Interactivity has become a crucial aspect of marketing. It allows companies to connect with their customers, often resulting in positive outcomes. Based on a literature review, this chapter discusses ten of the most pioneering tools used in interactive marketing. First it will be explained how each tool relates to the three dimensions of interactivity (active control, two-way communication, synchronicity), and insights in what dimensions are the driving forces behind each interactive marketing tool are provided. Second, results showing that research on the ten interactive marketing tools generally finds positive effects on diverse outcome variables, such as enjoyment, urges, and behavioral intentions, are discussed together with conflicting outcomes (e.g., the effect on cognition) and the potential negative effects of the tools (e.g., privacy concerns and intrusiveness). It concludes with the recommendation for marketers and researchers to collaborate and actively try out (innovative) interactive marketing tools while closely monitoring their effects.
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This paper proposes and tests a model to explain how consumers’ perceptions of product presentation technologies may affect online impulse buying. Data from a laboratory experiment (N = 212), which were analyzed using a structural equation modeling approach, showed that vividness and interactivity of online product presentations increased the participants’ perceptions of local presence, which refers to the sense of a product being present with a consumer in his or her own environment. Local presence, in turn, influenced the urge to buy impulsively by generating both cognitive (perceived risk) and affective (product affect) product responses. The implications of these results are discussed.
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Interactive multimedia productions are a recent journalistic format. The format has been studied in the Anglo-Saxon context as digital longform and interactive documentary. Research has consequently focused on English language productions. This article presents an overview of these types of productions created in the Netherlands and also proposes an analytical apparatus and conceptualization that does justice to the main properties of this new genre; multimediality and interactivity. The results show that this journalistic form is mainly produced by established national newsrooms. Furthermore, the potential of digital media is used sparsely. Despite the use of complex narrative structures like multi-linear and non-linear stories, familiar media forms are used. Interactive features are mostly utilized to provide additional information to users.
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PurposePhysical stores are increasingly dependent on impulse visits and the impulse purchases of passers-by. Interactive advertising screens in store windows could help retailers increase impulse-visit urges and impulse-buying urges. However, the effects of interactive screens in physical surroundings have not been studied before. Therefore, this study aimed to examine the effect of interactive screens on impulse urges and gain insight into the underlying mechanism that explains the possible effect.Design/methodology/approachAn interactive screen was placed in a store window. Using three field experiments, we studied the effect of interactivity-level (high vs low) on the impulse-visit and impulse-buying urges of passers-by, and the mediating role of self-agency in these effects.FindingsHighly interactive (compared to less interactive) advertising screens in store windows positively affect impulse-visit and impulse-buying urges through self-agency. Retailers can therefore use interactive advertising screens to increase the number of impulse purchases if feelings of self-agency are activated.Originality/valueThis is the first study to examine the extent to which interactive screens in a store window enhance the impulse-visit and impulse-buying urges of passers-by and the mediating factor of these effects. By conducting three field experiments, we achieved a high external validity and managed to share very reliable results owing to the replication of the findings.
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This research explored a potential working framework for using social media as a marketing channel. Based on an extensive literature review and a multiple case study, important factors for using social media have been identified. Companies should provide relevant information, show signs of real behavior, and design remarkable campaigns in order to enhance interaction between and engagement amongst customers. This should be the ultimate goal as interaction and engagement allow a company and its communicated message to be accepted and adopted by the crowd more efficiently and effectively. Future research is needed to test and enhance the framework. The research is relevant for practitioners and scientists as it provides new and further elaborated insights on the use of social media as a marketing channel.
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Over the past decade, journalists have created in-depth interactive narratives to provide an alternative to the relentless 24-hour news cycle. Combining different media forms, such as text, audio, video, and data visualisation with the interactive possibilities of digital media, these narratives involve users in the narrative in new ways. In journalism studies, the convergence of different media forms in this manner has gained significant attention. However, interactivity as part of this form has been left underappreciated. In this study, we scrutinise how navigational structure, expressed as navigational cues, shapes user agency in their individual explorations of the narrative. By approaching interactive narratives as story spaces with unique interactive architectures, in this article, we reconstruct the architecture of five Dutch interactive narratives using the walkthrough method. We find that the extensiveness of the interactive architectures can be described on a continuum between closed and open navigational structures that predetermine and thus shape users’ trajectories in diverse ways.
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Immersive journalism (IJ) is often assumed to be inherently emotion-inducing. Through using inclusive technology, interaction possibilities and immersive narratives, the audience should ideally experience what feels like to be in a certain situation. However, for the most part we do not know to which extent and in what form IJ influences the experience of emotions. We wanted to investigate, whether, and if so, which characteristics of IJ are related to the experience of emotions, and which role the personality trait empathy tendency plays in this respect. This is important, as the evaluation of IJ often relies on the emotion-inducing assumption thereof. Four different experiments comparing one immersive journalistic characteristic (level of inclusion, interaction possibilities, immersive narratives) to the respective non-immersive counterpart were conducted. Results indicate that while the level of inclusion and interaction possibility increase the intensity of the experience, the immersive narrative influences the valence dimension of emotions. Additionally, empathy tendency is found to be a relevant moderator for these effects. Conclusions are threefold. First, the narrative form of IJ is key; second, the analysis of IJ needs to go beyond the level of inclusion; third, including emotions when assessing IJ is fundamental to understand its impact.
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Whitepaper on company interactivity for Reiswerk
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