JBR-09298; No of Pages 6

Journal of Business Research xxx (2016) xxx–xxx

Contents lists available at ScienceDirect

Journal of Business Research

Celebrities as human brands: An inquiry on stakeholder-actor co-creation of

brand identities
Dave Centeno a,⁎, Jeff Jianfeng Wang b
a
Cesar E.A. Virata School of Business, University of the Philippines, Diliman, Quezon City, 1101 Metro Manila, Philippines
b
Department of Marketing, City University of Hong Kong, Tat Chee Avenue, Kowloon, Hong Kong

a r t i c l e i n f o a b s t r a c t

Article history: This paper examines the co-creation of human brands exemplified by celebrities in a stakeholder-actor approach.
Received 1 August 2016 Combining theoretical frameworks of brand identity co-creation and stakeholder paradigms, demonstrates how
Received in revised form 1 October 2016 human brand identities co-create by multiple stakeholder-actors who have resources and incentives in the activ-
Accepted 1 October 2016
ities that make up an enterprise of a human brand, including the celebrities themselves, consumer-fans, and busi-
Available online xxxx
ness entities. By utilizing observational, archival netnographic data from popular social media platforms, four
Keywords:
exemplars of celebrity identities demonstrate the co-creation of human brands. Findings illustrate key stakehold-
Brand identity er-actors' participation in the co-creation process as well as sociocultural codes, including social construction and
Celebrities negotiation of identities, parasocialization, influence projection, legitimization, and utilization of human brand
Co-creation identities. These human brand identity dynamics advance a stakeholder-actor paradigm of brand co-creation
Human brands that adapts to the predominant consumer culture and human ideals that surround the celebrity. Results inform
Social media implications and future research on celebrity brand marketing management and co-creation.
Stakeholder © 2016 Published by Elsevier Inc.

1. Introduction celebrity's human brand identity as a multi-dimensional classification

and mapping of human concepts (“who they are, and who they are
Celebrities are human brands – their performances on- and off- seen to be… and who they are in our lives”, Jenkins, 2014, p. 3) because
stage, off- and online, public or private, are marketing and branding ex- both individuals and community members are relevant to marketing ef-
ercises. Their everyday life choices and values are intrinsically private, forts. Human brand identities can take place as collective, collaborative,
but performed in public. These actions create brands and branding iden- and performative (von Wallpach, Voyer, Kastanakis, & Mühlbacher,
tities. Consequently, the human brand identities sell product brands 2016) aspects of a social co-creation process involving multiple pro-
through endorsements and persuasions by giving personality qualities viders of identity as stipulated by the service-dominant (SD) logic and
to inanimate brands; and they encourage consumption through being adopted by the evolving brand logic (Merz, He, & Vargo, 2009). Comple-
an idealized consumer and a commodity vessel (Holmes & Redmond, mentarily, the stakeholder paradigm in co-creation is inherently com-
2014). patible within the framework of human brand identity co-creation
This paper extends “human brands” as “any well-known persona process—a set of interrelationships among groups that have a stake in
who is the subject of marketing communication efforts” (Thomson, the activities that make up a business. In this case, a celebrity human
2006, p. 104) by analyzing their identities as a “multi-dimensional clas- brand identity forms by co-creation.
sification or mapping of the human world and our places in it, as indi- Celebrity sponsorship and social media advertising serve as a con-
viduals and as members of collectivities” (Jenkins, 2014, p. 5). The text of marketing communication to examine how different stake-
recent development in branding literature shifts attention from merely holders – advertisers, press, talent management, broadcast networks,
focusing on brand image or brand differentiation to include brand iden- consumers/fans, and celebrities themselves –gather together in an as-
tity in the total brand equity (Keller, 2003). The early definition of brand semblage of service in co-creating human brand identities. In turn,
identity (Aaker, 1996) describes the phenomena as a unique set of these communications provide service back to these stakeholders'
brand associations that brand strategists aspire to create or maintain. own incentives. Social media's advent marks a rich avenue of social re-
Combining human brand and identities definitions support examining ality. These outlets for co-creation serve as discursive and dynamic out-
lets for celebrity stakeholders to create, re-create, persuade, and
⁎ Corresponding author.
negotiate identities for social and economic purposes (Boffard, 2014;
E-mail addresses: [Link]@[Link] (D. Centeno), jeffwang@[Link] Burgess & Green, 2009). This paper explores social media's role
(J.J. Wang). influencing the co-creation processes involving celebrity human brand

[Link]
0148-2963/© 2016 Published by Elsevier Inc.

Please cite this article as: Centeno, D., & Wang, J.J., Celebrities as human brands: An inquiry on stakeholder-actor co-creation of brand identities,
Journal of Business Research (2016), [Link]
2 D. Centeno, J.J. Wang / Journal of Business Research xxx (2016) xxx–xxx

identities among stakeholder-actors. The hybrid term “stakeholder- identities. The present study seeks to broaden the current thought of
actor” refers to the combined functions of a stakeholder who can affect service exchange and identity co-creation process by understanding a
and is affected (Freeman, 1984) by the objectives of the celebrity human set of interrelationships among parties that desire a win-win stake. In
brand, and an “actor” who is not strictly a stakeholder (cf. stakeholder this case, the desired outcome is a positive and congruent celebrity
theory criteria) but a more sociological sense having the agency accord- human brand identity co-creation developing in social media terrain.
ing to structuration theory (Giddens, 1984) and actor-network theory To explicate this theoretical development proposition, this study ex-
(Latour, 1988). plores two research questions. First, how does human brand identity
The present study seeks to understand a set of interrelationships co-creation happen in a multi-stakeholder-actor approach? Further,
among parties that have a win-win stake in the activities that make what sociocultural codes guide stakeholders in their co-creation of ce-
up celebrity human brand identity co-creation. Exploring co-creation lebrity human-brand identities?
under the lens of the SD logic, this study demonstrates that service ex-
changes and stakeholders' roles in the co-creation process are dynamic
in adaptive, identity co-creating service systems, and founded in pre- 2. Methods
vailing consumer culture (Gyrd-Jones & Kornum, 2013) mirrored in
the social media interaction. Netnography (or internet ethnography) is a research technique that
explores how social media interactions form the human brand identities
1.1. Stakeholder view in co-creating celebrity human-brand identities among celebrities involving different stakeholders (Kozinets, 2015).
Netnography includes a specific set of related data collection, analysis,
Modern business roles such as publicists, journalists, writers, and ethical, and representational research practices, where a significant
other cultural intermediaries create the human-brand identity in celeb- amount of the data collected and participant-observational research
rities (Marshall, 2006). Moreover, the brand co-creation happens, to- conducted originates and manifests through digital communication
gether with the televised shows and recordings, in interviews, data. This study explores the Philippines' celebrity culture both as a
performances, and social media interactions (Ballantyne & Aitken, scholar and as part of the audience's culture (i.e., ‘autoethnography’,
2007). Ultimately, the entertainment and advertising industries as cf. Holmes, Ralph, & Redmond, 2015) by observing how different social
well as other organizations that profit and benefit from celebrities care- media actors (i.e., stakeholders) interact, reformulate, and stabilize ce-
fully monitor the performance outcomes of celebrity brand identities. lebrity human brands identities. The researcher is a real-time, unobtru-
Finally, celebrities as stakeholders (Schroeder, 2005) potentially receive sive observant on Facebook and Twitter social media interactions, while
the biggest gains, both financially and in terms of their intangible image an active YouTube user and viewer. This real-time observational re-
and reputation. In other words, the ownerships, connection, and inter- search tool reflexively makes the researcher to record both an emic (in-
actions of these stakeholders result to co-creations of human brand sider) and an etic (outsider) point of views. Archival netnographic data
identities because each group's motivations and gains differ as a bal- provide a cultural baseline for analysis, providing a large amount of
anced centricity with key actors (Gummesson, 2008). data. Categories for interpretation emerge from ground up (Kozinets,
Stakeholder theory explains these ownerships, connection, and in- 2015). Through the Internet, celebrities themselves or the agents that
teractions among stakeholders of human brands in creating value for handle them, outside of the corporate streams, directly negotiate their
their varying objectives (Freeman, 1984). From the evolving paradigms fame and brand presentation. The flow of negotiation is complex that al-
on stakeholder theory, the overall idea still holds that a business, or in lows for media mobility, interactivity, and achievability of past records
this context, the identity co-creation process is a set of interrelation- of the interactions, akin to an online public diary (Trammell &
ships among groups who have a stake in the activities that make up a Keshelashvili, 2005). Online brand communities have become accept-
business. In this case, co-creation influences the celebrity brand identity. able and stable avenues for rich resources of brand creations (Vallaster
Arguably, celebrity human brand identity co-creation is a social as- & von Wallpach, 2013). This evolution occurs because a natural, qualita-
semblage of a web of actors both humans (i.e., celebrities, consumers, tively data-rich reservoir provides an unparalleled platform in a less re-
fans, and other spectators) and ‘non-humans’ including organizations strictive, realistic, and engaging online presentations of identities,
and service entities (i.e., media outfits and commercial firms). Success- authenticity, power, and value (Vallaster & von Wallpach, 2013). This
ful co-creation of human brands depends upon the translation of social technique allows documenting and analyzing the co-creating parties
interaction and participation. Actor-network theory provides a theoret- in their natural environments. Prior studies demonstrate netnography's
ical backdrop explaining how a social project such as a celebrity human reliability as a brand research tool (Giesler, 2006).
brand identity is a collaboration of all actors, both human and non- Facebook, Twitter, and YouTube were selected for data collection.
humans (i.e., organizations, businesses). Continuous sociological trans- These three social media platforms are among the most popular partic-
lations of the material-semiotic elements surrounding the project ipatory resources of co-creation inputs from stakeholders. A two-week
(human brand identity) achieve durability (Callon & Latour, 1992). So- frame of social media interactions observations among the four celebri-
cial arrangements, relational effects, and translations from other actor- ty exemplars was set for Facebook and Twitter platforms from March
networks (chains of translations) make the focal project sustainable. 11–25, 2015. This short timeframe provides a rich archival dataset for
Actor-network theory (ANT), the “sociology of translations,” describes the two social media for their active usage and salience among users.
the mechanics of actors and their power to construct and maintain a ‘Official’ Facebook and Twitter accounts of the celebrity exemplars
network that involves human and nonhuman actor forces (Callon, served as data touchpoints from where account information, posts,
1986; Law, 1992). ANT describes how heterogeneous networks includ- and comments were extracted. Meanwhile, a five-year data timeframe
ing people, organizations, agents, machines, and other objects trans- from March 2011 to March 2015 was chosen for YouTube video posts
form and translate into a common project (Law, 1991). This theory from different sources and comments elicited among the viewers.
explores how these networks evolve. This sociological translation in- Topics vary accordingly, illustrating how various stakeholders ap-
volves “all the negotiations, intrigues, calculations, acts of persuasion parently participate in the celebrity identity co-creation. In total,
and violence, thanks to which an actor or force takes on... authority to the social media archive data sample comprise of 304 total posts
speak or act on behalf of another actor or force” (Callon & Latour, with 34,767 aggregated comments, including ‘retweets’ on Twitter.
1981, p. 279). Social creation and recreation create the processes for a Apparently, these social media outlets have become discursive and
successful project. dynamic outlets for celebrity stakeholders to create, re-create,
Research gaps and calls for theory development support a need to persuade, and negotiate identities for social and economic purposes
study how the social media co-creation process affects human brand (Burgess & Green, 2009).

Please cite this article as: Centeno, D., & Wang, J.J., Celebrities as human brands: An inquiry on stakeholder-actor co-creation of brand identities,
Journal of Business Research (2016), [Link]
 D. Centeno, J.J. Wang / Journal of Business Research xxx (2016) xxx–xxx 3

3. Findings These previously mentioned instrumental stakeholders are

‘infomediaries’ that influence the co-creation by adopting key identity
This section presents the findings illuminated from the analytical ef- issues of celebrities and influence other stakeholders (Deephouse &
forts into two major parts: (1) analysis of the human brand stakeholder- Heugens, 2009). Consumers indirectly attribute their source of knowl-
actor co-creation process in the four cases of celebrities; and (2) exam- edge about celebrities on these instrumental stakeholders, suggesting
ination of sociocultural codes that facilitate stakeholders in their co-cre- adoption and influence.
ation of the human brand identity. Stakeholders identified in this study Distinctively, instrumental stakeholders' influences vary as con-
play roles in the co-creation process through the explicit and implicit in- sumers create inferences on the motivations and incentives of celebri-
dicators of their involvement: participation, interaction, production, ties on their appearance on certain stakeholders. For example,
and consumption. In this study, co-creation follows social exchange in- consumers have a strong lay theory of Sharon Cuneta's economic objec-
cluding experiences, conversations, and interactions within stake- tive when she transferred to another television network, posted on a
holders' brand communities. YouTube news clip. Nevertheless, instrumental stakeholders act as
infomediaries, sources and channels that facilitate co-creation process
3.1. Participants of human brand identities.
Resource integration in celebrity identities accomplishes brand
The data collection method allows identification and classification of identity co-creation for the integrating stakeholder to make the celebri-
celebrity stakeholders. Both prior studies and data analysis helped clas- ty brand identity thrive sustaining relevance and viability (Vargo,
sify celebrity stakeholders into three: focal, primary, and instrumental Maglio, & Akaka, 2008). Also, resource integration creates forms of
groups based on their roles as providers of co-creation service and stakes new resources that “could be transformed into a form of currency (so-
as beneficiaries of the co-creation. cial, political, and economic) for exchange with other actors” (Lusch &
Vargo, 2014, p. 131).
3.1.1. Focal stakeholder-actor Celebrities as stakeholders potentially gain social and economic ben-
Celebrities are animate identities who actively co-create their efits as they can realize their social influence among the public and
brands. In this study, their participation and interaction with the fans other actors which benefit them economically. Because they actively
and consumers are apparent in the online communities. They are active co-create their own identities as manifested in the social media partici-
agents of their own selves (Schroeder, 2005). Their use of language in pation, celebrities also gain control of their human brand's identity re-
their social media posts performs their human traits that await every- sources. When celebrity human brand identities are successful both
day reactions from the netizens. Celebrities as stakeholders structure socially and economically over time, they satisfy the celebrities them-
themselves according to how an ordinary person should enact one's selves, consumers, and the industry actors who have stakes in the co-
self. Thus, more connection can be built with the primary stakeholder created identity as a resource.
– consumers. Fig. 1 illustrates the interrelationships among stakeholders of celeb-
rity identity. The arrows show co-creation sub-processes that intersect
3.1.2. Primary stakeholder-actor the stakeholders in their participation and benefits in the celebrity iden-
Consumers see celebrity human brands as integral part of their lives. tity co-creation.
They feel social legitimacy to react, ‘comment’, express opinions to, and
even eroticize celebrities. From the thousands of comments gathered in 3.2. The sociocultural codes in the co-creation process
all social media platforms, consumers arguably are the most expressive,
most free, and most active stakeholders in the co-creation of celebrity This section describes these intersections and social translations
human brands. They willingly and ubiquitously form opinions, reac- among actors that make up the human brand identity co-creation. Addi-
tions, and involvement in the co-creation process. Their motivations tional examples of representative netnographic quotes are available at:
may include intentional social actions such as participating in a group, [Link]
and individual motivations determined by attitudes, behaviors, and
emotions embedded in subjective norms and social identity (Bagozzi
& Dholakia, 2002). 3.2.1. Negotiation and social construction
Fans and interconnected consumers who express enthusiasm and Human brand identities form through a collaborative (Holt, 2004),
willingness to react the brand related posts are value creators and co- yet indeterminately orchestrated co-creation of human brand identities.
producers for the brand (Schau, Muñiz, & Arnould, 2009). Prior to the These image emerge as stories and conversations about the celebrity
inherent value that these fans and celebrity-enthusiasts exhibit, brand collide. Stories and active engagement and participation by stake-
identities are co-created through their socialization and interactions holders are apparent in human brand identity co-creation. Interestingly,
presented by the brand community. Social media changes the way ce- celebrities seemingly participate actively in the co-creation social pro-
lebrities interact with their fans. Parasocial interactions allow partici- ject of their brand identity. For example, Manny Pacquiao's daily Twitter
pants to receive greater gratification that create strong motivations for posts co-create his idealized identity. His followers see Pacquiao as a
fans and consumers to become active community members fighter for the country, God-fearing, and a man with norm-based
(Frederick, Lim, Clavio, & Walsh, 2012), personal values and subjective wisdom. These posts manifest the active participation of Manny himself
well-being (Chia & Poo, 2009), and tribal innovations with celebrity af- in co-creating his identity:
filiations (Hamilton & Hewer, 2010). (1) “I will fight for the Filipinos!” (Celebrity Manny himself posts on
Facebook, accompanied by his music video link. March 12, 2014).“I
3.1.3. Instrumental stakeholders want to let people know there is God who can raise something from
Television networks, the press, advertisers, and talent management nothing. I owe everything to God. #MayPac (Manny's post on Twit-
are some stakeholders who have business interests in celebrities. Partic- ter days before his boxing match. March 12, 2014).
ipations in the co-creation are both distinct and similar. Role similarities
include mediation between consumer-celebrity identity co-creation, Greater impact of an instrumental stakeholder's participation in the
and among other stakeholders. For example, ABSCBN News features a co-creation, however, may manifest from a more legitimate press or
Sharon Cuneta's new product endorsement contract; or Viva talent media content such as television news and documentaries. Biography
management regularly posts a Sarah Geronimo's behind-the-scenes channel, for instance, creates content of distinguished personalities
footages of Sarah Geronimo's commercials. across the globe, and eventually posts such content online. Arguably,

Please cite this article as: Centeno, D., & Wang, J.J., Celebrities as human brands: An inquiry on stakeholder-actor co-creation of brand identities,
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4 D. Centeno, J.J. Wang / Journal of Business Research xxx (2016) xxx–xxx

CELEBRITY
(Focal
Stakeholder-Actor)

Celebrity
HUMAN BRAND
IDENTITY
(co-creation project)

MEDIA OUTFITS,
ADVERTISERS,
CONSUMERS/FANS TALENT
(Primary AGENCIES, etc.
Stakeholder-Actor) (Instrumental
Stakeholder-Actors)

Fig. 1. Stakeholder-actor co-creation of human brand identity.

television content posted on social media makes more credible social brand identities differ depending on product brand and commercial de-
construction and negotiation of brand identity through cultivation ef- sign. Brand identities are reflexive and contextual; however, they are
fects (Gerbner, 1998). pliable only to the extent that fits the individual's range of constructed
human identities. For example, Sarah Geronimo negotiates herself,
(4) “Emmanuel ‘Manny’ Dapidran Pacquiao, PHL (born December
framed by the advertisement, and arguably as directed by the advertis-
17, 1978) is a Filipino professional boxer, basketball player, basket-
er, as a “sexy, pretty teenager with confidence to carry herself” in all sit-
ball coach, politician, actor, and singer…” (a YouTube posted Biogra-
uations (in a panty liner commercial), as “an elegant fine woman”
phy Channel 48-min documentary, [Link]
(in shampoo and property development ads), as “a loving daughter
This collective understanding of the celebrity's identity constitutes “(in a pawnshop advertisement), as “a good singer and power belter”
the human brand identity validation process. Though several stories (cough syrup and karaoke advertisements), and as “a youth advocate”
and narratives (i.e., resources) compose the overall identity, the in a political campaign. Overall, stakeholders still see congruency under-
celebrity's identity serves as an essence of content and utility (“identi- lying Sarah Geronimo's human brand image. Her brand image remains
ty-in-use”) of the human brand according to the iterative nature of consistent. People view Sarah as a good person, fine, and gentle, and a
the stakeholder co-creation. Repetition and stakeholder responsiveness woman in strong moral fiber. Although human brands are reflexive
contribute to identity myth formation. In the example, the socially con- and contextual, they remain stable and an overarching identity under-
structed and negotiated brand identity towards sports icon and politi- lies such multiplicity of identity.
cian Manny Pacquiao's constitute his being a “modern national hero, Identity reflexivity is co-created by stakeholders reflecting contexts
aspirational, and mass icon and national idol” in his country. As and rhetorical strategies of the said contexts. Reflexivity is but a result
Giddens (1991) notes, brand identities' “becoming” is a result of social of making human brands as “identities-in use” in the co-creation. In a
construction involved in their creation. Repeat interactions and negoti- deeper sense, reflexivity relies on the sociocultural norms and accept-
ation with different actors cement these identities. able behaviors that the celebrity is able to showcase (resource to inte-
grate) a priori to the production of meanings in the context that calls
for reflexivity (Schroeder, 2005). Thus, a reflexive identity's ability to
3.2.2. Utilization of human-brand identities utilize depends upon the social legitimacy the identities carry.
Reflexivity of identities means that dynamic, varying images of ce-
lebrities co-created as human brand identities depend on the context 3.2.3. Legitimization
such as stage performances, product category nature, and creative de- Legitimacy is a social fitness indicator, “a generalized perception or
sign employed (Schroeder, 2005). Giddens' (1991) conception of post- assumption that the actions of an entity (e.g., celebrity) are desirable,
modern identities, self-identity presumes reflexive construction, and proper, or appropriate within some socially constructed system of
so are human brand identities, depending on the context at play. Such norms, values, beliefs, and definitions, “ (Suchman, 1995, p. 574). Insti-
reflexive identities are strategically positioned to an overall utility of tutional theories (Scott, 2008) suggest social acceptability or legitimacy
human brand identity. comes from cultural and normative institutions (along with regulatory).
One interesting example of this reflexivity mechanism is how celeb- Human brands also undergo such legitimization process underlying
rity brands differ in a multiple endorsement paradigm. Celebrities' normative and cultural fitness that are formed through collective

Please cite this article as: Centeno, D., & Wang, J.J., Celebrities as human brands: An inquiry on stakeholder-actor co-creation of brand identities,
Journal of Business Research (2016), [Link]
 D. Centeno, J.J. Wang / Journal of Business Research xxx (2016) xxx–xxx 5

memory (Humphreys, 2010). These fitness indicators manifest through Beyond their skills and talents, many celebrities have higher
human brand identities in ways of talent/skill desirability, dominant so- parasocial identity value. Expressions of love, hatred, intimacy and in-
cial norms, shared values, national ideologies, and class-and-gender terpersonal distances create gestalt human brands anchoring identity
nuances. and identification. Unlike the United States, the celebrities on Philippine
Traditional definitions of a celebrity often include their ability to per- television are also the celebrities across media platforms such as films
form in their site-specific talent arena such as the television, concert and in recording industries. Through these multi-media avenues for ce-
halls, or movie theaters. This basic requirement still holds value for lebrities, the parasocial effects of television towards the celebrity
the celebrity human brands. Stakeholders' co-creation resources in (so- human brand are carried over across audiences of/in different media.
cial media data) discourses are sizeable in encapsulating the remarkable Thus, this scheme provides a bigger and richer venue for consumers
celebrity skills. and other stakeholders to construct, project, sustain, and co-create ce-
For example, Sarah Geronimo is often cheered at her tasteful singing, lebrity brand identities.
Manny Pacquiao for his eventful boxing performances, Sharon Cuneta is The representation and construal of celebrities as friends, family
remembered for her melody in the past decades, and Kris Aquino, members, and other significant others are salient in social media data
though not known for any artistic talent, is ubiquitously trivialized in of this study. Most celebrities frame themselves as simple, ordinary, au-
her own personal current affairs and gossips. Talents and skills may be thentic and “real” human being as they are. For example, a television
a fundamental criterion to carry a cultural, social, and economic network, ABSCBN, engages stakeholders by attracting them to review
worth; however, other themes emerge to further legitimize the previously aired television programs posted on YouTube.
human brand in celebrities. For example, a country's reputable social
(23) “Watch Sarah sing with her father; showing respect and love.”
media news organization, [Link], publishes a video (linked in
[(translated, YouTube video description)]
YouTube and Facebook) that features a new Disney project for Sarah Ge-
ronimo. This project implies that the celebrity has a talent worthy of at- The representation and construal of celebrities as friends, family
tention from an international franchising company. The news members, and significant others are salient in social media data of this
organization describes the video with as an act of Sarah's genuine talent. study. Often, celebrities frame themselves as simple, ordinary, authentic
The way consumers identify, empathize, and interaction with celeb- and average people. For example, Sharon Cuneta writes in her Twitter
rities are inclined to a national ideology and values such as national profile: “The one and only.:-) Proud wife to Kiko, happy mommy to
pride and courage, like the way they cheer for Manny Pacquiao: Kristina, Simone, Mariel & Miguel.”
(19) “The fighting pride of the Philippines! We are proud of our
race! We fight and we will win!” 3.2.5. Projection of influence
[(Translated, comment on a Facebook post)] This co-creation code refers to stakeholders' attributions and em-
phasis on social, cultural (e.g., role models and icons) and political
Another nuanced legitimacy among celebrity human brands is their (e.g., voting preferences and behaviors) economic (e.g., purchase be-
gendered identities. Insights from the social media data indicate norma- haviors) roles and influences of celebrities. The influence or power
tive behaviors and social stereotyping among celebrities. The parasocial that celebrities possess is culturally rooted in the social world among
identities (i.e., illusionary intimacies) generally relate to celebrities who the primary stakeholder consumers. Generally, the public views celebri-
also carry a gendered personality. For example, Manny Pacquiao is an ties as people who have worked to the rationalization among audiences
athlete, a hero, a provider, a godfather, an idol, an authority, and an aspi- to give legitimate cultural value and meanings to the representations of
ration. A YouTube documentary featuring Manny's life demonstrates these personalities have in their lives. Moreover, celebrities represent
how these gendered roles are exemplified. more than themselves. They evolve into personae or identities that are
(22) “In the Philippines, he first entered the ring as a sixteen year old given heightened cultural significance in the social world (e.g., heroes,
weighing ninety-eight pounds with the goal of earning money to idols, or even villains). Finally, celebrities' cultural power comes from
feed his family. Now, almost twenty-years later, when he fights, the subjectivities that audiences feel towards them as close affinities
the country of 100 million people comes to a complete standstill to in social categories (e.g., friends, acquaintances). The activating power
watch. The army and the rebels cease-fire. There are no cars in the of human brands that translates words and images into behaviors or
street. There is zero crime. An entire country becomes united.” at least behavioral intentions are deeply ingrain into the relational ca-
(YouTube video description, [Link] pacity of the celebrity. Consumers express their behavioral intent to
purchase a product a celebrity endorses as if the endorser is part of
Co-creation between the news organization and the celebrity sug- their social circle.
gest other mechanisms of legitimization come from the peripheral em-
(28) “Sister (Ate) Sarah, you're so beautiful! And lovely long hair!
bodiment of celebrities' personal lives. Through embodiment of
Where can I buy this?”
stakeholders' shared vision, dominant cultural ideology, and social
[(Consumer comment to a shampoo commercial, posted on
moral imperatives, human brand identities are co-created and legiti-
Facebook)]
mized. Common contents of social and cultural legitimizations include
being family and socially oriented, success-driven, morally inclined, This cultural power that stakeholders given to celebrities refers to
projections of humility, sociability, and skillfulness. Interestingly, a the power of persuasion through ideas, cultures, and interpersonal pol-
culture's moral and religious facets are also standard criteria of human itics, generally referring to culture and values of social entities that can
brand legitimacy. employ persuasion in outward relationships to change attitudes and be-
haviors (McCracken, 1989). The celebrity endorsement literature con-
3.2.4. Parasocialization firms images that celebrities project serves as a source credibility,
In the co-creation process, the relational mechanism and content en- likeability, and attractiveness, have some behavioral influences on the
hance social interface for identification and “parasocialization” where consumers. Such behavioral effects from celebrities root from their
social distances are reduced (So & Nabi, 2013). Identification refers to human brands and the identification, relationship, and connection con-
perceptions of similarities in self-identities (Bandura, 1986). Para-so- sumers can perceived towards them. In this study, manifestations of be-
cialization refers to sense of social intimacy and relatedness (Horton & havioral followings surfaced. The comments and reactions for each post
Wohl, 1956). Stakeholders engage in these social media interactions by celebrities and other instrumental stakeholders suggest that the at-
where conversations, modifications, and discussions of identities occur. traction that celebrity human brands radiate is worthy of consumers'

Please cite this article as: Centeno, D., & Wang, J.J., Celebrities as human brands: An inquiry on stakeholder-actor co-creation of brand identities,
Journal of Business Research (2016), [Link]
6 D. Centeno, J.J. Wang / Journal of Business Research xxx (2016) xxx–xxx

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Please cite this article as: Centeno, D., & Wang, J.J., Celebrities as human brands: An inquiry on stakeholder-actor co-creation of brand identities,
Journal of Business Research (2016), [Link]