Hanna Kahlert

Hanna is one of our expert analysts, helping drive MIDiA’s research into the future of digital entertainment. Her key areas of interest are cross-entertainment audience behaviour, the creator economy, and social platforms.

Ad strategy in a digital-first environment
Rethinking acceptance, tolerance and effectiveness

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Hanna Kahlert
Digital-first behaviours and the proliferation of choice have caused underlying changes to how consumers perceive and respond to brands. Brand loyalty has been replaced by content fandom. Frictionless service-switching and overlapping subscription now clashes with high-value content moving between platforms in short time frames and across differing geographies.
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Instagram drops the Like and WhatsApp defends privacy in India: Facebook’s PR reinvention

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Hanna Kahlert
Facebook is now old enough that there are teenagers on it that are younger than it is. In the time that it has been around, it has reinvented social media . It has also had to do some reinventing of itself, adding to its portfolio image-sharing app Instagram and end-to-end encrypted messaging service WhatsApp to form a powerful trifecta dominating mainstream digital socialisation.
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The reign of the superstar is over

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Hanna Kahlert
It is growing ever-more difficult to generate a singular ‘big hit’. Awards shows have always had their issues with keeping relevant, but with streaming for both music and video exponentially increasing the amount of content released while simultaneously diluting the social context around big releases, a saturated attention environment makes it increasingly difficult to judge just what is ‘award worthy’ – and who it is that will care.
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Staggered vaccine rollouts will prime entertainment for (further, faster) innovation

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Hanna Kahlert
The ‘light at the end of the tunnel’ of COVID-19 is theoretically drawing closer. Yet, as we blogged about last week , staggered vaccine rollouts mean that the ‘new normal’ will begin for some consumers sooner than others – painting a year-ahead picture of a global marketplace as different and difficult to predict as from this time last year.
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Social media reboot
The rise of social 2.0 and the emancipation of the digital native

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Hanna Kahlert
Social media is entering a new phase of innovation. Facebook’s trio of applications, alongside Snapchat, Twitter and other incumbents, still have market dominance. However, the rapid growth of TikTok, Discord and Clubhouse since the coronavirus-prompted lockdowns, alongside a migration to digital-first life, are early indicators of demand for – and adoption of – social platforms that lend themselves to lean-in entertainment behaviours.
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Lockdown & Dragons: Fantasy proves the fandom effect

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Hanna Kahlert
With vaccine rollouts gaining momentum, the post-COVID attention crunch is looming large for the digital entertainment propositions which have all experienced booms over lockdown. The competition is on – making it more essential than ever to understand the trends behind shifting consumer behaviour and sentiment drivers, as ‘in real life’ (IRL) activities return and budget crunches force audiences to make new spending choices.
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BE THE CHANGE - Women Making Music

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Hanna Kahlert and Srishti Das
The second iteration of this project is available to download here . Be The Change: Women Making Music Key insights Gendered expectations have skewed recognition and reward in the music industry: of 401 women creators around the world, 81% think that it is harder for female artists to get recognition than male artists Linked to this is the fact that there are not as many female role models for independent creators (81% agree, 49% ‘agree strongly’) Almost two-thirds of female creators identified sexual harassment or objectification as a key challenge, making it by far the most widely-cited problem Sexualisation and objectification are a consequence (or symptom) of unbalanced power dynamics, as shown by the next ‘big three challenges’: ageism (identified by 38%), lack of access to male-dominated industry resources (36%) and lower pay (27%) These major challenges are symptomatic of deeper issues of systemic male dominance permeating industry attitudes and behaviours; over 90% of our respondents said that they had experienced unconscious bias – nearly half of them frequently Music composition, production and sound has long been connected primarily with men, so it is no surprise that the majority of female creators (63%) feel excluded from the composition and production, which makes this aspect of music creation highly ‘genderized’ Although the overall representation of women in society has increased over the past few decades, 84% of women still feel that there exists a perception that women are expected to take on the primary role of parenting duties.
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