Pub Date : 2023-08-29DOI: 10.1177/09760911231180343
Shaista Irshad
Bollywood, or the mainstream Indian Cinema, has been presenting the idealised image of male characters as machismo or super-hero, revered and emulated by all, while simultaneously demoting women to trivial or insignificant roles. However, during the last two decades, celluloid developed new experiments projecting its female characters as redefining and reconstructing the stereotypes redundantly dominating the silver screen. In this article, I propose to explore femininity through the lens of hegemony in opposition to the emphasised femininity of Connell and alignment with Mimi Schippers and Carrie Paechter’s understanding of hegemonic femininity by looking at its depiction on the panoptic silver screen of Indian cinema. The article will reconnoitre, discuss and compare the femininity of the female protagonists in the select Indian movies Fire (1996) and Shakuntala Devi (2020) and will analyse how there is a scope and space for the discourse on hegemonic femininity portrayed as having significant overlap with hegemonic masculinity instead of standing in diametrical opposition. The article will also analyse the construction of hegemonic femininity to hegemonic masculinity and other forms of femininity, fidgeting with the reality of weaving the prospects and probability of surviving the lead roles while continuing to nurture and maintain the traditional hierarchy of gender binary. The meticulous perusal would keenly try precipitating the truth or the repercussions of the role portrayal of women leads in the Indian Cinema—whether these female leads are concomitantly deconstructing the gendered stereotypes associated with male/female binary or operating in tandem with hegemonic masculinity to safeguard a still patriarchal and binary gender order.
{"title":"Hegemonic Femininity: Negotiating the Stereotypes of Gender in the Indian Movies Fire (1996) and Shakuntala Devi (2020)","authors":"Shaista Irshad","doi":"10.1177/09760911231180343","DOIUrl":"https://doi.org/10.1177/09760911231180343","url":null,"abstract":"Bollywood, or the mainstream Indian Cinema, has been presenting the idealised image of male characters as machismo or super-hero, revered and emulated by all, while simultaneously demoting women to trivial or insignificant roles. However, during the last two decades, celluloid developed new experiments projecting its female characters as redefining and reconstructing the stereotypes redundantly dominating the silver screen. In this article, I propose to explore femininity through the lens of hegemony in opposition to the emphasised femininity of Connell and alignment with Mimi Schippers and Carrie Paechter’s understanding of hegemonic femininity by looking at its depiction on the panoptic silver screen of Indian cinema. The article will reconnoitre, discuss and compare the femininity of the female protagonists in the select Indian movies Fire (1996) and Shakuntala Devi (2020) and will analyse how there is a scope and space for the discourse on hegemonic femininity portrayed as having significant overlap with hegemonic masculinity instead of standing in diametrical opposition. The article will also analyse the construction of hegemonic femininity to hegemonic masculinity and other forms of femininity, fidgeting with the reality of weaving the prospects and probability of surviving the lead roles while continuing to nurture and maintain the traditional hierarchy of gender binary. The meticulous perusal would keenly try precipitating the truth or the repercussions of the role portrayal of women leads in the Indian Cinema—whether these female leads are concomitantly deconstructing the gendered stereotypes associated with male/female binary or operating in tandem with hegemonic masculinity to safeguard a still patriarchal and binary gender order.","PeriodicalId":52105,"journal":{"name":"Media Watch","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41322762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-23DOI: 10.1177/09760911231191266
Chandrakant Kamble, S. K. Biswal
Men are shown the most dominant humans in societies and film industries, while women are confined to being the best homemakers, kind mothers and sisters. On the one hand, women have always been marginalised; on the other hand, there is no end to the plights of marginalised women. Dalit women, one section of the marginalised, have been suffering in the patriarchal society of India. Their representation in cinema is not free from flaws. The representation of Dalit women has been grossly victimised in the history of Indian cinema. As Dalit filmmakers have entered the film industry, the role of Dalit women on the screen has changed. However, it is slow-paced. Based on Gayatri Spivak’s theory of ‘Can the subaltern speak’, the present study attempts to understand and analyse the representation of the marginalised. By qualitatively analysing the films—Achhut Kanya, Sujata, Ankur, Sadgati, Bandit Queen, Bawandar, Chauranga, 200 Halla Ho, Madam Chief Minister, Geeli Pucchi and Jhund, the research work tries to navigate the timeline study of the changing roles of marginalised women, Dalit women.
{"title":"The Changing Role of Marginalised Women in Hindi Cinema: A Shift from Cinematic Negotiations to Empowerment","authors":"Chandrakant Kamble, S. K. Biswal","doi":"10.1177/09760911231191266","DOIUrl":"https://doi.org/10.1177/09760911231191266","url":null,"abstract":"Men are shown the most dominant humans in societies and film industries, while women are confined to being the best homemakers, kind mothers and sisters. On the one hand, women have always been marginalised; on the other hand, there is no end to the plights of marginalised women. Dalit women, one section of the marginalised, have been suffering in the patriarchal society of India. Their representation in cinema is not free from flaws. The representation of Dalit women has been grossly victimised in the history of Indian cinema. As Dalit filmmakers have entered the film industry, the role of Dalit women on the screen has changed. However, it is slow-paced. Based on Gayatri Spivak’s theory of ‘Can the subaltern speak’, the present study attempts to understand and analyse the representation of the marginalised. By qualitatively analysing the films—Achhut Kanya, Sujata, Ankur, Sadgati, Bandit Queen, Bawandar, Chauranga, 200 Halla Ho, Madam Chief Minister, Geeli Pucchi and Jhund, the research work tries to navigate the timeline study of the changing roles of marginalised women, Dalit women.","PeriodicalId":52105,"journal":{"name":"Media Watch","volume":"14 1","pages":"386 - 402"},"PeriodicalIF":0.0,"publicationDate":"2023-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43060390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.1177/09760911231189007
P. Mishra, Nagendra Kumar
According to narrative theories, fiction and non-fiction literature are text types that can manifest themselves in different mediums. Cinema is a medium that imitates both text types for a screenplay. However, when a non-fiction work is fictionalised for its cinematic representation, it invites urgent and special attention on the social front. This study investigates the sexual, social and economic typecasting of Indian surrogates through the lens of Indian cinema. The landscape of the media texts used for this study ranges from two prevalent practicing modes of surrogacy in India—the traditional form of surrogacy and the gestational form of surrogacy. The traditional form of surrogacy in this article is represented in the movies Doosri Dulhan (1983) and Chori Chori Chupke Chupke (2001), whereas the movie Mimi (2021) represents the gestational mode of surrogacy. These media texts often represent overtly fictionalised accounts of Indian surrogacy and considerably tamper the authenticated contents of Indian white paper documents on surrogacy. Anindita Majumdar talks about the ‘prostitute surrogate’, a type-casted representation of Indian surrogates, where the character of surrogates is that of sexually provocative women or prostitutes. For scrutinising this prototypical representation of surrogates, the methodological framework of this paper borrows arguments from Aristotle’s theory of mimesis and Seymour Chatman’s narrative theory. The article also advocates a nascent coinage—surrogacy literacy, a literary drive to keep a check on how surrogates are represented in films dealing with sensitive technology like assisted reproduction. The possible changes in such representation due to the new surrogacy law in India are also vital considerations of the article.
{"title":"The Surrogacy Literacy of the Indian Surrogate: The Filmy Way","authors":"P. Mishra, Nagendra Kumar","doi":"10.1177/09760911231189007","DOIUrl":"https://doi.org/10.1177/09760911231189007","url":null,"abstract":"According to narrative theories, fiction and non-fiction literature are text types that can manifest themselves in different mediums. Cinema is a medium that imitates both text types for a screenplay. However, when a non-fiction work is fictionalised for its cinematic representation, it invites urgent and special attention on the social front. This study investigates the sexual, social and economic typecasting of Indian surrogates through the lens of Indian cinema. The landscape of the media texts used for this study ranges from two prevalent practicing modes of surrogacy in India—the traditional form of surrogacy and the gestational form of surrogacy. The traditional form of surrogacy in this article is represented in the movies Doosri Dulhan (1983) and Chori Chori Chupke Chupke (2001), whereas the movie Mimi (2021) represents the gestational mode of surrogacy. These media texts often represent overtly fictionalised accounts of Indian surrogacy and considerably tamper the authenticated contents of Indian white paper documents on surrogacy. Anindita Majumdar talks about the ‘prostitute surrogate’, a type-casted representation of Indian surrogates, where the character of surrogates is that of sexually provocative women or prostitutes. For scrutinising this prototypical representation of surrogates, the methodological framework of this paper borrows arguments from Aristotle’s theory of mimesis and Seymour Chatman’s narrative theory. The article also advocates a nascent coinage—surrogacy literacy, a literary drive to keep a check on how surrogates are represented in films dealing with sensitive technology like assisted reproduction. The possible changes in such representation due to the new surrogacy law in India are also vital considerations of the article.","PeriodicalId":52105,"journal":{"name":"Media Watch","volume":"14 1","pages":"346 - 365"},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41784937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-07DOI: 10.1177/09760911231185975
S. Raj
Digital platforms have opened up new avenues of political participation for women across the globe, including India. The digital media facilitated by the Internet has revolutionised the social and political landscape. It is argued that digital tools like social media platforms have democratised women’s political participation in India. The digital platforms have provided accessibility to women to raise their voices on these platforms through social and political mobilisation as well as community building. Cyberspace has offered newer forms of participation for women in India. From Nisha Susan-led Pink Chaddi campaign in 2009 to another women-led movement, #MeToo, which gained momentum in 2018, women in India have utilised the digital space to raise their voices against sexual violence, oppression and gender-based discrimination. Building on the large scholarship on media, democracy and participation, in this article, I look at how digital media has offered newer forms of political participation in India. Looking at the wide literature on this subject, I also discuss how digital media has led to the construction of feminist counter-publics in India. It is not that digital media has only offered the spaces to women to counter or challenge the dominant discourse; these spaces have also become hotbeds of trolling and online harassment.
{"title":"Digital Media and Women’s Political Participation in India","authors":"S. Raj","doi":"10.1177/09760911231185975","DOIUrl":"https://doi.org/10.1177/09760911231185975","url":null,"abstract":"Digital platforms have opened up new avenues of political participation for women across the globe, including India. The digital media facilitated by the Internet has revolutionised the social and political landscape. It is argued that digital tools like social media platforms have democratised women’s political participation in India. The digital platforms have provided accessibility to women to raise their voices on these platforms through social and political mobilisation as well as community building. Cyberspace has offered newer forms of participation for women in India. From Nisha Susan-led Pink Chaddi campaign in 2009 to another women-led movement, #MeToo, which gained momentum in 2018, women in India have utilised the digital space to raise their voices against sexual violence, oppression and gender-based discrimination. Building on the large scholarship on media, democracy and participation, in this article, I look at how digital media has offered newer forms of political participation in India. Looking at the wide literature on this subject, I also discuss how digital media has led to the construction of feminist counter-publics in India. It is not that digital media has only offered the spaces to women to counter or challenge the dominant discourse; these spaces have also become hotbeds of trolling and online harassment.","PeriodicalId":52105,"journal":{"name":"Media Watch","volume":"14 1","pages":"366 - 385"},"PeriodicalIF":0.0,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46355362","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1177/09760911231180741
S. Shukla, Junali Deka
The representation of women on screen has taken a dramatic turn with the emergence of Over the Top (OTT) platforms. On the one hand, the web series is creating a new space for female actors to portray challenging professions. But, on the other hand, the directors have leapt when it comes to storytelling that goes far beyond the socially accepted homogeneous classification of femininity. Drawing upon the insight of ‘Butler’ concept of ‘Gender Performativity’ (‘Gender reality is performative which means, quite simply, that it is real only to the extent that it is performed‘), this article examines the deconstruction of gender binaries and how the non-homogeneous space created in a male-dominated territory. For the present study, female cop Hindi web series released during 2017–2022 have been selected: The Test Case, Code M Season 1, Delhi Crime, Aranyak and Code M Season 2. The significant findings reveal that the content of the web series has the potential to break the stereotype of hegemonic masculinity and question the existing gender binaries.
随着OTT (Over The Top)平台的出现，女性在屏幕上的表现发生了戏剧性的转变。一方面，这部网络剧为女演员扮演具有挑战性的职业创造了一个新的空间。但另一方面，在讲述故事方面，导演们已经超越了社会所接受的女性同质分类。根据“巴特勒”的“性别表演性”概念(“性别现实是表演性的，很简单，这意味着它只有在被表演的程度上才是真实的”)的见解，本文探讨了性别二元的解构，以及在男性主导的领域中如何创造非同质空间。在本研究中，选择了2017-2022年期间发布的女警察印度网络系列:测试案例，代码M第一季，德里犯罪，Aranyak和代码M第二季。重要的发现表明，网络连续剧的内容有可能打破男性霸权的刻板印象，并质疑现有的性别二元。
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Pub Date : 2023-08-01DOI: 10.1177/09760911231180975
Pratyusha Pramanik, Ajit K. Mishra
Vidya Balan has developed her brand of films by strategically choosing scripts to disrupt both the cinematic perception and the practice. This article argues that the Vidya Balan brand of films has been a prototype for an understated yet alternative leadership style which breaks the stereotype of portraying strong women with machismo and manliness to project them as bold and powerful. Balan has designed a consistent celebrity brand, yet distinguishable from her contemporaries. In the process, she has developed matricentric leadership. The article attempts to understand the matricentric leadership style in the context of popular Hindi cinema and how it corresponds to the larger societal context. A content analysis of Vidya Balan’s recent choice of films, her interviews, and her off-screen presence has revealed how she has succeeded in incepting an alternative leadership style. This style, inspired by a range of working mothers we see around us in our everyday lives, enables us to develop a deeper understanding of new-age women. It also adds to our knowledge about Hindi cinema’s changing trend in depicting more realistic women regarding body, looks and ability standards.
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Pub Date : 2023-08-01DOI: 10.1177/09760911231183391
Johnson Rajkumar
The idea of a mother in Manipur’s cultural context has varied meanings. In the indigenous religion of the Meitei, the female maibis, the central religious functionary, is referred to as the mother. She plays a more important role in the religious rituals than her male counterpart. In the ritual, she gets possessed only by lai (goddess) and delivers an oracle, which comes only from female goddess to female maibi, never from male God to male maiba. This female dominance in the religious functionary is a unique characteristic of Meitei culture. The Manipuri film Ishanou (1991) depicts a life of an ordinary mother who got possessed and eventually rejected the traditional marriage and family institutions. As culture defines motherhood in shaping identity and attitudes towards mothering, this paper investigates the understanding of motherhood in the Manipuri society through semiotics and psychoanalysis of the film. The cinematic portrayal of the mother in the film negotiates power in a traditionally patriarchal society through the dynamics between the private and public spheres of the mother. She moves away from traditional motherhood to being the mother possessed by the goddess. The film’s rejection of domesticity and other traditional intensive mothering ideologies can be seen as subversive motherhood.
{"title":"Subversive Motherhood and Maternal Discourses in Manipuri Cinema: An Analysis of Aribam Syam’s Ishanou","authors":"Johnson Rajkumar","doi":"10.1177/09760911231183391","DOIUrl":"https://doi.org/10.1177/09760911231183391","url":null,"abstract":"The idea of a mother in Manipur’s cultural context has varied meanings. In the indigenous religion of the Meitei, the female maibis, the central religious functionary, is referred to as the mother. She plays a more important role in the religious rituals than her male counterpart. In the ritual, she gets possessed only by lai (goddess) and delivers an oracle, which comes only from female goddess to female maibi, never from male God to male maiba. This female dominance in the religious functionary is a unique characteristic of Meitei culture. The Manipuri film Ishanou (1991) depicts a life of an ordinary mother who got possessed and eventually rejected the traditional marriage and family institutions. As culture defines motherhood in shaping identity and attitudes towards mothering, this paper investigates the understanding of motherhood in the Manipuri society through semiotics and psychoanalysis of the film. The cinematic portrayal of the mother in the film negotiates power in a traditionally patriarchal society through the dynamics between the private and public spheres of the mother. She moves away from traditional motherhood to being the mother possessed by the goddess. The film’s rejection of domesticity and other traditional intensive mothering ideologies can be seen as subversive motherhood.","PeriodicalId":52105,"journal":{"name":"Media Watch","volume":"14 1","pages":"296 - 309"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42264080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-25DOI: 10.1177/09760911231184335
Ankita Rathour
This essay studies the construction of killable female bodies via two Hindi films: Murder 2 (2011) and Article 15 (2019) and theorises a necromale—male murdering agent following a violent sovereign ethos, which, in turn, illuminates sovereign Indian masculinity in crisis. One of the many romances of the idea of sovereignty and ideals of self-rule is the construction of imaginary adversaries whose violent execution serves the sovereign purpose. This essay extends the rhetoric of sovereignty to include male violence in the study of alleged enemies—dead girls. If sovereignty means power to kill or let live, then in what ways does that definition play out in these films through gender violence? The essay expands on the exclusionary principles of killability—secrecy around murder investigations, hasty cremation/burial, and patriarchal and casteist public discourses that serve exclusively to make the male Indian sovereign violence against the victims doubtable. The killable females became the potent ground where caste, patriarchal, and national ideologies combine, enabling the Indian male sovereignty to deploy its power to kill. However, this sovereign/casteist murderous male, whom the essay establishes as a necromale, is killable in return. The male power to kill emerges as a suicidal martyrdom because the state’s right to kill ultimately reserves the monopoly on violence.
{"title":"Theorising Necromale Through Killable Female: A Study of Murder 2 and Article 15","authors":"Ankita Rathour","doi":"10.1177/09760911231184335","DOIUrl":"https://doi.org/10.1177/09760911231184335","url":null,"abstract":"This essay studies the construction of killable female bodies via two Hindi films: Murder 2 (2011) and Article 15 (2019) and theorises a necromale—male murdering agent following a violent sovereign ethos, which, in turn, illuminates sovereign Indian masculinity in crisis. One of the many romances of the idea of sovereignty and ideals of self-rule is the construction of imaginary adversaries whose violent execution serves the sovereign purpose. This essay extends the rhetoric of sovereignty to include male violence in the study of alleged enemies—dead girls. If sovereignty means power to kill or let live, then in what ways does that definition play out in these films through gender violence? The essay expands on the exclusionary principles of killability—secrecy around murder investigations, hasty cremation/burial, and patriarchal and casteist public discourses that serve exclusively to make the male Indian sovereign violence against the victims doubtable. The killable females became the potent ground where caste, patriarchal, and national ideologies combine, enabling the Indian male sovereignty to deploy its power to kill. However, this sovereign/casteist murderous male, whom the essay establishes as a necromale, is killable in return. The male power to kill emerges as a suicidal martyrdom because the state’s right to kill ultimately reserves the monopoly on violence.","PeriodicalId":52105,"journal":{"name":"Media Watch","volume":"14 1","pages":"326 - 345"},"PeriodicalIF":0.0,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46653208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-27DOI: 10.1177/09760911231168685
U. Pandey
{"title":"Exploring the Research Agenda for Large Language Models: Opportunities and Challenges for Scientific Research","authors":"U. Pandey","doi":"10.1177/09760911231168685","DOIUrl":"https://doi.org/10.1177/09760911231168685","url":null,"abstract":"","PeriodicalId":52105,"journal":{"name":"Media Watch","volume":"14 1","pages":"127 - 130"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43410725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-30DOI: 10.1177/09760911231159589
Sara Emam
Companies communicate their brands with customers through social media, either officially through their official pages or non-officially through social media users’ Electronic Word of Mouth or brand-related content created by Social Media Influencers. This study evaluates the effectiveness of these three brand communication methods on consumer-based brand equity (CBBE), including brand awareness, brand image, brand attitude and purchase intention. The study further clarifies the most influential consumer and firm-related factors on Egyptian women’s behavioural intentions. It identifies the motives for following the official and non-official brand communication methods, interaction with brand posts and characteristics of the most followed social media influencers. A total of 400 Egyptian women answered an online/offline survey. Moreover, four focus group discussions were conducted. Based on the modified brand value chain model, the findings indicate that users’ eWOM is the most followed and influential brand communication method in Egyptian women’s purchase intention. Most Egyptian women are silent followers and prefer to follow younger influencers interested in fashion, sports, travelling and visiting new places. Egyptian women’s age, working status, past brand experience, real need to purchase, visuals of brand posts and peer pressure are the most influential firm-related and consumer-related variables on purchase intention.
{"title":"Evaluating the Effectiveness of the Official and the Non-Official Social Media Brand Communication Methods on Egyptian Women’s Consumer-Based Brand Equity","authors":"Sara Emam","doi":"10.1177/09760911231159589","DOIUrl":"https://doi.org/10.1177/09760911231159589","url":null,"abstract":"Companies communicate their brands with customers through social media, either officially through their official pages or non-officially through social media users’ Electronic Word of Mouth or brand-related content created by Social Media Influencers. This study evaluates the effectiveness of these three brand communication methods on consumer-based brand equity (CBBE), including brand awareness, brand image, brand attitude and purchase intention. The study further clarifies the most influential consumer and firm-related factors on Egyptian women’s behavioural intentions. It identifies the motives for following the official and non-official brand communication methods, interaction with brand posts and characteristics of the most followed social media influencers. A total of 400 Egyptian women answered an online/offline survey. Moreover, four focus group discussions were conducted. Based on the modified brand value chain model, the findings indicate that users’ eWOM is the most followed and influential brand communication method in Egyptian women’s purchase intention. Most Egyptian women are silent followers and prefer to follow younger influencers interested in fashion, sports, travelling and visiting new places. Egyptian women’s age, working status, past brand experience, real need to purchase, visuals of brand posts and peer pressure are the most influential firm-related and consumer-related variables on purchase intention.","PeriodicalId":52105,"journal":{"name":"Media Watch","volume":"14 1","pages":"177 - 199"},"PeriodicalIF":0.0,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42615199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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