探討Instagram對品牌體驗及廣告效果之影響：以高中生為例 - 政大學術集成

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(1)International Master’s Program in International Communication Studies College of Communication National Chengchi University. Master’s 治 Thesis. 立. 政. 大. ‧ 國. 學 ‧. Instagram. y. Nat. n. er. io. sit. Exploring the Influence of Instagram on Brand Experience a l and Advertisementi vEffectiveness: An Example ofCSenior High School U n Students h. engchi. Student: Hsin-Yi Cheng Advisor: Se-Wen Sun. 104 7 July 2015.

(2) Instagram Exploring the Influence of Instagram on Brand Experience and Advertisement Effectiveness: An Example of Senior High School Students. Student: Hsin-Yi Cheng. 立. 治 Se-Wen Sun 政 Advisor: 大. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. C h A Thesis engchi. i n U. v. Submitted to International Master’s Program in International Communication Studies National Chengchi University In partial fulfillment of the Requirement For the degree of Master of Arts. 104 July 2015. 7.

(3) 立. 政治大. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. Ch. engchi. i n U. v.

(4) ACKNOWLEDGEMENTS I would like to express my deepest appreciation to my professor Se-Wen Sun for her diligent support and insightful guidance during the research process. I would also like to offer my thanks to Professor Chih-Feng Lin and Professor Tsung-Jen Shih for their time, effort, and valuable support in reviewing this research. IMICS faculties and classmates had also been helpful in assisting me with the study. I am particularly grateful for the assistance given by the teachers and students from Nan Gang High School and Chung Cheng Senior High School. Their patience and dedication to the experiment was of great help for this research. Special thanks to my friend Jill Su, her tremendous support with the experiment were crucial for this research. Finally, I would like to thank my family and friends for their love and. 政治大. companionship throughout this journey.. 立. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. Ch. engchi. ii ii. i n U. v.

(5) ABSTRACT Having a presence on social mobile applications has become a popular marketing strategy for brands. Instagram, a photo-sharing and video-sharing social mobile application became the second largest social network site in the US in 2014 (eMarketer, 2015). Its imageintensive and social interactive nature provides brands a perfect environment for marketing. However, does it help brands to improve the brand experience? Is it a good platform for enhancing advertisement effectiveness? This study aims at exploring Instagram’s influence on brand experience and advertisement effectiveness. Four brands were chosen in this study, they are Nike, Starbucks, Hollister, and BMW. Senior high school students in Taiwan were chosen as the participants of this study. Quasi-experiment and Latin square design were used. 政治大. in this research to explore the influence of Instagram on these senior high school students. The four brands’ Instagram contents were taken as experimental treatment. Students. 立. completed measurements in both controlled condition and experimental condition. The result. ‧ 國. 學. of these two conditions was compared to see Instagram’s influence on brand experience and advertisement effectiveness. The results showed that Instagram significantly improved. ‧. students’ overall brand experience towards Nike and Starbucks. Instagram also improved the overall advertisement effectiveness of Starbucks and Hollister. However, the Instagram. sit. y. Nat. contents of BMW did not have any influence on improving students’ brand experience or advertisement effectiveness. Moreover, participants’ purchase intention toward the four. io. n. al. er. brands was also not affected by Instagram. Based on the insight of this study, Instagram did. i n U. v. help improve the brand experience and advertisement effectiveness for some brands. These. Ch. engchi. brands were mostly the apparel and food & beverage brands which was welcomed among younger audiences. Brands that participants were most familiar with were also successful in improving its brand experience on Instagram. Instagram contents that participants can relate to were most influential in improving the advertisement effectiveness. Brands that were less familiar with participants could also gain success on Instagram by providing the right contents. Therefore, when marketing brands among senior high school students in Taiwan, brand types, strengths of brand, and the force of pull from familiarity are crucial on improving their brand experience and advertisement effectiveness on Instagram.. iii.

(6) TABLE OF CONTENTS ACKNOWLEDGEMENTS ...................................................................................................... ii ABSTRACT............................................................................................................................. iii LIST OF TABLES ..................................................................................................................... v Chapter 1 Introduction ............................................................................................................... 1 Chapter 2 Literature Review ...................................................................................................... 3 2.1 State of Mobile Device Use ............................................................................................. 3 2.2 Instagram.......................................................................................................................... 4 2.3 Brand Experience ............................................................................................................. 7 2.4 Brand Experience on Instagram ..................................................................................... 10 2.5 Advertisement Effectiveness ......................................................................................... 13 Chapter 3 Methodology ........................................................................................................... 16. 政治大 3.2 Participants..................................................................................................................... 18 立 3.3 Experimental Treatment................................................................................................. 19 3.1 Quasi-Experiment Design .............................................................................................. 16. ‧ 國. 學. 3.4 Measures ........................................................................................................................ 21 3.4.1 Brand Experience .................................................................................................... 21. ‧. 3.4.2 Advertisement Effectiveness .................................................................................. 22 3.5 Procedure ....................................................................................................................... 23. y. Nat. Chapter 4 Results ..................................................................................................................... 26. sit. 4.1 Brand Experience ........................................................................................................... 26. er. io. 4.1.1 Overall Brand Experience ....................................................................................... 26. al. 4.1.2 Sensory Experience................................................................................................. 28. n. v i n 4.1.3 Affective Experience .............................................................................................. 29 Ch U i e h n gc 4.1.4 Intellectual Experience............................................................................................ 30 4.1.5 Behavioral Experience ............................................................................................ 31 4.2 Advertisement Effectiveness ......................................................................................... 32 4.2.1 Brand Attitude......................................................................................................... 32 4.2.2 Brand Satisfaction ................................................................................................... 33 4.2.3 Purchase Intention................................................................................................... 34 Chapter 5 Conclusion............................................................................................................... 35 5.1 Future Research ............................................................................................................. 38 5.2 Implications.................................................................................................................... 40 References ................................................................................................................................ 41 APPENDICES ......................................................................................................................... 52 APPENDIX A Quasi-experiment Measurements ................................................................ 52. iv.

(7) LIST OF TABLES Table 1. The Brand Experience Scale ...................................................................................... 8! Table 2. The Quasi Experiment Design – Latin Square ........................................................ 16! Table 3. Participants’ Previous Experience with Instagram .................................................. 18! Table 4. Participants’ Previous Experience with Brands ....................................................... 19! Table 5. The Quasi Experiment Design – with Brands ......................................................... 20! Table 6. Measurement Results for Each Brand ..................................................................... 20! Table 7. Cronbach’s Alpha of the Brand Experience Scale................................................... 22! Table 8. Participants’ Activities on Instagram during the Experiment .................................. 25! Table 9. Results of Mean for Overall Brand Experience ....................................................... 27!. 政治大. Table 10. Results of Follow-up ANOVA and Mean Difference for Sensory Experience ...... 28! Table 11. Results of Follow-up ANOVA and Mean Difference for Affective Experience ... 29!. 立. Table 12. Results of Follow-up ANOVA and Mean Difference for Intellectual Experience. 30!. ‧ 國. 學. Table 13. Results of Follow-up ANOVA and Mean Difference for Behavioral Experience . 31! Table 14. Results of Follow-up ANOVA and Mean Difference for Brand Attitude .............. 32!. ‧. Table 15. Results of Follow-up ANOVA and Mean Difference for Brand Satisfaction ........ 33! Table 16. Results of Follow-up ANOVA and Mean Difference for Purchase Intention ........ 34!. n. er. io. sit. y. Nat. al. Ch. engchi. v. i n U. v.

(8) Chapter 1 Introduction “I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” – Maya Angelou. When it comes to marketing, how do brands impress consumers so they never forget? How do brands distinguish themselves from others in such a competitive market? Experiential marketing is a way to deliver memorable experiences through marketing communication. Schmitt (1999) first theorized experiential marketing to infer consumption as a holistic experience. Despite having excellent features and functions for the products, brands need to compete with each other by providing unique experiences to consumers. Schmitt (1999) summarized five experience types in experiential marketing framework, which are Sense,. 政治大 experiences and encourage purchase. 立 Experiential marketing aims at providing additional Feel, Think, Act, and Relate. These five experiences can be used to enhance consumption. ‧ 國. 學. experiential value during consumption. Experiential value not only exists in the object of. consumption (products and services), but also exists in the experience of consumption (Schmitt, 2011). Experiential marketing is a “two-way communications that bring brand. ‧. personalities to life and add value to the target audience” (Smilansky, 2009, p.13).. y. Nat. Brakus et al. (2009) further elaborated experiential marketing concept and focus only on. sit. brand experience. They defined brand experience as “subjective, internal consumer responses. er. io. (sensations, feelings, and cognitions) as well as behavioral responses evoked by brand-related. al. n. v i n Ch environment” (Brakus, Schmitt, & Zarantonello, p. 53). They revisited Schmitt’s (1999) e n g 2009, chi U. stimuli that are part of a brand’s design and identity, packaging, communications and experiential framework and developed the Brand Experience Scale, which consists of 4 experiential dimensions, including sensory, affective, intellectual, and behavioral dimension. (Brakus, Schmitt, & Zarantonello, 2009). This scale is aiming at discovering consumers’ perception about brand experience. In this new millennium, media that evoke brand experiences are proliferating. With the introduction of the Internet and search tools, consumers can now actively search for and gather information about products and brands online. Consumers are no longer in the passive role that sat at home watching TV to learn about products. Before purchasing a product, they seek information not only through the search tools online but also through the reviews of friends. Social media, the combination of the Internet and circle of friends, thus becomes a crucial place for delivering marketing communication. Moreover, with the shift of media. 1.

(9) access from desktop to mobile devices, brands are also shifting their advertising focus to mobiles (Perez, 2014). It is estimated that 48.4% of digital ads will be on mobiles in 2017 (eMarketer, 2015). Thus, influential social mobile applications will soon be an important platform for brand marketing. Instagram, purchased by Facebook in April 2012 (Carlson, 2012), has become the second largest social network in the US in 2014 (eMarketer, 2015). Their users are gradually increasing and expect to grow continuously in the future. Instagram users are also very young and highly engaged with digital contents (Blattberg, 2015; Baer, 2014a; Smith, 2014). Therefore, Instagram has become the focus of digital advertisement on mobile devices. More and more brands are incorporating Instagram as their marketing strategy. Understanding how to provide memorable brand experience in a new social network environment can be a. 治政大 of Instagram on the brand this new visual-intensive social media - Instagram. The influence 立 experience of four brands (Nike, Starbucks, Hollister, and BMW) was examined. Also,. challenge for brands. This research aims at discovering how brand experiences manifest in. ‧ 國. 學. Instagram’s influence on the four brands’ advertisement effectiveness, the brand attitude, brand satisfaction, and purchase intention were also compared. Several classes of senior high. ‧. school students in Taiwan participated in this research. A quasi experiment and Latin square design was incorporated in the research method of this study. It was found that Instagram did. Nat. sit. y. have partial influence on improving the brand experience and advertisement effectiveness.. er. io. Moreover, brand types, strengths of brand, and familiarity towards brands and their Instagram contents were also important in enhancing a brand’s marketing influence on Instagram.. n. al. Ch. engchi. 2. i n U. v.

(10) Chapter 2 Literature Review 2.1 State of Mobile Device Use Smartphone penetration rate in Taiwan is rising each year (Ipsos MediaCT, 2013). The evolution of mobile phones helps people complete more tasks in their daily life. People can now use it to search for information, take photos, make phone calls, purchase products, or interact with friends through social apps…etc. It has become an essential part for people’s dailylife (Ipsos MediaCT, 2013). Marketing also began to enter the world of mobile phones when traditional advertising is losing its effect (Hopkins, 2014). According to comScore, each person is served with more than 1700 banner ads each month (Hopkins, 2014). The amount of banner ads and its interruption model has trained consumers to ignore it. The click. 政治大 0.03% chance to get struck by lightening (Doubleclick, 2009). Consumers are no longer 立 through rate of a standard 468X60 display banner ad is 0.04%, only slightly higher than a viewing these banner advertisements.. ‧ 國. 學. Nowadays, people use mobile devices to access Internet more than using a desktop computer. They also make more online purchase with mobile phones. According to. ‧. comScore, mobile phones accounted for 60% of all online shopping (comScore, 2015).. y. Nat. Marketers are catching up with the trend. Globally, 21.7% of digital ad was from mobile. sit. devices in 2013, however, is expected to increase to 48.4% in 2017 (eMarketer, 2013).. al. er. io. Smartphones have transformed consumer’s behavior. It changes the way consumers shop,. v. n. and help advertisers to connect with consumers (Ipsos MediaCT, 2013). It also changes mobile marketing.. Ch. engchi. i n U. In pre-smart phone era, brands are using SMS messages to “push” advertisements to consumers. For example, consumers may receive promotional SMS ad messages once they arrive at a shop or a tourist spot. Mobile marketers back then reached out to consumers by “pushing” paid ad to consumers. However, consumers were overwhelmed by the advertisements and were trained to avoid it. The old “push” mobile marketing was deemed irritating and intrusive (Watson, McCarthy, & Rowley, 2013). With the introduction of smartphones and new technologies, brands have more ways to communication with consumers. A “pull” advertisement is much preferred, because consumers have control over the messages and content that they wish to receive (Persaud & Azhar, 2012). Pull marketing covered mobile marketing methods that were not addressed by push marketing (Leppäniemi. 3.

(11) and Karjaluoto, 2008). It was defined as consumers’ own willingness to pull information or brand related content to themselves through “trigger media” on mobile devices (Leppäniemi and Karjaluoto, 2008). Marketers are now trying to “earn” consumers’ attention by “pull” advertisements (Hopkins, 2014; Persaud & Azhar, 2012). They want consumers to engage with them voluntarily. Modern mobile devices help marketers to engage with consumer in a brand new way. Although these mobile devices are smaller in screen size, they have other functions such as multi-touch, sensors, camera, scanner, and GPS that can be utilized for marketing (Candela, 2014; Ström, Vendel, & Bredican, 2014). Mobile marketing also appeared in mobile applications. Mobile ads in mobile applications are more likely to be noticed by consumers (Ipsos MediaCT, 2013). Social mobile applications are one of the important advertising channels for brands.. 治政大 mobile phones (Ipsos MediaCT, 2013). In social mobile applications, posts can go viral just 立 within hours with word-of-mouth effect. In addition, the large number of users makes social In Taiwan, 93% of the smartphone users visit social networking sites when using. ‧ 國. 學. network an influential place for companies to deliver marketing communication. There are more companies who incorporate mobile marketing in social media as one of their marketing. ‧. strategies (Morrison, 2014).. Instagram, an image-intensive social mobile application, became the second largest. Nat. sit. y. social network in the US in 2014 (eMarketer, 2015). It became one of the social network. er. io. platforms for brands marketing. Their user populations in Taiwan are increasing, especially among younger populations (Insight Xplorer, 2013). It is expected to become the focus for. n. al. Ch. brand advertisements in the near future.. engchi. i n U. v. 2.2 Instagram Instagram is a social mobile application which users can share photos and videos with others. It was established in 2010 and purchased by Facebook in 2012 with one billion US dollars (Carlson, 2012). When Facebook has slowed its overall growth in its users in 2013-2014, Instagram on the contrary, has significant growth in almost every demographic group (Duggen, Ellison, Lampe, Lenhart, & Madden, 2015). The users of Instagram in America grew from 27 million (2012) to 64.2 million (2014) just within two years (Kosoff, 2015; eMarketer, 2015). Instagram has surpassed Twitter to become the second largest social media in the States in 2014 (eMarketer, 2015). International users are also growing. Instagram has 300 million users worldwide, more than 70 percent of its users are outside of United States. 4.

(12) (Kosoff, 2015). These users share 70 million photos and spent more than 20 minutes on Instagram everyday (Kosoff, 2015). With its active user base, Instagram is expected to become the next popular platform for brand marketing. Instagram started to monetize its advertising service since 2013 (Simon, 2015), and is introducing more features for brand advertising. Fashion and retailer brands are the most popular brand sector to use Instagram (Pinson, 2014). Brands that use Instagram have a 278% increase in followers in 2014 (YesMail Interactive, 2015). On average there is an 8% increase per month, which is twice the rate of other social media platforms (YesMail Interactive, 2015). More brands are adopting Instagram in hopes of turning followers into future customers. For example, The New York Times. The audiences of New York Times’ are shrinking both on web and on smartphone apps while their competitors’ are growing. New. 治政大 Times’ website through other homepage. Two third of their users access the New York 立 doorways. New York Times began to adopt Instagram in 2015, and hoping to raise brand York Times saw a massive migration to social media even though they had redesigned their. ‧ 國. 學. awareness and build relationships with potential customers (Moses, 2014). According to Smith (2014), 90% of Instagram’s user in 2014 is below 35 years old. In the U.S., over half. ‧. of the population between age 12-24 owns Instagram account (Blattberg, 2015). Instagram also reached 83% of U.S. teens in wealthy households that are characterized as young, urban,. Nat. sit. y. wealthy and highly engaged (Blattberg, 2015). They are 18 times more engaging with. er. io. Instagram than with other social media platform (Blattberg, 2015). The majority of Instagram users are Millenniums (born between 1977-1994) and Generation Z (born 1995-2012) (Rhone,. n. al. Ch. i n U. v. 2015). They tend to be device dependent, emotionally connected, crave for information, and. engchi. have more trust on digital content (SapientNitro, 2014). Their use of technology is also part of their self-image (SapientNitro, 2014). They want to have a more transparent and authentic relationship in all aspects of their lives and also with brands (SapientNitro, 2014). Moreover, Instagram users in Taiwan are rapidly increasing since 2012 (Insight Xplorer, 2013). Instagram has the highest reach rate among all other foreign social media except for Facebook (Insight Xplorer, 2013). It also has the broadest and youngest user base, 56.5% of its users in Taiwan are 15-24 years old (Insight Xplorer, 2013). From the above information, Instagram users are mainly young population throughout the world. Therefore, these user traits and usage patterns make Instagram users attractive to many brands, such as apparel, entertainment, media and other brands (Smith, 2014). Similar to other popular social apps, Instagram also have a reverse chronological timeline, liking and commenting features, as well as follower relationships. Users can take 5.

(13) photos and videos with the application, or upload their existing images from their phone. What makes it special is that after taking a photo, they crop the image into a square and users can apply filters to adjust the photo and make it beautiful. After that, they can share it on Instagram or on other social network. The style of Instagram photos is very visually appealing. The composition, the shape, and the vibrant color of Instagram photos make viewing Instagram feed a pleasing experience. With the magic of filter functions on Instagram, users can also transform their photos into something aesthetically pleasing. Most of the Instagram photos are coherent in styles and supreme in quality. Its visual-heavy nature makes it a perfect platform for advertisers. Instagram stated, “We want these ads to be enjoyable and creative in much the same way you see engaging, high-quality ads when you flip through your favorite magazine” (Instagram Business, 2014).. 治政大 2012). Besides sharing users’ influencer marketing and word-of-mouth viral marketing (Goor, 立 own photos, they can also follow other people and check out their life with the photos they Aside from being aesthetically pleasing, Instagram is also a platform that facilitates. ‧ 國. 學. share. Brand will work with popular users to push sponsor ads. Startup brands would also use Instagram for marketing to reach more people. Creative marketing also emerged, for example,. ‧. the Warby Parker. It’s a prescription eyewear company. They gave out their eyewears on loan and encourage people to take photo with it around the city (Goor, 2012). Brands are. Nat. sit. y. engaging with their target audience with fun and interactive marketing activities. Which. er. io. makes Instagram a very addictive and habit-forming app (Baer, 2014b). Most of the successful apps are habit-forming, they share similar usage patterns, from Trigger, Action,. n. al. Ch. i n U. v. Reward, to Investment (The Next Web, 2014). Take Instagram for example, its simple filter. engchi. function helps users to create better photos. It became a trigger that encourages users to take photo with Instagram. With better photos, users are more likely and willing to share it. Therefore induced the Action of sharing. Once they share it, they will get instant Reward from friend’s comment or likes. This instant gratification brings users back to the platform where they continue to Invest and create more contents to enrich their profiles. And eventually, Instagram became psychologically attractive and addictive as well. These usage experiences would gradually form habits (Baer, 2014b), and a habit-forming app is a success at “pull” marketing. Instagram is trying to create a new way of advertising without being intrusive. They try to earn consumer’s attention by creating valuable contents that are sharable, by engaging with influencers, and by gradually forming usage habits. Consumers are actively seeking, and being attracted to or “pulled” by these advertisements instead of being “pushed” to see 6.

(14) interruptive and unappealing advertisements. On Instagram, brands and users enjoy the same privilege. Brand’s Instagram profile is the same with user’s Instagram profile. There is a follower relationship. Only when your Instagram profile is being followed, that your posts would appear on these followers Instagram feed. However, when a friend tagged the brand with tags or hashtags, users can link to the brands’ Instagram page or the database with user generated content about the brand. Consumers would not be forced to receive advertisements; instead, they have to be willing to connect with brands and take action by searching for brands, connecting to brands through tags or hashtags, or “follow” the brand to receive brand contents. Instagram is still a new social network environment for consumers in Taiwan. However, there is a gradual increase of Instagram adoption among younger people. This. 治政大 contribute to a more positive students. Explore whether Instagram advertisements would 立 brand experiences or advertisement effectiveness. 2.3 Brand Experience. 學. ‧ 國. study seeks to understand how brands’ Instagram content influence senior high school. ‧. Brand experience is conceptualized as “subjective, internal consumer responses (sensations,. y. Nat. feelings and cognitions) as well as behavioral responses evoked by brand-related stimuli that. sit. are part of a brand’s design and identity, packaging, communications and environments”. er. io. (Brakus, Schmitt, & Zarantonello, 2009, p. 53). In other words, brands provide experiences to. al. n. v i n C intellectual, and behavioral evoked consumers’ sensory, affective,h responses. The research of engchi U. consumers through brand-related marketing materials, and this brand-consumer interaction Brakus et al. (2009) on brand experience was refined from Schmitt’s (1999) five experience modules, which consists of Sense, Feel, Think, Act, and Relate. In contrast to Schmitt’s experiential marketing (1999), brand experience by Brakus et al. (2009) focused mainly on brand-stimulated experiences. Brakus et al.’s brand experience is the most recent and comprehensive theory that covers aspects of brand experiences. Therefore it was chosen as the main theory for this study. Brand experience occurs when consumers are interacting directly or indirectly with the brand through brand-stimuli (Brakus, Schmitt, & Zarantonello, 2009). Brand-related stimuli can be brands’ names or slogans, their visual identities, characters, or other verbal, visual, and sensory stimuli (Schmitt, Brakus, & Zarantonello, 2015). According to Brakus et al. (2009), the stronger the brand experience, the more positive the prediction of brand. 7.

(15) outcomes. Brand experience is positively related with consumer satisfaction, brand loyalty, and brand association (Zarantonello & Schmitt, 2010). When consumers experienced a more positive brand experience, it will be more likely for them to have higher brand satisfaction and brand loyalty (Schmitt, Brakus, & Zarantonello, 2015; Zarantonello & Schmitt, 2010). The valence of a brand experience does not affect positive outcomes of brands, the intensity of a brand experience does (Phillips & McQuarrie, 2010). According to Brakus et al. (2009), the influence of brand experience on consumer’s satisfaction and loyalty is mediated directly and indirectly by brand personality. After consumers received impressive brand experiences, they would have a better idea of the brand’s personality, and the impression of brands enhanced brand satisfaction and brand loyalty. The brand experience provided by strong brands is always positive. Brands that fail to impress consumers were remembered according. 治政大 experiences (Brakus, Schmitt, consumer’s sensory, affective, cognitive, behavioral, and social 立 & Zarantonello, 2009). to the price, promotion, and functionality. Strong brands will be remembered through. ‧ 國. 學. Brakus et al. (2009) constructed a “Brand Experience Scale” (Table 1) to measure brand experiences. The scale consists of 12 items with four experiential dimensions, they are:. ‧. sensory, affective, intellectual, and behavioral experiences.. Nat. Intellectual. Behavioral. al. er. This brand makes a strong impression on my visual sense or other senses. I find this brand interesting in a sensory way. This brand does not appeal to my senses. This brand induces feelings and sentiments. I do not have strong emotions for this brand. This brand is an emotional brand. I engage in a lot of thinking when I encounter this brand. This brand does not make me think. This brand stimulates my curiosity and problem solving. I engage in physical actions and behaviors when I use this brand. This brand results in bodily experiences. This brand is not action oriented.. n. Affective. sit. io. Sensory. y. Table 1 The Brand Experience Scale. Ch. engchi. i n U. v. Sensory dimension refers to the brand-stimuli from visual, auditory, tactile, gustative, and olfactory experiences (Zarantonello & Schmitt, 2010). Brand may present sensory stimulation through look, color, shape, design, appealing audio sound, the aroma, the texture, or the taste to stimulate consumers’ senses. In sensory dimension, Simon et al. (2013) defined it as the aesthetic and sensory qualities of the brand page, including the visual distinctiveness 8.

(16) that catches consumer’s attention, the dynamic animations, contrasting colors and pictures. These are the sensory attributes that appeal to consumers’ senses; Affective dimension refers to the consumer’s positive emotions, feelings, sentiments, and emotional bond evoked by brand (Brakus, Schmitt, & Zarantonello, 2009; Simon, Brexendorf, & Fassnacht, 2013; Zarantonello & Schmitt, 2010). Contents such as nostalgic old pictures, or videos of touching humanitarian stories belong to affective dimension. Intellectual dimension refers to the brand’s ability to encourage consumers to think, and engage with them intellectually (Zarantonello & Schmitt, 2010). Brands would engage with consumers through providing information, education, intellectual stimulation, and curiosity (Simon, Brexendorf, & Fassnacht, 2013; Zarantonello & Schmitt, 2010). They would encourage consumers to use their creativity for problem solving (Gentile, Spiller, & Noci, 2007). Creative contests and. 治政大 Behavioral dimension refers to cognitive dimension (Simon, Brexendorf, & Fassnacht, 2013). 立 bodily experiences, lifestyles, and interactions with brands (Zarantonello & Schmitt, 2010). competitions such as treasure hunt that requires consumers’ cognitive effort are examples of. ‧ 國. 學. Gentile et al. (2007) distinguished lifestyle as an experience component that resides in people’s value and belief system, and a consequence of people’s lifestyle and behaviors.. ‧. Conceptually, this lifestyle component is relevant with behavioral dimension. Contents that affirm people’s values and personal beliefs, or contents that encourages consumers to engage. Nat. sit. y. in physical activities falls into this category.. er. io. Experiential attributes can appear on products, ads, shopping environment, or background of websites…etc. (Brakus, Schmitt, & Zhang, 2014). A brand’s Instagram. n. al. Ch. i n U. v. account also represent the brand, therefore, it’s possible to induce these brand experiences.. engchi. There is one brand experience dimension, the relational dimensions, which was originally proposed by Schmitt (1999) and yet excluded in Brakus et al.’s (2009) brand experience scale due to semantic similarity with other experiential dimensions. Therefore, in this research, only the most frequent and relevant brand experience dimensions will be studied. They are sensory, affective, Intellectual, and behavioral dimensions. With the proliferation of social media, there are more mediums and settings that would evoke consumer’s brand experience (Schmitt, Brakus, & Zarantonello, 2015). Consumers are taking an active role in product information gathering. They can search for information online; consult friends for product reviews or evaluation of brands. Social media is a platform that combines search and friend circle. With increased adoption of social media, it has become a crucial place where consumers can obtain brand experience. Brands that incorporate social media as their marketing strategy have a better chance to promote their 9.

(17) brand and build familiarity with consumers (Naylor, Lamberton, & Patricia, 2012). Consumer’s brand experience would increase when they are more acquainted with the brand (Naylor, Lamberton, & Patricia, 2012). Brands that are committed in building relationships with consumers on social media will be perceived as more attractive, and develop a more positive brand experience (Edosomwan, Prakasan, Kouame, Watson, & Seymour, 2011). Brand experiences in different settings are also increasing, for example, in mobile environment. More people are now accessing media through mobiles instead of desktop (Perez, 2014). It is important to understand how brand experiences manifest on mobile settings. Consumers’ brand experience will impact their decision making process (Maghnati, Ling, & Nasermoadeli, 2012). By examining the brand experience in a popular social app, Instagram, this study seeks to explore how to prime the right brand experience in mobile settings to help promoting brands.. 立. 政治大. 2.4 Brand Experience on Instagram. ‧ 國. 學. The evolution of mobile devices transformed mobile marketing. Mobile devices such as smartphones and tablets are now having various functions that can be utilized for marketing.. ‧. However, the small screen size of smartphones also changes consumer behaviors (Barmada,. y. Nat. 2014). Consumers often don’t have time to read long articles on the small screen. Therefore,. sit. visual communication now has greater importance in mobile marketing (Barmada, 2014).. er. io. Applications now replace descriptive content with visual cues to engage with consumers. al. n. v i n C create deeper connections (Barmada, 2014), imagery is used to h with consumers on mobile engchi U. (Barmada, 2014). According to James Chandler, the Global Mobile Director at Mindshare devices. Consumers respond better to visual cues compared to texts, he said (Barmada, 2014). Consumers are also expecting to interact with imagery and videos. Mobile devices changes the way consumers interact with brands. With mobile devices, consumers can physically touch the brand on their screen. Brands can also create gestural interaction with consumers through mobile devices (Barmada, 2014). Mobile marketing is using sensory marketing to create immersive user experience and engage with consumers’ emotions. Multi-sensory experiences such as sight, sound, and touch encouraged positive feelings and thoughts about brands (Brandt, 2015). Consumers are pre-conditioned to respond to sight, sound and touch (Brandt, 2015). For example, when a phone vibrates, people would check their phones. Brands can leverage consumers’ preconditioned behavior as well as. 10.

(18) smartphone’s native device features such as tapping, swiping, or shaking to engage with users (Candela, 2014). These sensory features can increase the fun of viewing ads, and also stimulate consumers’ emotions (Brandt, 2015). A well-implemented ad can also encourage users to take action, such as liking a page or enter a competition, or to think differently by intriguing new perception about brands (Barmada, 2014). On Instagram, users can “like” the photo by quick tapping the image twice. After tapping, there will be a heart popping up in the middle of the image telling users that they’ve given a “heart” to the image. The act of tapping the images to give hearts enable users to physically “touch” and interact with the brand. The brand images on Instagram also differ from brand images in other advertising channels. Instagram limits every uploaded image to be a size of 640px X 640px square. 治政 the right marketing message in a small square photograph.大 McNely (2012) analyzed brand’s 立 Instagram posts and distinguished six major themes. They are orienting, humanizing,. photograph. The theme of the images have to be precise and to the point, in order to deliver. ‧ 國. 學. interacting, placemaking, showcasing, and crowdsourcing. By looking into these brand’s Instagram posting themes, it showed that brands on Instagram are trying to deliver brand. ‧. experiences through these posting themes. Orienting is the post that “provides audiences with a recognizable landmark or artifact that acts as a pivot related to organizational image”. Nat. sit. y. (McNely, 2012). For examples, Heifer International is a nonprofit organization that aims at. er. io. ending poverty and hunger through self-sustainable community development. They distribute animals and agricultural trainings to those families in need. And require them to pass on these. n. al. Ch. i n U. v. practices to others in need in their community. In their Instagram account, they would post. engchi. pictures of the animal to “orient” and signify their organization’s central mission. Humanizing is the post that “explicitly humanizes organizational identity by featuring a member of the org, or performs the organizational identity at human- scale” (McNely, 2012), it is the content that use images of food, pets, or the “inside” scenes of the organization. Brands tried to humanize their organization through these images. Interacting is the post that “displays explicit interaction with audiences, through an image itself, or in the comments thread” (McNely, 2012). Placemaking is the post that “involves an organization “placing” their identity within specific material locations as a way of reinforcing the organization's core image” (McNely, 2012). The posts signify the places and spaces where the organizations work is being carried out. For example, nonprofit organization would present the photos of a poverty stricken area to signify the need for attention. Showcasing is the post that “involves the direct display of consumer products or goods for sale” (McNely, 2012), posts with close11.

(19) shot of products or texts, which direct attention to the products in images, are an act of showcasing. Crowdsourcing is post that “includes the broad solicitation of feedback, participation, or other engagement with the organization through Instagram or another organization property” (McNely, 2012), this is an act of inviting consumers to participate and interact with the brand. Brands would use tagging games, competition, or other interactive activities to engage with consumers. Among the three brands McNely (2012) analyzed, he discovered “orienting” and “humanizing” as the most used themes in all 3 brands. In addition, the third popular theme in non-profit and news media brand is “placemaking” theme, whereas in for-profit clothing brand, “showcasing” theme that displays the product is more prevalent. From these brands’ Instagram posting themes, it can be inferred that brands on Instagram are trying to enhance. 治政大 These Instagram images images to show their unique brand identity and approach consumers. 立 are not only visually attractive, but it adds another layer of humanized traits of brands that brand experiences through different themes of visual communication. They used Instagram. ‧ 國. 學. attract consumers with proximity and friendliness. Therefore, these Instagram images are expecting to increase proximity with consumers and enhance their brand experience. The. ‧. sensory features of sight, sound, and touch on Instagram also help brands to engage with consumers. According to research, ad experiences would directly or indirectly influence. Nat. sit. y. brand experience (Wu, 2008). People who had watched the ads would rate subsequent. er. io. product trial with higher evaluation. They would also form more confidently held beliefs, higher expectancy value, brand attitude, and purchase intention (Kempt & Laczniak, 2001).. n. al. Ch. i n U. v. Memories of past experience can be altered as well (Braun-LaTour, LaTour, Pickrell, &. engchi. Loftus, 2004). Moreover, Braun-LaTour & LaTour (2005) discovered that advertising received right before a product trial would exert the most influence, and result in more positive evaluation. Therefore, this study is aiming at exploring how consumers respond to these Instagram contents, what experience will be evoked by these brand-related stimuli on Instagram? And how do these brand-generated contents on Instagram affect advertisement effectiveness? Thus, this study hypothesized that with Instagram stimulation, consumers would have a more positive overall brand experience. Therefore, the hypotheses of this research are: Hypothesis 1: With Instagram stimulation, participants will have a more positive overall brand experience.. 12.

(20) Hypothesis 1a: With Instagram stimulation, participants will have a more positive sensory experience. Hypothesis 1b: With Instagram stimulation, participants will have a more positive affective experience. Hypothesis 1c: With Instagram stimulation, participants will have a more positive intellectual experience. Hypothesis 1d: With Instagram stimulation, participants will have a more positive behavioral experience.. 2.5 Advertisement Effectiveness This research mainly focused on the influence of Instagram stimulation on brand experience,. 政治大. however, advertisement effectiveness is also measured and studied very often in other brand. 立. experience research papers. Therefore, this study will also include the measurement of. ‧ 國. 學. advertisement effectiveness of Instagram. The advertisement effectiveness can be measured using brand attitude, brand satisfaction, purchase intention, or other related constructs. Brand experience was often found positively related to advertisement effectiveness (Brakus, Schmitt,. ‧. & Zarantonello, 2009; Cheng; 2012; Nysveen, Pedersen, & Skard, 2013; Yeh, 2011;. y. Nat. Zarantonello & Schmitt, 2010). The constructs used to measure advertisement effectiveness. sit. in this research are brand attitude, brand satisfaction, purchase intention. The influence of. er. io. brand experience on these constructs of advertisement effectiveness will be explained below.. al. n. v i n Ch U (Mitchell & Olson, 1981). It defined as “an individual’s internal evaluation e n g ofc hani object” Consumer attitude has been studied in various marketing researches. An attitude was. refers to an individual’s internal state that consists of an evaluation. It happens in cognitive,. affective and behavioral level and is directed towards an object. These objects could be advertisements, sales promotions, websites, charitable organizations, product placement and such (Zarantonello & Schmitt, 2010). Brand attitude is consumer’s attitude towards brand related stimuli. It provides a summary of a consumer’s evaluation of the product, service, or brand (Belch & Belch, 2003). Brand attitude was defined as “a relative enduring, unidimensional summary evaluation of the brand that presumably energizes behavior” (Spears & Singh, 2004). In other words, brand attitudes will affect behavior intention and in turn initiate behaviors. Therefore, attitudes can predict consumer behavior. Brand attitude is an essential component of branding (Rossiter, 2014). According to Schiffman and Kanuk (2012), attitudes are learned predispositions. They are formed by consumers’ direct experience with. 13.

(21) the product, word-of-mouth information, firm generated contents, or through social media and the Internet. Attitudes occur within a situation, within a particular time, event or circumstance. Brand experience is the precursor of brand attitude, because it is the internal responses evoked by brand related stimuli. And through this response from brand experience, consumers formed evaluation towards the brands. The contexts when evaluating brand also matters, the brand attitude would be more positive in a hedonic experiential contexts compare to a utilitarian context (Mathwick, 2005; Yoo & MacInnis, 2005). And hedonic brand attitude also strongly affect purchase intention (Zarantonello & Schmitt, 2010). Zarantonello and Schmitt (2010) also discovered the relationship between brand attitude and purchase intention would be more positive in higher experiential profile consumers compared to low experiential profile consumers.. 治政 stimulation, to seek pleasure and avoid pain; Intellectual大 stimulation, to suppress boredom 立 (Brakus, Schmitt, & Zarantonello, 2009). When brands evoked more aspects of experiential. People seek all aspects of experience, such as sensory stimulation; affective. ‧ 國. 學. stimulation, it is more likely to increase consumers overall evaluation of brands as well as brand satisfaction. For example, Nysveem et al. (2013) discovered that sensory experiences. ‧. would influence brand satisfaction positively. Brakus et al. (2009) states that because experience gives value, and therefore the more positive the experience, the higher the brand. Nat. sit. y. satisfaction. They discovered strong brands that provide more aspects of brand experience. er. io. would also have higher brand satisfaction (Brakus, Schmitt, & Zarantonello, 2009). The evaluation of strong brands is always positive, because strong experience enables elaborative. n. al. Ch. i n U. v. information processing and inference, which results in brand-related associations (Keller,. engchi. 1993). And brand-related associations will affect satisfaction.. Purchase intention is defined as “a consumer’s conscious plan or intention to make an effort to purchase a product” (Spears & Singh, 2004). It is the probability of a consumer to buy a product or service. Purchase intention happens before the actual purchase behavior. When consumers have a good evaluation and a high preference for the product, the probability of them purchasing the products would be higher. Engel et al. (1995) explored the process of consumer decision-making. They stated that purchase behavior is a continuous process and the eventual decision is influenced by both internal and external information. The internal evaluation of a brand, the brand attitude, would affect purchase intention. Bouhlel et al. (2010) also discover a positive relationship between consumers’ attitude and consumers’ purchase intention. Brand attitude and brand satisfaction are both the evaluation of brands. With positive brand attitude and brand satisfaction, consumers would be more likely to 14.

(22) purchase a brand. From the above literature review, it is shown that brand experience is positively related to brand attitude, brand satisfaction, and purchase intention. However, the focus of this study is on the direct effect of Instagram on advertisement effectiveness. This study seeks to explore whether Instagram would influence both brand experience and advertisement effectiveness positively. The mediated effect by brand experience on advertisement effectiveness is not considered in this study. According to Murphy (2014), Instagram did increase consumer’s brand attitude and purchase intention. This study aims to explore whether Instagram would have the same positive influence on advertisement effectiveness among senior high school students in Taiwan. This study hypothesized that: Hypothesis 2: With Instagram stimulation, the advertisement effectiveness will be more. 治政 Hypothesis 2a: With Instagram stimulation, brand attitude 大 will be more positive. 立 Hypothesis 2b: With Instagram stimulation, brand satisfaction will be more positive. positive.. ‧. ‧ 國. 學. Hypothesis 2c: With Instagram stimulation, purchase intention will be more positive.. n. er. io. sit. y. Nat. al. Ch. engchi. 15. i n U. v.

(23) Chapter 3 Methodology The research focus of this study is to explore whether Instagram intervention would result in a more positive brand experience and advertisement effectiveness among senior high school students in Taiwan. The research design will be introduced first, followed by the description of participants, experimental treatment, measures and procedure.. 3.1 Quasi-Experiment Design The research method of this study is a quasi-experiment design. This research includes Latin square and several research techniques to enhance the validity of the quasi-experiment design. It was used to help explore the group difference contributed by Instagram intervention. It is a. 政治大 experience and advertisement effectiveness. This research combined both between subjects 立. one-factor experiment design to explore how Instagram intervention changes brand and within subjects design in the experiment, to include the consideration of the levels of. ‧ 國. 學. experimental treatment and the order of brands. This quasi-experiment design helps to maximize the research measurements for further analysis and explore the influence of. ‧. Instagram on brand experience and advertisement effectiveness.. y. Nat. According to the definition of brand experience, it is the “subjective, internal. sit. consumer responses (sensations, feelings and cognitions) as well as behavioral responses. er. io. evoked by brand-related stimuli that are part of a brand’s design and identity, packaging,. al. v i n Cresponse to understand participants’ internal experience arising from Instagram h e n gofcbrand i U h contents and also the advertisement effectiveness, this study asked them to evaluate their n. communications and environments” (Brakus, Schmitt, & Zarantonello, 2009, p. 53). In order. experience with brands using several measurements. The measurements of brands and the experiment treatment were arranged according to Latin Square (Table 2). Table 2 The Quasi Experiment Design – Latin Square Group Controlled Condition Experimental Condition I A B C D II B A D C III C D A B IV D C B A Note. In Table 2, A, B, C, and D represents respective brand. The quasi-experiment was carried out in a sequential order, from left to right, ex: The measurements for group I will be conducted in the order of A, B, C, D. There are two levels of treatment, the first two measurements are in controlled condition, and the last two measurements are in experimental condition.. 16.

(24) The experiment would be conducted with four groups, participants in each group would receive four brand measurements. The design utilized a technique called “counterbalancing” to arrange the brand order and reduce order effect (MacKenzie, 2013). In this design (Table 2), participants in each group would evaluate the four brands in different orders. The measurement of each brand would only appeared once in each row and in each column in table 2 (MacKenzie, 2013). Further, to reduce the carryover effect (MacKenzie, 2013), each brand’s measurement would have the same chance of appearing before and after each brand. For example, brand A’s measurement was placed before and after brand B, with equal chances. In Table 2, brand A appeared before brand B in group I and III, and it appeared after brand B in group II and IV. These design techniques enabled a balanced Latin Square design, which helped to reduce the order and carryover effect. The experiment would. 治政大Participants would complete the implemented in the latter part of the experiment (Table 2). 立 first two measurements based on their past experience with the brands. After the first two be conducted in orders shown in Table 2, from left to right. The experimental treatment was. ‧. ‧ 國. 學. measurements, experimental treatment would be given before evaluating the last two brands.. n. er. io. sit. y. Nat. al. Ch. engchi. 17. i n U. v.

(25) 3.2 Participants Instagram’s users in Taiwan increased rapidly since 2013, it has the broadest and youngest user base (Insight Xplorer, 2013). In Taiwan, 56% of Instagram users are 15-24 years old (Insight Xplorer, 2013). Instagram is growing in popularity amongst young audiences, and most of these audiences are students. Senior high school students are chosen as research participants. Three classes of senior high school students participated in this research. There are two second-year classes from Taipei municipal Chung Cheng Senior High School (CCSH), and one first-year class from Taipei municipal Nan Gang High School (NGHS). The total number of qualified participants was 112 students. These senior high school students are 16 to 17 years old. Among these participants, 28% (31 people) are male and 72% (81 people) are female. Their Instagram experience is described in table 3.. 立. 政治大. Table 3 Participants’ Previous Experience with Instagram. ‧ 國. Previous Experience with Instagram Yes. 92. 82. ‧. No. 20. Within 2 years More than 2 years. al. 27. Ch. 34 e n 7g c h i U. 18. y. sit. 15. er. 6. n. Within 1 year. io. Within 6 months. Nat. Length of Instagram Usage Within 1 month. %. 學. n. v ni. 5 13 24 30 6. The majority of the participants had previous experience using Instagram, only 18% didn’t have experience using Instagram. Those with previous experience had been using Instagram for some times. The least experienced participants (5%) had been using it for about a month or less. The most experienced participants (6%) had been using Instagram for more than two years. Other participants had been using Instagram for about half a year (13%), one year (24%), and two years (30%). Most of these participants in this study had previous experience with Instagram, and they were also familiar with using Instagram.. 18.

(26) 3.3 Experimental Treatment In order to test the influence of Instagram on brand experience and advertisement effectiveness, four brands were chosen on Instagram. Their Instagram posts were the experimental treatment for this research. They were Nike, Starbucks, Hollister, and BMW. These four brands were chosen from the TOTEMS/LIST (TOTEMS, 2015). TOTEMS/LIST is a list of ranking for Instagram brands. Most of the top 100 ranking brands are fashion & apparel brands. Two apparel brands were chosen, Nike and Hollister, one food & beverage brand, Starbucks, and one vehicle brand, BMW. Nike ranked 1st in the list with 18 million Account Followers. Starbucks ranked the 2nd with 5.1 million Account Followers. BMW ranked 15th with 3.1 million Account Followers. Hollister ranked 30th with 2.6 million Account Followers.. 政治大. The experimental treatment was the brand contents on their Instagram accounts,. 立. including images and videos. Participants could freely glance through the contents on these. ‧ 國. 學. brands’ Instagram account. They could access the content by searching the brands ID in Instagram app. They were Nike (@nike), Starbucks (@starbucks), Hollister (@hollisterco), and BMW (@bmw).. ‧. Participants had past experience with these brands both online and offline. Their. n. al. Ch. Previous Purchase Experience with Brands Nike. n. engchi. sit er. io. Table 4 Participants’ Previous Experience with Brands. y. Nat. previous experience with these brands was shown in table 4.. i n U. v. %. 97. 87. Starbucks. 99. 88. Hollister. 20. 18. BMW. 1. 1. Nike. 26. 23. Starbucks. 15. 13. Hollister. 13. 12. BMW. 8. 7. Followed Brands on Instagram. Among these brands, research participants had the most experience with Nike and Starbucks. Ninety-seven participants (87%) had experience buying Nike’s products, and 99. 19.

(27) participants (88%) had experience buying Starbucks’ products. For Hollister, only about 20 participants (18%) had experience buying their products. Most of participants didn’t purchase BMW. Although participants had less previous purchase experience with Hollister and BMW, some participants did have online experience with these brands. They followed these brands’ Instagram account. There were 13 participants (12%) who followed Hollister, and 8 participants (7%) who followed BMW. Nike and Starbucks also had 26 participants (23%) and 15 participants (13%) that followed their Instagram accounts. According to the quasi-experiment design (Table 2). The 4 brands would be arranged in the order shown in Table 5. Table 5 The Quasi Experiment Design – with Brands. 政治 Experimental Condition 大 Hollister BMW. Controlled Condition Nike Starbucks Starbucks Nike Hollister BMW BMW Hollister. BMW Hollister Nike Starbucks Starbucks Nike Total Number of Qualified Participants :. n 28 28 28 28 112. ‧. ‧ 國. 立. 學. Group I II III IV. The total number of qualified participants was 112 students. These participants were. Nat. sit. y. randomly assigned to the four groups (Table 5), which means there were 28 participants in. er. io. each group. Each of these participants would evaluate four brands. In other words, the total measurement results for each brand would be 112 (Table 6), with 56 results in controlled. n. al. Ch. i n U. v. condition and 56 results in experimental condition. The results of the two conditions would. engchi. be compared to explore Instagram’s influence on brand experience and advertisement effectiveness. Table 6 Measurement Results for Each Brand Brand Nike Starbucks Hollister BMW. Controlled Condition (Group) 28(I)+28(II)=56 28(I)+28(II)=56 28(III)+28(IV)=56 28(III)+28(IV)=56. Experimental Condition (Group) 28(III)+28(IV)=56 28(III)+28(IV)=56 28(I)+28(II)=56 28(I)+28(II)=56. 20. Total 112 112 112 112.

(28) 3.4 Measures In the experiment measurements, two research concepts were measured, the brand experience and advertisement effectiveness. These two concepts were measured with several subdimensions described in the following section.. 3.4.1 Brand Experience The brand experience measurements were evaluated by the brand experience scale from Brakus et al.(2009).. There are four dimensions in the brand experience scale, which. measures participants’ sensory, affective, intellectual, and behavioral experience toward brands. Each of the four dimensions has three measurements. There are a total of 12. 政治大. measurements in this brand experience scale. In the measurements, participants were asked to evaluate how descriptive were these measurements to their brand experience. The. 立. descriptions were translated into Chinese (See Appendix A). The evaluation for sensory. ‧ 國. 學. dimension is the first 3 item in Appendix A, section 1. The evaluation for affective dimension is item 4~6, intellectual dimension is item 7~9, and behavioral dimension is item 10~12.. ‧. These descriptions were measured with a 7-point Likert scale, from strongly disagree (point 1) to strongly agree (point 7). There was one reverse coded item in each of the dimensions of. sit. y. Nat. brand experience measurements (See items 3, 5, 9, 12 in section 1 of Appendix A). It would. io. n. al. er. be recoded for further analysis.. Ch. engchi. 21. i n U. v.

(29) The reliability of the items in each dimension measurements was tested among the four brands. The Cronbach’s Alpha value of each dimension in each brand is shown in Table 7. Table 7 Cronbach’s Alpha of the Brand Experience Scale Sensory Dimension 1. I find this brand interesting in a sensory way. 2. This brand makes a strong impression on my visual sense or other senses. 3. This brand does not appeal to my senses. (Reverse Coded) Affective Dimension 4. This brand induces feelings and sentiments. 5. I do not have strong emotions for this brand. (Reverse Coded) 6. This brand is an emotional brand. Intellectual Dimension 7. This brand stimulates my curiosity and problem solving. 8. I engage in a lot of thinking when I encounter this brand. 9. This brand does not make me think. (Reverse Coded) Behavioral Dimension 10. I engage in physical actions and behaviors when I use this brand. 11. This brand results in bodily experiences. 12. This brand is not action-oriented. (Reverse Coded). Starbucks. Hollister BMW. .80. .75. .84. .85. .84. .88. .83. .87. .88. .79. .88. 政治大. .81. ‧. .79. .81. .79. .92. y. .93. .93. .92. er. io. sit. Nat. Overall Brand Experience Scale. .88. 學. ‧ 國. 立. al. Nike. n. When Cronbach’s Alpha value is above .70, it means the measurements have high. Ch. i n U. v. internal consistency. Therefore, these items are capable of measuring the concepts of brand. engchi. experience. The Cronbach’s Alpha value showed that all measurements have high reliability in evaluating all four brands. The reliability of the brand experience scale combining all the items in each dimensions, resulted in Cronbach’s Alpha value of .92 in Nike; for Starbucks, it was .92; for Hollister, it was .93; for BMW, it was .93. The measurements of brand experience had been proven to be highly reliable in evaluating brand experiences for these four brands.. 3.4.2 Advertisement Effectiveness The concept of advertisement effectiveness was measured with three sub dimensions, the brand attitude, brand satisfaction, and purchase intention. Scale items for measuring brand attitude were taken from the most frequently used items for brand attitude evaluation (Bruner, 22.

(30) Hensel, & James, 2001; Zarantonello & Schmitt, 2010). The brand attitude measurements include. three. items. of. evaluation,. the. Bad/Good,. Unpleasant/Pleasant,. and. Unattractive/Attractive aspects of participants’ brand attitude (See the three items in section 2 of Appendix A). Participants were asked to measure their brand attitude according to the extent of agreement with these three aspects of brand attitude. Brand attitude was measured with a 7-point semantic differential scale. The reliability of the three items in brand attitude measurements was also tested. The Cronbach’s Alpha value for Nike is .89; for Starbucks, it was .84; for Hollister, it was .91; and for BMW, it was .81. Brand satisfaction was measured with one item. The measure was taken from a three item measures for customer satisfaction (Babakus, Bienstock, & Scotter, 2004). 1 The most relevant one is chosen as our measure for brand satisfaction, which is “Your overall. 治政大 measured with a 7-point Likert brands (See section 3 of Appendix A). Brand satisfaction was 立 scale, from very satisfied to very dissatisfied.. satisfaction”. Participants would be asked to evaluate their overall satisfaction towards the. ‧ 國. 學. Purchase intention was measured with one item. Participants would be asked to evaluate their extent of agreement with the description of “If budget allowed, I would like to. ‧. buy a product of this brand” (Yeh, 2011). Purchase intention was measured with a 7-point Likert scale, from strongly disagree (point 1) to strongly agree (point 7).. er. io. sit. y. Nat. 3.5 Procedure. al. n. v i n C h participants’ class was written on the blackboard, including e n g c h i U numbers, their assigned groups,. The experiment was conducted in classrooms. Before the experiment, important information and the access information of wifi and Instagram. Participants were separated into four. groups according to random assignment. They could check their assigned group from the blackboard. Next, they were instructed to connect to the Internet provided by the researcher. Three portable wifi routers were rented to provide Internet access in class. Participants could access Internet through the wifi IDs and keys written on the blackboard. After connecting to the Internet, those who did not have Instagram would be asked to download Instagram app. They could use the Instagram ID and passwords provided by the researcher to access Instagram without having to register for one. Smart phones were required for this research. Those who did not have smart phones could not participate in this research. 1. The original question measuring customer satisfaction is “How satisfied have you been with (insert brand name)?” With 3 evaluating items following the question: “Your overall satisfaction; products you have purchased; services you have received.” (Babakus, Bienstock, & Scotter, 2004). 23.

(31) After technical issues had been dealt with, the researcher called the group name and summoned the participants to collect the paper for brand measurements. The order of distributing the paper was from group I to group IV. The first paper was double sided. Each side has one brand measurement. (See page 52, 53 of Appendix A). Each group would receive different brand measurements. This paper was measuring participants’ brand experience in controlled condition. After participants completed the measurements, they were asked to pass their paper to the front for collection. The second paper contained only one brand measurement (See page 54 of Appendix A). This paper was distributed with the same manner as the previous procedure. Group name were called, and students were summoned to collect the brand measurements. Before answering the measurements, participants were asked to view Instagram stimulation. When. 治政 account that was stated on the paper of measurements. 大 They were instructed to view the 立 Instagram contents for five minutes. Discussion or answering the measurements within the they received their respective brand measurements, they were asked to access the Instagram. ‧ 國. 學. five minutes was not allowed. When five minutes ended, they were instructed to start answering the third brand measurement. Upon completing the measurement, the papers were. ‧. collected with the same manner.. Finally, the last piece of paper was distributed. This paper was double sided (See. Nat. sit. y. page 55, 56 of Appendix A). The front of the paper was the fourth brand measurements, and. er. io. the back of the paper was basic information. The basic information inquired for participants’ Instagram usage, past purchase experience with brands, and their interaction when viewing. n. al. Ch. i n U. v. Instagram stimulation. After completion, the last paper was collected and students were. engchi. thanked for their patience and contribution to this study.. 24.

(32) From participants’ answer of basic information (Table 8), it showed that all of the participants had viewed brand images when viewing the Instagram stimulation. Among these participants, 28 of them gave hearts to the brand contents, two participants had left comments, 39 participants had checked the comments, 23 participants had checked hashtags, and 31 participants had checked tagged brands or users. Table 8 Participants’ Activities on Instagram during the Experiment n. %. Viewing pictures. 112. 100. Give Hearts. 28. 25. Comment. 2. 2. Check Comments Check hashtag Check tagged brands or users. 立. 政 3923 治大. 35 21. 31. 28. ‧ 國. 學. This data showed that participants were fully immersed in the Instagram stimulation.. ‧. This greatly helped enhance the effect of Instagram on participants’ brand experience and advertisement effectiveness.. n. er. io. sit. y. Nat. al. Ch. engchi. 25. i n U. v.

(33) Chapter 4 Results The data collected from the brand measurements were analyzed using SPSS. This study first analyzed the influence of Instagram on the overall brand experience of the four brands. Then each of the four dimensions of brand experience were also analyzed. Lastly, the effect of Instagram on each of the three dimensions of advertisement effectiveness was analyzed. In the analysis, there was one independent variable with two levels. It was the experimental treatment, with experiment condition (With Instagram stimulation) and controlled condition (Without Instagram stimulation) as levels of independent variable. There were several dependent variables in this analysis, including the four dimensions of brand experience (sensory experience, affective experience, intellectual experience, and behavioral. 政治大. experience), and the three dimensions of advertisement effectiveness (brand attitude, brand satisfaction, and purchase intention). In the brand experience analysis, a one-factor, between. 立. subjects Multivariate Analysis of Variance (MANOVA) was used to compare the difference. ‧ 國. 學. of overall brand experience before and after Instagram stimulation. Four dimensions of brand experience were also analyzed using a follow-up Analysis of Variance (ANOVA). For. ‧. advertisement effectiveness, a MANOVA analysis and a follow-up Analysis of Variance (ANOVA) were conducted to see how Instagram influenced participants’ brand attitude,. io. sit. y. Nat. brand satisfaction, and purchase intention.. n. er. a l4.1 Brand Experience i v n 4.1.1 Overall Brand ExperienceC h U engchi. Instagram’s influence on participants’ overall brand experience toward the four brands was analyzed using a one-factor, between subjects Multivariate Analysis of Variance (MANOVA). The dependent variable was the four dimensions of brand experience. The results showed a significant difference between experimental condition and controlled condition in Nike (Wilks’ Λ = .852, F (107,107) = 4.65, p = .002, partial η2 = .15), and Starbucks (Wilks’ Λ = .861, F (107,107) = 4.30, p = .003, partial η2 = .14). However, significance was not found in Hollister and BMW.. 26.

(34) In order to look into the difference of overall brand experience evaluation among brands, the mean of all four brand experience dimensions were summed up as the mean for overall brand experience (Table 9). Table 9 Results of Mean for Overall Brand Experience Experimental Condition (n=56) Overall M SD Brand Experience Nike 61.25 10.11 Starbucks 61.50 10.55 Hollister 51.79 14.30 BMW 52.13 13.91. Controlled Condition (n=56) M. SD. 53.23 53.14 46.52 52.23. 13.36 11.99 11.11 13.04. 治政 In table 9, it showed Nike and Starbucks had the大 highest overall brand experience 立 mean among all brands. This indicated that participants already had strong overall brand ‧ 國. 學. experience towards Nike and Starbucks before the Instagram stimulation. Moreover, their brand experience towards Nike and Starbucks further increased after receiving the Instagram. ‧. stimulation. In the MANOVA result, the brand experience of Nike and Starbucks was also significantly increased after experimental treatment.. Nat. sit. y. For Hollister, although the MANOVA result did not show significant increase in its. er. io. overall brand experience, their mean brand experience scores did increase after the experimental treatment. On the other hand, BMW had high overall brand experience scores. n. al. Ch. i n U. v. before experimental treatment. However, the overall brand experience did not increase after. engchi. experimental condition. The mean was even slightly lower after receiving experimental treatement. In hypothesis 1, we assumed that with Instagram stimulation, participants would have a more positive overall brand experience when examining all four dimensions (sensory, affective, intellectual, and behavioral). This hypothesis was partially supported. Participants had a more positive brand experience after receiving the Instagram stimulation of Nike, and Starbucks. These brands’ Instagram contents significantly enhanced participants’ brand experience. Although Hollister did not have significant result in overall brand experience, participants’ evaluation of overall brand experience did increase after experimental treatment. On the other hand, BMW’s Instagram contents did not enhance participants’ brand experience. The brand experience of BMW remained constant before and after Instagram stimulation. 27.