde Nitel Araştırma Yöntemleri.Seçkin Yayıncılık. Ankara.
  • Yin, R. K. (2011). Applications of Case Study Research. Sage. Washington DC. ISBN: 978-1-4129-89-16-9.
Toplam 55 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular İşletme
Bölüm Articles
Yazarlar

Dogan Basaran 0000-0002-4059-5171

Keti Ventura Bu kişi benim 0000-0002-6422-0518

Yayımlanma Tarihi 30 Eylül 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 9 Sayı: 3

Kaynak Göster

APA Basaran, D., & Ventura, K. (2022). EXPLORING DIGITAL MARKETING IN ENTERTAINMENT INDUSTRY: A CASE OF A DIGITAL MUSIC PLATFORM. Journal of Management Marketing and Logistics, 9(3), 115-126. https://doi.org/10.17261/Pressacademia.2022.1635

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