Product Placement (PPL) Captivates Fans' Hearts

In 1895, the Lumière Brothers screened "The Arrival of a Train," marking the first film ever created in history. By cultivating and training camera operators, they began filming movies and showcasing them globally. Some individuals regarded the evolution of film itself as a novel advertising medium. It's no surprise that the Lumière Brothers' 1896 production, "Défilé du 8e bataillon" (Parade of the 8th Battalion), prominently displayed an advertising board for Lever Brothers' Sunlight soap. During that era, despite the absence of a formal concept of indirect advertising, this film is recognized as the world's first instance of PPL. Later, the Lumière Brothers even captured scenes of housewives genuinely using Sunlight soap for washing, incorporating them into their movies.

The roots of Product Placement can be traced back to the notion of strategically positioning products. Instead of showing the products, the brands can be visible. The aforementioned case of the first PPL serves as an example of brand exposure. With that said, PPL can be understood as a specific product or brand becoming integrated into the storyline of a film or drama. Its application also extends to various forms of content, including songs and novels. Within the realm of visual art and entertainment, PPL is frequently known as Branded Entertainment. Naturally, the purpose of PPL is to enhance the brand image and promote/advertise products.

Advertising can be defined as "a deliberate activity aimed at spreading information about goods and services to consumers through diverse media channels, driven by the goal of generating profit." Since Johannes Gutenberg's invention of letterpress printing in the 1440s, 16th-century Europe witnessed significant growth in publishing, and by the 17th century, the concept of advertisement emerged. For instance, in the Mercurius Politicus, a Newsbook published in 1650s England, there existed a page dedicated to advertisements for newly printed and published books.

The 18th century witnessed the development of print media, including magazines and newspapers, alongside the growth of advertising. British writer Samuel Johnson lamented, remarking, "Advertisements are now so numerous that they are very negligently perused," in his follow-up essay "The Idler," published in 1758. The matured relationship between media and advertisement during the printing era naturally paved the way for the expansion of advertising media with the emergence of new media forms, including movies (including ads screened in movie theaters), radios, TV, and the internet.

Just as the early movies of the Lumiere Brothers featured PPL, the 20th century witnessed the normalization of indirect advertising that incorporated products and brands seamlessly within entertainment media. This could be attributed to Carl Laemmle's earlier advice, which contributed to a limited number of PPL instances in movies during a certain period. However, as the 20th century progressed and content consumption environments evolved, PPL gradually solidified its position as a lucrative source of profit for the media industry and a key corporate marketing strategy. Notably, following amendments to the Broadcasting Act in 2010 that addressed regulations on indirect advertising, the development of PPL within Korean broadcasting became even more intriguing. (Of course, indirect forms of advertising existed before the legislation. PPL occurred to a certain extent within the boundaries of broadcasters' self-regulation in the form of sponsorship.)

In the realm of visual content, PPL can be broadly categorized into two groups based on exposure type: 1) On-set Placement, where products or brands take center stage in staged scenes, playing an integral role within the video. 2) Creative Placement, which focuses on relatively brief exposures of products or brands, allowing them to naturally blend into the screen. Let's explore some examples of indirect advertising within visual content, commonly referred to as PPL. Both movies and broadcasts offer intriguing insights.

Prior to the release of the film, Hyundai Motor presented a planned exhibition themed around Spiderman, utilizing Sony Pictures' intellectual property rights. The company also introduced an animated commercial featuring Spiderman synchronizing with the melody emitted by the Ioniq 6. In 2021, Hyundai commissioned the production of separate spin-off advertisements for Marvel, showcasing MCU (Marvel Cinematic Universe) characters like Loki, Wanda, Falcon, and Tucson. The commercial was broadcasted in the United States via TV, streaming platforms, and social media. These spin-off ads were designed to be interconnected with the Marvel drama series aired on Disney Plus at the time.

Today, production of dramas also relies on PPL. With production costs escalating to meet audience expectations, a portion of the expenses can be covered and offset by revenue from indirect advertising. The Netflix series Emily in Paris, a modern fashion drama reminiscent of its predecessors, such as Sex and the City and Gossip Girl, prominently integrates a multitude of beloved brands among Generation Z viewers. These encompass not only luxurious fashion brands but also everyday items like Samsung Galaxy Z Flip smartphones and Piper-Heidsieck champagne. Of particular note is a scene where the protagonist dons a purple dress in the Provence region, effectively showcasing a purple McLaren sports car as part of PPL on the show.

At times, Product Placement (PPL) takes the form of providing a setting for the plot, essentially becoming the stage where the story unfolds. The main character of the tvN drama "See you in My 19th Life," which aired this year and is based on a webtoon of the same name, is depicted as an individual who previously worked for a car company. The setting in the drama, where the main character performs vehicle tests at the fictional automobile company "MI Movity," is actually Hankook Tire's state-of-the-art testing facility known as Proving Ground, Hankook Technoring.

Beyond conventional video content such as movies and dramas, contemporary entertainment and informative programs also embrace indirect advertising through the means of production support. As an illustration, Hankook Tire took part in the 2021 MBC employee Vlog entertainment show titled "My Working Vlog." In this program, tire designers engaged in research related to future mobility, conducted meetings, and candidly documented their work processes. In the previous year, Hankook Tire also extended its support to the creation of "GEAR GODS," a variety show broadcast on the Discovery Channel. This show presents practical automotive information in an engaging and entertaining manner.

Partners in Sports and Art

Another facet of indirect advertising lies in Naming Rights, which associates a brand with the name of a competition itself or a stadium. This was exemplified in the case of the International Crown Golf Tournament held in the United States last May. The official title of this biennial national competition in the LPGA was the "Hanwha LifePlus International Crown," highlighting the name of the title sponsor.

Similarly, the title partner of the Formula E series, organized by FIA, is the Swiss ABB Group. Across global motorsports, many events constitute individual competitions within an entire series. For instance, Hankook Tire commenced supplying official Formula E tires this season and became the title sponsor for competitions in Mexico City, Rome, and London. Therefore, the official name of the London Tournament held in July is "ABB FIA Formula E World Championship 2023 Hankook London E-Prix." Meanwhile, in the context of the endurance race 24 Hour Series, Hankook Tire holds the role of title sponsor for both the overall series and individual competitions. The official name of the series is the "24H Series Powered by Hankook," and individual competitions are named in a format based on the series name, like "Hankook 24H Barcelona." The 2023 Barcelona Games are slated for September 15–17.

Frequently, stadium names reflect sponsor companies or brands. A quintessential example of this practice is the Allianz Arena, a football stadium in Munich, Germany. Allianz secured the naming rights for FC Bayern's home stadium for a period of 30 years upon its completion in 2005. MetLife Stadium in the United States, serving as the home of the New York Giants and New York Jets in American football, debuted in 2010 as New Meadowlands Stadium, only to be renamed in 2011 upon entering into a 25-year naming rights agreement with MetLife. This venue is set to host the final of the 2026 FIFA World Cup. Comparable instances are prevalent across various sports. T-Mobile Park, a major league baseball stadium in Seattle, U.S.A., and the Suwon KT Sonic Boom Arena in Korean professional basketball are additional stadiums named as a result of naming rights contracts.

Of course, for sports enthusiasts, the method of promoting a brand through player uniforms, equipment, and stadium displays is likely the most familiar approach. Sports marketing stands as a time-honored form of indirect advertisement and is generally better received since it resonates more with fans compared to other advertising strategies. Even when a team they support has a big sponsor, fans are happy as if their team is getting financed. Conversely, fans of teams with few sponsors often feel disappointed about that situation. This is probably because they are well aware that financial power is directly related to performance in the world of professional sports.

Indirect advertising within art content has a historical origin in modern art. To reference PPL Indirect Advertising again, the 1882 painting "Un bar aux Folies-Bergère" by Edouard Manet, a 19th-century Impressionist painter, already possesses a specific commercial association evident from its very title. Folies Bergère, which opened in Paris in 1869, is a theatrical entertainment hall that features a bar. Moreover, it is discernible that the red triangular label positioned on the side of the character amidst the array of bottles depicted in the painting represents Bass & Co's Pale Ale, a product from England's Bass Brewery.

Bass was among the prominent beer brands in Europe. Though the company underwent various mergers and is now integrated into today's Anheuser-Busch InBev, the brand endures, and Bath Pale Ale remains accessible today. Whether Manet, shortly before his passing, received specific compensation for featuring popular attractions of that era and incorporating well-known beer remains uncertain. Nevertheless, it's intriguing to observe traces of indirect advertising within paintings that hold a significant place in art history as vital Impressionist works.