Category Archives: ...Media

The Uniqueness of Social Media in China

So how different is Social Media in China? Out team in China have put together a nice piece together (based on research, case studies and in-house insights from the Middle Kingdom’s social hotpot) to consider how it is different, identifying several key elements which underline and explain why media agencies/buyers and clients should consider China an extremely unique climate for social media marketing. As well as describing the background facts and figures surrounding each featured element unique to China, we also provide possible implications into how they may better instruct future social media campaigns here… (if you want to read more of the thoughts from the China team you can do so here)

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Contents
-A Huge Social Media Community
-The Netizen
-Social Anonymity & Avatars
-Archaic Social Media Prevails: BBS
-Government Control
-Entertainment Focused
-References

A Huge Social Media Community
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Background

BBS (Bulletin Board System) was launched in 1994, marking the beginning of the Chinese Internet Community. Today the Chinese internet population is the largest in the world with over 298 million users (Source, iResearch). Astonishingly this may only reflect an internet penetration within the country of 15-22% (Source, CNNIC). Figures suggest next year may see a massive increase yet again in internet population to over 389 million users (Source, BDA).

Within the 298 million estimated internet users currently in China, last year saw 202.4 million engage in some aspect of social media (Source, Ogilvyone). Within this population 111.8 million have managed a social network profile. This compares to the US and UK where the figures are much lower, at 57.8 and 12.1 million respectively managing a social network profile (Source: Wave 4 UM).

It is also important to note that this audience is actively involved in modern internet behaviour, such as viewing video content: China has the largest internet audience in the world, with 180 million regular viewers of online video content (Source: CASBAA). The frequency of video viewing is also incredible with 33% reporting they watch video clips ‘pretty much every time’ they go online (Source: CASBAA/China Youth Daily).

Unique implication for Chinese social media
Although the internet and social media are still in their infancy in terms of growth within China, they already have huge presence on a global scale. The potential for social media growth in China is unseen in our digital age, and consequently I expect we will see many social media milestones and developments occur independently within the Chinese social media landscape. This is because China is a social media world unto itself and the size of its culture and community mean that it acts as its own trend-setter, being less world-weary to Western developments. For this reason it is unlikely to fully adopt Western attempts at translating across SNS (Social Network Service) models from the UK and US.

China is already catering to niche social media behaviour and activities, unique to its netizens, within its domestic SNS. If Western social media is going to captivate Chinese netizens, it will do so, not by pushing and translating across Western social media learnings and motifs, but by building social media around the traits of the current Chinese digital age.
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Social Media – The Big Picture

If anyone remembers, earlier in the year, the UK’s Advertising Body (IPA) organised a conference around Social Media which caused a lot of negative reaction as people felt it totally missed the point. Fortunately the IPA realised the error of their ways and reached out to the Social Media Thinkers to get involved and do a follow up. One of them happens to be Mark Earls (the Herdmeister – if you have not read his book The Herd then do so) and here his first draft of the piece which aims to spell out how much social media is changing the overall landscape.

There is a lot of good stuff in there including some of the more important emergent stuff that connective technology seems to generate in human populations:
1. Connectedness encourages us to be less independent minded and to follow our peers instead
2. Connectedness diminishes deference
3. Connectedness changes power relationships between those in power and the rest of us.
4. Connectedness can lead to volatility and sudden shifts in market popularity and opinion
5. Connectedness enables self-organisation, collaboration and co-creativity.

The overall conclusion is that “Social Media” is not just another set of Media channels. Which is why we have to change: why we have to listen/understand the rules of this new playground – in particular, to accept it’s owned by the community and not us – rather than stumbling into the furniture. Anyway the full paper can be downloaded here. I recommend you read it.

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Inglourious Basterds

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As part of the social media film review we have been looking at new benchmarks for successful marketing campaigns by films exploiting the social media space to engage and disseminate information to potential cinema-goers. Dark Knight threw down the gauntlet to potential adopters of viral marketing strategies and the success of the multi-pronged Cloverfield campaign saw a creative and intelligent teaser campaign that involved moviegoers beyond the conversations at the water cooler. However, neither of these used the social phenomenon Twitter as effectively as Quentin Taratino’s Inglourious Basterds.

Recently we have seen correlations drawn between Twitter activity and box office performances. “Twitter sinks Bruno” articles, for example. However, according to Steven Zeitchik at Risky Biz Blog, Inglorious Basterds is the first film that can directly thank Twitter for its opening weekend box office success. A bold statement, indeed, given the proven audience-pulling power of both Pitt and Tarantino.

So, how can we/anyone make the claim that IB has, in fact, tamed the mob that runs the Twitter trending topics thus benefiting hugely from the “Twitter factor”?
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Cloverfield

The $50 million dollar question, what do all these random websites have in common?

•    The homepage of a Japanese soft drink company
•    YouTube videos of a destroyed oil rig
•    MySpace profiles of half a dozen young New Yorkers
•    A Los Angeles bakery
•    A tribute site dedicated to a teenage murder victim

They’re all elements of a complex viral marketing campaign for the budget monster movie that generated $50 million on its US release, Cloverfield, the second installment of this month’s Profero movie marketing analysis. The campaign shot the movie into the marketing stratosphere and, like The Dark Knight, continued to raise the benchmark in audience manipulation and engagement. Read on for a summary of the campaign and its route to success at the box office.

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The Dark Knight

Each month The Hive Blog will choose a new theme to analyse and this month we will look at recent film campaigns, dissecting both the impact and role of social media within movie marketing. The case studies will provide examples of innovative movie marketing campaigns, the role of social media and how they impact on the initial release.

Without doubt social media has become an increasingly relevant component of film release strategies as marketing campaigns becoming more and more innovative. Prior to release social media provides a vital information source for audiences, often weeks, or even months, before they buy a ticket.

The Dark Knight

It seems fitting to kick off this month’s film theme with Warner Bros’ The Dark Knight, a film that delivered many “firsts” along the way to box office success.

Here’s a short video summarizing the main points of the viral marketing campaign:

Warner Bros created an alternate reality game that had audiences of over 10 million following a trail led by the main antagonist of the film, the Joker. The campaign was executed using both on- and off-line strategies that weaved in and out of the ATL campaign, ensuring the audience was both engaged and interacting with the brand.

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