Attention economy and immersive advertising
on TikTok: audiovisual strategies from Temu

Cristóbal Lalangui Campoverde
Technical University of Cotopaxi. Ecuador.
edison.lalangui9491@utc.edu.ec

Jazmín Rosero Chamorro
Technical University of Cotopaxi. Ecuador.
jazmin.rosero7492@utc.edu.ec

Sebastián Chacón Molina
Technical University of Cotopaxi. Ecuador.
jefferson.chacon7424@utc.edu.ec

The research began on February 10 and ended on July 10, 2025.

How to cite this article / Standard reference:

Lalangui Campoverde, Cristóbal; Rosero Chamorro, Jazmín & Chacón Molina, Sebastián (2026). Attention Economy and Immersive Advertising on TikTok: Audiovisual Strategies From Temu. Revista Latina de Comunicación Social, 84, 1-31. https://doi.org/10.4185/RLCS-2026-2565

Date of Receipt: Sept. 18, 2025 

Date of Acceptance: Dec. 25, 2025 

Date of Publication: April. 07, 2026

ABSTRACT

Introduction: Currently, the integration between social media and e-commerce has generated new business models, where digital entertainment is limited to shopping experiences, transforming the paradigm of traditional advertising. In this sense, the main objective is to identify the audiovisual strategies that Temu implemented on TikTok, considering the attention economy and immersive advertising. Methodology: The study adopted content analysis for the processing of 89 videos, obtaining a Cohen's Kappa coefficient with a high level of agreement between intercoders (𝜅 = 0.87). Results: The company implements a branding strategy aimed at maximizing views through the intensive production of videos set in the context of cooking, repeatedly incorporating pop music, close-ups, the handling of products by female hands, and a predominantly white color scheme. Discussion: Temu has opted for a communication strategy focused on retention, where gaze and time become capital within the economy of visual attention. Conclusions: Therefore, user attention is a scarce, desired, and highly competitive resource that threatens personal autonomy by disconnecting individuals' habits and turning them into a set of patterns managed by techno-economic references.

Keywords: Digital communication; attention economy; immersive advertising; Temu; TikTok.

1. INTRODUCTION

From the earliest urban settlements in Mesopotamia, merchants felt the need to showcase the characteristics of their products in order to persuade, convince, and capture people's attention (López Iglesias & Luque-Ortiz, 2024). This need intensified over time due to the emergence and consolidation of mass media and the expansion of advertising campaigns (Sixto-García & Álvarez Vázquez, 2020). Currently, in terms of consumer segmentation and interactivity, there is a demand for more personalized, immediate, and participatory experiences, leading to a disruption in the structure of traditional advertising (Belch & Belch, 2009; Kotler & Keller, 2016).

With the versatile development of platforms like TikTok, it has become possible to capture attention and build stronger connections with diverse audiences who are constantly interacting, based on creativity, emotional connection, and the construction of a virtual community (Burgaleta-Pérez et al., 2024; 
J. Wang, 2024). Consequently, digital advertising has emerged as an evolutionary tool in marketing, due to its ability to engage with new audiences in dynamic and measurable environments, driving audiovisual innovation (Pérez-Quishpe & Castro-Analuiza, 2024). This process is known as immersive advertising, as it uses technologies to merge the real and digital worlds, facilitating brand interactions with potential customers. Its function is to transform static advertisements into interactive events, contextualizing products with hyperrealism, and then adapting and integrating the content with the consumer's physical environment (de Ruyter et al., 2020; Sands et al., 2024). Thus, immersive advertising offers new opportunities for companies to interact with customers through stimulation and imagination. The strategy aims to consolidate closer relationships, fostering audience loyalty and maximizing commercial performance. To this end, it enhances brand recognition and encourages purchase decisions through attraction, conversion, and delight, contributing to the strengthening of business competitiveness (Leung et al., 2024).

The new parameters imply the design of meaningful digital experiences, where the value of data in decision-making and metrics analysis allows for optimizing and improving campaign effectiveness. Social media are key channels for communicating messages and adapting them to the behavior of current users who are inclined towards consumption and practices that are detached from everyday social interaction (González Fernández-Villavicencio, 2016; Sands et al., 2024; Shah & Murthi, 2021). Although there is abundant literature on the emotional connection users have with these types of platforms, there are significant gaps in the understanding of how their characteristics can influence collective participation and reach compared to the physical world (Hidrobo Nina & España Salvador, 2025; Méndez-Majuelos et al., 2023; X. Wang, 2024).

The relationship between social media and e-commerce has generated new business models where entertainment is integrated into the shopping experience, creating increasingly dynamic and stimulating commercial interaction (Acevedo Borrás & Reales Gaviria, 2017). In this new structure, the focus is on increasing customer satisfaction and product sales through vertical videos, which are characterized by being more intuitive and engaging (X. Wang, 2024). Therefore, the integration of e-commerce and social media goes beyond management based on the acquisition process. It aims to create a fluid and user-friendly paradigm that adapts to the lifestyle of the modern consumer (X. Wang, 2024).

In this context, platforms like Temu, Shein, and AliExpress consolidated their position in 2024 as the Chinese companies with the highest global demand, collectively registering over $100 billion in online purchases (Calvino, 2025; Kaminkow, 2024). Temu (PinDuoDuo), an e-commerce company launched by PDD Holdings in September 2022 in the United States (Ma, 2025), stands out for its direct sales model between Chinese manufacturers and international consumers. As a result, its growth has been exponential in European and American markets, making it a direct competitor to Amazon, Shein, and AliExpress (Calvino, 2025; Ma, 2025). Its strategy is based on the motto "Team Up, Price Down," focusing on eliminating intermediaries and reducing prices through bulk purchases (Ekos, 2024). Hence, it represents a striking case within the current digital consumption ecosystem, positioning itself with dissemination strategies focused on accessibility and promotions, without resorting to established public figures (Cancino-Gómez et al., 2025). This premise contradicts the specialized literature (Ao et al., 2023; Campines-Barría, 2024; Pan et al., 2025; Pinto & Paramita, 2021; Yuan et al., 2025), which considers that the use of influencers increases sales and impact on short video platforms (Li, 2023; Li & Tu, 2024).

Therefore, exploring product descriptions, audiovisual language, and persuasive strategies used in a highly competitive digital environment is relevant to understanding the new commercial ethos (Echeverría, 2001) that is taking shape and developing on TikTok, particularly because this platform has redefined traditional business models using a fast and interactive approach (Burgaleta-Pérez et al., 2024; Virós-Martín et al., 2025). TikTok's business model is based on a technical infrastructure that integrates payments, logistics, and algorithmic analysis to personalize the purchasing experience. However, this rapid process has generated debates about the exploitation of personal data, thus raising dilemmas regarding privacy and the promotion of impulsive consumption patterns (Quintas-Froufe, 2024; J. Wang, 2024).

Acquisition behavior cannot be analyzed solely as a daily habit, but rather as a manifestation of what various authors have termed the “attention economy” or “attention capital” (Simon, 1971; Goldhaber, 1997; van Krieken, 2018). This theoretical approach explains how social, cultural, and communicational practices are structured around consumption dynamics, where time spent on social media reflects a functional and recreational use within an economic system that capitalizes on attention, fosters immediacy, and normalizes hyperconnectivity (Giraldo-Luque & Fernández-Rovira, 2020). Therefore, from this critical perspective, the apparent “need” to check one's phone or to remain permanently connected is interpreted as an effect of market logic that transforms digital interaction, or attention, into a consumer good, and users themselves into constant consumers of mediated content, data, and experiences (Franco-Bentes, 2022).

The communicational and academic contribution of this study is significant due to the scarcity of information on the advertising strategies used by emerging brands in the digital age. Specifically, it identifies how Temu adapts its messaging to the discursive, functional, and aesthetic characteristics of TikTok to capture attention and generate visual interaction with users. Furthermore, it strengthens and expands the field of communication by opening new lines of research into media consumption and the cultural, social, and economic dynamics of social networks.

Therefore, it is hypothesized that Temu chooses to promote timeless objects within the Christmas context, contradicting the traditional approach of companies that focus their offerings on items associated with this holiday. In this context, TikTok is a strategic channel for positioning a broad product catalog in the collective consciousness, creating scenarios inherent to the attention economy, where the competition to capture and retain user interest is crucial for influencing purchasing decisions. Simultaneously, immersive advertising emerges as a key resource, articulating persuasive narratives about the utilitarian promotion of products, generating sensory and emotional experiences that strengthen the conversion and loyalty bond between the brand and consumers.

2. OBJECTIVES

The main objective (MO) of this study focuses on identifying the audiovisual strategies that Temu implemented on TikTok during December 2024, considering their connection to the attention economy and immersive advertising, to attract, retain, and persuade the audience within the virtual ecosystem. Complementarily and transversally, the following specific objectives are proposed:

• OE1. To obtain the number of interactions achieved on TikTok as part of the engagement and the degree of connection with the brand.
• OE2. To identify the most used hashtags in the search engine optimization (SEO) process that contribute to the company's ranking.
• OE3. To describe the audiovisual resources used in the content, taking into account the role assigned in the configuration of persuasive strategies.
• OE4. To explore the types of content promoted in the videos, according to their functionality or context of use.

3. METHODOLOGY

The study adopts content analysis, oriented towards the identification of patterns and numerical trends (Guix Oliver, 2008; Ordoñez Pineda & Fornos García, 2017; Piñeiro-Naval, 2020). The systematization of the data and the classification of previously defined and validated categories made it possible to determine frequencies and interpret the information in a comprehensible, verifiable, and reliable manner (Taherdoost, 2022; Roman-Acosta, 2024).

Temu was chosen because, in recent years, it has become the only company in the digital ecosystem to diversify the online market by offering innovative household products, supported by successful strategies and specialized marketing management in the post-pandemic era (Li, 2023). Its official TikTok account was analyzed because it is the most widely used social network for product promotion and interaction worldwide (Torres-Toukoumidis et al., 2021). Furthermore, the guidelines promoted on this platform play a fundamental role in the effectiveness of marketing for cross-border e-commerce companies (Du & Yin, 2024).

Eighty-nine videos published between December 1 and December 31, 2024, were identified as part of the universe. This period was considered because it represents the accelerated growth in commercial consumption, as it corresponds to one of the most anticipated times of the year (García Murcia, 2023).

3.1. Instrument and Validation

The instrument was designed in two phases. In the first phase, a data book was created by extracting and recording directly observable and measurable metrics and interaction variables from the TikTok interface: hashtags, views, likes, comments, favorites, shares, duration, and video links. In the second phase, a codebook was developed with operational and inductive definitions.

•         Video description: the product being promoted, presence and role of characters, predominant colors, type of shot or framing.
•         Home segment: it groups items related to the categories Kitchen, Bedroom, Living Room, Dressing Room, Jewelry and Makeup, Christmas, Artistic.
•         Sound elements: type of music (genre or soundtrack), presence of voice-over or effects associated with ASMR.

For the validity and applicability of the codebook, a draft instrument was implemented and reviewed in comparison sessions to ensure clarity and alignment with operational definitions. As part of an internal pilot test, it was administered to a sample of 10% of the videos. Based on this, the inclusion and exclusion criteria were adjusted. The following criteria were considered for the inclusion rationale:

1.       The video clearly or predominantly displays an element corresponding to one of the seven categories of the home segment, which can be assigned visually.
2.       The video makes it possible to identify a main action, the characters, and their roles within the scene.
3.       The framing is visible to differentiate the wide shot, the close-up, and the detail shot.
4.       The predominant colors are easily distinguishable.
5.       Sound elements such as music, voice-over, or ASMR effects are audible and classifiable according to defined parameters.

Regarding the exclusive support, the following was adopted:

1.       Videos in which one of the seven categories of the home segment is not visible, whose interpretation requires excessive assumption, beyond what is observable on the screen.
2.       Videos where the main action or the characters and their roles cannot be defined.
3.       Dark, blurry, or cropped shots that prevent the recognition of necessary details.
4.       The colors are not easily identifiable visually.
5.       Inaudible, unrecognizable sound elements that do not meet the defined parameters.

The internal procedure ensured that the instrument uniformly measured the content of each video, reducing ambiguity before implementation. For final coding, two researchers applied the instrument to all 89 videos. This process was blinded, as neither researcher had access to the other's labels. Discrepancies in the comparative interpretation of the data were documented and resolved using inclusion-exclusion criteria.

3.2. Cohen's Kappa Coefficient

Reliability was estimated using Cohen's Kappa coefficient, where observed agreement (Pₒ) was 0.9101 and expected agreement by chance (Pₑ) was 0.3104. The result was κ = 0.87, indicating a high level of inter-coder agreement (Landis & Koch, 1977; Warrens, 2015). This response is not explained by random selection of content from the codebook, but rather by the consistent application of the criteria inherent to the instrument (McHugh, 2012).

Thus, in order to organize the analyzed content, Table 1 presents the data corresponding to the selected publications, including the registration number, the hashtag used, the number of views, the segment to which they belong, a description of the content and the sound elements identified.

Table 1. Consolidated Matrix of the Corpus

No.		Hashtag		Visualizations		Segment		Description		Sound elements
1	#Temu #TemuFinds #HomeComfort		337,200		Living Room		Multifunctional sofa for relaxing and charging mobile devices. White and pink are the predominant colors. Wide shot and close-up.		Disco music: "So High" – Donna Queen.
2	#Temu #TemuFinds #BeautyEssentials		203.200		Costume jewelry and makeup		Makeup organizer with drawers and dividers, showing its functionality when filled with products. The white and pink colors stand out, matching the presenter's nails. Close-up and detail shots.		Instrumental jazz: "Spring Flowers" – RAFAA4$, with ASMR sounds.
3	#Temu #TemuFinds #CookingEssentials		1,800,000		Kitchen		Three built-in sideboards filled with kitchen spices. One of the spices is used in a dish. The white predominates. Close-up and detail shots.		Indie pop: "Here We Go" – Spirit City.
4	#Temu #TemuFinds #ArtEssentials		176,600		Artistic		Brush cleaner presented with the phrase "POV: I hate cleaning brushes, that's why I bought this." Includes assembly tutorial and cleaning demonstration after painting. Main colors: white and pink. Close-up and detail shots.		Instrumental jazz: "Spring Flowers" – RAFAA4$.
5	#Temu #TemuFinds #KitchenStorage		567,800		Kitchen		White candy dispenser, showing how to fill and dispense the candy. The white color highlights the cleanliness associated with the kitchen. Close-up and detail shot.		Satirical musical comedy: "Mexican People" – Z-flo, with ASMR sounds.
6	#Temu #TemuFinds #CableOrganizer		896,300		Bedroom		Cable organizer with power strip for charging mobile devices. Combines white and wood colors to match the vanity's aesthetic. Close-up and detail shot.		ASMR sounds.
7	#Temu  #TemuFinds #HomeOrganization		481,300		Dresser		Bathroom box-frame with the inscription "Temu bathroom finds". Its functionality as a foldable clothes drying rack, concealed like a picture on the wall, is shown. The white color appears prominently. Close-up and detail shot.		Voice-over (translation: "This painting is a foldable storage box. You don't have to throw away your clothes when you shower, just open it. It becomes a decorative painting. Practical and cute. Thank you Temu"), and instrumental music.
8	#Temu #TemuFinds #CozyCorner		1,300,000		Living Room		Woman unfolding a folding circular chair ("Temu foldable circular sofa") that transforms into a bed with pillows and a blanket. The actress interacts with it in different positions. The white, green, and wood tones of the floor stand out. Wide shot.		Voice-over (translation: "This folding chair bed can be easily transformed into three different shapes. It's an indispensable addition to my living space"), and instrumental music.
9	#Temu #TemuFinds #KitchenEssentials		606,000		Kitchen		"Kitchen Random Restock" shows various glass containers being filled with honey, pickles, butter, and an airtight plastic container for herbs, which is stored in the refrigerator. The color white appears exponentially. Close-up and detail shot.		ASMR sounds.
10	#Temu #TemuFinds #FrozenTreats		688,000		Kitchen		Slushie dispenser presented as "Your best holiday deal of 2024". Tutorial on how to prepare slushies by inserting a drink and pouring them into cups. The machine is black with a white background. Wide shot, close-up, and detail shot.		ASMR sounds.
11	#Temu #TemuFinds #ChristmasDecor		95,300		Christmas		"Christmas balloon tree." An actress and a young girl inflate and assemble a Christmas tree made of balloons, playing around it and showing its placement in different spaces. The white of the walls and floor and the green of the tree stand out. Wide shot, close-up, and detail shot.		Voice-over (translation: "This Christmas balloon tree I got from Temu is amazing, my little girl can't wait to blow it up to full size and put it together. It can also be placed as a decoration anywhere in my house. Thank you Temu"), and instrumental music.
12	#Temu #TemuFinds #BeautyEssentials		430,500		Costume jewelry and makeup		A red makeup case ("Temu Makeup gift box") opens to reveal compartments filled with accessories and a model trying on nail polish. The red of the case and the white of the background highlight the various colors of the makeup. Close-up and detail shots.		Pop: "Wildflower" - Sophie Pecora.
13	#Temu #TemuFinds #LaundryRoomGoals		283,100		Dresser		"Laundry Room Restock." Clear plastic containers are filled with detergent and glass jars with sweets, neatly arranged on sideboards. The color white appears exponentially. Close-up, detail shot, and wide shot.		ASMR sounds.
14	#Temu #TemuFinds #HomeComfort		84,600		Bedroom		Lamp with humidifier ("Aroma humidifier from Temu"). White predominates. Close-up and detail shot.		Rain sound effects and instrumental music.
15	#Temu  #TemuFinds #VanityGoals		78,100		Costume jewelry and makeup		Rotating lipstick organizer ("Temu Rotating lipstick organizer"). A model arranges lipsticks on the shelf after displaying the colors in her hand. Different colors are highlighted. Close-up and detail shot.		Pop: "Love on the Weekend" – Ariana Ohlsson.
16	#Temu #TemuFinds #HolidayCheers		64,100		Christmas		Pink Christmas decorations on a bed ("Pinkmas 2024"). Includes a candy cane pillow, mug, blanket, slippers, and a Christmas tree-shaped jewelry box/mug. Pink and white are the predominant colors. Close-up and detail shot.		Pop: "What I Want for Christmas."
17	#Temu #TemuFinds #KitchenGadgets		886,000		Kitchen		Electric fruit peeler ("TOP SALE Temu electric fruit peeler"). Demonstration of its use with a pear and other vegetables. White background and black product. Close-up and detail shot.		ASMR sounds.
18	#Temu  #TemuFinds #HomeTheater		148,900		Bedroom		The projector shows the setup, remote control, and a movie. It's white, and the remote is black. Close-up and detail shot.		Satirical musical comedy: "Christmas Energy" – Z-FLO.
19	#Temu #TemuFinds #KitchenEssentials		1,800,000		Kitchen		"Random Restock ASMR" of airtight food containers. They are filled with sweets and cereal (oatmeal) and arranged on a kitchen shelf. White and wood tones predominate. Close-up and detail shot.		ASMR sounds.
20	#Temu #TemuFinds		140,300		Living Room		Woman seated in a "Temu ergonomic chair", demonstrating its features. The setting is in beige, white and gray tones. Wide shot.		Voice-over (translation: "I enjoy working from home. This chair is so comfortable. Very ergonomic, great lumbar support, and affordable. Check it out at Temu").
21	#Temu #TemuFinds #TeaEssentials		252,700		Kitchen		"Magical Teapot". Its parts, assembly, spice addition, operation, and serving of the beverage in transparent utensils are shown. White background and red beverage. Close-up and detail shot.		Power metal: "Fire in Your Eyes" - Stratovarius.
22	#Temu  #TemuFinds #HomeComfort		1,300,000		Living Room		Woman jumping on a "Temu smart chair recliner", illustrating its functions with on-screen text. The setting is elegant, with a white background and gray floor. Wide shot.		Voice-over (translation: "I recently found this super comfy swivel rocking chair. It's my favorite place. It has ports to charge my phone, side pockets, massage and heating functions"), and instrumental music.
23	#Temu #TemuFinds #SnackTime		342,400		Kitchen		Rotating container with dividers ("Restock my snack bowl with me"). Its assembly, filling with fruit, and handling are shown. White predominates. Close-up and detail shot.		ASMR sounds.
24	#Temu #TemuFinds #GirlsEssentials		90,800		Bedroom		Organizers for hairbands and handbags with small jewelry pouches. Also, boxes with dividers for underwear inside a drawer. White predominates. Close-up and detail shot.		Electropop: "BTDT" - Pusher and Caroline Kole.
25	#Temu #TemuFinds  #OrganizationHacks		931,400		Kitchen		"Organization hacks" in a kitchen cabinet. Drawers with dividers on the doors are added to organize kitchen utensils. White and wood tones predominate. Close-up and detail shot.		Pop: "Beautiful Day" - Akon.
26	#Temu #TemuFinds #KitchenHacks		151,000		Kitchen		Airtight bottle-mouth closures ("Temu kitchen hack food bag clips") demonstrating their function with various food bags. White is the dominant color. Close-up and detail shot.		Electronics: "BLVKSHP" – Grayscale.
27	#Temu  #TemuFinds #LivingRoomGoals		1,000,000		Living Room		Woman in various positions on a gray sofa ("Temu ultra-comfort sofa bed"), showing all its uses. Wide shot.		Voice-over (translation: "This 3-in-1 sofa bed is perfect for my apartment, made of supportive velvet and well-crafted for a luxurious look. The price is affordable, it converts into a nice bed, and it even comes in other colors. Thank you all.")
28	#Temu #TemuFinds #KitchenStorage		721,400		Kitchen		Sliding dish rack ("Temu sliding drawer"). Its parts and compatibility with other products are briefly shown. It highlights the white of the kitchen. Close-up and detail shot.		Electro-disco: "Levitating" – Dua Lipa.
29	#Temu #TemuFinds #JuicingMadeEasy		285,900		Kitchen		Temu masticating juicer. The assembling, testing with fruit, and serving the juice in glass containers are shown. White, red, and black are shown. Close-up and detail shot.		Contemporary Christian Pop: "The Sun Is Rising" – Britt Nicole.
30	#Temufinds #Shoptemu #Temu		138,100		Kitchen		"Random restock with me" of a refrigerator. It is emptied and then glass containers are filled with fruit (some chopped) to organize the refrigerator. White stands out. Close-up and detail shot.		Instrumental music.
31	#Temu #TemuFinds		117,400		Kitchen		Microwave with a protective cover ("POV: With moisture protection"). The cover with food is removed, the bread is cut, and it is covered with the advertised appliance. White predominates. Close-up and detail shot.		Indie–pop: "Here We Go" – Spirit City.
32	#Temu #TemuFinds #Kitchenessentials		448,800		Kitchen		"Temu organization favorite" of a kitchen cabinet. Sliding trays are used to organize toiletries. White stands out. Close-up and detail shot.		Instrumental music and ASMR sounds.
33	#Temufinds #Shoptemu #Temu		2,100,000		Kitchen		Dish rack. Shows assembly from scratch and how to use it with kitchen utensils. Black and white are the predominant colors. Close-up and detail shot.		Indie-pop: "Here We Go" – Spirit City, and ASMR sounds.
34	#Temufinds  #Shoptemu #Temu		281,600		Living Room		TV console with fireplace ("Temu finds, TV console with fireplace"). An actress arranges books and ornaments and lights the fireplace, which changes colors. Wood tones predominate. Wide shot, close-up, and detail shot.		Voice-over (translation: "I recently updated my living room with this TV stand with fireplace from Temu. The drawers and cabinets are perfect. The fireplace adds warmth and ambiance. If you're a movie night girl like me, I recommend you check this out"), and instrumental music.
35	#Temu #TemuFinds #KitchenEssentials		1,800,000		Kitchen		Colorful containers ("Temu fresh-keeping hacks"). Demonstration of preserving avocados, vegetables, and protein, plus adaptable plastic lids. Highlights the white of the kitchen. Close-up and detail shot.		Pop: "Obsessed" – Elli More.
36	#Temufinds #Shoptemu #Temu		201,900		Kitchen		Magnetic storage shelf ("Temu magnetic storage shelf"). It attaches to the refrigerator and can be filled with various items. Gray and white are the predominant colors. Close-up and detail shot.		Indie pop: "You're My Sunshine" - The Upsided.
37	#Temufinds #Shoptemu #Temu		142,100		Kitchen		Christmas cheese board ("My lovely Christmas cheese board"). It opens to store utensils, displays food, and is shown in a picnic setting. White and brown wood tones. Close-up and detail shot.		Contemporary pop: "3 Day Weekend" – Kay Extra.
38	#Temufinds #Shoptemu #Temu		106,300		Bedroom		Duck-shaped lamp ("Do you love me?"). Its operation, brightness, and decorative function are shown. The color white is emphasized. Close-up and detail shots are shown.		Satirical musical comedy: "The Mexican People Song" by Z-flo.
39	#Temu #TemuFinds #ShoeStorage		2,100,000		Bedroom		Rotating shoe rack ("Temu organization solution"). An actress assembles it, places shoes inside, and demonstrates its rotation. White predominates. Wide shot, close-up, and detail shot.		Pop: "Love on the Weekend" – Ariaohlsson.
40	#Temu #TemuFinds #HolidayDecor		137,100		Christmas		Advent calendar ("The best Christmas gift I've ever received") that reveals a Christmas tree with a lid and lights when the daily pages are torn out. White and green stand out. Close-up and detail shot.		Pop: "What I Want for Christmas" – Tripov.
41	#Temu #TemuFinds #Handbag		159,600		Costume jewelry and makeup		Hello Kitty themed portable makeup case ("Pack my cute portable makeup case with me"), stored next to a travel suitcase. Pink is featured. Close-up and detail shot.		Electronics: "Speed Up" – KAYZO.
42	#Temu #TemuFinds #OrganizedLife		142,700		Bedroom		An actress rotating a pink shoe rack ("Organizing my new shoe closet"). The assembly, placement of shoes and handbags, and its rotating function are shown. The color pink is emphasized. Wide shot, close-up, and detail shot.		Electronics: "Grayscale" - KAYZO.
43	#Temu #TemuFinds #PetHoliday		98,800		Christmas		Cat tree ("Temu Christmas finds lovely cat tree") with Christmas decorations. The cat interacts with the tree both assembled and disassembled. Green and beige predominate. Wide shot, close-up, and detail shot.		Pop: "Christmas Ain't The Same" – Skyelle.
44	#Temu #TemuFinds #OrganizeYourSpace		256,700		Bedroom		Expandable drawer organizer ("Temu home expandable drawer organizer"). Shows its parts, assembly, and organization of a messy drawer. White and gray stand out. Close-up and detail shot.		Electronic: "Dinamic Pulse" - TimTaj.
45	#Temu #TemuFinds #LaundryOrganization		371,800		Toilet and cleaning		Laundry basket ("Temu Laundry Hack") for sorting clothes before the washing machine. Black and white tone. Close-up and detail shot.		Electronic: "Together Once Again" - Ilivia.
46	#Temu #TemuFinds #OrganizedLife		1,900,000		Living Room		Circular organizer ("Temu organization favorite") with colorful trays. An actress interacts with it, showing objects organized in different parts of the house. Beige and white stand out. Close-up and detail shot.		Pop: "So High" – Donna Queen.
47	#Temu #TemuFinds #StorageSolutions		414,000		Bedroom		An actress presents and assembles affordable shoe boxes from Temu, demonstrating how to store various shoe styles. The boxes feature white and brown wood. Close-up and detail shots are shown.		ASMR sounds.
48	#Temu #TemuFinds #DiningEssentials		122,400		Kitchen		Rotating dining table tray ("Temu amazing find swiveled dining table tray"). Shows assembly tutorial and how it works with food plates. White and beige colors prodominate. Close-up and detail shot.		Voice-over (translation: "Get ready for the holidays with this Lazy Susan serving turntable. Easily rotate plates without having to get up or pass around dishes. Sets up in minutes, no tools required. Expands to fit any table. Easy to use, easy to clean.")
49	#Temu #TemuFinds #HolidayDecor		81,700		Christmas		Christmas sofa cover ("Christmas Sofa cover from Temu"). An actress and a girl jump on the sofa with the cover, demonstrating how easy it is to put on. Red, white, and green stand out. Wide shot.		Voice-over (translation: "My daughter loves helping me with the Christmas decorations and this year she's really excited about our new TEMU Christmas sofa cover. It's so easy to put on. A festive touch in my living room. The perfect place for us to snuggle up together.")
50	#Temu #TemuFinds #PartyFun		534,200		Living Room		Inflatable bubble house ("Party Essential inflatable bubble house"). A woman and a child set up the inflatable and play inside with balloons. White background. Wide shot.		Voice-over (translation: "In a 10-foot inflatable bubble house. I bought it for our Christmas gathering and, seriously, it's a game changer. My son is obsessed. See the magic for yourself"), with background music.
51	#Temu #TemuFinds #KitchenTools		309,100		Kitchen		Vegetable chopper ("Amazing veggie chopper"). Several vegetables are being chopped for a salad, demonstrating its operation. White is the dominant color. Close -up and detail shot.		ASMR sounds.
52	#Temu #TemuFinds #SmartLighting		104.100		Christmas		Christmas tree with colored lights controlled by a cell phone. The "Babe stop buying stupid thing" meme introduces the demonstration of the changing colors. Variety of colors. Wide shot.		Pop: "Christmas Ain't The Same" - Skyelle.
53	#Temu #TemuFinds #KitchenStorage		1,300,000		Kitchen		Kitchen dish organizers ("TEMU kitchen organization ASMR"). A video shows how to assemble the organizers. White and wood are the predominant colors. Close-up and detail shot.		ASMR cooking sounds.
54	#Temu #TemuFinds #ComfortEssentials		1,200,000		Bedroom		Remote control catcher pillow ("TEMU Find New favorite find"). An actress arranges the bed with this pillow and other cushions. White and blue stand out. Wide shot and detail shot.		Voice-over (translation: "I just received this amazing backrest pillow from TEMU. It fits the width of my bed. It fills that annoying gap between my mattress and the wall. It has a side pocket. This pillow is great for reading and sitting up in bed.")
55	#Temu #TemuFinds #TeaTimeEssentials		100,300		Kitchen		Fruit infusion pitcher ("Make fruit infusions with me"). Red berries, cinnamon, orange, honey, and boiling water are added, then the tea is poured. Wood tones. Close-up and detail shot.		Instrumental: "Simple Waltz" - Jun Naotsuka.
56	#Temu #TemuFinds #SmartStorage		2,200,000		Living Room		Five-tier mobile bookshelf ("5-Tier moveable bookshelf from Temu"). A new bookshelf is shown being filled with school supplies. White is the dominant color. Wide shot, close-up, and detail shot.		Pop: "Speed Up" – Shineboys, with ASMR sounds.
57	#Temu #TemuFinds #BakingEssentials		356,100		Kitchen		Graduated measuring spoon. Demonstrates its function by dispensing powdered products into a baby bottle and other containers. White and blue tones. Close-up and detail shot.		Pop: "Dance for Me" - Angel Cintron.
58	#Temu #TemuFinds #JewelryStorage		953.100		Costume jewelry and makeup		Jewelry cabinet with multiple drawers ("Organize my jewelry cabinet"). An actress organizes jewelry in all the compartments. White and brown wood stand out. Wide shot, close-up, and detail shot.		Electropop: "BTDT" - Pusher and Caroline Kole.
59	#Temu #TemuFinds #KitchenHacks		1,900,000		Kitchen		Silicone colander for pots ("Temu kitchen must-have"). Attaches to a pot for draining noodles, fruits, grains, and vegetables. White and gray tones. Close-up and detail shot.		Pop: "One More Party" – Lex Gibbon.
60	#Temu #TemuFinds #EcoDining		215,200		Kitchen		A 2-in-1 chopstick and fork utensil ("Who wants this chopstick fork?"). It demonstrates its function with noodles, salad, and spring rolls. Orange, white, and wood brown predominate. Wide shot and close-up.		Pop: "Hilarious Pop" – Hiroki Yamamoto.
61	#Temu #TemuFinds #LabelMaker		129,200		Artistic		Portable printer ("Best gadget of 2024"). Demonstrates how to change the roll, print from your phone, and use the prints as stickers. The white color stands out. Close-up and detail shots.		ASMR sounds.
62	#Temu #TemuFinds #LaundrySolutions		1,900,000		Dresser		A retractable dryer rack ("Temu new laundry finds"). An actress demonstrates its operation by opening it, placing and removing clothes, and closing it. White tone. Close-up and detail shots.		Voice-over (translation: "I found a space saver from TEMU. This clothes drying rack is expandable. When you're done, close it up and it disappears.")
63	#Temu #TemuFinds #FridgeOrganization		4,400,000		Kitchen		Refrigerator door dividers ("Fridge side door restock") for organizing products. Highlights white. Close-up and detail shot.		ASMR sounds.
64	#Temu #TemuFinds #KitchenHacks		203,400		Kitchen		Portable snack sealer ("Temu handheld snack sealer"). An actress seals bags, demonstrates the buttons, and highlights its portability and refillability. White tone. Close-up and detail shots.		Electronic: "Track Track" – Slangship Brothers.
65	#Temu #TemuFinds #JewelryHacks		188,500		Costume jewelry and makeup		Bracelet clip ("Temu easy to wear your bracelet"). Shows two colors of the clip and how it works. White predominates. Close-up and detail shot.		Contemporary Pop: "Ur BF Does" – Tia Tia.
66	#Temu #TemuFinds #HolidayDecor		118,300		Dresser		"Christmas bathroom restock." The display includes toilet paper rolls, wipes, shower curtain rings, baseboards, bath covers, an electric mouthwash dispenser, and a manual soap dispenser. The colors white, red, black, and green are prominent. Close-up and detail shots are shown.		ASMR sounds.
67	#Temu #TemuFinds #PartyEssentials		314,800		Kitchen		Automatic beverage dispenser ("Temu auto drink dispenser"). A girl and a woman use the dispenser to draw liquid from a bottle. White background. Close-up and detail shot.		ASMR sounds and instrumental music.
68	#Temu #TemuFinds #IndoorGardening		11,000,000		Artistic		Seedling with app-controlled lighting ("Temu find indoor herbs garden"). The video demonstrates how to add seeds, turn on the light, and monitor plant growth. The predominant colors are white, black, and green. Close-up and detail shots are shown.		Voice-over (translation: "Easily grow herbs and vegetables at home with this smart outdoor garden kit. LED system that mimics sunlight and supports automatic watering. No soil is needed, and you can use the touchscreen or app to control lighting, watering, and reminders.")
69	#Temu #TemuFinds #HomeStorage		5,500,000		Toilet and cleaning		Wooden cabinet to conceal the trash can ("Temu wooden cabinet"). Opens to reveal the trash can and a drawer for garbage bags. Black and white stand out. Detail and close-up shot.		Alternative R&R: "Wild World" – Synae.
70	#Temu #TemuFinds #EcoFriendly		400,400		Kitchen		Set of mini shot glasses ("Let the cutest mini shot cups join your Christmas Party"). Shown individually, arranged, and used for serving drinks. White tone. Close-up and detail shot.		Contemporary pop: "Tbt" – Tadeo Bonavides.
71	#Temu #TemuFinds #HolidayDecor		130,700		Christmas		Christmas tree night light. Shows how to turn it on and plug it in, in shades of green and white. White and green are shown. Close-up and detail shot.		Contemporary Pop: "Ice Cream" – ZNDR.
72	#Temu #TemuFinds #SnackTime		1,200,000		Kitchen		Breakfast container ("Prep breakfast with me"). The video shows how to open the container, add yogurt, chopped fruit, and cereal to the lid, and then refrigerate it. White and wood tones are prominent. Close-up and detail shots are shown.		ASMR sounds.
73	#Temu #TemuFinds #KitchenEase		483,500		Kitchen		Peanut butter mixer, butter cutter, kitchen towel holder, electric can opener, and garlic press. White tone. Close-up and detail shot.		Voice-over (translation: "Five amazing kitchen finds from TEMU. Peanut butter twister. Butter cutter. Paper towel holder. Electric can opener. Garlic chopper").
74	#Temu #TemuFinds #TeaTime		178,000		Kitchen		Teapot for afternoon tea ("Let's prepare afternoon tea"). Spices, water, and lemon are added, and the tea is poured. White, blue, and purple predominate. Close-up and detail shot.		R&B/Soul: "Lazy Sunday" – BCD studio.
75	#Temu #TemuFinds #CulinaryEssentials		202,600		Kitchen		Cutting board organizer ("Throw away your old cutting board"). Shows various cutting boards, their use for chopping, washing, and organizing. The white color stands out. Close-up and detail shots.		ASMR sounds.
76	#Temu  #TemuFinds  #KitchenTools		171,100		Kitchen		Sandwich Maker ("POV: You have a sandwich maker"). A sandwich with cheese and corn is being prepared, showing the final result of various types of sandwiches. Black and white tones predominate. Close-up and detail shot.		Hip-hop/rap: "Castiegrounds" – PME.
77	#Temu  #TemuFinds  #KitchenGadgets		666.100		Kitchen		Electric noodle maker ("Temu kitchen electric noodle maker"). A woman adds ingredients, presses a button, and produces pasta in various flavors and sizes. White, blue, and brown wood are shown. Close-up and detail shot.		Contemporary pop: "3 Day Weekend" – Kay Extra.
78	#Temu #TemuFinds #LabelIt		3,300,000		Kitchen		Portable labeler ("Quick labeling"). They  show  how to insert the battery, connect it to a cell phone, and print adhesive labels for containers. The white color stands out. Close-up and detail shots.		ASMR sounds.
79	#Temu  #TemuFinds  #TravelEssentials		209,100		Costume jewelry and makeup		Open makeup case ("Makeup lover check it on Temu"). Its drawers and products are shown, along with how to transport it. White and pink tones predominate. Wide shot, close-up, and detail shot.		Electronics: "BLVKSHP" – Grayscale.
80	#Temu  #TemuFinds  #PetCare		301.100		Artistic		Pet feeding station (for pet accessories and food). A woman opens a drawer and organizes toys. White and brown stand out. Close-up and detail shot.		Contemporary pop: "3 Day Weekend" – Kay Extra.
81	#Temu  #TemuFinds  #HomeOrganization		650.100		Bedroom		Clothes rack ("Temu home must-have"). A woman pushes and places clothes and accessories, looks in the mirror, and picks up a purse. White and brown tones. Close-up and detail shot.		Electronics: "Saw You Alive" – Tep No.
82	#Temu  #TemuFinds  #HealthyLiving		240,800		Kitchen		Portable blender ("Making my favorite smoothie with Temu's top-selling blender"). They show how to add ingredients, blend, and drink the smoothie. White, gray, and brown tones appear. Wide shot, close-up, and detail shot.		ASMR sounds.
83	#Temu  #TemuFinds  #KitchenOrganization		1,500,000		Kitchen		Expandable microwave organizer ("Temu finds expandable microwave stand"). It sits on top of a microwave and holds pots, condiments, and utensils. Black and white colors stand out.		Pop: "Sepan de Mi" – Ren Galera.
84	#Temu  #TemuFinds  #LaundryEssentials		4,400,000		Toilet and cleaning		Portable washing machine ("Temu find no more worrying about clothes not drying"). Shows its parts, assembly, and use as a washer and dryer. White and purple stand out. Close-up and detail shot.		Indie pop: "You're My Sunshine" - The Upsided.
85	#Temu  #TemuFinds		312,500		Kitchen		Double car cup holders ("Things that I have in my car"). Suitable for bottles, snacks, and other food items. Black, beige, and gray tones. Wide shot, close-up, and detail shot.		Electronic: "Slam Dunk" – Jonathan Paulsen.
86	#Temu  #TemuFinds  #QuickDefrost		3,400,000		Kitchen		Ice melting rapidly on a black plate ("I was shocked at how fast the ice melted"). The same happens with a piece of chicken. They appear in black and white. Wide shot, close-up, and detail shot.		Instrumental funk: "Happy Funky Dance" – Oleg SILUKOV.
87	#Temu  #TemuFinds  #CatLovers		305,500		Bedroom		Pet bed ("Temu home cat lovers must-have"). A cat enters the bedroom; the assembly is shown, and the pet is seen resting there. White, red, and brown are the predominant colors. Close-up and detail shots are shown.		Thai Pop: "Speed Up" – Shineboys.
88	#Temu  #TemuFinds  #KitchenEssentials		446,600		Kitchen		Collapsible colander ("Kitchen a game changer from Temu") that also serves as a fruit basket. Its utility is coordinated with the narrative. White tone. Close-up and detail shots.		Voice-over (translation: "Check out this amazing fruit colander from TEMU. It looks like a bowl, but if you pull out the handle, it becomes a colander. You can wash and drain fruit with just one flip. It has a tray with holes. If you have leftovers, simply close the lid. Fold the handle back to save space. Now you can store it in the fridge, and it will stop absorbing odors.")
89	#Temu  #TemuFinds  #NailArt		207,500		Costume jewelry and makeup		Nail wraps ("Sparkling design for Winter 2024"). An actress demonstrates the easy application on her nails. Beige and purple stand out. Close-up and detail shot.		Pop: "The Show" – Qveen Hervy.

Source: Elaborated by the authors.

3.3. Data Analysis

With the consolidated matrix, the content was analyzed using deductive concepts. This involved drawing on the work of specialized authors who legitimized the interpretation of the empirical data from the initial phases, clearly defining the four specific evaluation benchmarks in accordance with the research objectives.

1.       Engagement: corresponds to the interactions that develop in specific metrics such as views, likes, comments, shares and favorites, which evaluates both the reach and impact generated by the publications (López-Navarrete et al., 2024).
2.       Search engine optimization (SEO): includes the use of hashtags to increase visibility on the first pages and improve social media positioning through search results (Novillo-Díaz et al., 2023; Purnomo, 2023).
3.       Audiovisual resources: identification of the stylistic elements used in the field of musical genres, voice-over, camera shots, predominant colors and the presence of actors or actresses (Navarro-Güere, 2024).
4.       Segmentation: classification of videos according to the type of product promoted, in relation to its functionality or context of use (Barredo Ibáñez, 2015; Sánchez-Macías et al., 2024).

4. RESULTS

R1: Result obtained in relation to objective 1. Obtain the number of interactions achieved on TikTok as part of the engagement and the degree of connection with the brand.

Figure 1. Engagement

Source: Elaborated by the authors.

As shown in Figure 1, the figures demonstrate a high level of engagement in terms of views, totaling 78,895,800, equivalent to an average of 886,460 views per video. Regarding direct audience engagement, each video received an average of approximately 15,993 "likes," representing 1.8% of the total views.

The number of comments corresponds to 237 per publication. This section was low compared to the total number of views, but at the same time significant, taking into account that the type of content is more oriented towards passive consumption, and not to direct conversation (García-Ull et al., 2024; Ma, 2025).

Another relevant statistic is the average number of shares, which reached 3,174 per video. This is due to the practical and entertaining nature of the content. Finally, each video was saved as a "favorite" an average of 1,995 times. Overall, these figures reflect that the company is not focused on strengthening user interaction, but rather on using TikTok as a promotional advertising platform.

R2: Result obtained in relation to objective 2. To identify the most used hashtags as part of search engine optimization (SEO) that contribute to the company's positioning.

Figure 2. Most Used Hashtags

Source: Elaborated by the authors.

As shown in Figure 2, the hashtags that gain the most visual relevance are related to #Temu and #TemuFinds, reaching a combined frequency of 67.84%, which translates into meta-commercial recognition. This massive repetition indicates that branding was applied to facilitate content virality and thematic grouping, which helps maintain relevance and competitiveness (Pöhlmann et al., 2025).

Furthermore, the hashtags that appeared below 33% were those repeated 2 to 7 times across the 89 videos, fulfilling a segmentation targeting everyday activities. Therefore, the microtargeting strategy relies on an algorithm that adapts to a suitable target audience, expanding reach without losing coherence with the commercial message (Elías Zambrano et al., 2019). In this sense, for Temu, both the means and the end consist of prioritizing its brand name as part of SEO, generating a connection between users with common interests through the visibility of digital content (López et al., 2024).

R3: Results obtained in relation to objective 3. SO3. Describe the audiovisual resources used in the content, taking into account the role assigned in the configuration of persuasive strategies.

Figure 3. Musical Genres

Source: Elaborated by the authors.

Figure 3 shows the consolidation of the pop genre (37.21%). Similarly, sounds associated with Autonomous Sensory Meridian Response (ASMR) are used in 31.40% of cases, while unidentified electronic and instrumental music appears in 9.30%. This trend is geared towards sounds that generate engaging, versatile, and stimulating auditory experiences, which is fundamental on short-form platforms like TikTok.

The use of pop music is explained by its widespread global recognition and its ability to connect with diverse audiences, while ASMR responds to the trend of relaxing and satisfying sensory experiences, especially effective in unboxing or product demonstration videos. Furthermore, electronic and instrumental music is associated with the modernity, dynamism, and technology that the company seeks to project.

Genres with less frequent use were also identified, such as satirical musical comedy (3.49%), instrumental jazz, and electropop (2.33%), reflecting a strategy of audience diversification. These genres are used in campaigns with specific narrative approaches, employing sonic elegance or neutrality depending on the product or advertising message being conveyed. Similarly, the limited representation of genres like disco, hip hop-rap, power metal, electro-disco, alternative rock and roll, R&B-soul, and instrumental funk was reflected in their lower percentages (not exceeding 2%).

The predominance of pop rhythm and ASMR rhythm allows attention to be maintained on the product and facilitates a fluid and attractive experience, influencing the perception, behavior and communicative development of individuals who seek to make their desire to purchase more relaxing (Bravo-Fuentes, 2025).

Figure 4. Voice-over and Music

Source: Elaborated by the authors.

As shown in Figure 4, there is a preference for soundtrack (83%) over the use of voice-over (17%). This prioritizes the viewer's sensory and emotional experience through music or sound, displacing verbal information. The images used acquire an independent explanatory framework. The limited use of voice-over suggests that it is employed in cases where it is necessary to emphasize a specific narrative about a particular object, explaining its characteristics and providing context. Ultimately, highly visual forms of communication are chosen, relying on the implicit transmission of the message through music, gestures, on-screen text, and dynamic editing (Sadek, 2023).

Figure 5. Frequency of Visual Shots

Source: Elaborated by the authors.

As highlighted in Figure 5, the close-up shot predominates (44.69%). This visual strategy emphasizes specific product characteristics, generating a perception of quality, clarity, and precision in the presentation of the items, as it focuses the viewer's attention on particular aspects such as textures, finishes, and functions, proving effective in the context of e-commerce, where physical contact with the product is not possible.

Secondly, the close-up (29.05%) responds to the logic of visual proximity, facilitating the emotional connection with the public, since it includes hands interacting with objects, reinforcing credibility and identification.

Finally, the wide shot (26.26%) allows the article to be placed within a specific space and shows complete scenes of use. Its lower prevalence indicates a prioritization of functional aesthetics and direct experience with the product over the representation of broader or narrative environments.

Taken together, these data reflect the deliberate commitment to a visual aesthetic focused on proximity and detail, consistent with the video marketing trends on TikTok and used by many well-known brands that opt for this advertising method, where quick attention and effective exposure specifically to the product are key elements to capture the user's interest (Khiri Karrouchi, 2024).

Figure 6. Chromaticity Used in the Digital Stage

Source: Elaborated by the authors.

In Figure 6, there is a preference for the use of white (49.69%) because it conveys order, cleanliness, and simplicity—characteristics that favor the presentation of products in the digital environment. Additionally, it enhances the contrast with the other objects displayed, facilitating visibility and highlighting the design and functionality.

Next, wood tones and black appear (20.75%), reinforcing the visual perception of nature, organization, decoration, and domestic lifestyle. Gray, pink, green, beige, and purple represent less than 12%, used selectively to add visual accents without diverting attention from the main product, while also providing variety without visually overwhelming the viewer, thus maintaining an aesthetic related to the brand. The colors red, blue, and orange register the lowest frequencies because on TikTok, attention is brief and selective; therefore, excessive use of these colors distracts and generates visual noise, affecting the clarity of the message.

The color palette used in the videos responds to the visual strategy of prioritizing the presentation of products; therefore, the use of neutral tones establishes a commitment to aesthetic impartiality as a way to maximize commercial impact, without overloading tones that distance the viewer (Mamatkulova, 2024).

Figure 7. Characters Used

Source: Elaborated by the authors.

In Figure 7, female figures represent over 85% of the visualized characters, using their hands to directly manipulate the items. Male figures are absent, while children are present in less than 15% of the figures. The decision to focus on women's hands, rather than showing faces or full bodies, is related to avoiding any kind of distraction for viewers. The focus on the product and the act of using it reinforces the practical and aspirational message, geared towards consumption through proximity and subtlety (Mohan, 2025).

In the context of the holiday season, traditional stereotypes surrounding the role of women as the primary agent within the home are reinforced, especially in cultures where women are assumed to be responsible for purchasing gifts, decorations, and household items. Therefore, the strategy not only consists of reproducing gender stereotypes but also aligns with the logic of consumption that assigns women the central role in purchasing decisions (Mohan, 2025).

R4: Results obtained in relation to objective 4. Explore the types of content promoted in the videos, according to their functionality or context of use.

Figure 8. Thematic Categorization

Source: Elaborated by the authors.

As shown in Figure 8, most of the videos belong to the cooking segment (46.06%), and the promotions of these products are related to everyday life and the aesthetics of culinary activities, where recipes, innovative utensils or multifunctional tools capture high levels of engagement (Zhang & Li, 2025).

Following closely behind are bedroom (13.48%), living room (11.23%), dresser (11.23%), and jewelry and makeup (8.98%), reinforcing the theme of domestic well-being, associated with comfort and lifestyle improvement. However, it is noteworthy that, combined, Christmas and artistic items do not exceed 10%. This is because the items on promotion are not tied to the Christmas season, highlighting their timeless nature and a strategy focused on home products with a youthful aesthetic and language (Cristófol-Rodríguez & Carrasco-Santos, 2023).

5. DISCUSSION AND CONCLUSIONS

Since the contribution of this study was to identify the audiovisual strategies that Temu implemented on TikTok, considering the attention economy and immersive advertising, the following lines compare and discuss the results with other academic works, integrating the research objectives with the main findings and conclusions, as well as pointing out the scope and limitations.

The contribution of Vrontis et al. (2021) reveals that on TikTok, companies appeal to visual narratives, emotions, and influencer participation to achieve greater interaction. This study reflects that the online shopping company prioritized brand positioning through views with the recurring use of the hashtags #Temu and #TemuFinds. Meanwhile, Bautista Jara and Chávez Yépez (2021) mention that promotional content on TikTok is more attractive when it includes elements that demonstrate the specific use of the product, coinciding with the strategies applied by Temu, such as the prominent use of close-ups, creating an immersive experience through the visual message. In the study by Xiao Wang (2024), it is stated that brands saturate advertising content through the excessive use of storytelling and the presence of content creators. Temu strategically considers this aspect by disseminating information in all its videos without featuring a well-known face on the social media scene. Furthermore, Oneto González et al. (2020) state that engagement is a superficial interaction, where the "like" button tends to be more prevalent than other forms of participation. These authors also mention that for videos to generate greater digital impact, the ideal approach would be to orient them towards the video selfie or lip-sync format; however, Temu employed an advertising strategy far removed from the logic of digital participation and engagement.

Contradicting current assumptions, where advertising strategies are based on psychological principles that exploit users' emotional vulnerabilities through automated responses to their questions to encourage content sharing, Vásquez Mendoza (2024) argues that obtaining a "like" transcends this process of social interaction. It becomes a mechanism that triggers dopamine release, generating immediate pleasure and reinforcing patterns of digital dependence related to the information being asked to be shared. Therefore, this approach instrumentalizes emotions to consolidate loyalty and economic profitability.

Temu positions itself in the digital environment with advertising resources designed to capture users' attention. The focus was on views, not comments or other engagement metrics. The most used hashtags and their function as a categorization mechanism and key search engine optimization tool facilitated the visibility of videos linked to the brand's digital positioning strategy, adhering to the algorithmic logic established on TikTok for the benefit of a company that is constantly promoting itself.

In terms of audiovisual resources, the music featured pop and ASMR sounds, intended to keep the audience focused on the product without distractions. Close-up shots appeared frequently, drawing the viewer's attention to the specific characteristics of the items. The color palette favored white tones to emphasize the domestic design. Regarding the characters, the female figure predominated, frequently using her hands to demonstrate the products' functionality. The kitchen was given prominence, reinforcing the theme of gastronomic well-being, associated with comfort and harmony in family life. The company also superficially incorporated Christmas items, establishing a timeless connection to the period.

Therefore, the results obtained in this study demonstrate that traditional digital marketing strategies are not being applied. On the contrary, an audiovisual catalog is being consolidated that prioritizes the view count over the stimulus-response process. This proposal shows that the prospects for success and competent knowledge in sales marketing were consolidated in the context of the COVID-19 pandemic (Li, 2023). Rather than building a community or fostering loyalty through participatory information, an advertising strategy integrated with visual communication has been chosen, where persuasion becomes a covert control mechanism (Foucault, 1973), implemented to condition the user's attention and purchasing decisions (Zard, 2023). On TikTok, emerging companies like Temu deploy strategies that not only seek to capture interest but also induce consumer behavior under the archetype of immersive entertainment. This instrumental logic responds to algorithms and techniques managed opaquely, displacing consumer autonomy. Thus, commercial effectiveness, measured in clicks and views, is obtained after practices that normalize the exploitation of the user's cognitive attention economy, establishing a business model in which persuasion is synonymous with business success (Zard, 2023).

Therefore, Goldhaber's (1997) critical analysis of the attention economy in the digital age remains relevant, in that information is abundant and overwhelming, while attention continues to be a scarce, desirable, and highly competitive resource. The prolonged time users spend on social media is not driven by a search for information per se, but rather by the allure of stimuli that capture attention and transform it into an economic commodity. This reveals underlying factors that threaten personal autonomy by detaching individual habits from reality and converting them into a set of behavioral patterns managed by techno-economic factors (González de la Torre et al., 2024).

As part of immersive advertising, Temu uses the display of everyday products through practical demonstrations that allow users to imagine their use in real-world contexts, enhancing the perception of usefulness and functionality. The visual strategy, with its emphasis on detail and color clarity, along with the concise and direct narrative of each video, generates an immersive effect that goes beyond simply presenting a product: it invites the viewer to mentally interact with the object, increasing information retention and the likelihood of conversion into purchasing decisions. In doing so, the goal is not to overwhelm the user with information, but rather to maintain a sustained flow of views. In this scenario, the videos fulfilled the function of competing for a limited resource: the users' attention and time, making them capital within the attention economy.

One of the main limitations of this research relates to audience perception. A reception study was not conducted to understand how users interpret, value, or interact with the videos and products presented by Temu or any other startup. This lack of data restricts the understanding of immersive advertising from the consumer's perspective. It is suggested that future research combine content analysis with surveys, interviews, or interaction and engagement metrics, thus incorporating information from the audience, to provide a more comprehensive view of the impact of immersive advertising and its relationship to the attention economy in various virtual environments.

Another limitation relates to the critical dimension of the research. While a reflective analysis of Temu's advertising strategies on TikTok was included, and concepts such as the attention economy and immersive advertising were referenced, a comprehensive study was not achieved in terms of theoretical and critical interpretation of personal data management, the risk of influencing consumption habits, and the corporate obligation to create new sociocultural practices. Future research should delve deeper into a more rigorous analysis that allows for an evaluation not only of the form and structure of the content but also its ethical implications in shaping and disseminating cross-border e-commerce, integrating a critical perspective that aligns with current academic debates at the regional level.

6. REFERENCES

Acevedo Borrás, S. P., & Reales Gaviria, W. S. (2017). La implementación del video marketing como estrategia de posicionamiento de marca [Monografía]. Universidad del Norte. http://hdl.handle.net/10584/10932

Ao, L., Bansal, R., Pruthi, N., & Khaskheli, M. B. (2023). Impact of Social Media Influencers on Customer Engagement and Purchase Intention: A Meta-Analysis. Sustainability, 15(3), 1-15. https://doi.org/10.3390/su15032744

Barredo Ibáñez, D. (2015). El análisis de contenido. Una introducción a la cuantificación de la realidad. Revista San Gregorio, 26-31. https://doi.org/10.36097/rsan.v0i0.113

Bautista Jara, Á. A., & Chávez Yépez, H. F. (2021). Marketing de influenciadores como estrategia de las campañas publicitarias. Revista Uniandes Episteme, 8(1), 33-47. https://cutt.ly/KZi3NnN

Belch, G. E., & Belch, M. A. (2009). Advertising and Promotion. An Integrated Marketing Communication Perspective. Victoria University of Wellington.

Bravo-Fuentes, P. (2025). Explorando el fenómeno musical de TikTok en 2024: "Gata Only" y sus dinámicas de poder y género. Comunicar, 33(81), 1-07. https://doi.org/10.5281/zenodo.15570708

Burgaleta-Pérez, E., Gancino, J. M., Lalangui, E. C., RubioMolina, P. G., & Arias Medina, B. L. (2024). Gender, Ethnicity, and Age on TikTok: Content Analysis of Ecuadorian Tiktokers. South Eastern European Journal of Public Health, 25, 2704-2717. https://doi.org/10.70135/seejph.vi.2510

Calvino, F. (May 30, 2025). Temu's Disruption of Global E-Commerce: A 2024–2025 Analysis. Cross-Border Magazine. https://bit.ly/4fOdEle

Campines-Barría, F. J. (2024). Marketing influencer y su impacto en las decisiones de compra. Ciencia Latina Revista Científica Multidisciplinar, 8(1), 1291-1301. https://doi.org/10.37811/cl_rcm.v8i1.9514

Cancino-Gómez, Y. A., Cristancho-Triana, G. J., & Caviedes-Caviedes, S. P. (2025). La intención de compra y la respuesta negativa hacia la influencia en Instagram: El efecto de la interacción y la motivación. Revista Latina de Comunicación Social, 83, 1-20. https://doi.org/10.4185/rlcs-2025-2363

Cristófol-Rodríguez, C., & Carrasco-Santos, M. J. (2023). TIKTOK como herramienta de comunicación de moda: El caso Zara. REVISIÓN VISUAL. VISUAL REVIEW. International Visual Culture Review Revista Internacional De Cultura Visual, 14(2), 1-16. https://doi.org/10.37467/revvisual.v10.4605

Du, Z., & Yin, N. (2024). Improving Digital Marketing Strategies Based on SICAS Mode: A Case Study of SHEIN in China. In Proceedings of the 2024 9th International Conference on Intelligent Information Processing (ICIIP '24) (pp. 185-191). Association for Computing Machinery. https://doi.org/10.1145/3696952.3696978

Echeverría, B. (2001). La modernidad de lo barroco. Ediciones Era.

Ekos. (December 17, 2024). “Team Up, Price Down”: La fórmula de TEMU que está conquistando el mercado mundial. https://bit.ly/3Jw04Hg

Elías Zambrano, R., Expósito Barea, M., Jiménez-Marín, G., & García Medina, I. (2019). Microtargeting and Electoral Segmentation in Advertising and Political Communication Through Social Networks: Case Study. The Journal of Social Sciences Research, 5(6), 1052-1059. https://doi.org/10.32861/jssr.56.1052.1059

Foucault, M. (1973). El orden del discurso. Tusquets.

Franco Bentes, A. C. (2022). El modelo del gancho y la formación de hábitos: tecnoconductismo, capitalismo de vigilancia y economía de la atención. Anuario Electrónico de Estudios en Comunicación Social "Disertaciones", 15(2), 1-19. https://doi.org/10.12804/revistas.urosario.edu.co/disertaciones/a.11342

García Murcia, M. P. (2023). Análisis deontológico de los anuncios de Navidad de loterías y apuestas del estado. Revista de Comunicación de la SEECI, 56, 1-9. https://doi.org/10.15198/seeci.2023.56.e806

García Ull, F. J., Lamirán Palomares, J. M., & Broseta Dupre, B. (2024). Más allá del número de seguidores: Medición de la resonancia en redes sociales basada en interacciones directas. VISUAL REVIEW. Revista Internacional de Cultura Visual, 16(3), 239-250. https://doi.org/10.62161/revvisual.v16.5260

Giraldo-Luque, S., & Fernández-Rovira, C. (2020). Redes sociales y consumo digital en jóvenes universitarios: economía de la atención y oligopolios de la comunicación en el siglo XXI. Profesional de la Información, 29(5), e290528. https://doi.org/10.3145/epi.2020.sep.28

Goldhaber, M. H. (1997). The attention economy and the Net. First Monday, 2(4). https://doi.org/10.5210/fm.v2i4.519

González de la Torre, P., Pérez-Verdugo, M., & Barandiaran, X. E. (2024). Attention is all they need: Cognitive science and the (techno)political economy of attention in humans and machines. arXiv:2405.06478. https://doi.org/10.48550/arXiv.2405.06478

González Fernández-Villavicencio, N. (2016). Bibliotecas, medios y métricas de la web social. Anales de Documentación, 19(1), 1-13. https://doi.org/10.6018/analesdoc.19.1.234001

Guix Oliver, J. (2008). El análisis de contenidos: ¿qué nos están diciendo? Revista de Calidad Asistencial, 23(1), 26-30. https://doi.org/10.1016/S1134-282X(08)70464-0

Hidrobo Nina, A. F., & España Salvador, R. A. (2025). Impacto del microinfluencer en la interacción con la audiencia de una marca en redes sociales. Revista de Estudios Contemporáneos del Sur Global, 6(17), 1-25. http://doi.org/10.46652/pacha.v6i17.363

van Krieken, R. (2018). Georg Franck’s ‘The Economy of Attention’: Mental capitalism and the struggle for attention. Journal of Sociology, 55(1), 3-7. https://doi.org/10.1177/1440783318812111

Kaminkow, B. A. (November 11, 2024). How TikTok, Temu and Shein Will Win the Holidays. Forbes. https://www.forbes.com/sites/bethannkaminkow/2024/11/11/how-tiktok-temu-and-shein-will-win-the-holidays/ 

Khiri Karrouchi, S. (2024). Marketing digital en TikTok (Tesis inédita de pregrado). Universidad Politécnica de Cartagena. https://bit.ly/4mB54ZQ

Kotler, P., & Keller, K. L. (2016). Dirección de marketing (14ª ed.). Pearson Educación. https://bit.ly/4oXScia

Landis, J. R., & Koch, G. G. (1977). The measurement of observer agreement for categorical data. Biometrics, 33(1), 159-174. https://doi.org/10.2307/2529310

Leung, X., Buhalis, D., & Viglia, G. (2024). Immersive Advertising via Co-Creation: Lessons from the Visitor Economy. How to Enhance Experiential Competitiveness With an “Attract, Convert, and Delight” Strategy. Journal of Advertising Research. https://doi.org/10.2501/JAR-2024-019

Li, D. (2023). E-commerce Retailer Marketing Strategies and Rapid Growth: A Case Study of Temu. Highlights in Business, Economics and Management, 23, 668-673. https://doi.org/10.54097/t6mvna44

Li, H., & Tu, X. (2024). Who generates your video ads? The matching effect of short-form video sources and destination types on visit intention. Asia Pacific Journal of Marketing and Logistics, 36(3), 660-677. https://doi.org/10.1108/APJML-04-2023-0300

López Iglesias, M., & Luque-Ortiz, S. (2024). Evolución de la publicidad en el lugar de venta en la historia. Questiones Publicitarias, 7(33), 21-33. https://doi.org/10.5565/rev/qp.397

López Navarrete, A. J., Cisternas Osorio, R., Díez Somavilla, R., & Cabrera Méndez, M. (2024). La interacción del usuario en TikTok: el engagement según la tipología de contenido. TSAFIQUI Revista Científica en Ciencias, 14(22), 105-117. https://doi.org/10.29019/tsafiqui.v14i22.1200

López, D. C., Freire, M., & Barros, K. (2024). Mapeo de las modalidades de comunicación científica en TikTok: un análisis descriptivo del hashtag #CienciaNoTikTok. Revista Mediterránea de Comunicación, 15(1), 163-179. https://www.doi.org/10.14198/MEDCOM.25508

Ma, R. (2025). Localización comercial en el ámbito hispano-chino: traducción de descripciones de productos en “TEMU”. European Public & Social Innovation Review, 10, 1-16. https://doi.org/10.31637/epsir-2025-1517

Mamatkulova, S. J. (2024). The role of color in marketing and the influence of emotions on consumer choice. Modern Education and Development, 16(2), 112-117. https://scientific-jl.org/mod/article/view/5707/5574

McHugh, M. L. (2012). Interrater reliability: the kappa statistic. Biochemia Medica, 22(3), 276-282. https://doi.org/10.11613/BM.2012.031 

Méndez-Majuelos, I., López López, P. J., & Sobrados-León, M. (2023). TikTokers y discapacidad. Entretenimiento, inclusión y difusión de valores entre los jóvenes de habla hispana. ICONO 14. Revista científica de Comunicación y Tecnologías emergentes, 21(2), 1-21. https://doi.org/10.7195/ri14.v21i2.2026

Mohan, R. (2025). Influence of celebrity endorsements in advertisements on the purchasing intentions among higher education students. IIMT Journal of Management, 2(1), 100-113. https://doi.org/10.1108/IIMTJM-04-2024-0044

Navarro-Güere, H. (2024). El vídeo de formato vertical en dispositivos móviles. Estudio de caso en TikTok, Instagram Reels y YouTube Shorts. Revista de Comunicación, 23(1), 377-393. https://doi.org/10.26441/RC23.1-2024-3316

Novillo-Díaz, L. A., Izquierdo-Vera, R. M., & Farinango-Salazar, R. A. (2023). TikTok como herramienta para ampliar el valor de la marca de una empresa. Revista Episteme & Praxis, 1(2), 25-29. https://doi.org/10.62451/rep.v1i2.17

Oneto González, G., Pérez Curiel, C., & Riscart López, J. (2020). Efecto del influencer sobre el nivel de engagement en publicaciones de Instagram. Redmarka. Revista de Marketing Aplicado, 24(2), 76-94. https://doi.org/10.17979/redma.2020.24.2.7069

Ordoñez Pineda, J. J., & Fornos García, V. (2017). Metodología de investigación enfocado en el análisis Cualitativo–Cuantitativo aplicado a los factores que condicionan la deserción escolar de los alumnos de secundaria Somotillo. Revista Iberoamericana de bioeconomía y Cambio Climático, 3(5), 700-710. https://doi.org/10.5377/ribcc.v3i5.5943

Pan, M., Blut, M., Ghiassaleh, A., & Lee, Z. (2025). Influencer marketing effectiveness: A meta-analytic review. Journal of the Academy of Marketing Science, 53, 52-78. https://doi.org/10.1007/s11747-024-01052-7

Pérez-Quishpe, G. D., & Castro-Analuiza, J. C. (2024). La publicidad digital como herramienta de marketing: desde la perspectiva de imágenes visuales que llaman la atención a los usuarios. INNOVA Research Journal, 9(1), 131-146. https://doi.org/10.33890/innova.v9.n1.2024.2456

Pinto, P. A., & Paramita, E. L. (2021). Social media influencer and brand loyalty on generation Z: the mediating effect of purchase intention. Diponegoro International Journal of Business, 4(2), 105-115. https://doi.org/10.14710/dijb.4.2.2021.105-115

Piñeiro-Naval, V. (2020). The content analysis methodology. Uses and applications in communication research on Spanish-speaking countries. Communication & Society, 33(3), 1-15. https://doi.org/10.15581/003.33.3.1-15

Pöhlmann, M., de las Heras-Pedrosa, C., Seitz, J., & Jambrino-Maldonado, C. (2025). Evaluating the potential of agile branding: opportunities and challenges in the start-up context. Humanities and Social Sciences Communications, 12(279), 1-15. https://doi.org/10.1057/s41599-025-04600-w

Purnomo, Y. J. (2023). Digital marketing strategy to increase sales conversion on e-commerce platforms. Journal of Contemporary Administration and Manageme (ADMAN), 1(2), 54-62. https://doi.org/10.61100/adman.v1i2.23

Quintas-Froufe, N., González-Neira, A., & Fiaño-Salinas, C. (2024). Corporate policies to protect against disinformation for young audiences: the case of TikTok. Front. Commun, 9, 1-8. https://doi.org/10.3389/fcomm.2024.1410100

de Ruyter, K., Heller, J., Hilken, T., Chylinski, M., Keeling, D. I., & Mahr, D. (2020). Seeing with the Customer’s Eye: Exploring the Challenges and Opportunities of AR Advertising. Journal of Advertising, 49(2), 109-124. https://doi.org/10.1080/00913367.2020.1740123

Roman-Acosta, D. (2024). Terminología en metodología de la investigación cualitativa. Seminars in Medical Writing and Education, 3, 1-15. https://doi.org/10.56294/mw2024655

Sadek, S. (2023). YouTube Users’ Behavioral Responses Towards Musical Ads (A Comparative Study Vs Voice Over Ads). Journal of Design Sciences and Applied Arts, 4(2), 127-153. https://doi.org/10.21608/jdsaa.2023.182931.1244

Sánchez Macías, W. O., Ramos Anchundia, J. M., Montoya Arellano, W. I., & García Córdova, F. J. (2024). Herramientas estadísticas avanzadas para el análisis de datos en investigaciones cuantitativas: Una revisión sistemática. Ciencia y Educación, 5(12), 71-89. https://doi.org/10.5281/zenodo.14579231

Sands, S., Ferraro, C., Demsar, V., Cohen, J., & Gvirtz, A. (2024). Immersive Advertising—A Review and Research Agenda: Potential Effects of and Considerations for AR, VR, and MR Advertisements. Journal of Advertising Research, 64(3), 284-300. https://doi.org/10.2501/JAR-2024-018

Shah, D., & Murthi, B. P. S. (2021). Marketing in a Data-Driven Digital World: Implications for the Role and Scope of Marketing. Journal of Business Research, 125, 772-779. https://doi.org/10.1016/j.jbusres.2020.06.062

Simon, H. A. (1971). Designing organizations for an information-rich world. En M. Greenberger (Ed.), Computers, communication, and the public interest (pp. 37-52). Johns Hopkins University Press.

Sixto-García, J., & Álvarez Vázquez, A. (2020). Influencers en Instagram y publicidad engañosa: la necesidad de regular y autorregular. Estudios sobre el Mensaje Periodístico, 26(4), 1611-1622. http://dx.doi.org/10.5209/esmp.66921

Taherdoost, H. (2022). What are Different Research Approaches? Comprehensive Review of Qualitative, Quantitative, and Mixed Method Research, Their Applications, Types, and Limitations. Journal of Management Science & Engineering Research, 5(1), 53-63. https://doi.org/10.30564/jmser.v5i1.4538

Torres-Toukoumidis, Á., De-Santis, A., & Vintimilla-León, D. (2021). TikTok: más allá de la hipermedialidad. Editorial Abya-Yala. https://doi.org/10.7476/9789978106815

Vásquez Mendoza, J. S. (2024). La economía de la atención. Una mirada a las estrategias empresariales digitales y su influencia en la educación superior. Pie de Página, 13, 49-53. https://doi.org/10.26439/piedepagina2024.n013.7305

Virós-Martín, C., Jiménez-Morales, M., & Montaña-Blasco, M. (2025). Adolescentes, TikTok e Instagram: percepciones sobre el impacto de las tecnologías digitales en su vida social. Revista de Comunicación, 24(1), 519-537. https://doi.org/10.26441/RC24.1-2025-3774

Vrontis, D., Makrides, A., & Christofi, M. (2021). Social media influencer marketing: A systematic review, integrative framework and future research agenda. Int J Consum Stud, 45(4), 617-644. https://doi.org/10.1111/ijcs.12647

Wang, J. (2024). TikTok under Marketing Saturation: Comprehensive Analysis of User-Generated Content (UGC) Marketing. Advances in Economics, Management and Political Sciences, 85, 85-91. https://doi.org/10.54254/2754-1169/85/20240848

Wang, X. (2024). Digital Marketing Strategies and Consumer Engagement: Unveiling TikTok’s E-Commerce Dynamics. Proceedings of the 8th International Conference on Economic Management and Green Development, 103, 182-189. https://doi.org/10.54254/2754-1169/103/20242445

Warrens, M. J. (2015). Five Ways to Look at Cohen’s Kappa. Journal of Psychology & Psychotherapy, 5(4). https://doi.org/10.4172/2161-0487.1000197

Yuan, L., Shi, Y., Xia, H., & Ye, Q. (2025). Effective strategies in short video advertising: leveraging influencer endorsements and discounts. Industrial Management & Data Systems, 125(4), 1573-1600. https://doi.org/10.1108/IMDS-06-2024-0551

Zard, L. (2023). Consumer manipulation via online behavioral advertising. arXiv:2401.00205, 1-77. https://doi.org/10.48550/arXiv.2401.00205

Zhang, J., & Li, C. (2025). The influence and configuration effect of content characteristics on customer input in the context of short video platforms. Journal of Research in Interactive Marketing, 19(3), 482-497. https://doi.org/10.1108/JRIM-02-2024-0121

 

AUTHORS' CONTRIBUTIONS, FUNDING AND ACKNOWLEDGMENTS

Authors' Contributions 

Conceptualization: Lalangui Campoverde, Cristóbal. Validation: Lalangui Campoverde, Cristóbal. Formal Analysis: Rosero Chamorro, Jazmín and Chacón Molina, Sebastián. Data Curation: Rosero Chamorro, Jazmín and Chacón Molina, Sebastián. Drafting-Preparation of the original draft: Rosero Chamorro, Jazmín and Chacón Molina, Sebastián. Drafting -Revision and Edition: Lalangui Campoverde, Cristóbal. Visualization: Rosero Chamorro, Jazmín and Chacón Molina, Sebastián. Supervision: Lalangui Campoverde, Cristóbal. Project Management: Rosero Chamorro, Jazmín and Chacón Molina, Sebastián. All the authors have read and accepted the published version of the manuscript: Lalangui Campoverde, Cristóbal, Rosero Chamorro, Jazmín and Chacón Molina, Sebastián.

Funding: This research did not receive external funding.

Conflict of interest: None.

AUTHOR(S)

Cristóbal Lalangui Campoverde

Technical University of Cotopaxi

He holds a bachelor’s degree in Social Communication from the Central University of Ecuador (UCE) and a master’s degree in Communication Policy from the State University Institute of Higher National Studies (IAEN). His areas of expertise and research in both the academic and professional spheres include: Social Sciences, Social Communication, Critical Discourse Analysis, and Radio Communication. He is currently a research professor in the Communication program at the School of Social Sciences, Arts, and Education at the Technical University of Cotopaxi (UTC).
edison.lalangui9491@utc.edu.ec
Orcid ID: https://orcid.org/0000-0002-3095-1371

 

Jazmín Rosero Chamorro

Technical University of Cotopaxi

Bachelor’s degree in communication from the Technical University of Cotopaxi. Specialist in audiovisual production.
jazmin.rosero7492@utc.edu.ec
Orcid ID: https://orcid.org/0009-0007-0508-8194

 

Sebastián Chacón Molina

Technical University of Cotopaxi

Bachelor’s degree in communication from the Technical University of Cotopaxi. Specialist in audiovisual production.
jefferson.chacon7424@utc.edu.ec
Orcid ID: https://orcid.org/0009-0000-5255-9584

Related articles:

Aceituno-Silva, D. (2024). Razonamiento ciudadano en redes y la economía de la atención. Desafíos actuales y futuros para la enseñanza de la Historia en Chile y América Latina. Educación y Humanismo, 26(46), 82-102. https://doi.org/10.17081/eduhum.26.46.6649 

Arroba, E., Toapanta Cunalata, D. G., & Toscano Ramos, O. R. (2023). El análisis de los factores que influyen en el modelo estratégico publicitario y su impacto en el comportamiento del consumidor: caso de estudio maguseva. Vivat Academia, 156, 47-64. https://doi.org/10.15178/va.2023.156.e1483

García Huertas, J. G., & López de la Torre, L. (2024). El Neurodiseño Web y la experiencia del usuario. Análisis de un caso práctico: Zara. Revista de Ciencias de la Comunicación e Información, 30, 1-15. https://doi.org/10.35742/rcci.2025.30.e306

Ma, R. (2025). Localización comercial en el ámbito hispano-chino: traducción de descripciones de productos en “TEMU”. European Public & Social Innovation Review, 10, 1-16. https://doi.org/10.31637/epsir-2025-1517

Morillas, A. S., & Soladana, I. M. (2025). Estrategias de Marca en el Mundo Gamer: Una Evolución Constante. VISUAL REVIEW. International Visual Culture Review/Revista Internacional de Cultura Visual, 17(4), 185-199. https://doi.org/10.62161/revvisual.v17.5862