How to cook a meme: exploring content strategies in brand and user-generated memes on Instagram

Agrawal, Ashima et al. Article How to cook a meme: exploring content strategies in brand and user-generated memes on Instagram Cogent Business & Management Provided in Cooperation with: Taylor & Francis Group Suggested Citation: Agrawal, Ashima et al. (2024) : How to cook a meme: exploring content strategies in brand and user-generated memes on Instagram, Cogent Business & Management, ISSN 2331-1975, Taylor & Francis, Abingdon, Vol. 11, Iss. 1, pp. 1-18, https://doi.org/10.1080/23311975.2024.2366001 This Version is available at: https://hdl.handle.net/10419/326345 Standard-Nutzungsbedingungen: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Zwecken und zum Privatgebrauch gespeichert und kopiert werden. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich machen, vertreiben oder anderweitig nutzen. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, gelten abweichend von diesen Nutzungsbedingungen die in der dort genannten Lizenz gewährten Nutzungsrechte. Terms of use: Documents in EconStor may be saved and copied for your personal and scholarly purposes. You are not to copy documents for public or commercial purposes, to exhibit the documents publicly, to make them publicly available on the internet, or to distribute or otherwise use the documents in public. If the documents have been made available under an Open Content Licence (especially Creative Commons Licences), you may exercise further usage rights as specified in the indicated licence. https://creativecommons.org/licenses/by/4.0/ Cogent Business & Management ISSN: 2331-1975 (Online) Journal homepage: www.tandfonline.com/journals/oabm20 How to cook a meme: exploring content strategies in brand and user-generated memes on Instagram Ashima Agrawal, Daneshwar Sharma, Manoj Kumar Mishra, Mohd Asif Shah, Mumtaz Alam & Vinay Khandelwal To cite this article: Ashima Agrawal, Daneshwar Sharma, Manoj Kumar Mishra, Mohd Asif Shah, Mumtaz Alam & Vinay Khandelwal (2024) How to cook a meme: exploring content strategies in brand and user-generated memes on Instagram, Cogent Business & Management, 11:1, 2366001, DOI: 10.1080/23311975.2024.2366001 To link to this article: https://doi.org/10.1080/23311975.2024.2366001 © 2024 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 19 Jun 2024. Submit your article to this journal Article views: 5229 View related articles View Crossmark data Citing articles: 4 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=oabm20 Marketing | research article Cogent Business & ManageMent 2024, VoL. 11, no. 1, 2366001 How to cook a meme: exploring content strategies in brand and user-generated memes on Instagram ashima agrawala , Daneshwar sharmaa , Manoj kumar Mishrab , Mohd asif shah , Mumtaz alamd and Vinay khandelwale aJaipuria institute of Management, Jaipur, Rajasthan, india; boP Jindal university, Raigarh, india; cDepartment of economics, Kardan university, Kabul, afghanistan; dsocial science and Center for graduate studies, Fiji national university, Fiji; einstitute of Business Management, gLa university Mathura, india ABSTRACT in the realm of marketing, capturing the attention of Millennials and generation Z individuals, known for their short attention spans and ad-skipping tendencies, presents a formidable challenge for marketers. Memes have emerged as a short form of content infused with humour, allowing brands to captivate their audience. regardless of their popularity and effectiveness, memes are a nuanced and intricate marketing tool. Understanding the specific types of meme content that generate engagement is critical. Memes are not only expressions but also a platform for voicing opinions. this study compares brand-generated and user-generated memes from food delivery apps on instagram (n = 813), using the uses and gratifications theory as an analytical framework. the findings reveal notable differences between these two categories of memes, offering valuable insights for brand managers seeking to craft compelling and impactful meme-based campaigns. Introduction socializing is an integral component of human behaviour that involves interacting and engaging with others, establishing bonds in social communities, and fostering a sense of belongingness (Flanagan, 2020). traditional socializing venues include physical marketplaces, bars, salons, and grocery stores; however, with the rise of the internet, mobile communication, and social media (sM), socializing has taken a digital avatar. Over the years, sM platforms have emerged as one of the leading platforms for socialising (Brinkman etal., 2020; Forsgren & Byström, 2018). a Forbes (2023) report finds that 4.9 billion sM users worldwide spend approximately 2 hours daily on various sM platforms led by instagram. With sM’s massive user base and growing importance as a tool for increasing engagement (kitchen, 2023), marketers have begun to use instagram as their preferred channel for communicating with their target audiences (razzaq et al., 2023). Due to the excessive branding on sM, instagram has become cluttered with branding content, which has caused consumers and target audiences to have less engagement and further leading to avoid or skip the branded content (Jung & heo, 2021; Waqas et al., 2021). to cut through this clutter, and attract users’ attention and engagement, memes have emerged as one of the powerful marketing tools (aleem et al., 2023; Malodia etal., 2022; razzaq etal., 2023). Memes are like digital sparks that ignite across the internet, spreading concepts, ideas, or trends in forms like images, videos, having catchy phrases. created with awareness of each other, they can be shared, replicated, and tweaked by users, forming a vibrant tapestry of online culture (Malodia et al., 2022; shifman, 2013). Memes possess this unique ability to convey intricate messages in a simple, easily digestible manner, making them not just entertaining but also a © 2024 the author(s). Published by informa uK Limited, trading as taylor & Francis group CONTACT Mohd asif shah [email protected] Department of economics, Kardan university, Parwane Du, 1001, Kabul, afghanistan. Present affiliation of Vinay Khandelwal: iCFai Business school, iCFai university, Jaipur 302031, india. https://doi.org/10.1080/23311975.2024.2366001 this is an open access article distributed under the terms of the Creative Commons attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. the terms on which this article has been published allow the posting of the accepted Manuscript in a repository by the author(s) or with their consent. ARTICLE HISTORY received 1 april 2024 revised 25 May 2024 accepted 29 May 2024 KEYWORDS social media; instagram; memes; brand-generated; user-generated; content strategy REVIEWING EDITOR len tiu Wright, De Montfort University Faculty of Business and law, United kingdom of great Britain and northern ireland SUBJECTS Business, Management and accounting; economics; technology 2 a. agraWal etal. powerful medium for communication (nieubuurt, 2021). they can spread quickly and are highly engaging because they can incorporate humour, sarcasm, quiddity, and ironic texts (Brubaker et al., 2018). Memes have grown in popularity, with one million memes being shared on instagram per day (instagram, 2020). as per Forbes (2018b) survey on sM usage, an average millennial views 20–30 memes daily, and 75% of 13-36-year-olds (and 79% of 13 to 17-year-olds) share memes (YPulse, 2019). Memes achieve approximately ten times more reach and garner 60% more organic interaction compared to standard marketing strategies (Forbes, 2018b). Over 60% of individuals express a greater inclination to purchase from companies that incorporate memes into their marketing strategies (amra, 2023) . therefore, we may say that memes are influential on sM and can have an impact on the world of advertising and marketing. sM is a bustling arena where both brands and users engage in meme posting. Brand-generated memes cleverly intertwine elements like the brand’s logo, slogan, or colours with humour and creativity, delivering a brand message while subtly referencing products, values, or unique selling points, thus establishing brand presence and visibility without directly promoting sales (razzaq etal., 2023; Vardeman, 2024) whereas user-generated brand-related memes typically contain candid feedback, opinions, and experiences from the brand’s products and services in the form of satire, a critique that may harm the brand image (Brubaker et al., 2018). these two types of memes often create ambiguity, posing a challenge for brands. the intent for creating and sharing memes on sM by brands and users is distinct and when brands use memes to communicate, they face a problem as users also create memes about the brand, and these may not always match what the brand wants to say. this poses a challenge for brand managers, as they must discern the implications of memes for their brand and evaluate their impact on public perception. in the context of memes, past studies have either focussed on brand-generated memes or user-generated memes (Brubaker et al., 2018; Malodia et al., 2022; razzaq et al., 2023), but very few studies have focussed on both. in our study, we compare brand-generated memes with user-generated memes in the context of content dimensions required in a meme along with various styles and types of humour. Based on this, the objective of this study is to investigate and compare different content strategies employed in both categories of memes in the form of message appeal (emotion, information, entertainment, and creativity) with the overarching framework of uses and gratification theory along with various styles and types of humour. this study could help brands differentiate themselves from user-generated content, allowing them to maintain their image, trust, and engagement with their audience. this study significantly contributes both to theory as well as practice. through a deeper understanding of these nuances, brand managers can better navigate the intricacies of social media marketing and effectively leverage memes to enhance brand engagement and perception. By discerning the intent behind both brand and user-generated memes, brand managers can craft more strategic and impactful social media strategies that resonate with their target audience and reinforce their brand identity. the rest of the article is organized as follows: literature review, research method, results, discussion, implications, future research scope, and conclusion. Literature review Memes in marketing Meme is a term coined by zoologist richard Dawkins in his book ‘the selfish gene’, derived from the greek word ‘mimema,’ meaning something that can be imitated (Dawkins, 1976; shifman, 2013). a meme is a piece of information, and a part of cultural texts that can be created, imitated, and replicated on the internet. they can be disseminated briskly via sM forums, online blogs, emails, messaging platforms, and video-sharing websites (shifman, 2014; tuten & solomon, 2018). Memes serve as an innovative communication tool, enabling individuals to easily convey their ideas to a wider audience, circulate them, and share information (Brubaker et al., 2018). Memes typically revolve around current trends, popular culture phenomena, and political topics. Memes are a fusion of text, images, audio, videos, and giFs, often imbued with humour, and can be crafted individually or as a blend of these elements (Brubaker et al., 2018). Memes have become particularly prevalent among the digital generation, serving as a ubiquitous form of communication. Memes have emerged as a light-hearted and amusing avenue for individuals to cOgent BUsiness & ManageMent 3 reflect on the happenings of the world around them. through humorous and often cleverly crafted content, memes provide a platform for people to relate to each other better, finding common ground in shared experiences and cultural references. additionally, memes serve as a powerful means of expression, particularly when words alone may feel insufficient to convey one’s thoughts or emotions. in essence, memes have become more than just fleeting online content; they have evolved into a cultural phenomenon that fosters connection, expression, and understanding in an increasingly digital world (Vardeman, 2024). Memes have become the lingua franca of gen Z and millennials on sM platforms (Forbes, 2018a; YPulse, 2019). table 1 presents a comprehensive overview of existing literature on memes from various perspectives. Memes possess certain characteristics like being humorous where the content is entertaining as one of the intentions is to make people happy (sharma, 2018; shifman, 2013), having emotional intensity that can arouse certain emotions in humans post watching a meme and further lead to sharing with others (shifman, 2013). another characteristic is easy propagation where one can easily comprehend the meaning of memes without much brain taxation (Berger & Milkman, 2012; cannizzaro, 2016), fidelity which refers towards the quality of the meme that can be easily replicated further, and longevity i.e., the longer a meme lives, the more it can be remixed in different contexts (knobel & lankshear, 2007). Memes have gained humongous traction on sM for various reasons. First, as they are witty, they tend to attract the audience and keep them engaged with their content when compared to simple texts and serious images, especially in the case of young audiences. second, memes are cost-effective as they are easy to create with little or no cost when compared with traditional marketing methods. third, they are in visual formats which are better than any text promotional messages. Finally, memes are relatable to the majority of audiences which leads to more sharing, liking, and commenting and results in high engagement, visibility, and recall. With such a gamut of advantages of memes, various brands in different industries and sectors like food delivery apps (Uber eats, Zomato, and swiggy), over-the-top platforms (netflix, amazon Prime, and Voot), grocery delivery apps (Dunzo and Blinkit), dating apps (tinder and Bumble), fast food chains (McDonald’s, Burger king, and Wendy’s) have started incorporating memes in their marketing strategy (Malodia etal., 2022; Dey, 2022). Brands like gucci and Ola electric are laying out campaigns where they ask their audiences to prepare memes for them and this precisely showcases that memes have become the most used ways to convey messages maybe by brand or audience (Dixit, 2023; Yang, 2022). this form of communication has become a new pathway for marketers to reach their audiences and keep them engaged and involved. Categorizing meme message appeal: uses and gratification (U&G) theory in advertising, message appeal is a particular strategy or approach which is used to grab attention, arouse feelings, and persuade the target audience to act by making a purchase or an inquiry. the appeal serves as the central theme of the advertising creative strategy because it links the brand to the desires of its target audience and serves as a link between consumers and the advertising content. content has become essential in today’s digital landscape, where consumers have access to vast amounts of information. in past literature, swanson (1987) promoted a deeper comprehension of the function of message content in U& g theory research. U & g theory is a widely used framework that focuses on why people actively choose specific media to satisfy their needs and desires (gan, 2017). this theory explains why individuals choose one medium over another and explore the satisfaction derived from using media. U&g theory highlights the active role of the audience in selecting and using media based on their motivations and gratifications which in turn impacts their content consumption (kamboj, 2020; smock et al., 2011). the application of the U & g theory in advertising has facilitated a nuanced understanding of various media formats, allowing marketers to tailor messages effectively by deciphering the gratifying factors within each medium. this theory has been studied in the context of various advertisements on different media types like radio (katz et al., 1973), newspapers (elliott & rosenberg, 1987), television, and digital bulletins (luo, 2002). Various types of media have led to different motivations, and with new media and content genres constantly emerging, each study on U& g theory creates its way of categorizing these motivations. 4 a. agraWal etal. Table 1. Details of extant literature review on memes. s.no. authors Research objective theory Methodology Participant details social media platform industry/ product Result 1. (taecharungroj & nueangjamnong, 2015) the study explores various types and styles of humour in memes and the virality effect on Facebook. theory of Humour Mixed Method approach (Content analysis & anoVa) n = 1000 memes Facebook not specified the most common style of humour in Facebook memes is affiliate & aggressive and sarcasm & silliness type of humour. 2. (Brubaker et al., 2018) this study investigates how users interact with organisations by producing and disseminating brand-related content online. not specified Content analysis n = 653 memes imgur it, Beverages and automobile Memes help actively engage with people and exhibit engagement strategies. 3. (Benaim, 2018)to investigate how the symbolic value of internet memes can be used to spur innovation in the consumption of goods and services. not specified exploratory n = 197 memes Know Your Meme animation, Visual and Film, Video game, Musical and Dance, Financial, Marketing internet memes have become an asset for marketing, as well as the catalyst for many new activities such as merchandise, tailored services, and job roles. 4. (sharma, 2018)the study investigates how brands can engage with audiences amid the growing trend of internet memes. not specified netnography none Facebook Comedy industry imitating and modifying memes offers brands an opportunity to market themselves on sM platforms. 5. (Chuah et al., 2020) to investigate the iconicity of memes and how it affects their use in local contexts. not specified Qualitative study n = 50 respondents none not specified this study provides valuable insights for local businesses planning sM marketing, especially those aiming to capitalize on the increasing popularity of internet memes. 6. (teng et al., 2022)this study explores does internet memes affect brand image social Contagion & symbolic Value theory Delphi technique & survey n = 348 respondents not specified Marketing internet memes enhance the brand image. However, not all meme traits, though, are related to brand image. 7. (Yang, 2022)this study explores whether humorous memes increase brand recall, post attitude, and online sharing intention. not specified experiment & survey Method n = 258 respondents twitter Fashion industry Humorous memes in twitter posts increase the consumer’s humour perception which leads to a positive attitude and sharing intention and contrary serious images lead to better brand recall. 8. (Malodia et al., 2022) this study prepares a framework for viral memes that have antecedents, moderators, and consequences. schema theory, social Contagion theory Mixed Method approach interview (n = 35 respondents), survey (n = 458 respondents) not specified Food industry the antecedents were positively related to the virality of memes and memes help in increasing brand recall and brand engagement. 9. (Razzaq et al., 2023) the paper suggests using speech acts to increase engagement by using the meme marketing taxonomy as a guide for practitioners. speech act theory, theory of Consumption Values Conceptual and qualitative content analysis n = 699 memes instagram Food & Beverage, e-commerce, Fashion & technology Brands majorly use assertive speech acts in their memes and meme marketing helps in forming a connection and relationship with customers. 10. (Rogers & giorgi, 2023) this study aims to show how the website or platform from which memes are sourced affects studying memes as a collection. not specified observation analysis none Know Your Meme, imgur, 4chan, tiktok, Crowdtangle not specified this study demonstrates how each website constructs and arranges meme collections in a distinctive manner, which influences how each website conceptualises memes. cOgent BUsiness & ManageMent 5 With the emergence of new media formats, U& g theory has been studied in the context of mobile phones (leung & Wei, 2000), the internet (ko etal., 2013), and sM platforms (Qin, 2020). Prior studies have identified various gratifications that are quite prevalent such as information seeking, social sharing, self-status seeking, escapism, convenience, entertainment, socializing, emotions, and self -presentation (kaur et al., 2020). U& g theory is considered as one of the influential theories in the context of communication research (ruggiero, 2000). Memes have evolved into a creative channel for brands to convey messages with impact, while the U&g theory proves instrumental in deciphering the diverse motivations underlying meme engagement, thus illuminating how memes fulfil individual needs and desires. Prior studies in the context of memes have identified information and entertainment as two certain gratifications under the U & g theory (rathi & Jain, 2024). Memes display emotions that foster connections with audiences which makes them relatable and engaging (chowdhury & chakraborty, 2021). Memes embrace unfamiliar combinations of familiar ideas and actively use personal skills and knowledge to combine existing elements into new products, and ideas, and that makes memes creative and novel (Brunello, 2012; Medium, 2023). creativity as a gratification is new and has been explored in the context of Pinterest (huang & su, 2018). this study delves into the gratifications of information, entertainment, emotions, and creativity through the lens of U&g theory, specifically focusing on meme content. Humour style and humour type humour is present in all cultures, and it is widely used as a messaging tactic in advertising (toncar, 2001). humour effectively captures consumer attention, positively impacts the mood, and is widely utilized in print and media advertising (chan & lowe, 2021). however, humour does not guarantee success, and overuse of humour may create a negative impact. Using humour in advertising can be tricky and it requires careful consideration (Djambaska et al., 2015). the effectiveness of humorous communication depends on how well the humour aligns with the message (speck, 1991). Properly utilizing various types of humour in message design is crucial for successful communication. studying the different types of humour can provide insights into how they impact communication effectiveness (taecharungroj & nueangjamnong, 2015). Various methods exist for categorizing humour, but one of the most commonly utilized approaches, both in print and broadcast media and in the analysis of humour in memes, involves the classification into seven distinct categories (catannescu & tom, 2001; taecharungroj & nueangjamnong, 2015). First is comparisoncreating humour by blending two or more elements to form a comedic situation. second: personification—ascribing human traits to animals, plants, or objects. third: exaggeration—amplifying something beyond its normal scale or reality. Fourth: pun—employing language elements to generate fresh and amusing interpretations. Fifth: sarcasm—offering obvious ironic reactions or scenarios. sixth: silliness—responding to absurd situations by making comical facial expressions. and the last surprise: humour stemming from surprising or unforeseen circumstances. Prior studies have found usage of silliness humour prevalent in television advertisements and sarcasm used more in magazines (catannescu & tom, 2001. Previous research on memes has discovered that internet memes often incorporate humour based on sarcasm (taecharungroj & nueangjamnong, 2015). Understanding humour style is essential for comprehending how humorous messages are communicated from the perspective of the sender (stieger et al., 2011). there are four major styles of humour: affiliative, self-enhancing, aggressive, and self-defeating (Martin et al., 2003). People who have a strong sense of affiliative humour enjoy making funny remarks, telling jokes, and engaging in witty conversations to entertain others and build friendships. secondly, individuals who lean towards self-enhancing humour typically find humour in everyday life situations and maintain a positive attitude, even during difficult times. they often see the funny side of things and stay cheerful despite challenges. Both of these styles of humour are positive. On the contrary, aggressive humour is a style of humour where people make jokes without thinking about how it might make others feel. they often say things that can hurt or push others away. People who use self-defeating humour make jokes about themselves, often saying funny things that put themselves down, which can make others laugh. Both styles of humour are negative. this study expands on meme content which style and type of humour are employed in brand and user-generated memes. Understanding humour in memes will provide insights into their underlying meaning and purpose. 6 a. agraWal etal. Meme content dimensions Emotional appeal this appeal is a persuasion technique that uses emotional content to generate an emotional response to a message (chou & lien, 2010; Wang etal., 2014). this appeal arouses feelings, reactions or stimulates psychological, social, or emotional requirements to persuade customers (alhabash etal., 2013). the emotions can be exhibited both positively (such as happiness, satisfaction, love, hope) or negatively (such as anger, sadness, and anxiety). Past researchers have identified emotion as a critical component that has a significant impact on a message’s effectiveness (Yoo & Macinnis, 2005). advertisements with emotional appeal have created positive word of mouth in the context of television and radio (rizwan et al., 2013; teichert etal., 2018). Using emotions in memes could be a brilliant strategy, especially since memes have become a spectacular medium for brand communication. Informational appeal in this appeal brands convey a message about their product or services that is detailed, provides clarity, and persuades customers to make a buying decision (laskey et al., 1989). a rational or informational appeal highlights the brand’s practical worth, economy, popularity, convenience, health, performance, and durability (Dix & Marchegiani, 2013). in the context of television ads, resnik & stern (1977) found that informative advertisements help consumers make informed purchasing decisions, and information plays a critical role in shaping consumer attitudes on electronic commerce websites (gao & koufaris, 2006) and sM advertising (taylor et al., 2011). informative advertising on sM platforms captures users’ attention, encourages them to relate ads with positive images, and can even convince them to share messages with their friends (lee & hong, 2016). Memes have emerged as a new medium for brands to communicate their messages, and they may have the potential to become an ideal blend of humour, wit, and information. Entertainment appeal entertainment is a significant component of an advertising message that encourages audiences’ behaviour to continue following the brands more often (kang, 2005). this appeal provides fun, enjoyable, and refreshing elements to attract consumers’ attention and keep their interest (gavilanes et al., 2018). Past research suggests that increased entertainment value motivates frequent sM usage and increases consumer hedonic needs (Fischer & reuber, 2011). the entertainment message helps to reach more consumers and effectively engage them, and entertaining and funny content influences the attitude towards brand advertisements (Dehghani et al., 2016; tsanget al., 2014). knowing that memes are humorous, witty, and entertaining, they may assist brands in increasing visibility and shares. Creative appeal researchers have a history of studying creativity in radio, billboard, and television advertising (Belch & Belch, 2013; Janssens & Pelsmacker, 2005; Wilson et al., 2015). aaker & Myers (1982) discovered that creative advertisements increase information processing, recall, and attention; and hartley and Patti (1988) indicate that creative advertisements generate positive attitudes and purchase intentions. anderson (2004) discovered that the apple iPod received positive reviews due to innovative advertisements that stood out in the crowd. as per a harvard Business review (2013) study, the product categories that heavily invest in creative advertising are body care, chewing gum, food and beverages, and fast-moving consumer goods. in today’s context, consumer brands like nike, McDonalds, imperial Blue, Burger king, heinz ketchup, and other brands have made heads turn with their unique and creative ads (Williams, 2022). creative advertisements provide a brand with a competitive advantage over its competitors in the industry, as well as the opportunity to stand out. the creative ad is considered creative when it elucidates novelty, unexpectedness or unpredictability and an element of surprise (haberland & Dacin, 1992; smith & Yang, 2004). Brands on sM employ various message appeals and humour to generate engagement, indicating that their intended message is well-received by the target audience (kusumasondjaja, 2018). Memes generate cOgent BUsiness & ManageMent 7 engagement via likes, comments, and shares. When users actively interact with marketing content by liking, commenting, or sharing, they enhance its potential virality and contribute to its spread and impact among broader audiences (Quesenberry & coolsen, 2018). this organic engagement fosters a dynamic cycle of interaction, amplifying the message’s reach and influence across digital platforms. in this regard, this research explores the following questions: rQ1: What content dimension do brands and users use in their memes on sM platform instagram? rQ2: What style of humour strategy do brands and users use in their memes on sM platform instagram? rQ3: What type of humour strategy do brands and users use in their memes on sM platform instagram? Research method the study relies on content analysis as its primary methodological tool, which involves systematically examining large datasets of video, image, or text to discern patterns, trends, and frequencies, allowing researchers to draw meaningful insights (stemler, 2001). Over time, there has been a significant increase in the utilization of content analysis within the communication field and across various industries including social media, television advertisements, and newspapers. it involves conducting a systematic review of extensive datasets to establish organized categories using methodological coding systems and this process proves invaluable in simplifying intricate data for improved understanding (Weber, 1990). Previous research has applied content analysis across diverse domains, including skincare and cosmetic websites (seelig et al., 2021), luxury fashion branding (ahn & Mundel, 2018), and television advertisements (chan, 2020). additionally, content analysis has been employed to investigate topics such as health advisories related to cOViD-19 (Deng et al., 2022) and post-pandemic advertising trends (sharma & Meena, 2024). in this study, the theoretical framework consists of the U&g theory elements including emotional, informational, entertainment, and creative appeal, alongside humour style and humour type. these frameworks are utilized to analyse message strategies among both brand and user-generated memes, aiming to dissect the underlying narrative techniques within meme content. Data collection instagram is the second most-used platform by marketers to promote their products and services (statista, 2023). this platform has the highest user base from ages 18 to 34 which comprises mainly two generation cohorts: gen Z and millennials (statista, 2024a). instagram focuses on images, short videos, and reels which makes it more appealing and engaging than text-only posts. Due to its young demographic usage, and engagement, instagram has become one of the most suited platforms for our research on meme marketing as memes are highly popular among the young population (Vardeman, 2024). instagram has its highest user base in india (shewale, 2024). according to a Forbes india (2022) report, Zomato, and swiggy are two brands that started the meme marketing trend in india and are still one of the best meme content creators on instagram. Both brands operate within the online food delivery app sector, a market largely influenced by gen Z and millennial users, making them ideal subjects for this study (sudra, 2023). Zomato holds the title of the most downloaded app globally, closely followed by Uber eats and swiggy (statista, 2024b); notably, Uber eats in india was recently acquired by Zomato. hence Zomato and swiggy become the leading brands in the food delivery space, especially in india. the online food delivery app industry has grown in popularity especially post-cOViD as there has been significant change in eating habits and order-ins due to friendly applications, the ability to reach large customers at a lower cost, and the ability to choose food at one’s convenience with little hassle (Mckinsey & company, 2021). it is expected that this industry will become a permanent fixture in the dining space over the next few years. gen Z and millennials highly use food delivery applications, and because of their frequent usage of social media, they are often the target audience. Due to these significant reasons, our study selects Zomato and swiggy as two brands for the study. to simplify the study, image macro memes i.e., memes with text above or below the image were selected (Dynel, 2016). image macro comes across as one of the most common memes and is easily recognizable by people on the internet (ayele et al., 2020). 14 a. agraWal etal. srinagar, india. he has completed his master’s (M.a.), bachelor’s (B. a), and doctorate degree (Ph.D.) in economics, with more than nine years of teaching and research experience at higher educational institutions across several countries like india, afghanistan, and ethiopia. he has published research papers in several reputed journals and has many patents in his name. he has attended more than fifty workshops and faculty development programs sponsored by the government of india, and has been the keynote speaker for many international conferences and seminars. Mumtaz Alam, currently serving as associate Professor in social science and Director of centre for graduate studies at Fiji national University, obtained his PhD from aligarh Muslim University. his research focuses on medical history across southeast asia and the Pacific, exploring their intersections with colonial and post-colonial contexts. Dr. alam’s work uniquely combines social and medical history, incorporating oral testimonies and written records. he authored books ‘health, Medicine, and encounter of cultures in india in 2022 and ‘rethinking nationalism: exploring its roots, Varieties, and theories in 2023. as an active researcher and member of prestigious associations like ihc, Pha, aha, and anZshM, Dr. alam has received accolades, including the Best Paper Prize in science and technology at the indian history congress in 2011. his diverse research portfolio spans Venereal Diseases, smallpox vaccination, social Policy, environmental history, climate change, gender, and ecotourism. holding editorial roles in distinguished international journals, Dr. alam contributes significantly to historical scholarship. Vinay Khandelwal is a faculty of finance and analytics. he is currently associated with the icFai Business school, icFai University Jaipur as an assistant professor. Dr. khandelwal is also associated with University of stirling as an adjunct faculty to the students of Msc Finance. he holds his doctorate in finance from Jaipuria institute of Management. Dr. khandelwal holds his expertise over subjects such as corporate Finance, investment and Portfolio Management, Financial Derivatives, sustainability reporting, and Quantitative Methods in Finance. his research interests include esg reporting, asset Pricing, iPO Underpricing, and corporate greenwashing. ORCID ashima agrawal http://orcid.org/0000-0003-4656-2140 Daneshwar sharma http://orcid.org/0000-0002-3224-2763 Manoj kumar Mishra http://orcid.org/0000-0003-1857-9076 Mohd asif shah http://orcid.org/0000-0001-6164-0915 Mumtaz alam http://orcid.org/0000-0002-0945-2447 Vinay khandelwal http://orcid.org/0000-0002-3604-0675 Data availability statement the data that supports the findings of the study is available from the corresponding author upon reasonable request. References aaker, D. a., & Myers, J. g. (1982). Advertising management Prentice - Hall. englewood cliffs. ahn, h., & Mundel, J. (2018). luxury brand advertising in argentina: changes following import restrictions. Journal of Marketing Communications, 24(3), 1–18. https://doi.org/10.1080/13527266.2015.1079548 aleem, a., loureiro, s. M. c., schivinski, B., & aguiar, M. (2023). What if utilitarian products are regarded as high-status? the moderate role of iconic and popular as two dimensions of brand coolness. Journal of Marketing Communications 1-21, 30(4), 508–528. https://doi.org/10.1080/13527266.2022.2152077 alhabash, s., Mcalister, a. r., hagerstrom, a., Quilliam, e. t., rifon, n. J., & richards, J. i. (2013). Between likes and shares: effects of emotional appeal and virality on the persuasiveness of anticyberbullying messages on Facebook. Cyberpsychology, Behavior and Social Networking, 16(3), 175–182. https://doi.org/10.1089/cyber.2012.0265 amra, e. (2023). "top meme statistics in 2023." https://www.amraandelma.com/meme-statistics/. anderson, M. (2004). the fine print. Adweek, 45(23), 24–25. ashley, c., & tuten, t. (2014). creative strategies in social media marketing: an exploratory study of branded social content and consumer engagement. Psychology & Marketing, 32(1), 15–27. https://doi.org/10.1002/mar.20761 ayele, s. g., thompson-robinson, M., andrews, J., & Dodge Francis, c. (2020). Factors associated with mental health service utilization among ethiopian immigrants and refugees. Journal of Immigrant and Minority Health, 22(5), 965– 972. https://doi.org/10.1007/s10903-020-00984-w Belch, M. a., & Belch, g. e. (2013). the future of creativity in advertising. Journal of Promotion Management, 19(4), 395–399. https://doi.org/10.1080/10496491.2013.817219 Benaim, M. (2018). From symbolic values to symbolic innovation: internet-memes and innovation. Research Policy, 47(5), 901–910. https://doi.org/10.1016/j.respol.2018.02.014 cOgent BUsiness & ManageMent 15 Berger, J., & Milkman, k. l. (2012). What makes online content viral? Journal of Marketing Research, 49(2), 192–205. https://doi.org/10.1509/jmr.10.0353 Brinkman, c. s., gabriel, s., & Paravati, e. (2020). social achievement goals and social media. Computers in Human Behavior, 111, 106427. https://doi.org/10.1016/j.chb.2020.106427 Brubaker, P. J., church, s. h., hansen, J., Pelham, s., & Ostler, a. (2018). One does not simply meme about organizations: exploring the content creation strategies of user-generated memes on imgur. Public Relations Review, 44(5), 741–751. https://doi.org/10.1016/j.pubrev.2018.06.004 Brunello, J. (2012). Internet memes and everyday - creativity: Agency, sociability and the aesthetics of postmodernism. erasmus University. caliandro, a., & gandini, a. (2016). Qualitative research in digital environments: A research toolkit. taylor & Francis. cannizzaro, s. (2016). internet memes as internet signs: a semiotic view of digital culture. Sign System Studies, 44(4), 562–586. catannescu, c., & tom, g. (2001). types of humor in television and magazine advertising. Review of Business, (1-2), 92. chan, F. F. Y. (2020). Mapping between placement strategies and placed product attributes in television programs. Journal of Marketing Communications, 26(7), 780–798. https://doi.org/10.1080/13527266.2019.1570965 chan, F. F. Y., & lowe, B. (2021). Placing products in humorous scenes: its impact on brand perceptions. European Journal of Marketing, 55(3), 649–670. https://doi.org/10.1108/eJM-10-2018-0701 chou, h., & lien, n. (2010). advertising effects of songs’ nostalgia and lyrics’ relevance. Asia Pacific Journal of Marketing and Logistics, 22(3), 314–329. https://doi.org/10.1108/13555851011062278 chowdhury, a., & chakraborty, P. (2021). Memes that evoke emotions: a neurodesign strategy for brand communication and experience. in Design for Tomorrow - Volume 1: Proceedings of ICoRD 2021 (pp. 147–156). springer. chuah, kee-Man, Yumni Musfirah kahar, and looi-chin ch’ng. 2020. "We “meme” business: exploring Malaysian youths’ interpretation of internet memes in social media marketing." International Journal of Business and Society, 21(2), 931–944. https://doi.org/10.33736/ijbs.3303.2020 cruthirds, k. W., Wang, V. l., Wang, Y. J., & Wei, J. (2012). a comparison of humor styles in Us and Mexican television commercials. Marketing Intelligence & Planning, 30(4), 384–401. https://doi.org/10.1108/02634501211231856 Dawkins, r. (1976). The selfish gene (40th—anniversary). Oxford University. Dehghani, M., khorram niaki, M., ramezani, i., & sali, r. (2016). evaluating the influence of Youtube advertising for attraction of young customers. Computers in Human Behavior, 59, 165–172. https://doi.org/10.1016/j.chb.2016.01.037 Deng, t., ekachai, D., & Pokrywczynski, J. (2022). global cOViD-19 advertisements: Use of informational, transformational and narrative advertising strategies. Health Communication, 37(5), 628–636. https://doi.org/10.1080/1041023 6.2020.1859725 Dix, s., & Marchegiani, c. (2013). advertising appeals. Journal of Promotion Management, 19(4), 393–394. https://doi. org/10.1080/10496491.2013.817218 Dixit, P. (2023). "send memes and win Ola s1 Pro special edition." Business Today. accessed May 27 https://www. businesstoday.in/amp/auto/story/send-memes-and-win-ola-s1-pro-special-edition-says-ola-ceo-bhavish-agga rwal-383083-2023-05-27. Djambaska, a., Petrovska, i., & Bundaleska, e. (2015). is humor advertising always effective? Parameters for effective use of humor in advertising. Journal of Management Research, 8(1), 18. https://doi.org/10.5296/jmr.v8i1.8419 Dolan, r., conduit, J., Frethey-Bentham, c., Fahy, J., & goodman, s. (2019). social media engagement behavior: a framework for engaging customers through social media content. European Journal of Marketing, 53(10), 2213– 2243. https://doi.org/10.1108/eJM-03-2017-0182 Dynel, M. (2016). i have seen image macros!” advice animals memes as visual-verbal jokes. International Journal of Communication, 10, 29. elliott, W. r., & rosenberg, W. l. (1987). the 1985 Philadelphia newspaper strike: a uses and gratifications study. Journalism & Mass Communication Quarterly, 64(4), 679–687. https://doi.org/10.1177/107769908706400401 Fischer, e., & reuber, a. r. (2011). social interaction via new social media: (how) can interactions on twitter affect effectual thinking and behavior? Journal of Business Venturing, 26(1), 1–18. https://doi.org/10.1016/j. jbusvent.2010.09.002 Flanagan, c. (2020). Early socialisation: Sociability and attachment. routledge. Forbes india. (2022). "engineering the viral: the science behind meme marketing." https://www.forbesindia.com/ article/storyboard18/engineering-the-viral-the-science-behind-meme-marketing/78877/1. Forbes. (2018a). "Don’t be a tourist in meme-land: how to speak the language of generation Z." accessed December 20, https://www.forbes.com/sites/forbestechcouncil/2018/12/20/dont-be-a-tourist-in-meme-land-how-to-speak-thelanguage-of-generation-z/?sh=231bd35a6aa4. Forbes. (2018b). "Memes: a digital marketing tool for every industry." Forbes. accessed august 10, 2018. https://www. forbes.com/sites/forbescommunicationscouncil/2018/08/10/memes-a-digital-marketing-tool-for-every-industr y/?sh=3e32ce682664. Forbes. (2023). Top social media statistics and trends of 2023. Forbes Media llc. accessed august 4, 2023. https://www. forbes.com/advisor/in/business/social-media-statistics/. Forsgren, e., & Byström, k. (2018). Multiple social media in the workplace: contradictions and congruencies. Information Systems Journal, 28(3), 442–464. https://doi.org/10.1111/isj.12156 16 a. agraWal etal. gan, c. (2017). Understanding we chat users’ liking behavior: an empirical study in china. Computers in Human Behavior, 68, 30–39. https://doi.org/10.1016/j.chb.2016.11.002 gao, Y., & koufaris, M. (2006). Perceptual antecedents of user attitude in electronic commerce. ACM SIGMIS Database: The DATABASE for Advances in Information Systems, 37(2-3), 42–50. https://doi. org/10.1145/1161345.1161353 gavilanes, J. M., Flatten, t. c., & Brettel, M. (2018). content strategies for digital consumer engagement in social networks: Why advertising is an antecedent of engagement. Journal of Advertising, 47(1), 4–23. https://doi.org/10. 1080/00913367.2017.1405751 haberland, g. s., & Dacin, P. a. (1992). The development of a measure to assess viewers’ judgments of the creativity of an advertisement: A preliminary study." acr north american advances. hartley, s. W., & Patti, c. h. (1988). evaluating business-to-business advertising: a comparison of objectives and results. Journal of Advertising Research, 28(2), 21–27. harvard Business review. (2013). Creativity in advertising: When it works and when it doesn’t. harvard Business Publishing. hayes, a. F., & krippendorff, k. (2007). answering the call for a standard reliability measure for coding data. Communication Methods and Measures, 1(1), 77–89. https://doi.org/10.1080/19312450709336664 huang, Y.-t., & su, s.-F. (2018). Motives for instagram use and topics of interest among young adults. Future Internet, 10(8), 77. https://doi.org/10.3390/fi10080077 instagram. (2020). Instagram year in review: How memes were the mood of 2020. accessed December 10, https://about. instagram.com/blog/announcements/instagram-year-in-review-how-memes-were-the-mood-of-2020/. Jacobson, J., gomes rinaldi, a., & rudkowski, J. (2023). Decoding the employee influencer on social media: applying taylor’s six segment message strategy wheel. European Journal of Marketing, 57(1), 29–59. https://doi.org/10.1108/ eJM-06-2021-0418 Janssens, W., & Pelsmacker, P. D. (2005). emotional or informative? creative or boring? The Effectiveness of Different Types of Radio Commercial." International Journal of Advertising, 24(3), 373–394. https://doi.org/10.1080/02650487.20 05.11072930 Johnson, J. P. (2013). targeted advertising and advertising avoidance. The RAND Journal of Economics, 44(1), 128–144. https://doi.org/10.1111/1756-2171.12014 Jung, a.-r., & heo, J. (2021). Does cluttered social media environment hurt advertising effectiveness? the moderation of ad types and personalization. Journal of Research in Interactive Marketing, 15(4), 592–606. https://doi.org/10.1108/ JriM-11-2020-0238 kamboj, s. (2020). applying uses and gratifications theory to understand customer participation in social media brand communities: Perspective of media technology. Asia Pacific Journal of Marketing and Logistics, 32(1), 205–231. https://doi.org/10.1108/aPJMl-11-2017-0289 kang, M. J. (2005). A study on the effect of features of brand community using one-person media on consumers. seoul national University. katz, e., Blumler, J. g., & gurevitch, M. (1973). Uses and gratifications research. Public Opinion Quarterly, 37(4), 509– 523. doi:https://www.jstor.org/stable/2747854. https://doi.org/10.1086/268109 kaur, P., Dhir, a., chen, s., Malibari, a., & almotairi, M. (2020). Why do people purchase virtual goods? a uses and gratification (U&g) theory perspective. Telematics and Informatics, 53, 101376. https://doi.org/10.1016/j. tele.2020.101376 kitchen, P. J. (2023). Digital does not stand alone… the road to further critical analysis lies open. Journal of Marketing Communications, 29(6), 533–534. https://doi.org/10.1080/13527266.2023.2244799 knobel, M., & lankshear, c. (2007). Online memes, affinities, and cultural production. In A New Literacies Sampler, 199–227. ko, h., cho, c.-h., & roberts, M. s. (2013). internet uses and gratifications: a structural equation model of interactive advertising. Journal of Advertising, 34(2), 57–70. https://doi.org/10.1080/00913367.2005.10639191 kusumasondjaja, s. (2018). the roles of message appeals and orientation on social media brand communication effectiveness: an evidence from indonesia. Asia Pacific Journal of Marketing and Logistics, 30(4), 1135–1158. https:// doi.org/10.1108/aPJMl-10-2017-0267 laskey, h. a., Day, e., & crask, M. r. (1989). typology of main message strategies for television commercials. Journal of Advertising, 18(1), 36–41. https://doi.org/10.1080/00913367.1989.10673141 lee, J., & hong, i. B. (2016). Predicting positive user responses to social media advertising: the roles of emotional appeal, informativeness, and creativity. International Journal of Information Management, 36(3), 360–373. https://doi. org/10.1016/j.ijinfomgt.2016.01.001 leung, l., & Wei, r. (2000). More than just talk on the move: Uses and gratifications of the cellular phone. Journalism & Mass Communication Quarterly, 77(2), 308–320. https://doi.org/10.1177/107769900007700206 lewis, s. c., Zamith, r., & hermida, a. (2013). content analysis in an era of big data: a hybrid approach to computational and manual methods. Journal of Broadcasting & Electronic Media (Sage Publications Ltd,) 57(1), 34–52. https://doi.org/10.1080/08838151.2012.761702 luo, X. (2002). Uses and gratifications theory and e-consumer. Journal of Interactive Advertising, 2(2), 34–41. https:// doi.org/10.1080/15252019.2002.10722060 cOgent BUsiness & ManageMent 17 Malodia, s., Dhir, a., Bilgihan, a., sinha, P., & tikoo, t. (2022). Meme marketing: how can marketers drive better engagement using viral memes? Psychology & Marketing, 39(9), 1775–1801. https://doi.org/10.1002/mar.21702 Martin, r. a., Puhlik-Doris, P., larsen, g., gray, J., & Weir, k. (2003). individual differences in uses of humor and their relation to psychological well-being: Development of the humor styles questionnaire. Journal of Research in Personality, 37(1), 48–75.(02)00534-2. https://doi.org/10.1016/s0092-6566 Mckinsey & company. (2021). Ordering in: The rapid evolution of food delivery. Mckinsey & company. https://www. mckinsey.com/industries/technology-media-and-telecommunications/our-insights/ordering-in-the-rapid-evolutio n-of-food-delivery. Medium. …." (2023). "Memes, an experiment in human creativity. https://medium.com/@inthirdPerson./memes-a n-experiment-in-human-creativity-27d611b92753. nieubuurt, J. t. (2021). internet memes: leaflet propaganda of the digital age. Frontiers in Communication, 5, 547065. https://doi.org/10.3389/fcomm.2020.547065 ning, Y-m., hu, c., tu, t-t., & li, D. (2022). Offensive or amusing? the study on the influence of brand-to-brand teasing on consumer engagement behavioral intention based on social media. Frontiers in Psychology, 13, 966254. https://doi.org/10.3389/fpsyg.2022.966254 Qin, Y. s. (2020). Fostering brand–consumer interactions in social media: the role of social media uses and gratifications. Journal of Research in Interactive Marketing, 14(3), 337–354. https://doi.org/10.1108/JriM-08-2019-0138 Quesenberry, k. a., & coolsen, M. k. (2018). What makes Facebook brand posts engaging? a content analysis of Facebook brand post text that increases shares, likes, and comments to influence organic viral reach. Journal of Current Issues & Research in Advertising, 40(3), 229–244. https://doi.org/10.1080/10641734.2018.1503113 rathi, n., & Jain, P. (2024). impact of meme marketing on consumer purchase intention: examining the mediating role of consumer engagement. Innovative Marketing, 20(1), 1–16. https://doi.org/10.21511/im.20(1).2024.01 razzaq, a., shao, W., & Quach, s. (2023). towards an understanding of meme marketing: conceptualisation and empirical evidence. Journal of Marketing Management, 39(7-8), 670–701. https://doi.org/10.1080/0267257X.2022.2158906 resnik, a., & stern, B. l. (1977). an analysis of information content in television advertising. Journal of Marketing, 41(1), 50–53. https://doi.org/10.1177/002224297704100107 rizwan, M., Pirzada, s. s., sohail ansar, & nadeem Muhammd, Murid Waqas. (2013). the role of advertising appeals, role of celebrity & expert in t.V advertising attitude. IOSR Journal of Business and Managemen, 15, 52–57. rogers, r., & giorgi, g. (2023). What is a meme, technically speaking? Information, Communication & Society, 27(1), 73–91. https://doi.org/10.1080/1369118X.2023.2174790 ruggiero, t. e. (2000). Uses and gratifications theory in the 21st century. Mass Communication and Society, 3(1), 3–37. https://doi.org/10.1207/s15327825Mcs0301_02 seelig, M. i., sun, r., Deng, h., & Pal, s. (2021). is it all for show? environmental brand identification on skin care and cosmetic websites. Journal of Marketing Communications, 27(4), 436–456. https://doi.org/10.1080/13527266.2019.1685566 sharma, D., & Meena, r. (2024). impact of cOViD-19 on tV advertisements: informational, transformational & narrative analyses of post-cOViD-19 tV advertisements. Journal of Marketing Communications, 30(1), 21–48. https://doi. org/10.1080/13527266.2022.2098518 sharma, h. (2018). Memes in digital culture and their role in marketing and communication: a study in india. Interactions: Studies in Communication & Culture, 9(3), 303–318. https://doi.org/10.1386/iscc.9.3.303_1 shewale, r. (2024). Instagram Statistics – Global Demographics & Trends (2024). Demand sage. https://www.demandsage. com/instagram-statistics/#:~:text=instagram%20Users%20By%20country,andindonesia%20(105%20million). shifman, l. (2013). Memes in a digital world: reconciling with a conceptual troublemaker. Journal of Computer-Mediated Communication, 18(3), 362–377. https://doi.org/10.1111/jcc4.12013 shifman, l. (2014). Memes in digital culture. Mit Press. smith, r. e., & Yang, X. (2004). toward a general theory of creativity in advertising: examining the role of divergence. Marketing Theory, 4(1-2), 31–58. https://doi.org/10.1177/1470593104044086 smith, r. e., chen, J., & Yang, X. (2008). the impact of advertising creativity on the hierarchy of effects. Journal of Advertising, 37(4), 47–62. https://doi.org/10.2753/JOa0091-3367370404 smock, a. D., ellison, n. B., lampe, c., & Wohn, D. Y. (2011). Facebook as a toolkit: a uses and gratification approach to unbundling feature use. Computers in Human Behavior, 27(6), 2322–2329. https://doi.org/10.1016/j.chb.2011.07.011 speck, P. s. (1991). the humorous message taxonomy: a framework for the study of humorous ads. Current Issues and Research in Advertising, 13(1-2), 1–44. https://doi.org/10.1080/01633392.1991.10504957 statista. (2023). Leading social media platforms used by marketers worldwide as of January 2023. Frankwatching. https:// www.statista.com/statistics/259379/social-media-platforms-used-by-marketers-worldwide/. statista. (2024a). "number of downloads of leading online food delivery and takeout apps worldwide in 2023(in millions)." statista. (2024b). Distribution of instagram users worldwide as of april 2024, by age and gender. stemler, s. (2001). "an overview of content analysis." Practical assessment, research, and evaluation, 7(17), 17. https:// doi.org/10.7275/z6fm-2e34. stieger, s., Formann, a. k., & Burger, c. (2011). humor styles and their relationship to explicit and implicit self-esteem. Personality and Individual Differences, 50(5), 747–750. https://doi.org/10.1016/j.paid.2010.11.025 sudra, a. (2023). "Online Food Delivery statistics for 2024: Overview and industry analysis." 18 a. agraWal etal. swanson, D. l. (1987). gratification seeking, media exposure, and audience interpretations: some directions for research. Journal of Broadcasting & Electronic Media, 31(3), 237–254. https://doi.org/10.1080/08838158709386662 taecharungroj, V., & nueangjamnong, P. (2015). humour 2.0: styles and types of humour and virality of memes on Facebook. Journal of Creative Communications, 10(3), 288–302. https://doi.org/10.1177/0973258615614420 taylor, D. g., lewin, J. e., & strutton, D. (2011). Friends, fans, and followers: Do ads work on social networks? how gender and age shape receptivity. Journal of Advertising Research, 51(1), 258–275. https://doi.org/10.2501/ Jar-51-1-258-275 teichert, t., hardeck, D., liu, Y., & trivedi, r. (2018). how to implement informational and emotional appeals in print advertisements. Journal of Advertising Research, 58(3), 363–379. https://doi.org/10.2501/Jar-2017-054 teng, h., lo, c.-F., & lee, h.-h. (2022). how do internet memes affect brand image? Online Information Review, 46(2), 304–318. https://doi.org/10.1108/Oir-05-2020-0192 toncar, M. F. (2001). the use of humour in television advertising: revisiting the Us-Uk comparison. International Journal of Advertising, 20(4), 521–539. https://doi.org/10.1080/02650487.2001.11104909 tsang, M. M., ho, s.-c., & liang, t.-P. (2014). consumer attitudes toward mobile advertising: an empirical study. International Journal of Electronic Commerce, 8(3), 65–78. https://doi.org/10.1080/10864415.2004.11044301 tuten, t. l., & solomon, M. r. (2018). Social media marketing. sage. Vardeman, c. (2024). advertising to gen-Z college students with memes? a focus group study. Qualitative Market Research: An International Journal, 27(1), 1–18. https://doi.org/10.1108/QMr-05-2023-0073 Wang, Z., Morey, a. c., & srivastava, J. (2014). Motivated selective attention during political ad processing: the dynamic interplay between emotional ad content and candidate evaluation. Communication Research, 41(1), 119–156. https://doi.org/10.1177/0093650212441793 Waqas, M., laili hamzah, Z., & Mohd salleh, n. a. (2021). customer experience with the branded content: a social media perspective. Online Information Review, 45(5), 964–982. https://doi.org/10.1108/Oir-10-2019-0333 Weber, r. P. (1990). Basic content analysis. Vol. 49. https://doi.org/10.4135/9781412983488 Williams, e. (2022). "ad campaigns of the year 2022." Creative Review. December 12. accessed December 12 https:// www.creativereview.co.uk/ad-campaigns-2022/. Wilson, r. t., Baack, D. W., & till, B. D. (2015). creativity, attention and the memory for brands: an outdoor advertising field study. International Journal of Advertising, 34(2), 232–261. https://doi.org/10.1080/02650487.2014.996117 Wimmer, r. D., & Dominick, J. r. (2013). Mass media research. Cengage Learning. Yang, g. (2022). Using funny memes for social media marketing: the moderating role of Bandwagon cues. Journal of Promotion Management, 28(7), 944–960. https://doi.org/10.1080/10496491.2022.2054904 Yoo, c., & Macinnis, D. (2005). the brand attitude formation process of emotional and informational ads. Journal of Business Research, 58(10), 1397–1406. https://doi.org/10.1016/j.jbusres.2005.03.011 YPulse. (2019). 3 Stats that show what memes mean to Gen Z & Millennials. https://www.ypulse.com/article/2019/03/0 5/3-stats-that-show-what-memes-mean-to-gen-z-millennials/. Zhang, J., sung, Y., & lee, W. (2010). to play or not to play: an exploratory content analysis of branded entertainment in Facebook. American Journal of Business, 25(1), 53–64. https://doi.org/10.1108/19355181201000005 Zhu, Y., lynette Wang, V., Wang, Y. J., & Wei, J. J. (2022). how to craft humorous advertisements across diverse cultures? Multi-country insights from Brazilian, chinese and american consumers. International Journal of Consumer Studies, 46(3), 716–730. https://doi.org/10.1111/ijcs.12720