电影口碑营销外文资料翻译
口碑营销(Word of Mouth Marketing)
口碑营销(Word of Mouth Marketing)口碑营销是指企业努力使消费者通过亲朋好友之间的交流将自己的产品信息、品牌传播开来.这种营销方式成功率高、可信度强,这种以口碑传播为途径的营销方式,称为口碑营销.从企业营销的实践层面分析,口碑营销是企业运用各种有效的手段,引发企业的顾客对其产品、服务以及企业整体形象的谈论和交流,并激励顾客向其周边人群进行介绍和推荐的市场营销方式和过程.传统广告与口碑营销的区别实施组合口碑营销的三个步骤口碑营销第一步——鼓动赶潮流者，产品消费的主流人群，即使他们是最先体验产品的可靠性、优越性的受众，也会第一时间向周围朋友圈传播产品本身质地、原料和功效，或者把产品企业、商家5S系统、周密的服务感受告诉身边的，以次引发别人跟着去关注某个新产品、一首流行曲或是新业务。
宝洁公司的Tremor广告宣传近来引起各方关注和讨论，我们觉得在口碑营销上Tremor广告做足了“势”，靠大家的鼓动和煽情提升产品的认知度，宝洁投入了一定时间和精力，但实现了口碑营销的低成本策略。
我们深信，鼓动消费精英群体，口碑组合化、扩大化，就能拉动消费，使产品极具影响力。
的确，像宝洁、安利、五粮液等等这些的品牌公司，在口碑营销上一直在努力，一方面调动一切资源来鼓动消费者购买欲；另一方面，大打口碑营销组合拳，千方百计扩大受众群，开展“一对一”、“贴身式”组合口碑营销战术，降低运营成本，扩大消费。
口碑营销第二步——价值传递信息的人没有诚意，口碑营销就是无效的，失去了口碑传播的意义。
任何一家希望通过口碑传播来实现品牌提升的公司必须设法精心修饰产品，提高健全、高效的服务价值理念以便达到口碑营销的最佳效果。
当消费者刚开始接触一个新产品，他首先会问自己∶‘这个产品值得我广而告之吗？’有价值才是他们在市场上稳住脚跟的通行证，因而他们所“口碑”的必须是自己值得信赖的有价值的东西。
”当某个产品信息或使用体验很容易为人所津津乐道，产品能自然而然地进入人们茶余饭后的谈资时，我们认为产品很有价值，因此也易于口碑的形成。
口碑营销外文翻译文献
口碑营销外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文：A new way to measure word-of mouth marketingApril.2010 • Jacques Bughin, Jonathan Doogan, and Ole Jrgen Vetvik• McKinsey QuarterlyConsumers have always valued opinions expressed directly to them. Marketers may spend millions of dollars on elaborately conceived advertising campaigns, yet often what really makes up a consumer’s mind is not only simple but also free: a word-of-mouth recommendation from a trusted source. As consumers overwhelmed by product choices tune out the ever-growing barrage of traditional marketing, word of mouth cuts through the noise quickly and effectively.Indeed, word of mouth1 is the primary factor behind 20 to 50 percent of all purchasing decisions. Its influence is greatest when consumers are buying a product for the first time or when products are relatively expensive, factors that tend to make people conduct more research, seek more opinions, and deliberate longer than they otherwise would. And its influence will probably grow: the digital revolution has amplified and accelerated its reach to the point where word of mouth is no longer an act of intimate,one-on-one communication. Today, it also operates on a one-to-many basis: product reviews are posted online and opinions disseminated through social networks. Some customers even create Web sites or blogs to praise or punish brands.As online communities increase in size, number, and character, marketers have come to recognize word of mouth’s growing importance. But measuring an d managing it is far from easy. We believe that word of mouth can be dissected to understand exactly what makes it effective and that its impact can be measured using what we call “word-of-mouth equity”—an index of a brand’s power to generate messages that influence the consumer’s decision to purchase. Understanding how and why messages work allows marketers to craft a coordinated, consistent response that reaches the right people with the right content in the right setting. That generates an exponentially greater impact on the products consumers recommend, buy, and become loyal to.A consumer-driven worldThe sheer volume of information available today has dramatically altered the balance of power between companies and consumers. As consumers have become overloaded, they have become increasingly skeptical about traditional company-driven advertising and marketing and increasingly prefer to make purchasing decisions largely independent of what companies tell them about products.This tectonic power shift toward consumers reflects the way people now make purchasing decisions.2 Once consumers make a decision to buy a product, they start with an initial consideration set of brands formed through product experience, recommendations, or awareness-building marketing. Those brands, and others, are actively evaluated as consumers gather product information from a variety of sources and decide which brand to purchase. Their post-sales experience then informs their next purchasing decision. While word of mouth has different degrees of influence onconsumers at each stage of this journey, it’s the only factor that ranks among the three biggest consumer influencers at every step.It’s also the most disruptive factor. Word of mouth can prompt a consumer to consider a brand o r product in a way that incremental advertising spending simply cannot. It’s also not a one-hit wonder. The right messages resonate and expand within interested networks, affecting brand perceptions, purchase rates, and market share. The rise of online communities and communication has dramatically increased the potential for significant and far-reaching momentum effects. In the mobile-phone market, for example, we have observed that the pass-on rates for key positive and negative messages can increase a co mpany’s market share by as much as 10 percent or reduce it by 20 percent over a two-year period, all other things being equal. This effect alone makes a case for more systematically investigating and managing word of mouth.Understanding word of mouthWhile word of mouth is undeniably complex and has a multitude of potential origins and motivations, we have identified three forms of word of mouth that marketers should understand: experiential, consequential, and intentional.ExperientialExperiential word of mouth is the most common and powerful form, typically accounting for 50 to 80 percent of word-of-mouth activity in any given product category. It results from a consumer’s direct experience with a product or service, largely when that experience deviates from what’s expected. Consumers rarely complain about or praise a company when they receive what they expect.) Complaints when airlines lose luggage are classic example of experiential word of mouth, which adversely affects brand sentiment and, ultimately, equity, reducing both receptiveness to traditional marketing and the effect of positive word of mouth from other sources. Positive word of mouth, on the other hand,can generate a tailwind for a product or service.ConsequentialMarketing activities also can trigger word of mouth. The most common is what we call consequential word of mouth, which occurs when consumers directly exposed to traditional marketing campaigns pass on messages about them or brands they publicize. The impact of those messages on consumers is often stronger than the direct effect of advertisements, because marketing campaigns that trigger positive word of mouth have comparatively higher campaign reach and influence. Marketers need to consider both the direct and the pass-on effects of word of mouth when determining the message and media mix that maximizes the return on their investments.IntentionalA less common form of word of mouth is intentional—for example, when marketers use celebrity endorsements to trigger positive buzz for product launches. Few companies invest in generating intentional word of mouth, partly because its effects are difficult to measure and because many marketers are unsure if they can successfully execute intentional word of-mouth campaigns. What marketers need for all three forms of word of mouth is a way to understand and measure its impact and financial ramifications, both good and bad.Word-of-mouth equityA starting point has been to count the number of recommendations and dissuasions for a given product. There’s an appealing power and simplicity to this approach, but also a challenge: it’s difficult for marketers to account for variability in the power of different kinds of word-of-mouth messages. After all, a consumer is significantly more likely to buy a product as a result of a recommendation made by a family member than by a stranger. These two kinds of recommendations constitute a single message, yet the difference in their impact on the receiver’s behavior is immense. In fact, our research shows that a high-impact recommendation—from a trusted friend conveying a relevant message, for example—is up to 50 times more likely to trigger a purchase than is a low-impact recommendation.To assess the impact of these different kinds of recommendations, we developed a way to calculate what we call word-of-mouth equity. It represents the average sales impact of a brand message multiplied by the number of word-of-mouth messages. By looking at the impact—as well as the volume—of these messages, this metric lets a marketer accurately test their effect on sales and market share for brands, individual campaigns, and companies as a whole. That impact—in other words, the ability of any one word of-mouth recommendation or dissuasion to change behavior—reflects what is said, who says it, and where it is said. It also varies by product category.What’s said is the primary driver of word-of-mouth impact. Across most product categories, we found that the content of a message must address important product or service features if it is to influence consumer decisions. In the mobile-phone category, for example, design is more important than battery life. In skin care, packaging and ingredients create more powerful word of mouth than do emotional messages about how a product makes people feel. Marketers tend to build campaigns around emotional positioning, yet we found that consumers actually tend to talk—and generate buzz—about functional messages.The second critical driver is the identity of the person who sends a message: the word-of mouth receiver must trust the sender and believe that he or she really knows the product or service in question. Our research does not identify a homogenous group of consumers who are influential across categories: consumers who know cars might influence car buyers but not consumers shopping for beauty products. About 8 to 10 percent of consumers are what we call influentials, whose common factor is trust and competence. Influentials typically generate three times more word-of-mouth messages than nonin fluentials do, and each message has four times more impact on a recipient’s purchasing decision. About 1 percent of these people are digital influentials—most notably, bloggers—with disproportionate power.Finally, the environment where word of mouth circulates is crucial to the power of messages. Typically, messages passed within tight, trusted networks have less reach but greater impact than those circulated through dispersed communities—in part, because there’s usually a high correlation between people w hose opinions we trust and the members of networks we most value. That’s why old-fashioned kitchen table recommendations and their online equivalents remain so important. After all, a person with 300 friends on Facebook may happily ignore the advice of 290 of them. It’s the small, close-knit network of trusted friends that has the real influence.Word-of-mouth equity empowers companies by allowing them to understand word of mouth’s relative impact on brand and product performance. While marketers have alway s known that the impact can be significant, they may be surprised to learn just how powerful it really is. When Apple’s iPhone was launched in Germany, for example, its share of word-of-mouth volume in the mobile-phone category—or how many consumers were talking about it—was about 10 percent, or a third less than that of the market leader. Yet the iPhone had launched in other countries, and the buzz accompanying those messages in Germany was about five times more powerful than average. This meant the iPhone’s word of- mouth equity score was 30 percent higher than that of the market leader, with three times more influentials recommending the iPhone over leading handsets. As a result, sales directly attributable to the positive word of mouth surrounding the iPhone outstripped those attributable to Apple’s paid marketing six-fold.Within 24 months of launch, the iPhone was selling almost one million units a year in Germany.The flexibility of word-of-mouth equity allows us to gauge the word-of-mouth impact of companies, products, and brands regardless of the category or industry. And because it measures performance rather than the sheer volume of messages, it can be used to identify what’s driving—and hurting—word-of-mouth impact. Both insights are critical if marketers are to convert knowledge into power.Harnessing word of mouthThe rewards of pursuing excellence in word-of-mouth marketing are huge, and it can deliver a sustainable and significant competitive edge few other marketing approaches can match. Yet many marketers avoid it. Some worry that it remains immature as a marketing discipline compared with the highly sophisticated management of marketing in media such as television and newspapers. Others are concerned that they can’t draw on extensive data or elaborate marketing tools fine-tuned over decades. For those unsure about actively managing word of mouth, consider this: the incremental gain from outperforming competitors with superior television ads, for example, is relatively small. That’s because all c ompanies actively manage their traditional marketing activities and all have similar knowledge. With so few companies actively managing word of mouth—the most powerful form of marketing—the potential upside is exponentially greater.The starting point for managing word of mouth is understanding which dimensions of word-of-mouth equity are most important to a product category: the who, the what, or the where. In skincare, for example, it’s the what; in retail banks, the who. Word-of-mouth equity analysis can detail the precise nature of a category’s influentials and pinpoint the highest-impact messages, contexts, and networks. Equipped with these insights, companies can then work on generating positive word of mouth, using the three forms we identified: experiential, consequential, and intentional.Although the importance of these triggers varies category by category, experiential sources are the most important across them. Harnessing experiential word of mouth is fundamentally about providing customers with the opportunity to share positive experiences and making the story relatable and relevant to the audience. Some companies, such as Miele and Lego, build buzz around products before launch and work to have early, highly influential adopters by involving consumers in product development, supported by online communities. Consistently refreshing the product experience alsohelps harness experiential word of mouth—consumers are more likely to talk about a product early in its life cycle, which is why product launches or enhancements are so crucial to generating positive word of mouth. Buzz also can be sustained after launch: Apple has maintained interest in and excitement about the iPhone via its apps store, as constantly evolving and user-generated content maintains positive word of mouth.Most companies actively use customer satisfaction insights when developing new products and services. Yet a satisfied customer base may not be enough to create buzz. To create positive word of mouth that actually has impact, the customer experience must not only deviate significantly from expectations but also deviate on the dimensions that matter to the customer and that he or she is likely to talk about. For instance, while battery life is a crucial driver of satisfaction for mobile-handset consumers, they talk about it less than other product features, such as design and usability. To turn consumers into an effective marketing vehicle, companies need to outperform on product and service attributes that have intrinsic word-of-mouth potential.Managing consequential word of mouth involves using the insights provided by word-of mouth equity to maximize the return on marketing activities. By understanding the word of- mouth effects of the range of channels and messages employed and allocating marketing activities accordingly, companies can equip consumers to spread marketing messages and drive their reach and impact. In fact, McKinsey research shows that marketing-induced consumer-to-consumer word of mouth generates more than twice the sales of paid advertising in categories as diverse as skincare and mobile phones.Two things supercharge the creation of positive consequential word of mouth: interactivity and creativity. They are interrelated, and particularly important for brands in relatively low-innovation categories that often struggle to gain consumer attention. One example of a company successfully harnessing this power is the UK confectioner Cadbury, whose “Glass and a Half Full” advertising campaign used creative, thoughtful, a nd integrated online and traditional marketing to spur consumer interaction and sales.The campaign began with a television commercial featuring a gorilla playing drums to an iconic Phil Collins song. The bizarre juxtaposition was an immediate hit. The concept so engaged consumers that they were willing to go online, view the commercial, and create amateur versions of their own, triggering a torrent of YouTube imitations. Within three months of the advertisement’s appearance, the video had been viewed more than six million times online, year-on-year sales of Cadbury’s Dairy Milk chocolate had increased by more than 9 percent, and the brand’s positive perception among consumers had improved by about 20 percent.Intentional word-of-mouth campaigns revolve around identifying influentials who become brand and product advocates. Of course, companies can’t precisely control what consumers tell others. But ambitious marketers can use word-of-mouth equity insights to shift from consequential to intentional campaigning.The type of campaign that companies choose to adopt depends on the degree to which marketers can find and target influentials. Marketers capable of undertaking one-to-one marketing—such as mobile-phone operators—are uniquely positioned to execute controlled and effective intentional word-of-mouth campaigns. Mobile carriers have granular customer data that can precisely locate influentials who know the category, talkto many people, and provide them with trusted opinions. That means messages can be directed at specific individuals who are most likely to spread positive word of mouth through their social networks. As a message spreads, this approach generates an exponential word-of mouth impact, similar to the ripple effect when a pebble is dropped in a pond.Companies unable to target influentials precisely must take a different approach. While Red Bull, for example, can’t send text messages to specific consumers, it has successfully deployed science to orchestrate effective intentional word-of-mouth campaigns. After identifying influentials among its different target segments, the energy-drink company ensures that celebrities and other opinion makers seed the right messages among consumers, often through events. While it can’t be sure who will attend, Red B ull knows that those who do will be the kinds of consumers it seeks—and that the positive messages they will relay across their own social networks can generate a superior return for its marketing investment.Marketers have always been aware of the effect of word of mouth, and there is clearly an art to effective word-of-mouth campaigning. Yet the science behind word-of-mouth equity helps reveal how to hone and deploy that art: it shows which messages consumers are likely to pass on and the impact of those messages, allowing marketers to estimate the tangible effect word of mouth has on brand equity and sales. These insights are essential for companies that want to harness the potential of word of mouth and to realize higher returns on their marketing investments.衡量口碑营销的新方法了解口碑口碑无疑颇为复杂，并拥有多种可能的根源和动机，而我们则确定了营销者应该了解的三种形式的口碑：经验性口碑、继发性口碑，以及有意识口碑。
浅析电影新媒体口碑营销的一般策略
浅析电影新媒体口碑营销的一般策略电影新媒体口碑营销是指通过各种新媒体平台和工具，有效地宣传和推广电影，形成良好的口碑和品牌形象。
下面将从几个方面对电影新媒体口碑营销的一般策略进行浅析。
借助社交媒体平台开展粉丝互动。
社交媒体平台如微博、微信、抖音等已经成为人们获取信息和交流的主要渠道，电影制片方可以通过在这些平台上建立自己的官方账号，与粉丝进行互动。
他们可以发布电影的宣传片、剧照、幕后花絮等内容，与粉丝分享电影制作的过程和细节，加深粉丝对电影的了解和关注，并通过互动抽奖、打卡送票等活动，增加粉丝的参与度。
利用影评人和KOL的力量进行口碑引导。
影评人和KOL（Key Opinion Leader）在影迷和电影观众中具有一定的影响力，他们的评价和推荐对于决定观影选择起到很大的作用。
电影制片方可以请影评人和KOL提前观片，并邀请他们在社交媒体上发布真实的观影感受和评价，以此来引导观众的选择和传播。
还可以组织线下的影迷见面会，与影迷直接互动，提高影迷对电影的期待和好感度。
运用内容营销策略增加曝光度。
电影制片方可以通过发布一些与电影相关但与故事情节无关的内容，在吸引用户的同时为电影制造曝光。
可以制作一些有趣的衍生产品推广视频，或者发布一些关于电影拍摄幕后花絮的内容，以吸引观众的兴趣，让他们对电影产生好奇心和关注度。
还可以结合时下的热门事件或话题来创造一些有争议性的内容，引发公众的热议并扩大电影的曝光度。
有效运用在线票务平台进行推广。
在线票务平台如淘票票、猫眼等已经成为电影观众购票的主要渠道，电影制片方可以在这些平台上进行精准的投放和推广。
他们可以通过在线票务平台的推广渠道购买广告位，将电影的宣传信息投放给目标观众，提高观影意愿和转化率。
他们还可以与在线票务平台合作，开展联合营销活动，如通过购票送优惠券、观影打卡送积分等方式，吸引观众购买电影票并参与互动，提高观众和用户的黏性和忠诚度。
电影新媒体口碑营销的一般策略主要包括借助社交媒体平台开展粉丝互动、利用影评人和KOL进行口碑引导、运用内容营销策略增加曝光度以及有效运用在线票务平台进行推广。
口碑营销 英文作文
口碑营销英文作文下载温馨提示:该文档是我店铺精心编制而成，希望大家下载以后，能够帮助大家解决实际的问题。
文档下载后可定制随意修改，请根据实际需要进行相应的调整和使用，谢谢!并且，本店铺为大家提供各种各样类型的实用资料，如教育随笔、日记赏析、句子摘抄、古诗大全、经典美文、话题作文、工作总结、词语解析、文案摘录、其他资料等等，如想了解不同资料格式和写法，敬请关注!Download tips: This document is carefully compiled by theeditor. I hope that after you download them,they can help yousolve practical problems. The document can be customized andmodified after downloading,please adjust and use it according toactual needs, thank you!In addition, our shop provides you with various types ofpractical materials,such as educational essays, diaryappreciation,sentence excerpts,ancient poems,classic articles,topic composition,work summary,word parsing,copyexcerpts,other materials and so on,want to know different data formats andwriting methods,please pay attention!In today's digital age, word-of-mouth marketing has become an increasingly important aspect of promoting products and services. With the rise of social media, customers now have a platform to share their experiences and opinions with a wider audience. This has led to the emergence of influencer marketing, where brands partner with individuals who have a large following on social media to promote their products.One of the key benefits of word-of-mouth marketing is that it is highly effective in building trust andcredibility with potential customers. People are morelikely to trust the opinions of their friends and family members than they are to trust traditional advertising. By leveraging the power of social media, brands can tap into this trust and build a loyal customer base.Another advantage of word-of-mouth marketing is that it is often more cost-effective than traditional advertising.While advertising can be expensive, influencer marketingcan be a more affordable option for brands looking to reach a wider audience. By partnering with influencers who have a large following on social media, brands can reach thousands or even millions of potential customers without having to spend a lot of money on advertising.However, it is important to note that word-of-mouth marketing is not without its challenges. One of the biggest challenges is that it can be difficult to measure the effectiveness of a campaign. Unlike traditional advertising, where the results can be easily measured, it can bedifficult to determine how many people have been reached or how many sales have been generated through word-of-mouth marketing.In addition, it can be difficult to find the right influencers to partner with. With so many influencers on social media, it can be challenging to identify those who are a good fit for your brand. It is important to do your research and find influencers who share your values andhave a genuine interest in your products or services.Overall, word-of-mouth marketing can be a powerful tool for brands looking to build trust and credibility with potential customers. By leveraging the power of social media and partnering with the right influencers, brands can reach a wider audience and build a loyal customer base.。
电影口碑宣传电影消费外文翻译文献
文献信息：文献标题：Impact of consumption emotions on WOM in movie consumption: Empirical evidence from emerging markets（电影消费中消费情绪对口碑的影响：来自新兴市场的实验证据）国外作者：Prashant Mishra，Madhupa Bakshi，Ramendra Singh文献出处：《Australasian Marketing Journal》 ,2016,24(1):59-67字数统计：英文2471单词，13478字符；中文4436汉字外文文献：Impact of consumption emotions on WOM in movie consumption: Empirical evidence from emerging marketsAbstract In this study, we empirically investigate the impact of consumers‟ pleasure and arousal on customer satisfaction, likelihood of WOM and positive WOM, in the context of Bollywood movies in India. We collected data from a random sample of 274 consumers of Bollywood movies in India using a survey questionnaire. We analyze the data to test our hypotheses using structural equation modeling (SEM).The results confirmed that for Bollywood movies, consumer emotions such as pleasure and arousal are important predictors of customer satisfaction. We also found that the impact of arousal and pleasure differentially impact customer satisfaction, which in turn partially mediates the impact of these customer emotions on (1) likelihood of word of mouth and (2) positive word of mouth. We also found moderating impact of gender, income, and age. The study provides valuable insights for the entertainment and media industry to tweak their marketing strategies for designing, positioning, and promoting movies in emerging markets such as India.Keywords:Consumption emotion; WOM; Demographic influence; Movie; Consumption; Emerging markets1.IntroductionWord-of-mouth (WOM) communication is the informal communications directed at other consumers that aims to influence by describing the characteristics of particular goods and services and/ or their sellers (Westbrook, 1987). In the context of movies, given the experiential and intangible nature of the service, consumers often rely on word of mouth (WOM) reviews to evaluate the service before consumption (Eliashberg et al., 2000), to reduce cognitive effort and perceived uncertainty associated with the purchase (Dowling and Staelin, 1994). Therefore, it is important to understand whether consumer emotions such as pleasure and arousal lead to likelihood of WOM. Before making consumption decision for movies, consumers often rely on WOM for critical reviews and forevaluating the perceived its quality (Wang et al., 2010). Research has shown that consumers‟ word of mouth strongly influences future demand of movies (Liu, 2006), with potentially varying strengths at different stages. Given their short l ifecycles, movies are generally “sequentially distributed” (Lehmann and Weinberg, 2000), which means movies are first released in theaters and then to rental companies, followed by entertainment channels, for higher profitability.In emerging markets such as India, income plays an important role in the adoption of experiential services such as movies given the variability in income of consumers (Dawar and Chattopadhyay, 2002). The Indian Hindi movie industry, popularly called, …Bollywood‟ not only re flect through the movies the day-to-day life of ordinary Indians, have also become a part of Indian life, so much so that Bollywood fans look to Bollywood movie to guide them on dressing, talking, and behaving in various social settings (Dwyer and Patel, 2002). Bollywood, the moniker for the popular Hindi cinema from Mumbai, India has become an important catchword vocabulary of global Asian popular culture (Mishra, 2002; Virdi, 2003). A recent study reported that viewers exposure to Bollywood films results in re-acculturation and reconnection with the Indian culture, bringing the family together as Bollywood films were consumed and experienced as families and then reflected on as a family (Dudrah, 2006) and enabling young viewers to become aware of thesignificance of the Indian culture in their lives and identity (Takhar et al., 2010). Invoking emotion and social consciousness intheir audiences, social films address themselves to cultural changes through the interplay of personal identity, love, human relationships, and family (Dudrah, 2006).In this study, we empirically examine the impact of pleasure, and arousal on customer satisfaction, likelihood of WOM and positive WOM in the context of Bollywoodmovies in India. Wealso examine if differences in age, gender, or income of consumers affect how the consumer emotions impact customer satisfaction, likelihood of their word of mouth, and positive word of mouth.The rest of the paper is organized as follows. We first provide theoretical background to the research context, followed by development of hypotheses, and the model. We then describe the methodology, data collection, and measures used in the study, followed by results and discussion. The paper concludes with managerial and theoretical implications.2.Theoretical background and hypothesis developmentConsumption emotions have been conceptualized as discrete emotions (such as interest, joy, sadness, fear, contempt, shame, guilt, disgust, anger, and surprise), or as generally as “positive emotions” and “negative emotions” (Richins, 1997). Generally, it is accepted that emotional states exist in bipolar categories (Mehrabian and Russell, 1974; Russell et al., 1989), such as pleasure-displeasure, arousal/non-arousal, and dominance–submissiveness. Since the rejection of the dominance–submissiveness dimension by scholars (Russell et al., 1989), recent marketing studies (Bigné et al., 2005; Mattila and Wirtz, 2000; Yüksel, 2007) have represented emotions in two dimensions: pleasure and arousal, also called the P–A model. Pleasure is defined as the degree to which a person feels good, happy, contented, or joyful in a situation, and arousal is the degree to which a person feels excited, alert, stimulated, awake, or active in a situation (Mehrabian and Russell, 1974).The P–A model began to be used only after late 1990s in satisfaction studies (Bigné et al., 2005). In a study of theme park experience, Bigné et al. (2005) foundthat disconfirmation evoked arousal, which in turn influenced pleasure. Subsequently, the role of disconfirmation/confirmation of emotions has been explored in numerous studies. Ha and Lennon (2010) found that pleasure and arousal caused by various online visual merchandising cues were positively related to customer satisfaction. Hanzaee and Khanzadeh (2011) found that pleasure had a considerable importance in arousing satisfaction. Morrison et al. (2011) noted that arousal induced by music and aroma resulted in increased pleasure levels, which positively influenced shopper behaviors and satisfaction with shopping experience. Therefore, we hypothesize that: Hypothesis 1. Arousal in movie consumption leads to pleasure.Hypothesis 2. Arousal in movie consumption leads to likelihood of WOM.Hypothesis 3. Arousal in movie consumption leads to PWOM.Hypothesis 4. Pleasure in movie consumption leads to likelihood of WOM.Hypothesis 5. Pleasure in movie consumption leads to PWOM.Hypothesis 6. Arousal in movie consumption leads to satisfaction.Hypothesis 7. Pleasure in movie consumption leads to satisfaction.Hypothesis 8. Satisfaction leads to likelihood of WOM.Hypothesis 9. Satisfaction leads to PWOM.Hypothesis 10. Satisfaction would mediate the effect of pleasure and arousal on likelihood of WOM and PWOM.Hypothesis 11.1. Age moderates the impact of pleasure on satisfaction.Hypothesis 11.2. Age moderates the impact of arousal on satisfaction.Hypothesis 11.3. Age moderates the impact of satisfaction on the likelihood of generating WOM and PWOM.Hypothesis H12.1. Gender moderates the impact of arousal on satisfaction.Hypothesis 12.2. Gender moderates the impact of pleasure on satisfaction.Hypothesis 12.3. Gender moderates the impact of satisfaction on the likelihood of generating WOM and PWOM.Hypothesis H13.1. Income moderates the impact of pleasure on satisfaction.Hypothesis 13.2. Income moderates the impact of arousal on satisfaction.Hypothesis 13.3. Income moderates the impact of satisfaction on the likelihoodof generating WOM and PWOM.The Conceptual Framework is given in Fig. 1.Fig. 1. Conceptual model.3.Methodology3.1.SampleThe data were collected using a self-administered survey questionnaire in the city of Kolkata in India. Sampling was carried out using random number generator based on telephone directory commonly used. 649 respondents were approached for the survey of which 274 complete responses were received after two reminders at an interval of 2 weeks each (effective response rate of 42.2%). Mostof the non-respondents cited “not seen a Hindi movie recently” as most common r eason for non-response. Few others did not returned the survey in the stipulated timeline given to them despite reminders. The sample characteristics are shown in Table 1.Table 1. Respondent characteristicsRespondent characteristics SampleAge group 18-25，79（28%）26-35，78（28%）36-45，45（16%）46-50 48（17%）Above 50 22（08%）Gender Male 149 (54.3%) Female 124 (45.7%)Income Rs.10,000–Rs.25,000 34 (12.4%) Rs. 25,001–Rs. 50,000 65 (23.7%) Rs. 50,001–Rs. 1lac 65 (23.7%) Rs. 1lac–5lacs 58 (21.1%) Rs. 5lac and above 49 (17.8%)3.2.MeasuresWe used all measures from previous studies, and these were robust and established in our context of study. Multiple-item scales from existing literature (Ladhari, 2007; Oliver, 1980) were used to measure the constructs in the model. Pleasure was measured using a five-item semantic differential scale (Mehrabian and Russell, 1974). These bipolar adjectives were pleased/annoyed, hopeful/despairing, relaxed/bored, and happy/unhappy, and contented/melancholic. The last item was dropped from further analysis because of poor factor loading. The pleasure scale has a Cronbach‟s alpha coe fficient of 0.90. Arousal was measured with a six-item semantic differential scale (Mehrabian and Russell, 1974). The items were excited/calm, stimulated/relaxed, aroused/unaroused, wide awake/sleepy, and frenzied/sluggish, jittery/dull. The last two items was dropped from further analysis because of poor factor loading. The arousal scale has a Cronbach‟s alpha coe fficient of 0.93.Satisfaction was measured using five items which inclu ded: “How satis fied are you with the movie?”; “I am very satis fi ed with my decision to see this movie”; “I feel bad that I decided to see this movie instead of another”; “I think I did the right thing when I decided to come see this movie”; and “The movie that I have seen was,” The last three items were dropped from further analysis as they had very poor factor loadings. The satisfaction scale has a Cronbach‟s alpha coe fficient of 0.75. WOM was measured using two-item scale. The likelihood of generating WOM was measured on two items: “I am likely to recommend this movie to others” and “I am likely to talk to other people about this fi lm”. Positive WOM was measured on two items: “I will recommend this movie to other people” and “I will say positive things abo ut this movie”. An exploratory factor analysis revealed that the both the constructs areone-dimensional. However, in likelihood of WOM, one item was dropped as it has poor factor loading.4.DiscussionOur results highlight a more fine-grained understanding of the impact of pleasure and arousal of Bollywood movie consumers on their satisfaction and WOM. This helps us to develop the P–A theory further ahead. The study also contributes by validating the P–A theory in the emerging market context. These findings reveal a more intricate pattern of relationships than known before. In case of Bollywood movies, we find that if consumers react very emotionally, it may not lead them to talk about the movie or give positive feedback. Though this finding is inconsistent with earlier findings (Bigné et al., 2005; Ladhari, 2007), in case of Bollywood movies this outcome is quite likely. Here the finding are consistent with the findings of Alexander and Moore (2014), who in one field survey and two lab studies, reported evidence of a downside of PWOM. They found that PWOM can elicit negative as well as positive emotions in new product adopters, and negative emotions undermine adopters‟ usage intentions.We also found that pleasure leads to more of positive word of mouth as people tend to discuss movies more when they arehappy after watching it, compared to when they keep to themselves if they are not happy with the experience. This is consistent with the recent work which has demonstrated that sharing positive WOM can have unintended negative consequences for the storyteller (Moore, 2012). Pleasure and arousal were found to have strong influence on satisfaction. The only difference was that while earlier studies had found strong influence of pleasure on satisfaction (Bignéet al., 2005; Dubé-Rioux, 1990; Ladhari, 2007; Westbrook, 1987; Westbrook and Oliver, 1991) our study found the effect of arousal stronger on satisfaction. Given the nature of Bollywood movies (with an interesting mix of action,romance, and eroticism), this outcome seems justified.The mediating role of satisfaction resulted in pleasure having a stronger influence on positive word of mouth than arousal. Arousal on the other hand had astronger effect on likelihood of word of mouth. The findings that satisfaction had positive effects on likelihood of word of mouth and positive word of mouth were consistent with earlier findings (Hanzaee and Khanzadeh, 2011; Ladhari, 2007).The moderating impact of age was found, and consumers below 35 years probably displayed more emotions, and therefore pleasure and arousal had strong impact on both satisfaction and WOM. The results were considerably different from the hypothesized model. In line with past research that females are more expressive than males in response to a variety of experimental stimuli (Brody, 1997), we also found that female customers of Bollywood movies were more expressive than men with respect to most emotions, and were guided more by arousal for expressing satisfaction, and pleasure did not give satisfaction. Women were also more expressive in sadness, anger, disgust, fear, surprise, anger, as compared to men, possibly because they have stronger reactions than men in response to unpleasant events (Kring and Gordon, 1998). Developmental psychologists have suggested in the past that the expression of emotion may be more heavily socialized than the experience of emotion (Fischer, 2000). These assertions also help in decoding the result of the present study as far as gender influences on consumption emotion and WOM connect is concerned. Finally, income had limited moderating effect as only the consumer segment with income more than Rs 35,000 per annum displayed propensity for pleasure to experience satisfaction than other income group.5.Research and managerial implicationsGiven that WOM is one of the most influential information sources for movie selection and success (Faber and O‟Guinn, 1984; Godes and Mayzlin, 2004), the present study adds to the knowledge on movie consumption behaviors, such as the studies on the commercial success of movies, the timing of new film introduction, the influencers of a movie’s market performance, factors explaining the extent of moviegoers’consultation of film reviews, and factors affecting frequency of film attendance, all conducted in during the previous few decades. Findings of this study also provide valuable insights that could be useful to managers in the entertainmentindustry in developing new strategies for designing, positioning, and promoting movies in the media. The results confirmed the fact that for Bollywood movies, pleasure and arousal are important predictors of satisfaction. Thus, movie producers and distributors should focus on these factors and as well as age of movie goers as crucial variables. Future studies may throw light on actual pleasant and unpleasant experiences that effect satisfaction and word of mouth. Future studies may further extend the P-A model to explore ways in which moviemakers can influence satisfaction–WOM link to deliver better box office results.中文译文：电影消费中消费情绪对口碑的影响：来自新兴市场的实验证据摘要本研究将以实验为根据调查消费者的愉悦度和兴奋度对顾客满意度、宣传口碑和正面口碑的可能性，调查基于印度宝莱坞电影。
电影营销策略外文文献翻译最新译文
文献出处：S Jockel. The Study of Movie Marketing [J]. The International Journal on Media Management, 2015, 8(2): 84-91.原文The Study of Movie MarketingS JockelAbstractMovie marketing means that movies and other industrial products in society, in a period of excess capacity, directly or indirectly, from the industry inside and outside competition makes the film market in the market dominated by the buyer's demand. Movie marketing need to select the target market, value and experience of creation and transfer to cater to the audience, from the movie the position of consumer values for planning, production, marketing. Related enterprises must meet the consumers in down to gain advantage in the market, will eventually film into consumer products to create more economic value, can be devoted to reproduction cycle in the link. Keywords: film marketing, media, and economic value1 IntroductionAfter the advent of the Internet, information technology and the continuous development of digital technology and more and more perfect film lovers feel the charm of the film. In the film marketing, Hollywood movies can be said to be the movie marketing model in the world. Due to the rapid development of new media technology and its characteristics of transmission allows the film to use the advantage of new media for film marketing, and achieved good results. After arrival in the era of big data, film and television industry started in the new media, on the basis of making use of big data for film and television production and marketing, in order to gain the audience's good reputation and beyond cost several times at the box office.2 Literature reviewRichard matt white learning monographs in the movie the Hollywood movie - 1891 years the history of the American film industry, "the book seriously put forward the significance to the study of Hollywood movies, and put forward the unique research way.Matt white not from past social criticism and psychoanalysis perspectivefrom the external review commercial on behalf of the Hollywood film industry, but through the Hollywood film works, form characteristic and history process, critical environment these Hollywood itself the real level of inspection, the Hollywood commercial characteristics were analyzed. He stressed the first movie as a kind of recreational goods attribute, think that the film is entertaining first is the profit for the purpose of film industry.Wirth, Bernd in "The International Joural on Media Manegement" (((medium management magazine))) published an article called "fusion process" in The film industry is highly competitive in The industry partners, output value of The film creation and opportunity is unmatched by other industries, The success of The film not only can create at The box office, and The derivatives of around The film create more economic benefits. The film became the basis for the development of many industries. Media giant purchase of enterprises, to control the content of the production and circulation, formed a complete industrial chain, and achieve maximum integration effect. Is described in the article from the perspective of movie industrialization the importance of the film industry, demonstrates the development of film industry to take a variety of channels as the feasibility of economic resources and cultural output.3 Film goods attribute and marketingFilm, as a kind of mass entertainment consumer goods, it is one of the most fundamental, the main purpose is to attract the audience, and the audience into the cinema drives the box office, eventually. Film itself as a kind of material consumption of information goods, "there is no other industry will be in the absence of any public that investment must to complete it and we don't have any other industry after its products will be used by the public, just take the memory of him. “Movie as a kind of consumer goods, has its unique economic attribute and its outstanding performance, the American scholar Lewis? Jacob in the book "the rise of the American film", said: "from the beginning, the movie has the properties of the three aspects: one is the goods, the second is technology, and three is a social power. “The economic attribute of the film is mainly in the film products consumption has timeliness and seasonal”.This shows that the public on the choice of film is based on the efficiency of their leisure time, or do other things to, people have time to rest or do something cheaper, you may choose to watch movie to meet their own needs. According to the film consumption has timeliness and seasonal product we can analysis and research on film consumers, capable of hitting the target, cost savings in terms of movie marketing.Film marketing can be divided into three levels: product marketing, film of brand marketing of enterprise culture and film industry. Marketing is the lowest level of film products, the quality of the products mainly include films, marketing strategy, film, pricing, etc. Film brand marketing is essentially a medium provided by the spirit of product quality evaluation in the eyes of the audience, and the quality of commercial value, it has the cultural uniqueness, comprehensive benefit, extensibility and consumer brand loyalty sexual characteristics. Film marketing, corporate culture is through the model's unique corporate culture to strengthen enterprise image and the marketing characteristics of the enterprise, through the movie marketing behavior to conduction enterprise material culture, system culture and spirit of enterprise culture to complete image of the enterprise.McLuhan's thesis that "the medium is the message", "it is medium in form features to repeat it in a variety of physical conditions, rather than the specific content, constitutes the history of media behavior. “As each kind of media, to a certain extent, change the way the human perception and cognition of the world. Also, per the emergence of a new transmission technology will change the way people entertainment, influence of the content and entertainment experience. Film technology unceasing development and renewal, brings the audience a different visual and, to satisfy the audience's curiosity, brought a new entertainment experience.With film industry thriving and development, the enthusiasm of the audience viewing is also growing. Movie marketing partial entertainment more get the favor of our film consumers, more and more enterprises also has attention on the film of entertainment marketing. For commercial film, in order to get higher profits and returns, and through the entertainment channel to implement the spirit of socialfunction can help to solve this problem. For commercial movie of this kind of social function, j.t Farrell said: "most of the film is not weak, but strong. It makes people more clear understanding not to their own moral, aesthetic and spiritual needs.Film marketing, because of the large data and numerical analysis of new media has brought more opportunities, let marketers can through the use of people of different requirements of audience segmentation, will shift the marketing activities can satisfy personalized viewing needs. Search engine can be very effective segmentation of public access to a particular movie website, columns, and thus for the audience accurate positioning. User’s data and information, including user preferences, age, gender, academic and viewing preferences, etc., can be predicted through the analysis of large data system, according to the records in the database search, marketers can do marketing for a film at a later date when can according to the data in order to develop the corresponding marketing activities.In the marketing of the enterprise, the first thing to recognize it can provide the best service of the market, then the market segmentation for multiple targets, and for each segment to develop detailed product development and marketing plan. Film as a mass media, is born from it as a medium of the popular culture spread across class, across groups, the influence of the mass there are individual differences, however, this is due to the cultural background, personality, and personal economic conditions caused by different. “In a wide range of content, can be obtained by each member of the transfer to pay special attention to choose those related to his interest, and with his position has been consistent, coincided with his faith, and information that supported his values. His reaction to this information restricted by his psychological makeup. Now you can see, the effect of the media in the waiters coco is not the same, but different. “Markets are divided into more small specific groups, differences, makes the mass marketing is no longer effective.Implantable advertising the product or the visual symbols of hidden in the movie, on behalf of the enterprise through the film scenarios, dialogue, street and image expression, make the audience unconsciously left on products and enterprise image, achieve the goal of marketing. As the amount and type of media is increasing, theinformation in the form of fission, surrounded by a large amount of information, perception of advertising has numbness. The success of the product placement is under the condition of the collective unconscious audience to convey business information to the audience, didn't make the audience feel are selling products in a deliberate, can eliminate the alert psychological, unlike other forms of advertising is straightforward, forcing the audience to accept. From product placement in the film, can lower the first film investment risk, return on investment. Can also make investors more industries involved in the film investment, produce product more movies. To speed up the capital the virtuous circle between cross-industry and optimize the movie marketing comprehensive effect. Implantable advertising because of its characteristics make its expression under the condition of relatively closed to watch in the cinema, audience reality from the outside world, and temporary attention focused on the film, the film for the spread of information acceptance is very high, completely controlled by the development of the plot, the film of products is also without a guard under the consciousness of active, relative to the television, the public lost the strong independent selectivity. Movie artistic vitality is strong, can be in theaters broadcast repeatedly, but can be by the morphology of audio-visual products and broadcasted to watch on TV, commended by the art of infection at the same time, the audience exertsa deeper impression of the film advertising products.4 ConclusionsWith the increasing range of social products, should revolves around the consumer all activities of the enterprise. In the context of commercialization, the film as a product must achieve its economic benefits. Movie marketing need to select the target market, value and experience of creation and transfer to cater to the audience, from the movie the position of consumer values for planning, production, marketing. Related enterprises must meet the consumers in down to gain advantage in the market, will eventually film into consumer products to create more economic value.译文电影营销问题研究S Jockel摘要电影营销,意味着在社会中电影与其他的工业产品一样,处在一个产能过剩的时期,来自行业内外直接或间接竞争态势使得电影市场处在消费者占主导地位的买方需求市场。
动画电影口碑营销方案
动画电影口碑营销方案1. 背景介绍动画电影作为一种受众广泛的娱乐形式，在近年来逐渐成为电影市场的重要组成部分。
然而，由于市场竞争的加剧和观众需求的多样化，动画电影的营销面临着一系列的挑战。
为了提高动画电影的知名度和票房，采用口碑营销策略是一个值得尝试的方案。
2. 口碑营销策略2.1 精心制作电影内容动画电影作为一种视觉表现形式，其核心吸引力在于其独特的画面呈现和生动的故事情节。
因此，制作团队应该花费充足的时间和精力来打磨电影内容，力求为观众带来独特而高质量的观影体验。
只有通过优秀的电影内容，才能够赢得观众口口相传、积极评价的效果，形成持久的口碑效应。
2.2 引导观众产生共鸣动画电影不仅要有优秀的制作质量，还需要能够在情感上打动观众。
制作团队可以通过挖掘普遍的情感价值观，创造与观众产生共鸣的动画角色和故事情节。
只有当观众对电影中的人物和故事情节产生情感认同感，他们才会自发地在社交媒体上分享自己的观影体验，推动口碑传播。
2.3 利用社交媒体平台社交媒体平台是当下信息传播的主要渠道之一，也是传播口碑的重要工具。
制作方可以积极利用微博、微信、豆瓣等社交媒体平台，通过频繁更新电影相关信息、发布幕后花絮、与粉丝互动等方式，吸引观众关注和参与话题讨论。
同时还可以通过社交媒体上的KOL（关键意见领袖）合作，提高口碑传播的曝光度和影响力。
2.4 启动口碑营销活动为了进一步推动口碑营销效果，制作方可以设计一系列的口碑营销活动。
例如，在影院推出“观影送好礼”活动，鼓励观众在社交媒体上分享电影观影感受，以此吸引更多潜在观众的关注和参与。
同时，还可以组织线下试映会、与影评人、明星进行互动交流等方式，通过口碑的积极评价来提高电影的知名度和美誉度。
3. 口碑营销策略的效果评估为了评估口碑营销策略的效果，我们可以采用以下几个指标来进行评估：3.1 社交媒体反馈通过社交媒体平台的数据分析工具，可以了解到观众对电影的评价和讨论。
观众的积极反馈和传播意愿可以反映出口碑效应的强度和范围。
电影营销策略外文文献翻译最新译文
电影营销策略外文文献翻译最新译文Movie marketing refers to the process of XXX and related products in a market that is XXX。
XXX market。
movie marketers need to carefully select their target audience。
create and transfer value。
and XXX involves planning。
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XXX with the consumer values and XXX。
the goal is to turn movies into consumer products that XXX of the industry.2 The Importance of Film MarketingFilm marketing is a critical component of the movie industry。
as it plays a key role in XXX advertising movies。
marketers can create buzz and generate interest among the target audience。
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in turn。
can lead to higher ticket sales。
increased revenue。
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film marketing can also help to build brand awareness。
XXX base。
XXX industry.3 Strategies for Successful Film MarketingXXX marketing。
it is XXX their n。
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engaging characters。
口碑营销 英文作文
口碑营销英文作文KOL Marketing。
KOL marketing, also known as Key Opinion Leader marketing, is a popular strategy in today's digital age. It involves collaborating with influential individuals who have a strong presence on social media platforms. These individuals, known as KOLs, have the power to shape consumer opinions and influence purchasing decisions. By partnering with KOLs, brands can tap into their large and engaged following to promote their products or services.Word-of-Mouth Advertising。
Word-of-mouth advertising has long been recognized as one of the most effective forms of marketing. It relies on individuals sharing their positive experiences with a product or service with their friends, family, and colleagues. This type of advertising is powerful because it comes from a trusted source and is seen as more authenticthan traditional advertising. Companies can encourage word-of-mouth advertising by providing exceptional customer service and creating products that exceed expectations.Online Reviews。
基于《流浪地球》的电影口碑营销成功要素探讨
基于《流浪地球》的电影口碑营销成功要素探讨作者：李纯辉来源：《现代商贸工业》2019年第21期摘要：以《流浪地球》为例从精准的定位、情感的共鸣、话题的打造、Kol的引导、全媒体的传播等五个方面阐述了口碑营销成功的要素，便于片方结合实际运用这些要素在竞争激烈的电影市场获得日益挑剔的观众口碑相传，通过口碑营销获得高票房。
关键词：口碑营销;定位;话题;KOL;全媒体中图分类号：F27 文献标识码：A doi：10.19311/ki.1672-3198.2019.21.0341 引言口碑一词来源于传播学，Arndt认为口碑（Word-of-Mouth）是“消费者与消费者之间关于产品、品牌和服务的非商业化的人际沟通形式”。
金杯银杯不如消费者的口碑，在网络环境下口碑对电影这种体验类消费产品的营销作用越来越突出。
Arthur研究表明在网络市场中，起初微小的不同在自我强化的反馈循环中会不断被放大而导致报酬递増规律，也就是所谓的“二八效应”、“羊群效应”、“马太效应”、“乘数效应”，使得一些电影成为“大播热片”而另一些电影“无人问津”。
通过口碑营销获得高票房，已成为电影界的共识，但如何在竞争激烈的电影市场获得日益挑剔的观众去口碑相传呢，电影口碑营销成功要素的研究有着重要的理论和现实意义。
2 电影口碑营销成功要素作为一部硬科幻电影，2019年春节档电影《流浪地球》的排片和预售在正式上映前都不是最好的，首日票房和排片占比均不占优势，但却从最初的不被看好，到最后华丽的逆袭，成为一匹黑马。
根据国家电影局统计，《流浪地球》以20.1亿元的票房成为2019年春节档冠军。
据中国电影观众满意度调查·2019春节档调查结果显示科幻片《流浪地球》以85.6分获得档期满意度冠军。
《流浪地球》的成功应该说口碑营销功不可没，《流浪地球》口碑营销成功要素主要有以下几点。
2.1 精准的定位定位理论由艾·里斯、杰克·特劳特提出：定位是从产品开始的，但并不需要改变产品，而是要影响目标顾客的心理，让产品在目标顾客心中占据一个独特的心理位置。
英文营销广告词汇全翻译
英文营销广告词汇全翻译广告词汇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。
毕业论文外文文献翻译-传统媒体和口碑永远交织在一起
北京联合大学毕业论文外文原文及译文题目：网络口碑营销策略研究一、外文原文Traditional media and word of mouth is always intertwined——Sanofi Wizz, (U.S.)The past, often produced media advertising professionals, these elements are written by the reporter, edited revision last beautifully packaged and then. Now, we have moved away from the presentation of this refined and processed. Now, we have lost the patience to watch the beautiful advertising audience, after all, the advertising sales media, exhibition, broadcast, very difficult to have as in the past, forcing the audience had watched.Now, people can search engines and blog, like la carte as on-demand news. People do not always read the story of the original, on the contrary, people can go deep into the intermediate links, links, reading these stories. You are free to enter into a certain person's blog, the three of you search the contents of the things this person involved in the blog, but for such content, you know nothing about this person's blog, you can also link more blog to other content. Now posted on the website's content is often raw, authentic things, the search engine provided by the consumer to capture this information, these unrestrained, not veiled, to the point of thinking they unfolded before our front. Bloggers have become a thinking experts, they are full-text excerpts, after re-arrangement and combination, and then offer to the general audience, dedicated to those willing to receive such information.Even the norms of the kind of news articles, can not get rid of the threat of the voice of the customer. Now, many traditional media have chosen a new way, their stories and popular blog title link to completely break the news editor of the shackles of the wall and the ring caught. Although the official news story is statically published on a web page, however, the side of the page link will automatically display information from the blog - the content is no editorial filter. Soon, we will be from the hand of the newspaper to see the contents of this form.Let us look at the work in public relations representative. The public relations on behalf of young, hard-working, newspapers high in a gesture to see a fictional story, the story with his client. So he give colleagues sent an e-mail related things to tell them, and then turned around and walked into the boss's office, told the boss the news. However, when he reach the boss's office, when his boss to remove the page, the story has long been endemic - the next in the story, already appeared threatening the blogtitle.Therefore, you have to do is: to ensure a true, reliable reputation. We can not control the customer comments, so be sure to keep in mind, the finished article, does not mean the end of the public relations. Our goal is to continue to win the good reputation on the basis for sustainable development.For those who do not keep their promise to businesses, the search engines so that they feel especially frightened. Let us take a look, if you spend a lot of money, engine marketing activities, there will be what kind of situation. Designed some very fine small ads on the bottom of the page that says: "click here, great." Of course, web pages, more links are from real consumers, you'd better is to make consumers happy, satisfied, otherwise, they released post will overwhelm any other paid advertising posts.We take a look at the practice and suffered a large cable company, not to mention its name, the companies often do not fulfill their service contract, the customer service very poor quality, often offensive to customers, so repeatedly, so that customersvery angry. If you have online access to this company, you will see what kind of information? We see expensive advertising, news stories from the official reports - as well as messages posted by thousands of angry customers. We are pleased to see that this company do a little hands and feet, and consumer reviews changes to their advertising and they put together, they are never likely to again spend money on online advertising.Why is there such a result? Blog written by those who complain, blame or words of praise, how will have a big impact, far more than the influence of the "Times" or "Newsweek"? The reason is that the blogger is a member of our team - and the team search for the information, the team members concerned about them through word of mouth to share these views and opinions. If certain members of the team rant, saying that a piece of software suddenly, inexplicably, on the hard drive removed, his criticism and scolding will be hundreds of other sites excerpt, and every one website has its own followers. In this way, everyone, whenever you see one such comments will immediately Click to view details - so they can know in the end destroy that personal computer which software company.Each of a traditional newspaper or magazine, has 1 000 sites corresponding to In today's media than traditional media have more freedom and an independent voice. Moreover, it can be more convenient, fast and cheap to see some new comments, so these remarks spread more widely.Must learn to adapt to such a complex, chaotic world. Must know, people have been talking about you, their words positive and profound content of the speech, and everywhere.Marketing staff ignored these remarks will be seen as cold and incompetent, and will not be able to attract attention and attention. Marketers learned how to interact with clients, learn how to participate in customer reviews, learn how to make people's comments play an active role in the learning will flourish.二、译文传统媒体和口碑永远交织在一起——(美)塞诺威兹过去，往往是专业人员为我们制作媒体广告，这些内容都是由记者撰写、经过编辑校订，最后经过精美包装而后提供的。
口碑营销 英文作文
口碑营销英文作文英文，As a marketing professional, I have seen the power of word-of-mouth marketing, also known as "口碑营销" in Chinese. This form of marketing relies on people telling others about their positive experiences with a product or service, and it can be incredibly effective in building brand reputation and driving sales.One example of successful口碑营销 is the popular Chinese hotpot chain Haidilao. The restaurant is known for its exceptional customer service, including free manicures and snacks for customers waiting in line. Customers are so impressed by their experiences at Haidilao that they often share their stories with friends and family, leading to a steady stream of new customers. This positive word-of-mouth has contributed to the chain's rapid expansion both in China and internationally.Another example is the skincare brand SK-II, which gained attention for its "Change Destiny" campaign. Thecampaign featured a short film about the societal pressure on unmarried women in China, and it struck a chord with many people. The emotional and relatable content of the campaign led to widespread sharing on social media, resulting in increased brand awareness and sales.中文，作为一名营销专业人士，我见证了口碑营销的力量。
口碑病毒式电影营销外文翻译文献
文献信息：文献标题：Film Talk: An investigation into the use of viral videos in film marketing, and the impact on electric word of mouth during pre-release and opening week（电影谈话：病毒视频在电影营销中的应用研究及在上映前和首周对网络口碑的影响）国外作者：Sophie Moore文献出处：《Journal of Promotional Communication》,2016, 3(3):381-404 字数统计：英文3214单词，17453字符；中文5588汉字外文文献：Film Talk: An investigation into the use of viral videos in film marketing, and the impact on electric word of mouthduring pre-release and opening weekAbstract This research paper focuses on the use of viral videos in film marketing and the impact on electronic word of mouth. As cinema admissions rapidly decrease, there is a growing importance for marketers to find unique and innovative ways to attract audiences to a film. Viral marketing is one way in which marketers create buzz around a film prior to release. Previous academic literature has studied the positive impact of viral marketing on a film‟s electronic word of mouth, however research into the recent influx of viral videos used for film promotion remains scarce. Research adopts an explanatory sequential mixed method design, in which quantitative data is used to analyse the impact of viral videos on the volume of electronic word of mouth, and qualitative data provides further explanation as to why electronic word of mouth has been impacted. The study found that the sample of viral videos successfully initiated electronic word of mouth, represented by a large volume of Tweets referencing both the videos and the promoted films. The results demonstrated that the use of originality, humour and emotion within the content promptedonlineconversation expressing the viewer‟s enjoyment. Consequently the increase in online conversation and the prominent branding within the videos‟ content positively impacted audience awareness towards the promoted films. The paper concludes with professional recommendations as to the future use of viral videos in film marketing.Keywords: Viral Videos, Viral Marketing, Film MarketingINTRODUCTION“In cont rast to just about every other product release, a movie faces a singular challenge: it must create near-instant national brand- name recognition within a span of a few days to a couple of weeks” (Gerbrandt 2010).Throughout the history of cinema, film marketing has used a variety of tools including posters and theatrical trailers to achieve audience recognition and product differentiation. Film marketing is any activity that assists a film in reaching its target audience at any time throughout its life (Pham and Watson 1993). The rapidly advancing marketing landscape has transformed with the creation of the Internet, a new media platform for films to be marketed, distributed and viewed. From a negative perspective, the evolution of the Internet has challenged the film industry to combat DVD and Internet piracy as well as retain cinema goers that are presented with a greater choice of less traditional entertainment (Wray 2003). Box office takings suffered a 2.9% drop in 2014, which has been attributed to the cost of cinema tickets increasing and a growing trend to stream videos at home through content hubs such as Netflix (Strauss 2013; Furness 2015). In particular, cinema attendance among the younger digital audience dropped by 15% (Spangler 2014). Consequently there is a growing importance for marketers to find innovative and unique ways to entice audiences to the cinema, in particular using digital marketing tools to attract a rapidly decreasing demographic (Mohr 2007; Jeffrey 2014).Viral marketing is one su ch promotional posture that captures people‟s attention and drives audiences to cinemas. Viral marketing is the process of encouraging audiences to pass along a favourable or compelling marketing message that they receive in a hypermedia environment (Hausmann 2012). Previous viral campaignshave used elaborate websites, blogs, interactive games, and videos to build awareness prior to a film‟s release. There is also a growing sub-culture of film fans for which the hunt for this additional film material is as exciting as the films themselves (McMahon 2010). Consequently, the use of viral marketing in film promotion is now as important as conventional practices (Kerrigan 2010).At the core of viral marketing is audience participation in online conversation, also known as electronic word of mouth (eWOM). Online conversation about films can build anticipation and buzz around new releases. According to research, eWOM on Twitter contributes to 13% of UK cinema ticket sales (Moosman 2015), reinforcing the importan t role eWOM has on a film‟s box office success.Videos that have diffused through eWOM are the most regularly used method of viral marketing (Haque et al. 2006; Nelson-Field et al. 2013). The age of technological mobility is driving an increase in video consumption as the recent proliferation of new devices allows the audience to connect with content, anytime and anywhere (Nielsen 2014). Marketers are therefore creating videos for the sole purpose of film promotion and Hollywood is leading the way when it comes to the production of viral videos that get shared by millions of viewers (Goldsmith 2011). Research found that viewers who enjoyed a video demonstrated 139% higher brand association and 97% higher purchase intention than those who did not enjoy it (McNeal 2012). Thus, viral videos that entertain the audience can positively impact viewers‟ awareness and attitude towards a film.Viral videos typically have smart distribution and optimisation strategies in order to reach a large number of people (Goldsmith 2011), yet research on how marketers can optimise video content for sharing remains scarce. In addition, there is little evidence to show the direct impact of viral videos on film-related eWOM. This paper seeks to contribute to a gap in current knowledge by exploring the impact of viral videos on eWOM and also how videos can be optimised to encourage sharing.LITERATURE REVIEWThis section will critically evaluate and review existing literature, providing atheoretical explanation of viral marketing and contextualising its use within the film industry. In addition, the growing importance of eWOM and the increasing use of viral videos will be evaluated.Viral MarketingViral marketing, also known as buzz marketing, is an instrument that explicitly aims to encourage the diffusion effect (Hutter and Hoffmann 2011). Like a virus, the tactic uses rapid multiplication to send the marketing message to a wide audience, relying on a high pass along rate to create a snowballing effect (Mohr 2007). Rollins et al. (2014) demonstrated how the marketing message generates film buzz by entertaining the consumer, with the most successful viral marketing campaigns focusing on humour and interactivity.Film companies are using viral marketing due to a number of aspects that make it an attractive promotional posture in driving audiences to the cinema (Mohr 2007). Reflecting guerrilla marketing characteristics, Rosen (2000) proposes that the low cost of a viral campaign is a significant determinant as audiences disseminate the message. This view advocates that viral marketing involves low levels of financial risk, supporting its earlier favourability by small and medium enterprises (SME‟s) over traditional marketing methods (Canan et al. 2010). Viral marketing also targets potentially interested viewers by initiating conversation through viral content, generating buzz and resulting in greater consumer awareness for the film (Karniouchina 2011). Finally, viral messages add credibility through WOM, an important aspect as 53% of film audiences base their film decisions on information received from others (Rosen 2000).A widely cited first example of viral marketing in the film industry is The Blair Witch Project (1999), in which its box office success has been attributed to a high level of WOM (Harris 2001; McDowell 2001; Liu 2006; Mohr 2007). As part of an underground movement, the low-budgeted independent film used viral marketing to create buzz through a website (McDowell 2001). Harris (2001) describes how the website content included fictional items such as police reports and interviews with the …missing‟filmmakers‟ parents that caused audience speculation and positioned the filmas “an unsolved mystery” (p.78). Subsequently the film received a large amount of word of mouth before and after the film‟s release.Electronic Word of MouthWOM has typically been considered as spoken face-to-face communication (Rogers 1962). However, digital advancements enabling computer-mediated communication have led to the term electronic word of mouth (eWOM). Electronic word of mouth or word of mouse (Breazeale 2009), can be defined as interpersonal communication within a variety of online environments, allowing information exchanges to be immediately available to a multitude of people (Kim et al. 2014). It could be argued that previous research into WOM has used both terms interchangeably leading to misinterpretation. For example, Liu‟s (2006) study into the impact of WOM on box office analysed online film reviews, and therefore the research is based on the electronic form of word of mouth as opposed to face-to-face communication. This study provides a clear distinctionbetween WOM as face-to-face communication and eWOM as computer-mediated communication, with research focusing solely on eWOM.Primary factors influencing audience participation in eWOM behaviour were found to be the consumers‟ need for social interaction and the prospect of enhancing one‟s own self-worth (Hennig-Thurau et al. 2004). For example, consumers may perceive a greater social benefit for talking about a popular subject (i.e. film) than talking about a less popular one. Previous research by Bansal (2000) supported these findings in relation to social network theory, by emphasising the audiences‟ desire to maintain relationships that link members to a social system.Electronic word of mouth can take place in a variety of ways such as consumer reviews, opinions forums and discussion boards. Enabled by the rise of the Internet, eWOM also allows consumers to share a message across social networking sites (SNSs) such as Facebook, Twitter and YouTube (Hausmann 2012). SNSs can covey marketing messages to millions of users and combined with their ability to diffuse information in real time, they are a valuable tool in the viral marketing mix for content distribution (Kim et al. 2014).Viral VideosVideo clips that have diffused through eWOM are the most regularly used method of viral marketing (Haque et al. 2006; Nelson-Field et al. 2013). In order to measure the success of a viral video, Mohr (2014) calculated that virality is based on the number of views a video received. However, McNeal (2012) previously emphasised the dangers associated with analysing the number of views due to seeding tactics. Seeding tactics can be used to disseminate a video in popular online portals, to increase viewing figures; whereas the volume of shares represents the number of times the content has been voluntarily passed along, and therefore accurately reflects a video‟s virality. Reflecting the low cost effect of guerrilla marketing, Rollins et al. (2014) suggests the production costs for the creation of a video are significantly lower than traditional marketing expenditure, such as a theatrical trailer. This paper differentiates viral videos from theatrical trailers; defining viral videos as original content solely created for sharing and theatrical trailers as videos comprised of clips from a feature length film.To understand the development from theatrical trailers to viral videos one must reflect on historic cinematic marketing. As early as the 1910s, marketing strategies were using theatrical trailers to provide potential audiences with a taste of the film (Johnston 2009). Techniques used in these earlier periods of cinema history can be found in contemporary viral marketing campaigns. For example, in the classical era, trailers were dominantly used to promote upcoming films; however after the introduction of the television, persuasive trailers were used to sway audiences away from the new entertainment medium. Similarly, viral marketing uses viral videos as an online tool to lure audiences to the cinema. A popular marketing campaign demonstrating persuasive techniques before the digital age is Alfred Hitchcock‟s Psycho (1960). In the six-minute Psycho trailer, Hitchcock personally guides the audience on a tour of the film‟s eerily deserted sets. Gilbey (2006) describes the trailer as “a work of seduction and suspense” that entices the audience to the cinema (p.43). This persuasive and unconventional approach to film marketing validates how viral marketing campaigns are part of broader, historical and industrial modes ofengagement.METHODSResearch AimTo investigate the use of viral videos used in film marketing, and the impact on electronic word of mouth during a films pre-release and opening week.Research ObjectivesRO1: To analyse the impact of viral videos on the volume of eWOM.RO2: To explore the motivations behind audience participation in eWOM.RO3: To identify viral techniques used within video content to encourage eWOM.Mixed Method DesignThe study adopted a pragmatic approach that embraced the integration of methods in order to come to a more comprehensive understanding of the research aim and eventually obtain credible results (Duemer and Zebidi 2009). Research used an explanatory sequential mixed method design in which the interpretation of qualitative results helped to explain the initial quantitative findings (Creswell 2010). In the first, quantitative phase of the study, data was collected from Twitter to understand how eWOM volume was impacted (RO1). The second, qualitative phase explored reasons as to why eWOM volume was impacted, through a textual analysis of individual Tweets (RO2) and videos (RO3).SampleThe study used purposeful sampling to select four extreme cases of film related viral videos (Table 1).Quantitative MethodFirstly the study used a quantitative approach to record the volume of eWOM. As the largest and most popular micro blogging site, Twitter was used to measure eWOM through individual Tweets referencing the viral video. To identify Tweets related to each viral video, the study used the Twitter Advanced Search tool. The exact phrase function searched for all Tweets that included the videos title over a specific time period, with a total of 34,237 Tweets recorded across all four videos. In addition to recording the volume of Tweets, research also noted if individual Tweets included a link to the video and if the related film was mentioned. The time period for data collection was selected from the date the video was uploaded through to the opening week of the film.Qualitative MethodSecondly, a subsample of Tweets was used for qualitative research to explore audiences sharing intentions. Research conducted an in-depth qualitative analysis of Tweet content and expression. Since there are no existing validated sampling methods for Twitter (Chew and Eysenbach 2010), sample size was based on feasibility and determined the first 300 Tweets for each viral video on date of upload would be sufficient to capture a ‘snapshot’of audiences initial reactions.Finally a textual analysis was carried out on the sample of viral videos. The results formed the basis to establish the dominant techniques of video production that encourages audiences to share content. To identify techniques, variables previously established by Almaraz et al. (2013) were used, including: narrative elements, sound context, textual elements, visual identity, genre and creativity. In addition, the duration, presence of humour and emotions experienced were also included as variables as previously explored by Dafonte-Gomez (2014).LimitationsThere are a number of methodological limitations to the study that consider the reliability, validity and authenticity of the data. An important limitation is the use of extreme cases that lack generalisability and reliability, due to the unrepresentative size of the sample (Suri 2011). However the authenticity of the data lies in the mixed method design, that provides information not just on the impact on eWOM, but also explanatory insights into underlying motivations to share videos; therefore such enhanced information contributes to enhanced credibility (Mertens and Hesse-Biber 2012).CONCLUSIONSThe main aim of this paper was to investigate the use of viral videos in film marketing, and the impact on electronic word of mouth during a films pre-release and opening week. Although previously explored individually, this section combines the research objectives, in which the interpretation of results from the qualitative findings of objective 2 and 3 help to explain the quantitative findings of objective 1.Viral videos are used within film marketing to initiate eWOM that in turn creates a buzz aroun d a film‟s release, increases awareness and drives audiences to the cinema. Quantitative findings found that the sample of viral videos successfully initiated eWOM, represented by a large volume of Tweets referencing both the videos and the promoted films. In addition, the overall volume of Tweets represented only a small percentage of audience reach, as each Tweet could be viewed by the users followers. Qualitative findings indicate that the volume of eWOM was impacted by a variety of viral techniques used within the video content, such as originality, humour and emotion, which in turn increased forwarding intentions and online conversation. Through prominent branding within the majority of the video content and an average of 9.8% of all Tweets referencing the film, it can be concluded that audience film awareness was increased through the viral videos. Research therefore supports the use of viral videos used in film marketing by showing a direct impact on eWOM during pre-release and opening week.From a practical perspective, this study offers professional recommendations intowhich film marketers could adopt for the future use of viral videos:1.Ensure film branding within the video content is clear in order for the audience to easily relate the two texts and direct eWOM to the promoted film.2.Prior to preparation and execution consider the ethical implications that may arise.3.Avoid imitating past successful viral videos, instead aiming to produce an innovative and original concept.4.Incorporate humour into the content with a hidden camera execution capturing audience reactions.5.Maximise high arousal emotions by including an element of surprise.6.Adopt an appropriate upload strategy to create maximum eWOM, with a suggested upload period of 2 weeks prio r to a film‟s release.7.Target network gatekeepers such as BuzzFeed and Mashable to disseminate the video to large online networks.8.Upload supplementary content to the original video in order to sustain eWOM over a prolonged period of time.Whilst these recommendations have been drawn from the research findings, it is acknowledged there are limitations within the research conducted. Firstly, social networking sites are evolving very fast, leading to a constant revolution of user sharing patterns and this in turn makes it difficult for the study to reach conclusions with long- term validity. In addition the data collected from Twitter resulted in a lack of a well- defined study population; whilst a user could be linked to an individual Tweet it was beyond the scope of the study to retrieve every user profile in order to determine sample demographics and geographic location. Further research into the demographics and geographic location of participants of eWOM could provide marketers with a greater understanding as to the most effective content to promote a film to a specific target audience.A possible area for future study would be to investigate eWOM across a variety of social networking sites. This research would guide marketing efforts to the most efficient platforms for film promotion. In addition, research into the directrelationship between eWOM and box office revenue would provide further justification into the importance of creating online conversation prior to a film‟s release.中文译文：电影谈话：病毒视频在电影营销中的应用研究及在上映前和首周对网络口碑的影响摘要本研究重点探讨了病毒视频在电影营销中的应用及其对网络口碑的影响。
口碑营销、病毒营销和蜂鸣营销
口碑营销、病毒营销和蜂鸣营销口碑（Word of Mouth）营销就是利用顾客的口口相传作为营销手段和渠道，故名口碑营销。
后来，在口碑营销基础上又发展出二个分支：病毒营销和蜂鸣营销。
所谓病毒营销(Viral Marketing)，是通过用户的口碑宣传网络，信息像病毒一样传播和扩散，利用快速复制的方式传向数以千计、数以百万计的受众。
蜂鸣营销，俗称“口头宣传营销”，是传统的“口耳相传”方法在新经济下的创新营销方法。
口头宣传营销的英文术语“Buzz Marketing”中的“Buzz”，意即“叽叽喳喳的声音，或嗡嗡声”，因此，也有人将Buzz Marketing译成“蜂鸣式营销”。
是一种主要通过人们（可以是消费者，也可以是企业的营销人员）向目标受众传播企业产品（或服务）信息而进行的非常廉价的营销方法，蜂鸣营销主要基于人们对于企业产品和服务的直接体验。
口碑营销的要素谈论者（Talkers）谈论者是口碑营销的起点首先是需要考虑谁会主动谈论你？是产品的粉丝、用户、媒体、员工、供应商、经销商。
这一环节涉及到的是人的问题，角色设置。
口碑营销往往都是以产品使用者的角色来发起，以产品试用为代表。
其实如果将产品放在一个稍微宏观的营销环境中，还有很多角色成为口碑营销的起点。
其实企业的员工和经销商的口碑建立同样不容忽视。
话题（Topics）给人们一个谈论的理由是产品、价格、外观、活动、代言人等等。
其实口碑营销就是一个炒作和寻找话题的过程，总要发现一点合乎情理又出人意料的噱头让人们，尤其是潜在的用户来说三道四。
"对于话题的发现，营销教科书中已经有很多提示，类似4P、4C、7S都可以拿作分析和发现的工具。
方法的东西大家能学到，关乎效果的却是编剧的能力，讲故事的水平。
工具（Tools）如何帮助信息更快的传播参与（Taking Part）书中的参与是指“参与到人们关心的话题讨论”也就是鼓动企业主动参与到热点话题的讨论，其实网络中从来不稀缺话题，关键在于如何寻找到和产品价值和企业理念相契合的接触点，也就是接触点传播。
口碑营销 英文作文
口碑营销英文作文英文，As a marketer, I understand the power of word-of-mouth marketing, also known as "口碑营销" in Chinese. This type of marketing relies on people sharing their positive experiences with a product or service, and it can be incredibly effective in building brand reputation and driving sales.One example of successful口碑营销 is the popular Chinese hot pot chain restaurant, Haidilao. This restaurant is known for its exceptional customer service, including free manicures for waiting customers and a "noodle dance" performed by the staff. Customers are so impressed by these unique experiences that they often share them on social media, leading to a viral effect that attracts even more customers.中文，作为一名营销人员，我了解口碑营销的力量。
口碑营销依赖于人们分享他们对产品或服务的积极体验，这在建立品牌声誉和推动销售方面非常有效。
一个成功的口碑营销的例子是中国知名火锅连锁餐厅海底捞。
顾客满意相关的英文电影
顾客满意相关的英文电影Customer Satisfaction in English MoviesIntroductionEnglish movies are a popular form of entertainment worldwide. They not only entertain but also provide unique experiences to the viewers. One crucial aspect of English movies is customer satisfaction. This article explores the factors contributing to customer satisfaction in English movies and how they impact the overall movie-watching experience.Plot and StorylineThe plot and storyline play a pivotal role in determining customer satisfaction. Engaging and well-constructed plots keep viewers hooked throughout the movie. A good storyline should have a proper beginning, middle, and end, with well-developed characters and a logical progression of events. A flawed or confusing plot often leads to disappointment and dissatisfaction among the viewers.Acting and PerformancesThe quality of acting and performances greatly influences customer satisfaction in English movies. Talented actors who effectively portray their characters can captivate viewers and create a lasting impression. Engaging performances bring the story to life, making the audience emotionally involved. Conversely, poor acting can detract from the movie's overall quality, diminishing customer satisfaction.Cinematography and Visual EffectsWell-executed cinematography and visual effects enhance the viewing experience and contribute to customer satisfaction. Expertly shot scenes, aesthetically pleasing compositions, and skillful camera movements elevate the movie's visual appeal. Additionally, the use of advanced visual effects, when appropriate, adds an extra layer of immersion and excitement. Attention to detail in these aspects ensures a satisfying movie-watching experience.Sound Design and MusicSound design and music are crucial elements that greatly impact the overall atmosphere and emotional engagement in English movies. A well-composed soundtrack, appropriate sound effects, and balanced audio levels enhance customer satisfaction. The right choice of music and sound design can elicit the desired emotions, intensify suspense, or evoke empathy, enhancing the viewers' connection with the movie.Screenplay and DialogueA well-written screenplay and carefully crafted dialogue contribute significantly to customer satisfaction. Engaging dialogue should be natural, meaningful, and relevant, reflecting the characters' personalities and advancing the plot. A strong screenplay ensures a coherent and immersive storytelling experience, enhancing customer satisfaction and leaving a lasting impression on viewers.Genre and Audience PreferencesMatching the genre and audience preferences is essential to ensure high customer satisfaction. Different viewers have distinct tastes, and catering tothose preferences increases the chances of positive reviews and recommendations. Whether it is action, comedy, drama, romance, or any other genre, a clear understanding of the target audience's expectations enhances customer satisfaction.Pacing and EditingThe pacing and editing of a movie greatly influence customer satisfaction. A well-paced movie maintains a balanced rhythm, preventing the viewers from becoming bored or overwhelmed. Considerate editing ensures smooth transitions between scenes, avoiding unnecessary distractions. Proper attention to pacing and editing contributes to a seamless movie-watching experience, increasing customer satisfaction.ConclusionCustomer satisfaction is vital in the world of English movies. From a well-developed plot and engaging acting to captivating cinematography and sound design, various factors contribute to a satisfying movie-watching experience. By understanding and addressing these aspects, filmmakers can create English movies that leave the viewers highly satisfied. Ultimately, customer satisfaction drives the success and popularity of English movies, creating an enduring impact on the audience.。
电影口碑营销文案策划
电影口碑营销文案策划
作为一部集结众多明星和实力派演员的影片，《幕后英雄》在全球范围内引起了极大的轰
动和期待。
在院线放映之前，电影公司通过多种方式进行口碑营销，以吸引更多的观众关
注并保持观影热度。
首先，在影片拍摄过程中，导演和演员们积极参与各种媒体宣传活动，分享拍摄幕后花絮、人物性格设定等信息，增加观众对电影的期待。
导演张艺谋在接受采访时表示，这部电影
是他心目中的一部“完美之作”，希望观众们能够通过影片感受到自身内心中那份追求卓越
的渴望。
其次，电影公司在网络平台上发布预告片、海报等宣传素材，借助社交媒体的力量引爆话题，吸引更多网友关注。
同时，影片的演员们也积极在社交媒体上进行互动，与粉丝交流
互动，增加观众对影片的好奇心和期待感。
此外，为了让更多的潜在观众了解到电影的质量和口碑，电影公司还邀请了一些影评人提
前观影并撰写影评，将正面评价和观影感受发布在各大影评网站和媒体上，提高观众对电
影的信任度和好感度。
另外，在电影上映前，电影公司还举办了一系列的宣传活动，包括媒体见面会、全球巡回
宣传等，让影片的信息传播得以最大化，吸引更多粉丝和观众的关注。
同时，电影公司还
与知名品牌进行合作，推出了限量周边产品，吸引更多粉丝和影迷购买，增加了宣传的影
响力。
综合以上策划，通过导演、演员的宣传推广，网络、社交媒体的热炒、影评人的正面评价、宣传活动、周边产品等多种渠道的结合，电影《幕后英雄》成功打造了一场口碑营销狂潮，吸引了大批观众的关注和好评，成为当年的票房黑马，也给中国电影市场带来了一次新的
突破和成功。
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中文3700字2167单词毕业论文外文资料翻译题目电影口碑营销学院历史与文化产业学院专业公共事业管理（艺术经营与管理方向）班级艺管1001学生学号指导教师二〇一四年三月二十六日Business Horizons,2007(5),50,395-403Buzz marketing for moviesIris MohrTobin collage of business, St. john’s University, 8000 Utopia, Jamaica, NY 11439, USA Abstract:In today's dynamic entertainment environment, movies are struggling to stay afloat and remain profitable. Challenges such as piracy, digital theft, competition, overlapping movie campaigns, media fragmentation, and audience saturation are forcing marketers to stretch their film budgets and make every dollar as effective as possible. With more and more entertainment options crowding peoples' lives, marketers must search for innovative ways to reach movie audiences. By breaking through the daily clutter and noise, and capturing peoples' attention to the point that talking about a movie becomes an enjoyable experience to share, buzz marketing is one such promotional posture that drives audiences to theaters. In order to achieve success with buzz marketing, however, marketers must recognize the role it plays in the context of movie differentiation strategies to support the company's overall approach. To that end, this article analyzes buzz marketing as it pertains to six movie differentiation strategies (differentiation with cosmetic movie features, differentiation to reach market segments, growing a movie segment, positioning to support the movie image, positioning to extend the movie image, and differentiation via non-traditional channels) and offers steps for its successful implementationKeyword: motion pictures; movies; marketing; promotion; buzz marketing1.The marketing challengeToday's movie marketers confront a difficult reality: the game plan by which they've played for years is being challenged and there is a call for new, innovative ways to drive box office sales. Under the historically used traditional model, corporate marketers spend marketing dollars on messages aimed at a target audience. The marketing team creates a message, purchases media, and sees that the message is delivered to personal and business customers. Given the fragmentation of media today, however, it is becoming increasingly difficult for marketers to promote movies using the traditional model. In the United States, for example, what was once a handful of television stations has now proliferated into more than 1600 broadcast and cable outlets; similar trends are underway in Europe, as well. Cable fragments the broadcast audience, TiV o users are zapping through 30-second commercial spots, and online advertising is on the rise. This sort of fragmentation makes it more difficult to generate an impact, accumulate sufficient reach and awareness, and plan promotional campaigns in general.Added to this fractured landscape, multitasking has become increasingly commonacross the board. While surfing the Web, the typical US teenager engages in an average of two other activities, one of which is often homework. Reportedly, some 80% of business people also multitask while performing work related duties (Greenspan, 2004). In concert with this, there is an increasing trend for consumers to “switch off”; they are evermore selective about what they watch and the advertising messages they trust. As Court (2004, p.2) cites, according to Yankelovic h Partners, 65% of consumers feel “constantly bombarded with too much advertising,” 69% are “interested in products and services that would help skip or block marketing,” and 54% “avoid buying products that overwhelm with advertising and marketing.”To add, television and movie lovers are witnessing a revolution in digital home entertainment. With it, a growing number of people are turning away from neighborhood cinemas in order to stay home and be entertained by new technologies and advanced personal theater systems. Consumer electronics manufacturers, IT vendors, and movie companies are lining up to extol the virtues of Blue-ray and HD-DVD; the proclaimed successors to the current DVD format (Thomas, 2006). According to Geoff (2005), by the end of 2004, Forrester Re-search estimated there were TiV o’s and other DVDs in 6.5 million US households, up from 1.9 million in 2002. That number, the firm claims, will climb to almost 50 million by 2009, representing 41% of all US households. On another front, the popularity of Netflix, an online subscription service boasting 3 million users, prompted both Blockbuster and Wal-Mart to offer similar services whereby people rent DVDs for an unlimited time for a monthly fee. While it's true that DVDs may be a cash cow for studios, theaters suffer when patrons skip the cinema experience and wait for those releases at home.Needless to say, given the increase in entertainment options, the movie-going experience needs to be far more compelling to draw in audience members. Moreover, this challenge is not likely to subside, but rather grow more compelling: as discussed by Chary (2005), a recent study by Informal Research Services indicates that 125 million people about 5% of all cell phone owners – will be watching television on their handsets by 2010. In addition, the Digital Lifestyles 2006 Outlook from Parks Associates (Escher, 2006) estimates that US consumer spending for online entertainment, including on-demand gaming, music, and video services, will grow by 260% in the next five years.In this frenetic and competitive environment, marketers must search for innovative ways to reach and attract movie audiences. Buzz marketing is one such promotional posture that is capable of breaking through the existing noise and clutter of the marketing scene, to capture peoples' attention to the point that talking about a movie becomes anenjoyable experience to share. Essentially, buzz marketing mimics the traditional marketing model in that it sends messages to targeted audiences through varying media. Under the buzz marketing model, however, the entertainment marketer injects the audience and media with a jaw-dropping, movie-related message that is so interesting and exciting that it causes the information to spread like wildfire. That appealing element of exhilaration represents the essence of and key to, buzz marketing, and differentiates it from the traditional marketing approach.Among its many attractive qualities, buzz marketing is a low-cost, far-reaching mode of promotion. This being the case, entertainment marketers' interest in the method is raising as media fragmentation continues and movie marketing costs increasingly spiral upward. Buzz marketing also satisfies studio executives who are confronted with steadily mounting marketing costs, and are thus challenged by existing promotional tactics in search of more mileage for fewer dollars.2.Buzz marketing encompasses word of mouth and viral marketingAt the core of buzz marketing is the phenomenon of word of mouth (WOM), the process by which an individual influences the actions or attitudes of others. As indicated by the following quotes on the value of word of mouth, academicians have long been aware of the power of WOM on consumers' preferences and actual purchase behaviors: “Forget about market surveys and analyst reports. Word of mouth is probably the most powerful form of communication in the business world. It can either hurt a company's reputation…or give it a boost in the market. Word-of-mouth messages stand out in a pers on's mind….Quite simply, we find messages more believable and compelling when we hear them directly from other people, particularly people we know and respect.”–Regis McKenna“Word of mouth seems to be a frequently used risk-reduction device; and this source of information is particularly sought for in situations characterized by high uncertainty.”–Johan Arndt“Word of mouth tends to be highly persuasive because the sender apparently has nothing to gain from the receiver's subsequent actions.”– Leon G. Schiff man and Leslie L. KarukMalcolm Glad well (2002), author of the national bestseller The Tipping Point, says WOM is so powerful because ideas, behaviors, messages, and products sometimes behave just like outbreaks of infectious disease. Similar to how an ill person can start a flu epidemic, so too can a small but precisely targeted push cause a fashion trend or thepopularity of a new product.According to McKinsey & Co. (Ramsey, 2005), approximately two-thirds of all economic activity in the United States is influenced by shared opinions about a product, brand, or service. On the basis of aggregated data and interviews with various WOM marketing experts, remarketer estimates that almost 50% of online marketers will engage in some form of WOM or viral campaign in 2006. A recent survey of marketers, which asked what type of digital media they were either using or were, planning to use, found that exactly two-thirds cited WOM (Ramsey, 2005).The nature and scope of the Internet, as well as other messaging devices, has inspired marketers to deliberately attempt to stimulate or simulate the WOM process by designing marketing campaigns with characteristics that attract audiences and encourage individuals to pass along a message. Also known as buzz marketing and viral marketing, these tactics create the potential for exponential growth in the message's exposure and influence (Wilson, 2000). Though the terms buzz marketing and viral marketing are often used interchangeably with WOM communications, the following discussion points highlight clear distinctions between the three.2.1.Word of mouth communicationsWOM communications, also referred to as opinion leadership, is the process by which one person (the opinion leader) informally influences the actions of others, who may be opinion seekers or opinion receivers. The key characteristic of this influence is that it is interpersonal and informal and takes place between two or more people, none of whom represent a commercial selling source that would gain financially from the exchange of information (Schiff man & Karuk, 2007). WOM implies personal or face-to-face communication, although nowadays it may also take place via telephone conversation or within the context of an instant message or e-mail. As individuals, opinion leaders specialize in the product categories (e.g., travel, automobiles) about which they offer information and advice, and often read special interest magazines to broaden their expertise. By the same token, when other product categories are discussed (ones in which they do not focus), these individuals are likely to become opinion receivers, occupying that position due to lack of knowledge in the subject area. Opinion leaders are a highly credible and powerful source of consumer information, and thus very effective in influencing customers' product-related decisions. One explanation for this strong influence is that opinion leaders are perceived as having nothing to gain financially from their purchase recommendations, and are thus inherently trusted. That is why word of mouth is so effective. In effect, when opinion leaders initiate WOM, they send a free,credible, and targeted marketing message.2.2. Viral marketingViral marketing, a high-tech and “impersonal” variation of WOM, is an Internet-driven strategy that enables and encourages people to pass along a marketing message and engage in word of mouth, creating the potential for exponential growth in the message's exposure and influence. Like a virus, this tactic takes advantage of rapid multiplication to explode a message to thousands, even millions. Viral marketing depends on a high pass-along rate to create a snowballing effect. A widely cited first example of viral marketing is Hotmail, a company now owned by Microsoft, which promotes both its service and advertisers' messages in every e-mail sent by patrons using the technology.2.3Buzz marketingWith media undergoing a vast change in a world where aggressive television ads, flashy websites, and glossy brochures compete for consumer attention, it is necessary to bridge WOM with technology(e.g., the Internet, mobile phones, MP3 players) and “outside the box” thinking. Buzz marketing is the practice of gathering volunteers either formally by actively recruiting individuals who naturally set cultural trends, or informally by drawing “connectors”: people who have lots of contacts in different circles, who can talk up their experiences with folks they meet in their daily lives. These people can be experts, members of the press, politicians, celebrities, or well-connected customers others rely on for information. Unlike WOM, whereby opinion leaders are internally motivated because of their knowledge, those spreading buzz may or may not be experts, and may be spreading buzz on a host of different things that are injected by marketers.Buzz marketing captures the attention of consumers and media to the point that people talk about the brand, because the message is perceived as entertaining, fascinating, and/or newsworthy. In order for this to occur, however, there must be something interesting, clever, amusing, catchy, or remarkable enough about the message such that WOM fuels fast distribution via technology to create a “buzz.” Clearly, this requires clever marketing and creativity. Successful buzz marketing efforts so capture the attention of individuals that they talk to others interpersonally via acquaintances, friends, co-workers, and family members, and impersonally on the Internet in the form of message boards, chats, polls, user ratings, and member stories. As a result, more buzz is ultimately generated.Practitioner writings suggest that buzz is usually something that combines a wacky, jaw-dropping event or experience with pure branding to get people talking. According to McKinsey & Co., and as reported by firm strategy consultant Renee Dye (2000), motionpictures and broadcasting are two categories that are highly driven by buzz. Consider, for example, the 19th season premiere of The Oprah Winfrey Show, which aired in the fall of 2004. This episode created considerable buzz when Pontiac gifted each audience member with a new G6 sedan, and was remarkable enough to be noted by TV Guide as one of the greatest moments in television history. According to console Networks (“Oprah Giveaway,” 2004), traffic to the website and GM's increased dramatically after the talk show host's giveaway program aired on Monday. Behold the power of buzz.Business Horizons, 2007(5),50,395-403电影口碑营销Iris Mohr托宾商学院，摩根约翰大学，乌托邦大道8000，牙买加，纽约11439，美国摘要：在今天的动态电影娱乐环境下，许多企业都努力维持生存并保持盈利，并时刻面对着诸如盗版，电子仿造，恶性竞争，重复的电影活动，媒体舆论，以及观众对电影的饱和度的挑战，不断通过营销来提高自己的电影预算，尽可能做到使每一美元都发挥其价值。