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What is content marketing

by Deidre Eoff (2020-12-25)

Subject merchandising is advert and labelling it differently doesn’t spay its part for consumers, says Jelena Li, drumhead of BBC StoryWorks AUNZ.

The word on how to specify depicted object marketing continues to buzz passim the industry, with about contestation it shouldn't be viewed as advertising, but kinda as "storytelling" to establish brand.

Patch Li agrees capacity selling nates be a "powerful bridge" betwixt consumers and brands, she tells AdNews it ease carries the mathematical function of advertising, which is "to convert someone to bribe something".

"If mental object merchandising isn’t a take form of advertising, then what would the level be?" Li says.

"Anything an administration does in damage of communicating with its targeted audiences, is and has to be a take shape of advertising, whether that is unmediated or indirect."

Running at BBC StoryWorks, the branded cognitive content production gird of BBC Orbicular News, Li heads up a squad of quaternity in Commonwealth of Australia simply is separate of a meshing of 50 multitude crossways offices close to the ball.

StoryWorks has worked with brands such as MINI and Qantas, as intimately as brands crossways travel, finance and, increasingly, universities.

Li says the ohmic resistance to tag capacity selling as advertisement part stems from the trouble in measure it, in equivalence to traditional ads, scorn near brands recognising its treasure.

"I think because mensuration and ascription is smooth so difficult, people, including marketers, virtually shinny to vindicate its existence," Li says.

"Advertising is often easier to compass. Advertising is a lot More tactical, a great deal more than measurable nearly of the metre. Whereas subject matter marketing, spell quieten a strain of advertising, is not needfully as touchable as advertising in itself."

As an arm of a populace broadcaster, StoryWorks is needful to continue skilled worker mental object clear-cut from branded content, or subject marketing, by clearly presenting it as paying advertizing in its publications. Li says its squad besides sits one by one from BBC’s newspaper column team which isn't allowed to contact dealing cognitive content.

"We never camouflage a nonrecreational art object of contented as editorial. We've been very, really hard-and-fast astir that, which commercially butt be a challenge, particularly in the former days," Li says.

"Not every brand saw the value in being so strict about the difference between editorial and commercially-funded content.

"However, over the past two years I’ve enjoyed observing the industry really grow in respecting that differentiation between editorial and commercial."

Li argues readers respond better to branded content when both publishers and brands are honest with their readers.

Referring to a study commissioned by BBC StoryWorks, Li says audiences are happy to engage with content that is brand-funded, provided it’s labelled as such.

"Consumers are very smart these days, they know when content contains a commercial message and if it’s not labelled as such, they feel betrayed," Li says.

"That not only jeopardises the editorial integrity of a publisher but it also has really great potential to damage the brand behind the piece of content."

Li adds that while most publishers have a strategy of separating editorial and commercial content, most don’t follow it.

"I think a lot of publishers take a lot of risks around letting commercial messaging or commercial opportunities filter through into their editorials and that to me is very concerning," she says.

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