Horizontality is said to have dominated perceptions of the moving image both in academic literature and in commercial contexts for over a century (Zettl 2005), and traditional cinema scholarship has ignored vertical moving images and disregarded screen orientation as a subject of inquiry (Menotti 2019). Chapters IV and V investigate two recent visual marketing trends using motion techniques whose impact has not yet been empirically investigated, being GIF marketing and mobile vertical video marketing respectively.Ĭurrent literature regarding the context of vertical filmmaking, presents arguments which interrogate the apparent presence of a horizontal bias (Bordwell 2009) in historic, commercial, physiological, and aesthetic discussions of moving image production. Specifically, Chapters II and III focus on the effects of two frequently used motion techniques to visually display (advertising) stimuli that have received limited academic attention in the marketing context, that is, approaching and receding stimulus motions. Besides the introductory chapter (Chapter I) and the concluding chapter (Chapter VI), the dissertation contains four empirical chapters investigating consumer responses to four different motion techniques. Therefore, this doctoral dissertation examines how consumers cognitively, affectively, and behaviorally react to motion techniques in current visual marketing trends, as well as their underlying psychological processes.Ĭhapter I discusses theories on real and implied motion perception as well as biological and non-biological motion perception to provide an overview of prior research on consumers’ cognitive, affective, and behavioral responses to motion. As such, designing effective motion techniques in visual marketing messages requires a better understanding of consumers’ reactions to stimuli in motion. Prior consumer psychology research mainly focused on perceptions of stimulus distance rather than stimulus motion. While many visual marketing communications use motion, the rationale for these practices and their effectiveness remains largely underexplored. For instance, products and logos are often shown moving forward or backward in commercials, different types of animation are implemented in advertising and email campaigns, and motion picture advertising is increasingly being created for mobile video viewing. Visual marketers frequently use a variety of motion techniques to display their marketing messages. This article closes with implications for theory and suggestions for mobile marketers. Importantly, we find that mobile users' age moderates this indirect effect, as younger mobile users (Generation Z) process mobile vertical video ads more fluently than older Generations X and Y. horizontally) on the smartphone in full-screen, as watching a vertical video does not require turning the phone. Exploring the underlying mechanism for this effect, we find that mobile users experience less effort when watching a video ad vertically (vs.

In two experimental studies, we further show that mobile users process vertical video ads more fluently than horizontal video ads.

In a large-scale field study, we demonstrate that mobile vertical video ads increase consumer interest and engagement compared to horizontal video ads. Therefore, we examine the effectiveness of mobile vertical versus horizontal video advertisements in terms of consumer interest, engagement, and processing fluency, as well as the underlying mechanism of the effort of watching the video ad on a smartphone in three studies. With the increasing use of vertical videos, an important, yet unanswered, question is how mobile users respond to this format. The portrait, or vertical, screen format is replacing the traditional landscape, or horizontal, format to become the default for mobile video production and consumption. The mobile environment of the 2020s is experiencing a vertical video revolution.

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