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UNIVERSIDAD DE VIGO FACULTAD DE CIENCIAS SOCIALES Y DE LA COMUNICACIÓN Departamento de Psicología Evolutiva y Comunicación Programa de Doctorado en Comunicación Tesis doctoral El brand placement, elemento configurador de la metamarca James Bond Presentada por: Vicente Badenes Plá Directora: Dra. Aurora García González Pontevedra - 2015 RESUMEN DE LA TESIS DOCTORAL La tesis pretende demostrar la capacidad configuradora de la técnica del brand placement en la marca James Bond, de modo que ésta deviene en metamarca, esto es, en una marca para las marcas. A través de un completo análisis de contenido de las 23 películas oficiales que conforman la marca-franquicia James Bond, se reseñan cerca de un millar de marcas integradas en sus películas a lo largo de 50 años, indicando el minuto en que aparecen y utilizando 5 categorías para la investigación, que son: Automóviles, Localizaciones, Bebidas, Moda y Complementos, Gadgets & TIC a las que se suma una sexta categoría por exclusión denominada Otros. El objeto de estudio de la tesis son las 23 películas y comprende un marco temporal de medio siglo, los 50 años comprendidos entre 1962, fecha de la primera entrega Agente 007 contra el Dr. No, y 2012, fecha de la 23ª y hasta la fecha última entrega Skyfall. Para alcanzar ese objetivo se ha recurrido al análisis de contenido y se ha utilizado el universo completo. Para localizar las marcas integradas se ha realizado un análisis cuantitativo, con indicación del número de marcas y de su distribución porcentual por categorías y un análisis cualitativo, con la revisión de los casos más destacados en cada entrega, lo que da lugar a un total de más de 60 casos. En primer lugar, la tesis realiza una revisión teórica de los conceptos de marca y de brand placement así como de las características del medio publicitario cine en que tiene lugar la integración de marcas objeto de estudio. A continuación, referido al ámbito concreto de la marca James Bond, se realiza una breve panorámica tanto del contexto socioeconómico y cultural en que se origina la marca James Bond como de la biografía de sus creadores, Ian Fleming en el ámbito literario y Broccoli y Saltzman de EON Productions en el cinematográfico. Una vez contextualizado el origen y etapas de la marca, la tesis realiza una completa descripción de las tres señas de identidad que componen la marca James Bond: señas del equipo de producción, de los personajes y de la estructura narrativa. Con el objetivo de demostrar la eficacia de la marca James Bond con sus públicos de referencia, que son la audiencia que va a los cines y las marcas integradas, se realiza una exhaustiva revisión de diferentes indicadores de eficacia implicados en esa relación a tres bandas productora-audiencias-marcas. Así, para cada entrega y con referencia al conjunto de la saga, se revisan indicadores de desempeño (KPIs) tales como las recaudación en taquilla (doméstica y resto del mundo), los costes de producción, el retorno de la inversión y rentabilidad obtenida por la marca James Bond en relación con otras películas y franquicias competidoras. Además, con la intención específica de conocer la eficacia aportada a las marcas que se integran en la saga, el trabajo analiza ocho casos de estudio de marcas de distintos ámbitos y en diferentes periodos que demuestran el retorno recibido en términos de notoriedad, reputación o ventas derivadas del uso de la técnica del brand placement. El resultado de la tesis es una demostración de la hipótesis de partida, probando con datos objetivos la capacidad configuradora del brand placement de modo que la marca franquicia James Bond evoluciona de marca a metamarca. La capacidad de esta marca para adaptarse al contexto específico de cada momento manteniendo los rasgos de la fórmula original, y una combinación de diferentes señas de identidad que potencian las oportunidades de integración (ODIs) permiten sostener que la marca James Bond es una marca para las marcas. ÍNDICE Agradecimientos p.15 Prefacio p.17 I. Introducción al objeto de estudio p.19 I.i. Marco general e interés del fenómeno a estudiar p.19 I. ii. Delimitación del objeto de estudio y formulación de la hipótesis p.23 I.iii. El estado de la cuestión p.26 I.iv. Aportaciones originales p.42 I.v. Breve síntesis de contenidos p.46 PRIMERA PARTE: MARCO TEÓRICO Y CONCEPTUAL p.50 Capítulo 1. Aproximación a los conceptos de marca y brand placement p.51 1.1. Marca p.52 1.1.1. Definición de marca p.52 1.1.2. La marca, activo clave de la empresa p.59 1.1.3. La marca, recurso simbólico para la construcción de identidad p.62 1.2. Brand placement p.68 1 1.2.1. Necesidad de las marcas de buscar espacios de exposición: una reflexión sobre los medios p.68 1.2.2. El medio cine p.74 1.2.2.1. El cine como entretenimiento escapista p.74 1.2.2.2. El cine como medio p.78 1.2.2.3. El cine como negocio p.83 1.2.3. Brand placement. Definición y delimitación conceptual p.96 1.2.3.1. Origen, historia y etapas del brand placement p.101 1.2.3.2. Motivos de uso del brand placement. Pros y contras p.108 1.2.3.3. Tipologías de brand placement p.119 SEGUNDA PARTE: DESCRIPCIÓN Y EFICACIA DE LA MARCA JAMES BOND p.123 Capítulo 2. La marca James Bond p.124 2.1. Contexto socioeconómico y cultural en el que se forja la marca James Bond p.125 2.2. Los creadores de la marca James Bond p.134 2.2.1. Ian Fleming, creador de la marca literaria James Bond p.134 2.2.2. EON Productions. Albert R. Broccoli y Harry Saltzman, creadores de la marca cinematográfica James Bond p.146 2.3. Etapas de la marca James Bond p.153 2 2.4. Señas de identidad de la marca James Bond p.158 2.4.1. Señas de identidad del equipo de producción p.163 2.4.1.1. Las novelas de Fleming como guiones del estilo de vida Bond p.163 2.4.1.2. El equipo de EON films p.180 a) Los directores y su estilo p.181 b) Adaptación de guiones: Richard Maibaum p.183 c) La música de 007: John Barry p.184 d) Diseño de producción: Ken Adam p.189 e) Secuencia gunbarrel y títulos de crédito: M.Binder p.190 2.4.2. Señas de identidad de los personajes p.191 2.4.2.1. James Bond. Actores p.192 2.4.2.2. Los compañeros de Bond p.196 2.4.2.3. Los enemigos de Bond p.201 2.4.2.4. Las chicas Bond p.210 2.4.2.5. Los arquetipos y la marca James Bond p.213 2.4.3. Señas de identidad de la estructura narrativa p.222 2.4.3.1. Tramas relacionadas con el contexto de su tiempo p.229 2.5. La marca James Bond frente a la competencia p.249 2.5.1. Ranking de las principales franquicias cinematográficas p.269 3 Capítulo 3. Eficacia de la marca James Bond p.287 3.1. Concepto de eficacia, actores implicados e indicadores de desempeño p.288 3.2. Casos de estudio de eficacia obtenida por las marcas integradas en la metamarca James Bond p.334 3.2.1 Caso de estudio 1: Sunbeam Alpine, el primer coche Bond p.337 3.2.2. Caso de estudio 2: Aumento de ventas de la navaja de afeitar The Shaving Shack p.342 3.2.3. Caso de estudio 3: Sinergias de Grupo Sony p.346 3.2.4. Caso de estudio 4: Agradecimientos EON Productions p.354 3.2.5. Caso de estudio 5: Champán Bollinger p.359 3.2.6. Caso de estudio 6: Notas de prensa de marcas integradas en películas de James Bond p.361 3.2.7. Caso de estudio 7: Record Guinness de retorno por integraciones de marca p.379 3.7.8. Caso de estudio 8: Heineken paga 45MM$ por vincularse con Skyfall p.380 3.3. Otros componentes de la marca James Bond p.383 3.4. Cifras y estadísticas de la marca James Bond p.385 4 TERCERA PARTE: ESTUDIO APLICADO p.389 Capítulo 4. Metodología: Análisis de contenido p.390 4.1. Breve introducción a la metodología del análisis de contenido p.391 4.2. Definición de análisis de contenido p.393 4.3. Otras estrategias metodológicas descartadas p.397 4.4. Descripción de etapas del Análisis de contenido p.399 4.4.1 Procesos concretos, herramientas y fuentes p.417 Capítulo 5. Análisis de contenido del brand placement en las 23 películas oficiales de James Bond p.422 5.1. El brand placement en Agente 007 contra el Dr. No (Terence Young, 1962) p.423 5.1.1. Ficha técnica. Sinopsis p.423 5.1.2. Análisis de contenido p.424 5.1.3. Comentarios p.428 5.1.4. Breve reseña de las integraciones de marca más destacadas p.433 5.2. El brand placement en Desde Rusia con amor (Terence Young, 1963) p.437 5.2.1. Ficha técnica. Sinopsis p.437 5.2.2. Análisis de contenido p.438 5.2.3. Comentarios p.442 5.2.4. Breve reseña de las integraciones de marca más destacadas p.447 5 5.3. El brand placement en James Bond contra Goldfinger (Guy Hamilton, 1964) p.451 5.3.1. Ficha técnica. Sinopsis p.451 5.3.2. Análisis de contenido p.452 5.3.3.
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