电影口碑营销外文资料翻译

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1、 中文 3700 字 2167 单词 毕业 论文 外文资料翻译 题 目 电影口碑营销 学 院 历史与文化产业学院 专 业 公共事业 管理（艺术经营与管理方向） 班 级 艺管 1001 学 生 学 号 指导教师 二一 四 年 三 月 二十 六 日 - 1 - Business Horizons,2007(5),50,395-403 Buzz marketing for movies Iris Mohr Tobin collage of business, St. johns University, 8000 Utopia, Jamaica, NY 11439, USA Abstract: In

2、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 do

3、llar 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 enjo

4、yable 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 approac

5、h. 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,

6、 and differentiation via non-traditional channels) and offers steps for its successful implementation Keyword: motion pictures； movies； marketing； promotion； buzz marketing 1. The marketing challenge Todays movie marketers confront a difficult reality: the game plan by which theyve played for years

7、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 mess

8、age 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 prolifera

9、ted 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 generat

10、e an impact, accumulate sufficient reach and awareness, and plan promotional campaigns in general. Added to this fractured landscape, multitasking has become increasingly common - 2 - across the board. While surfing the Web, the typical US teenager engages in an average of two other activities, one

11、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

12、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

13、 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 elec

14、tronics 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 mi

15、llion 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

16、 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 optio

17、ns, 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

18、 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 th

19、e 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