Defining Brand Image

Through Production Chain

A CASE STUDY ON STUDIO GHIBLI

Presented by Arlenea H. Herdimansyah

Contents
1. Introduction to branding
2. Introduction to Studio Ghibli
3. Thesis Statement
4. Creation Process
5. Distribution Process
6. Exchange and Exhibition Process
7. Conclusion and Implications

Spirited Away (2001) dir. Hayao Miyazaki

 Branding:
What is important?
Branding is connatural to reputation as a force that establishes prominence among
consumers and competitors (Chong, 2010; Keller, 2013).

Branding seeks to build emotional bonds by creating values that translate into substantial
consumer experiences (Scolari, 2009; Sigthorsson & Davies, 2013; Troilo, 2015; Banet-
Weiser, 2017).

Branding is how a company markets emotions and personalities to nurture a symbiotic

mutualism relationship with consumers on the foundation of authenticity (Holt, 2003;
Scolari, 2009; Chong, 2010; Banet-Weiser, 2017).
 Introduction to Studio Ghibli
A Japanese animation studio that was founded in 1985 by Hayao Miyazaki (director), Isao
Takahata (director), and Toshio Suzuki (producer).

The studio has produced 23 animated films and have won various international awards.

"I believe that the uniqueness of Studio Ghibli lies in the fact that it is successful in
maintaining both 'quality of the content [of its films]' and 'commercial success'. — Suzuki,
1996 (Yoshioka 2018)
Thesis Statement Framework Used Implications
How each of Studio Andy Pratt's production Understanding how
Ghibli's production chain (2004) companies can solidify
chains contributes to their brand image by
shaping its brand Kevin Keller's strong paying attention to all
image. brand elements criteria aspects of their
(2013) production chain.
 Creation Process
The creation process "encompasses the most visible activities of the sector" (Pratt, 2004).
The creation process is where consumers first attempt to identify the company (Keller,
2013).

Authenticity and Environmentalism,

Consistency Feminism, and Realism

source: Animation World Network Princess Mononoke (1997), dir. Hayao Miyazaki
 Creation Process in Studio Ghibli
1. Authenticity and Consistency
Studio Ghibli's co-founders are heavily involved in the films' creation processes to uphold the
standards of the films' quality (Chute, 1998; McCarthy, 1999; Lamarre, 2009; Hu, 2010; Abbey,
2015).

Studio Ghibli employs a roster of permanent staff to solidify Ghibli's consistent aesthetic (McCarthy,
1999; Hu, 2010; Denison, 2015; Rendell & Denison, 2018; Yoshioka, 2018).

2. Environmentalism, Feminism, and Realism

"I have come to the point where I cannot make a movie without addressing the problem of humanity as
part of an ecosystem." — Miyazaki, 1997 (Chute, 1998; McCarthy, 1999; Hall, 2015)

Studio Ghibli celebrates the intrinsic positive traits of its female characters and allows them to exist
outside the conventional image of femininity (Chute, 1998; Cavallaro, 2006; Napier, 2006)

Studio Ghibli takes elements from real life for settings, sounds, and themes (McCarthy, 1999;
Cavallaro, 2006; Napier, 2006; Hu, 2010; Denison, 2015; de Wit, 2017; Kaku, 2018).
 Keller's brand
elements fulfilment
in Studio Ghibli's creation process

Memorability Meaningfulness Likeability

Studio Ghibli has kept Studio Ghibli imbues Studio Ghibli produces
its aesthetic consistent pro-environment and rich visuals and
for over thirty years. pro-feminism messages compelling storylines
in their films. brimming with realism
to enthral audiences.
 Distribution Process
The distribution process acts as a bridge between the product and its consumers.
Authenticity is particularly paramount here because it is the first instance consumers directly
engage with the product and the first chance for the brand to establish its presence in its
consumers' awareness (Keller, 2013; Banet-Weiser, 2017).

The Role of Distributing to

Toshio Suzuki Foreign Countries

source: Otaku USA Magazine Walt Disney Pictures

Distribution Process in Studio Ghibli
1. The Role of Toshio Suzuki
A key member of the creative process who liaises between the studio and the sponsors (Denison,
2015; Yoshioka, 2018).

Devised marketing campaigns that influenced consumers' understanding of the studio in its early
development years while keeping faithful to Studio Ghibli's core ideals (Yamanaka, 2008; Denison,
2015; Yoshioka, 2018).

2. Distributing the Films to Foreign Countries

All foreign releases undergo a thorough inspection from Ghibli and can only be aired after Ghibli has
approved it (McCarthy, 1999; Nicholson, 2018.

Studio Ghibli dictated that Disney is not allowed to cut even one second from the films in their
distribution rights deal (Cavallaro, 2006; Abbey, 2015).
 Keller's brand
elements fulfilment
in Studio Ghibli's distribution process

Transferability
Studio Ghibli films are available
to worldwide audiences, as long
as the films are appropriately
translated and no contents are
omitted.
Protectability
Studio Ghibli films and core
ideals are heavily guarded to
protect its authenticity.
 Exchange and Exhibition Process
The exchange process is where a brand's values come alive.
There are two aspects of the exchange process (Pratt, 2004) = exhibition function in venue-
based activities and the retail activity.
The exchange process establishes a ground for the brand to link tangible and intangible
brand associations (Keller, 2013).

Merchandise Art Museum

source: tdrexplorer.com source: nippon.com

 Exchange Process in Studio Ghibli
1. Art Museum
The art museum is a joint project of Studio Ghibli and Inokashira Park's local community, and it
presents Ghibli's history and operational processes and offers a wide array of unique merchandise
(Cavallaro, 2006; Lamarre, 2009; Denison, 2010; Denison, 2015; Rendell, 2018).

The architecture was designed by Miyazaki himself, and was built so intricately to offer an immersive
experience to its visitors and brand the building as a work of art in itself (Cavallaro, 2006; Denison,
2010; Denison, 2015).

2. Merchandise
Studio Ghibli is careful to keep the merchandise from overshadowing the films, as the founders have
noted: Studio Ghibli, first and foremost, is a company that creates films (McCarthy, 1999; Lamarre,
2009; Yoshioka, 2018).

Ghibli refused to grant Disney merchandising rights to guarantee that the quality of the merchandise is
on par with their standards (McCarthy, 1999; Denison, 2011; Rendell, 2018).
 Keller's brand
elements fulfilment
in Studio Ghibli's exchange process

Transferability Protectability Adaptability Likeability

Studio Ghibli's films are Studio Ghibli protects Studio Ghibli's museum Studio Ghibli's museum
able to penetrate its merchandise adapts the world of offers an immersive
international film authenticity and quality Ghibli to fit into the experience and unique
festivals from external forces real world merchandise
 Conclusion and Implication
1. Conclusion
Studio Ghibli has achieved all six of Keller's brand elements critera:
1. Ghibli is memorable in its consistent aesthetic throughout the years;
2. It is meaningful with its pro-environmental and pro-feminism messages conveyed in the films;
3. It is likeable with the resplendent visuals of its films and the artistry of its museum’s architecture and
merchandise;
4. It is transferable across geographic boundaries and products, as it is well-received internationally;
5. It is adaptable in transporting the world of Ghibli to fit the constraints of the real world;
6. It is protected by its strict distribution and merchandising policies, as Ghibli always prioritises the
quality of its films.

2. Implications
These findings have significant implications for understanding how companies can solidify their
brand image by paying close attention to all aspects of their production chain.
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