外文翻譯----電影中的植入式廣告對(duì)介入觀點(diǎn)的一個(gè)初步測(cè)試

1、<p><b>　　中文3490字</b></p><p>　　標(biāo)題：Product Placement In Movies: A Preliminary Test Of An Argument For Involvement</p><p><b>　　原文：</b></p><p>　　A model is

2、proposed to begin to explain the role that viewer involvement with a movie scene feature a product placement has on the impact of product placements. This study is a preliminary test of the differences in brand recogniti

3、on and recall for products in either high or low involvement movie scenes. The experiment tests four existing motion pictures with product placements and shows a pattern (albeit statistically insignificant) of enhanced c

4、ognitive effects (recall and recognition) in more</p><p>　　Introduction</p><p>　　Marketers today are spending millions of dollars for product placements in motion pictures after the tremendous s

5、uccess linked to the dropping of Reese's Pieces candies to lead an alien out of the woods in the movie ET: The Extra-Terrestrial. More and more companies try to find more creative and uncluttered ways to expose consu

6、mers to products. Product placements range from subtle background appearances to the dominant role (10.5 minutes of total exposure time) of a Wilson volleyball washed asho</p><p>　　The primary objective of t

7、his research is to begin to examine the differential impact of product placements in movies depending on the context in which the placement is seen. Multiple movie product placements are tested, a distinction from earlie

8、r research. Since previous research has shown that product placements including both visual and verbal displays of the product have the most impact on recall and brand attitudes, followed by verbal only and finally visua

9、l only appearances, there's reason</p><p>　　Literature Review</p><p>　　Although definitions of product placement differ slightly across the literature, a generally accepted one from Karrh (1

10、994) says: "a paid inclusion of branded products or brand identifiers, through audio and/or visual means within mass media programming," is most comprehensive and is used for this study.</p><p>　　R

11、esearch has generally found product placements to be acceptable to viewers. Placements are seen as adding realism to scene, are preferred to fictitious brands and are understood to be more and more a necessary component

12、to cost containment in the making of programs and movies. (DeLorme and Reid 1999; Gupta and Gould 1997)</p><p>　　Product placement effects on viewers have been examined mostly with a focus on brand recall an

13、d recognition. Karrh (1994) found that viewers could correctly recognize and recall placed brands in movies, using aided recall measures. Gupta and Lord (1998) showed brands placed prominently in a movie scene enjoyed hi

14、gher brand recall than those that were not. Placements that combined verbal and visual brand references were better recalled than placements that enjoyed one or the other in movie scenes</p><p>　　Few studies

15、 examine product placement influences on attitudes toward a product or brand. When they do, (e.g., Karrh 1994), no differences are found in viewers' attitudes toward the brand. Does this mean product placements are i

16、ncapable of influencing brand attitudes? Or is the measurement of attitudinal effects to blame? Maybe it's the testing conditions used in these studies?</p><p>　　Some question if product placements are t

17、oo subtle to have any effect on consumers (Andriasova and Wagner 2004). This study focused on product related strengths of association with the characters involved in using the product on screen. Rather than enhancing br

18、and attitudes or brand awareness directly, a product placed in ways that viewers perceive fit with the character using them will gain an enhanced association every time consumers think of that character. In addition, And

19、riasova and Wagner </p><p>　　Six variables of product placement have been identified as playing a role in the potential impact for sponsors (Fisher and Wagner 2004), and three of those are represented by the

20、 concept of involvement. Content characteristics, which include movie genre and mood of the scene are important in product placement decisions and contribute to viewers' involvement with the movie. Suspense thrillers

21、 and action adventures, which tend to engage viewers both cognitively and emotionally, have consistently b</p><p>　　Characters are a second component important to product placement as well as viewer involvem

22、ent. Association with popular actors, such as Tom Cruise wearing Ray Ban sunglasses in Risky Business, makes a product more attractive and movies more engaging for many viewers. Of course the role the character plays in

23、the movie and the subsequent role the product gets also have an influence on product placement effectiveness and viewer involvement. For example, in Italian Job, the mini Cooper auto is a c</p><p>　　Finally

24、processing opportunities, such as how prominent the product is depicted in the placement, whether shown visually or mentioned or both, along with the relevance of the product to the scene, impact placement outcomes. Russ

25、ell (2002) called them "plot connections" and "modality," and in an experiment tested the main and interactive effects measuring both brand recognition and attitude change. She found greater brand rec

26、ognition for visually dominant placements, but greater attitude change i</p><p><b>　　Theory</b></p><p>　　This present study focuses on the variable of viewer involvement with differe

27、nt scenes in the movie and the accompanying effects it has on consumer reactions to product placements in high versus low involvement scenes. Although viewer involvement has not been widely applied to cinema, it has rece

28、ived attention when applied to television. The focus in this research has been how viewer involvement with programs affects the advertising placed during the airing of such programs. (Kennedy 1971 ; Brya</p><p

29、>　　Park and McClung (1986) measured commercial involvement rather than recall or brand attitudes and also distinguished between cognitive and affective program involvement. Their results mirrored the contrast effects

30、found in the studies described above for cognitively involving programs, but enhanced ad involvement was found for affectively involving programming. This suggests that looking at multiple dimensions of viewer involvemen

31、t is important.</p><p>　　Cho (2003) tested the effects of different levels of product involvement in the act of clicking Internet banner ads. Although Cho found banner ads were more likely to be accessed for

32、 more involving products, when peripheral cues, such as ad size and animation, were considered, the relationship between involvement and clicking became unclear. Another byproduct of this study was an attempt to model th

33、e role of involvement and central/peripheral processing in mitigating Internet surfing behavior. T</p><p>　　It is important to note that the contrast effect generally found between television program involve

34、ment and ad performance may not be applicable to product placement in movies. Television commercials are clearly a distinct message form compared to television programs, introducing the effects of interruptions, drive fo

35、r closure and other effects not part of the movie product placement experience. Given the generally accepted notion of limited capacity of the human information processing system (P</p><p>　　However, in most

36、 movie product placement situations, the products are seamlessly merged into the message being delivered by the movie. Processing product placements becomes part of processing the movie content. Hence, Petty and Cacioppo

37、's well established Elaboration Likelihood Model (1983) on information processing would suggest that products placed in more highly involving scenes should produce more elaborate cognitive processing, increasing the

38、chances that brand awareness and knowledge would</p><p>　　In turn, more highly involving scenes/placements are predicted to lead to different attitude outcomes, with more enduring brand attitudes occurring i

39、n high involvement conditions than in lower involvement ones. Although brands can still be enhanced in low involvement conditions because processing is still occurring, albeit a peripheral type, the effect is more likely

40、 to be short term. The length of this enhancement could be as short as the end of the movie, or as long as the next purchase decisi</p><p>　　Given this study is a preliminary step in the process of understan

41、ding movie viewing involvement and its effects on product placement impact, the following hypotheses were posited:</p><p>　　H1: Viewers experiencing high involvement movie scenes are more likely to recall a

42、prominent, on-set product placed in a movie scene than viewers of less involving movie scenes.</p><p>　　H2: Viewers experiencing high involvement movie scenes are more likely to recall a greater number of pr

43、oduct placements in a movie scene than viewers of less involving movie scenes. The number of brands exposed to the viewer must be accounted for in this assessment.</p><p>　　Conclusions & Discussion</p

44、><p>　　The results of this research show that viewers' involvement can vary with different movies and by type of involvement considered. On two of three involvement measures a movie (Castaway) predicted to

45、be more involving and one less involving (You've Got Mail) to viewers indeed delivered. The Castaway segment depicted a character desperate to survive and had gripping scenes as the character experienced successes an

46、d failures in finding food and other necessities to survive. On the other extreme, Yo</p><p>　　The reverse prediction (albeit insignificant) for affective involvement viewing measures shows the importance of

47、 assessing multiple dimensions of the involvement construct. Involvement is a complex construct, one that research has yet to produce a clear understanding of. However, just because it is a complex construct doesn't

48、mean researchers should shy away from its investigation. Its application to movie viewing and its impact on product placement effects is hinted at with the results of this </p><p>　　出處：Pokrywczynski, James．

49、Product Placement In Movies: A Preliminary Test Of An Argument For Involvement [J] ． American Academy of Advertising. Conference . Proceedings ．2005(01)，pp.37-53 </p><p>　　標(biāo)題：電影中的植入式廣告：對(duì)介入觀點(diǎn)的一個(gè)初步測(cè)試</p&g

50、t;<p><b>　　譯文：</b></p><p>　　有模型解釋觀眾介入電影場(chǎng)景的植入特點(diǎn)對(duì)植入式廣告有影響。本文是關(guān)于在高或低介入電影場(chǎng)景中產(chǎn)品品牌知名度、回憶的差異的一個(gè)初步測(cè)試。這個(gè)實(shí)驗(yàn)測(cè)試四部現(xiàn)有的植入式廣告電影，展示一個(gè)增強(qiáng)涉及電影場(chǎng)景的認(rèn)知效果（回憶與識(shí)別）的模式（雖然幾乎沒(méi)有）。為被提出模型的進(jìn)一步測(cè)試的未來(lái)研究提供了啟示。</p><p

51、><b>　　簡(jiǎn)介</b></p><p>　　現(xiàn)在，市場(chǎng)營(yíng)銷者為電影中的植入式廣告花費(fèi)上百萬(wàn)美元，在聯(lián)系到電影《外星人》中瑞斯投放糖果帶領(lǐng)一個(gè)外星人走出森林取得巨大成功后。越來(lái)越多的公司嘗試著發(fā)現(xiàn)更具創(chuàng)意和整齊的方法為產(chǎn)品找出消費(fèi)者。在電影《劫后余生》中植入式廣告的范圍，是從微妙的背景場(chǎng)到由演員湯姆·克魯斯扮演的一個(gè)飛機(jī)墜毀后唯一幸存于荒島上的人身后的一個(gè)沖上岸的在聯(lián)邦快遞

52、包裹中的威爾遜排球這個(gè)主要角色（所有曝光時(shí)間的10.5分鐘）(Maynard 和 Scala, 2002)。以前的研究著眼于觀眾對(duì)植入式廣告的意見(jiàn)(Gupta 和 Gould 1997; DeLorme 和 Reid 1999)，把電影用于產(chǎn)品投放的倫理性(Gupta, et al 2000)，展示在電影中的品牌頻率和類型(Karrh, 1994)，對(duì)不同類型風(fēng)險(xiǎn)的觀眾的影響(d'Astous 和d Chartier 2000;

53、 Gupta 和 Lord 1998; Brennan和 Babin 2004; Sabherwal, Pokrywczynski 和 Griffin 1994)。對(duì)擺放成效的后來(lái)研究是當(dāng)前研究的重點(diǎn)。</p><p>　　本研究的主要目標(biāo)是為了根據(jù)擺放明顯的關(guān)系來(lái)查驗(yàn)電影中的植入式廣告的不同影響。多個(gè)電影植入式廣告被測(cè)驗(yàn)，與早期研究有所區(qū)別。因?yàn)橐酝难芯匡@示，包括產(chǎn)品視覺(jué)和語(yǔ)言顯示的植入式廣告對(duì)回憶和品牌態(tài)度

54、有最大的影響力，其次只有視覺(jué)，最后只有語(yǔ)言顯示，有理由相信與信息處理相關(guān)的其他變數(shù)也可能影響這個(gè)影響力。這里重點(diǎn)的變數(shù)是觀眾參與現(xiàn)場(chǎng)展示放置。這個(gè)研究發(fā)現(xiàn)的更廣泛含義可能是為了更好理解在所有類型通訊方式中扮演的角色的作用：字、語(yǔ)言、電話或面對(duì)面。</p><p><b>　　文獻(xiàn)回顧</b></p><p>　　盡管植入式廣告的定義在文獻(xiàn)略有不同，一般接受Karrh

55、(1994)的說(shuō)法：“品牌產(chǎn)品或品牌標(biāo)識(shí)的一個(gè)付費(fèi)納入，通過(guò)音頻或在大眾傳媒節(jié)目中的可視化方法。”是最全面的，并用于這篇研究。</p><p>　　研究通常發(fā)現(xiàn)植入式廣告被觀眾接受。放置被看作在場(chǎng)景中加入現(xiàn)實(shí)，更被虛構(gòu)品牌所喜歡，被認(rèn)為是制作節(jié)目和電影的成本花費(fèi)的一個(gè)必要組成(DeLorme 和 Reid 1999;Gupta 和 Gould 1997)。</p><p>　　植入式廣告對(duì)

56、觀眾的影響主要以品牌回憶和識(shí)別為重點(diǎn)來(lái)研究。Karrh (1994)發(fā)現(xiàn)采用增加回憶的方式，觀眾能正確認(rèn)識(shí)和回憶被放置在電影中的品牌。Gupta 和 Lord (1998)指出品牌被突出放置在一部電影的場(chǎng)景中，享有比那些沒(méi)放在突出位置的品牌更高的品牌回憶。結(jié)合語(yǔ)言和視覺(jué)的品牌參考的擺放比在電影場(chǎng)景中的擺放擁有更好回憶。(Sabherwal, et al, 1994)盡管大多數(shù)的研究建立一個(gè)電影植入式廣告的認(rèn)知效果，品牌回憶經(jīng)常不高于30

57、%，而且大多數(shù)研究沒(méi)有在一些電影中作任何比較，只選擇一部電影測(cè)試和操縱關(guān)于擺放的其他變量。</p><p>　　幾乎沒(méi)有研究查驗(yàn)植入式廣告對(duì)一個(gè)產(chǎn)品和品牌態(tài)度的影響。當(dāng)他們研究時(shí)(e.g., Karrh 1994)，在觀眾對(duì)品牌的態(tài)度中沒(méi)有發(fā)現(xiàn)差異。這是否意味著植入式廣告不能影響品牌態(tài)度？或者歸咎于態(tài)度影響的測(cè)量？也許是被用于這些研究的測(cè)試條件？</p><p>　　有一些人質(zhì)疑是否植入式

58、廣告太微妙，以至于對(duì)消費(fèi)者產(chǎn)生影響(Andriasova 和 Wagner 2004)。這項(xiàng)研究集中于把產(chǎn)品和在銀幕上使用產(chǎn)品的字符組合的優(yōu)勢(shì)聯(lián)系起來(lái)。一個(gè)產(chǎn)品用觀眾認(rèn)為適合特性的，使用時(shí)會(huì)在每次消費(fèi)者想起那個(gè)特性時(shí)產(chǎn)生聯(lián)想的方法來(lái)放置，而不是直接地提高品牌知名度或品牌意識(shí)。此外，Andriasova 和 Wagner (2004)發(fā)現(xiàn)了介入節(jié)目的觀眾和與組合有關(guān)的產(chǎn)品之間的一個(gè)聯(lián)系。不幸的是，只有一個(gè)產(chǎn)品特性的關(guān)聯(lián)在這個(gè)研究中被測(cè)試，

59、提供沒(méi)有比較的數(shù)據(jù)來(lái)反對(duì)目前研究提供的數(shù)據(jù)。</p><p>　　植入式廣告的六個(gè)變量已經(jīng)被確定為在贊助商的潛在影響中起作用(Fisher 和 Wagner 2004)，而且其中的三個(gè)變量被介入的概念所代表。包含電影類型和現(xiàn)場(chǎng)氣氛的特色內(nèi)容對(duì)植入式廣告決定是重要的，而且有助于觀眾對(duì)電影的介入。傾向于從認(rèn)知和情感來(lái)吸引觀眾的懸疑驚悚片和動(dòng)作冒險(xiǎn)片一直以高介入內(nèi)容被分類(e.g., Kennedy 1971; Par

60、k和 McClung 1986)，然而喜劇和音樂(lè)劇被確定為很少介入的內(nèi)容(e.g., Bryant 和 Comisky 1978)。</p><p>　　特性是植入式廣告和觀眾參與的第二個(gè)重要組成部分。由流行演員組成的組合，例如對(duì)觀眾而言，在電影《乖仔也瘋狂》中帶著雷朋太陽(yáng)眼鏡的湯姆·克魯斯使產(chǎn)品更具吸引力，電影更動(dòng)人。當(dāng)然，在電影中表現(xiàn)的角色性格和產(chǎn)品得到的隨后角色也對(duì)植入式廣告的成效和觀眾介入有影響

61、。例如在Italian Job中，mini Cooper汽車在整部電影的眾多場(chǎng)景中顯示了一個(gè)它自己的特性，提供允許通過(guò)大量危險(xiǎn)達(dá)到安全駕駛的主要特性的靈活處理。</p><p>　　最后處理機(jī)會(huì)，例如突出的產(chǎn)品如何在放置上被描述，隨著產(chǎn)品相關(guān)的場(chǎng)景是否被直接展示或被提到或兩者都有，都會(huì)影響放置的結(jié)果。Russell (2002)稱它們?yōu)椤扒楣?jié)連接”和“形態(tài)”，在一個(gè)用來(lái)測(cè)試測(cè)量品牌認(rèn)知度和態(tài)度變化的主要、相互作用

62、的效果的實(shí)驗(yàn)。她發(fā)現(xiàn)了視覺(jué)上占主導(dǎo)地位的放置的更高品牌認(rèn)知度，但是更多對(duì)背景視覺(jué)植入式廣告的態(tài)度發(fā)生改變。這事沒(méi)在這次研究中被考慮。</p><p><b>　　理論</b></p><p>　　目前的研究集中于觀眾在電影不同場(chǎng)景中的介入和消費(fèi)者反應(yīng)對(duì)在高與低的介入場(chǎng)景中的植入式廣告的伴隨效果。盡管觀眾介入不是廣泛適用于電影院，但適用于電視時(shí)受到關(guān)注。本次研究的重點(diǎn)是

63、觀眾介入的節(jié)目如何影響被放置于這些節(jié)目播出時(shí)的廣告(Kennedy 1971 ; Bryant 和 Comisky 1978; Lloyd 和 Clancy 1991; Park 和 McClung 1986)。大多數(shù)測(cè)試在高和低的介入節(jié)目中的廣告回憶的研究，一般發(fā)現(xiàn)參與和廣告成效之間的對(duì)比效果。Kennedy (1971) 在一部懸疑驚悚片（高介入）和一部情景喜?。ǖ徒槿耄┲性囼?yàn)相同的廣告，推論出更少的廣告被回憶當(dāng)懸疑驚悚片引起觀眾故

64、事線被中斷的煩惱。Lloyd 和 Clancy (1991) 在一間等待室里展示兩種不同的節(jié)目來(lái)測(cè)試廣告回憶，失敗于去發(fā)現(xiàn)與更好的廣告效果相聯(lián)系的高介入節(jié)目。相似的結(jié)果被Bryant an和d Comisky (1978)發(fā)現(xiàn)，盡管他們提出被高介入節(jié)目體驗(yàn)的增加享受可能會(huì)在廣告上擦掉，而對(duì)品牌的態(tài)度會(huì)在它們中出現(xiàn)。</p><p>　　Park 和 McClung (1986)測(cè)量商業(yè)介入而不是回憶或品牌態(tài)度，也

65、區(qū)分認(rèn)知和情感節(jié)目參與。他們的結(jié)果反應(yīng)了在描述以上認(rèn)知的涉及節(jié)目研究中發(fā)現(xiàn)的對(duì)比效果，但增強(qiáng)廣告參與是為情感地介入節(jié)目而被發(fā)現(xiàn)。這表明著眼于多層面的觀眾參與是很重要的。</p><p>　　Cho (2003)測(cè)試不同類型的介入點(diǎn)擊互聯(lián)網(wǎng)橫幅廣告行為的產(chǎn)品影響。盡管Cho發(fā)現(xiàn)橫幅廣告更有可能被越來(lái)越多的介入產(chǎn)品訪問(wèn)，當(dāng)周邊線索，例如廣告大小和動(dòng)畫(huà)被考慮時(shí)，介入和點(diǎn)擊之間的關(guān)系變得不明顯。本研究的另一個(gè)副產(chǎn)品是為了

66、模擬介入和中間或周邊對(duì)減輕上網(wǎng)行為的處理的作用。這一模型被當(dāng)前的研究適用于電影植入式廣告。</p><p>　　重要的是要注意，一般在電視節(jié)目介入和廣告效果之間被發(fā)現(xiàn)的對(duì)比效果可能不適用于電影中的植入式廣告。電視廣告與電視節(jié)目相比明顯是一個(gè)截然不同的信息形式，介紹中斷的影響，為結(jié)束和其他不屬于電影植入式廣告經(jīng)驗(yàn)的影響驅(qū)動(dòng)。提供通常接受限制人類信息處理系統(tǒng)能力的概念(Petty 和 Cacioppo 1983)，把

67、電視節(jié)目處理和廣告結(jié)合在一起可能會(huì)超載系統(tǒng)，為大多數(shù)電視觀眾參與研究的實(shí)證調(diào)查結(jié)果提供概念解釋。</p><p>　　然而，在大多數(shù)電影植入式廣告情況下，產(chǎn)品無(wú)縫并入被電影傳遞的信息。處理植入式廣告變成處理電影內(nèi)容的一部分。Hence, Petty和 Cacioppo's在信息處理上良好地建立Elaboration Likelihood Model (1983)顯示在越來(lái)越多的高介入場(chǎng)景中放置的產(chǎn)品必須產(chǎn)

68、生更加復(fù)雜的認(rèn)知過(guò)程，增加品牌意識(shí)和知識(shí)處理與低介入場(chǎng)景中的產(chǎn)品比較的機(jī)會(huì)。</p><p>　　反過(guò)來(lái)，越來(lái)越多的高介入場(chǎng)景/擺放被預(yù)測(cè)導(dǎo)致不同的態(tài)度結(jié)果，隨著在高介入條件中發(fā)生的比在低涉入條件中發(fā)生的更多持久品牌態(tài)度。盡管品牌仍能在低介入條件中提高，因?yàn)檫M(jìn)程仍在發(fā)生，盡管是一個(gè)周邊類型，效果更可能是短期的。這個(gè)增強(qiáng)的長(zhǎng)度能像電影結(jié)尾一樣短，或像未來(lái)的購(gòu)買(mǎi)決策一樣長(zhǎng)。然而，任期的長(zhǎng)度取決于這個(gè)模型的范圍。<

69、;/p><p>　　提出的這個(gè)研究是理解電影觀察參與過(guò)程和植入式廣告成效的影響的第一步，下面的假說(shuō)被斷定：</p><p>　　假說(shuō)1：觀眾經(jīng)歷高介入植入式廣告場(chǎng)景比幾乎沒(méi)有介入電影場(chǎng)景更有可能回憶一個(gè)在電影場(chǎng)景中放置的集合產(chǎn)品的突出點(diǎn)。 </p><p>　　假說(shuō)2：觀眾經(jīng)歷高介入植入式廣告場(chǎng)景比幾乎沒(méi)有介入電影場(chǎng)景更有可能回憶在電影場(chǎng)景中更多的植入式廣告。暴露給觀眾

70、的品牌數(shù)量必須被本評(píng)估認(rèn)定。</p><p><b>　　結(jié)論和討論</b></p><p>　　本研究的結(jié)果顯示考慮介入的類型，觀眾的介入能隨著不同的電影而變化。在三分之二的參與措施中，一部電影(Castaway)預(yù)測(cè)更多的介入，一部幾乎沒(méi)有觀眾介入的電影(You've Got Mail)確實(shí)發(fā)表了。Castaway這段描繪對(duì)生存絕望的性格，作為經(jīng)歷成功的人

71、物抓住場(chǎng)景。在另一個(gè)極端，You've Got Mail是一種輕松愉快的心情，平靜的段落撒上喜劇是為后來(lái)兩個(gè)主角證明挑戰(zhàn)的相遇設(shè)置情景。另外兩部電影測(cè)試顯示傾向作為預(yù)測(cè)被分類。無(wú)獨(dú)有偶，這兩種可能為缺乏必須對(duì)這些電影進(jìn)行分類統(tǒng)計(jì)的變異做出貢獻(xiàn)的條件有20或更少的樣本量。</p><p>　　這個(gè)對(duì)情感介入觀賞措施的反向測(cè)試（盡管微不足道）顯示評(píng)估介入建設(shè)的多種維度的重要性。介入是一個(gè)復(fù)雜的構(gòu)造，一項(xiàng)研究尚

72、未產(chǎn)生清晰地認(rèn)識(shí)。然而，只因?yàn)橐粋€(gè)復(fù)雜的構(gòu)造不意味著研究人員必須回避調(diào)查。電影觀看的應(yīng)用和植入式廣告成效的影響暗示著本研究的結(jié)果，盡管仍不清楚。</p><p>　　出處：Pokrywczynski, James． Product Placement In Movies: A Preliminary Test Of An Argument For Involvement [J] ． American Acade