电影中的植入式广告：对介入观点的一个初步测试【外文翻译】
浅议电影中的植入式广告
浅析电影中的植入式广告一、现状分析植入式广告又被称为“隐性广告”、“嵌入式广告”或“置入式广告”。
植入式广告，是相关于那些有专门公布空间和时刻的广告而言的，指将产品或品牌及其代表性的视觉符号甚至服务内容融入到电影、电视剧、游戏、大型活动或者晚会、某些商业会议或者政府活动、音乐或电视节目中，通过场景的再现，给观众留下对产品及品牌的印象，继而达到营销的目的。
现在，植入式广告在电影上大放光芒。
好莱坞的商业大片给植入式广告带来了巨大的进展空间，也使制片商和商家带来了双赢的局面。
《黑客帝国》对三星手机、喜力啤酒、凯迪拉克汽车的推广；《少数报告派》那个大大的雷克萨斯标志定镜，让观众感受的雷克萨斯的独特魅力；《我，机械人》将奥迪的RSQ超级概念跑车和奥迪独特的前脸设计，成功推向市场，让消费者同意。
这些都无一不表征着植入式广告使商业大片和商家的强强联合。
在我国的商业电影中，最先让观众留下植入式广告印象的电影应该要数《手机》。
在《手机》中，摩托罗拉公司出资650万赞助，使片中手机清一色的是摩托罗拉，还有摩托罗拉特有的铃声。
而紧接着确实是《天下无贼》，使植入式广告引起了广泛的关注。
在影片开头，刘德华扮演的盗贼用佳能摄像机摄下富翁对女贼刘若英的不轨举动。
在喇嘛教寺院，刘德华窃得一大袋手机，镜头扫过，差不多上NOKIA 。
刘德华和刘若英在一条公路上争吵的一场戏中，不断切入车身印有“长城润滑油”的大卡车飞奔的镜头。
能够讲，冯小刚在《天下无贼》中把电影隐性广告发挥的淋漓尽致。
而在《疯狂的石头》这一电影，电影属于小成本制作只是了300万，却斩获了2000万的票房，、可口可乐，宝马，尼康，班尼路等等大品牌都在片上大露了一脸。
其中宝马于出镜率比较高,在影片中代表着高档、富有的象征，也巩固了宝马高端汽车的地位。
开发商助理那句：“没看见，不摸我（BMW）”，成为让人经历深刻地亮点。
可口可乐在这部电影中植入是一个亮点,它与剧情紧密结合,谢晓盟掉下来得可乐罐成为电影中一个重要的道具，承接了剧情的转折。
电影中的植入式广告
电影中的植入式广告Product Placement In Movies11古典文献(古籍修复)李晨阳指导教师陶应虎“植入式广告”(Product Placement)，是指，把产品及其服务具有代表性的视听品牌符号融入影视或舞台产品中的一种广告方式，给观众留下相当的印象，以达到营销目的。
“植入式广告”是随着电影、电视、游戏等的发展而兴起的一种广告形式，它是指在影视剧情、游戏中刻意插入商家的产品或表示，以达到潜移默化的宣传效果。
电影中的植入式广告是植入式广告中最具代表性的形式。
一．产生背景电影院逐渐增多，为其宽广的覆盖面和深刻的影响力奠定基础，它们的所在地大多地处经济较为发达的城市，而且其所接触的观众群体主要是白领工薪阶级或高级知识分子，这些人消费能力强，是社会消费潮流的领军人物，通过他们能迅速提高产品的知名度和销售额，扩大市场份额，尤其对于一个比较时尚的新产品，其诱惑力不可抗拒。
植入式广告不像传统大众媒介或某些小众媒体发布的广告，长篇大论，或耗时较长，它仅仅一闪而过，转瞬即逝，因此注重企业形象及品牌个性的塑造，这也是其功能的主要特点。
也正因如此，实力一般的中小企业只能望洋兴叹，唯有大型企业、集团公司或国际化知名品牌敢于一搏，其雄厚的经济基础和企业战略是其支撑的基点。
无论传统媒介或某些新兴媒介，人们对于它们所发布的广告早已练就一身“百毒不侵”的本领，渴求新奇、更具魅力的新型媒体出现，满足其接触广告信新渠道的心理愿望，也由于它本身的媒介独特性从而使其区别于其他所有媒介，在新兴领域独领风骚。
在过去的生活中，甚至是现在，人们总戴着一副有色眼镜看待广告，尤其是虚假广告的频频出现，进一步令消费者睹广告而变色。
而电影植入式广告的“隐而不宣”正好避开了消费者的这一显性心里特征，在不知不觉中达到了广而告之的目的。
二．发展历史2．1 在国外的发展1951年，影片《非洲皇后号》中明显出现了戈登杜松子酒的商标，是电影史上首次植入广告。
电影中的植入式广告
电影中的植入式广告Product Placement In Movies11古典文献(古籍修复)李晨阳指导教师陶应虎“植入式广告”(Product Placement)，是指，把产品及其服务具有代表性的视听品牌符号融入影视或舞台产品中的一种广告方式，给观众留下相当的印象，以达到营销目的。
“植入式广告”是随着电影、电视、游戏等的发展而兴起的一种广告形式，它是指在影视剧情、游戏中刻意插入商家的产品或表示，以达到潜移默化的宣传效果。
电影中的植入式广告是植入式广告中最具代表性的形式。
一．产生背景电影院逐渐增多，为其宽广的覆盖面和深刻的影响力奠定基础，它们的所在地大多地处经济较为发达的城市，而且其所接触的观众群体主要是白领工薪阶级或高级知识分子，这些人消费能力强，是社会消费潮流的领军人物，通过他们能迅速提高产品的知名度和销售额，扩大市场份额，尤其对于一个比较时尚的新产品，其诱惑力不可抗拒。
植入式广告不像传统大众媒介或某些小众媒体发布的广告，长篇大论，或耗时较长，它仅仅一闪而过，转瞬即逝，因此注重企业形象及品牌个性的塑造，这也是其功能的主要特点。
也正因如此，实力一般的中小企业只能望洋兴叹，唯有大型企业、集团公司或国际化知名品牌敢于一搏，其雄厚的经济基础和企业战略是其支撑的基点。
无论传统媒介或某些新兴媒介，人们对于它们所发布的广告早已练就一身“百毒不侵”的本领，渴求新奇、更具魅力的新型媒体出现，满足其接触广告信新渠道的心理愿望，也由于它本身的媒介独特性从而使其区别于其他所有媒介，在新兴领域独领风骚。
在过去的生活中，甚至是现在，人们总戴着一副有色眼镜看待广告，尤其是虚假广告的频频出现，进一步令消费者睹广告而变色。
而电影植入式广告的“隐而不宣”正好避开了消费者的这一显性心里特征，在不知不觉中达到了广而告之的目的。
二．发展历史2．1 在国外的发展1951年，影片《非洲皇后号》中明显出现了戈登杜松子酒的商标，是电影史上首次植入广告。
BEC商务英语热词：植入式广告
BEC商务英语热词：植入式广告大家在备考bec的时候，一定要关注一些热点词汇，因为很有可能会考到，下面小编给大家带来BEC商务英语热词：植入式广告。
BEC商务英语热词：植入式广告请看相关报道：Product placement is to be allowed on British television programs for the first time, local media reveals Sunday.在上面的报道中，product placement就是"植入式广告"，指将产品或品牌及其代表性的视觉符号策略性融入电影、电视剧或电视节目内容之中，通过场景的再现，让观众留下对产品及品牌的印象，达到营销目的。
Placement在这里的意思是"放置"，例如：the placement of furniture(家具的布置)。
另外，placement还有"(人员的)安插，工作安排"的意思，例如：a placement office(安置办公室);a social agency that does the work of child placement(从事儿童安置工作的社会机构)。
Placement还可以表示"(学生的)编班"，placement test指"(学生入学时的)编班测试"。
"植入式广告"属于隐性广告(recessive advertisement)，也是软广告(blind advertising)的重要分支之一。
生活中除了我们常见的电视广告(television advertisement)，还有网络广告(online advertisement)，报纸上还有分类广告。
BEC商务英语热词：在家教育请看《中国日报》的报道：With a crimped economy tightening belts, a growing number of expatriates in China are seeing home schooling as a solution to the soaring cost of tuition.随着经济不断紧缩，越来越多在中国居住的外籍人士把在家教育作为应对学费持续上涨的办法。
电影中的植入式广告：奥地利、法国、美国消费者对这种新兴的,国际宣传媒介态度的跨文化分析
毕业论文（设计）外文翻译题目：企业植入式广告的运用研究一、外文原文标题：Product Placements in Movies: A Cross-Cultural Analysis of Austrian, French and American Consumers' Attitudes Toward This Emerging, International Promotional Medium.原文：This paper reports on a cross-cultural study which tests the robustness of the approach developed by Gupta and Gould (1997) concerning use of product placements in movies. Using their American data as a comparison point, additional data using the same questionnaire were collected in Austria and France. As an international medium in which movies freely cross borders, product placement is also a less adaptable one, relative to commercials since it remains in the movie regardless of the nation where it is shown. Applying a three-pronged framework which considered country, product and individual differences and their interactive effects, the results of this study indicate the ways in which all three have an impact on the acceptability of product placements and on potential purchase behavior. Finally, implications for managing and further researching product placements based on this framework are drawn.Product placement in the movies, according to Gupta and Gould (1997, p. 37), "involves incorporating brands in movies in return for money or for some promotional or other consideration." Such placement (including that in other media such as television) has also been viewed as a hybrid of advertising and publicity (Balasubramanian 1994). Research has indicated the importance of product placement as an addition to the promotion mix although there remains a number of challenging issues concerning it. To date, such research has mainly centered on product placement's efficacy (Babin and Carder 1995, 1996; Gupta, Balasubramanian andKlassen 2000; Gupta and Lord 1998; Karrh 1994; Ong and Meri 1994; Vollmers and Mizerski 1994) and ethical acceptability (Gupta and Gould 1997; Nebenzahl and Secunda 1993). A review of these studies indicates a major gap in the literature: the previous studies of product placement were conducted in the U.S., and there has been little focus on it as a global phenomenon. However, the general globalization of marketing communications, the interest in integrating them in Integrated and Globally Integrated Marketing Communications programs (DeLorme 1998; Grein and Gould 1996), and the fact that many movies play to and often are produced for multinational audiences raise the issue of how consumers in other countries perceive product placements.Considering product placement on a cross-national or cultural basis is important from a marketing point of view in terms of the issue of standardization versus adaptation. (It should be noted that cross-national means across nations while cross-cultural may imply other distinctions as well, since cultures often do not follow national boundaries [cf. Dawar and Parker 1994]). Here, both terms may be used, but in general the study to be reported will be on a cross-national basis.) While it is not very likely that a movie would have multiple international versions based on different versions of product placement, a marketer could nonetheless make a decision as to how a globally marketed product would play in all the countries where the movie might be distributed. From this point of view, the product placement campaign is one of standardization by default. Still, as Karrh (1998a) points out, there are very likely to be cross-cultural differences with respect to attitudes toward product placement which should be considered. However, a marketer cannot create local product placements in a global movie as easily as local commercials. Thus, although many American movies are widely exported, their product placements usually are not culturally adapted. Therefore, the result is generally either standardization or nothing. Reflecting this concern and the inflexibility of product placements relative to some other forms of promotion, this paper takes a first step in addressing the research gap in the international literature by investigating cross-national perceptions of the efficacyand acceptability of product placements. This study will also explore the robustness of the Gupta and Gould (1997) approach to product placements in other environments.A Cross-Cultural FrameworkIn general, culture in general informs product meanings largely through the promotional system, and these meanings in turn are engaged and acted upon by the consumer (McCracken 1986). This approach may be extended both cross-culturally (Gould 1998) and to product placement (Russell 1998). These ideas suggest that a product's placement in a movie may vary in the effects it has in different countries. However, beyond the general idea of culture when considered in cross-national or cross-cultural terms is the issue of cultural versus individual differences as outlined by Dawar and Parker (1994). Advertisers in this regard must make decisions about segmentation based upon whether there are cross-national differences and/or there are within-nation differences which transcend national boundaries. For example, consider whether American and French consumers differ from each other in their attitudes toward product placement and/or whether men and women in both countries differ from each other in similar ways (e.g., Americans could have more favorable attitudes toward product placement than French consumers, while similar patterns of male-female differences also coexist for both nationalities). If attitudes toward product placement vary by nationality, this would indicate theoretically that product meanings differ across countries and that those using product placement must employ very different strategies than where the attitudes and meanings are similar.On the other hand, individual differences based on factors other than national culture may also play a role in consumer response to product placement. In Dawar and Parker's (1994) terms, these may be regarded as non-cultural variables which, if improperly considered, might be confounded with cultural variables. In the product placement area, Gupta and Gould (1997), for instance, considered a number of variables of this type, including attitudes toward product placement; frequency of viewing movies, and gender. While these individual variables may certainly beinfluenced by or interact with culture, their effect may or may not vary on a cross-national or cross-cultural basis. Thus, as with other consumer phenomena, response to product placement should be investigated in terms of both cross-national and individual difference variables. If cross-national differences predominate, then the key segmentation variable for product placement would be country or ethnicity. Under such conditions, standardization strategies would not work. However, if individual differences predominate, then these variables will serve as the key targeting-segmentation variables. Standardization strategies would be more feasible and they would aim at multi-local, regional or even global segments. If both types of variables (i.e., cross-national and individual differences) are found to have an effect on response to product placement or if an interaction between these types exists, then more complex, adaptational strategies would be required. All these possible effects will also reflect on the robustness of the Gupta and Gould (1997) approach in terms of variables applied and linked.A still more intricate perspective blends in product effects. Wang (1996) provides a contingency approach for global strategy development which concerns three variables: country, product and consumer segment (individual differences). Wang's approach suggests that various interactions between any or all of these three would involve a modification of standardization strategies. For instance, a product with consumer segment interaction would mean that different strategies must be developed for each segment, and that products may appeal to certain segments across countries, but not others. A country with consumer segment interaction, on the other hand, indicates that a particular product appeals to many segments but that response patterns vary within them (e.g., heavy users respond differently across countries). A product with country interaction suggests that within country differences are not a major factor while cross-country differences are. A three-way interaction would lead to the formation of niche strategies.On the basis of the foregoing, there are three general hypotheses which may be used to construct a framework for product placement effects: the cross-national difference hypothesis, the product difference hypothesis, and the individual difference hypothesis. Here, the product difference hypothesis is examined both in terms of within-category and brand differences (e.g., within the camera category) and between product category differences (e.g., camera versus alcohol). If there are no cross-national differences, product and/or individual differences, such as those found by Gupta and Gould (1997) in the U.S., should be similar across countries. However, if there are cross-country differences (e.g., the cross-national difference hypothesis), then it is very likely that some interactions will be found.Product Placements in MoviesIn considering how product placements function, De Lorme and colleagues (De Lorme, Reid and Zimmer 1994; De Lorme and Reid 1999) found that consumers connected the world of the film, including product placements, with their social world, as well as consumption-specific aspects of their own everyday life. Russell (1998) theorizes that transformational and affect transfer processes are at work in the establishment of linkages between a movie or television show and the product placed. These findings of linkages could be important for buying behavior since the decision to purchase a product is likely to be the result of such linkages. They could also be significant in another way: consumers will attach different ethical meanings to product placements in terms of their acceptability, e.g., consumers carry their ethical perceptions of marketing various products into how they perceive them as product placements. Thus, while product placement is still a relatively new area for study, we consider what research there is in terms of two main but related and overlapping categories: (1) its efficacy and (2) its acceptability and perceived ethical standing.Efficacy of Product Placements in MoviesIt has been suggested that product placements may be made effective through positive positioning and/or linking with an attractive character (Karrh 1998b; McKee and Pardun 1998). Nonetheless, prior research results regarding the efficacy of products placed in movies are mixed. There is little support for brand attitude change resulting from product placement, but there is some evidence that people do recognize or recall brands so promoted (Babin and Carder 1995, 1996; Gupta and Lord 1998; Karrh 1994; Ong and Meri 1994; Vollmers and Mizerski 1994). It is also noteworthy that Gupta and Lord (1998) found that prominent placements could perform better than television advertising in inducing recall. However, based on these studies conducted to date, the research generally is based on recognition-recall and attitude factors and does not focus on purchasing behavior, although McKee and Pardun (1998) do link treating the product as "hero" to positive sales results. In the study to be reported below, we will more directly consider purchase behavior as an indicator of efficacy.Acceptability and Ethics of Product Placements in MoviesThe acceptability and ethics of product placement may be viewed in terms of two aspects: (1) general ethical concerns and (2) ethical concerns about specific products. Regarding the general acceptability and ethics of product placement, Nebenzahl and Secunda (1993) found that generally such placement was acceptable although those who objected tended to do so for ethical reasons. For instance, some consumers felt that products placed in movies could be deceptive or even subliminal. For instance, they may be seen as "hidden but paid" messages (Balasubramanian 1994). On this basis, some people in the U.S. have gone so far as to suggest that product placements should be restricted or banned (Rothenberg 1991).On the other hand, specific products have been targeted for ethical concern with respect to product placement. For example, the placement of cigarettes in movies which are shown on television have been viewed as a way to get around the ban on cigarette advertising (Balasubramanian 1994). Such placement is addressed to acaptive TV audience which cannot or would not want to zip through this commercial intrusion since it would interfere with the overall viewing experience. Moreover, young people in particular can see these products used even though they are not supposed to see such advertising. Indeed, then, just as the marketing and advertising of cigarettes, along with other products such as alcohol and guns, are very controversial (Boddewyn 1993; Hill 1994; Kaskutas 1993), product placement, as well, will provoke strong criticism and opposition.出处：Gould, S.Gupta, P.B.Sonja Grabner-Krauter．Product Placements in Movie: A Cross-Cultural Analysis of Austrian, French and American Consumers' Attitudes toward This Emerging, International Promotional Medium [J] ．Journal of Advertising．2000(04)，pp.51-65二、翻译文章标题：电影中的植入式广告：奥地利、法国、美国消费者对这种新兴的，国际宣传媒介态度的跨文化分析译文：本文讲的是尝试由古普塔和吉尔德（1997）提出的关于在电影中使用植入式广告的方法的跨文化研究。
(广告植入)软广告的效果外文文献翻译
文献信息：文献标题：Effectiveness of brand placement: New insights about viewers（软广告的效果：观众的新见解）国外作者：Jean-Marc Lehu，Etienne Bressoud文献出处：《Journal of Business Research》, 2008, 61(10):1083-1090字数统计：英文3592单词，19084字符；中文5823汉字外文文献：Effectiveness of brand placement: New insights aboutviewersAbstract Since traditional media have become saturated, the technique of product placement has been attracting growing interest. This research explores new insights concerning viewers' reactions during a second viewing of a movie. A sample of 3532 French viewers of DVDs has been used to link the way the movie was chosen, viewed and appreciated (or not) with a spontaneous brand placement recall, the day after the film was watched at home. Results make a contribution to strengthening professionals' interest in the technique, and to adding to academic knowledge of the topic. A first viewing of the movie at the cinema improves brand placement recall, as does watching the movie at home on a large home cinema screen. Such an improvement also occurs when a DVD movie is chosen either because of the movie director or when the viewer likes the movie.Keywords Consumer; Product placement; Brand placement; Movie; Film; Branded-entertainment; Spontaneous day-after recall1. IntroductionProduct placements (a product and/or a brand intentionally placed in a culturalmedium) are mushrooming in movies nowadays. Those products are part of a so-called product placement deal. Product placement in movies has become a communication technique which is used more than ever by advertisers (Karrh et al., 2003; PQ Media, 2007). A recent Association of National Advertisers (ANA) survey indicates that 63% of the American advertisers who responded already integrated product placement actions in their communication plan, 52% specifying that financing for those actions had been transferred from their TV advertising budget (Consoli, 2005). A great deal of research is already devoted to product placement in all its forms (Nelson, 2002; La Ferle and Edwards, 2006; Gupta and Gould, 2007) and more specifically to product placement in movies (Karrh, 1998).2. Brand placement in moviesSince the first brand placements appeared in novels two centuries ago, they have developed with the movie industry (Turner, 2004; Newell and Salmon, 2004). Product placement is a crossbreed technique, that combines different communication techniques into one, taking place in a cultural and/or entertainment environment. Placing a product consists of putting a product and/or a brand into a movie scene where it can be seen and/or its name heard. The placement can either be paid for by the advertiser or be part of a barter deal concerning products and/or services such as logistics facilities (Karrh, 1998). Mainly since the end of the 1980s, several papers contribute to a better understanding of this communication technique which is dubbed hybrid by Balasubramanian (1994) since brand placement puts an ad message in entertainment medium. Its positive effect on attitude (Fontaine, 2005; Redondo, 2006) and especially its potential impact on brand recall (Brennan et al., 1999; d'Astous and Chartier, 2000) represent the main core of the research knowledge.2.1. The reasons for product placement growthConfronted with the fragmentation of media and their audiences on the one hand (Deloitte, 2005) and with the rise of electronic video devices allowing viewers to skip commercials (O'Neill and Barrett, 2004) on the other, advertisers are increasingly seeking to re-establish the link between products and their consumers. As brandplacement in movies seems to be well accepted (O'Reilly et al., 2005), sometimes less expensive than a 30-second TV spot and also more effective (Jaffe, 2005), this communication technique is becoming more frequently used. Ways of placing the brand may differ, but the main purpose of obtaining brand recall and improving brand image remains (Lehu, 2007). That is why Chief Inspector Clouseau drove a Smart car in The Pink Panther.Movies are not the only medium used for brand or product placement. Some can be found in television series or shows, theatre plays, songs, videogames, novels… (Kretchmer, 2004; Moser et al., 2004). The primary reason remains the same: generating complementary income for the author, the medium or the production on the one hand, while offering an opportunity of branded entertainment to the advertiser (Russell and Belch, 2005). Car makers were among the first to use the technique because of the potentially very large audience for a low cost (Parrish, 1976). Moreover the same movie can now be seen in theatres, on DVD, cable/satellite TV, syndication and reruns. Besides, building a fake car would be too costly for a production and somehow could appear too obvious to the audience (Moseret al., 2004).2.2. Modalities and effectiveness of a product placementResearch into product placement usually focuses on effectiveness or spectators' acceptance of this hybrid technique. Nevertheless, most research in this field explains and gauges effectiveness by the way the placement is made, meaning that most of the results show how the characteristics of the brand placement affect its effectiveness (effects from the placement). Balasubramanian et al. (2006) identify several measures of effectiveness: brand typicality/incidence, placement recognition, brand salience, placement recall, brand portrayal rating, identification with brand/imitation, brand attitude, purchase intention, brand choice, and brand usage behavior. Three placement modalities are usually distinguished: prominence, audiovisual and plot insertion. Prominent placements occur when the product is made highly visible by the virtue of the size and/or position on the screen or its centrality to the action in the scene (Gupta and Lord, 1998). The audiovisual characteristic refers to the appearance of the brandon the screen and/or to the brand being mentioned in a dialogue (Russell, 2002). Finally, plot insertion refers to the degree to which the brand is integrated into the story itself (Russell, 1998). Such research contributes to a better understanding of product placement effectiveness (V ollmers and Mizerski, 1994; Russell, 2002; Karrh et al., 2003; Bressoud and Lehu, 2007b), and more specifically brand communication effectiveness.Several researchers have worked on placement effectiveness, and still do, either in movie theatres (Ong and Meri, 1994) or in TV program, including series (Stern and Russell, 2004). However, even if they recognized that a movie placement has a first life in theatres and a second life in the home (V ollmers and Mizerski 1994), little research has focused on this topic (Brée, 1996). Research into product placement concentrates on placement conditions which can be partly controlled by the advertiser.2.3. Research objectiveBecause the link between a spectator's conditions of exposure and brand placement effectiveness cannot be controlled, less research focuses on this relationship. But a spectator's attitude influences such effectiveness (Johnstone and Dodd, 2000; Fontaine, 2002), and the advertiser could have chosen the movie on the basis of the attitude the story was supposed to generate. This primary analysis leads us to one goal: exploring the influence of the spectator's attitude on the effectiveness of a second life brand placement in a film on DVD watched in the home. This goal is achieved by explaining the effectiveness of the brand placement in terms of the spectator's attitude while watching the movie during this second viewing; the effectiveness is analyzed using an experiment with DVD viewers.3. HypothesesThe extent of spontaneous day-after recall (SDAR) in terms of number of brand placements seen on screen and remembered is used in this research as the measure of brand placement effectiveness. In determining this, the role of the consumer becomes pregnant, discussing how many brands a consumer should remember, given the conditions pertaining when he or she was exposed to the movie. The advertiser'sobjective is obviously to make sure that the consumer recalls the specific brand and that he or she does so regardless of the modalities of the brand placement.Four hypotheses have been formulated to link brand placement and the consumer who has been exposed to this communication technique. The first two hypotheses focus on this aspect, before and during the exposure to the movie. The last two hypotheses concentrate on the spectator's attitude towards the movie before and after viewing the movie in which brands are placed.3.1. Second life of the placementAmong the respondents, some may have seen the movie previously, in cinemas. （Johnstone and Dodd 2000) First test the hypothesis that SDAR might be higher if viewers were watching the movie for the second time. Unfortunately, they conclude that prior exposure has too little impact upon brand salience level to support this hypothesis. Their hypothesis is tested on a sample of 53 viewers. The present research employs a sample of 3532 viewers. A brand placement has several lives (Brée, 1996) which interact through the many viewings of the movie. Consequently: Hypothesis 1a. The extent of brand placement SDAR on DVD viewing is favorably influenced by a first viewing of the movie at the cinema.Consistent with this first hypothesis that links TV and theater, and the wish to focus on the TV second viewing, the difference of size of a TV screen, smaller than that of a theatre screen, must be considered. Two of the three modalities of product placement, plot integration and audiovisual remain the same whether the movie is shown on a theatre screen or on a TV screen. However, the third modality, prominence, may be drastically changed, given the difference in absolute screen size. Depending on the size of the screen, the product placement may appear less prominent on TV than on a cinema screen. Of course, the relative size of the placement in the movie scene always remains proportionally the same. In a cinema all the spectators are seeing the movie on a large screen, but this is not the case when it is viewed at home. However, pre-tests informed us that a certain number of viewers use video widescreen projection instead of a traditional TV set. This is not a problem ifthe size of the placement has no impact on its recall. Nevertheless, several researchers insist on the role of placement prominence (Gupta and Lord, 1998; Brennan et al., 1999; d'Astous and Chartier, 2000). They demonstrate that the more prominent the placement, the greater the impact. Thus the size of the placement in relation to the size of the screen – which is part of the placement prominence definition – influences the placement recall. This led us to question whether the absolute size of the placement could play the same role: that is, whether the larger the screen on which the respondents have been watching the movie, and thus the bigger the brand placement's appearance, would, via this prominence, result in better recognition and recall. Consequently:Hypothesis 1b. Watching the movie at home, on a large home cinema screen, improves the extent of brand placement SDAR.3.2. Spectator's attitude towards the movieThe two following hypotheses concern the choice of the movie and its appreciation.Some movie viewers choose their movie (in movie theatres or on DVD) because of the film's director (Ainslie et al., 2003). Those movie fans may be more interested than the average in the direction, the set and/or the acting, their supposedly higher attention could lead to a greater degree of SDAR for brand placements. The purpose of this hypothesis is not to analyze the impact of the director's contingent fame on the SDAR. All the selected movies could be considered as successful in their domestic market, but the fame of the director was obviously very different from one film to another. So the goal is just to identify the possible impact of the movie director, whoever he or she was. Based on a direct effect due to vigilance:Hypothesis 2a. Choosing a DVD movie because of the director improves the extent of brand placement SDAR.Fontaine (2002) shows that appreciation of a movie has a positive impact on attitude change. This result is still accurate for recall and then, for a viewer who has enjoyed the movie, details might be better perceived and then be better recalled. This hypothesis is also inspired by Johnstone and Dodd's work (2000) stressing the factthat placements could increase brand salience, and particularly so if the audience liked the movie. Consequently:Hypothesis 2b. The more the DVD viewers appreciate the movie, the more they spontaneously recall placed brands.4. Research designThis section presents the original method adopted of collecting data following a second stage viewing of a movie and the methodology used to test the four hypotheses.4.1. Data collectionThe purpose of this research is to innovate by using a large, convenient sample of video viewers questioned the day after watching a movie on DVD, when leaving one of the three French video rental shops chosen for the study. The intention is to collect answers from single respondents only. This means that the DVD viewers are each interviewed about one film only. The final sample includes 3532 video viewers questioned about one of the following 11 American movies: Men in Black II, Minority Report, Analyze That, Banger Sisters, Fashion Victim, Austin Powers in Goldmember, Johnny English, Intolerable Cruelty, Mr. Deed, Hardball and Paycheck. These movies were selected for the research because they were newly released DVDs (meaning heavy rentals during the data collection process), because they were successful and essentially because the placements were easily and clearly recognizable. This research covers a period from 2003 to 2005 partly because the decision to choose real motion pictures meant that they had to be selected carefully to ensure their maximal usefulness. All the brand placements identified and used in the research were strictly isolated, meaning that the link between an SDAR and a specific placement is exclusive, because each brand placement occurs just once in the movie considered. The movies have not been modified in order to control brand placements. This point was crucial to ensure that, during the interview with the respondent, questions were referring to the same brand placement. Furthermore, American movies represented 55% of the 2003 French DVD market by volume, and 69% by value(CNC, 2005).4.2. MeasurementsThe SDAR of each placement was added to calculate the extent of SDAR per movie for one respondent，that is the dependent variable. The previous watching of the movie in a cinema was measured by a dichotomous question. Respondents were asked whether they watched the movie on a TV or on a large home cinema screen. They were also questioned about the reasons for their DVD choice, which were considered as “director: yes or no”. Finally, appreciation of the movie was evaluated on a 0 to 20 scale (0 meaning a total dislike and 20 an absolute liking). The data collection process took place from January 2003 to February 2005 focusing on the selected just released DVDs. The questionnaire was systematically submitted to every person renting one of the DVDs employed in the research. Every respondent freely chose the movie he or she wanted to watch. Owing to the small size of the video clubs, their proximity and the appeal of the research subject, only six individuals refused to answer the questionnaire.4.3. MethodologySince the four hypotheses are not independent, all of them have been tested in the same model rather than individually. Hypotheses are validated using an ANCOV A, which allows us to study the simultaneous impact of each independent variable on the dependent variable. Independent variables are mentioned in each of the four hypotheses presented above. The dependent variable is the number of brands recalled by the respondent (SDAR) in one movie. A hypothesis is validated when the relationship between the studied variable and the dependent variable is significant, that is p-value is less than 5%, and produces the expected mean of the value. Because the number of placements varies from one movie to another (indeed from 4 to 22 in the movies considered), the total number of brand placements in the movie has been included in the model as a control variable.5. Results and discussionOf the respondents questioned, 34% noticed and, the following day, recalled at least one brand placement in the movie they watched. The size of the sample, 3532 DVD viewers, appears sufficiently large compared with the number of respondents surveyed in the reviewed research in this field, from 62 (Sabherwal et al., 1994) to 378 (Fontaine, 2002), to allow us to diversify spectators, movies and placement modalities. This seemed necessary partly to compensate for the constraints arising from the fact that, when using real movies rather than films created especially for the research or simply excerpts, researchers do not have full control of the placement modalities.First of all, according to the ANCOV A results, the control variable – that is the total number of brand placements in the movie –does not explain the degree of SDAR (probability associated is 0.88), which means that a profusion of brand placements does not automatically increase the number of brands recalled.5.1. Extended time potential for product placementBecause of the specific characteristics of DVD viewers, this research took place during a potential second exposure to product placements. Validating Hypothesis 1a (“Shown_Cinema—Yes” parameterN0; pb0.01) means that the respondents who have previously seen the movie in a cinema show more SDAR than respondents who have seen the movie for the first time on DVD. On the one hand, this analysis shows that product recall is stronger among viewers watching the movie on DVD a few months after viewing this same movie in cinemas. On the other hand, because some 15% of the respondents (representing 522 viewers) rented a DVD even after having seen the film in cinemas the previous year, this result supports the product placement professionals' view as well as the academic research which argues that the potential total audience could be far bigger than the one calculated from cinema tickets alone (Brée, 1996).Of the sample 17% saw the movie on a large screen (home cinema). Since the extent of SDAR was significantly greater among these 587 respondents, Hypothesis 1b is validat ed (“Projection—HomeCine” parameterN0; pb0.01). Indeed, the large dimensions of the screen allow the brand placement to appear significantly greater insize, that is more prominent, and hence to be more effective (Brennan et al., 1999; Astous and Chartier, 2000). Considering only the size of the placement, independent of its duration, placements seen for the first time at the movie theatre might be more effective than placements seen for the first time on a regular TV screen.5.2. Benefits from spectators' positive attitudeThe findings relating to choice of a DVD because of the movie's director support Hypothesis 2a (“Choice_Director—Yes” parameterN0; pb0.01). Logically, a movie fan who prefers a specific director is more alert to certain details, and thus to various brand placements. Nevertheless, the 10.4% of respondents who chose their DVD for this reason were knowledgeable about movie directing. They were attracted by the director's name, leading to a direct effect. For advertisers, these results therefore invite them to favor well-known and accomplished directors for their branded entertainment deal. This partly explains why the $25 million global product placement deal for Steven Spielberg's Minority Report appears quite suitable and logical (Lehn, 2005).Hypothesis 2b, about the evaluation of the movie by the respondents, is validated (“Evaluation_Rank” parameterN0; pb0.001). Here, also, such a validation means that the more the viewers liked the movie they watched, the better they recalled the brand placements. The validation of this hypothesis leads us to conclude that a positive environment influences the degree of SDAR for brand placements. Thus, not only are advertisers invited to select the type of movie in which to place their products and brands, bearing in mind their intended target audience, but they are also called upon to evaluate the chances of getting a good movie at the end. Some might hesitate when validating Hypothesis 2b about the liking of the movies, as the success or failure of a movie can rarely be predicted (Bressoud, 2007). Even if its components (theme, story, director, editor, actors…) seem to be a high quality combination during preproduction, numerous movies are ultimately what professionals call a bomb, becoming a real box-office failure.6. ConclusionThe marketing communications environment is increasingly using practicesborrowed from the entertainment business, to try to lure more complex and more marketing-aware targets towards an experiential consumption (Hackley and Tiwsakul, 2006). Recommending that advertisers consider as much as possible the viewer's characteristics in order to conceive their product and/or brand placement operations may sound technically difficult at first sight. But the consumer's identity and specific characteristics are becoming increasingly known, recorded and used. No doubt that, in a near future, producers and advertisers will be able to adapt the placements to the target, especially when the movie is watched on DVD. An interaction already occurs. The DVD main menu already offers the viewer a choice of version (short, long, director's cut…), type of screen (pan and scan or widescreen), language, subtitles… Advertisers sometimes request adaptations relating to areas where the movie is running in cinemas.Considering their real communication potential, product placement and brand placement in movies have become indisputably attractive techniques of branded entertainment. The deeper the research delves into its impact and its modalities of usage, the more product and brand placement is revealed as a sophisticated communication technique. This crossbred technique has been increasingly and legitimately appreciated by movie producers, communication consultants and of course advertisers looking to solve problems of media and audience fragmentation through new efficient ways of contacting and seducing their potential consumers. The new insights offered by this research will confirm the value of the technique for advertisers, as they can obviously count on repeated product exposure with a heightened impact as multiple opportunities to see the movie are offered to the consumer.中文译文：软广告的效果：观众的新见解摘要由于传统媒体趋于饱和，软广告已越来越广泛地被使用。
植入式广告外文文献翻译参考资料
文献出处：Williams K, Petrosky A, Hernandez E, et al. Product placement effectiveness: revisited and renewed[J]. Journal of Management and Marketing Research, 2016, 7(1): 16-24.原文Product placement effectiveness: revisited and renewed Product placement is the purposeful incorporation of commercial content into non- commercial settings, that is, a product plug generated via the fusion of advertising and entertainment (Ginosar and Levi-Faur, 2010). Product placement--also known as product brand placement, in-program sponsoring, branded entertainment, or product integration--is a marketing practice in advertising and promotion wherein a brand name, product, package, signage, or other trademark merchandise is inserted into and used contextually in a motion picture, television, or other media vehicle for commercial purposes. In product placement, the involved audience gets exposed to the brands and products during the natural process of the movie, television program, or content vehicle. (Panda, 2004; Cebrzynski, 2006) That is, product placement in popular mass media provides exposure to potential target consumers and shows brands being used or consumed in their natural settings (Stephen and Coote, 2005).In terms of the Internet, consumers want to communicate with companies and brands so that they can get the information they want or need. So, companies need to listen to online conversations and establish what interests their online community. Then, they can provide that information in an engaging format including storytelling, articles, images, and video. For example, Yahoo! has produced branded video content – 5-10 minute “webisodes” that usually feature story lines around a specific product such as a show about someone driving cross country in a Toyota Hybrid, sponsored by Toyota. (Falkow, 2010) “Being able to creatively brand interesting and valuable online content that attracts readers and viewers might just turn out to be the shortest way to consumer’s hearts and minds.” (Falkow, 2010, p. 1)Product placement can be very useful. Ultimately, product placements among entertainment firms, corporate brands, and agencies are all monetarily driven, either directly or indirectly. At the very least, entertainment firms and independentproduction companies are hoping to reduce their budgets so that more dollars can be invested elsewhere. (Chang, Newell, and Salmon, 2009) Its purposes include achieving prominent audience exposure, visibility, attention, and interest; increasing brand awareness; increasing consumer memory and recall; creating instant recognition in the media vehicle and at the point of purchase; changing consumers' attitudes or overall evaluations of the brand; changing the audiences' purchase behaviors and intent; creating favorable practitioners' views on brand placement; and promoting consumers' attitudes towards the practice of brand placement and the various product placement vehicles. (Panda, 2004; Kureshi and Sood, 2010) As noted by van Reijmersdal, Neijens, and Smit (2009), a substantial part of the effects and interactions of product placement is still unknown.Various empirical studies conducted within the field of product placement conclude by claiming its efficacy in influencing media consumers to develop positive brand attitude and boost brand recognition as such it has become a vital marketing communication tool and strategy (Brennan and Babin, 2004; Karrh, McKee and Pardun, 2003; Delorme, and Reid, 1999; Gupta and Lord, 1998).In an attempt to measure the efficacy of product placement in marketing communication, Balasubramanian, Karrh and Patwardhan (2006) developed a model that comprises of four factors that impact the efficacy of product placement:1) Stimulus factors such as placement modality or programme type as well as execution flexibility. Various theorists underline different modes of stimulating behaviour. While Bandura (1989) strongly contends that “most of the cognitive process that regulate behaviour are primarily verbal rather than visual”. There are also theorists such as Paivio who argue otherwise by claiming the superiority of visual stimuli over verbal stimuli (Balasubramanian, Karrh and Patwardhan, 2006). Whatever the case may be, such arguments reflect the need for product placement strategies to revolve around individual specific factors that have impact on individuals processing style, hence in addition to processing styles and individual specific factors, the efficacy of product placement is a function is also a function of modality.2) Individual Specific factors including brand familiarity, attitudes andperceptions towards the brand and involvement with the programme where product is placed highly determine the efficacy of product placement and accomplishment of brand holders’ intent (Russell, 1998).3) Processing depth which refers to the level of conscious processing by individuals who are exposed to product placement can highly affect the efficacy of product placement. Recent studies identify most product placements as practices that are best suited for low involvement products and or services rather than high involvement brands that require extensive knowledge regarding a brand (La Ferle and Edwards, 2006).4) Message outcomes which would measure whether individuals recall and identify a brand from product placement and as to what level that would affect their purchase decisions are also essential factors that help determine the efficacy of product placement strategies and techniques (La Ferle and Edwards, 2006; Balasubramanian, Karrh and Patwardhan, 2006).According to Steortz (1987), successful product placement is one which would allow for a minimum of 20% of population to develop awareness towards a brand and its identity and today based on positive attitude scores and recall and recognition levels, many researchers within the field highlight the huge success that product placement entails in terms of enhancing the image and identity of a brand and entrusting positive brand perception among audience (Cowley and Barron, 2008; Pride and Ferell, 2011). Researchers also focus in highlighting the advantages that it offers which over score traditional communication mix:A study conducted by 1st Place in 2010 in the U.S shows that 90% of media consumers with digital recorders skip T.V commercials, this in turn highlights the need for advertisers to get inside the content of the show that people prefer to see, thus through product placement, the product placed in any media cannot be ignored as it is an integral part of the movie or show that people wish to view hence zapping is reduced.People would develop better association with the brand depending on the person who is promoting or endorsing it; and thus bring the brand to life. Referring to thestudy conducted by 1st Place (2010) 60% of sample interviewed reported to have felt positive about the brands they recognized in placements and 45% claimed to be more likely to make purchase.Product placement is helpful in offsetting costs as it allows brand holding companies to share costs with artists, programme producers and other parties involved (Cowley and Barron, 2008).The other major advantage of product placement over traditional media is the advertiser faces no competition in promoting the brand. This is because purchase of space within a programme or sponsorship diminishes interfering messages from other competitors including message clutter which audiences may find exhausting and can have negative impact on the message that a brand holding company is trying to get across (Cowley and Barron, 2008).However, product placement as a marketing communication tool is not without flaws and critiques; according to Daugherty and Gangadharabatle (2005) product placement entails major hindering factors related to:1) Lack of control: the brand holding company has little control over the way the brand is incorporated or portrayed into a story line or a scene.2) Risk of negative association: there are high chances for a product or a brand to be misinterpreted, criticized or linked to negative values depending on the medium that the product is placed on. Moreover, uncertainties regarding the success rate of a programme or a movie could also have relatively huge impact on product placement decisions.3) Pricing: Accepted placement fees are usually dependent on standard scales of audience size of media vehicle. Thus it is assumed that a the placed brand is going to gain equal exposure across scenes and events, however this strategy completely ignores time and modality thus pricing still remains somewhat of a vague concept in product placement (Pokrywczynski, 2005).4) Product Placement ethics: Critiques of product placement continuously debate the ethics of product placement in exposing viewers to marketing by drawing light to the fact that it reflects an intrusive approach to communicating with audience;aggressive commercialization. And perhaps one of the major obstacles in the field of product placement is its vulnerability to strict rules and regulations. For instance in U.K, it was not until end of February 2011 that the government allowed product placements on mass media communication platforms. Prior to that, OFcom, which is the communications regulator in U.K, regarded product placement as illegal marketing communication tactic. The ban was lifted to compensate for the loss that the media and entertainment companies were facing under the condition that viewers were made aware of the fact that the content they were viewing also included product placements by including ‘P’ as an identification mark and that product placement was editorally justified. (BBC, 2011) Although highly popular in the United States, Product placement is also subject to many rules and regulations as identified by the CSM (Centre for the Study of Commercialism) in Washington. There are still continuous debates on whether product placement should be disclosed to audiences or not, mainly to protect children from being exposed to unnecessary contents. More over, although not applicable to movies and video games, when it comes to television product placements, programme producers are by law obliged to disclose the presence of product placement to audience prior to receiving payments.译文植入式广告营销效果:回顾和更新Williams K, Petrosky A, Hernandez E植入式广告是指商业内容有目的地编入进非商业性的设置中,也就是说,一个产品通过广告和娱乐的插入融合产生(吉罗撒和利瓦伊-福尔,2010)。
浅谈电影植入式广告
浅谈电影植入式广告【摘要】电影植入式广告在影视产业中扮演着重要角色，已经成为一种主流的广告形式。
本文首先解释了电影植入式广告的定义，探讨了其优势和形式。
接着分析了电影植入式广告在电影中的影响以及未来的发展趋势。
结论部分强调了电影植入式广告的重要性和可持续发展性，指出了其在电影产业中的前景。
通过本文的阐述，读者可以更深入地了解电影植入式广告在电影中的应用，以及其对电影产业的影响和未来发展方向。
【关键词】电影植入式广告，影视产业，定义，优势，形式，影响，发展趋势，重要性，前景，可持续发展1. 引言1.1 影视产业中的广告形式在竞争激烈的市场中，电影植入式广告为广告商带来了新的营销机会和思路。
通过与优质电影的合作，可以将广告内容精准地传达给目标受众，提高品牌知名度和美誉度。
对于电影制作方来说，植入式广告也可以带来额外的收入来源，促进电影产业的发展和繁荣。
1.2 植入式广告在电影中的应用在当今电影市场中，植入式广告已经成为了广告主们争相抢占的位置。
从电影中角色使用的手机品牌、穿着的服装，到故事情节中出现的汽车品牌，植入式广告无处不在。
这种广告形式的应用不仅为电影制作方带来了额外的收入，也为广告主提供了全新的宣传平台。
随着电影行业的不断发展，植入式广告在电影中的应用也将不断创新和完善。
通过与影片内容的有机结合，植入式广告将更加贴近观众的生活，更加自然地融入到电影中。
电影制作方和广告主之间的合作模式也将更加紧密，共同推动电影植入式广告行业的发展壮大。
2. 正文2.1 电影植入式广告的定义电影植入式广告是指在电影中以一种自然融入情节中的形式出现的广告方式。
它通过在电影中插入产品、品牌或服务的方式，以达到宣传和推广的目的。
相比于传统的广告形式，电影植入式广告更加巧妙地融入到电影中，不仅不会打破电影的整体氛围，还能够在观众潜意识中留下更深刻的印象。
电影植入式广告通常会选取与电影内容相关的产品或品牌进行植入，以提高观众对广告内容的接受度和记忆度。
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标题：Product Placement In Movies: A Preliminary Test Of An Argument For Involvement原文：A model is proposed to begin to explain the role that viewer involvement with a movie scene feature a product placement has on the impact of product placements. This study is a preliminary test of the differences in brand recognition and recall for products in either high or low involvement movie scenes. The experiment tests four existing motion pictures with product placements and shows a pattern (albeit statistically insignificant) of enhanced cognitive effects (recall and recognition) in more involving movie scenes. Implications are provided for future research to further test the proposed model.IntroductionMarketers today are spending millions of dollars for product placements in motion pictures after the tremendous success linked to the dropping of Reese's Pieces candies to lead an alien out of the woods in the movie ET: The Extra-Terrestrial. More and more companies try to find more creative and uncluttered ways to expose consumers to products. Product placements range from subtle background appearances to the dominant role (10.5 minutes of total exposure time) of a Wilson volleyball washed ashore in a Federal Express package after a plane crash leaves actor Tom Hanks as the only survivor on a deserted island in the movie Cast Away (Maynard and Scala, 2002). Previous research has looked at moviegoers opinions about product placement (Gupta and Gould 1997; DeLorme and Reid 1999), the ethical nature of using movies for product pitches (Gupta, et al 2000), the frequency and type of brand exposure in movies (Karrh, 1994) and the effects on viewers of different types of exposures (d'Astous and Chartier 2000; Gupta and Lord 1998; Brennan and Babin 2004; Sabherwal, Pokrywczynski and Griffin 1994). This latter research on placement effectiveness is the focus of the current research.The primary objective of this research is to begin to examine the differential impact of product placements in movies depending on the context in which the placement is seen. Multiple movie product placements are tested, a distinction from earlier research. Since previous research has shown that product placements including both visual and verbal displays of the product have the most impact on recall and brand attitudes, followed by verbal only and finally visual only appearances, there's reason to believe other variables related to information processing may also affect impact. The variable of focus here is viewer involvement with the scene featuring the placement. A broader implication of the findings of this study may be to better understand the role context plays in all types of communication forms: letters, speeches, phone calls or face-to-face.Literature ReviewAlthough definitions of product placement differ slightly across the literature, a generally accepted one from Karrh (1994) says: "a paid inclusion of branded products or brand identifiers, through audio and/or visual means within mass media programming," is most comprehensive and is used for this study.Research has generally found product placements to be acceptable to viewers. Placements are seen as adding realism to scene, are preferred to fictitious brands and are understood to be more and more a necessary component to cost containment in the making of programs and movies. (DeLorme and Reid 1999; Gupta and Gould 1997) Product placement effects on viewers have been examined mostly with a focus on brand recall and recognition. Karrh (1994) found that viewers could correctly recognize and recall placed brands in movies, using aided recall measures. Gupta and Lord (1998) showed brands placed prominently in a movie scene enjoyed higher brand recall than those that were not. Placements that combined verbal and visual brand references were better recalled than placements that enjoyed one or the other in movie scenes. (Sabherwal, et al, 1994) Although most of these studies establish a cognitive effect of movie product placements, brand recall is often no higher than 30percent and most studies make no comparisons among movies, choosing to test just one movie and manipulating other variables related to the placement.Few studies examine product placement influences on attitudes toward a product or brand. When they do, (e.g., Karrh 1994), no differences are found in viewers' attitudes toward the brand. Does this mean product placements are incapable of influencing brand attitudes? Or is the measurement of attitudinal effects to blame? Maybe it's the testing conditions used in these studies?Some question if product placements are too subtle to have any effect on consumers (Andriasova and Wagner 2004). This study focused on product related strengths of association with the characters involved in using the product on screen. Rather than enhancing brand attitudes or brand awareness directly, a product placed in ways that viewers perceive fit with the character using them will gain an enhanced association every time consumers think of that character. In addition, Andriasova and Wagner (2004) found a link between viewer involvement in the program and product related associations. Unfortunately, only one product-character association was tested in this study, providing no comparison data as opposed to that provided by the present study.Six variables of product placement have been identified as playing a role in the potential impact for sponsors (Fisher and Wagner 2004), and three of those are represented by the concept of involvement. Content characteristics, which include movie genre and mood of the scene are important in product placement decisions and contribute to viewers' involvement with the movie. Suspense thrillers and action adventures, which tend to engage viewers both cognitively and emotionally, have consistently been classified as high involvement content (e.g., Kennedy 1971; Park and McClung 1986) while comedies and musicals are identified as less involving (e.g., Bryant and Comisky 1978).Characters are a second component important to product placement as well as viewer involvement. Association with popular actors, such as Tom Cruise wearingRay Ban sunglasses in Risky Business, makes a product more attractive and movies more engaging for many viewers. Of course the role the character plays in the movie and the subsequent role the product gets also have an influence on product placement effectiveness and viewer involvement. For example, in Italian Job, the mini Cooper auto is a character itself as it shows up in numerous scenes throughout the movie and provides the nimble handling to allow the main characters to safely navigate through numerous dangers.Finally processing opportunities, such as how prominent the product is depicted in the placement, whether shown visually or mentioned or both, along with the relevance of the product to the scene, impact placement outcomes. Russell (2002) called them "plot connections" and "modality," and in an experiment tested the main and interactive effects measuring both brand recognition and attitude change. She found greater brand recognition for visually dominant placements, but greater attitude change in background visual product placements. Involvement was not considered in this study.TheoryThis present study focuses on the variable of viewer involvement with different scenes in the movie and the accompanying effects it has on consumer reactions to product placements in high versus low involvement scenes. Although viewer involvement has not been widely applied to cinema, it has received attention when applied to television. The focus in this research has been how viewer involvement with programs affects the advertising placed during the airing of such programs. (Kennedy 1971 ; Bryant and Comisky 1978; Lloyd and Clancy 1991; Park and McClung 1986). Most of the studies that tested advertising recall in high and low involvement programs have generally found a contrasting effect between involvement and ad effectiveness. Kennedy (1971) tested the same ad in a suspense thriller (high involving) and a situation comedy (low involving) and concluded the poorer ad recall during the suspense thriller was caused by viewers' annoyance at the interruptions in their drive for story line closure. Lloyd and Clancy (1991) tested ad recall in a waitingroom showing two different programs and also failed to find highly involving programs linked to better ad performance. Similar results were found by Bryant and Comisky (1978), although they suggest that the increased enjoyment experienced by highly involving programs may rub off on commercials and attitudes toward the brands featured in them.Park and McClung (1986) measured commercial involvement rather than recall or brand attitudes and also distinguished between cognitive and affective program involvement. Their results mirrored the contrast effects found in the studies described above for cognitively involving programs, but enhanced ad involvement was found for affectively involving programming. This suggests that looking at multiple dimensions of viewer involvement is important.Cho (2003) tested the effects of different levels of product involvement in the act of clicking Internet banner ads. Although Cho found banner ads were more likely to be accessed for more involving products, when peripheral cues, such as ad size and animation, were considered, the relationship between involvement and clicking became unclear. Another byproduct of this study was an attempt to model the role of involvement and central/peripheral processing in mitigating Internet surfing behavior. This model was adapted to apply to movie product placement for the present study.It is important to note that the contrast effect generally found between television program involvement and ad performance may not be applicable to product placement in movies. Television commercials are clearly a distinct message form compared to television programs, introducing the effects of interruptions, drive for closure and other effects not part of the movie product placement experience. Given the generally accepted notion of limited capacity of the human information processing system (Petty and Cacioppo 1983), combining television program processing and commercials together may overload the system, providing a conceptual explanation for the empirical findings of most television viewing involvement research.However, in most movie product placement situations, the products are seamlessly merged into the message being delivered by the movie. Processing product placements becomes part of processing the movie content. Hence, Petty and Cacioppo's well established Elaboration Likelihood Model (1983) on information processing would suggest that products placed in more highly involving scenes should produce more elaborate cognitive processing, increasing the chances that brand awareness and knowledge would be processed compared to products in less involving scenes.In turn, more highly involving scenes/placements are predicted to lead to different attitude outcomes, with more enduring brand attitudes occurring in high involvement conditions than in lower involvement ones. Although brands can still be enhanced in low involvement conditions because processing is still occurring, albeit a peripheral type, the effect is more likely to be short term. The length of this enhancement could be as short as the end of the movie, or as long as the next purchase decision. However, length of term is beyond the scope of this model.Given this study is a preliminary step in the process of understanding movie viewing involvement and its effects on product placement impact, the following hypotheses were posited:H1: Viewers experiencing high involvement movie scenes are more likely to recall a prominent, on-set product placed in a movie scene than viewers of less involving movie scenes.H2: Viewers experiencing high involvement movie scenes are more likely to recall a greater number of product placements in a movie scene than viewers of less involving movie scenes. The number of brands exposed to the viewer must be accounted for in this assessment.Conclusions & DiscussionThe results of this research show that viewers' involvement can vary with different movies and by type of involvement considered. On two of three involvementmeasures a movie (Castaway) predicted to be more involving and one less involving (You've Got Mail) to viewers indeed delivered. The Castaway segment depicted a character desperate to survive and had gripping scenes as the character experienced successes and failures in finding food and other necessities to survive. On the other extreme, You've Got Mail was a light hearted, uneventful segment sprinkled with comedy that was setting the scene for later encounters that would prove challenging for the two leading characters. The two other films tested showed tendencies to be classified as predicted. Coincidentally, both conditions had sample sizes of 20 or less, which may have contributed to the lack of variation necessary to sort these movies statistically.The reverse prediction (albeit insignificant) for affective involvement viewing measures shows the importance of assessing multiple dimensions of the involvement construct. Involvement is a complex construct, one that research has yet to produce a clear understanding of. However, just because it is a complex construct doesn't mean researchers should shy away from its investigation. Its application to movie viewing and its impact on product placement effects is hinted at with the results of this study, although still not clear.出处：Pokrywczynski, James．Product Placement In Movies: A Preliminary Test Of An Argument For Involvement [J] ．American Academy of Advertising. Conference . Proceedings ．2005(01)，pp.37-53标题：电影中的植入式广告：对介入观点的一个初步测试译文：有模型解释观众介入电影场景的植入特点对植入式广告有影响。