(广告植入)软广告的效果外文文献翻译

文献信息：

文献标题：Effectiveness of brand placement: New insights about viewers（软广告的效果：观众的新见解）

国外作者：Jean-Marc Lehu，Etienne Bressoud

文献出处：《Journal of Business Research》, 2008, 61(10):1083-1090字数统计：英文3592单词，19084字符；中文5823汉字

外文文献：

Effectiveness of brand placement: New insights about

viewers

Abstract Since traditional media have become saturated, the technique of product placement has been attracting growing interest. This research explores new insights concerning viewers' reactions during a second viewing of a movie. A sample of 3532 French viewers of DVDs has been used to link the way the movie was chosen, viewed and appreciated (or not) with a spontaneous brand placement recall, the day after the film was watched at home. Results make a contribution to strengthening professionals' interest in the technique, and to adding to academic knowledge of the topic. A first viewing of the movie at the cinema improves brand placement recall, as does watching the movie at home on a large home cinema screen. Such an improvement also occurs when a DVD movie is chosen either because of the movie director or when the viewer likes the movie.

Keywords Consumer; Product placement; Brand placement; Movie; Film; Branded-entertainment; Spontaneous day-after recall

1. Introduction

Product placements (a product and/or a brand intentionally placed in a cultural

medium) are mushrooming in movies nowadays. Those products are part of a so-called product placement deal. Product placement in movies has become a communication technique which is used more than ever by advertisers (Karrh et al., 2003; PQ Media, 2007). A recent Association of National Advertisers (ANA) survey indicates that 63% of the American advertisers who responded already integrated product placement actions in their communication plan, 52% specifying that financing for those actions had been transferred from their TV advertising budget (Consoli, 2005). A great deal of research is already devoted to product placement in all its forms (Nelson, 2002; La Ferle and Edwards, 2006; Gupta and Gould, 2007) and more specifically to product placement in movies (Karrh, 1998).

2. Brand placement in movies

Since the first brand placements appeared in novels two centuries ago, they have developed with the movie industry (Turner, 2004; Newell and Salmon, 2004). Product placement is a crossbreed technique, that combines different communication techniques into one, taking place in a cultural and/or entertainment environment. Placing a product consists of putting a product and/or a brand into a movie scene where it can be seen and/or its name heard. The placement can either be paid for by the advertiser or be part of a barter deal concerning products and/or services such as logistics facilities (Karrh, 1998). Mainly since the end of the 1980s, several papers contribute to a better understanding of this communication technique which is dubbed hybrid by Balasubramanian (1994) since brand placement puts an ad message in entertainment medium. Its positive effect on attitude (Fontaine, 2005; Redondo, 2006) and especially its potential impact on brand recall (Brennan et al., 1999; d'Astous and Chartier, 2000) represent the main core of the research knowledge.

2.1. The reasons for product placement growth

Confronted with the fragmentation of media and their audiences on the one hand (Deloitte, 2005) and with the rise of electronic video devices allowing viewers to skip commercials (O'Neill and Barrett, 2004) on the other, advertisers are increasingly seeking to re-establish the link between products and their consumers. As brand

placement in movies seems to be well accepted (O'Reilly et al., 2005), sometimes less expensive than a 30-second TV spot and also more effective (Jaffe, 2005), this communication technique is becoming more frequently used. Ways of placing the brand may differ, but the main purpose of obtaining brand recall and improving brand image remains (Lehu, 2007). That is why Chief Inspector Clouseau drove a Smart car in The Pink Panther.

Movies are not the only medium used for brand or product placement. Some can be found in television series or shows, theatre plays, songs, videogames, novels… (Kretchmer, 2004; Moser et al., 2004). The primary reason remains the same: generating complementary income for the author, the medium or the production on the one hand, while offering an opportunity of branded entertainment to the advertiser (Russell and Belch, 2005). Car makers were among the first to use the technique because of the potentially very large audience for a low cost (Parrish, 1976). Moreover the same movie can now be seen in theatres, on DVD, cable/satellite TV, syndication and reruns. Besides, building a fake car would be too costly for a production and somehow could appear too obvious to the audience (Moseret al., 2004).

2.2. Modalities and effectiveness of a product placement

Research into product placement usually focuses on effectiveness or spectators' acceptance of this hybrid technique. Nevertheless, most research in this field explains and gauges effectiveness by the way the placement is made, meaning that most of the results show how the characteristics of the brand placement affect its effectiveness (effects from the placement). Balasubramanian et al. (2006) identify several measures of effectiveness: brand typicality/incidence, placement recognition, brand salience, placement recall, brand portrayal rating, identification with brand/imitation, brand attitude, purchase intention, brand choice, and brand usage behavior. Three placement modalities are usually distinguished: prominence, audiovisual and plot insertion. Prominent placements occur when the product is made highly visible by the virtue of the size and/or position on the screen or its centrality to the action in the scene (Gupta and Lord, 1998). The audiovisual characteristic refers to the appearance of the brand

on the screen and/or to the brand being mentioned in a dialogue (Russell, 2002). Finally, plot insertion refers to the degree to which the brand is integrated into the story itself (Russell, 1998). Such research contributes to a better understanding of product placement effectiveness (V ollmers and Mizerski, 1994; Russell, 2002; Karrh et al., 2003; Bressoud and Lehu, 2007b), and more specifically brand communication effectiveness.

Several researchers have worked on placement effectiveness, and still do, either in movie theatres (Ong and Meri, 1994) or in TV program, including series (Stern and Russell, 2004). However, even if they recognized that a movie placement has a first life in theatres and a second life in the home (V ollmers and Mizerski 1994), little research has focused on this topic (Brée, 1996). Research into product placement concentrates on placement conditions which can be partly controlled by the advertiser.

2.3. Research objective

Because the link between a spectator's conditions of exposure and brand placement effectiveness cannot be controlled, less research focuses on this relationship. But a spectator's attitude influences such effectiveness (Johnstone and Dodd, 2000; Fontaine, 2002), and the advertiser could have chosen the movie on the basis of the attitude the story was supposed to generate. This primary analysis leads us to one goal: exploring the influence of the spectator's attitude on the effectiveness of a second life brand placement in a film on DVD watched in the home. This goal is achieved by explaining the effectiveness of the brand placement in terms of the spectator's attitude while watching the movie during this second viewing; the effectiveness is analyzed using an experiment with DVD viewers.

3. Hypotheses

The extent of spontaneous day-after recall (SDAR) in terms of number of brand placements seen on screen and remembered is used in this research as the measure of brand placement effectiveness. In determining this, the role of the consumer becomes pregnant, discussing how many brands a consumer should remember, given the conditions pertaining when he or she was exposed to the movie. The advertiser's

objective is obviously to make sure that the consumer recalls the specific brand and that he or she does so regardless of the modalities of the brand placement.

Four hypotheses have been formulated to link brand placement and the consumer who has been exposed to this communication technique. The first two hypotheses focus on this aspect, before and during the exposure to the movie. The last two hypotheses concentrate on the spectator's attitude towards the movie before and after viewing the movie in which brands are placed.

3.1. Second life of the placement

Among the respondents, some may have seen the movie previously, in cinemas. （Johnstone and Dodd 2000) First test the hypothesis that SDAR might be higher if viewers were watching the movie for the second time. Unfortunately, they conclude that prior exposure has too little impact upon brand salience level to support this hypothesis. Their hypothesis is tested on a sample of 53 viewers. The present research employs a sample of 3532 viewers. A brand placement has several lives (Brée, 1996) which interact through the many viewings of the movie. Consequently: Hypothesis 1a. The extent of brand placement SDAR on DVD viewing is favorably influenced by a first viewing of the movie at the cinema.

Consistent with this first hypothesis that links TV and theater, and the wish to focus on the TV second viewing, the difference of size of a TV screen, smaller than that of a theatre screen, must be considered. Two of the three modalities of product placement, plot integration and audiovisual remain the same whether the movie is shown on a theatre screen or on a TV screen. However, the third modality, prominence, may be drastically changed, given the difference in absolute screen size. Depending on the size of the screen, the product placement may appear less prominent on TV than on a cinema screen. Of course, the relative size of the placement in the movie scene always remains proportionally the same. In a cinema all the spectators are seeing the movie on a large screen, but this is not the case when it is viewed at home. However, pre-tests informed us that a certain number of viewers use video widescreen projection instead of a traditional TV set. This is not a problem if the size of the placement has no impact on its recall. Nevertheless, several researchers

insist on the role of placement prominence (Gupta and Lord, 1998; Brennan et al., 1999; d'Astous and Chartier, 2000). They demonstrate that the more prominent the placement, the greater the impact. Thus the size of the placement in relation to the size of the screen – which is part of the placement prominence definition – influences the placement recall. This led us to question whether the absolute size of the placement could play the same role: that is, whether the larger the screen on which the respondents have been watching the movie, and thus the bigger the brand placement's appearance, would, via this prominence, result in better recognition and recall. Consequently:

Hypothesis 1b. Watching the movie at home, on a large home cinema screen, improves the extent of brand placement SDAR.

3.2. Spectator's attitude towards the movie

The two following hypotheses concern the choice of the movie and its appreciation.

Some movie viewers choose their movie (in movie theatres or on DVD) because of the film's director (Ainslie et al., 2003). Those movie fans may be more interested than the average in the direction, the set and/or the acting, their supposedly higher attention could lead to a greater degree of SDAR for brand placements. The purpose of this hypothesis is not to analyze the impact of the director's contingent fame on the SDAR. All the selected movies could be considered as successful in their domestic market, but the fame of the director was obviously very different from one film to another. So the goal is just to identify the possible impact of the movie director, whoever he or she was. Based on a direct effect due to vigilance:

Hypothesis 2a. Choosing a DVD movie because of the director improves the extent of brand placement SDAR.

Fontaine (2002) shows that appreciation of a movie has a positive impact on attitude change. This result is still accurate for recall and then, for a viewer who has enjoyed the movie, details might be better perceived and then be better recalled. This hypothesis is also inspired by Johnstone and Dodd's work (2000) stressing the fact that placements could increase brand salience, and particularly so if the audience liked

the movie. Consequently:

Hypothesis 2b. The more the DVD viewers appreciate the movie, the more they spontaneously recall placed brands.

4. Research design

This section presents the original method adopted of collecting data following a second stage viewing of a movie and the methodology used to test the four hypotheses.

4.1. Data collection

The purpose of this research is to innovate by using a large, convenient sample of video viewers questioned the day after watching a movie on DVD, when leaving one of the three French video rental shops chosen for the study. The intention is to collect answers from single respondents only. This means that the DVD viewers are each interviewed about one film only. The final sample includes 3532 video viewers questioned about one of the following 11 American movies: Men in Black II, Minority Report, Analyze That, Banger Sisters, Fashion Victim, Austin Powers in Goldmember, Johnny English, Intolerable Cruelty, Mr. Deed, Hardball and Paycheck. These movies were selected for the research because they were newly released DVDs (meaning heavy rentals during the data collection process), because they were successful and essentially because the placements were easily and clearly recognizable. This research covers a period from 2003 to 2005 partly because the decision to choose real motion pictures meant that they had to be selected carefully to ensure their maximal usefulness. All the brand placements identified and used in the research were strictly isolated, meaning that the link between an SDAR and a specific placement is exclusive, because each brand placement occurs just once in the movie considered. The movies have not been modified in order to control brand placements. This point was crucial to ensure that, during the interview with the respondent, questions were referring to the same brand placement. Furthermore, American movies represented 55% of the 2003 French DVD market by volume, and 69% by value (CNC, 2005).

4.2. Measurements

The SDAR of each placement was added to calculate the extent of SDAR per movie for one respondent，that is the dependent variable. The previous watching of the movie in a cinema was measured by a dichotomous question. Respondents were asked whether they watched the movie on a TV or on a large home cinema screen. They were also questioned about the reasons for their DVD choice, which were considered as ―director: yes or no‖. Finally, appreciation of the movie was evaluated on a 0 to 20 scale (0 meaning a total dislike and 20 an absolute liking). The data collection process took place from January 2003 to February 2005 focusing on the selected just released DVDs. The questionnaire was systematically submitted to every person renting one of the DVDs employed in the research. Every respondent freely chose the movie he or she wanted to watch. Owing to the small size of the video clubs, their proximity and the appeal of the research subject, only six individuals refused to answer the questionnaire.

4.3. Methodology

Since the four hypotheses are not independent, all of them have been tested in the same model rather than individually. Hypotheses are validated using an ANCOV A, which allows us to study the simultaneous impact of each independent variable on the dependent variable. Independent variables are mentioned in each of the four hypotheses presented above. The dependent variable is the number of brands recalled by the respondent (SDAR) in one movie. A hypothesis is validated when the relationship between the studied variable and the dependent variable is significant, that is p-value is less than 5%, and produces the expected mean of the value. Because the number of placements varies from one movie to another (indeed from 4 to 22 in the movies considered), the total number of brand placements in the movie has been included in the model as a control variable.

5. Results and discussion

Of the respondents questioned, 34% noticed and, the following day, recalled at least one brand placement in the movie they watched. The size of the sample, 3532

DVD viewers, appears sufficiently large compared with the number of respondents surveyed in the reviewed research in this field, from 62 (Sabherwal et al., 1994) to 378 (Fontaine, 2002), to allow us to diversify spectators, movies and placement modalities. This seemed necessary partly to compensate for the constraints arising from the fact that, when using real movies rather than films created especially for the research or simply excerpts, researchers do not have full control of the placement modalities.

First of all, according to the ANCOV A results, the control variable – that is the total number of brand placements in the movie –does not explain the degree of SDAR (probability associated is 0.88), which means that a profusion of brand placements does not automatically increase the number of brands recalled.

5.1. Extended time potential for product placement

Because of the specific characteristics of DVD viewers, this research took place during a potential second exposure to product placements. Validating Hypothesis 1a (―Shown_Cinema—Yes‖ parameterN0; pb0.01) means that the respondents who have previously seen the movie in a cinema show more SDAR than respondents who have seen the movie for the first time on DVD. On the one hand, this analysis shows that product recall is stronger among viewers watching the movie on DVD a few months after viewing this same movie in cinemas. On the other hand, because some 15% of the respondents (representing 522 viewers) rented a DVD even after having seen the film in cinemas the previous year, this result supports the product placement professionals' view as well as the academic research which argues that the potential total audience could be far bigger than the one calculated from cinema tickets alone (Brée, 1996).

Of the sample 17% saw the movie on a large screen (home cinema). Since the extent of SDAR was significantly greater among these 587 respondents, Hypothesis 1b is validat ed (―Projection—HomeCine‖ parameterN0; pb0.01). Indeed, the large dimensions of the screen allow the brand placement to appear significantly greater in size, that is more prominent, and hence to be more effective (Brennan et al., 1999; Astous and Chartier, 2000). Considering only the size of the placement, independent

of its duration, placements seen for the first time at the movie theatre might be more effective than placements seen for the first time on a regular TV screen.

5.2. Benefits from spectators' positive attitude

The findings relating to choice of a DVD because of the movie's director support Hypothesis 2a (―Choice_Director—Yes‖ parameterN0; pb0.01). Logically, a movie fan who prefers a specific director is more alert to certain details, and thus to various brand placements. Nevertheless, the 10.4% of respondents who chose their DVD for this reason were knowledgeable about movie directing. They were attracted by the director's name, leading to a direct effect. For advertisers, these results therefore invite them to favor well-known and accomplished directors for their branded entertainment deal. This partly explains why the $25 million global product placement deal for Steven Spielberg's Minority Report appears quite suitable and logical (Lehn, 2005).

Hypothesis 2b, about the evaluation of the movie by the respondents, is validated (―Evaluation_Rank‖ parameterN0; pb0.001). Here, also, such a validation means that the more the viewers liked the movie they watched, the better they recalled the brand placements. The validation of this hypothesis leads us to conclude that a positive environment influences the degree of SDAR for brand placements. Thus, not only are advertisers invited to select the type of movie in which to place their products and brands, bearing in mind their intended target audience, but they are also called upon to evaluate the chances of getting a good movie at the end. Some might hesitate when validating Hypothesis 2b about the liking of the movies, as the success or failure of a movie can rarely be predicted (Bressoud, 2007). Even if its components (theme, story, director, editor, actors…) seem to be a high quality combination during preproduction, numerous movies are ultimately what professionals call a bomb, becoming a real box-office failure.

6. Conclusion

The marketing communications environment is increasingly using practices borrowed from the entertainment business, to try to lure more complex and more marketing-aware targets towards an experiential consumption (Hackley and Tiwsakul,

2006). Recommending that advertisers consider as much as possible the viewer's characteristics in order to conceive their product and/or brand placement operations may sound technically difficult at first sight. But the consumer's identity and specific characteristics are becoming increasingly known, recorded and used. No doubt that, in a near future, producers and advertisers will be able to adapt the placements to the target, especially when the movie is watched on DVD. An interaction already occurs. The DVD main menu already offers the viewer a choice of version (short, long, director's cut…), type of screen (pan and scan or widescreen), language, subtitles… Advertisers sometimes request adaptations relating to areas where the movie is running in cinemas.

Considering their real communication potential, product placement and brand placement in movies have become indisputably attractive techniques of branded entertainment. The deeper the research delves into its impact and its modalities of usage, the more product and brand placement is revealed as a sophisticated communication technique. This crossbred technique has been increasingly and legitimately appreciated by movie producers, communication consultants and of course advertisers looking to solve problems of media and audience fragmentation through new efficient ways of contacting and seducing their potential consumers. The new insights offered by this research will confirm the value of the technique for advertisers, as they can obviously count on repeated product exposure with a heightened impact as multiple opportunities to see the movie are offered to the consumer.

中文译文：

软广告的效果：观众的新见解

摘要由于传统媒体趋于饱和，软广告已越来越广泛地被使用。本研究探讨的新见解是关于观众第二次观看影片的反应。这项研究抽取了3532个法国DVD观看者，他们需要观看指定的电影。研究这些人在观看影片一天后，对品牌再现或是回忆是否有所提高。研究结果建设性地加强专业人员的技术兴趣，并增强该课题的学术知识。在电影院第一遍观看电影和在家看家庭影院的观众能提高对软广告的回忆。这种改善也出现在观众并不是出于喜爱DVD影片的导演和影片本身的情况下。

关键词消费者；产品植入；品牌植入；电影；品牌娱乐；一天后自发的回忆

1.引言

植入性广告（产品或品牌有意图的放在一种文化中）在电影中如雨后春笋般兴起。这些产品是一个所谓的植入式广告协议的一部分。产品在电影中的植入已成为通信技术，比起以前，它更广泛地被广告商使用。（Karrhetal.,2003；PQMedia,2007）。最近，一个名为全国广告商协会的机构（ANA）调查显示：协会63％的美国广告商回应说已经有加入植入式广告行列的行动计划，52％明确表示：该行动的资金已经从其电视广告预算资金中转移出来（Consoli，2005）。大量的研究已经致力于多种形式的植入式广告(Nelson,2002；LaFerleandEdwards,2006；GuptaandGould,2007)，和如何更具体的在电影中植入广告（Karrh，1998）。

2.影片中的植入式广告

自从第一个品牌植入在两个世纪前出现，植入式广告已伴随电影业不断发展（Turner,2004；NewellandSalmon,2004）。植入式广告如同一项杂交技术，结合不同的通信技术为一体，同时在文化和/或娱乐环境中进行。配售的产品包括：将一个产品改编成一个电影场景并在那里可以看到它的名字听到它的品牌。这种植入的费用可以是由广告商支付或如物流设施（Karrh,1998）服务协议那样支付其中的一部分。主要是因为在80年代末，一些论文的发表有助于该通讯技术，

它被称为杂交技术Balasubramanian（1994）是由于植入式广告把广告中的信息放在多项媒介中。其积极的效果（Fontaine,2005；Redondo,2006）特别表现在观众潜在的对品牌回忆的效果，（Brennanetal.,1999；d'AstousandChartier,2000）这一研究结果是该知识研究的主要核心。

2.1.植入式广告增长的原因

一方面电子视频工具的出现满足了观众跳过商业广告观看影视，使得媒体与观众分离（O'NeillandBarrett,2004）广告商逐渐寻求建立产品与他们的消费者之间联系的新途径。另一方面，品牌在电影中的植入似乎是可以接受的（O'Reillyetal.,2005），有时更便宜于超过30秒的电视广告，且效果更好（Jaffe,2005），这种通信技术正越来越频繁地被使用。不同品牌的植入方式也有所不同，但是对于保持品牌和品牌形象提高的主要目依旧不变。（Lehu,2007）这就是为什么在2006年，例如为什么总督察Clouseau开着粉红豹智能车。

电影并不是品牌与产品植入的唯一媒介，一些品牌与产品的植入还在电视连续剧或其它节目、剧场戏剧、歌曲、视频游戏以及小说中出现。（Kretchmer,2004；Moseretal.,2004）。主要的原因都一样：一方面给创作者提供收入的机会，他是产品植入的中间人，另外一方面是能够提供给广告商们一个产品植入的机会（RussellandBelch,2005）。汽车制造商是第一批使用植入技术的，因为它是一项低成本（Parrish,1976）高潜在观众群的技术。此外，同一部电影，现在可以在电影院看到，也在在DVD，有线/卫星电视，联合重播。此外，建立一个汽车模型太昂贵且有时在观众面前出现的过于明显做作（Moseretal.,2004）。

2.2.产品植入的形式与效果

产品植入的研究通常致力于植入效果的研究和观众对这种混合技术接受度地研究。然而，在这一领域的大多数研究通常通过植入的形成来解释和估计其植入的效果，这意味着大多数的结果并不揭示植入品牌的特点对效果的影响。研究设置了采取的措施及测量的成效：品牌典型性/发生率，植入的识别，品牌的突出，对植入的记忆，品牌塑造的评价，鉴定/模仿，品牌态度，购买意愿，品牌选择，品牌使用行为。三种植入方式为：很明显突出的植入，音像中植入和情节中的植入。当植入式广告在屏幕中有着较大尺寸出现、在场景的中心位置清晰可见时，其突出的植入效果便产生了（GuptaandLord,1998）音像植入是指品牌出

现在屏幕上及对品牌的描述（Russell,2002）。最后，情节植入是指该品牌植入故事情节之中（Russell,1998）。这种研究有助于更好地了解产品植入效果（VollmersandMizerski,1994；Russell,2002；Karrhetal.,2003；BressoudandLehu,2007b），及其品牌沟通的效果。

几位研究人员（OngandMeri,1994)一直致力于不论是电影院或是系列电视节目中的品牌植入效果的（SternandRussell,2004）研究。不过，他们认为到在电影院的电影植入是“第一生命”，在家里是“第二生命”，由此少数研究已经开始集中在这一主题上了。产品植入的研究专注于植入环境，植入环境部分是由广告商控制的。

2.3.研究对象

由于品牌之间的相互作用和植入成效与观众的特点之间的联系不能被控制，那么对这种关系的研究是重点。对于上述的分析使我们有了一个目标：探索观众在家中观看DVD电影即对“第二次生命”态度影响的研究。这个目标是就观众的态度解释植入式广告的效果，当观众第二次观看电影时，通过对DVD观众的实验来分析效果。

3.假设

第二天自发地回忆出的个数、回忆程度依赖于在屏幕上出现的植入品牌的个数，将其作为对植入品牌的效果的研究方法。这一设计使得消费者的角色变得富有意义。讨论消费者在各种条件下记住多少品牌，当消费者观看接触电影时，广告商的目的就是确保消费者能够尽可能地记住特定的品牌。

四种假说被设计来联系植入品牌和身处在这种交流技术中的消费者。前两个假设的重点在研究植入的广告出现在电影之前、之中的不同效果。后两个假设集中在研究观众对前后两次观看有植入广告的电影的态度。

3.1.产品植入的第二次生命

在被试中，有些人可能在电影院看过电影。（JohnstoneandDodd2000)如果观众再观看电影第二遍，第一次测试出的假设，即SDAR可能会更高，。然而，他们得出这样的结论：依据这一假设，电影之前曝光植入的广告极少影响品牌植入的潜在效果。他们的假设是对53个被试的测试获得的。本研究共采用了3532观众

的样本。一个植入的广告通过很多观众的互动，有很多次生命（Brée,1996），因此：

假说1a.在DVD上植入品牌的SDAR程度是受第一次在电影院观看该电影影响的。

根据第一个假设，即涉及电视与电影院，还有在电视中第二次观看植入的广告，再一个电视屏幕尺寸的差异，电视比影院屏幕小，必须加以考虑。三分之二的植入广告，不论影片是在影院或电视屏幕上观看，情节和视听一体化保持不变。然而，第三种形式，考虑到绝对屏幕尺寸的区别，明显的，可能会大不相同。根据屏幕大小，产品植入效果在电视上可能会比在电影院屏幕上显得不那么明显。当然，在影片中的植入的相对大小始终保持比例不变。在电影院的所有观众都看到在大屏幕上的电影，但在家里观看不是这样的情况。然而，预测试告诉我们，一定数目的观众使用视频宽屏投影，而不是传统的电视机。这就不是植入的大小对其回忆率产生影响的原因。不过，一些研究人员坚持突出植入的效果。（GuptaandLord,1998；Brennanetal.,1999；d'AstousandChartier,2000）。它们表示：越是突出的植入，其效果就越明显。所以，相对于屏幕上的植入大小影响品牌植入后的回忆，观众观看的电影屏幕及外观越大，就会产生更好的品牌记忆以及识别。因此：

假设1b.在家中的家庭影院大屏幕上观看电影，提高了品牌植入SDAR程度。

3.2.观影者的态度

以下两个关于电影的选择和欣赏的假设。

一些电影观众选择观看电影（在电影院或DVD中观看），是出于对这部电影导演的喜爱（Ainslieetal.,2003）。这些影迷可能比一般影片的执导、设置、表演表现出更大的兴趣，他们可能表现更多注意力且能使其在SDAR上的程度更高。j这个假设的目的不是为了分析导演的名望在SDAR上的影响。所有选定的电影可被视为在其国内市场上取得的成功，但不同导演名气显然大不相同。所以研究目的就是找出影片的导演，无论对他或她产生的潜在影响。基于直接影响而产生的警惕：

假设2a.选择的DVD影片是因为导演提高了品牌植入的SDAR程度。

Fontaine(2002)提出，观众对电影的喜爱程度能对其态度的改变产生积极影

响。这一结果同样适用于观众的回忆率，对于一个特别喜欢某部电影的观众，能对电影中的细节更好的接受和回忆。这个假设同样得到JohnstoneandDodd'swork(2000)的支持，他强调如果观众尤其喜欢这部电影，那么植入的广告能增强品牌的特点。因此：

假设2b.DVD观众越欣赏某部电影，他们自发回忆出的植入的品牌越多。

4.研究设计

本节呈现的独创方法是收集第二阶段观看电影后的数据，并将该方法用来检测这四个假设。

4.1.数据搜集

本研究的目的是通过使用一个大的、方便取样的观看录像观众的样本，他们在看完DVD一天后被提问，他们从三个法国录影带出租店的其中一间离开时被邀请来做被试。目标只是收集单个被试的答案。这意味着每个DVD观众只被采访一部电影。最后的样本包括约3532看录像的观众的回答，他们被提问以下11部美国电影：《黑人2》、《未成年人报告》、《那些分析》、《香肠姐妹》《时尚的受害者》，《有权势的奥斯丁》《约翰尼英语》，《难耐的残酷》，《契约先生》，《硬式棒球和薪水》。这些影片被选是因为它们是新发售的DVD光盘（即使在数据收集过程中租金昂贵），因为他们是合适的并且本来就很容易植入广告且容易被识别出来。这项研究历经2003年至2005年，如果选择自己在影片中拍摄植入产品意味着必须严格选择来确保其最大的效用。所有品牌植入被识别并在研究中被严格独立使用，意味着SDAR和具体的植入之间的联系是排他性的，因为每个品牌的植入正好在电影中只出现一次。这些电影都没有被修改以控制品牌的植入。这一点是至关重要的，在和被试访谈时提问涉及到相同的品牌植入问题。此外，美国电影占2003年法国DVD市场总量的55％，按价值计算则为69％（CNC，2005）。

4.2.测量

每个被植入的SDAR用来计算每部电影中被试的SDAR程度，这是因变量。对先前在电影院看电影的测量是通过分半提问的。被试被问及他们是否曾经在电视或家庭影院中看过电影。他们还被询问了他们选择某部DVD的原因，是出于对导演的喜爱：是或否。最后，对电影的喜爱程度为0到20的量表（0意味着完全

不喜欢，20意味着非常喜欢）。数据搜集从2003年1月持续到2005年2月主要集中在选定在刚刚发行的DVD光盘上。该调查问卷有计划地提交给研究中每个租用DVD光盘的人。每一个被试自由地选择他或她想看的电影。由于录像俱乐部比较小，来租光盘的人又对研究的课题比较感兴趣，只有六个人拒绝回答问卷。

4.3.方法学

由于四个假设不是独立的，他们都在相同的情况而非单独的情况下测试。假设的有效性使用共变数分析，这使我们能够研究每个自变量对因变量同时产生的影响。自变量在上述四个假设中被提及。因变量是被试（SDAR）在一部电影中对植入品牌回忆的数量。当研究的自变量和因变量的关系是有意义的则假设有效，这时P值小于5％，并产生预期的平均值。由于不同电影中植入软广告的数量各有不同（事实上考虑4至22个），在电影中植入软广告的总量已列作控制变量模型。

5.结果与讨论

被试中，发现34％于翌日，回忆出了他们观看的电影中的至少一个软广告。样本的大小，3532个DVD的观众，，比起被试在以往这一领域调查研究的数量（Sabherwaletal.,1994）62个到378个（Fontaine,2002）似乎充分大的便于我们变换观众，电影和植入广告的形式。这看来是必要的能补偿现实中的局限性，当使用真正的电影而不是特别为了研究或简单的录制创作的软片，研究人员并不具有完全控制植入的广告的模式。

首先，根据协方差分析结果（见表1），控制变量，完全是一部电影中植入的广告的数量,不解释SDAR度（概率相关为0.88），这意味着一个真正的植入广告不会自动增加对品牌回忆的数量。

5.1.植入式广告的潜在时间扩展效应

由于DVD观众的具体特征不同，本研究建立在第二次出现的植入广告上。使得假设1a生效（“电影院放映——是“参数”为pb值0.01）意味着曾在电影院看过电影的被试比第一次用DVD看电影的被试表现出更多的SDAR。一方面，这一分析表明，在对观看一部电影数月后，对植入广告的回忆，用DVD看电影的观众中表现更明显。另一方面，因为有些15%（观众数522人）的观众租了DVD，

即使先前一年在电影院看过该部电影，这一结果也支持植入广告研究专业人士的观点和学术研究的观点即他们主张潜在观众总量可能会远远比电影票单计算出的更大（Brée,1996）。

17％的样本被试在大屏幕（家庭影院）上看了电影。由于SDAR程度是明显的比当中的587个被试大得多，假设1b是有效的（“突出部分——家庭影院参数为pb值0.01）。事实上，屏幕上出现的大尺寸植入广告效果比较突出（Brennanetal.,1999；AstousandChartier,2000）。只考虑植入广告的大小，不考虑它的持续时间，第一次在电影院看到植入广告可能比在普通电视的屏幕上看到植入广告效果更好。

5.2.观影者正面态度的效应

有关对DVD的选择的调查结果使电影的导演支持假设2a（“选择导演——是”参数为pb值0.01）。从逻辑上讲，一个电影迷喜欢一某个导演是更加留心某些细节，因此也同样适用于各种植入广告。然而，10.4％的被试选择他们想看的DVD是因为电影导演执导的好。他们被导演的名字吸引，产生了了直接的影响。对于广告商，这些结论使他们的广告产品相当闻名且完成了导演植入广告的数量。这部分解释了为什么2500万美元的全球植入广告数量对于史蒂芬斯皮尔伯格显得很适当且符合逻辑（Lehn，2005）。

假设2b干扰素，被试对电影的评价，确认为（“评价排名”参数为pb值0.001）。因此，这样的效度意味着观众越喜欢他们看的电影，他们对植入广告的回忆越好。该假说的验证使我们得出结论，一个积极的环境影响软广告的SDAR 程度。因此，不仅广告商们被邀请来选择他们要植入广告的电影类型，牢记他们的目标观众群，同时他们也被呼吁要评估如何在最后得到一个植入广告的好机会。有些人在验证假设2b时可能会犹豫，因为电影的成功或失败很难预测到（Bressoud，2007）。即使它的组成部分（主题，故事，导演，编辑，演员……）在试生产前似乎是高质量的结合，许多电影最终被专业人士称作炸弹，成为一个真正的票房失败。

6.结论

营销传播环境是越来越多地利娱乐业务的做法，试图向体验消费灌输更复

杂、更清楚的目标营销（Hackley and Tiwsakul, 2006）。为构思他们的产品或品牌定位，建议广告商考虑尽可能多的观众的特点，操作乍看之下似乎技术难度大。但消费者的身份和具体特征正变得越来越被人所知、记录和使用。毫无疑问，在不久的将来，生产商和广告商将能够调整目标定位，尤其是在电影的DVD观看的时候。已经发生了一个相互作用。DVD主菜单已经为观众提供了一个选择版本（短、长、导演剪辑…），屏幕的类型（平移和扫描或宽屏），语言，字幕……广告商有时要求有关地区改编正在电影院上映电影。

考虑到它们实际沟通的潜力，电影植入式广告与品牌布局已经成为品牌娱乐无可争议的有吸引力的技术。更深层次的研究探讨其影响及其方式的使用，更多的产品和品牌布局，显示出其作为一种复杂的通信技术。这种杂交技术已经越来越多的由衷地受到电影制作人的赞赏，通过这种接触和引诱他们的潜在消费者的新的有效途径，传播顾问和广告商寻求解决媒体和受众碎片化问题。本研究提供的新见解将向广告商确认了这项技术的价值，因为它们可以明显地依靠重复的产品曝光与高度的影响，多次出现在被提供给消费者的电影中。

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E---MARKETING (From:E--Marketing by Judy Strauss,Adel El--Ansary,Raymond Frost---3rd ed.1999 by Pearson Education pp .G4-G25.) As the growth of https://www.wendangku.net/doc/8b14636574.html, shows, some marketing principles never change.Markets always welcome an innovative new product, even in a crowded field of competitors ,as long as it provides customer value.Also,Google`s success shows that customers trust good brands and that well-crafted marketing mix strategies can be effective in helping newcomers enter crowded markets. Nevertheless, organizations are scrambling to determine how they can use information technology profitably and to understand what technology means for their business strategies. Marketers want to know which of their time-ested concepts will be enhanced by the Internet, databases,wireless mobile devices, and other technologies. The rapid growth of the Internet and subsequent bursting of the dot-com bubble has marketers wondering,"What next?" This article attempts to answer these questions through careful and systematic examination of successful e-mar-keting strategies in light of proven traditional marketing practices. （Sales Promotion;E--Marketing；Internet；Strategic Planning ） 1.What is E--Marketing E--Marketing is the application of a broad range of information technologies for: Transforming marketing strategies to create more customer value through more effective segmentation ,and positioning strategies；More efficiently planning and executing the conception, distribution promotion,and pricing of goods,services,and ideas;andCreating exchanges that satisfy individual consumer and organizational customers` objectives. This definition sounds a lot like the definition of traditional marketing. Another way to view it is that e-marketing is the result of information technology applied to traditional marketing. E-marketing affects traditional marketing in two ways. First,it increases efficiency in traditional marketing strategies.The transformation results in new business models that add customer value and/or increase company profitability.

市场营销_外文翻译_外文文献_英文文献_顾客满意策略与顾客满意

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市场营销外文翻译外文文献英文文献差异化营销策略差异化营销策略 实施差异化营销策略，首先把科学、缜密的市场调查、市场细分和市场定位作为基础。这是因为，市场调查、市场细分和市场定位能够为企业决策者提供顾客在物质需要和精神需要的差异，准确地把握“顾客需要什么,”在此基础上，分析满足顾客差异需要的条件，要根据企业现实和未来的内外状况，研究是否具有相应的实力，目的是明确“本企业能为顾客提供什么,”这一主题材。如果是耐用消费品，应以产品差异和服务差异为主攻方向;如果是目用消费品、食品饮料则应以建立形象差异为重点。 差异化策略是一个动态的过程。任何差异都有不是一成不变的。随着社会经济和科学技术的发展，顾客的需要也会随之发生变化，昨天的差异化会变成今天的一般化。例如人们以前对手表的选择，走时准确被视为第一标准，而如今在石英技术应用之后，“准”已有成为问题，于是人们又把目光集中在款式上;手机一度被视为高收入阶层的独享之物，今天早已进入寻常百姓的手中。如果手表生产企业再把走时准确作为追求的战略目标，显然是不宜的。手机厂家再把目光瞄准款哥、款姐也断不能取胜。其次，竞争对手也是在变化的，尤其是一些价格、广告、售后服务、包装等方面，是很容易被那些实施跟进策略的企业模仿。任何差异都不会永久保持，要想使用权本企业的差异化战略成为长效药，出路只有不断创新，用创新去适应顾客需要的变化，用创新去战胜对手的“跟进”。 差异化策略是一个系统。以上谈到的各种差异化策略只是在形容问题中的人为分类。在具体操作中，经营者不仅要根据行业内竞争态势，企业产品的生命周期，产品的类型实施相应的差异化策略。更有必要的是要使差异化策略形成一个系统，全面实施。实施产品差异化，要为顾客提供独具一格产品，为对手所不能为。慧中