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29 December 2022

Generations and Branded Content from and through the Internet and Social Media: Modern Communication Strategic Techniques and Practices for Brand Sustainability—The Greek Case Study of LACTA Chocolate

Laboratory of Electronic Media, School of Journalism and Mass Communications, Faculty of Economic and Political Sciences, Aristotle University of Thessaloniki, 546 36 Thessaloniki, Greece
Sustainability2023, 15(1), 584;https://doi.org/10.3390/su15010584
This article belongs to the Special Issue The Role of Communication in Sustainable Development
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Abstract

A brand can get close to its audience by engaging and delivering integrated healthy and sustainable communication experiences from and through the Internet and social media. A de novo approach of branded content consumption in relation to generations and generational cohorts is highlighted through a literature review in the present article. The latest three adult generational cohorts (18 years old and older) (i.e., Generation X, Generation Y and Generation Z) are outlined under the lenses of digital technological socio-cultural culture, the media environment, and the audiovisual industry. In this framework, an audiovisual-supported case study of the Greek chocolate “LACTA” which is a characteristic and typical paradigm of re-approaching the brand, (a) through branded content from and through the Internet and social media; as well as (b) through generations is presented. The ultimate research purpose of this article is to spotlight the role of communication in sustainable development to reach a better and more sustainable future through multi-generational marketing. Therefore, historical elements through a rich bibliographic literature as a source of further study regarding the Internet, social media, and the last three generational cohorts with adults are provided. Moreover, since not all generational cohorts are alike, it also grants useful insights for the prospective role of public relations and advertising as well as modern marketing communication through the aforementioned brand case study for healthy, robust and sustainable communication.

1. Introduction

The meta-transitional technological world we live in is constantly evolving and becoming fully digital. The digital-era impact is considered one of the most critical sustainability issues regarding the future of media studies and communication science’s triptych—public relations, advertising, and marketing communication—and by extension the brand and branded content. Nowadays, branded content (also known as branded entertainment) is being converted to audiovisual branded content, and this appears to be largely due to contemporary human habits, in addition to the current digital era. Admittedly, it is well documented that humans are classified into their respective generation or generational cohort according to the year they were born, a fact that also affects their exposure to media, and by extension, their consumption of audiovisual content [1,2,3,4,5,6]. In recent years, audiovisual content interrelationships, and more explicitly the audiovisual branded content with generations and generational cohorts, has been researched autonomously and through multiple different approaches in various and diverse fields; however, although this research fills a huge gap in the literature, it seems that the subject has not yet been thoroughly investigated. Undoubtedly, as it has been documented in the literature, tomorrow’s brand/communication managers and designers, and public relations/advertising/marketing professionals should definitely be aware of the differences encountered mainly in media and technology use, as well as in the preferences of their consumers [7,8,9,10]. Similarly, and more concretely the habits and behaviors of at least the adults (18 years old and older) of the three later generations (i.e., Generation X, Generation Y and Generation Z; XYZ Generations—something that will be mentioned below) should be considered, because not all generational cohorts present the same characteristics, nor should they be treated in the same way [4,6,11,12]—so-called marketing to the generations (also known as multi-generational marketing) [11,12,13].
Brand is defined as an intangible concept of marketing or even business that helps humans identify a company, product, or person (usually famous or celebrity) or other, which is also an identity brand that approaches the identity value of a cultural icon [14]. On the other hand, branded content is usually content of interest produced by an advertiser or content whose creation was funded by an advertiser on behalf of, e.g., a company in order to strengthen the brand by captivating an audience and/or for brand sustainability as a brand communication tool [15,16,17]. In contemporary times, the younger generations are mainly responsible for the emergence of micro-celebrities as well as for the creation of most of the new global brands, technology products and modern trends that exist and are used today [4,18,19,20,21]. The most discussed official generational cohorts that have meta-evolved the brand and the branded content into audiovisual branded content are mainly the three more recent generations that are currently made up of adults (18 years old and older) [4,6]. More concretely, they are the Generation X (GenXer from here on) (humans born from 1965 to 1979), the Generation Y (GenYer from here on) (humans born from 1980 to 1994) as well as the Generation Z (GenZer from here on) (humans born from 1995 to 2010) [4,6].
In recent years, brands have been affected by considerable advances in technology which have positioned them in an ever-changing field, resulting in them tailoring their image and fame/reputation accordingly, to achieve their corporate goals and sustainability [7,9]. This need arose primarily with the advent of the Internet, and by extension with the rise of social media. Admittedly, the Internet is the main impact factor due to modern communication tools such as Internet applications and services, the so-called Internet technologies. Notably, Internet technologies are considered the (a) electronic mail (email/s from here on); (b) web browsers (e.g., Google Chrome, Mozilla Firefox, Microsoft Edge, etc.); (c) web search engines (e.g., Google, Yahoo!, Microsoft Bing, etc.); (d) file hosting services (e.g., Dropbox, Mega, Google Drive, 4shared, Microsoft OneDrive, etc.); (e) business communication platforms (e.g., Zoom Video Communications; Zoom, Microsoft Teams, Skype for Business, Webex by Cisco; WebEx, etc.); and so on [22] (pp. 76–78). To summarize, Internet technologies from and through the Internet allow humans to have and to express their own opinion freely or even in combination with other sources or communication forms, to develop relationships, as well as to cooperate, interplay and interact with each other, thereby resulting in everyone becoming an active member of a(n online) community [6,7,9,22]. Additionally, Internet technologies are the backbone of information and data (i.e., big data, metadata, social media data, etc.) in technologies-enhanced research and learning, online marketplace, digital media, and the mainstream media of absolute distance communication nowadays [6,9,22]. Due to the aforementioned, the free expression of opinion is now deployed through the Internet, resulting in the formation of new, more modern forms of communication and new cultures, thus creating a new society [9] (p. 196).
The new society is made up of virtual communities which are the epitome of an ongoing test of social solidarity change [7,9]. In addition, through these communities, everyone can create her/his virtual profile and develop a (social) network of communication where s/he can communicate, chat, and interact freely with other online users through a plethora of social media platforms and applications (e.g., Facebook, Twitter, and so on, which will be discussed next in Section 2.1) [7,9]. Most social media ask prospective online users to register using their basic personal information, e.g., name and email address/account or even a local mobile phone number before they start using their platform or application [7,9]. In the last decade, significant activity through these social media has been conducted, where humans from all over the world have had the opportunity to share news, photos, and information on their personal lives and chat with each other with no restrictions [7,9,22]. Furthermore, they have slowly begun to replace traditional sources of information with social media [9,23,24]. Nowadays, social media are considered among the most important consumer networks that influence consumer behavior [25,26]. Undoubtedly this should not leave companies and businesses uninvolved. To achieve sustainability, they have to re-shape their brand and branded content into audiovisual branded content with the valuable help of the audiovisual industry and media environments. The re-shape is usually performed utilizing highly inventive techniques, strategic practices and modern methods from e-public relations, digital marketing, or even mobile marketing. These techniques, practices and methods constitute a contemporary trend of public relations, advertising, and marketing communication with the consumers in order to build and to develop trust [9,27,28,29,30,31]. Likewise, most of them are original and perfectly tailored to the philosophy of the modern digital era [28,32].
In summary, this article attempts to outline the relationship of the aforementioned generational cohorts through technological and a digital socio-cultural perspective as well as in relation to the mass/traditional media and modern or even digital-media-environment landscape. Specifically, the article follows a review approach and includes historical information that can be used for further study. This approach is considered essential to clarify the landscape and framework within which this article falls, while it will assist both potential readers and professionals. Additionally, it aims to address the gap in literature due to the aforesaid circumstances. To achieve this, qualitative methods based on online library technology-enhanced research has been used by gathering literature and information sources (such as, for example, research data, literature data, information, materials, elements, etc.) [33] based on the predetermined stages [34] (something to be discussed below in Section 3). This research method constitutes the modern form of research methods that emerged from the redistribution, re-evaluation, and reintegration of traditional research methods [33] (pp. 1–2).
In recapitulating and prior to concluding the introductory section, in this article, the brand case study of the Greek chocolate “LACTA” is also presented. This Greek case study is a characteristic and typical paradigm of re-approaching the brand through branded content from and through the Internet and social media utilizing highly inventive techniques, strategic practices and modern methods derived from advertising, public relations, digital marketing, and mobile marketing. Furthermore, the relationship between this brand and the generational cohorts is emphasized as well as the transition from the traditional advertising methods, techniques, and practices to the contemporary ones, making this case study also a practical example on how to create and design branded entertainment campaigns with suitable communication strategies based on differences between genealogical cohorts. Overall, the ultimate research purpose (RP) of the article is to spotlight the perspective of the role of communication in sustainable development for a better and more sustainable future. More specifically, the aim is to assist budding and old advertisers, communicators, brand/product managers, media and advertising account executives/managers/directors, as well as public relations/marketing/advertising associations worldwide regarding the field under investigation.
In closing, it should be noted that the present article is also part of a broader ongoing cross-cultural research project, regarding the employment of audiovisual media communications (i.e., audiovisual media technologies and audiovisual content) in adult education and higher education in Greece and Cyprus in the light of media studies. More precisely, the research project began in 2016 and explores the multidisciplinary field that incorporates media, audiovisual content, and education (henceforth, MACE) among generational cohorts with adult members, both as educators and as adult learners, in relation to information and communications technologies (henceforth, ICTs). Finally, the rest of the article is organized into four additional sections as follows: (a) Section 2 presents the theoretical groundwork through literature review and/or related work; (b) Section 3 provides the framework of the research methodological approach that was applied in this study; (c) Section 4 demonstrates the research findings through the brand case study of Greek chocolate “LACTA” in order to answer the stated RP; and (d) Section 5 outlines a summary and final conclusion.

3. Research Methodological Approach: Methods and Materials

This article applies the case study method [96,97,98] from and through technology-enhanced methods [33]. The case study is considered an in-depth, detailed examination of a specific case (or even cases) within a real context or setting, where it can be broadly applied across disciplines and sciences [96,97,98]. Similarly, it is considered as one of the most emerging and modern research methods in recent years in academic fields [64,66]. In this particular case, as mentioned, the brand case study of the Greek chocolate “LACTA” is presented in the next section (Section 4) through discussion in the widest possible context. Additionally, based on the research methodology literature, the present case study is characterized as a kind of literature case study [99]. As mentioned, this Greek case study is a characteristic and typical paradigm of re-approaching the brand through branded content from and through the Internet and social media, as well as generations’ perspectives. Likewise, this brand case study is also a practical example of how to create and design branded entertainment campaigns with suitable communication strategies based on differences between genealogical cohorts.
On the one hand, the main research method used to implement the case study was an enhanced systematic review. Furthermore, the focus group method was also enlisted and implemented in an online version as secondary and supporting method to further support the case study so that there would be additional validity and reliability of the literature and information sources presented. Summing up, these research methods and how they were applied to this particular study are presented in the following sub-sections through discussion, Section 3.1 and Section 3.2. Finally, this study was conducted according to the rules and procedures suggested by the “Committee on Research Ethics and Conduct” of the Aristotle University of Thessaloniki (hereinafter called the AUTh) in Greece, the guidelines of the Helsinki ethics protocol [100] and the relevant European provisions on the use of personal data (also known as General Data Protection Regulation; GDPR) [101], as in all research studies from the cross-cultural research project MACE (Appendix A).

3.1. Enhanced Systematic Review Method

The enhanced systematic review method was applied through the mentioned online library technology-enhanced research method [33] following predetermined stages [34]. More precisely, the online library technology-enhanced research method was achieved with systematic searches from and through the Internet, applying online and technology-enhanced research methods through Internet applications and services [33]. Overall, methods of finding information on the Internet are mostly used in the literature review stage of a study or even research as a review methodology [33] (p. 4). In addition, these methods can also be applied during the process of cross-referencing the literature in a study or research that follows traditional or even purely traditional tactics combined with research from and through the Internet [33] (p. 4). Similarly, it can also be used as a method or even a combination of methods within a systematic review or meta-analysis of data and information in order to draw a more complete or comprehensive conclusion [33] (p. 4). To summarize, in this case the methods of finding information on the Internet were applied through (a) online archives from online press after the proposed implementation of the information evaluation method and (b) various bibliographic databases (e.g., ERIC, Web of Science, etc.) [33] (p. 4).

3.2. Focus Group Method

The focus group method is considered very useful for the exploration of opinions, attitudes, and characteristics, as well as the identification and pre-checking of miscellaneous and non-evidence, variables, facts, and information [102]. Likewise, it is also characterized as an advantage for gaining deeper knowledge on the perceptions of a group of humans [103]. In this particular case, it was the most appropriate method for checking and cross-referencing the literature and information sources that emerged and obtained from the review to provide validity and verification. Similarly, it is suitable for enhancing this literature and information sources and in constituting the mentioned brand case study comprehensively. In this study, this research method was theoretically implemented in four online stages; three were implemented in an earlier time frame and the fourth in a later and more recent time period. Notably, this research method was initially applied within the framework of the mentioned research project MACE to carry out an online pilot case study as a cross-cultural pre-pilot survey through two online focus groups in three stages to achieve triangulation. More concretely, (a) nine adults (18 years old and older) from Thessaloniki (Greece) (five PhD candidates and four postgraduate students of the School of Journalism and Mass Communications, Faculty of Economic and Political Sciences, AUTh; as experts in the field) in November 2020 (first online stage ratification); and (b) eight adults (18 years old and older) (active adult educators) during the academic year 2020–2021, including four participants from Cyprus and four participants from Greece, in a double phase in June 2021 (second online stage re-verification, in the context of culturally related processes) and in October 2021 (third online stage iterative re-verification; thus ensuring the reliability and validity of literature and information sources through triangulation) [6] (pp. 2–3). Due to the long time frame in which the online focus groups were conducted, in this case, the same eight adults above were re-recruited again in October 2022 into a new online cross-cultural focus group, in order to re-ensure the reliability and validity of new literature and information sources in relation to the Greek chocolate “LACTA” (final fourth essential online stage). In closing and according to the research methodology literature [103,104], it should be mentioned that the above research samples of each corresponding stage for online focus group sample sizes are considered ideal for the application of the focus group method.

4. Research Findings and Discussion

This section provides the outcome of the research methodological approach’s findings derived and obtained from the above-mentioned methods (i.e., the enhanced systematic review and the focus-group method) for creating the case study, according to a combination of traditional and modern rules of scientific correctness [33,96,104,105,106,107,108,109]. More specifically, to better present the literature-supported information, interpret the research findings, and understand their significance, this section has been organized based on the stated RP of this article. The section starts (a) with the first sub-section in which the aforementioned brand case study of the Greek chocolate “LACTA” is thoroughly presented through embedded hyperlinks (URL addresses) from the audiovisual-hosting platforms YouTube and Vimeo (i.e., an audiovisual-supported case study), providing best communication practices for sustainable objectives through discussion in the widest possible context (Section 4.1); and (b) concludes with the second sub-section with a summary of the current position with concluding discussion and conclusions (Section 4.2).

4.1. The Case Study of LACTA Chocolate from Greece: Brand and Branded Content from and through the Internet and Social Media

LACTA chocolate made an official appearance in the consumer landscape of Greece during the 1960s as a children’s milk chocolate, and was addressed to the then underage members of GenXer and Baby Boomer Generation. A few decades later, with the birth of private television in Greece in the 1990s, LACTA redefines its consumer identity as an adult milk chocolate, while also signifying the official debut of its branded content through a television commercial in 1991 (Appendix B). Furthermore, at the same time, the slogan which accompanies it to this day in all the media commercials (i.e., television commercials, radio commercials, print commercials, etc.) and campaigns was also born—“Lacta. The sweetest part of your life.” («Lacta. Το πιο γλυκό κομμάτι της ζωής σας.» in Greek language), thus creating its new, more modern, brand identity. The storytelling of its first television commercials primarily used the pain of separation and the sadness of loneliness, which created a kind of nostalgic mood [110,111,112,113], and of course the reunion embodied by young adult GenXer couples. Later the LACTA television (or even print) commercials began to show how the product’s sweet taste can get someone in touch with her/his most sensitive side and remind us of how sweet love can be (again with young adult GenXer couples and later with young post-adolescent or young adult GenYer couples). All LACTA media commercials seem to have always focused and aimed more at the emotional relationship of the brand with the consumer than on the product’s per se features. Undoubtedly, LACTA media commercials are also all characterized as modern, dynamic, and naturally youthful, while several of its television commercials take place in places frequented by young humans such as concert halls and clubs. Admittedly, at this point it should be mentioned that the musical compositions used perhaps play a catalytic role in the storytelling of the television and radio commercials, which always lead the viewer or listener to the happy finale through emotional aspects and quality of experience [114,115,116]. Unquestionably, it is a fact that the music songs that have been used as background music in the television (or even in the radio) commercials immediately became radio and commercial hits in Greece and Cyprus or have even been identified with the product itself such as, for example: (a) “The sweetest part of my life” («Το πιο γλυκό κομμάτι της ζωής μου» in Greek language) which was performed by Stefanos Korkolis in 1995 as well as its re-performance by Panos Mouzourakis in 2010—this title as well as the music song are now considered elements of brand awareness; (b) “Red Kiss” («Κόκκινο φιλί» in Greek language) by Blue in 2000; (c) “I’ll wait” («Θα περιμένω» in Greek language) by C:Real in 2004; (d) “A moment of you and me” («Μια στιγμή εσύ και εγώ» in Greek language) by Tamta in 2007; (e) “Divine” by Transistor in 2009; (f) “Love comes at the end” («H αγάπη έρχεται στο τέλος» in Greek language) by Antonis Remos in 2013—additionally, this music song was also considered an element of brand awareness; and more. Over time, all LACTA media commercials have further strengthened its brand, culminating in 2008 when it decided to focus on the contemporary needs of the times and turn further on the younger generational cohort, the GenYer.
In 2008, therefore, LACTA presented for the first time in Greece the first online branded entertainment campaign, thus laying the foundations for how a traditional brand can be adapted to the spirit and environment of the time. More concretely, this project/campaign (campaign/s from here on) presented the first online interactive summer love story of a GenYer young adult couple in the Greek island of Paros under the form of an online movie video, entitled “Love at first site” (stylized as “love@first site”) through an official online site (http://www.loveatfirstsite.gr—this website/weblog no longer works properly because it uses technology with the plugin Flash Player) [117,118]. This online movie video was created to support LACTA’s then-new innovative business initiative (as a supporting and below the line; BTL activity) utilizing the audiovisual platform YouTube, targeting mainly younger GenYer members (that is, the then twenty-somethings mainly who did not watch much conventional television). In essence, we are talking about an unofficial online interactive 14 min short film—17 min short film with shredded (right and wrong) scenes (i.e., online users had to choose the correct online pathway / scene to see the responding ending) [117] (Appendix C). Summing up, this shredded short film was created and screened in order to enhance and promote the LACTA corporate brand using multiple and combined methods. Specifically, traditional, and modern methods through television, radio, cinemas and all LACTA packages as well as from and through the Internet and at the time well-known social media in Greece (i.e., Facebook and YouTube)—that is, a through the line advertising or a 360-degree approach. Additionally, “Love at first site” was mentioned in (a) prestigious international and popular magazines, such as Contagious Magazine and Advertising Age; (b) articles in famous advertising blogs, such as Adverblog; (c) as well as featured selections from the FWA. This campaign is now considered internationally as a useful case study on how a brand can come close to its audience, engaging it, and providing fun and integrated experiences [119] (Appendix D).
Then in 2010, the first official online interactive mini-film brand in Greece in the framework of LACTA’s new integrated campaign as above the line (ATL) activity, under the name “Love in Action” was introduced [6,118,120,121]. This 27 min branded-entertainment film negotiated a real-life love story that was turned into a(n online) movie by LACTA in three parts (Appendix E), after all necessary changes were made to adapt it to a modern winter love story with a GenYer young adult couple. The story was selected among the top five stories out of the 1307 love stories submitted through the campaign’s official online site (http://www.loveinaction.gr—this website/weblog no longer exists, accessed on 7 November 2022), in a film script by the well-famous screenwriter and actor of Greek television series (e.g., Savatogennimenes/Saturday-borns—Σαββατογεννημένες of Greek language in 2003–2004 and Sto Para 5/In the Nick of Time—Στο Παρά 5 of Greek language in 2005–2007 [6]) Giorgos Kapoutzidis [121,122]. “Love in Action” production started in October 2009 and was accomplished (a) with the participation of the GenYer young adult audiences on set; as well as (b) with useful help of GenXer and GenYer online users from and through the Internet and social media (in this case, through the official social media accounts of LACTA, on Facebook—https://www.facebook.com/Lacta/, accessed on 7 November 2022; and on Twitter—@LactaFilms), where they voted on who actors will take the leading roles, where some of the filming will take place, the names of the protagonists in the movie, the clothes the protagonists will wear, and more [118,121,122]. At this point it should be mentioned that this mini-film brand would initially only be available online on Valentine’s Day (14 February 2010) on the campaign’s official online site, but due to its huge impact on the Internet and social media, it was finally broadcast also on the private panhellenic television channel MEGA Greece on the same day with a huge impact on television viewership [6] (p. 19). To summarize, the interactive digital communication implemented in this context seems to have helped to initiate the building of LACTA’s enduring relations with the audience [7,9,123,124].
In 2011 with the campaign “Lacta Surprises”, LACTA’s new integrated business action, LACTA gave five Greek adult lovers (GenYer and GenXer members) the opportunity to express their love in the most vivid way. Specifically, LACTA assisted in this endeavor by organizing a unique surprise for the selected fan/loyal online users upon online request. This was an amazing surprise filmed with hidden cameras in collaboration with the production team of MTV Greece in downtown Athens and Thessaloniki (Greece), in order to record the surprise in the eyes of the loved ones under the sounds of the re-execution of the music song “The sweetest part of my life” performed by Panos Mouzourakis [125]. The special five episodes of “Lacta Surprises” were broadcast from the former private channel television MTV Greece (2008 to 2016—renamed RISE TV from 2016 to present) as well as aired/uploaded online from and through Internet and social media (Appendix F). In other words, it was a production of branded entertainment content, with the characteristics of a reality television production, where the participation of the audiences and consumers started through social media as online users and was completed through the television broadcast [125].
Immediately in 2013, LACTA created the first Greek full-length brand film with the direct participation of audiences and consumers from and through the Internet and social media from Greece and Cyprus as online users, under the name “Love in the end”. Continuing its strategy of being a symbol for the sweetness of love, LACTA invited its fans/loyals to submit their stories of unfulfilled love, promising to give them the happy ending they never had on the cinema screen. The storytelling of the brand film was based on three real-life stories of unfulfilled love that were selected out of the hundreds sent by the GenXer and GenYer online users through the official online site of this campaign (https://www.loveintheend.gr/, accessed on 7 November 2022). The selected stories were adapted into love stories following the thunderous love of six GenYer young adults in Thessaloniki and Athens in Greece but also on a cruise to Istanbul in Turkey and the Greek island of Rhodes under the sounds of a specially commissioned music song performed by the famous singer Antonis Remos—one of the most commercial singers in the Greek music industry. Based on the literature [126,127,128,129,130], this tactic of using music songs performed by famous artists as selecting celebrity endorsers [130,131,132,133] is considered to help build loyalty, and introduce brands, as well as enhance or modify consumer knowledge about brands—something that seems to have happened and been achieved in this particular case. The campaign continued with a transmedia campaign to promote the movie, starting with an online 20 min short film though the campaign’s official online site using the audiovisual platform YouTube. This short film shows the beginning of one of the three stories that took place in Thessaloniki (Greece), ending on a cliffhanger (Appendix G). Additionally, this short film was also broadcast on the private panhellenic television channel STAR with a huge impact on television viewership. Then followed an alternate reality game (ARG), that was launched when the heroine of that story supposedly posted a YouTube video, asking online users for help (Appendix H) [118,134]. At this point it should be mentioned that this video was also presented in the form of news on various Greek official news and entertainment websites as well as in the main news bulletin of the private panhellenic television channel STAR. Furthermore, in the context of the online promotion of the movie but also with the support of the ARG which had already influenced consumer behavior, additional fake profiles were created for the movie’s protagonists on social media (i.e., on Facebook and YouTube) as well as numerous fake websites in order to make the movie look real [134]. Summing up, this campaign became a big hit with audiences in Greece and Cyprus. Also, this full-length brand film gave LACTA the opportunity to become an international case study on how a brand managed to create audiovisual branded content where the online users or even audiences and consumers, under normal circumstances, would have to pay to be able to see it [6] (p. 19) (Appendix I).
In 2014, LACTA continued its long tradition in online branded content, this time making a serious turn in non-fiction through an online hour-long documentary, under the title “Does Love Exist?” («Υπάρχει Aγάπη;» in Greek language) (Appendix J). This documentary was aired through the campaign’s official online site (http://www.YparxeiAgapi.gr—this website/weblog no longer exists), but also as a prime-time television special on the private panhellenic television channel ANT1 Greece, on the eve of Valentine’s Day (13 February 2014), with a huge successful impact [135]. LACTA has been a symbol of love for many generations of Greeks over time. Due to the economic crisis of recent years, priorities have changed for the new generations (i.e., GenYer and GenZer). Instead of searching for true love, they focus first on pursuing a successful career. At the same time, the Internet and social media have also changed the way that the younger adult members of the generations flirt (i.e., GenZer). Unfortunately, this meta-transitional technological world has made humans no longer believe so much in the value of true love. On the occasion of this event, LACTA chose to address this key issue through a documentary that immediately became a popular topic in Greece, thus starting an ongoing discussion and debate from and through the Internet and social media using the Greeklish (also known as Grenglish, Latinoellinika, or ASCII Greek [6]) hashtag #YparxiAgapi, with excited viewers, audiences, consumers and online users who commented on how it made them re-evaluate their attitude towards true love [135].
From 2015 onwards, LACTA has had a dynamic and strong presence from and through the Internet and social media. The main advertising tools used by LACTA are its official social media accounts, especially its official account on the audiovisual platform YouTube, enriched with unique online audiovisual branded content on the subject of love. Characteristic paradigms are the (a) “Make the move” («Κάνε το βήμα» in Greek language) in 2015, a mini original web-series of five short 11 to 18 min web-episodes [136] (Appendix K); (b) “Love like there’s no tomorrow” («Aγάπα σαν να μην υπάρχει αύριο» in Greek language) in 2016, another new interactive mini-film brand [137,138] (Appendix L); (c) “From the Start” («Aπό την Aρχή» in Greek language) in 2017, another mini original web-series of five short 13 to 18 min web-episodes [139] (Appendix M); and (d) “The Taste of Love” («H Γεύση της Aγάπης» in Greek language) in 2018, a new hourly online and television movie [140] (Appendix N).
In 2019, before the first wave of the COVID-19 pandemic, LACTA, influenced by the situation of that time, decided to break the stereotype of heterosexual couples, which has been featured in all campaigns for almost 20 years, opening a new chapter for true love. More specifically, in February 2019, 28 different couples in terms of age, gender, origin, style, identity, special needs and/or disability, starred in the new LACTA campaign through 11 short videos, under the name #ActForLove (https://www.actforlove.gr/, accessed on 7 November 2022). All couples starred in a two-minute video (Appendix O), while 10 of the 28 couples shared their love story in short black-and-white videos (Appendix P). Unfortunately, some humans reacted angrily on social media and then LACTA decided to call the inhabitants of Athens (Greece) to choose what they prefer between anger and love, creating a short video with the title “Keep only the love” («Κράτα μόνο την αγάπη» in Greek language) (Appendix Q). The next year, in 2020, LACTA presented a two-minute video entitled “See Love” («Δες την Aγάπη» in Greek language) (Appendix R), inviting us to see love beyond social solidity, addressing issues of personal style, body type, humans with disabilities, identity, gender, and color. In early 2021, it re-adapted the same video with statistics, focusing on gender, color, and personal styles, under the name “Share the Love” («Μοιράσου την Aγάπη» in Greek language) (Appendix S).
Before continuing, it should be mentioned that 2021 was also a year of black page for Greece. A rise in domestic violence cases stunned the nation, especially after 13 brutal femicides that were reported in the media until October 2021 (18 in total at the end of 2021 and 16 in 2022 at the time of writing this article). Many of these murders have been called “love” crimes. LACTA, synonymous with the word love over time, decided to make a short film that showed what is not a love story, under the name “Don’t Ever Leave Me” («Μη με Aφήσεις Ποτέ» in Greek language) (Appendix T), thus opening a new chapter for its sustainability goals through the factor for social equity and justice. This four-minute film was released in anticipation of November 25, the International Day for the Elimination of Violence against Women, creating a huge impact on Greek society. The storytelling begins as a cliché love story but soon takes a darker turn into an abusive, toxic relationship. The film ends with a warning to women to be on the lookout for the signs of psychological and physical abuse, providing further information in cooperation with “Diotima” («Διοτίμα» in Greek language), a non-governmental organization (NGO) in Greece devoted to Gender Rights and Equality. Summing up, this short film has instantly gone viral, trending on both Twitter and YouTube (more precisely, #1 trending video for 10 days), with most major media outlets in Greece and Cyprus, as well as a plethora of websites reporting on it (in Greece, Cyprus and abroad), causing much discussion (Appendix U), while it has been shown in schools as educational material. Finally, (a) it won (i) the audience award in the video category “Corporate Social Responsibility” at the 26th Webby Awards [141]; (ii) the Graphite Pencil at the D&AD Awards [142]; (iii) the Gold Lion in the Glass: The Lion for Change category at the Cannes International Festival of Creativity [143]; while (b) it was awarded two Gold Effies in the categories “Social Good—Brands” and “Branded Content & Entertainment”, also winning the Grand Effie at the Effie Awards Hellas 2022 and declaring LACTA as Brand of the Year [144].
In 2022, LACTA wondered if love is just romance, and what is this thing called love. Through a cover of the classic Greek love music song “What is this thing called love?” («Τι είναι αυτό που το λένε αγάπη;» in Greek language) first sung by Sophia Loren in the 1950s at its core, LACTA released its first campaign focusing on the global feeling of love (such as family love and love between friends) and not only the romance (Appendix V). It is well-known that feelings remain relevant and empower more consumers at more stages of life. Thus, the new campaign concludes with a new limited web-series of three 10 min web-episodes, entitled “Short Stories of Great Love” («Μικρές Ιστορίες Μεγάλης Aγάπης» in Greek language), exploring love even more and telling stories of maternal love, true friendship, and an unconventional romance [145] (Appendix W). The episodes were initially released on the campaign’s official online site (https://www.lactastories.gr/, accessed on 7 November 2022) and could only be unlocked by entering a code that was contained within each LACTA chocolate package [145]. Online viewers could share an episode with those they love, hiding a personalized note for them to discover, which would be presented during the end titles. When the web-series was widely released online, it became a big hit, with two of the episodes becoming top-trending videos on YouTube [145].

4.2. Concluding Discussion

The Greek LACTA chocolate has always targeted, focused, and aimed primarily at young adults, something which has also been pointed out by the participants who participated in the framework of focus groups. Over time, it undoubtedly became established as a sustainable symbol of love in both Greece and Cyprus, utilizing highly inventive techniques, strategic practices and modern methods from advertising, public relations, digital marketing, and mobile marketing from and through the Internet and social media, as well as multi-genealogical marketing. Undoubtedly, the effective integration of social media into marketing communications within its campaigns, as also highlighted in the literature [7,9,146], seems to have further increased its awareness and brand, thus achieving sustainability purposes through indirect digital marketing strategies in light of mainly viral marketing and social media marketing by the online users, audiences, consumers and fans/loyals (such as, for example, “Love in Action”, “Love in the end”, #ActForLove, “Don’t Ever Leave Me”, etc.).
Admittedly, it is a fact that LACTA also managed to identify various music songs with its brand through emotional aspects and quality of experience, so that they are now considered part of its sustainable brand awareness, thereby further achieving its sustainable communication. In addition, as stated in the literature [127,128], over time, it managed through its music songs to overcome the limits imposed by traditional advertising (i.e., syncing music songs with audiovisual commercials) and started producing entertainment through audiovisual branded content (e.g., through video clips, series, video games or television programs) (such as, for example, “The sweetest part of my life” by Panos Mouzourakis for “Lacta Surprises”, “Love comes at the end” by Antonis Remos for “Love in the end”, etc.). Besides, it now knows how to properly and sustainably use the feeling of truly falling in love through the sweet taste it leaves behind in a person or even in the soul or mind in every generation.
In conclusion, LACTA is considered a useful case study on how a brand can get close to its audience by engaging and delivering integrated healthy and sustainable communication experiences from and through the Internet and social media corresponding to each generation. Moreover, its audiovisual branded content may well be used as educational audiovisual content through modern and audiovisual technology-supported teaching methodologies and methods [6,22,111]. Summing up, on the one hand, what LACTA will continue to do, however, is to continue to (a) visualize and humanize, communicating its brand sustainability through media commercials, or through its music songs for its brand awareness through media or even from and through the Internet and social media; and (b) implement multi-generational marketing. Finally, sustainable communication is after all a commitment which helps build its reputation, and LACTA seem to know this all too well.

5. Conclusions and Epilogue

Internet technologies have re-tailored brands and brought about consuming modern branded content. The contemporary ways of consuming the experience in conjunction with the meta-evolution of the Internet (that is, from Web 1.0 to Web 2.0 and from Web 2.0 to Web 3.0) are now summed up in the emotional act of building a new and modern content, the audiovisual branded content. Communicators, public relations/marketing/advertising scholars, practitioners, business owners, public relations/marketing/advertising account executives/managers/directors, public relations/marketing/advertising associations worldwide will need to embrace these aforementioned changes as well as modern conditions in order to become recognizable and competitive. Fortunately, the aforementioned did not leave many companies and businesses around the world unmoved, as they have slowly begun to re-shape their brand and branded content into audiovisual branded content with the valuable help of the audiovisual industry.
The categorization of generational cohorts, which is characterized as a historical neighborhood, undoubtedly plays a decisive role in the creation and evolution of audiovisual branded content [6]. It is a fact that in recent decades there has been a heated debate about the generational cohort someone may belong to. Generational cohorts are of great interest, especially to the media environment and audiovisual industry, the communication-science triptych world and the public because members of each generation are usually influenced by the motivations and uses of the media [4,6,37]. Admittedly, this was fueled by the increasing production and distribution of multiple-multimodal material worldwide as well as by the wide expansion of the consumption of audiovisual content from and through the Internet and social media [9,36,37,38]. Undoubtedly, this phenomenon is evident primarily in the adult generations’ members with the younger adults today (2022) (i.e., GenZer and GenYer) as well as in humans born at least in the last five decades (i.e., GenXer), who tend to use the Internet and social media more and more in every aspect of their daily lives with multiple-multimodal media production, processing, and management tasks [4,6,37].
Ultimately, the latent research aim (i.e., the goal) of this article was to outline the de novo approach to the consumption of branded content from and through the Internet and social media. The brand case study of the Greek chocolate “LACTA” is a characteristic and typical as well as promising paradigm of strategic tactics and practices for effective execution from and through the Internet and social media for sustainable development through healthy communication. Admittedly, in this case study, branded content is more narrative-oriented than advertising persuasion, as the product and the brand become the content itself from and through the Internet and social media [9,21,120,147]—something that could be considered as the secret of the brand’s future sustainability. Summing up, what we must always keep in mind is that social media are always aimed at humans [9] (p. 203). Thus, the budding and old advertisers, communicators, brand/product managers, media, and public relations/marketing/advertising account executives/managers/directors, as well as public relations/marketing/advertising organizations and associations worldwide, and media planners must first understand and therefore interact with them without any exploitation. Additionally, members of generational cohorts, as aforementioned, (a) exchange information in their social environment from and through the Internet and social media; and (b) create, build, and maintain (i) symmetrical communication and dialogue, as well as (ii) relationships [4,6,9,37].
Overall, what we need to keep in mind is that there will always be room for further improvement of strategic tactics and practices for maintaining and improving a brand through a plethora of business, communication and advertising activities, properly using theoretical approaches as basic public relations, advertising, and marketing communication principles from and through the Internet and social media, considering what other brands have also done [7,9,118,123]. Additionally, knowledge about the multi-generational marketing and the generations are characterized as crucial because not all generational cohorts are alike. Finally, the digital age we live in requires us to always be receptive to any innovation that arises because we live in a world that is constantly changing. If this is really taken into consideration then future public relations, advertising and marketing communication will be better and more sustainable tomorrow.

Funding

This article received no external funding.

Institutional Review Board Statement

Ethical review and approval were waived for this study due to the consent provided by the participants as they were already informed in advance prior to their involvement in the online focus groups in the framework of the cross-cultural research project MACE. Furthermore, procedures and rules suggested in the reference handbook of the “Committee on Research Ethics and Conduct” of the AUTh, the guidelines of the Helsinki ethics protocol [100] and the relevant European provisions regarding the GDPR [101] have been fully complied with.

Data Availability Statement

The primary research data of the cross-cultural research project MACE used to write this article are available on request from the author. They are not publicly available since this research project has not yet been completed at the time of writing this article.

Acknowledgments

I would like to acknowledge the valuable contribution of Paschalia Poppi, for pointing out important comments and carefully proofreading and correcting the English language in the original draft of the manuscript. Also, I thank Anna Podara who introduced me to the exploration of generational cohorts, and George Kalliris who supervised the cross-cultural research project MACE. Moreover, I would like to thank the special issue editor, as well as all those who believed in my work. Finally, this article is dedicated to those who believe in true love.

Conflicts of Interest

The author declares no conflict of interest.

Abbreviations

AIDSAcquired Immunodeficiency Syndrome
ARGAlternate Reality Game
ATLAbove the line
AUThAristotle University of Thessaloniki
BTLBelow the line
CDCompact Disc
COVID-19Coronavirus disease 2019—official name for the disease caused by the SARS-CoV-2 (2019-nCoV) coronavirus
GDPRGeneral Data Protection Regulation
GenCerGeneration C
GenXerGeneration X
GenYerGeneration Y
GenZerGeneration Z
GPSGlobal Positioning System
HIMYMHow I Met Your Mother
ICTs Information and Communications Technologies
LGBT+Lesbian, Gay, Bisexual, Transgender, and more.
MACEMedia, Audiovisual Content, and Education
MP3MPEG-1 Audio Layer 3
NGONon-Governmental Organizations
OECDOrganization for Economic Cooperation and Development
OLMSOnline Learning Management Systems
OSNsOnline Social Networks
OTTOver-the-top
PDAsPersonal Digital Assistants
PhDDoctor of Philosophy
RPResearch Purpose
SaaSSoftware as a Service
SATCSex and the City
SMIsSocial Media Influencers
SNSsSocial Networking Sites
TCP/IPTransmission Control Protocol/Internet Protocol
UGCUser-Generated Content
UKUnited Kingdom
URLUniform Resource Locators
USAUnited States of America
VoDVideo on Demand
VLEVirtual Learning Environments
WWWWorld Wide Web
W3CWorld Wide Web Consortium
Y2KYear 2000
3CCollaboration, Contribution, and Community
3WWorld, Wide, and Web

Appendix A

MACE’s research project—URL: https://www.researchgate.net/project/Media-Audiovisual-Content-and-Education-MACE (accessed on 7 November 2022).

Appendix B

LACTA’s first television commercial in 1991—video URL: https://youtu.be/SKJZGATkhxI (accessed on 7 November 2022).

Appendix C

LACTA: “Love at first site”—video URL: https://youtu.be/-sO2Q7THdi4 (accessed on 7 November 2022).

Appendix D

The case study of “Love at first site”—video URL: https://vimeo.com/3600059 (accessed on 7 November 2022).

Appendix E

“Love in Action” by LACTA

Appendix F

“Lacta Surprises” by LACTA

Appendix G

LACTA: “Love in the end” (Thessaloniki)—video URL: https://youtu.be/93Lsm6m5kSg (accessed on 7 November 2022).

Appendix H

LACTA: “Love in the end” (I’m looking for Nikos)—video URL: https://youtu.be/EfoZgijeARM (accessed on 7 November 2022).

Appendix I

The case study of “Love in the end”—video URL: https://vimeo.com/59223565 (accessed on 7 November 2022).

Appendix J

LACTA Documentary: “Does Love Exit?”—video URL: https://youtu.be/ZdKFpF0n1no (accessed on 7 November 2022).

Appendix K

“Make the Move” by LACTA

Appendix L

“Love LIKE there’s No Tomorrow” by LACTA

Appendix M

“From the Start” by LACTA

Appendix N

LACTA: “The Taste of Love”—video URL: https://youtu.be/k4L0he1WC0I (accessed on 7 November 2022).

Appendix O

LACTA: #ActForLove—video URL: https://youtu.be/L6-8waUVHRc (accessed on 7 November 2022).

Appendix P

#ActForLove by LACTA (Love Stories)
  • #ActForLove by LACTA: Giannis—Nektarios (Γιάννης—Νεκτάριος in Greek language) #1—video URL: https://youtu.be/oMOXHFZSf60 (accessed on 7 November 2022).
  • #ActForLove by LACTA: Alexandra—Sammy (Aλεξάνδρα—Σάμμυ in Greek language) #2—video URL: https://youtu.be/s_rBWdHwr38 (accessed on 7 November 2022).
  • #ActForLove by LACTA: Nigia—Manolis (Νίγια—Μανώλης in Greek language) #3—video URL: https://youtu.be/bE-iIpxVtsA (accessed on 7 November 2022).
  • #ActForLove by LACTA: Polina—Nikos (Πωλίνα—Νίκος in Greek language) #4—video URL: https://youtu.be/JGxKJO-XS2c (accessed on 7 November 2022).
  • #ActForLove by LACTA: Juliet—Constantinos (Ζουλιέτ—Κωνσταντίνος in Greek language) #5—video URL: https://youtu.be/qfvKSEKOExc (accessed on 7 November 2022).
  • #ActForLove by LACTA: Despina—Giannis (Δέσποινα—Γιάννης in Greek language) #6—video URL: https://youtu.be/gqxlAhPx6CM (accessed on 7 November 2022).
  • #ActForLove by LACTA: Vaso—Kostas (Βάσω—Κώστας in Greek language) #7—video URL: https://youtu.be/f9NOAvCSYIY (accessed on 7 November 2022).
  • #ActForLove by LACTA: Giannis—Dimitris (Γιάννης—Δημήτρης in Greek language) #8—video URL: https://youtu.be/A0GfISHb26E (accessed on 7 November 2022).
  • #ActForLove by LACTA: Eva—Dimitris (Εύα—Δημήτρης in Greek language) #9—video URL: https://youtu.be/Ypm6dTHwnfE (accessed on 7 November 2022).
  • #ActForLove by LACTA: Zaklin—Alexandros (Zακλίν—Aλέξανδρος in Greek language) #10—video URL: https://youtu.be/bWzjV0m2ifA (accessed on 7 November 2022).

Appendix Q

#ActForLove by LACTA (Bus Stop)
LACTA: “Keep only the love”—video URL: https://youtu.be/oMOXHFZSf60 (accessed on 7 November 2022).

Appendix R

LACTA: “See Love”—video URL: https://youtu.be/sJvr_BGmzb0 (accessed on 7 November 2022).

Appendix S

LACTA: “Share the Love”—video URL: https://youtu.be/oLS9lWyytIs (accessed on 7 November 2022).

Appendix T

LACTA: “Don’t Ever Leave Me”—video URL: https://youtu.be/uxXPltBr8Jg (accessed on 7 November 2022).

Appendix U

The case study of “Don’t Ever Leave Me”—video URL: https://youtu.be/xlzEfsAOct8 (accessed on 7 November 2022).

Appendix V

LACTA: “What is this thing called love?”—video URL: https://youtu.be/OtQ1z0CK4dE (accessed on 7 November 2022).

Appendix W

“Short Stories of Great Love” by LACTA

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