Branded Entertainment Web series Brand Sales

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TO STUDY THE EFFECT OF BRANDED
ENTERTAINMENT IN WEB SERIES ON THE
BRAND SALES
IN PARTIAL FULFILLMENT OF
POST GRADUATE PROGRAM IN CAREER DEVELOPMENT
SUBMITTED BY
ANJALI KAMATH
Post Graduate Diploma in Media & Communication
DEVIPRASAD GOENKA MANAGEMENT COLLEGE OF MEDIA
STUDIES
MUMBAI
(2015 – 2017)

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BONAFIDE CERTIFICATE
This is to certify that the Project Report titled “To study the effect of branded
entertainment in web series on the brand sales” is a bonafide work carried out by
Miss. Anjali Kamath of PGDM Media & Communication.
Director Research Guide
Dr. Kumardatt Ganjre Prof. Trupti Mistry
Date: 22st
April, 2017
Place: Mumbai

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INDEX
SR.NO. TOPIC PAGE NOS.
Chapter 1 Introduction 1-13
Chapter 2 Review of Literature 14-16
Chapter 3 Research Design 17-19
Chapter 4 Findings & Observations 20-30
Chapter 5 Conclusion 31
Bibliography 32-33
Annexure 34-37

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ABSTRACT
When it comes to taboo breaking and thoughtful video content, web shows have been playing a
vital role in India in the last couple of years. In a country where television and the different movie
industries are strangulated by tight censorship, web shows have been the go-to source of thought
provoking entertainment for the millennials. Brands are fast catching up with this changing trend
in entertainment consumption and have started to sponsor and produce web shows. This research
is conducted to find out whether the brands have an impact on the consumers or not with their
Branded Content.
The research methodology adopted was a pilot study followed by descriptive research design. The
data collected was more of primary in nature alongside secondary data, by designing a
questionnaire with a combination of open and closed ended questions. Online Survey of
respondents were conducted followed by data analysis and findings.
Keywords: Branded Entertainment, Brands, Web series, Content, Digital, Product Placement.

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CHAPTER 1
INTRODUCTION
With the recent advent of web series in the Indian market, there has been a tremendous increase in
the viewership as the youth are being targeted with content that is no longer related to the Indian
soap operas. Instead, the web series are being made with the content being totally youth oriented
to which the young audiences can relate to. These web series revolve around the lives of youth and
how they deal with their day to day activities.
There are currently more than 350 million people in India who are online and these numbers will
only increase over time as more and more people are accepting the Internet as a medium for
entertainment.
With smart phones and Internet services becoming a necessity, everyone tunes into channels like
YouTube to check what’s trending and among these a large number get attracted towards the web
series which are simple in approach and relatable to every individual in some sort or another. With
the age of digital media transforming at such a high rate, many online reputation management
companies in India have come up to cater to the needs of people. Most of the times, these online
reputation management services and other SEO services are offered by the digital agency that is
hired.
Web series attract a large audience to tune in and watch them on a regular basis. And with most
people using the medium of smartphones there is an increased level of interest in the web series as
anyone can tune in and watch it at any time and any place hence giving individuals their privacy
to watch what they like without being judged.

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Keeping this in mind, various brands have been keeping a close eye at the multiple trending web
series and are experimenting to market their brands in the simplest manner that is possible. They
have a readymade target
market to which they can
connect through this new
platform and establish their
brand value.
Brands are evolving their
branding strategies to be
able to compete strongly in
the digital world. They are
increasingly sponsoring in
web series as they feel that the youth can be easily targeted because the youth prefer watching such
genres of series. Tata had got
their car Nano GenX
integrated as a part of their
plot in Confessions when a
father gifts the car to his
daughter. They integrate their
brands smartly in the series
and make it a part of the plot
which makes the series talk
about their brand as well go
about the plot. The plus point being that the brands spend much lesser by producing web series
when compared to a full-fledged advertisement. They get more work done then they can ask for a
lesser expense being involved. Another way of branding is by becoming the title sponsor for a
series which makes use of the brands name which is always associated with the name of the series.

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Yet again Tata has come up with another web series in
association The Viral Fever (TVF) called Tripling with
Tata Tiago, which is an emotional story of a trio who
set off on an unplanned trip to meet their parents in their
Tiago. This way Tata has targeted the young generation
by creating an appeal about enjoying life on the go and
taking on adventures.
In another web series by YRF named “Bang Baaja
baarat”, Lakme became the title sponsor. The web
series is an entertaining wedding story that the young
masses can relate to. Lakme sponsored for the series as
it was a good chance to strengthen the brand image on
styling for weddings which is one of the most important
part of a woman’s life.
Himalaya Herbals Men sponsored the web
series “Life Sahi Hai” which is made by the
people who produced the movie Pyaar ka
Punchnama. The series revolves around the
friendship of four guys from different
backgrounds who live together. Himalaya
has seamlessly integrated its brand in the
series to target the youth and add to the
brand value.

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“Tanlines” presented
by Unlimited and
sponsored by Maruti
Suzuki Swift is
another web series
which has been made
to target the young
viewers who can
access entertainment
anytime and anywhere.
OnePlus presented the web series
names “Official Chukyagiri” which is a
comedy which shows the politics in an
office through the perspective of an
intern.
Ola Cabs became the title sponsor of the second season for “Permanent Roommates” where they
introduced a character named Purushottom Ji who is an Ola taxi driver along with whom they have
introduced his Ola taxi who is named as ‘Shabnam’. And to top things up Purushotton Ji is in love
with Shabnam which makes it even better.
Apart from this Ola has integrated
references where a character suggests his
friend that in oreder to be happy not take
the bus but instead take Ola.
All such integrations go well along the
plot of the series which make it enjoyable
for their viewers and at the same time
achieve the brand marketing objective of
Ola.

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Pepsi engaged in another series with sponsoring Mafia where they use their humour appeal to
promote their mini Pepsi cans. The featuring role consists of an Italian Mafia Lord by the name of
Mr. Can and at the end of each episode they clearly highlight the message ‘little things come with
power’ which connects to the Pepsi mini can Tagline that is “Little can. Big lesson”.
As more and more brands continue to use
web series as a platform, we will understand
how different elements effect viewership.
Thus, brands have evolved over the period
of time and have witnessed the scope that is
available in web series being the major
digital aspect.
I N F L UE N C E RS N E E D C O N T E N T T O S H AR E T O T H E I R
A U D I E N CE - YO U R A U D I E NC E .
By some estimations, 61% of consumers are more likely to buy from a brand that delivers custom
content. And the only thing people love more than custom content from brands?
Feeling entertained.
We live in a world full of responsibilities, discouraging news and bills. People use entertainment
to escape the drudgery of daily life. And if your brand can find a way to become that haven, you’ll
win customers for life.
Using branded entertainment is one of the smart ways to use video for your business. It offers
several different benefits and can take your marketing campaigns to new heights. Are you ready
to get started with this video marketing tactic?

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WHAT IS BRANDED ENTERTAINMENT?
Wikipedia defines branded entertainment as follows:
“Also known as branded content or advertainment, [branded entertainment] is an entertainment-
based vehicle that is funded by and complementary to a brand’s marketing strategy.”
Ultimately, the content gives the brand an opportunity to connect with its audience in a unique,
engaging way. By using media to tell an entertaining story, you establish a connection between
the positive feelings viewers felt while consuming your content and your brand Wee Man Branded
Entertainment
BRANDED ENTERTAINMENT BENEFITS
Most companies use partnerships with creatives, artists and professional media companies to craft
custom branded entertainment content. These alliances allow companies to publish a truly
engaging piece of content. Without them, you’re left to the limited creativity of your in-house
team.
While that may not seem like a challenge for those in creative industries, it’s more difficult for
brands in “boring” and “unsexy” industries. And, in all honesty, even creatives often find it
challenging to create entertaining content for their own brand. Trust me – it’s much easier to be
creative for others than for yourself!
Everyone has a story to share, if you don’t think so you’re likely not asking the right questions.
Furthermore, everyone’s story has an audience who genuinely wants to hear your story.
When you’re able to identify what your story is and who wants to hear it you’ll find you have
much greater success with your branded entertainment.
When done right, branded entertainment can offer your brand a number of different benefits:

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REINFORCE YOUR BRAND’S STORY
Every brand should have a narrative that extends beyond its advertising campaigns. Things like
story arc, characters and plot development strengthen the overall impact of your brand.
Using branded entertainment is, inherently, a storytelling technique, so it stands to reason that
using it will cause you to evaluate these portions of your brand. The result is a reinforced brand
story that feels more honed and focused on your core values, message and mission.
TAP INTO ESTABLISHED AUDIENCES
In this day and age, you don’t need a Hollywood budget to produce a remarkable video. And you
don’t need a celebrity endorsement to tap into huge audiences. The digital era has spawned tons
of micro-celebrities that have millions of fans that they built from scratch.
Your brand can connect with these influencers and tap into their large network of raving fans.
There are even specialized tools that make this process even easier for small and medium-sized
businesses.
Remember, these influencers need content to share to their audience. Aligning yourself with an
influence is probably easier than you think if you approach it as a symbiotic relationship.
Finding your target audience and the influencers in that space can help grow your brand, audience
and overall reach by leaps and bounds.
GIVE PEOPLE A REASON TO PAY ATTENTION
Ogilvy refers to this benefit as emotional engagement or brand engagement. It’s the element of
entertainment that captures our imagination. And when that happens, your brand creates a level of
intrigue, provokes the audience to action, and invites an open dialogue.
And I don’t know a brand in the world that wouldn’t love that type of engagement.

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It’s important to realize that while branded entertainment can go viral, that’s not the ultimate goal
of this tactic. While viral content reaches out and attracts a wide audience, branded entertainment
strives to go deeper and build lasting brand strength.
With that in mind, here are a few outstanding examples of branded entertainment.
THE LEGO MOVIE
Do you realize that when you sit down and
watch films like The Lego Movie or Marvel
productions, you’re really just watching a 2-
hour advertisement?
These kinds of movies are the epitome of
branded entertainment. They captivate the
audience and establish an emotional
connection with the company. Businesses
can use this same concept without going to
this extreme. How can you tell a story using the people and ideas that drive your brand to success?
DOVE “REAL BEAUTY” SKETCHES
These videos work so well because they tug at
your heart strings, and because their imminently
relatable to most women.
In the clip on the left, dove peels back the
curtain and shares an important message that
directly impacts their ideal customer: real,
everyday women.
How can you use a similarly entertaining video
to propel your company’s deeper messages and
values?

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OLD SPICE’S “THE MAN YOUR MAN COULD SMELL LIKE”
This commercial started out as a simple campaign spot for Old Spice. But once it generated so
much attention and success, the brand decided to continue this story. What followed was a series
of videos developed in a Response campaign.
Your business can use a similar approach to storytelling. Don’t stress about finding the perfect
story arc right away. Test different things and see what clicks with your audience. Once you find
the fit, capitalize on it and continue the story.
HOPE, THE BOAT -RECENT DIGITAL FILM BY PAPER BOAT
Childhood is that one phase of our lives which we look back upon with fond memories. And, what
do those memories do at best -
make us time travel instantly
into the kingdom of nostalgia!
Hinged upon a similar insight
is Paper Boat's latest digital
film, Hope, the Boat,
conceptualised and executed
by Humour Me, a branded
entertainment company.
The film, over a course of around four-and-a-half minutes, takes the viewer through a journey of
hope and dream metaphorically through a paper boat. The film ends with the message, 'Every

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dream is a journey. May your Paper Boat carry you far.', along with a product shot of Paper Boat's
'aamras' flavour.
Rooted in Indian tradition, the paper boat has always been the object of people`s purest adulation
and a symbol of their most innocent dreams.
HOW TO IMPLEMENT BRANDED ENTERTAINMENT FOR A BRAND?
1. SET GOALS FOR THE CAMPAIGN
Every marketing effort should start with clear goals.
Increase purchases for a new product?
Develop stronger brand awareness in a certain demographic?
Then, specifically outline the objectives and goals before moving forward.
Every other step in this process hinges on this moment.
What do you want to achieve? Goal?
2. DEVELOP AN ENTERTAINING IDEA
Set up a brainstorming session with the team and partners.
Now, it’s time for the fun part – coming up with the brand’s story concept.
Enjoy this part of the process. Sit back, relax and bounce around a lot of terrible ideas so that one
can find that one diamond in the rough that’ll make a big difference for the company.
3. PRODUCE THE CONTENT & LAUNCH
It’s hard to make a real impact with a low-quality production. If one is going to do it, make an
investment to get it done right. When looking for a high-quality production team, make sure they
have the following qualities:
• Natural, experienced storytellers

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• A track record in award-winning videos
• Experience with branded entertainment
The right company will help you out from start to finish. Don’t underestimate the power of a
knowledgeable team to assist with this process.
They also should have a process in place to help you identify key attributes of your company,
brand and audience. Knowing who to target, and coming up with creative ideas to connect with
them is hugely important to the success of the campaign.
Once the video is finished, that’s it! It’s time to release the valuable branded content to the world.
4. HOW TO MEASURE SUCCESS?
So, what should brands be looking for from branded entertainment? Mindshare Entertainment's
David Lang summed it up in an Ad week-moderated session: "Content tells a consumer what you
stand for; advertising tells a consumer what you want them to buy." If that's true, brands should
measure their success with three KPIs:
1) Views
2) Engagement level
3) Earned media
Sales is also a good measure—but sales of what? If you think about it, a good entertainment
product has a value in itself, so it could be a new addition to the company's portfolio. Red Bull
has a business unit dedicated to entertainment, so it's not just driving sales of other products.

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T H E O RI T I C A L F R A M E W O RK
P E R S U A S I O N T H E O R Y
Persuasion means a state of being convinced by something or some person or making someone’s
view changed or influenced. Persuasion can attempt to influence someone’s values, beliefs,
attitudes, intentions, motivation or behaviour.
Persuasion theory is a mass communication theory that deals with messages aimed at subtly
changing the attitude of receivers. It can activate an attitude change to modify the behaviours of
consumers, voters and individuals.
So, by using the platform of web series, brands are producing content which tells a story but at the
same time promotes the brand too. It is a kind of In-film Branding that takes place which subtly
conveys the brand message to the audience persuading their decisions.
DIGITAL IMMIGRANTS AND DIGITAL NATIVES THEORY BY MARC PRENSKY
The generational gap between the so-called digital natives (the generation of people born during
or after the rise of digital technologies) and the digital immigrants (people born before the advent
of digital technology) doesn’t actually have to do with technology. The real issue is that the two
worldviews that they represent are so different.
Digital natives view the world horizontally, in equalitarian terms. Rather than dividing the world
into hierarchies, they see everyone as existing on an equal level. They embrace the benefits of
sharing things and ideas with each other and, in doing so, they cross boundaries. They are driven
by values. For this reason, many of them are distrustful of traditional cultural and social
institutions: marriage, religion, government. In opting out of these institutions, they have declared
themselves microsegments of one — free agents.
The advantage of a digital native’s worldview is the genuine democracy and equality that comes
out of their rejection of centralized and control based forms of governance. The downside is that
they’re unlikely to build anything that requires intensive capital, tangled complexity or tremendous

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magnitude — going to the moon, curing cancer, recreating the power grid: large-scale projects that
need vertical organization by goal-oriented, focused people.
Where digital natives imagine a world with little institutional structure and open access to people
of diverse backgrounds, the culture of digital immigrants is a meritocracy. Typically, a more
aggressive, competitive and results-obsessed generation, they are often seen as cutthroat by their
younger associates. The advantage here is productivity: digital immigrants are goal oriented as
opposed to the value orientation of the digital natives. While they have the ability to get things
done quickly they may overlook the long-term consequences of their actions. Workaholics are not
an uncommon manifestation of this win at all costs world view.
The paradox here is that digital immigrants, for the most part, invented the complex technologies
and systems that digital natives use fluently — the Internet, microchips and the ubiquitous cloud
comes to mind. In this way, digital natives and digital immigrants must grow to work together and
learn from each other.
This is just how things work: We see the world differently from the people who came before us.
Generations are simply oppositional in nature. But they don’t have to be at odds with each other.
It’s about talking with and learning from people who you normally wouldn’t work with, who don’t
see things the way you do. What will you do to start a dialogue with a generational stranger, your
digital other?
Therefore, this shift of consuming content and media digitally will be a boon for web series makers,
branded entertainment platforms, etc.

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CHAPTER 2
REVIEW OF LITERATURE
(Edwards, 2006) stated that the current study documents the prevalence of product placement in
prime-time television, while also providing crucial criteria to consider in tackling the measurement
issue of this emerging industry. Content analysis was used to capture placement techniques in
various types of programming, including storied programming (e.g., dramas and situation
comedies) and nonstoried programming (e.g., news programs, game shows, and sporting events),
as well as to examine differences between plugs and placements. Consumer product placements
were differentiated from other types of brand placements, such as services, sports, and
entertainment. Finally, the growth of placements was contrasted with data from five years earlier.
The findings reveal many similarities with earlier research, but also suggest that much work is still
needed to maximize the effectiveness of product placements among marketers. Implications for
consumer researchers and industry professionals are provided.
(Asmussen, 2014) conducted a little research to date in the area of branded content, in spite of the
rising use of this key marketing concept, and the estimated US $4bn value of the branded content
market. As part of the Branded Content Marketing Association’s (BCMA’s) strategy to establish
academic understanding as well as champion best practice and share learning, it has commissioned
a study entitled ‘Defining Branded Content for the Digital Age’. Conducted by Oxford Brookes
University and the BCMA’s global research partner Ipsos MORI, their study had two main
purposes: 1. Identify and understand the different conceptualizations people use when talking
about branded content 2. Develop a definition that helps to clarify the concept for a broad range of
stakeholders and therefore supports the progress of branded content marketing practice.
(Giles, 2011) describes the recent explosion in the production of web series around the world has
given audiences an impressive range of content to explore online and on other digital platforms.
There are series for every taste and every demographic. Their audiences may be global, or may be
targeted and niche. Yet, producers of this wealth of content share a challenge: how to let potential
viewers know that they exist. The Independent Production Fund, which began to finance web
drama series in 2010, (after 20 years of funding television drama series), was amazed by the quality

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and diversity of material presented to them by both traditional television producers and new media
producers. A lot of commitment and passion went into the production of their series. But, we all
soon recognized that just as much commitment and labour and creativity and skill must go into
marketing and promoting the web series, over long periods of time. No one really realized just
what that could entail, if done right. And who should do it. And when it should be done. And how.
And what resources exist. And how to use them. And for how long. Traditional PR and
promotional techniques would not do the job. How to Build an Audience for your Web Series:
Market, Motivate & Mobilize is our attempt to answer these questions. It provides practical, hands-
on advice and strategies to attract audiences to web series and websites, and to inspire audiences
to become communities of interest, who in turn can become the best marketers you can get. There
are not many experienced people in this field. Julie Giles is an exception. She is a digital
entertainment specialist with years of experience, who has agreed to share her vast knowledge of
the art and science of digital marketing. The Independent Production Fund is a private Foundation
mandated to fund Canadian drama series produced for any platform, and to support professional
development of the production industry. It provides a web series dashboard for all the series that
it funds. As producers learn to optimize their marketing knowledge, audiences will grow, and
hopefully, fame and fortune will follow!
(Hudson, 2006) In the last few decades product placement has matured and become more
sophisticated. Branded products are no longer just 'placed'; they are woven into entertainment
content making a stronger emotional connection with the consumer. The outcome is a concept the
advertising industry is calling branded entertainment, a convergence of advertising and
entertainment. This article considers whether or not branded entertainment is a new technique, or
just another form of product placement. By tracking the evolution of product placement and from
an analysis of the two concepts, it is suggested that branded entertainment is a new term to describe
a more contemporary, sophisticated use of product placement. A conceptual framework for
understanding the various forms of product placement is presented, and this highlights the key
influences on the effectiveness of this fast-growing marketing phenomenon. The important
management issues related to product placement are considered; issues related to measurement,
control, and ethics. The article then concludes with recommendations for further research.

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(Lehu, 2007) says that with technology-empowered consumers increasingly able to skip television
ads, brand owners are turning more and more attention towards product placement as an alternative
means of connecting with their target audiences. In this book, JeanMarc Lehu provides a detailed
account of product placement and its role within the contemporary entertainment business. He
outlines the origins of and reasons for product placement; describes the advantages and methods
of the use of product placement and the focus turns to branded entertainment in all its forms; the
area covered is brand integration.
(Horrigan, 2009) described Branded Entertainment as a fusion of advertising and entertainment
into one marketing communications product that is integrated into an organization’s overall brand
strategy intended to be distributed as entertainment content with a highly-branded quality. A
history of product placement, branded entertainment, and film tourism is presented to identify the
effective elements of each strategy in order to inform a more cohesive brand strategy for
destinations. A branded content model is offered that will give destination marketing organizations
a road map for better coordination, integration and measurement with their tourism, film,
marketing communications and branding strategies.

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CHAPTER 3
RESEARCH DESIGN
AIM
The research aims to study and understand what is Branded Entertainment, how is it gaining
momentum with respect to digitalization and the increasing viewership of web series, which is a
whole new market of target audience waiting for good branded content.
OBJECTIVES
• To understand how brands get promoted through web series
• To explore the future of Branded Entertainment with respect to web series
• To understand the evolution of Branded Entertainment
• To study the impact of ‘Branded Entertainment in Web Series’ on the ‘Sales of the
Brand’
RESEARCH QUESTIONS
• How has the evolution taken place from product placement to branded content?
• What is the future of Branded Entertainment?
• How has web series become a good platform which goes hand in hand Branded
Entertainment?
• Does Branded Content influence customers via their purchasing decisions?
RESEARCH METHODOLOGY
A descriptive research will be conducted to study and analyze the objectives of the research. The
researcher would be using Primary Method for this paper and the study is going to be quantitative
in nature and survey research method will be used.

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For this both Primary and Secondary data has been collected. For collection of Primary Data
Interview technique was used and Analysis was done by content analysis. Secondary data gathered
from different blogs, articles, Research papers, books, journals, reports.
SAMPLING
For this research, the researcher has taken a survey of 50 respondents within the age group of 20-
30 years of age. These respondents were either friends, acquaintances or people kind enough to
fill this form online spread via social media. For this study, the researcher has selected a specific
target audience that fit into the criteria i.e. young people who watch web series. Convenience
Sampling was used. A convenience sample is one of the main types of non-probability sampling
methods. Non-probability sampling is a sampling technique where the samples are gathered in a
process that does not give all the individuals in the population equal chances of being selected and
a convenience sample is made up of people who are easy to reach.
TOOL OF DATA COLLECTION
Using the questionnaire research method, the researcher requested 50 respondents (People who
was web series) to fill the questionnaire that contained multiple choice type of questions. The
questionnaire was transmitted into an online questionnaire format and sent to everyone.
DATA PROCESSING
The responses of the respondents have been collected via questionnaire and then evaluated and
processed through excel sheet by making pie chart for each question and details of the respondents
as a part of the analysis.

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LIMITATIONS
The researcher is limited to studying within the geographical limits of Mumbai. Since there is a
time limit to the study, a detailed survey analysis of the people and the questionnaire is over an
extended period of time is not possible. The time period available to the researcher for the study
and analysis in the subject of 2 months.
DE-LIMITATIONS
The researcher decided to limit the study only to young people who watch web series and those
people were only from Mumbai.
UTILITY OF RESEARCH
This research enables students, academicians, advertisers, Media & Entertainment Industry people
understand the value and scope of Branded Entertainment, gaining momentum of web series and
the result of collaboration of these two. Because of this the advertisers can advertise in a different
way and get connected to the audience in a much stronger way leading to increase in brand sales.

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CHAPTER 5
FINDINGS & OBSERVATIONS
Through forming a questionnaire that consisted of multiple choice questions, the researcher has
observed and found some inferences for each questions of the questionnaire. The questionnaire is
formed on pre-set parameters on which the researcher aims to meet its objectives. The pre-set
parameters on which the respondents answered the questionnaire were:
a) Knowledge of Branded Entertainment in Web series
b) Effect of Branded Content on Brand Sales
The target group was youth. All the people who answered this questionnaire were between the
range of 20- 30 years of age. Since Internet is to a quite large extent used by youth and specifically
the people in this age range, the brands also seem to make content majorly for that section of the
crowd.

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The respondents were quite cooperative in filling this survey form. Most of them being women i.e.
60%.
Since the target audience was youth most (70%) of them were students and the remaining (30%)
working professionals.

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According to the survey most of the respondents consume their content, be it any type, on mediums
such as Internet (laptops & mobile phones) leading at 94% then comes the Television with 26%
followed by Print 10% and Radio 2%. The figures can be overlapping because the respondents
watch and could choose more than one mediums for content consumption.
According to a survey, on an average Indians spent over 169 minutes (2 hours 49 minutes) per day
on their device, out of which 15% spent their time on watching videos and getting entertained.

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This is just one medium, most of the respondents accept that they spend more than an hour’s (70%)
worth of content on the platforms they mentioned previously.
Most of the respondents went with the video streaming sites such as YouTube (88%), Netflix
(34%), Hotstar (36%). Many of them used more than one medium to consume content. The others
included the content downloaded from different internet sites or torrent.

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Most of them i.e. 90% watched web series.
The young target group says that the most of them either share their opinions or views on social
media (78%) or tell (WOM- 70%) their friends and family members to consume content which
they like on the internet.
Most of the respondents i.e. 60% watched the web series as it was a recommendation to them by
their friends followed by 40% watched if it was trending on the social media pages. A considerable
amount of people i.e. 46% & 42% watched it based on the newness of the concept and the story
line.

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Hinglish web series included:
Bang Baja Baarat
Little Things
Ladies Room
Permanent Roommates
The girl in the city
Tripling
Pitchers
Girliyapa
Sinskari
Baked
The trip
Shockers
Tanhaiyaan
Men’s World
The English ones were:
Narcos
Suits
Friends
Good Witch
Arrow
Breaking Bad
Stranger Things
Death Note
Game of Thrones
Supernatural
Big Bang Theory

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Since most of the updates of web series are received online therefore 30% of the people search for
their favorite web series’ social media pages or websites and got the notifications turned on. Here
most of the respondents mentioned that they did not play a part in any internet marketing activity
online.

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The sometimes option got 56% because if the Ad brings in some interest in the viewers’ minds
then only he or she will watch the whole Ad but if not, then they will immediately SKIP the
advertisement. A considerable amount i.e. 36% of respondents said no.

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52% of the respondents said they notice the brands and its product placement in web series.
36% of the respondents were not sure about the brands and its product placement in web series.
12% of the respondents said that they did not notice any brands and its product placement in web
series.
Little App, Mercedes, BMW, Paytm, Ola, Lakme products (facewash & 9 to 5 bb cream), Furlenco,
99acres.com, Tata Tiago, Suzuki Swift, Castor Oil, Cornetto, Garnier Facewash, Maybelline, Park
Avenue, Flipkart, Snapdeal, Kingfisher, Oneplus phones.
12-15 out of 50 respondents said that they don’t clearly remember the brand names. They said that
the brands were shown in a very subtle fashion and that’s why they did not have a recall value.

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The prominent (60%) answer being No means that the brand mentioned in the web series did not
make any impact apart from recall value, because there wasn’t any lead conversion. 24 % said
Maybe that means they atleast had recalled the product while purchasing in that category or might
not remember. 16% said yes.
38% of the respondents found the brand’s product placement Subtle.
26% of the respondents found the brand’s product placement Very Prominent.
26% of the respondents found the brand’s product placement Irritating.
10% of the respondents found the brand’s product placement Perfect.

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64% of the respondents found that brands collaborating with web series is good way to go.
34% of the respondents were not sure about the collaboration of brands and web series.
2% of the respondents did not find brands collaborating with web series is good way to go.
54% of the respondents said that product placement in web series would be equally effective as in
movies, 38% of the respondents were not sure about the effectiveness and 8% of the respondents
said that product placement in web series would not be equally effective as in movies.

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CHAPTER 6
CONCLUSION
Branded Entertainment as a fusion of advertising and entertainment. Be it in an Ad commercial or
a Film like Lego or just a web series.
The recent explosion in the production of web series around the world has given audiences an
impressive range of content to explore online and on other digital platforms. There are series for
every taste and every demographic. Their audiences may be global, or may be targeted and niche.
If branded content is produced in web series then the brand would create a level of intrigue, would
provoke the audience to action, and invite an open dialogue. While viral content reaches out and
attracts a wide audience, branded entertainment strives to go deeper and build lasting brand
strength.
With the research survey the researcher has come to an understanding that since Internet is to a
quite large extent used by youth and specifically the people in this age range, the brands also seem
to make content which is youth centric. People have adapted to this shift from traditional
consumption to digital very quick and are also liking the medium and content.
When asked about the brand collaboration with web series, the respondents said that it is a very
good way to go and did affect their purchasing decisions to a small extent.
This medium of web series and content is highly promoted through word of mouth and social
media posts. Getting influenced to watch this type of content is common.
The youth at least spends more than an hour or two consuming content online. So therefore, there
is a very bright chance of brands shaking hands with production houses and making content
interesting for the target audience at the same time being brand specific to increase the recall value
and influence purchasing decisions.

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BIBLIOGRAPHY
Arhio, J.-M. R. (2015, April 30). If You’re Not at Least Thinking About Branded Content,
You’re Missing Out. Retrieved from Adweek: http://www.adweek.com/tv-video/if-youre-
not-least-thinking-about-branded-content-youre-missing-out-164378/
Asmussen, B. (2014). Branded Content Marketing (10 ed.). Oxford City: Oxford Brookes
University & Ipsos MORI. Retrieved from http://www.thebcma.info/wp-
content/uploads/2014/04/BestofBrandedContentMarketing2014_Oxford_Brookes.pdf
DeGraff, J. (2014, September 7th). Digital Natives vs. Digital Immigrants. Retrieved
from TheHuffingtonPost: http://www.huffingtonpost.com/jeff-degraff/digital-natives-vs-
digita_b_5499606.html
Edwards, C. L. (2006). How Brands Appear on Television. Journal of Advertising, 35(4).
Retrieved from
https://www.researchgate.net/profile/Steven_Edwards6/publication/233894843_Product_
Placement_How_Brands_Appear_on_Television/links/572b5dff08ae2efbfdbdd4ac.pdf
Giles, J. (2011). How to Build an Audience for your Web series: Market, Motivate &
Mobilize. (A. Sheffer, Ed.) Greenhatdigital & Independent Protection Fund. Retrieved
from http://ipf.ca/wp-content/uploads/IPF-How-To-Build-an-Audience-for-Your-Web-
Series-1.pdf
HOLLA, A. (December, 2016 19th). INDIAN WEB SHOWS IN 2016 – BEGINNING OF
A NEW ERA OF ENTERTAINMENT IN THE COUNTRY. Retrieved from Vidooly:
http://vidooly.com/blog/indian-web-shows-2016
Horrigan, D. (2009). Branded Content: A new Model for driving Tourism via Film and
Branding Strategies. An International Multidisciplinary Journal of Tourism, 4(3).
How Brand Marketing Is Being Taken To A New Level By Indian Web-Series? (n.d.).
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marketing-is-being-taken-to-a-new-level-by-indian-web-series/
Hudson, S. H. (2006). Branded Entertainment: A New Advertising Technique or Product
Placement in Disguise? Journal of Marketing Management, 22(5-6). Retrieved from
http://www.tandfonline.com/doi/abs/10.1362/026725706777978703
Lehu, J. M. (2007). Branded entertainment: Product placement & brand strategy in the
entertainment business. Journal of Brand Management. Retrieved from

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http://search.proquest.com/openview/2967aeecdb58bdaf4f92647b8a7e7310/1?pq-
origsite=gscholar&cbl=27139
Paper Boat`s latest campaign takes you on your dream journey. (2016, september 15).
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Ryan, T. (2015, june 22nd). What is Branded Entertainment (And Why Should You
Care)? Retrieved from Tar Productions: http://tarproductions.com/2015/06/22/what-is-
branded-entertainment-and-why-should-you-care/
The Dawn of the Indian Web Series. (2015, june 22nd). Retrieved from The Quint:
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Vila, N. (2014, march 1st). Persuation Theory. Retrieved from Prezi:
https://prezi.com/davybppfmk1i/persuasion-theory/

38. 38
ANNEXURE
Questionnaire
1. Name: _______________________
2. What’s your age?
• Under 20
• 20-30
• 30-40
• 40-50
• Above 50
3. What is your gender?
• Male
• Female
4. Profession?
• Student
• Working Professional
• Business
• Homemaker
5. On which platforms do you consume most of your content?
• TV
• Print
• Radio
• Internet
• Other_________

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6. How much time do you spend watching content on the platforms mentioned above?
<30 mins
1 hour
>1 hour
7. On which internet platforms do you prefer watching content? (w.r.t videos)
YouTube
Netflix
Hotstar
Other_____________
8. Do you watch web series?
Yes
No
9. How did you get to know about any Web series?
Newspaper
Television
Social media (Facebook, Twitter, Instagram, etc.)
Word-of-mouth
Other ____ (please list here)
10. What prompted you to watch Web series?
• Recommendation from someone
• It’s a trending topic- social media
• New concept
• Story
• dramatization
11. Any current favorite/s? _________________

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12. What is the most attractive element about your favorite web series?
• Appealing and creative story
• Outrageous production design and costuming
• Great cast
• Funny dialogue and jokes
• Others ____ (please list here)
13. How did you participate in Favorite Web series’ Internet marketing?
• I joined its social media pages and interacted with its production team and other fans
• I tweeted about it or wrote a post on Facebook
• I searched or paid attention to its information online
• I didn’t participate at all
14. What is your opinion on your favourite web series’ success?
• The story is appealing
• The production is outrageous
• The cast is attractive
• The culture presented in this series is close to me
• The marketing promotion on social media is strong
15. Do you watch ads that play in between the videos?
Yes
No
Sometimes
16. How much concentration do you watch those Ads on a scale of 1-5?
12345
17. While watching web series do you notice that there are some/many brands that place their
products?

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Yes
No
18. If yes, which brands in web series do you remember?
(Example: Little App-Little Things, Lakme Facewash-The Trip, Tiago-Tripling)
____________________
19. Did the branding about the product in the Web Series influence your purchase decisions?
• Yes
• No
20. How you find the brands’ product placement in the web series that you watch?
Very Prominent
Subtle
Irritating
Perfect
21. Do you think Brands collaborating with web series is a good way to go?
Yes
No
Sometimes
Other__________
22. Product Placement in Movies have been quite effective, do you think its transition in Web
Series would be equally effective?
Yes
No