Citations:brandscape


 * 1989 — Jon Berry, "The Al Franken Decade", Adweek, 13 November 1989:
 * At the same time, says Biel, they define themselves by what they buy — the "world of brandscapes."
 * 1990 — "GM gobbledygook top 10", Autocar, Volume 209:
 * Following on from brandscape (describing GM's wide range of car companies) and bubble-up (the process of creating a new car design), we can proudly present the GMTTJ - General Motors' Top 10 of Jargon
 * 1994 — Brands and Branding in South Africa: Key Success Stories, Affinity Advertising and Publishing (1994), ISBN 9780958396110, page 10:
 * Having said this, it is true that branding has undergone some significant changes in the recent past, and the brandscape (to use a word coined by Young & Rubicam in their recent worldwide brand survey) has altered.
 * 1996 — David A. Aaker, Building Strong Brands, Free Press (1996), ISBN 9780029001516, page 194:
 * Usually there are a few limited positioning strategies used in the industry; a good exercise therefore is to arrange advertisements into a "brandscape" of clusters representing firms with similar positioning strategies.
 * 1996 — James L. Schefter, All Corvettes Are Red: The Rebirth of an American Legend, Simon & Schuster (1996), ISBN 9780684808543, page 329:
 * The "brandscape" eventually laid out by GM for Chevrolet positioned the badge as a series of low-priced cars for people who worried about their bills.
 * 1999 — Alexander L. Biel, "Exploring Brand Magic", in How to Use Advertising to Build Strong Bonds (ed. John Philip Jones), Sage Publications Inc. (1999), ISBN 0761912428, page 166:
 * Four of the five overarching factors that Aaker discovered in the United States also appeared in Japan; however, the dimension of ruggedness simply does not exist in the Japanese brandscape.
 * 1999 — James B. Twitchell, Lead Us Into Temptation: The Triumph of American Materialism, Columbia University Press (1999), ISBN 0231115180, page 199:
 * In modern marketing this known not as the "Diderot effect" but as creating a consumption "constellation," entering a brandscape, conforming to a fashion.
 * 1999 — Ken Gross, "Battle of the Brands", Automotive Industries, 1 February 1999:
 * GM must retire one division to better manage its domestic brands. I suggest Olds, the GM marque that stands for the least and whose products are lost in the brandscape.
 * 1999 — Sloane Lucus, "Austin Online, Baby!", Brandweek, 9 September 1999:
 * "There was a lot more awareness of the property [Austin Powers] in the brandscape," says Gordon Paddison, New Line's director of interactive marketing.
 * 2000 — Naomi Klein, No Logo, Vintage Canada (2000), ISBN 0676972829, page 365:
 * By now it should come as no surprise that the targets of these influential campaigns are three of the most familiar and best-tended logos on the brandscape: the Swoosh, the Shell and the Arches.
 * 2000 — Alan Middleton, "Branding in an e-com world", Digital Marketing, 13 March 2000:
 * Marketing scholars such as John Sherry of Northwestern University in Evanston, Ill. and Grant McCracken of Harvard University in Cambridge note that not only do we inhabit a world full of brands, a brandscape, but that these are critically important providers of cultural meaning in our lives. A great many of our consumption decisions are based on assumptions about what is appropriate or inappropriate to consume.
 * 2001 — "Who's wearing the trousers?", The Economist, 6 September 2001:
 * These image mongers offer “a Barbie world for adults” says Ms Klein, integrating their brands so fully into our lives that they cocoon us in a “brandscape”. No space is untouched: schools, sports stars and even youth identity are all being co-opted by brands.
 * 2002 — Scott Bedbury (with Stephen Fenichell), A New Brand World: 8 Principles for Achieving Brand Leadership in the 21st Century, Penguin (2002), ISBN 0670030767, page 82:
 * Because the tables can turn incredibly quickly in today's high-flux, low-loyalty brandscape, it pays for even the strongest and most seemingly imperious brands to continually refresh themselves.
 * 2004 — Daniel Mudie Cunningham, "Chanel No. 5 The Film: Le Film du Film", PopMatters, 22 November 2004:
 * The setting is a “mythological city.” Basically this is shorthand for a city that blends Sydney soundstage with Times Square brandscape and iconic Parisian rooftop garrets.
 * 2008 — John Gerzema & Ed Lebar, The Brand Bubble: The Looming Crisis in Brand Value and How to Avoid It, Jossey-Bass (2008), ISBN 9780470449394, page 200:
 * ConsumerLand runs on a Darwinian principle. Like animals in the wild, consumers handle a vast, diversified brandscape by staying alert to movement.
 * 2009 — Shinji Oyama, "The East Asian Brandscape: Distribution of Japanese Brands in the Age of Globalization", in Cultural Studies and Cultural Industries in Northeast Asia: What a Difference Region Makes (eds. Chris Berry, Nicola Liscutin, & Jonathan D. Mackintosh), Hong Kong University Press (2009), ISBN 9789622099746, page 149:
 * The brandscape emerges from this new form of the distribution of cultural power, which operates not through ideological domination by the nation-state or through a dialectical relationship between global and local but rather through a more flexible organization of disjunctive forces by increasingly transnational agents such as L'Oréal.
 * 2010 — Nicholas Carah, Pop Brands: Branding, Popular Music, and Young People, Peter Lang Publishing Inc. (2010), ISBN 9781433105647, page 160:
 * Experimental branding follows this post-political logic. The brandscape directs political and social action toward particular issues that are conceptualized within a brand- and capital-producing framework. The market becomes the totalizing domain of social action. In the brandscape, brands can be celebrated and critiqued and put to work to achieve social and political ends.