外文翻译---软广告的效果：观众的新见解（节选）

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1、外文原文：http:/ 5985 字  3600 单词  外文文献  Effectiveness of brand placement: New insights about viewers Jean-Marc Lehu, Etienne Bressoud Journal of Business Research 61 (2008) 10831090  Abstract Since traditional media have become saturated, the technique of product placement has been at

2、tracting 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,

3、the day after the film was watched at home. Results make a contribution 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 D

4、VD movie is chosen either because of the movie director or when the viewer likes the movie.   Keywords: Consumer； Product placement； Brand placement； Movie； Branded-entertainment； Spontaneous day-after recall  1. Introduction  Product placements (a product and/or a brand intentionally

5、 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

6、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

7、 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

8、 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 putt

9、ing 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 pa

10、pers 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 re

11、call (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 elect

12、ronic 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 les

13、s 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

14、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 c

15、omplementary 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 (Pa

16、rrish, 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

17、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 h

18、ow 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 w

19、ith 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 posit

20、ion 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

21、 is integrated into the story itself (Russell, 1998). Such research contributes to a better understanding of product placement effectiveness (Vollmers and Mizerski, 1994； Russell, 2002； Karrh et al., 2003； Bressoud and Lehu, 2007b), and more specifically brand communication effectiveness.  Seve

22、ral 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 (Vollme

23、rs and Mizerski 1994), little research has focused on this topic (Bre, 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 a

24、nd 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 suppos

25、ed 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