5畢業(yè)論文外文資料翻譯.doc

濟南大學畢業(yè)論文外文資料翻譯畢業(yè)論文外文資料翻譯題 目 電影口碑營銷 學 院 歷史與文化產(chǎn)業(yè)學院 專 業(yè) 公共事業(yè)管理（藝術(shù)經(jīng)營與管理方向） 班 級 藝管1001 學 生 李蕊蕊 學 號 20101521053 指導(dǎo)教師 張 波 二一四年三月二十六日- 10 -Business Horizons,2007(5),50,395-403Buzz marketing for moviesIris MohrTobin collage of business, St. johns University, 8000 Utopia, Jamaica, NY 11439, USAAbstract: In todays dynamic entertainment environment, movies are struggling to stay afloat and remain profitable. Challenges such as piracy, digital theft, competition, overlapping movie campaigns, media fragmentation, and audience saturation are forcing marketers to stretch their film budgets and make every dollar as effective as possible. With more and more entertainment options crowding peoples lives, marketers must search for innovative ways to reach movie audiences. By breaking through the daily clutter and noise, and capturing peoples attention to the point that talking about a movie becomes an enjoyable experience to share, buzz marketing is one such promotional posture that drives audiences to theaters. In order to achieve success with buzz marketing, however, marketers must recognize the role it plays in the context of movie differentiation strategies to support the companys overall approach. To that end, this article analyzes buzz marketing as it pertains to six movie differentiation strategies (differentiation with cosmetic movie features, differentiation to reach market segments, growing a movie segment, positioning to support the movie image, positioning to extend the movie image, and differentiation via non-traditional channels) and offers steps for its successful implementation Keyword: motion pictures; movies; marketing; promotion; buzz marketing1. The marketing challengeTodays movie marketers confront a difficult reality: the game plan by which theyve played for years is being challenged and there is a call for new, innovative ways to drive box office sales. Under the historically used traditional model, corporate marketers spend marketing dollars on messages aimed at a target audience. The marketing team creates a message, purchases media, and sees that the message is delivered to personal and business customers. Given the fragmentation of media today, however, it is becoming increasingly difficult for marketers to promote movies using the traditional model. In the United States, for example, what was once a handful of television stations has now proliferated into more than 1600 broadcast and cable outlets; similar trends are underway in Europe, as well. Cable fragments the broadcast audience, TiVo users are zapping through 30-second commercial spots, and online advertising is on the rise. This sort of fragmentation makes it more difficult to generate an impact, accumulate sufficient reach and awareness, and plan promotional campaigns in general. Added to this fractured landscape, multitasking has become increasingly common across the board. While surfing the Web, the typical US teenager engages in an average of two other activities, one of which is often homework. Reportedly, some 80% of business people also multitask while performing work related duties (Greenspan, 2004). In concert with this, there is an increasing trend for consumers to “switch off”; they are evermore selective about what they watch and the advertising messages they trust. As Court (2004, p.2) cites, according to Yankelovich Partners, 65% of consumers feel “constantly bombarded with too much advertising,” 69% are “interested in products and services that would help skip or block marketing,” and 54% “avoid buying products that overwhelm with advertising and marketing.” To add, television and movie lovers are witnessing a revolution in digital home entertainment. With it, a growing number of people are turning away from neighborhood cinemas in order to stay home and be entertained by new technologies and advanced personal theater systems. Consumer electronics manufacturers, IT vendors, and movie companies are lining up to extol the virtues of Blue-ray and HD-DVD; the proclaimed successors to the current DVD format (Thomas, 2006). According to Geoff (2005), by the end of 2004, Forrester Re-search estimated there were TiVos and other DVDs in 6.5 million US households, up from 1.9 million in 2002. That number, the firm claims, will climb to almost 50 million by 2009, representing 41% of all US households. On another front, the popularity of Netflix, an online subscription service boasting 3 million users, prompted both Blockbuster and Wal-Mart to offer similar services whereby people rent DVDs for an unlimited time for a monthly fee. While its true that DVDs may be a cash cow for studios, theaters suffer when patrons skip the cinema experience and wait for those releases at home. Needless to say, given the increase in entertainment options, the movie-going experience needs to be far more compelling to draw in audience members. Moreover, this challenge is not likely to subside, but rather grow more compelling: as discussed by Chary (2005), a recent study by Informal Research Services indicates that 125 million people about 5% of all cell phone owners will be watching television on their handsets by 2010. In addition, the Digital Lifestyles 2006 Outlook from Parks Associates (Escher, 2006) estimates that US consumer spending for online entertainment, including on-demand gaming, music, and video services, will grow by 260% in the next five years.In this frenetic and competitive environment, marketers must search for innovative ways to reach and attract movie audiences. Buzz marketing is one such promotional posture that is capable of breaking through the existing noise and clutter of the marketing scene, to capture peoples attention to the point that talking about a movie becomes an enjoyable experience to share. Essentially, buzz marketing mimics the traditional marketing model in that it sends messages to targeted audiences through varying media. Under the buzz marketing model, however, the entertainment marketer injects the audience and media with a jaw-dropping, movie-related message that is so interesting and exciting that it causes the information to spread like wildfire. That appealing element of exhilaration represents the essence of and key to, buzz marketing, and differentiates it from the traditional marketing approach. Among its many attractive qualities, buzz marketing is a low-cost, far-reaching mode of promotion. This being the case, entertainment marketers interest in the method is raising as media fragmentation continues and movie marketing costs increasingly spiral upward. Buzz marketing also satisfies studio executives who are confronted with steadily mounting marketing costs, and are thus challenged by existing promotional tactics in search of more mileage for fewer dollars. 2. Buzz marketing encompasses word of mouth and viral marketing At the core of buzz marketing is the phenomenon of word of mouth (WOM), the process by which an individual influences the actions or attitudes of others. As indicated by the following quotes on the value of word of mouth, academicians have long been aware of the power of WOM on consumers preferences and actual purchase behaviors: “Forget about market surveys and analyst reports. Word of mouth is probably the most powerful form of communication in the business world. It can either hurt a companys reputationor give it a boost in the market. Word-of-mouth messages stand out in a persons mind.Quite simply, we find messages more believable and compelling when we hear them directly from other people, particularly people we know and respect.” Regis McKenna “Word of mouth seems to be a frequently used risk-reduction device; and this source of information is particularly sought for in situations characterized by high uncertainty.” Johan Arndt “Word of mouth tends to be highly persuasive because the sender apparently has nothing to gain from the receivers subsequent actions.” Leon G. Schiff man and Leslie L. Karuk Malcolm Glad well (2002), author of the national bestseller The Tipping Point, says WOM is so powerful because ideas, behaviors, messages, and products sometimes behave just like outbreaks of infectious disease. Similar to how an ill person can start a flu epidemic, so too can a small but precisely targeted push cause a fashion trend or the popularity of a new product. According to McKinsey & Co. (Ramsey, 2005), approximately two-thirds of all economic activity in the United States is influenced by shared opinions about a product, brand, or service. On the basis of aggregated data and interviews with various WOM marketing experts, remarketer estimates that almost 50% of online marketers will engage in some form of WOM or viral campaign in 2006. A recent survey of marketers, which asked what type of digital media they were either using or were, planning to use, found that exactly two-thirds cited WOM (Ramsey, 2005). The nature and scope of the Internet, as well as other messaging devices, has inspired marketers to deliberately attempt to stimulate or simulate the WOM process by designing marketing campaigns with characteristics that attract audiences and encourage individuals to pass along a message. Also known as buzz marketing and viral marketing, these tactics create the potential for exponential growth in the messages exposure and influence (Wilson, 2000). Though the terms buzz marketing and viral marketing are often used interchangeably with WOM communications, the following discussion points highlight clear distinctions between the three. 2.1. Word of mouth communications WOM communications, also referred to as opinion leadership, is the process by which one person (the opinion leader) informally influences the actions of others, who may be opinion seekers or opinion receivers. The key characteristic of this influence is that it is interpersonal and informal and takes place between two or more people, none of whom represent a commercial selling source that would gain financially from the exchange of information (Schiff man & Karuk, 2007). WOM implies personal or face-to-face communication, although nowadays it may also take place via telephone conversation or within the context of an instant message or e-mail. As individuals, opinion leaders specialize in the product categories (e.g., travel, automobiles) about which they offer information and advice, and often read special interest magazines to broaden their expertise. By the same token, when other product categories are discussed (ones in which they do not focus), these individuals are likely to become opinion receivers, occupying that position due to lack of knowledge in the subject area. Opinion leaders are a highly credible and powerful source of consumer information, and thus very effective in influencing customers product-related decisions. One explanation for this strong influence is that opinion leaders are perceived as having nothing to gain financially from their purchase recommendations, and are thus inherently trusted. That is why word of mouth is so effective. In effect, when opinion leaders initiate WOM, they send a free, credible, and targeted marketing message. 2.2. Viral marketingViral marketing, a high-tech and “impersonal” variation of WOM, is an Internet-driven strategy that enables and encourages people to pass along a marketing message and engage in word of mouth, creating the potential for exponential growth in the messages exposure and influence. Like a virus, this tactic takes advantage of rapid multiplication to explode a message to thousands, even millions. Viral marketing depends on a high pass-along rate to create a snowballing effect. A widely cited first example of viral marketing is Hotmail, a company now owned by Microsoft, which promotes both its service and advertisers messages in every e-mail sent by patrons using the technology. 2.3 Buzz marketing With media undergoing a vast change in a world where aggressive television ads, flashy websites, and glossy brochures compete for consumer attention, it is necessary to bridge WOM with technology(e.g., the Internet, mobile phones, MP3 players) and “outside the box” thinking. Buzz marketing is the practice of gathering volunteers either formally by actively recruiting individuals who naturally set cultural trends, or informally by drawing “connectors”: people who have lots of contacts in different circles, who can talk up their experiences with folks they meet in their daily lives. These people can be experts, members of the press, politicians, celebrities, or well-connected customers others rely on for information. Unlike WOM, whereby opinion leaders are internally motivated because of their knowledge, those spreading buzz may or may not be experts, and may be spreading buzz on a host of different things that are injected by marketers.Buzz marketing captures the attention of consumers and media to the point that people talk about the brand, because the message is perceived as entertaining, fascinating, and/or newsworthy. In order for this to occur, however, there must be something interesting, clever, amusing, catchy, or remarkable enough about the message such that WOM fuels fast distribution via technology to create a “buzz.” Clearly, this requires clever marketing and creativity. Successful buzz marketing efforts so capture the attention of individuals that they talk to others interpersonally via acquaintances, friends, co-workers, and family members, and impersonally on the Internet in the form of message boards, chats, polls, user ratings, and member stories. As a result, more buzz is ultimately generated.Practitioner writings suggest that buzz is usually something that combines a wacky, jaw-dropping event or experience with pure branding to get people talking. According to McKinsey & Co., and as reported by firm strategy consultant Renee Dye (2000), motion pictures and broadcasting are two categories that are highly driven by buzz. Consider, for example, the 19th season premiere of The Oprah Winfrey Show, which aired in the fall of 2004. This episode created considerable buzz when Pontiac gifted each audience member with a new G6 sedan, and was remarkable enough to be noted by TV Guide as one of the greatest moments in television history. According to console Networks (“Oprah Giveaway,” 2004), traffic to the O website and GMs P increased dramatically after the talk show hosts giveaway program aired on Monday. Behold the power of buzz. Business Horizons, 2007(5),50,395-403電影口碑營銷Iris Mohr托賓商學院，摩根約翰大學，烏托邦大道8000，牙買加，紐約11439，美國摘要：在今天的動態(tài)電影娛樂環(huán)境下，許多企業(yè)都努力維持生存并保持盈利，并時刻面對著 諸如盜版，電子仿造，惡性競爭，重復(fù)的電影活動，媒體輿論，以及觀眾對電影的飽和度的 挑戰(zhàn)，不斷通過營銷來提高自己的電影預(yù)算，盡可能做到使每一美元都發(fā)揮其價值。隨著越來越多的娛樂方式充實人們的生活，營銷人員必須尋找更多創(chuàng)新的方式來達到電影觀眾的要求。突破日常的嘈雜，捕捉人們的注意點，并將談?wù)撾娪白鳛橐粋€愉快的經(jīng)驗分享。口碑營銷就是以這樣一個宣傳的姿勢，帶動觀眾前往劇院。為了成功實現(xiàn)口碑營銷，營銷人員必須承認其作用范圍內(nèi)的存在的電影差異化戰(zhàn)略，并支持公司的整體方法。為此，本文分析了口碑營銷，包括六大部分（分化電影功能，細分電影市場，播放電影片段，定位電影圖像，延伸電影形象，運用傳統(tǒng)渠道）以及口碑營銷的的具體步驟，保證它的成功實施 關(guān)鍵詞：情感畫面；電影；市場營銷；營銷推廣；一、 市場的挑戰(zhàn)今天的電影商面臨著一個困難的現(xiàn)實：他們已經(jīng)運用多年的營銷計劃正在受到挑戰(zhàn),然而現(xiàn)在有一個稱為全新的創(chuàng)新方式可以驅(qū)動票房銷售。在歷史上他們所使用的傳統(tǒng)模式，就是企業(yè)營銷人員花費一定資金收集目標受眾的營銷信息，然后營銷團隊創(chuàng)建一個消息，同時購買媒體報道，并將該消息交付給個人或企業(yè)客戶。然而鑒于媒體較分散的現(xiàn)狀，電影采用傳統(tǒng)模型來進行營銷推廣已經(jīng)變得越來越困難。在美國，例如，曾經(jīng)還只有極少數(shù)量的電視臺現(xiàn)在已經(jīng)遍布1600多個廣播和有線電視網(wǎng)點，并且歐洲也有類似的發(fā)展趨勢通過電纜信息轉(zhuǎn)播給觀眾，電視用戶可以隨意切換30秒的商業(yè)點，再加上在線廣告的興起。這種情況，使它更加難以積累足夠的范圍和意識，使得營銷計劃結(jié)果一般。 發(fā)展到現(xiàn)在這個信息分散的時代，多任務(wù)處理已越來越普遍。在上網(wǎng)時，典型的美國少年，平均每人同時從事二項活動，其中之一就是日常的作業(yè)。據(jù)了解，“具有多業(yè)務(wù)的群體，80%同時履行多樣的工作職責”（格林斯潘，2004 ）于此相關(guān)的，消費者選擇“關(guān)閉”逐漸成為一種趨勢：他們永遠有選擇性的了解他們觀看的廣告信息。根據(jù)揚克洛維奇指出，65%的消費者認為“不斷轟炸的廣告太多”，69%的人“遇到感興趣的產(chǎn)品和服務(wù)，會直接選擇跳過廣告”和 54%的人會“避免購買那些頻繁采用廣告和營銷的產(chǎn)品”。 不僅如此，電視和電影愛好者正在經(jīng)歷一場數(shù)字家庭娛樂的革命。有了這些，越來越多的人正在遠離附近的電影院，而選擇呆在家里，享受新技術(shù)和先進個人影院系統(tǒng)。“消費電子制造商，IT 供應(yīng)商，和電影公司是聯(lián)合推出了藍光和 HD - DVD，宣布這將是數(shù)字家庭影院的當前格式”（托馬斯，2006）。根據(jù) Geoff（2005）統(tǒng)計，到2004年底，估計擁有 TiVos 和DVR 的美國家庭將達到650萬個，該公司聲稱，這個數(shù)字，從2002年的190萬，到2009年將上升至近 5 千萬，占所有美國家庭的41%。另一方面，受歡迎的Net flux 在線訂閱服務(wù)，擁有3百萬用戶，使得大部分人每月花一部費錢在租DVD上。實際上，DVD可以說是工作室的現(xiàn)金牛，顧客跳過在劇院體驗電影的經(jīng)驗，選擇在家里放松。 不用說，由于娛樂選擇的增加，看電影的經(jīng)歷需要更加引人注目，吸引觀眾。此外，這一挑戰(zhàn)是不可能消失，而是越來越引人注目：在 2005 年，通過對 1.2 億人的服務(wù)信息的研究發(fā)現(xiàn)，到2010 年大約5%的手機用戶將通過手機看電影。此外，2006年,數(shù)字生活方式展望協(xié)會（舍夫，2006）估計，美國的消費者支出包括網(wǎng)上娛樂，游戲，音樂，視頻服務(wù)，在未來五年內(nèi)將增長260%。 在激烈的競爭環(huán)境中,營銷人員必須尋找創(chuàng)新的方法來宣傳吸引觀眾的電影。 口碑營銷正是以這樣一個宣傳的姿勢，突破現(xiàn)有嘈雜的營銷場景，捕捉人們的注意點，將談?wù)撾娪白鳛橐粋€愉快的經(jīng)驗分享?；旧?，口碑營銷與傳統(tǒng)營銷模式，都是通過不同的媒體，將消息發(fā)送到目標受眾。然而，在口碑營銷模型里，娛樂營銷注入觀眾和媒體的是一個令人驚嘆的，與電影相關(guān)的信息，并且顯得如此有趣和令人興奮，它使信息不脛而走。吸引力是主要素，興奮是其本質(zhì)和關(guān)鍵，口碑營銷，不同于以往傳統(tǒng)的營銷方式。 口碑營銷是一種低成本的，深遠的推廣模式，本身擁有許多吸引人的素質(zhì)。在這種情況下，媒體對娛樂營銷方法的關(guān)注和電影營銷成本日益呈螺旋上升。 口碑營銷也面臨不斷上漲的營銷成本，并因此受到現(xiàn)有的宣傳手法的挑戰(zhàn)，為此只能尋找更多的方法來減少消耗。二、口碑營銷包括口碑傳播和病毒式營銷 口碑營銷的核心方式就是口碑傳播過程，需要影響個人的行為或態(tài)度的他人。正如以下觀點的價值，口耳相傳，學者們早就認識到權(quán)力的口碑對消費者偏好與實際購買行為的影響： “忘了市場調(diào)查及分析報告?？诒赡苁巧虡I(yè)世界里最強大的通信形式。 它可以損害公司的聲譽或使其提高市場。 口碑訊息中脫穎而出的一個人的心靈想法。很簡單，我們發(fā)現(xiàn)信息更加可信和令人信服的一大前提就是當我們聽到他們直接從其他人口中說