Its meaning is already right there in the name: product placement literally means placing a product. It is simply the inclusion of a brand within a film, a TV series or any other type of content, such as a music video or a television show.
It is a form of indirect advertising, often so well camouflaged that it feels like a natural part of the story. The product does not interrupt the narrative, does not explicitly ask for attention and does not raise its voice: it just exists. Quietly. On screen.
There are various forms of product placement:
Screen Placement: This is the most immediate and visual form: the product is clearly shown through carefully designed shots meant to highlight it. No dialogue, no explanation—just the image doing the talking.
Script Placement: Here, the product makes its way into the dialogue. This includes verbal mentions, very common in music as well. Just think of songs like 7 Rings by Ariana Grande, where brands such as Tiffany & Co. are explicitly mentioned in the lyrics (“Breakfast at Tiffany’s and bottles of bubbles”).
Plot Placement: This is the most integrated form: the product is not just present, it becomes part of the plot itself. The Devil Wears Prada is the perfect example. Here, the collaboration between the brand and the film production is explicit, structural and impossible to miss.
So, when did it all begin?
Product placement is now closely associated with cinema and, for this reason, is often considered a relatively recent phenomenon (although—fun fact—a very early version of it can already be spotted in a painting by Édouard Manet: "A Bar at the Folies-Bergère" - 1882).
The first attempt at brand placement in cinema dates back to the Lumière brothers and their short film Washing Day in Switzerland (1896), where Sunlight soap made an appearance, marking one of the very first examples of promotion within audiovisual content. Shortly after, Thomas Edison also experimented with the practice, producing films that featured American railway companies.
It was in the 1980s, however, that product placement became more structured and self-aware, turning into a fully fledged marketing strategy. Films such as E.T. the Extra-Terrestrial turned Reese’s Pieces into a pop icon, leading to a 65% increase in sales. In much the same way, Top Gun permanently sealed the iconic status of Ray-Ban Aviators.
The rise of product placement was anything but random. It was driven by deep social and media changes. The explosion of communication channels—and the resulting fragmentation of audiences—made it increasingly difficult to reach viewers through traditional advertising. Audiences, now fluent in zapping and skipping commercials, developed a healthy (and growing) skepticism toward overt promotional messages. Embedding products into storytelling became a way around the problem—subtle, effective and far less intrusive.
Naturally, product placement is regulated and must comply with specific rules. In the United States, regulations are less strict and rely more on self-regulation and transparency—especially in television—through guidelines applied by broadcasters under the supervision of the Federal Communications Commission (FCC). In Europe and in Italy, product placement must follow these rules:
the presence of brands is clearly indicated in the end credits;
there is no narrative forcing or interruption of the story in favor of the product;
promotional references to tobacco and pharmaceutical products remain prohibited.
In other words, the product may appear, but it must not steal the scene.
Let's look at a few examples...
As mentioned earlier, films like E.T. and Top Gun ushered in the modern era of product placement, followed by James Bond (with Aston Martin, Omega and Heineken) and Back to the Future, with Nike and Pepsi. More examples can be found in 2000s TV series such as Sex and the City and Gossip Girl, as well as Friends, the sitcom that defined an era. Between jokes and coffee breaks, brands like Coca-Cola, Ralph Lauren and Pottery Barn—the American home furnishings store—quietly pop up in the background.
Cast Away, starring Tom Hanks, almost plays out as a long love letter to FedEx. Forrest Gump, on the other hand, takes a more discreet approach, weaving brands into American history so seamlessly that you barely notice them (from Dr Pepper to Nike, right through to a mention of Apple). The Matrix gives Nokia its moment in the spotlight. In contemporary cinema, Iron Man turned Audi and luxury technology into a natural extension of Tony Stark’s identity.
Among the most recent examples, the most emblematic case remains Stranger Things (impossible not to mention it!). Here, product placement doesn’t interrupt the story—it enhances it. It is a full-scale 1980s nostalgia operation in serial form. Eggo, Coca-Cola, Burger King and 7-Eleven are not just background details: they are symbols of an era, used to build a coherent and instantly recognizable aesthetic. In this case, product placement doesn’t distract—if anything, it makes the narrative universe feel even more authentic.
An example of reverse product placement: Duff Beer
Duff Beer is a clear example of how an element born within a fictional narrative can later be transformed into a real commercial product. Its popularity originates in the animated series The Simpsons, where it is Homer Simpson’s drink of choice. Within the cartoon, Duff plays an openly ironic role, parodying major American industrial beer brands.
As audience interest and fan enthusiasm grew, the brand began to attract attention beyond the boundaries of television fiction. To prevent unauthorized productions, Fox decided to license the brand to Rodrigo Contreras, a Mexican entrepreneur who officially launched Duff Beer on the market in 2008.