Медийна и дигатална комуникация

Media and Digital Communication

DOI 10.55206/IGOH2238

 

Roland Impuscatu

University of Bucharest

The Faculty of Journalism and Communication Studies

E-mail: roland.impuscatu@fjsc.ro

 

Abstract: This study examines the role of emotional appeals in short-form video advertising and the corresponding online engagement measured through likes, comments, and shares on social media. A corpus of 50 Samsung brand video posts, released on both TikTok and Instagram, was analyzed to compare platform-specific engagement for identical content. Using a one-way ANOVA with a post-hoc Tukey test, the results indicate that videos evoking joy and affection generate significantly more likes than those evoking curiosity, while curious content, in turn, outperforms proud content on TikTok.

The analysis did not reveal significant connection between the emotions used in short-form videos and their engagement on Instagram. The analysis of emotional valence suggests that positive emotions are predominantly employed in digital communication, with curiosity emerging as the most frequently utilized appeal in short-form videos. These findings provide valuable insights for scholars and communication professionals seeking to understand how emotional appeals in digital advertising can influence user engagement.

Keywords: emotions, digital advertising, digital engagement, short-form video, Instagram, TikTok.

 

Introduction

The rapid expansion of social media platforms, coupled with the predominant use of mobile phones for internet access (Datareportal, 2024) [1], has resulted in a marked increase in short-form video content on platforms such as TikTok and Instagram (Meng et al., 2024). [2] Advertising placement channels are no longer isolated or homogeneous, allowing consumers to encounter multiple types of messages concurrently (Young, 2014) [3]; notably, 77% of television audiences also go online while watching TV (Morrissey, 2009). [4] In response to this evolving digital landscape, companies are revising their marketing strategies by adopting a more digital approach (Casais & Veloso, 2024) [5], where they can exert greater control and optimize their tactics in real time. Furthermore, the emphasis on creative content in digital spaces, where mobile phone usage predominates, is in itself driving changes in how such content is designed for maximum effectiveness. This emerging mode of content creation, tailored to contemporary demands, has been termed “short-form video advertisement” (Meng et al., 2024) [6].

With the rapid expansion of digitization, consumers are exposed to a constant stream of messages each day, many of which only manage to capture their attention briefly (Young, 2014). [7] Meanwhile, social media usage, algorithm-driven personalisation, and the rise of short-form videos encourage excessive consumption, often leading to binge-scrolling (Park & Jung, 2024). [8] This dynamic results in greater exposure to advertisements but diminishes the amount of time devoted to each individual advertisement (Park & Jung, 2024). [9]

Given that creativity remains a decisive factor in video advertisement effectiveness (Nielsen, 2017) [10], both practitioners and researchers have begun to adapt their investigations to determine how short-form video advertisements can be made more effective and to assess their impact on various persuasive dimensions. Google (2023) [11] analyzed 17,000 advertisements and introduced the ABCD model, Attention, Branding, Connection, Direction, which provides a framework for creating digital ads. Drawing on the established AIDA model, Google (2023) [12] incorporates elements such as music, characters, and various creative assets to capture attention and reinforce branding, resulting in an average short-term sales increase of 30% (Le Port, 2022). [13] Although this model covers a broad range of creative factors, other researchers have opted for more focused investigations. For instance, Wang et al. (2023) [14] explored the role of music in shaping consumer behavior, concluding that slower-tempo songs in videos elicit heightened mental stimulation. Meanwhile, Qi et al. (2024) [15] studied narrative versus non-narrative short-form videos, finding that narrative videos cultivate more favorable brand attitudes. In a related study, Cho et al. (2024) [16] examined predictors of short-form video popularity, highlighting that compelling visual elements and relevant textual descriptions are key factors.

Despite growing interest and popularity surrounding short-form video content, scholarly attention to its commercial impact remains limited, indicating a significant gap in the literature (Xiao et al., 2023). [17]

Although numerous studies have investigated the role of emotions in advertising and their effects (Chaudhuri, 2006; Golan & Zaidner, 2008; Japutra et al., 2022) [18]; [19]; [20], most have addressed advertising broadly rather than focusing on short video formats. Furthermore, while other research has examined how emotional or rational elements relate to digital consumer engagement (Kim & Yang, 2017) [21]; Zengin & Zengin, 2020) [22], the analyzed corpus in these studies included various types of posts and did not specifically target short-form video content. Jenkins (2018) [23] analyzes various types of appeals that fall within emotional or rational dimensions, suggesting that humor is frequently encountered in viral posts. While humor can be associated with the emotion of joy (Savage et al., 2017) [24], the analysis conducted focuses more on a series of conceptual elements present in images rather than on emotions themselves.

Considering the gap in the existing literature and the growing importance of short-form videos in brand promotion within the online environment, this study aims to explore the connections between the types of emotions used in short-form videos and their engagement levels. The research focuses on different forms of engagement that require degrees of user involvement, specifically likes, comments, and shares.

Literature Review

Short-Form Video Ads

Short-form videos currently represent the most popular video format (Manic, 2024) [25] and constitute the fastest-growing type of advertising in the digital environment (Grewal et al., 2016). [26] This format is particularly associated with TikTok, which is both the fastest-growing social media platform and the fifth largest globally in terms of user numbers (Dixon, 2024a). [27] Short-form videos are also present on Instagram, in the form of Reels. Among the platforms utilizing this format, TikTok and Instagram demonstrate the greatest influence on impulse purchases following exposure to short-form video content (Adobe, 2024). [28]

Recently, numerous companies have recalibrated their digital marketing strategies, shifting toward the production of short-form video content (Manic, 2024). [29] This approach aligns more effectively with contemporary consumer media consumption patterns and provides expanded interactive capabilities. For example, content produced in a 9:16 ratio can be shared as both Reels and Stories, thereby reducing distribution costs and facilitating increased interaction; users can simply click embedded links to be redirected to websites where products can be purchased (Ge et al., 2021). [30]

Compared with traditional television advertising, short-form videos offer multiple advantages, both economically and persuasively. Their short duration allows for quicker content comprehension (Wang, 2020) [31] while pushing advertising professionals to develop more creative strategies within a limited timeframe, given consumers` constrained attention spans (Redi et al., 2014). [32] These formats are also more adaptable across various platforms and media (Weinstein, 2022) [33], broadening the reach of a single piece of content. Such adaptability has economic benefits, as a single production can be disseminated in different forms at significantly lower costs compared to traditional television commercials (Meng, 2024). [34]

Emotions in Advertising

Appeals to emotion play a critical role in the effectiveness of advertising messages, as they tend to be more memorable and less susceptible to change than rational appeals (Chaudhuri, 2006). [35] The use of emotional appeals helps differentiate brand communication and shape its personality (Yeshin, 2012). [36] Given their importance, emotions have been extensively studied in the context of advertising. Poggi (2011) [37] suggests that emotion serves as a link between cognition and affect in persuasive communication, thereby influencing the overall effectiveness of the message. Japutra et al. (2022) [38] examined appeals to gratitude versus happiness, finding that gratitude-based appeals can increase purchase intentions for self-made products. Meanwhile, Stavraki et al. (2021) [39] investigated how emotions influence information processing, concluding that emotional diversity affects the manner in which individuals process and validate information. They further demonstrated that even a single emotion can elicit varying levels of information processing.

Brand-focused studies in the online environment that examine emotions remain scarce and often present contradictory findings. Tellis et al. (2019) [40] suggest that audiences prefer advertisements with emotional content, and that positive emotions significantly increase content sharing, whereas negative emotions such as fear and shame have a limited impact on virality. This indicates that people tend to avoid sharing content that evokes discomfort. The impact of positive emotions on engagement is further supported by another study that compared the 2,000 most shared Facebook posts with the 2,000 least shared ones (Yuki, 2015). [41] The findings suggest that content eliciting happiness and enthusiasm has the highest likelihood of being shared, while negative emotions such as sadness or anger do not correlate with significant engagement.

Conversely, a study analyzing 19,343 brand-related messages on Twitter found that informational cues generate significantly higher engagement rates than emotional cues (Araujo et al., 2015). [42] The same study highlights that for content to be widely shared, it must integrate both technical elements, such as links and hashtags, along with rational and emotional content, suggesting that the dichotomy between rational and emotional appeals is most effective when combined. Those inconsistencies, coupled with the limited number of brand-focused studies, create ambiguity regarding the mechanisms through which emotions in social media posts impact consumer behavior within a brand-related context.

Research on emotions in the digital domain has also explored a transformational perspective. Golan and Zaidner (2008), [43] for example, analyzed 360 viral advertisements and observed that these ads often rely on a transformational approach, suggesting that virality is correlated with emotion. Kim and Yang (2017), [44] revealed that Facebook posts using ego-focused strategies (transformational messaging) tend to inhibit sharing but enhance appreciation (likes).

Types of Emotions

The literature offers a diverse range of categorizations and interpretations of emotions; however, this study focuses on those most relevant to the present investigation. One of the most comprehensive frameworks comes from Plutchik (2001), [45] whose ten postulates outline eight primary emotions arranged in opposing pairs: joy vs. sadness, anger vs. fear, trust vs. disgust, and surprise vs. anticipation. In Postulate 10, Plutchik (2001) [46] also categorizes emotions on an intensity spectrum, low, primary, and heightened, resulting in a more nuanced classification. While Plutchik’s (2011) [47] taxonomy offers a robust foundation, this study uses it primarily as a basis for constructing a more streamlined coding scheme that reflects the emotional appeals most commonly employed in advertising.

Buck’s (2014) [48] categorization divides emotions into two valences: negative and positive. Within the positive valence, emotional messages can appeal to love or virtue, which may further encompass compassion, sympathy, and harmony. Conversely, negative valence emotions evoke feelings of fear or guilt (Cmeciu, 2013). [49]

This study incorporates various types of emotions into its coding scheme, structured around positive and negative valences. Considering prior research on primary emotions (Ekman & Friesen, 1975) [50]; (Plutchik, 2001) [51]; Buck, 2014) [52], a selection of key emotions has been identified for the coding framework (see Table 1). Positive emotions include joy, love, affection, trust, curiosity, enthusiasm, and pride, while negative emotions consist of fear, anger, sadness, disgust, shame, and guilt.

Table 1. Selected Emotions for the Coding Scheme, adapted from Ekman & Friesen (1975), Plutchik (2001), and Buck (2014)

 

Although positive emotions are traditionally associated with stronger message performance (Lin & Peña, 2011) [53], this study seeks to examine both positive and negative emotions in relation to consumer engagement in the digital sphere. Additionally, advertising is not exempt from the use of negative emotions, as advertisements can incorporate either positive or negative appeals to elicit emotional reactions from consumers (Kotler & Armstrong, 2016). [54]

Previous research indicates that positive emotions, such as gratitude, are linked to higher purchase intention (Kim et al., 2018) [55], and Japutra et al. (2022) [56] contend that positive emotions serve as salient predictors of advertising effectiveness. In contrast, Tannenbaum et al. (2015) [57] provide evidence that fear-based appeals, classified as negative emotions, can effectively change consumer attitudes, intentions, and behaviors.

Despite these insights, existing studies have not thoroughly examined the use of emotions in short-form video content or their impact on consumer digital engagement. Therefore, the present study not only contributes new insights into the emotional appeals characteristic of short-form video advertising but also investigates the relationship between these emotionally charged appeals and varying levels of user engagement.

 

Digital Consumer Engagement

Engagement Levels

Consumer engagement behavior encompasses actions that demonstrate consumers’ attachment to an organization, product, or brand, reflecting varying degrees of involvement (van Doorn et al., 2010) [58] Social media engagement closely aligns with concepts such as consumer attention, involvement, and interest (Calder et al., 2009). [59] The COBRA (Consumers Online Brand-Related Activities) framework delineates three distinct forms of social network user behavior (Muntinga et al., 2011) [60]:

1. Consumption: Characterized by low levels of engagement and passive activities, such as browsing reviews or viewing videos.
2. Contribution: Involves moderate engagement and more active participation, such as posting comments or rating products online.
3. Creative: Signifies the highest level of engagement, requiring substantial cognitive effort. Examples include producing original content or writing detailed product reviews.

These engagement categories are closely linked to consumers’ motivations for participating in particular online activities, which can be classified as passive or active. The active dimension is further distinguished by the degree of user involvement or the level of contribution (Muntinga et al., 2011) [61] and participation (Shao, 2009). [62] At the highest level, creative behavior involves a substantial commitment of cognitive resources, reflecting a deeper investment in the brand or product.

Specific Behaviors in the Digital Environment

Online audience behavior can be monitored through various metrics provided by digital platforms, each of which entails a particular level of user engagement. The types of engagement a post receives also influence how the social media platform`s algorithm processes it, determining whether it will be shown to a wider audience (Adobe, 2023a; Lauron, 2025). [63]; [64] This highlights the strategic implications of various user behaviors on a brand’s reputation and awarness in the digital environment.

Like

The “like” function on brand pages enables users to express a straightforward preference for particular content. According to Lipsman et al. (2012) [65], likes represent a simple yet direct form of interest in a brand, as well as an avenue for personal expression (Schau & Gilly, 2003). [66] Social proximity also plays an important role: a like from a close acquaintance may exert a stronger influence on other users’ brand attitudes (Phua & Ahn, 2014). [67] A “like” can also be considered an initiation of interaction from the consumer toward the brand, as it reflects the consumer`s response to the content they have engaged with (Vivek et al., 2012). [68]

Comment

Commenting constitutes a more involved form of user engagement, offering both technical and interactive benefits to a brand. While user comments can enhance the visibility of a post (Adobe, 2023b) [69], the sentiment behind these comments, whether negative or positive, can sway subsequent user engagement behaviors. For example, expressions of disagreement in the comment section may heighten the audience’s visual attention but reduce the likelihood of sharing (Segesten et al., 2022). [70]

Share

The act of sharing is considered a high-level engagement behavior, as it establishes a connection between the content and the user, contributing to the individual’s self-representation (van Dijck, 2013). [71] Compared to liking or commenting, sharing requires a greater level of commitment and involvement from the user (Kim & Yang, 2017). [72] Building on this premise, existing literature identifies several motivations for sharing content, including the desire to provide valuable information to others, self-promotion, and the need for self-definition in a social context (Mehdizadeh, 2010; Tierney, 2010). [73]; [74] Considering that sharing represents a higher level of engagement compared to likes, it can be suggested that the emotional appeals in brand content have had a stronger impact on consumers. Sharing is driven by more complex motivations (Tellis et al., 2019). [75]

 

Developing the Research Questions

The Use of Emotions

The role of emotions in short-form video content has received limited attention. Platforms supported by advertising, such as YouTube, have provided general recommendations on incorporating emotion in short-form videos (YouTube, 2024). [76] However, these guidelines focus on broad emotional appeal elements, such as music or character presence, rather than specific emotional types. Tang (2024) [77] explores communication strategies on TikTok, highlighting how emotional themes contribute to a video’s virality. Yet, this analysis centers on the mechanisms that evoke emotions rather than on distinct emotional categories. Given this gap in the literature, we propose the following research question:

RQ1: What is the most used emotion in short form videos for Samsung on Instagram and TikTok?

Online Engagement

Engagement is widely recognized as one of the most significant indicators of advertising effectiveness, as it not only increases digital visibility (Lipsman et al., 2012) [78] but also fosters trust between the brand and its consumers (Sashi, 2012). [79] Social media engagement confers multiple benefits, such as promoting favorable attitudes toward the brand (Zhang et al., 2018) [80] and influencing brand perception (Schivinski et al., 2016). [81] In light of its importance, the present study investigates the specific relationship between emotion and engagement within short-form video content. Previous research exploring these connections has conceptualized emotional factors in terms of transformational dimensions, including ego, sensory, and social (Kim & Yang, 2017; Jenkins, 2018) [82]; [83], or examined emotional appeals more broadly without differentiating by media format (Chaudhuri, 2006; Poggi, 2011). [84]; [85] Accordingly, this study addresses the following research question:

RQ2: What type of emotion generates the highest level of engagement for Samsung?

Emotional Valence

The debate regarding whether positive or negative emotional valence exerts a greater influence on advertising effectiveness is well-documented in the literature. Traditionally, eliciting positive emotions has been linked to favorable brand perceptions (Japutra et al., 2022). [86] Conversely, Tannenbaum et al. (2015) [87] demonstrate that negative emotional appeals, particularly those invoking fear, can be highly effective in influencing consumer attitudes, intentions, and behaviors. This effectiveness is further heightened when advertisements provide clear, practical strategies to mitigate the threat.

Kapferer (2002) [88] shifts the focus from emotional valence to the intensity of the conveyed stimulus, suggesting that exposure to unfavorable messages may elicit a stronger and more enduring response. He posits that the intensity of the transmitted emotion is crucial to message persuasiveness, irrespective of whether its valence is positive or negative.

In light of these perspectives, the present study aims to expand research in this domain by addressing the following research question:

RQ3: Which emotional valence is associated with high and low engagement for Samsung?

Methodology

A total of 50 advertisements for the Samsung brand were selected for this study. Samsung ranks among the top 100 most valuable companies (Companiesmarketcap, 2024) [89] and is the second most frequently used mobile phone brand worldwide (Statcounter, 2024). [90] In addition, the company is recognized as a leading innovator in advertising and digital strategies, having earned over 26 awards at the 2015 Cannes Lions festival (Richards, 2016) [91], including the Grand Prix for Social Influence (Rawlings, 2023). [92]

To facilitate a comparison between TikTok and Instagram, only advertisements available on both platforms were analyzed. Recognizing that short-form video content can encompass various categories, including social (Ge et al., 2021), [93] this study focused exclusively on advertising content. For each advertisement, engagement data (likes, shares, and comments) were collected from both platforms to determine the level of user involvement.

The digital spots were coded using primary emotions. This coding process enabled the identification of the dominant emotion present in each short-form video advertisement, which was then correlated with corresponding levels of engagement. A parallel analysis was carried out for both platforms. Statistical analysis involved one-way ANOVA with a Post-Hoc Tukey test.

Finally, categories that were not represented in any of the evaluated advertisements, namely love, anger, sadness, disgust, shame, and guilt, were removed from the one-way ANOVA. Excluding these categories ensured that the statistical results were more robust and meaningful, as no valid observations were available for them.

Results

This study investigated the effectiveness of various emotional appeals in Samsung’s short-form video content on TikTok and Instagram, with a particular focus on how different types of emotions and emotional valences influence engagement metrics such as likes, comments, and shares.

RQ1 studied which emotion is most frequently used by Samsung in short-form videos Findings indicate that curiosity is the most commonly employed emotion (44%, N = 22), followed by trust (22%, N = 11), joy (10%, N = 5), affection (8%, N = 4), enthusiasm (8%, N = 4), pride (4%, N = 2), and fear (4%, N = 2). These results suggest that Samsung primarily adopts a curiosity-driven emotional approach in its short-form video content, prompting viewers to explore its products more thoroughly. The prominence of trust as the second most frequently deployed emotion highlights Samsung’s emphasis on conveying reliability and technological credibility to its audience. No significant differences were observed in the frequency of emotions such as enthusiasm, pride, and fear. However, the presence of fear indicates that Samsung incorporates such an emotion in its communication, even though its use is minimal.

RQ2 examined which type of emotion generates the highest engagement for Samsung’s short-form videos on TikTok and Instagram. To address this question, a one-way ANOVA with post-hoc tests was conducted to examine differences in engagement (likes, comments, and shares) based on emotional appeals.

Likes

The analysis revealed a statistically significant effect of emotions on the number of likes on TikTok, F (6, 43) = 2.69, p = 0.0163 (see Table). Specifically, joy (M = 724.95, SD = 314.67) and affection (M = 844.59, SD = 459.27) ge­nerated significantly more likes than curiosity (M = 27,315.54, SD = 15,146.16), p < 0.05. Additionally, curiosity resulted in more likes than pride (M = 314.90, SD = 231.40). No significant differences were observed for trust (M = 3,391.36, SD = 15,146.16), enthusiasm (M = 1,434.54, SD = 1,015.46), or fear (M = 17,763.63, SD = 3,329.12).

The one-way ANOVA on Instagram data showed no significant effects of emotion on likes for Samsung’s short-form videos, F(6, 43) = 0.95, p = 0.4583. This indicates that the emotional appeal used does not appear to determine the number of likes; thus, other factors may be influencing user engagement. For instance, joy (M = 647.09, SD = 287.43) did not yield significantly more likes than affection (M = 391.77, SD = 202.84), trust (M = 3,031.27, SD = 2,054.22), curiosity (M = 5,530.50, SD = 3,422.70), enthusiasm (M = 846.86, SD = 691.86), pride (M = 203.45, SD = 140.52), or fear (M = 24,263.63, SD = 23,246.62).

Comments

The analysis performed on TikTok revealed no significant differences among the emotional categories and user engagement in terms of comments. Specifically, joy (M = 491.54, SD = 348.92) did not generate significantly different comment levels compared to affection (M = 1,211.63, SD = 1,142.91), trust (M = 540.00, SD = 331.41), curiosity (M = 892.50, SD = 339.30), enthusiasm (M = 2,903.86, SD = 2,786.61), pride (M = 265.00, SD = 220.44), or fear (M = 468.95, SD = 326.90), F (6, 43) = 0.06, p = 0.7259. These results indicate that the type of emotion employed in short-form video content does not have a significant impact on users’ decisions to post comments on TikTok.

A similar pattern emerged in the analysis of Instagram data, where there were no significant differences in user comments across the various emotional appeals. For instance, joy (M = 348.09, SD = 211.52), affection (M = 151.68, SD = 99.97), trust (M = 294.54, SD = 196.62), curiosity (M = 344.13, SD = 74.79), enthusiasm (M = 39.50, SD = 23.32), pride (M = 162.27, SD = 5.08), and fear (M = 206.13, SD = 176.28), F (6, 43) = 0.59, p = 0.7309 did not elicit significantly different comment engagement. Notably, even when comparing negative-valence emotions (e.g., fear) to positive-valence emotions (e.g., joy, affection), no statistically significant variations in comments were observed.

Share

The TikTok analysis of sharing behavior revealed no statistically significant differences among various emotional appeals, including joy (M = 33.13, SD = 20.41), affection (M = 17.36, SD = 10.88), trust (M = 102.00, SD = 47.11), curiosity (M = 768.81, SD = 326.64), enthusiasm (M = 29.04, SD = 21.04), pride (M = 8.63, SD = 7.04), and fear (M = 3,260.63, SD = 3,225.85), F (6, 43) = 0.95, p = 0.04516. A similar pattern emerged for Instagram, where joy (M = 24.54, SD = 12.69), affection (M = 7.36, SD = 4.10), trust (M = 134.50, SD = 103.76), curiosity (M = 155.31, SD = 74.02), enthusiasm (M = 49.45, SD = 44.53), pride (M = 7.36, SD = 5.08), and fear (M = 8,885.36, SD = 8,815.23) also did not produce significant differences, F (6, 43) = 1, p = 0.4266. These findings suggest that the type of emotion employed in short-form video content does not substantially influence users’ likelihood to share Samsung’s content on TikTok or Instagram.

RQ3 examined which emotional valence is associated with higher engagement for Samsung. The findings indicate that positive emotional valence overwhelmingly predominates in Samsung’s short-form video content (95%, N = 48), while negative valence, represented only by fear, appears in only 4% (N = 2) of the analyzed content. Among the positive emotions, joy, affection, and curiosity were significantly associated with higher like counts on TikTok, suggesting that positive emotional valence may be linked to specific forms of engagement. By contrast, negative emotional valence was minimally employed, implying that Samsung predominantly relies on positively framed messaging in its advertising strategy.

Discussion

This study indicates that joy and affection elicit significantly more likes than curiosity on TikTok, while curiosity itself generates more likes than pride. Although joy is not the most frequently used emotion by Samsung, it aligns with findings from other research that identify joy as the principal emotion employed by many organizations in their digital communication (Anton, 2020). [94] Fur­thermore, the positive relationship between affection and engagement is consistent with prior studies suggesting that affection can trigger higher levels of consumer activation, which in turn fosters more frequent interactions with a brand (Burhanudin & Waluyo, 2023). [95] The presence of affective elements in advertising imagery can also translate into product affection (Chaudhuri, 2006). [96]

In contrast, no statistically significant relationship between emotional appeals and audience engagement emerged for Instagram. Interestingly, although fear appeared only twice in the analyzed content, one of these videos attracted the highest number of likes on TikTok (366,100) and on Instagram (512,000), indicating that fear-based content may be effective across platforms. The emotion generating the most comments was curiosity (7,908 comments) on TikTok and joy (4,272 comments) on Instagram. Notably, fear again yielded the highest share counts on both TikTok (71,000) and Instagram (194,000).

Although negative emotions were rarely present overall, with fear being the only coded negative emotion, it still generated the highest levels of engagement in terms of likes and shares for a single post. This finding raises questions about Samsung`s choice to use fear-based appeals in a limited way, despite their potential to enhance engagement. Although fear can engender pessimistic interpretations of the associated content (Lerner et al., 2013) [97], which could risk a negative brand perception, it evidently has the potential to yield substantial audience response. Further investigation is warranted to understand these complexities. Social media can play a significant role in creating an emotional connection between consumers and a brand (Magids et al., 2015). [98] Additionally, content that evokes positive emotional reactions is more likely to be shared (Botha & Reyneke, 2013). [99] This may explain why brands tend to adopt a strategy that predominantly focuses on positive emotional appeals. The strong presence of positive emotions in Samsung’s posted content aligns with previous studies, which highlight that brands generally publish more posts with a positive tone than negative ones (Serritella et al., 2016). [100]

Moreover, the disparity in like engagement between TikTok and Instagram suggests a promising direction for additional research, particularly in examining why certain emotions (e.g., joy, affection, curiosity) generate statistically significant results on the former platform but not the latter. One potential explanation involves differences in each platform’s user demographics and psychographic profiles. For instance, while both TikTok and Instagram have significant user segments aged 18–24 and 25–34 (Dixon, 2024b; Ceci, 2024) [111]; [112], the nuanced differences in how these demographic groups respond to emotional content may account for variations in engagement outcomes.

 

Conclusions

This study indicates that short-form video advertisements employing joy and affection elicit higher like counts than curiosity on TikTok, while curiosity in turn produces more likes than pride on the same platform. Across the analyzed content, positive emotions were used more frequently than negative emotions. Although advertisers may invoke either positive or negative emotions to stimulate product purchases (Kotler & Armstrong, 2016) [113], positive emotions tend to be associated with more favorable brand and product perceptions (Chaudhuri, 2006). [114]

While this study provides valuable insights, it is subject to several limitations. Firstly, the relatively small sample size of 50 posts constrains the generalizability of the results, potentially limiting their applicability to broader trends in consumer engagement. Additionally, the analysis was restricted to content available on both TikTok and Instagram to facilitate a platform-level comparison. However, removing this criterion could yield alternative insights, as engagement patterns may vary across individual platforms.

Additionally, extending the analysis to other short-form video platforms such as YouTube Shorts could provide a more holistic perspective. The current study also employs Buck’s (2006) [115] dichotomy of positive versus negative emotions; however, incorporating a broader spectrum of emotional categories might offer a more nuanced understanding. Finally, expanding the brand sample to include additional technology companies may help clarify whether the emotions found to be statistically significant are unique to Samsung or represent a trend within the broader technology sector.

This research contributes to the expanding body of literature on emotions in advertising, particularly within short-form video contexts, and highlights their persuasive potential in influencing consumer engagement.

 

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[47] ibid.

[48] Buck, R. (2014). Emotion: A biosocial synthesis. Cambridge University Press, 210–215.

[49] Cmeciu, C. (2013). Relatii publice si publicitate. Polirom, 90–91.

[50] Ekman, P., & Friesen, W.V. (1975). Unmasking the face. Prentice Hall.

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[52] Buck, R. (2014). Emotion: A biosocial synthesis. Cambridge University Press.

[53] Lin, J.-S., & Peña, J. (2011). Are you following me? A content analysis of TV networks’ brand communication on Twitter. Journal of Interactive Advertising, 12(1), 17–29. https://doi.org/10.1080/15252019.2011.10722188.

[54] Kotler, P., & Armstrong, G. (2016). Principles of marketing. Pearson, 455.

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Roland Impuscatu is a specialist in advertising, digital marketing, and digital communication. He has worked at BBDO, HaHaHa Production, and Publicis. He has been a PhD candidate in Communication Sciences since 2022 (University of Bucharest, FJSC). He currently teaches courses and seminars in Introduction to Advertising, Introduction to Public Relations, Digital Promotion, Advertising Clips, Online Advertising, Introduction to Online Communication, and Digital Transformation at the Faculty of Journalism and Communication Studies, University of Bucharest. He holds a bachelor’s degree in advertising (University of Bucharest, FJSC) and a master’s degree in advertising (University of Bucharest, FJSC).

Manuscript was submitted: 30.03.2025.

Double Blind Peer Reviews: from 24.04.2025 till 25.05.2025.

Accepted: 26.05.2025.

Брой 64 на сп. „Реторика и комуникации“ (юли 2025 г.) се издава с финансовата помощ на Фонд научни изследвания, договор № КП-06-НП6/48 от 04 декември 2024 г.

Issue 64 of the Rhetoric and Communications Journal (July 2025) is published with the financial support of the Scientific Research Fund, Contract No. KP-06-NP6/48 of December 04, 2024.