BK 2009 Branding Campaign

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网络营销中英文对照外文翻译文献

网络营销中英文对照外文翻译文献E-MarketingE-Marketing is the use of digital ___。

It is a subset of e-business and includes activities such as online advertising。

search engine n。

email marketing。

social media marketing。

and mobile marketing.The first step in ___ target audience。

This can be done through market research。

analyzing website traffic。

and studying social media trends。

Once the target audience is identified。

the next step is to create a marketing plan that includes goals。

objectives。

tactics。

and metrics.One of the advantages of e-marketing is ___。

it is ___ of content。

language。

and currency are all ___.Search engine n (SEO) is a critical component of e-marketing。

By optimizing website content and structure。

businesses canimprove their search engine rankings and drive more traffic to their site。

Social media ___ e-marketing。

国际时尚模特大赛总冠名回报手册

06 合作流程及注意事项
合作流程
意向书签署
在双方达成初步合作意向后，签署意向书。
合作执行
按照合同条款执行合作，包括品牌宣传、活动支持等。
初步接触
与潜在赞助商进行初步接触，了解其需求和期望。
合同签署
在完成详细商议后，正式签署合作合同。
效果评估
合作结束后，对合作效果进行评估，总结经验教训。
象。
增强品牌价值
大赛汇聚了全球顶尖的时尚模特和设计师，总冠名品牌与这些优秀人才的合作，能够增强品牌的价值感和高端感。
提升品牌品味
通过与大赛的合作，总冠名品牌的产品和服务将得到更多关注和认可，提升品牌的品味和档次。
客户关系管理
增强客户忠诚度
总冠名品牌的客户通过参与大赛活动，能够获得更多的互动体验和专属权益，从而增强对品牌的忠诚度。
拓展新客户群体
通过大赛的宣传推广，总冠名品牌能够吸引更多潜在客户，拓展新的客户群体。
提升客户满意度
总冠名品牌将提供优质的产品和服务，满足客户的需求和期望，提升客户的满意度和口碑。
03 具体回报内容
品牌展示机会
品牌logo展示
在比赛现场、宣传物料、官方网站等渠道展示总冠名品牌的logo，提升品牌知名度和曝光度。
0ቤተ መጻሕፍቲ ባይዱ 常见问题及解答
关于品牌展示的问题
总结词
品牌展示是冠名合作的核心，总冠名商可获得在赛事各个环
节的显著品牌露出机会。
1. 现场布置
总冠名商的标志和名称将出现在大赛现场的显眼位置，如舞台背景、入口横幅等。
2. 宣传资料
在所有大赛相关的宣传资料、海报、手册上，都将标明总冠名商的品牌信息。

广告提案2009 目录大全

│ 活动-2008南京八佰伴开业草案.ppt
│ 活动-2008年常州青枫公馆开盘盛典暨业主联谊会.ppt
│ 活动-2008年电子游戏数字娱乐嘉年华活动策划方案-58页.ppt
│ 活动-2008年李宁东方体验活动方案.ppt
│ 活动-2008年沈阳南湖变电所奠基仪式活动策划方案.ppt
│ 服装-LION男士内衣品牌推广方案2008.ppt
│ 公关-活动-北京市丽都水岸公关活动新闻整合方案2006-73PPT.ppt
│ 公关-活动-标致公关传播计划相关活动细化2007.ppt
│ 公关-活动-大连远洋风景2008年度公关传播计划方案.ppt
│ 公关-活动-东原香山示范区开放公关活动策划案2008.ppt
│ 活动-2008年厦门市源昌鑫海湾园林开放活动初案.ppt
│ 活动-2008年佐登妮丝加盟商、VIP客户联谊会活动方案.ppt
│ 活动-2008太平洋汽车网广汽雅力士城市极限挑战赛活动方案.ppt
│ 活动-2008微软中国技术教育活动策划方案.ppt
│ 活动-超级女声套播广告价值分析2006.ppt
│ 通信-中国移动全球通品牌传播方案2007.pdf
│ 网络-2009年“烧包网”网络传播方案.pdf
│ 网络-NSN奥运方案2007.pdf
│ 网络-活动-UCWEB-2008校园推广案.pdf
│ 饮料-2008年冰红茶年度推广手册.pdf
│ 活动-公关-王府井步行街公关活动方案2008.ppt
│ 活动-公关-浙江米皇羊绒股份有限公司公关传播计划2008.ppt
│ 活动-公关-中国东星集团有限公司2008年公关推广建议.ppt

2009时尚超模大赛

2009时尚超模大赛招商方案“2009时尚超模大赛”赞助回报方案时尚超模大赛为贵公司量身定做；全方位的立体宣传攻势，声势庞大的T台秀场广泛的传播效应，让贵单位借助本次大赛一举成名，成为行业内万众瞩目的焦点，赞助商必须是经组委会考核认定的具有较高知名度和美誉度，并行业内拥有国际领先技术水平的单位。

一、迅速建立品牌公信力“2009时尚超模大赛”是由美国好莱坞多媒体集团.国际服装机构伊卡斯迪集团.尔滨龙海星文化传播联合举办，以及中美电影节重点支持。

赞助单位可借助强大的秀场比赛活动，迅速提升公众的信任度和好感度，建立良好的公信力，迅速提升品牌的档次，对于新品牌等具有更显著的价值。

二、现场的巨大人气催生商机强大的T台秀场人流量和关注度，是企业推广品牌、宣传及促销产品、展示形象的绝佳舞台。

可以通过互动活动、现场促销等增强效果。

三、多层次的立体宣传提高品牌渗透力“2009时尚超模大赛”及4分项活动的影响力及品牌提升，将直接带动参与赞助企业的品牌提升和影响力提升。

两种形式多种渠道的宣传手段整合，有助于提升和活化品牌、提高赞助品牌的渗透力，一是广告上的渗透，通过大量的媒体、网络等与政府资源，大量重复提示性宣传提升品牌到达率；二是深度上的，通过新闻报道、活动内容的嵌入，现场活动的嵌入等，达到感性的、互动的宣传，实现广告所不能比拟的宣传效果。

搭车宣传，节省宣传费用，达到事半功倍的效果。

四、针对特殊T台群体“2009时尚超模大赛”汇聚了众多行业内的百姓参与T台秀，对于参赛选手是一个实现T台梦想的机会，是一个充分展示自己的形象和实力的机遇，对商家促进渠道沟通和促销绝佳机会，也是赢得社会关注树立品牌形象的重要时机，让赞助企业在参与的同时，获取丰厚的商业价值回报，实现双赢。

五、尊贵的荣誉组委会授予赞助商的冠名赞助单位、特别赞助单位、特别指定机构、协办单位等荣誉称号。

作为赞助合作伙伴，这些荣誉将对企业的公关宣传和品牌宣传起到良性的推动。

九牧王品牌策略与广告计划

《九牧王品牌策略与广告计划》pptxx年xx月xx日•背景介绍•品牌策略•产品策略•渠道策略•广告策略•营销计划•风险控制•九牧王品牌策略与广告计划总结目录01背景介绍1九牧王品牌简介23九牧王（JOEONE）成立于1990年，总部位于中国福建省泉州市。

创立时间与发源地九牧王以“打造全球最好的男裤品牌”为愿景，注重品质、创新与时尚，致力于为中高端消费者提供最佳的着装解决方案。

品牌定位与形象九牧王男裤以其精湛的工艺、优质的面料和时尚的款式成为品牌的标志性产品。

品牌标志性产品03消费者行为变化消费者越来越注重品质、个性和舒适度，同时追求多样化的购物体验。

市场环境分析01宏观经济环境随着中国经济的持续增长，消费升级成为趋势，男性对高品质、高性价比的男裤需求逐步增加。

02行业发展趋势近年来，国内男装市场竞争激烈，但高端男裤市场尚存在较大的发展空间。

主要竞争对手九牧王面临来自国际男装品牌和国内男装品牌的竞争。

竞争策略九牧王以精湛工艺、优质面料和个性化设计为竞争优势，同时注重渠道拓展和品牌推广。

竞争态势分析02品牌策略总结词明确品牌在市场中的位置，为消费者提供差异化价值详细描述通过对市场竞争、目标消费者和品牌优势的分析，确定九牧王在市场中的独特位置。

从产品特点、消费场景和消费者情感需求等方面，提炼出九牧王的品牌定位，为消费者提供独特的价值主张。

品牌定位传达品牌的核心价值观和思想，建立消费者情感联系总结词九牧王品牌理念与价值观是长期坚持和传承的，通过传递对品质、创新和服务等方面的价值主张，建立与消费者的情感联系。

同时，在广告宣传中强调九牧王的诚信、专业和社会责任，提高品牌的美誉度和公信力。

详细描述品牌理念与价值观品牌形象与视觉识别总结词塑造独特的品牌形象，增强消费者记忆详细描述通过创意和设计，建立九牧王独特的品牌形象，包括视觉识别、品牌语言和形象代言人等方面。

利用简洁、有创意和差异化的视觉元素，突出九牧王的品牌特点，增强消费者对品牌的记忆和认知。

九牧王品牌策略与广告计划

品牌形象塑造
通过统一的视觉形象、语言风格和企业文化，塑造出九牧王专业、时尚、高端的品牌形象。
产品线策略
产品线扩展
不断研发新的产品线，扩展产品种类和规格，满足不同消费
者的需求。
产品差异化
通过产品差异化，提高产品的竞争力和附加值，增加消费者的购买欲望。
产品质量
注重产品质量，确保产品的性能和安全性，提高消费者的满意度和忠诚度。
九牧王品牌的特点包括：品质卓越、设计时尚、舒适度高、价格合理等。在广告计划中，将重点突出这些特点，提升消费者对九牧王品牌的认知度和好感度。
02
品牌策略
品牌传播策略
01
02
03
品牌定位
九牧王品牌定位为高端、专业、时尚的厨卫品牌，注重品质、创新和设计。
品牌传播渠道
利用电视广告、网络广告、户外广告等多种渠道进行品牌传播，提高品牌知名度和美誉度。
知名度和曝光率。
网络营销
利用互联网进行营销推广，包括社交媒体营销、搜索引擎优化、网络广告等，提高品牌知
名度和美誉度。
促销活动
开展促销活动，吸引消费者的眼球，提高销售量和市场占有
率。
03
广告计划
广告目标与预算
目标
提升九牧王品牌知名度、树立品牌形象，同时刺激消费者对九牧王产品的需求，增加销售量。
VS
预算
为期一年，预算总额为1000万元，其中包括广告制作费用、发布费用、媒体购买费用等。
广告创意与表现形式
创意
以“品质、精致、尊重”为核心理念，通过展示九牧王产品的精湛工艺和卓越品质，以及为消费者带来的舒适体验，体现九牧王品牌的独特魅力。
表现形式

Best Global Brands 2009 最佳全球品牌2009

Best Global Brands 2009最佳全球品牌2009BrandData: Interbrand Corp., JP Morgan Chase & Co.The business purpose for brand valuation 品牌价值评估的目的不仅仅是榜单排名•Extending the business based on thebrand’s equity 从品牌资产延伸业务机会•Assessing the economic impact onbranding decisions, legitimizingbrand investments and supportingrisk management 从财务角度看品牌决策的影响，帮助在投资和风险方面的决策•Setting performance metrics forcontrolling purposes 设定管理量化指标•Providing a fair opinion andinvestment advisory 提供另一种角度的观点和投资建议•Reporting, litigation and taxes 相关报告、诉讼和税务的支持材料•Financing projects and businesses,defining royalty rates 品牌财务计划预算，加盟、品牌授权等业务的金额计算•Text上升最多的品牌下跌最多的品牌Brands by sector 100强中的行业分类Industry Breakdown Alcohol 3 Apparel 3 Automotive 12 Beverages 3 Business Services 6 Computer Software 2 Diversified Electronics Energy Financial Services FMCG Home Furnishings Internet Services Luxury Media Restaurants Sporting Goods Tobacco Transportation 3 14 2 10 14 1 4 10 2 6 3 1 111 | Best Global Brands | 2009Industry Insights: charting the rise and fall of key sectors 行业间品牌价值的总体变化一览400350300 Luxury 250 Financial Services Consumer Packaged Goods Retail 200 Automotive Technology Food and Beverage 15010050012 | Best Global Brands | 2009Financial Services: Putting a price tag on trust 金融服务业：顾客的信赖是行业根本• 5个下跌最大的品牌中4个是金融品牌: UBS, Citi, American Express, Morgan Stanley • 它们在短短几个月里跌去了1/3 的价值 • 业务问题重创可信赖的形象，波动剧烈 • 在灾难中仍能保持强势的品牌意味着未来将可以迅速恢复并增加市场份额 • 失势的昔日领先品牌将为重新回到一线而背水一战 • 必须以对待一种重要的金融资产来对待品牌工作 • 诚信正直才是真正的差异化点13 | Best Global Brands | 2009The cleansing fire 危机也是一剂苦口良药建立清晰的定位增加品牌投资，而不是减少不断地更新从业务的根本建立起强大的品牌14 | Best Global Brands | 2009The luxury divide 奢侈品阵营的分化Top-tier luxury brands who have maintained their brand proposition and retained customer affinity have largely withstood the impact of the economic crisis 保持不变的价值定位和维持客户的品牌喜好，高端奢侈品牌都能基本挺过经济危机的影响 • Ferrari is the top-performing car brand at 0% change in brand value • Gucci, Prada, Louis Vuitton and Hermès had lower losses than table average • Armani, Rolex, Cartier and Tiffany have all faired worse with a democratic positioning From West to East • Hermès, Louis Vuitton, Burberry, Gucci, and Prada store expansions15 | Best Global Brands | 20093. Looking to the next 10 years展望未来10年16 | Best Global Brands | 2009The new age of responsibility 责任之重的年代17 | Best Global Brands | 2009Acting like a leader: 以领导者的心智管理业务 Sustainability through the lens of brand 透过品牌维持业务稳定Set the highest standard for your industry 以自己行业最高的标准要求自己 Measure the impact of your actions 测量跟踪业务活动的影响 Communicate your platform appropriately 正确地沟通自己的品牌要素Saying. Doing. Being. 言之、行之、为之Resonate with your consumer. Offer a relevant proposition in a downturn. 与你的顾客产生共鸣，在衰退中给予顾客相适合的价值 • Hyundai, Amazon, Google, H&M Offer reassurance and affordable enjoyment, a low-commitment branded experience. 给顾客安心感和亲近的快乐感，给予一种相对宽松的品牌承诺和体验 • Kellogg’s and Campbell’s • Ikea and Zara • Coca-Cola, McDonald’s, Gillette Celebrate hero products to build ongoing relevance and value 以明星产品来建立持续和相关的价值 • Apple, HyundaiShifting attitudes toward wealth 转变对高档品牌的态度• Positioning for authenticity and value 定位真正的本源价值 • Luxury returning to its core values: authenticity, legacy, and excellence 奢侈品正回归核心价值：本源价值，历史传承和卓越 • The hi-lo Western consumer, and Asia’s lasting desire for luxury 两极分化的欧洲消费者，而亚洲消费者对奢侈品依然青睐 • Communities refusing the old luxury as dogma 消费群体不再跟风，附庸风雅 • Catering to the connoisseurs 服务好真正的忠实客户20 | Best Global Brands | 2009Brands in a seamless world of experience 品牌存在于无缝的体验世界21 | Best Global Brands | 2009The post-digital, seamless world 后数字时代，一个无缝的世界Social and consumer networking: everything is connecting. 网络连接社会和消费者，无所不连 Get intimate with your customers. 和你的客户亲密相通 • Increased expectation around product and communication 对产品和沟通充满更高的期待 • More and more, customers will want to co-create 越来越多的客户希望共同创造22 | Best Global Brands | 2009The experience revolution 消费体验的革命• Evolve. Innovate. Listen. Communicate. 演进、创新、倾听、沟通 • Get back to basics: create tangible human experience across all touchpoints 回归根本：通过所有的接触点，创造真实的人性的消费体验 • Engage the five senses 建立5个感知上的沟通：形状、光线、触觉、声音和气味Thank youWhy Chinese Brands Missing? • Text Criteria of Best Global Brand List• Public listing • Sufficiently global presence– >30% revenue outside of home country• Wider public profile and awarenessInterbrand’s method for valuing the Best Global BrandsFinancials Role of Brand Brand Strength Score Brand Value26 | Best Global Brands | 2009Interbrand established Brand Valuation in 1987• Interbrand established Brand Valuation more than 20 years ago • Our approach is the industry standard, endorsed by:– – – – – – Academics Auditors Accountancy firms Analysts Advertising agencies Investment Banks – – – – – Government bodies High courts Management consultants Stock exchanges Tax authorities• Interbrand completed more than 4,500 Brand Valuations • Valuation services used by more than 500 leading companies • We conduct Brand Valuations in all industry sectors。

营销管理考试题及答案英文

营销管理考试题及答案英文Marketing Management Exam Questions and AnswersSection A: Multiple Choice Questions (MCQs)1. Which of the following is not a component of the marketing mix?a) Productb) Pricec) Placed) ProcessAnswer: d) Process2. The marketing concept is customer-oriented and focuses on:a) The productb) The company's needsc) The customer's needsd) The competitionAnswer: c) The customer's needs3. What is the term used to describe the process of creating, communicating, and delivering value to customers and managing customer relationships in ways that benefit the organization and its stakeholders?a) Market Researchb) Marketing Managementc) Sales Managementd) Customer ServiceAnswer: b) Marketing Management4. In which stage of the product life cycle is it most appropriate to focus on market penetration?a) Introductionb) Growthc) Maturityd) DeclineAnswer: a) Introduction5. Which of the following is not a type of market structure?a) Monopolyb) Oligopolyc) Perfect Competitiond) DuopolyAnswer: d) Duopoly (This is a specific case of Oligopoly)Section B: Short Answer Questions6. Define 'market segmentation' and explain its importance in marketing.Answer: Market segmentation is the process of dividing a broad market into sub-groups of consumers with similar needs or characteristics. It is important in marketing because it allows companies to tailor their marketing strategies to meet the specific needs of different customer groups, thereby increasing the effectiveness of marketing efforts andcustomer satisfaction.7. What are the four main stages of the customer decision journey?Answer: The four main stages of the customer decision journey are:i) Awarenessii) Information Searchiii) Evaluation of Alternativesiv) Purchase Decision8. Explain the concept of 'relationship marketing' and its significance.Answer: Relationship marketing is the strategy of building and maintaining long-term relationships with customers to encourage repeat business and customer loyalty. Its significance lies in the fact that it can lead to increased customer retention, higher profit margins, and a better understanding of customer needs, which in turn can drive continuous improvement and innovation.Section C: Case Study Questions9. Case Study: XYZ Company is a manufacturer of high-end headphones. They have recently entered a new market and are looking to establish a strong brand presence. Discuss the marketing strategies XYZ Company could employ to achieve this goal.Answer: XYZ Company could employ the following marketingstrategies:- Conduct market research to understand the preferences and behaviors of the target market.- Develop a unique value proposition that differentiates their headphones from competitors.- Implement a strong branding campaign to create brand awareness and emotional connections with consumers.- Utilize digital marketing channels, such as social media and search engine optimization (SEO), to reach a wider audience.- Offer exceptional customer service and support to build a loyal customer base.- Engage in strategic partnerships and collaborations to increase brand visibility.10. Case Study: ABC Corporation is experiencing a decline in sales for one of its products. The product is in the maturity stage of its life cycle. What strategies could ABC Corporation adopt to revitalize the product?Answer: To revitalize the product, ABC Corporation could consider the following strategies:- Product Modification: Enhance the product with new features or improve its quality to make it more appealing.- Market Penetration: Increase marketing efforts toattract new customers or encourage existing customers to buy more.- Market Development: Target new market segments that have not yet been reached.- Diversification: Develop new products or services that complement the existing product line.- Pricing Strategy: Adjust pricing to make the product more competitive or offer promotional pricing for a limited time.Section D: Essay Questions11. Discuss the role of market orientation in a company's success and how it can be achieved.Answer: Market orientation is crucial for a company's success as it ensures that the company is focused on understanding and meeting customer needs. It can be achieved through:- Encouraging a customer-centric culture within the organization.- Conducting regular market research to stay informed about customer preferences and market trends.- Involving all departments in the decision-making process to ensure a holistic approach to meeting customer needs.- Establishing feedback mechanisms to continuously learn from customers and improve products and services.12. Critically evaluate the impact of social media on marketing management.Answer: Social media has had a significant impact on marketing management by:- Providing a platform for direct customer engagement and relationship building.- Allowing for targeted advertising and the ability to reach specific customer segments.- Enabling real-time monitoring of customer feedback and sentiment.- Facilitating the spread of word-of-mouth marketing through shares and recommendations.- Requiring。

brand communication in fashion categories

Correspondence:Angela CarrollLeeds University Business School, University of Leeds, Maurice Keyworth Building, Leeds LS2 9JT, UKE-mail: ac@turers and a rich source of information toconsumers. The beneﬁts of branding arewell documented. To the manufacturer, D EVELOPMENT OF BRANDINGB rands have come to be regarded as impor-tant marketing components to manufac-O riginal ArticleB rand communications in fash ion categories using celebrity endorsementR eceived: 12th September 2008A ngela C arrolli s a Senior Teaching Fellow at Leeds University Business School. Teaching and researching in the areas of branding and advertising, she has a particular interest in fashion marketing and branding.A BSTRACTB rands have evolved to represent much more than the traditional markers of quality, trust and reliability to consumers. Brands have become embedded i n the consumer psyche and offer consumers the opportuni ty for self-expressi on, self-realisation and self-identity. This effect is particularly strong in fashion categories. Barri ers i ncludi ng cyni ci sm and i ncreasi ng adverti si ng li teracy threaten tradi ti onal approaches to brand commun cat ons, wh ch have trad t onally rel ed on verbal communications and storytelling. Celebrity endorsement is recognised as a potentially potent tool n commun cat ons, w th celebr t es v ewed as more powerful than anonymous models and campaigns tending to verbalise the meaning of the celebrity in relation to the brand. This paper examines the use of celebrity endorsement in communi cati ons for fashi on brands agai nst the backdrop of a turbulent brandi ng environment. The paper is conceptual in approach, drawing upon a range of literature in the area of branding, celebrity endorsement and fashion marketing. A shot from the 2004 Mui Mui pri nt campai gn featuri ng Maggi e Gyllenhaal and the 2005 pri nt Versace campaign featuring Madonna are used as illustrations. The analysis concludes that a new approach to celebrity campaigns has been adopted in fashion branding, reﬂ ecting the need to move away from traditional campaigns and to focus more on visual signals rather than written cues. The need for an alternative approach to brand communications using celebrity endorsementis highlighted. This also reﬂ ects limitations of traditional theoretical models used to explain the endorsement process. The paper offers an original and contemporary insight into celebrity endorsement and fashion marketing.J ournal of Brand Management; (2009) 17,146 –158. d oi: 10.1057/bm.2008.42 ;published online 19 December 2008K eywords: c elebrity endorsement ;b randing ;f ashion marketing ;a dvertising ;m arketing communicationsBrand communications in fashion categoriesproduct through advertising in order tocreate memorable and ‘ i mmortal ’ brands. 12Differentiation could be achieved over timeby, for example, lifestyle advertising. 5Thus, increasingly there was no information about the product, only the type of people whomight be inclined to use the product. 13It thus became accepted that developing, communicating and maintaining a brand ’ s image is critical to the long-term success ofa brand, 14with the core activity of many companies transformed from the production of things to the production ofimages. 15BRANDING FROM A MANAGERIAL PERSPECTIVETraditionally, branding was viewed prima-rily as a marketing function within the busi-ness. Increasingly, however, it has come to be viewed as being at the heart of business activity, embedded throughout the organi-sation, 11and as an asset that needs to be correctly managed. 16Related to this, the concept of ‘ b rand equity ’ has evolved, which stresses the potential stakes invested bycompanies in brands. 17Discussions high-light both the strategic importance of brands and the potential pitfalls of inadequate brand management. As a result, a number of models that conceptualise the brand management process have been devel-oped. 16 Keller 18emphasises the need for a structured approach based on sound research in order to manage brands strategically and to generate optimum value both in terms of asset valuation and marketing efﬁ ciency. To achieve this effectively, value for the brand has to be created and managers must have the knowledge and expertise to exploit this value by developing proﬁ table brand strategies. Creating value and building brand equity requires managers to develop favourable, strong and unique brand associations via an integrated approach. Underpinning this process, however, is thebrands offer a means of identiﬁ cation for ease of handling and tracking, legal protec-tion 1 and the ability to be distinctive. 2 I n addition, branding is a sign of quality and can be used to secure competitive advan-tage and increased ﬁ nancial returns andhigh customer loyalty. 3For the consumer, the brand functions as a means of identiﬁ -cation, reduces search costs, effort and per-ceived risk, thereby facilitating a shortcut in decision making, and represents a guar-antee of quality and reliability. 4 –6P roducts evolved into brands in order to create differentiation in increasingly competitive markets by offering customers something extra over and above the func-tional attributes and associated potential beneﬁ ts. Thus, the term ‘ a dded value ’ wasused to distinguish products from brands. 7Traditionally, this term focused on rational and economic features such as quality, consistency and reliability, with consumers prepared to pay that little bit extra for a brand. Brand names thus became hallmarks, which resulted in consumers placing trust in brands and forming bonds with manu-facturers. 8Increasing competition, coupled with the perceived potential beneﬁ ts of branding to manufacturers and an increased volume of brand-based advertising, resulted in a proliferation of choice for consumers in many markets. Consequently, the scope for differentiation became limited, and it could not be assumed that consumers were interested in a product because of somecombination of basic ingredients. 9The emphasis shifted to symbolic, emotional features that generated more socio-psycho-logical associations in the minds of con-sumers. 10,11This was recognised as applying particularly to brands in the mature stageof their life cycle, identiﬁ ed by Murphy 4as the ‘ i mage stage ’ where functional advan-tages have been eroded and symbolic values become more important in differentiating the brand. Therefore, it was recognised that a brand image could be ‘ g rafted ’ onto theCarrollassumption that consumers develop brand knowledge, the dynamics of which must be understood by practitioners if strategies are to be effective. Keller 18deﬁ nes brand knowledge as comprising brand awareness (brand recognition and recall) and brand image, which is reﬂected in the favoura-bility, strength and uniqueness of the cluster of associations held about the brand in con-sumer memory. Therefore, the signiﬁ cance of brands can only be seen through the eyes of the beholder. 6The consumer plays an important role in the building of powerful brands that in effect are coproduced by ﬁrms and consumers. 1Brand equity becomes customer-based, to which the task of managing the constellation of meaning associated with a brand is key. 17Equity is thus measured less in relation to quantita-tive benchmarks and more in relation to customer perception. I f consumers have high awareness and favourable associations towards a brand then equity is positive. Branding strategy becomes less about market share and more about minds and emotional share. 19Therefore, from a man-agerial perspective, branding is a critical core component to success and requires a strategic, structured and integrated approach. Effective management of brands requires a long-term customer-based perspective, and critical to this is an understanding of the relationship between consumers and brands in order to build favourable, strong and unique associations.B RAND AND CUSTOMER RELATIONSHIPT o explore the link between brands and the consumer psyche, Belk 20considers the con-cept of the extended self, which comprises self (me) and possessions (mine), suggesting that unknowingly, intentionally or uninten-tionally we regard our possessions as reﬂ ec-tive and as part of ourselves. They provide a mantle that enables individuals to present themselves and garner feedback that may be less forthcoming from others who are reluctant to respond so openly to the unex-tended self. Consumers therefore turn to brands less as bundles of utility but more as badges that convey social meaning and that have the power to generate social acceptance. 21I ndeed, O ’S haughnessy and O ’S haughnessy 22assert that consumers seek positional products to signify group mem-bership and to mark their position. Thus, brand consumption has evolved into a process of self-reference, self-identity and self-articulation. Fundamental to the role played by brands is the construct of the self-concept. Onkvisit and Shaw 9deﬁ ne this as the outcome of a learned, continuous and active process that consolidates the ideas and feelings we hold in relation to other people in a socially determined frame of reference. We achieve self-consistency via brand consumption, purchasing brands that we perceive to be similar to our self-concept. Deﬁned as image congruence hypothesis, this suggests that brands perform a function of self-enhancement whereby consumers form perceptions about brands and compare these to their own value system, selecting brands that match the closest. Furthermore, self-concept is viewed as multidimensional (actual self, subjective self, ideal self and social self) and this can result in a signiﬁ cant difference between the way an individual actually is and the way he /s he perceives himself /h erself. Therefore, brand consumption provides an opportunity for individuals to express themselves not as they are, but as how they would like to be or be seen, and this can further enhance social belonging via group membership: T hey (consumers) dress up, now as skiers who never ski, now as pilots who cannot ﬂ y, now as soldiers who never see army life. In search for the expression of individualism bound up in a fantasy status.O’S haughnessy and O ’S haughnessy 22Brand communications in fashion categoriesdolls, mummiﬁ ed in fully branded Tommy worlds ’ . S urrounding this, a subculture known as ‘ c ulture jamming ’ has developed, involving forms of media sabotage including billboard alteration and remixed logos. This is sym-bolised by the Canadian magazine A dbusters , which features articles, spoof advertisements for brands such as Calvin Klein and Tommy Hilﬁ ger, activist commentary from around the world and promotion of protest campaigns like Buy Nothing Day and TV Turnoff Week. In addition, pockets of the general public have been mobilised into protest. The practice of blogging has drawn attention to the vagaries of brand adver-tising, with individuals posting their views on web pages and inviting commentary to the extent that virtual communities have formed, their purpose to offer and share critical appraisal. The social meaning con-veyed by brands has, in some instances, been subverted by consumers who have hijacked the brand meaning and reworked it. For example, Burberry has become a symbol of ‘ c hav ’ culture. Chavs represent aggressive young adults who wear branded sports and casual clothing, are often assumed to be unemployed or in low paid jobs and to engage in petty crime. The sheer volume of messages transmitted daily is also impacting on branding. To live in the West today, and increasingly other parts of the world, is to inhabit a message-saturatedenvironment. 22Besieged by branding mes-sages perpetrated by advertising, consumersare ‘ s creening out ’ messages as if equippedwith marketing ‘ r adar ’ : the ability to iden-tify an incoming message as marketing con-trived to manipulate them into buying something of questionable value or rele-vance. 26 In addition, there is evidencethat some individuals have become sophi-stic ated consumers of advertising and brand messages, whereby advertising lit-eracy can be seen to convey a form of empowerment. 27 The impact of image congruence may, however, be tempered by the type of product and may be less apparent in product categories that are not viewed as vehicles for self-enhancement. The context or situ-ation may also be inﬂ uential. It is acknowl-edged that when a high-social-consequences context is evoked, image congruence willhave a greater effect, 3and when purchasing socially consumed products individuals are more likely affected by ideal congruencethan actual congruence. 23Furthermore, individuals differ in the extent to which they observe and control their expressivebehaviour and self-presentation. Snyder 24proposed a scale to capture this, identiﬁ ed as the level of self-monitoring. High self-monitors are sensitive to social cues and constantly change to ﬁ t into surroundings. Low self-monitors lack the ability or moti-vation to regulate their self-presentation, and their behaviour is more likely to reﬂ ect their inner state. Brands are therefore seen as playing an integral and complex role in the construction of the self.T URBULENT TIMES FOR BRANDST he potency of branding has been seen to have beneﬁ ts to many organisations beyondthe traditional commercial boundaries, including schools and public places, with the result that a ‘ b randscape ’ has emerged. Increasing awareness and realisation of this brandscape coupled with unprecedented globalisation of brands has provoked an anti-branding backlash from social com-mentators, journalists, academics and the general public. Klein 25represents a brand-baiting genre, lambasting high-proﬁ le brandsand accusing brands of invading ‘ e verycrevice ’ of life. Advertising is seen as playinga manipulative and merciless role in the emerging brandscape, seeking to transform customers into the personiﬁ cation of brand identity. Klein 25claims for example that Tommy Hilﬁ ger has transformed customersinto ‘ w alking, talking, life-sized TommyCarrollA further dimension to this debate is offered by Salzer-Morling and Stranne-gard, 15who suggest that the classic approach to the positioning of brands through adver-tising has tended to focus on the use of stories to convey brand values, with brand building conceptualised as a narrative /v erbal process primarily concerned with cogni-tion, meaning and persuasion. If, however, markets have become saturated with brands, communications have become saturated with brand storytelling. It has become even more difﬁ cult to achieve differentiation and a distinct image as brands compete against a cacophony of stories. The authors suggest that the use of visual signals may currently be more effective where the aim is to create impressions rather than to convey meaning. This ‘a esthetic ’approach is concerned with feeling, intuition and immersion, whereby consumers become engaged and involved with brands and brand messages. In a more visual and sensory branding environment, consumers are left to ponder and make sense of signs, and the brandscape becomes a backdrop for aesthetic expression. Con-sumers thus interpret and realise signs via a process of ‘a esthetic reﬂ exivity ’.T he above discussion has highlighted a number of challenges that may impair the successful implementation of the carefully crafted brand strategy.C ELEBRITY ENDORSEMENTC elebrity endorsement has become a pop-ular approach in the branding process both in terms of gaining and keeping attention and in creating favourable associations leading to positive brand knowledge and distinct brand images. This works funda-mentally by creating a congruent image between the brand and the consumer. 28 The use of celebrity endorsers has increased to approximately 25 per cent of all advertise-ments in the United Kingdom and United States and approximately 70 per cent of all advertisements in Japan. 29Celebrities can command large fees for celebrity endorsement contracts, making this an attractive and lucrative career dimension. The beneﬁts of using celebrity endorse-ment to support a brand strategy can include increased attention, image polishing, brand introduction, brand repositioning and the potential to underpin global campaigns. 30 Overall research points to accumulated positive inﬂ uence over the audience ’s recall and purchase intentions, 31with celebrities deemed more effective than using a typical consumer or expert. 32Pringle 33asserts that successful celebrity /b rand partnerships have resulted in signiﬁ cant gains in income for brand owners. I n addition, he argues that macro factors such as the need for interactivity, the degree of control exercised by consumers over messages received and increasing media fragmentation render celebrity endorsement a valid strategy.A celebrity endorser is deﬁned as any individual who enjoys public recognition and who uses this recognition on behalf of a consumer good by appearing with it in an advertisement. Ohanian 34stresses that to be truly effective, celebrities chosen as endorsers should be knowledgeable, experienced and qualiﬁed in order to be perceived as an expert in the category. Two models were originally identiﬁ ed to explain the process of celebrity endorsement. The Source Credibility model 35suggests that the effectiveness of the message depends on the degree of expertise and trustworthiness conveyed by the celebrity (source). Trust is reﬂected in the conﬁdence in the general believability of the endorser and message. Expertise refers to product knowledge and thus the validity of claims. 36Some authors maintain that the widespread use of large fees does not generate trustworthiness, 34 whereas others cite evidence of corre-spondent bias in western cultures, whereby consumers believe the celebrity likes the product regardless of fees paid. 37The SourceBrand communications in fashion categories‘ m omentary glimpse ’ of them in ana dvertisement instantly conveys meaning. 40Viewed as much more potent than ‘ a nonymous models ’ , celebrities represent ideal vehicles for self-identity and self-articulation.T he effectiveness of a celebrity endorse-ment strategy may be mediated by variables such as the celebrity / p roduct ﬁ t, the product and usage occasion, societal / c ultural condi-tions and the volume of repetitive advertise-ments featuring celebrities. Evaluations are enhanced where the characteristics of the brand are congruent with the imageportrayed by the celebrity. 36,41To concep-tualise this, Kamins 42 developed the ‘ m atch-up ’ hypothesis, which emphasises the need for celebrities to be evaluated and selected in the context of the brand values and image. I n relation to product categories,Batra and Homer 3refer to the existence of consumer schema for different products, which may inﬂ uence the degree of recep-tivity to messages delivered by celebrities. Products high in psychological or social risk may provide the strongest evidence for the impact of celebrities on message transmis-sion. 42 Differences in response to celebrity endorsement may vary across countries andcultures. Silvera and Austad 37note that the celebrity system is primarily an American cultural enterprise and that Americans identify especially strongly with celebrities and are thus more willing to accept and internalise endorsement messages. Con-sumers from other cultures may not show correspondent bias, believing that endorsers like the product less than most people. This was evident in a sample from Norway, where cultural norms based on Janteloven suggest that an individual should never try to be different or consider himself morevaluable than others. 37The volume of endorsement advertising in a particular country can result in jaded consumers who believe that celebrities merely ‘ h awk ’ products for a fee without using orAttractiveness model 38suggests that con-sumers generally have a more positive response to attractive people and the effectiveness of the message depends on the similarity, familiarity and liking of the endorser. Therefore, attractive celebrities may be more successful in changing beliefs and generating purchase intentions.Ohanian 34points out, however, that most celebrities are attractive and hence the overall impact of this variable may be weak. n addition, attractiveness may be only relevant for categories that are related to attractiveness. Overall evidence based on studies suggests that perceived expertise is the most important variable, increasing persuasiveness above and beyond the effects of attractiveness and, in particular, trustwor-thiness. 34,37,39M cCracken, 40highlighting the limita-tions of the ‘ s ource ’ models, puts forward a three-stage Meaning Transfer model, which has been adopted as the model that comes closest to conceptualising the process. This ‘ m eaning ’ , used to describe what a celebrity represents, is derived from the professional persona and environment of the celebrity. For example, consumers attach meanings and associations to celebrities as a result of their roles in television, ﬁ lm, the military and athletics (stage 1). This meaning is then transferred to the product when the celeb-rity is seen in an advertisement (stage 2). Some of the meanings of the celebrity become synonymous with the product. In the ﬁ nal stage (stage 3), meaning moves from the product to the consumer. Endorsers are thus seen as conduits of cultural meaning transfer, and conﬁ gurations of desirable cul-tural meanings become part of the brand. 3 Consumers take possession of meanings and put them to work in the construction of their notions of the self and the world. Thus, celebrities are seen as ‘ s uper-consumers ’ : exemplary ﬁ gures who have created the clear and coherent powerful selves that everyone seeks and so strong that even aCarrollbelieving in the product, 43reﬂ ecting trends discussed above. This effect is heightened by both multiple endorsement campaigns and negative publicity surrounding some celebrities. 44A dvertising campaigns using celebrities to support brand strategy have in general tended to be repetitive, high-proﬁ le and loud extravaganzas in which the celebrity features prominently and directly. 45If celeb-rities own the meanings they have created on the public stage, 40then companies take full advantage of this by parading the same advertisement across all media frequently, and engaging in public displays of involve-ment. In addition, the congruence between the celebrity and the brand is obvious, with press releases often used to highlight why a celebrity was chosen, and the char-acteristics of the celebrity reﬂ ected directly in the advertisement, displaying verbal or written cues prominently. This renders the consumer ’s task of processing meaning transfer easier, as the effort in grasping the essential similarity between the elements in the product and the celebrity are explicit. As highlighted by McCracken, 40the con-sumer ’s ability or predisposition to see that the cultural meanings contained in the advertisement are also contained in the brand is enhanced. Repetition of the actual advertisement, extensive press coverage of the endorsement contract and personal appearances on behalf of the brand can lead to a celebrity becoming as famous (if not more) as a spokesperson for the brand than as a performer or champion in their ﬁ eld.F ASHION BRANDST he preceding discussion is relevant to fashion categories and luxury brands in particular. High fashion is readily associated with branding. 46The process is often very successful as measured by consumer recog-nition levels, the premium prices that these command and the extent to which these brands can be applied across a range of product categories. 47As with other categories, traditional advertising may be losing impetus as consumers decrypt messages. 48H ighlighting the competitive nature of fashion markets, Auty and Elliot 21discuss the need for effective advertising using symbolic cues in order to create distinctive brand images and associations. Fashion brands are seen as strong vehicles for expressing self-concept (actual or aspira-tional), achieving image congruence and signifying group membership. 49McCracken and Roth 50refer to the use of clothing as a code, a form of language that allows a message to be created and (selectively) understood. There is some evidence to sug-gest that high self-monitors demonstrate negative attitudes towards unbranded fashion goods, and use brands as discrimina-tors between themselves as ‘b elongers ’who have chosen to interpret the social code implied by the brand and those who remain aloof, threatening their social identity. 21 This extends to very young consumers who use fashion brands to feel cooler and older and to conform with peer groups so they do not feel left out. 51It also highlights the high social consequences and risk poten-tially associated with fashion brands.T he cults of celebrity and fashion are interwoven, reﬂ ecting Hollywood and the red carpet phenomenon whereby fashion designers court ﬁ lm stars and celebrities to wear their brands at premiers and award shows such as the Oscars. Although these are elitist events, everyone has access via television, magazines or the Internet. Ver-sace gained much publicity when Elizabeth Hurley wore a low-cut black dress held together by safety pins (dubbed ‘t hat dress ’) to the premier of ‘F our Weddings and A Funeral ’and when Jennifer Lopez wore a diaphanous green dress split to the navel at the 2005 Grammy Awards. Product placement in ﬁlms has also strengthenedBrand communications in fashion categoriesties appeared in fashion / l uxury goods markets. Celebrities were presented almost as the ‘ a nonymous models ’ referred to byMcCracken. 40Gap was one of the ﬁ rst brands to use celebrities as models in a fashion shoot. The advertisements featured a range of celebrities mainly from the acting profession wearing Gap clothes in a series of short-lived commercials shown on tel-evision, billboards and printed media. Although the television versions had a background soundtrack, the advertisements were characterised generally by their use of highly visual cues and limited verbal cues. The ‘ f ashion shoot ’ approach has subse-quently been used by a number of compa-nies including Mulberry (Anna Friel and David Thewliss), Marc Jacobs (Soﬁ a Cop-pola), Asprey (Kiera Knightley) and Ermenegildo Zegni (Adrian Brody). On glancing at the advertisements, it would be easy to pass over the scene as just another regular fashion shoot. T he 2004 autumn / w inter Miu Miu print campaign featuring Maggie Gyllen-haal (see A ppendix A ) and the 2005 spring /s ummer Versace print campaign featuring Madonna (see A ppendix B ) are contrasting examples of this genre. Miu Miu is described as the younger, funkier sister to Prada ’ smore intellectual brand, 53but shares the same understated and low key image. Miuccia Prada, head of the company and chief designer, stays in the background and lets the clothes do the talking. Maggie, sister of the actor Jake Gyllenhaal is a low-proﬁ le actress whose credits to date include the edgy but limited-release ﬁ lm ‘ S ecretary ’ , in which she plays a masochistic employee who enjoys being spanked by her boss. Described as ‘ k ooky ’ and ‘ h ip ’ she is noted for steering clear of brash consumerism andthe material trappings of stardom, 54and therefore represents a good match-up for the brand. The advertisement represents a personal, eclectic and autobiographical style, with the clothes and accessories featuredthe link between celebrities and fashion. Despite designers dressing ﬁ lm stars for years (Givenchy dressed Audrey Hepburn), ‘ A merican Gigolo ’ featuring Richard Gere was one of the ﬁ rst ﬁ lms to utilise product placement, by featuring Armani clothes, almost as an extension of the main char-acter. Armani sales rocketed after the ﬁ lm release in 1980 and since then Georgio Armani has cultivated a fruitful relationship with Hollywood, providing the wardrobefor over 300 ﬁ lms. 48The trend has spilled over into television, with shows such as Sex and the City and The OC featuring designer brands. This trend frequently provides material for features in celebrity and fashion magazines.n terms of endorsement, Moore and Birtwistle 52identify the role played by this factor in luxury fashion branding, although endorsement can take forms outside tradi-tional endorsement contracts. In relation to advertising, historically professional models have been used in campaigns, often shot by high-proﬁ le photographers such as Mario Testino, Steven Meisel and Patrick Demarchelier. The model Kate Moss fea-tured in a landmark series of advertisements by Demarchelier for Calvin Klein in the 1990s, and has more recently featured in campaigns for Burberry and Channel. Gianni Versace played a prominent role in creating the ‘ s upermodel ’ craze by agreeing to pay excessive fees in order to get the best models, as reﬂ ected in the infamous quota-tion by the model Linda Evangelista in V ogue : ‘ w e don ’ t wake up for less than$ 10 000 a day ’ . 48I t is generally acknowl-edged that the supermodel era, as reﬂ ected in the bling-bling culture of the 1990s, is over. Film stars have begun to replace models on the front of fashion magazines such as V ogue , and now feature as brand endorsers along with other celebrities such as pop stars and footballers.A ccording to Carroll, 45in 2003 a new wave of brand campaigns featuring celebri-。

高考缩略词单选20题

高考缩略词单选20题1.In the field of technology, AI stands for _____.A.Artificial InformationB.Artificial IntelligenceC.Advanced InformationD.Advanced Intelligence答案：B。

AI 是Artificial Intelligence 的缩写，意为“人工智能”。

选项A“Artificial Information”意为“人工信息”；选项C“Advanced Information”意为“高级信息”；选项D“Advanced Intelligence”意为“高级智能”。

2.When we talk about news media, BBC stands for _____.A.British Broadcasting CompanyB.British Broadcasting CorporationC.Beijing Broadcasting CompanyD.Beijing Broadcasting Corporation答案：B。

BBC 是British Broadcasting Corporation 的缩写，意为“英国广播公司”。

选项A“British Broadcasting Company”表述不准确；选项C“Beijing Broadcasting Company”是“北京广播公司”；选项D“Beijing Broadcasting Corporation”表述错误。

3.In the world of technology, VR stands for _____.A.Virtual RealityB.Visual RealityC.Vivid RealityD.Variable Reality答案：A。

VR 是Virtual Reality 的缩写，意为“虚拟现实”。

娃哈哈启力广告案例分析

娃哈哈启力广告案例分析目录一、广告背景分析 (2)1. 行业背景与市场现状 (2)2. 品牌定位及发展历程 (3)3. 广告目标与目的 (5)二、广告策略分析 (5)1. 目标受众分析 (6)（1）年龄分布 (7)（2）性别比例 (8)（3）消费习惯与偏好 (9)2. 产品特点与优势分析 (10)（1）产品主要功能 (11)（2）与竞品对比的优势 (11)3. 创意与表现手段 (13)（1）广告创意的提出 (14)（2）广告视觉元素分析 (14)（3）广告标语及口号的应用 (16)三、广告实施过程分析 (17)1. 广告制作环节 (18)（1）拍摄制作团队介绍 (19)（2）制作过程详解 (20)2. 广告推广渠道选择 (22)（1）线上推广渠道 (23)（2）线下推广渠道 (25)四、广告效果评估与分析 (26)1. 消费者反馈与满意度调查 (27)2. 销售数据分析 (29)3. 广告传播效果评估 (30)五、广告中的挑战与应对策略 (31)1. 广告中遇到的问题 (33)2. 应对策略与实施效果 (33)六、广告案例分析总结 (34)1. 成功经验总结 (35)2. 教训与反思 (36)3. 对未来广告的启示与展望 (37)一、广告背景分析娃哈哈启力作为娃哈哈集团旗下的重要饮品品牌，其广告策略一直备受关注。

在竞争激烈的饮料市场中，娃哈哈启力通过不断创新和调整广告策略，成功塑造了品牌形象，并赢得了消费者的广泛认可。

随着消费者对健康饮食的日益关注，饮料市场正经历着前所未有的变革。

为了迎合这一趋势，娃哈哈启力积极调整产品定位，推出了一系列健康、营养的饮品，以满足消费者的多样化需求。

广告宣传也作为品牌推广的重要手段，被赋予了新的使命和挑战。

在此背景下，娃哈哈启力的广告背景分析显得尤为重要。

通过对市场环境、消费者需求、竞争对手等多方面因素的综合考量，我们可以更深入地理解娃哈哈启力广告策略的制定与实施过程，以及其在市场竞争中所取得的成效。

South Korean Cultural Diplomacy and Efforts

S u m m e R 2 0 1 1South Korea, despite being the world’s fifteenth-largest economy, most wired nation, andhome to some of the world’s most famous corporate brands, is still not well-known to manyforeigners. The general perception that many outsiders – especially those in the West – haveof South Korea is often negative and distorted and does not reflect what many South Kore-ans feel is the truth about their country. In an effort to address South Korea’s image prob-lem, President Lee made it one of his top priorities upon entering office to improve SouthKorea’s image abroad. In January 2009 he established the Presidential Council on NationBranding to design and manage his global public relations campaign for South Korea. Thispaper will discuss some of the most recent and current activities in which the South Ko-rean government has been involved to promote its country (particularly within the UnitedStates) and will analyze some of the obstacles and potential challenges the campaign faces.The paper will also seek to assess the effectiveness of the government’s nation-brandingprojects thus far and present the general prospects of the campaign. South Korean Cultural diplomacy and Efforts to Promote the RoK’s Brand Image in the United States and Around the WorldRegina Kim Johns Hopkins School of Advanced International StudiesBackground on South Korea’snation-branding campaignSouth Korea, despite its technological ad-vances, rapid economic development, and richculture, has by and large not received the rec-ognition it deserves and is in serious need ofan image enhancement. For many people, thename “Korea” conjures up a variety of nega-tive images (North Korea, the Korean War, axenophobic population, etc.), or no image atall, a fact that worries many Korean policymak-ers. The South Korean government, realizingthe need to narrow the gap between the currentreality of South Korea and the foreign public’soften skewed perception of it, has thus in recentyears shifted its focus from hard power to softpower and stepped up its efforts to promote Ko-rean culture overseas.South Korea’s determined efforts to improve itsimage might lead one to question what impor-tance a nation’s image really holds: what are theeffects of a nation’s brand? First, nation brand-ing that successfully enhances a country’s imagecan have positive economic effects: it can boosttourism, draw in more foreign investment, andincrease the value and flow of exports from thecountry (which is highly beneficial for an ex-port-oriented economy such as that of Korea).In addition, a higher national brand value cantranslate into greater status in the internationalcommunity and more influence in global af-fairs. Third, and perhaps most interestingly, na-tion branding is, in the words of Keith Dinnie, aprofessor at Temple University’s Japan campus,“a form of self-defense in which countries seekto tell their own stories rather than be definedby foreign media, rival nations, or the perpetu-ation of national stereotypes”.1 Hence, nationbranding can be a means by which smaller andlesser-known countries like South Korea canincrease their soft power and become more vis-ible in the global community.In light of these benefits, current President LeeMyung-bak has made it one of his top priori-ties to upgrade Korea’s national brand image.In January 2009 he created the PresidentialCouncil on Nation Branding, consisting of 47members, including 13 government officials (8of whom are ministers) and 34 civilian mem-bers (mostly from the private sector).2 TheCouncil was created partly in response to South124Regina KimSouth Korean Cultural Diplomacy125KO R EA Korea’s dismal ranking of 33 out of 50 nations according to the 2008 Anholt-GfK Roper Na-tion Brands Index, which is currently the most widely–accepted system for measuring the global reputation of a country – in other words, the country’s “brand image”. In an interview with The Korea Times , Euh Yoon-dae, the in-augural chairman of the Council, called South Korea’s low ranking “a shame for Koreans”, especially considering South Korea’s status as the fifteenth-largest economy in the world.3 Euh also stated that Korea’s image abroad is “less than clear and, by and large, very narrow”, and emphasized the importance of improving the Korean brand in enhancing Korea’s competi-tiveness in the global economy.In the Council’s first report to President Lee in March 2009, Euh announced that the Council aimed to raise South Korea’s ranking in the in-dex a whopping 18 spots to rank 15 over the next four years. This ambitious plan was met with much skepticism from numerous experts, including Simon Anholt, the British govern-ment advisor who first coined the term “na -tion branding”. In an interview with The Ko-rea Times , Anholt said, “No country has ever moved by more than one or two places in the national brand index, and in any case this isn’t the proper way of using the index.”4 Realiz-ing the extreme difficulty of this daunting task (South Korea moved up only two spots from 33rd to 31st in Anholt’s 2009 Nation Brands In-dex 5) and believing that the Anholt-GfK Index did not accurately measure a nation’s brand im-age, the Council created its own nation brands index in conjunction with the Samsung Eco-nomic Research Institute (SERI) in July 2009. The index was tentatively named the PCNB-SERI Brand Index and would be published every year beginning in 2009.6 Euh said in an interview with Joongang Daily that the purpose of the index would be to evaluate objectively the effectiveness of the Council’s efforts to im-prove the Korea brand, adding that he believed that Korea’s brand index “will be more efficient and accurate than other systems now in use”.7However, some critics have questioned the ob-jectivity of the index: after all, the Samsung Economic Research Institute, despite being an NGO, is still a Korean organization, and manyanalysts find it hard to believe that such an in -dex would not be biased in favor of Korea, de-spite Euh’s claims to objectivity. A popular blog on nation branding has likened the act to “a pu-pil making his own exam”.8 Professor Nicholas Cull of the University of Southern California remarked, “What is least encouraging is the suggestion that one mechanism to advance Ko-rea in the international brand leagues might be to simply change the leagues […] The result looks suspiciously like Simon Anholt’s original formulation with a few extra tweaks to spread the criteria of analysis into areas of comparative strength for Korea”.9Despite these criticisms, the Council and SERI proceeded to publish their first results in De -cember 2009. The index was renamed the Na-tion Brand Dual Octagon (NBDO) and actually consisted of two sub-indices: an authentic brand index that was based on statistical evidence and an image brand index that was measured by conducting a poll of 13,500 people in twenty-six countries. Both sub-indices measured fifty countries using eight criteria: the economy, sci-ence and technology, government efficiency, infrastructure, traditional culture, modern cul-ture, natural resources, and people and celebri-ties. South Korea ranked 19th in the authentic brand index (the United States ranked first) and 20th in the image brand index (in which France ranked first). According to a researcher at SERI, the survey implied that “South Korea should improve its infrastructure and government ef-ficiency […] which fall behind the average of OECD members”.10Shortly after the Presidential Council on Na-tion Branding was formed, Euh acknowledged the enormity of the Council’s task by saying, “Korea’s national brand is seriously weak and the country’s image does not compare with its national power. This is one of the tasks that the nation should address most urgently, as it strives to leap into the ranks of the world’s most advanced countries.”11 The Council wast-ed no time in tackling this urgent problem and launched its nation-branding project in March 2009 with the following 10 action points:121. Promote taekwondo: Every year, the Min-istry of Foreign Affairs and Trade (MOFAT),S u m m e R 2 0 1 1in cooperation with the Ministry of Culture,Sports and Tourism (MCST), and the KoreaTaekwondo Association, sends taekwondoperformance teams to different countries topromote Korea’s national sport13, but in 2009the government increased its efforts by launch-ing a project called “Enjoy Taekwondo”. Theproject includes supporting taekwondo-relatedmovies and video games, building an exhibitioncenter in Korea that will hold taekwondo dem-onstrations throughout the year, sending moretaekwondo instructors abroad, and creating anonline taekwondo manual.142. Dispatch service volunteers abroad everyyear: In May 2009 the Korean governmentlaunched World Friends Korea, a program likethe United States Peace Corps that will sendover 3,000 volunteers to developing countriesevery year. This makes South Korea secondonly to the United States in the number of vol-unteers sent abroad annually.153. Adopt a “Korean Wave” program: Namedafter the Korean culture boom that has sweptacross Asia, this program aims to help develop-ing countries achieve rapid economic develop-ment like South Korea did by providing themwith technological support.4. Introduce the Global Korea scholarship: Ascholarship program has been established forforeign students to study in Korea in an effortto improve the group’s image of the country.5. Adopt a Campus Asia program: A separateprogram in which the Korean governmentseeks to recruit and train talented young mindsfrom other Asian countries.6. Increase external aid: In addition to sendingmore humanitarian volunteers, Korea aims toincrease its level of economic aid to develop-ing countries. While Euh indicated that Korea’sofficial development assistance (ODA) hasincreased over recent years, he acknowledgedthat the amount was still small compared tocontributions from other advanced countriesand that Korea needed to work on further in-creasing its own.167. Develop state-of-the-art technologies: SouthKorea plans to improve on its already impres-sive technological achievements and becomethe forefront of cutting-edge technology.8. Nurture the culture and tourism industries.9. Treat foreigners and multi-cultural familiesbetter: In an effort to improve Korea’s attrac-tiveness as a tourist destination, the governmenthas started a campaign to encourage Koreans tobe friendlier and more hospitable to foreigners.10. Help Koreans become “global citizens”:The government has been trying to foster agreater sense of multiculturalism and open-mindedness in Korean society by promotingexchange programs, sending volunteers abroad(as mentioned previously), and establishingcultural centers in Korea that educate domesticKoreans about other cultures.Recent and Current Efforts by the KoreanGovernment to Improve the Korea Brandthrough Cultural DiplomacyIn addition to the ten-point action plan, the Ko-rean government is attempting to utilize cultur-al diplomacy to enhance Korea’s image. Suchefforts have been implemented through severaldifferent avenues, including pop culture, lan-guage, traditional cuisine, and the arts.Although the Korean Wave, or Hallyu (한류,the Korean term that refers to the popularity ofKorean culture, especially pop culture, abroad),has waned in recent years, the Korean govern-ment has tried to sustain it by subsidizing thecosts of production of some Korean dramas,movies, and documentaries, since high produc-tion costs are part of the reason for Hallyu’s de-cline.17 While it is true that much of the effortto promote the Korean Wave has been spear-headed by the private sector (e.g. entertainmentcompanies), the Korean government has beenextremely supportive of its actions and has triedto complement them by, for instance, sendingKorean celebrities to other parts of Asia tospread their work.18 In addition, the governmenthas made it possible for popular Korean tele-vision dramas to be aired in remote countriessuch as Paraguay, Swaziland, Iran, Peru, and126Regina KimSouth Korean Cultural Diplomacy127KO R EA Morocco.19 Many South Korean policymak-ers see the Korean Wave as highly effective in improving Korea’s image and increasing South Korea’s soft power, and have been working to find ways to use Hallyu to both attract more tourists and boost national exports.20Besides entertainment, other aspects of Ko-rean culture have been key in broadening the international perception of Korea. One of the government’s major recent projects has been to spread the Korean language. MCST plans to unify all Korean language institutes around the world under one title, the King Sejong Institute (named after the famous king who invented hangeul 한글, the Korean alphabet), by 2010.21 Akin to France’s Alliance Française or Ger-many’s Goethe-Institut, the single name would serve as a recognizable go-to language orga-nization for foreigners with Korean language ambitions. The ministry has announced plans to establish an additional 500 King Sejong Insti-tutes overseas by 2015.22In April 2009 the South Korean government started a campaign to globalize hanshik (한식), or Korean cuisine. The main aims are to make Korean food more accessible in other countries, raise awareness of its health benefits, and im -prove the reputation of its taste. The govern-ment has invested $40 million in the campaign with the hopes of making Korean food one of the world’s top five favored cuisines by 2017.23 Plans include opening an additional 30,000 Ko-rean restaurants abroad by 201724 and starting Korean cooking classes at prestigious culinary schools around the world, such as Le Cordon Bleu in Paris and the Culinary Institute of America.25 The Korean First Lady Kim Yoon-ok herself has been one of the campaign’s most active supporters: she is the honorary chair-woman of the Globalization of the Korean Cuisine Committee and has prepared Korean food for various special events, including the ASEAN-Korea Commemorative Summit held in June 2009 and President Lee’s visit to the United States in September 2009, during which she cooked Korean food for Korean War vet-erans.26 In addition, she gave a presentation on Korean cuisine for CNN’s special feature Eye on South Korea , which was broadcast on CNN International in October 2009.27Every year MOFAT sends Korean performance troupes abroad and organizes Korean art exhibi-tions and film festivals in many different coun -tries for foreign exposure. In 2009 a total of 77 events pertaining to the Korean arts were held in 47 countries with the support of MOFAT.28 MOFAT carefully selects the performance groups and art exhibitions, taking into account the cultural characteristics and preferences of each host country. In addition, MOFAT con-ducts surveys at the end of each performance, in which the audience is asked to provide feed-back to facilitate the ministry’s future perfor-mance-to-country matches.29 MOFAT has also continued to exhibit Korean traditional and contemporary art pieces in embassies and con-sulates throughout the world to highlight the work of Korean artists. The ministry has been running a website since 2007 called Cyber Art Gallery 30, which shows these selected works of art on display. Every year a different set of art-work is presented on the website so that online visitors can experience the genre’s breadth and variety. The online collections from 2007 and 2008 even have English descriptions explaining both the art and the artists behind them.The Korean government has also been working to increase Korea’s status in the international community by cooperating more closely with multilateral organizations such as UNESCO. Korea is an active member of the UNESCO Ex-ecutive Board, participating in eight intergov-ernmental committees of UNESCO and thus adopting on a greater role in shaping global cultural debates and policies.31 In June 2008, Korea became a board member of the Intergov-ernmental Committee of Intangible Cultural Heritage, taking on a voice in determining and preserving elements of cultural heritage around the world.32 In fact, in September 2009, five of Korea’s traditional dances and rituals were added to UNESCO’s List of Intangible Cultural Heritage of Humanity.33Sports diplomacy has also been a vital com-ponent of Korea’s nation-branding strategy. Besides promoting taekwondo, Korea has been bidding relentlessly to host a number of international sports events, including the 2011 International Athletic Games, the 2014 Asian Games, the 2014 Winter Olympics, the 2018S u m m e R 2 0 1 1Winter Olympics, and the 2022 FIFA WorldCup. In 2007, Korea was chosen to host the2011 International Athletic Games (to be heldin Daegu) and the 2014 Asian Games (to beheld in Incheon).34 Korea lost its bid to host the2014 Winter Olympics, but has placed its bidfor the subsequent Winter Olympics in 2018.The government expects that successful bids tohost the 2018 Winter Olympics and the 2022FIFA World Cup would greatly improve Ko-rea’s national image and boost tourism and theeconomy.Korea was also selected to host the G20 Sum-mit for November 2010, an event viewed as amajor opportunity to enhance its global status.In preparation for the event, the PresidentialCouncil on Nation Branding drew up a formallist of goals, which included naming a park anda street after the summit in its honor, organizinga forum for student leaders from the G20 coun-tries, creating self-promotional ads to be shownby international media such as BBC and CNN,promoting Korean culture and food to foreign-ers, using the Internet to educate people aboutKorea, and more.35 President Lee said that “Ko-rea should take advantage of the event to be-come a more respected and powerful nation”,adding that “it will be a good opportunity, too,to upgrade global awareness about Korea’s po-tential as well as the remarkable achievementsthe nation has made during the past decades”.36Problems and obstacles to overcome inenhancing Korea’s national imageDespite its multi-pronged branding strategy andfirm determination to improve its image, Koreafaces a number of hurdles that impede its questfor a better global reputation. For example, thecurrent tourism slogan for Korea, “Korea Spar-kling”, has received much criticism, and manyexperts have complained that it sounds like anadvertisement for “carbonated or sparkling wa-ter” instead of a “catchy tourism slogan”.37 Euhremarked, “The campaign has cost the govern-ment millions of dollars, but whether it attainedthe desired effects is questionable.”38 In July2009 the Council decided to abandon “KoreaSparkling” and replace it with something yetto be determined.39 The Council is also consid-ering replacing the national slogan “DynamicKorea” with one that more eloquently repre-sents modern-day Korea.40 However, as KeithDinnie notes, slogans can only do so much andare “no substitute for intelligent coordinationof different stakeholders and substantive im-provement of the nation’s capabilities, whetherin terms of being a good location for business,study, or visiting”.41Korea’s nation-branding campaign also suffersfrom a lack of organized coordination. Localgovernments throughout Korea seem more fo-cused on promoting their own respective citiesrather than working with the national govern-ment to create a more unified, well-defined im-age of the country. Numerous cities have beenconducting their own city-branding campaigns,even competing with each other for the world’sattention and highlighting their individualstrengths with little regard for the possibilitythat these actions contribute to a disjointed na-tional picture.42 The Presidential Council onNation Branding acknowledged the need forbetter coordination between the national andmunicipal governments and expressed its intentto reorganize branding activities.43A major reason for this lack of coordinationis the underlying disagreement over which as-pects of Korea and Korean culture to promote.For instance, some Korean policymakers favoremphasizing Korea’s traditional culture overits contemporary one, while others believe itmore necessary to reinvent Korea by promot-ing its more modern developments (Koreanpop culture, recent advances in science andtechnology, etc.). Euh himself seems to fallinto the latter category, stating in an interviewwith Joongang Daily that “While most tourismcampaigns feature history and folk culture, itis more important to show where Korea standsright now as a modern, industrialized nation.Posters of traditional Korean masks sometimesmake foreigners wonder if the country is still adeveloping nation”.44This lack of general consensus on what Koreais seems to drive Korean officials’ difficultyin their nation-branding efforts.45 The issue iscompounded by inherent cultural and languagebarriers that have hindered Koreans from effec-tively presenting their culture abroad. Negative128Regina KimSouth Korean Cultural Diplomacy129KO R EA publicity surrounding certain Korean practices (political corruption, the prevalence of plastic surgery, the consumption of dog meat, and the existence of Nazi-themed bars, among others) has only hurt Korea’s image in the eyes of the world. Korea needs to overcome such elements that threaten to damage its reputation, a task that the nation-branding Council has set out to do. One of the Council’s primary strategies to dampen the effects of these negative images is to spin them into more positive characteristics. For example, President Lee suggested promot-ing the beef protests as evidence that Korean citizens have a healthy dose of activism and are by no means apathetic to such issues.46Another challenge that South Korea faces is the general ignorance foreigners have about it, though this reality has dichotomous conse-quences. It can be a blessing by giving South Korea the opportunity to build its image from scratch and mold itself into whatever it wants to be in the international view (as it has done with, for example, the Southeast Asian countries, where Korea has successfully portrayed itself as “cool” and “hip” thanks to the massive ex-port of its pop culture). However, it can also be a curse by deeming South Korea as less relevant or important in comparison to its bigger, more powerful neighbors of China and Japan; in this latter case, Korea has to work particularly hard to show the world why it matters. Moreover, many non-Koreans who do have knowledge of the country, especially those in Western coun-tries, may have one that is limited to what they see and hear from the media, which usually devote a disproportionate amount of coverage to Kim Jong-il and the North Korean nuclear issue.Such uneven media coverage makes it even more difficult for South Korea to disassociate the Korea brand from North Korea, which it al-ready strives to do. “One unfortunate thing is that South Korea shares its name with a rogue state. The link to North Korea is bad news. It gets painted with the same brush”, says Simon Anholt in an LA Times article.47 And it does not help that the DMZ has become one of the most popular tourist attractions in Korea, fur-ther ingraining South Korea’s connection to its northern brother in foreigners’ minds. “Koreantravel agencies unthinkingly take foreign tour-ists [to the DMZ]. In terms of nation branding, it is a really bad idea”, says Euh.48 Euh noted that many foreigners who visit South Korea of-ten do not take anything else away from their trip besides South Korea’s “confrontation with North Korea”.49 The nation-branding Council even found that 48.4% of surveyed foreigners living in Korea believed that inter-Korean con-frontation was the main reason for South Ko-rea’s weak national brand.50One thing with which South Korea does want to link itself are its internationally renowned chaebols (재벌, business conglomerates) like Samsung, Hyundai, and LG. Unfortunately, despite South Korea’s technological achieve-ments and its successful commercial brands, many consumers fail to identify these products and services with Korea. Part of the reason stems from the fact that the chaebols are gen-erally reluctant to associate their brands with Korea, perhaps fearing that a connection with the country’s relatively lagging world reputa-tion might discourage consumers from buying their products. Interestingly enough, some Ko-rean government officials seem to believe that such corporate brands can no longer be asso-ciated with Korea because they have become truly global, with offices and factories in many different countries and numerous non-Korean employees working for them. Nevertheless, the public still tends to associate many MNCs with their respective countries of origin (Sony with Japan, for example), so it would seem that ad-vertising these chaebol brands as being Korean would only serve to raise Korea’s international reputation.The South Korean Government’s Efforts to Promote the Korea Brand in the United States, and Specifically in Washington, DC Although South Korea has had a longer his-tory of contact with the United States than with many other countries outside of Asia, many – if not most – Americans remain barely acquainted with the country. It has been more difficult to promote Korean culture within the United States than in many other nations, partly because of the sheer size of the United States and also the fact that most Korean culturalS u m m e R 2 0 1 1events (such as concerts and film screenings) inthe country have thus far taken place in largemetropolitan areas such as New York and LosAngeles, cities with already sizeable Koreanpopulations. Moreover, when these events dooccur, most of the audience usually turns outto be Korean or Korean-American. However,the Korean government is working hard to findnew and creative ways to more extensively pro-mote the Korea brand. Much of the challengelies in finding those aspects of Korea that willinterest Americans in particular, and recogniz-ing that what has worked for Korea in other re-gions might not work in the United States. Forexample, while concerts featuring traditionalKorean music have had receptive audiences inAfrica, they do not seem to have had as muchsuccess in the United States.51 “Different ap-proaches are necessary to promote nationalimage in different regions”, stated the KoreanInstitute for Industrial Policy Studies, which re-cently ranked South Korea tenth in brand valueaccording to its own nation-branding survey.52Furthermore, the issue of Korea’s nation brand-ing and cultural diplomacy seems neither urgentnor important to Korea-related organizations inthe United States, with the exception of someorganizations in New York City (e.g. the KoreaSociety and the Korean Cultural Service) andLos Angeles (e.g. the Korean Cultural Center)and the KORUS House and the Korea Foun-dation in Washington, DC (both of which aregovernment-affiliated organizations). In Wash-ington, DC for example, think tanks and otherresearch institutions with any interest in the Ko-rean Peninsula tend to be much more concernedabout South Korea’s other issues, particularlythose in relation to North Korea. The US-Ko-rea Institute at the Johns Hopkins School ofAdvanced International Studies (SAIS), forinstance, started a project on studying SouthKorea’s grand strategy and nation-brandingpolicies in 2007, but folded shortly thereafterdue to lack of student and faculty interest.53The KORUS House and the Korea Foundationare the two organizations in Washington, DC,that have been the most active in promotingKorean culture and Korea’s brand image. TheKORUS House was founded in 1996 by theSouth Korean Embassy as a separate locationspecially dedicated to fostering the US-ROKalliance and promoting mutual understandingbetween the two countries. The KORUS Houseis in charge of organizing and managing all cul-tural events and programs for the Korean Em-bassy. Its recent and ongoing activities includeoffering three levels of Korean language classesand organizing Korean food festivals, art exhi-bitions and film screenings, usually held at theKORUS House or one of the Smithsonian in-stitutions. In addition, the KORUS House hasinvited distinguished samulnori (사물놀이, aform of traditional Korean percussion music)performance troupes from Korea to hold con-certs for audiences in the DC area.54The Korea Foundation has also been activein local promotion of Korean culture. Estab-lished in 1991 as an organization affiliated withMOFAT, the Korea Foundation’s purpose is tosupport academic and cultural exchange pro-grams in order to promote a better and morefavorable world understanding of Korea.55 TheKorea Foundation’s United States office wasestablished in Washington, DC in 2005. TheDC branch works with the Korea Foundationheadquarters in Seoul to organize Korean per-formances and art exhibitions not only withinDC but in all of the United States. Most of theperformances are actually held in Los Angeles,Houston, and New York City, and have rangedfrom traditional Korean music to contemporarydance. While the Foundation’s main office inSeoul organizes many of these cultural events,funding responsibilities lie with the DC office.56The DC branch has thus provided financial sup-port to student-run Korean cultural organiza-tions at DC universities and graduate schools,including the Korea Club at Johns HopkinsSAIS. It also sponsors, in partnership with theKorean Film Council, the DC Korean FilmFestival, which is held every spring at the Freerand Sackler Galleries of the Smithsonian Insti-tution. Furthermore, part of the Foundation’s$1.25 million donation to the Smithsonian Mu-seum of Natural History was used to create themuseum’s Korea Gallery in June 2007.57In addition to supporting cultural and artisticactivities, the Korea Foundation also supportsKorean Studies and Korean language pro-grams, offers fellowships and grants to schol-130Regina Kim。

品牌咨询面试问题英语作文

When preparing for an interview in the field of brand consulting, its important to be ready to discuss your understanding of branding, your experience, and how you approach problemsolving in a strategic manner. Here are some potential questions you might encounter during a brand consulting interview, along with guidelines on how to craft your responses:1. What is your understanding of branding?Discuss the concept of branding as a way to differentiate a company or product in the marketplace. Highlight the importance of a strong brand in creating customer loyalty and recognition.2. Can you describe a time when you had to rebrand a product or company?Provide a specific example from your past experiences where you were involved in a rebranding process. Explain the challenges, your strategy, and the outcomes.3. How do you approach market research for a brand?Detail the steps you take to understand the market, including competitor analysis, consumer insights, and industry trends. Emphasize the importance of datadriven decisionmaking.4. What tools or software do you use for brand analysis?Mention any specific tools or software you are familiar with, such as Google Analytics, SEMrush, or Adobe Creative Suite, and explain how they contribute to your brand analysis and strategy development.5. How do you ensure that a brands message is consistent across all platforms?Discuss the importance of a unified brand voice and visual identity. Explain the strategies you use to ensure consistency, such as style guides and brand manuals.6. Can you explain the role of storytelling in branding?Elaborate on how storytelling helps to humanize a brand and create an emotional connection with the audience. Give examples of brands that have successfully used storytelling in their marketing.7. What is your approach to social media strategy in brand building?Describe how you leverage social media platforms to build and maintain a brands online presence. Discuss the importance of engaging content, audience interaction, and analytics.8. How do you measure the success of a branding campaign?Talk about the key performance indicators KPIs you use to evaluate the effectiveness of a branding campaign, such as brand awareness, customer engagement, and sales figures.9. What challenges do you foresee in the future of brand consulting?Discuss emerging trends and challenges in the industry, such as the impact of AI, privacy concerns, or the rise of influencer marketing.10. How do you stay updated with the latest trends in branding and marketing?Share the resources and methods you use to keep abreast of industry developments, such as attending webinars, reading industry publications, or participating in professional networks.11. Can you give an example of a brand that you admire and why?Choose a brand that you find particularly effective and explain the elements of their branding that you find compelling, such as their mission, design, or marketing strategies.12. How do you handle conflicting opinions or creative differences within a team?Describe your approach to collaboration and conflict resolution, emphasizing the importance of open communication, respect for diverse perspectives, and finding a consensus that aligns with the brands goals.13. What is your experience with international branding?If you have experience working with brands in different markets, discuss the unique challenges and considerations, such as cultural sensitivities and local market preferences.14. How do you adapt a brands strategy to different target audiences?Explain how you segment audiences and tailor brand messaging to resonate with each specific group, using examples from your experience if possible.15. What do you believe sets you apart as a brand consultant?Highlight your unique skills, experiences, or approach to brand consulting that makes you a valuable asset to a potential employer.Remember to be prepared to back up your answers with specific examples and to demonstrate your passion for brand consulting and your commitment to staying at the forefront of the industry.。

保牌广告

成长期广告策略的运用
• 1、广告要针对市场实际状况设计广告内容和诉求方式
• 在品牌迅速提升的同时，企业会更加注重销售的力量，方便快捷地瓜分市场的份额，在市场份额及品牌都可以做到领导规模的时候，企业一般会利用品牌的优势以降价来挤压竟品，抢夺更多的市场份额。所以此时的广告要针对市场的实际状况来设计表现内容和诉求方式。
保牌广告目标的目的和形式
保牌广告目标这类广告的目的在于增加消费者对广告产品的消费习惯和偏爱，加深消费者对此产品的好感和信心。从而确保已有的产品市场，提高产品的市场占有率。此类广告是通过连续广告形式，保持消费者对已有商品的认识和印象。例如日本的松下、东芝、索尼等电器在我国开展的长期的系列广告宣传，目的也在于提醒人们对其品牌的记忆。另外，像冰箱、空调等季节性产品，在销售淡季推出的广告也属于保牌广告。
案例1：诺基亚5110色彩随心换广告
• 这则手机广告人们一定不会陌生。该广告的诉求是：“诺基亚5110色彩随心换” 。我们知道，手机产品是一个非常理性的产品，由于市场的高速成长，产品概念已经不是独一的利益，为了给品牌赋予更多的内容，很多品牌产品都注意产品概念和品牌概念的结合。这则广告的表现和诉求能让我们看出这一点。 “色彩随心换”说明这款手机更注重产品的时尚性，注重消费者的心理感受和消费者的时代性。这些内容对品牌概特征的丰富和塑造都是很有帮助的。该手机产品突出其产品的外在包装可以随意的更换，同时对产品的表现是这个产品阶段的主要工作。从推广产品角度上看说明的也是很具体明确的。该广告没有强调品牌和着力说明品牌的好处，但从表现产品同时又能对品牌给消费者带来其他的利益结果上看，该广告在产品的这个市场阶段的表现还是很到位的
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保牌广告就是维持呼吸

bbk--营销管理广告词典(DOC13)

above-the-line advertising 线上广告广告代理商能从媒介获得佣金（代理费）的广告，如报刊广告、广播广告、电视广告、影院广告、户外广告等。

account executive (AE) 客户经理广告公司的业务人员职称。

客户经理往往须负责下列工作：1，与客户及内部其他部门共同计划广告（planning）,向各部门传达客户的诉求；2，内部协调（coordination）；3，将广告设计稿提供给客户；4，监督执行政府的有关广告规章和法规（regulatory matters）；5，利润管理（agency profit management）。

客户经理通过计划和协调公司的服务部门，为客户提供更好的服务。

account service 客户服务客户服务是广告代理商的中心工作，肩负着使客户满意从而建立起长期的合作关系，及推动广告代理商内部工作有效运转的任务。

它是广告代理商直接同客户进行沟通、交流的一种功能。

advertising agency 广告代理商习惯上称为“广告公司”，即《中华人民共和国广告法》中所称的广告经营者，一般设有许多职能和业务部门。

advertising campaign 广告活动有时称为“运动”或“战役”。

广告活动包括以下四个重点：制作适当的销售信息、及时传达给受众、选择适当的时机，用合理的成本。

广告主制定一项能测定的目标后，为达到这一目标制定广告战略，然后在市场上执行，包括：广告计划、广告制作、销售及营销等。

advertising department 广告部分为企业的广告部和媒介的广告部。

企业的广告经理负责拟定、审核及实施企业的广告计划。

一般也是负责有关广告的具体工作。

媒介的广告部经理负责出售报刊等的版面，广播、电视的时间等。

airport advertising 机场广告利用机场的候机室及在机场内其他各种场地和设备上制作刊出的广告，也包括在指示牌上制作的广告。

Appeal 诉求广告通过媒介向目标受众诉说，以求达到所期望的反应。

纵向差异化下的双寡头竞争模型

彭树宏，四川大学工商管理学院 2003 级硕士研究生，即将毕业后去井冈山大学商学院任教，E-mail： pshxyz@。本文是作者将于今年 5 月份提交答辩的硕士毕业论文，其中第三部分已在之前发表于《产业经济研究》2005 年第 4 期。作者感谢导师汪贤裕教授对本文的指导。 1
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都将价格定在平均成本的水平，获利为零(Betrand(1883))！这是一个令人震惊的结论，明显与现实不符，但其分析的逻辑又无懈可击，因此人们把伯川德的这个分析称之为伯川德悖论。悖论总是发人深思的，人们提出了各种各样的方案来破解这一悖论，其中最主要的有三个。第一个是针对伯川德模型的无生产能力约束的隐含假设的。在伯川德的分析中，当企业的价格低于对手的价格后，它将赢得整个市场，对手的需求量为零。这看似不错，但问题是，企业的生产能力能满足整个市场的需求吗？如果不能的话，那么它不能满足的那部分需求就只有转向对手了，对手的需求量就不为零了，哪怕它的价格要高。这样一来，双方的价格就不会调到平均成本水平，均衡时就有正利润了。而现实中，企业也的确存在着生产能力的约束，因此，引入这一约束就能成功地破解伯川德悖论。第二个方案是针对伯川德模型的静态假设的。在伯川德模型中，企业之间只有一次博弈，而在一次性博弈中，企业是没有兴趣去考虑他者的得失的，因为博弈没有未来，现在的利他在未来没有回报。但当彼此都只为自己的一次性利益着想而丝毫不去怜惜对方时却带来了共同的灾难，每个企业都不获利，这很有点类似于后来的囚徒困境。灾难的根源在于博弈的一次性，如果博弈不是一次性的，而是要进行多次，那么企业除了考虑本次博弈的获益外，还会考虑后期的获益情况。获益不仅取决于自身的策略还取决于对手的策略，在重复博弈的情况下，企业可能会为了未来而部分地牺牲现在，以现在配合对手的利他换来对手在未来的配合以利己。实际上，无名氏定理已经证明，在无限重复博弈中，只要未来的利益足够重要，这种配合就可以默契地达成，这被称之为默契合谋。现实中的企业很少是做一锤子买卖的，因此，引入重复博弈下的默契合谋就能成功地破解伯川德悖论。第三种方案是针对伯川德模型的同质产品假设的。在伯川德的分析中，之所以企业把价格定在稍低于对手的水平就能赢得整个市场是因为产品是同质的。在两企业提供的产品是一样的情况下，消费者当然都会选择价格较低的那家企业来购买。如果企业的产品间存在差异，那么价格稍高的企业的需求量就不会为零，价格稍低的企业也得不到整个的市场。因为产品的差异实际上是消费者眼中的差异，消费者愿意为自己钟情的产品支付溢价，所以价格战就不会打到等于平均成本的水平，均衡时，企业就有正利润了。世界上没有两片完全相同的树叶，现实中企业提供的产品也不可能完全同质，总会存在一定的差异，因此，引入产品差异化也可以成功地破解伯川德悖论。