The interpretivist paradigm is influenced by hermeneutics and phenomology (Mack, 2010: 7).
The interpretivist or constructivist takes an open and exploratory stance with the aim of understanding the complexity of the situation as a whole (Plack, 2005: 299-230 citing Guba &
Lincoln, 1981). Continuous hypotheses are formulated and reformulated as data emerge and deeper understanding is developed throughout the emergent inquiry using “idiographic statements, multiple realities, and complex interactions … recorded through “thick descriptions” using words, phrases, non-verbal descriptors and the like” (Plack, 2005: 299-230 citing Merriman & Associates, 2002). Although the researcher could make sense of the branded entertainment construct and formulate a proposed definition, continuous discoveries on and around key concepts of authentic narrative, resonance and best practice principles helped to craft and recraft the definition and more importantly, the researcher could assess which contributors towards “branded entertainment that can achieve consumer-brand resonance” carried more importance than others.
Interpretivists see the researcher and what is being researched as inseparable, i.e. what is observed is bound up with the researcher’s life experiences with the aim of trying to make sense of the world whereas positivism sees the researcher removed from what is being researched with the objective reality existing outside the human mind (Maree, 2012: 59; Lor, 2011: 4 citing Weber (2004) following Sandberg). The researcher stands in the field of brand communication as a brand strategist. He aimed to make sense of the phenomenon of authentic narrative in branded entertainment and how it relates to resonance for strategic brand building. The researcher has a strong contextual understanding of the field and therefore he tried to make sense of the branded entertainment construct and its strategic potential.
Kurki and Wight (2009: 15) outlined ontology (theory of being), epistemology (theory of knowledge) and methodology (theory of method) all being theoretical positions that are
dependent upon particular assumptions. Each of these theoretical positions will now be discussed in context of the interpretivist paradigm with application to this study.
4.3.2.1 Ontological dimension of interpretivism applied
Ontology, according to Kurki and Wight (2009: 15), is the theory of being, i.e. what is the world made of and what objects do we study? Also, seeing the world in terms of different object domains. Lor (2011: 5-6) cited Pickard (2010) in outlining the metatheory (the way in which people theorise i.e. “see” the world) of interpretivism from the ontological dimension as being set in the belief of multiple realities that cannot exist outside the social contexts that create them. The ontological assumptions of interpretivists are therefore that “… social reality is reality is seen by multiple people and these multiple people interpret events differently leaving multiple perspectives of an incident”; interpretivist’s main tenet is that the research can never be objectively observed from the outside; they should rather be observed from inside through the direct experience of the people (Mack, 2010: 8).
For branded entertainment as a relatively new brand communication effort in contemporary marketing management practice based on the challenges of a fast evolving and soon to be digitally saturated media landscape and the Millennial generation’s demands, the problem of definition and application could only be explored and addressed by brand communication decision makers who have successfully dealt with branded entertainment based on direct experience.
Although successful case studies with quantitative results exist and could be studied, the research problem could not be sufficiently addressed as the philosophies, knowledge and application of branded entertainment that had the ability to create resonance would maximise exploration of the authentic narrative phenomenon extrapolated by their different perspectives to enrich the branded entertainment discussion and to achieve the research objectives. The primary research in the study can thus provide information from the “inside”, i.e. the perceptions of accomplished brand communication decision makers who are experienced to make sense of the intricacies of branded entertainment narrative and its strategic potential.
This directly contributed to inform and enrich the research propositions. Furthermore, this industry professional experience aimed to provide best practice principles with the ability to address the central research proposition.
4.3.2.2 Epistemological dimension of interpretivism applied
Epistemology, according to Kurki and Wight (2009: 15), is the theory of knowledge, i.e. how do we come to have knowledge of the world? – accepting or rejecting particular knowledge claims. Lor (2011: 5-6) cited Pickard (2010) in outlining the metatheory of interpretivism from the epistemological dimension as indicating a subjectivist approach where the results of the investigation are a product of interaction between the subject and the investigator – what can be known is thus a result of the interaction based on an empathetic understanding. The knowledge shared between the researcher and brand communication decision makers responsible for achieving resonant branded entertainment is based on shared knowledge that is not only in the field of brand communication but also in the branded entertainment discipline, as the researcher has been active in managerial positions in the marketing and communication industry for more than 15 years, mainly in advertising and brand strategy planning and management. He was involved in project managing branded entertainment television programmes and their related campaigns for national and satellite television in South Africa that served as inspiration to undertake this study.
Axiology refers to the basic beliefs that affect the way to investigate reality; it’s concerned with the ethics, encompassing the roles of values in the research and the researcher’s stance in relation to the subject studied (Wahyuni, 2012: 69-70). The axiological assumption related to interpretavism dictates that the research is value bound and that the researcher is part of what is being researched to the extent that the research and the researcher cannot be separated and so the researcher will be subjective (Saunders, Lewis & Thornhill: 2007, Guba & Lincoln:
2005, and Hallebone & Priest: 2009 in Wahyuni, 2012: 70).
Although the researcher took an insider approach to the investigation (in context of studying social phenomena, i.e. resonance as result of authentic storytelling), he conducted the research by engaging the perspectives of global brand communication decision makers with no leading context referring to the central research proposition stipulated in any of the interviews. His experience allowed him to make a viable assumption, shared by industry stalwarts and specialists in branded entertainment: that authentic narrative in branded entertainment needs attention from an industry point of view as the research problem directs the concern with the participants seeming to have overcome the problem. However, the starting point is: authentic narrative is identified as a significant or central characteristic in branded entertainment for success, i.e. consumer-brand resonance.
It could therefore be assumed that the knowledge shared between the researcher and participants was on par and that the knowledge relayed to the brand communication industry as result of this study would follow the same principle, especially with respect to the integrity of the study and the bona fide stance of attributing meaningful guidance to industry in order to address the research problem. The objectivity of the researcher and subjectivity of the participants are indeed major contributors to the study as each participant’s reality is different.
The study aimed to find assimilations and patterns of philosophy, knowledge and application to branded entertainment narrative conducive to resonance.
4.3.2.3 Methodological dimension of interpretivism applied
Methodology, according to Kurki and Wight (2009: 15), is the theory of methods, i.e. what methods do we use to unearth data and evidence? – choosing particular methods of study.
Lor (2011: 5-6) cited Pickard (2010) in outlining the metatheory of interpretivism from the methodological dimension as dictating empathic interaction of the investigator with the object of the investigation. Each construction of reality therefore has to be and was investigated and interpreted by the investigator in its own right. Interactions with the participants, i.e. the brand communication decision makers in this study, were based on free-flow discussions to provide opportunity for the subjects to express personal opinions with relevant prompts from the instigator whilst controlling boundaries and respecting opinion throughout the process.
The method most suitable for this study was therefore in-depth interviews because these industry experts would be able to cast a reflective light on the variables that would have contributed to the success of their respective branded entertainment campaigns and provide the ability to explore their philosophies on branded entertainment narrative in general, prompted in an inquisitive manner in the in-depth interviews. These brand communication decision makers would also be able to reflect on their failures on their branded entertainment endeavours and others that they may perceive in industry. They would be able to give their opinion on the branded entertainment construct and subsequent application for strategically sound brand-building practice that can guide industry on creating branded entertainment with the potential to resonate with target audiences.
The method that this study employed was qualitative research. Qualitative research exists in the interpretivist paradigm (Haydam, Slabbert & Uken, 2011: 231) and follows an unstructured
and exploratory research design, which provides insights into and understanding of the problem at hand (Malhotra, 2002: 112), being the absence of a clear definition of branded entertainment and consequently, a set of challenges that erode the strategic potential of branded entertainment. Qualitative research is suitable to this study as the research objective is to develop an understanding of the authentic narrative phenomenon in great detail and in much depth (Zikmund, Babin, Carr & Griffen, 2009: 133).
This study was exploratory in nature because it aimed to understand and further knowledge on the strategic value of authentic narrative in branded entertainment. Qualitative research seeks to explore phenomena by use of a more flexible, iterative style of eliciting and categorising responses to questions, whereas quantitative research seeks to confirm hypotheses about phenomena using instruments with a more “rigid style of eliciting and categorising responses to questions” (Mack, Woodsong, MacQueen, Guest & Namey, 2005:
3). Furthermore, qualitative research aims to describe variation to make sense of relationships, to describe individual experiences and group norms, whereas quantitative research aims to quantify variation and to predict causal relationships in order to describe characteristics in a population (Mack et al., 2005: 3). This study explored the phenomenon of authentic narrative observed in branded entertainment to establish whether authentic narrative is believed by brand decision makers to achieve resonance (variation in responses) and to establish authentic narrative characteristics by means of qualitative research that could in future research be tested quantitatively to quantify variation in target audience responses.
Another major difference between qualitative research and quantitative research regarding the research design in relation to this study is that qualitative research allows for flexibility as it is iterative, as discussed in Section 4.5.5; for example data collection and research questions are adjusted to what is learnt and the addition or exclusion of wording would depend on participants’ responses (Mack et al., 2005: 3). This reminds strongly of Maxwell’s (2008: 214-216) reflective model of research design consisting of an interaction between research goals, the conceptual framework (Figure 1.1), methods employed and validity.
Qualitative research furthermore seeks to describe and come to terms with meaning and not frequency of certain phenomena – it always involves some kind of direct encounter with the world and is mainly concerned with the way people construct, interpret and give meaning to
their experiences (Gerson & Horowitz, 2002: 199). This study involved direct encounters with industry professionals that are arguably the most qualified to engage in meaningful conversation on branded entertainment narrative. The researcher aimed to understand how these industry professionals construct, interpret and make meaning of their experiences related to branded entertainment, its planning and practice.