毕业论文-饥饿营销的消费者心理分析—以小米手机为例.docx

饥饿营销的消费者心理分析以小米手机为例课 程 论 文题 目： 饥饿营销的消费者心理分析以小米手机为例 院 别：政法学院 专 业：12级行政管理 姓 名： 学 号： 授课教师： 日 期：2015年1月14日 饥饿营销的消费者心理分析以小米手机为例摘 要由于小米手机的持续热销，使人们的焦点再一次关注到饥饿营销上。本文以小米的饥饿营销法为载体，通过深入分析小米的营销手段，介绍了何谓饥饿营销、饥饿营销的实施条件以及饥饿营销对消费者心理及行为的影响，以及“饥饿营销”是否值得推崇。最后总结了对其他企业的借鉴意义和启示作用。关键字 小米；饥饿营销；消费者心理；消费者行为目录一背景4二饥饿营销概述5（一）饥饿营销的涵义5（二）饥饿营销的理论基础6三小米手机的饥饿营销7（一）小米实施饥饿营销的背景7（二）小米手机的销售业绩8（三）小米手机饥饿营销的运用8四饥饿营销下小米手机的消费者心理分析10（一）从求新心理看小米更新快10（二）从好奇心理看小米发布密11（三）从攀比心理看小米购买难11（四）从求名心理看小米品牌响12（五）从从众心理看小米受众广13五总结14六参考文献15一背景在商品日益丰富，越来越同质化的今天，以小米为典型的饥饿营销作为一种新的营销方式，一时间得到很多企业的青睐和采用。有很多企业借助饥饿营销获得了高额的利润，提升了企业的品牌形象，但也有很多企业在运用饥饿营销之后，导致顾客纷纷退货，品牌形象下降。所以饥饿营销是一把双刃剑，需要企业科学、合理、谨慎地使用它。因此，分析和研究饥饿营销下消费者心理和针对性营销策略，对企业成功实施饥饿营销从而在满足消费者心理需求的同时，实现企业自身的发展具有重要意义。二饥饿营销概述（一）饥饿营销的涵义目前市场营销领域有各种各样关于饥饿营销的定义，一般认为，所谓饥饿营销是指企业有意调低产品产量，以期通过调控供求关系，制造供不应求的现象。进而维持商品较高的售价和利润率，同时达到维护企业品牌形象，提高商品附加值的目的。因此，饥饿营销的手段在于有意调低产品产量，饥饿营销的结果是制造供不应求的现象，饥饿营销的本质是维持商品较高的售价和利润率，饥饿营销的最终目的是维护企业品牌形象、提高商品附加值。目前，在中国市场上饥饿营销作为一种营销手段，已经被很多行业所运用而且形式多样。比如手机行业的限量版、供货紧张、门店排队购买、网上预订却迟迟不面市现象；汽车行业的限量版和加价提车现象；房地产行业的排队摇号购房、多次开盘和一次少量供应、预交购房诚意金现象；烟草行业的限量供应、涨价现象；白酒行业的货源紧缺、涨价现象；餐饮行业的限时、限量供应现象；影视行业的有计划和有节奏地释放影片信息、大规模和长时间炒作现象等等。（二）饥饿营销的理论基础每个人总有许多需要，有些需要是由生理状况而引起，诸如饥饿、口渴、不安等。另外一些需要是心理性的，是由心理状况紧张而引起的，例如认识、尊重和归属。当需要升华到足够的强度水平时，这种需要会变为动机。饥饿营销对消费者心理的激发机制就是心理性的故意制造商品短缺假象，让消费者紧张，让消费者以占有为最快乐的事情，这时消费者被吊足了胃口，需要升华到急于占有，消费者动机产生了。对于人类的心理动机，马斯洛需要层次理论是一典型的分析工具。马斯洛需要层次理论把需要分成基本需要和成长需要、生理需要、安全需要、归属和爱的需要、尊重需要是基本需要、认知需要、审美需要、自我实现需要是成长需要，依次由较低层次到较高层次排列，形成金字塔形状，饥饿营销抓住了消费者的购买动机中有成长的需要，当能拿到一个限量版，排队抢购的新颖的产品是对自己能力的一种证明，满足了对产品好奇心，对美的追求，属于认知需要和审美需要，证明自己很时尚，有品位，是有追求的人，同时也证明自己很有地位，满足了自我实现的需求。三小米手机的饥饿营销（一）小米实施饥饿营销的背景2011年手机市场互联网直销属于空白，2011年8月以前,中国尚无网站直销智能手机，最多也是通过第三方网站，比如淘宝网，京东商城销售手机，最普片的销售方式还是店铺商场销售方式。小米公司首先开始官网直销，其次小米CEO雷军强大的号召力和个人影响力的带动下，组织了一个强大的研发团队。团队首先将精力投放在MIUI操作系统的开发和跨平台、跨运营商的手机社交工具米聊，并分别在2010年8月和12月推出MIUI内测版和米聊Android内测版，以及米聊论坛。MIUI和米聊在短时间内就迅速聚拢强大的人气，而且小米爱好者可以米聊论坛反馈所有有关米聊所有的意见问题，也可资源分享、交友、体验核心产品，小米团队甚至让用户也参与手机系统的开发，并打出“用互联网的方式”打造一款“最符合中国人使用的手机”旗号。小米手机的推出正是在米聊和MIUI系统成熟后顺势而为。2012年是智能手机发展的一年，中国市场出货量规模将达到1.13亿台，增长率达到56.0%。巨大的市场增量意味着巨大的市场需求，对于手机厂商，智能手机市场的爆发式增长意味着机遇和挑战，新一轮的市场洗牌已经开始。手机厂商纷纷通过硬件的“军备竞赛”、价格战以及多元化营销手段建立自身的竞争优势,强化自身品牌在用户端的认知。 （二）小米手机的销售业绩2012年8月23日，上午10点小米手机1S首轮开放购买正是开始，官方给出的公告显示，20万台小米1S已经在29分36秒内被全部抢完，截止2012年10月10号，小米总销量超过500万台。而这500多万台手机从手机首台开放购买时间计算一共花了不到十个月的时间，每次开放购买都是在十分钟左右售罄，这是因为小米手机在开放购买日前提供网上预约服务，要真是到了开放购买的时间再去抢购,基本上是没有机会的。在中国这是亘古未有的手机销售记录，而且是由一个刚成立两年多的手机公司做到的。（三）小米手机饥饿营销的运用小米手机的热销，使小米手机成为当今的热点话题。总体来说，小米是一家互联网公司。小米手机是一个产品，就算做手机，也是用互联网的方式在做手机，其他的产品，如米聊包括后面可能做的电商领域，都属于互联网的范畴。互联网的文化是讲究透明和参与感，所以在小米手机一开始面世，就有50万的粉丝都参与设计，这个在手机史上也是个先例，让用户做主，设计团队来满足用户的需求。雷军表示，希望做一款有诚意的产品。什么叫有诚意？第一，尊重和满足用户的需求，以消费者为主导; 第二，有问题就改进。在成立之初，小米的行动规划先从最擅长的软件开始做，做完移动应用，再开始做操作系统，然后从操作系统再到做手机硬件。当小米的移动应用产品得到了超过预期的用户认可，成长很快后，最初的创始团队商议决定加速前进: 提前启动操作系统项目，并开始组建手机硬件团队。如果说，金字塔的顶端是手机，传统手机硬件厂商用自己的经验和在产业链中的资源积累搭起了金字塔的底座。那么，小米也有一个完全不同于他们的底座。这个底座，一是在应用和操作系统不同领域中一定的用户积累; 二是对硬件逐渐的感觉与了解; 三是一套软件应该如何与硬件交互，才能发挥出更大效能、节省手机资源、优化用户体验等的综合方法论。总之，迂回路线使得小米拥有了一个手机产业中没有过先例的“软底座”，它使得小米获得了一些真正能与手机硬件大厂进行市场博弈的独特的资本，如雷军所说，小米现如今的“饥饿”并非和苹果公司的饥饿营销如出一辙。作为一个新型的国产自主产品，面对国外强大的企业在中国国内市场的主导地位的环境下，要想生存下来并逐渐成长是一件很艰巨的任务#在产品被广大消费者接受之前，必须把握好产品的生产量和销售量。如果对市场估计过于乐观，随意增大生产量，对企业的资金是一个巨大的挑战，尤其是小公司。如果预订100万台，这差不多是20亿，小米公司是拿不出那么多钱的。另一方面一款手机售价2000元，万一卖不出去，有可能积压库存，最后将会导致公司关门。中国民营企业要想在中国国内甚至国际的市场上有立足之地，不仅需要政府的支持，更需要广大的中国消费者的支持。四饥饿营销下小米手机的消费者心理分析消费者的心理与企业营销因素之间是相互作用和相互影响的，一方面企业的饥饿营销策略会影响消费者的心理及其变化。另一方面消费者的心理及其变化又会影响企业饥饿营销策略的实施。因此，对企业来说要想更好地实施饥饿营销，了解消费者的心理及其变化至关重要。饥饿营销下的消费者心理主要包括以下几个方面。（一）从求新心理看小米更新快求新心理是以追求所购商品的新颖和时髦为主要目的的一种消费心理。在购买商品时喜欢追求标新立异不同凡响，注重产品新、款式新、花色新、流行时髦的商品。具有求新心理的消费者以经济条件较好和购买力较强的年轻人居多。目前大多数企业实施饥饿营销的商品都是新款和时尚时髦的商品，正因为如此这些商品才能吊起消费者的胃口。进而吸引消费者购买这些商品来满足其求新的消费心理，小米手机正是抓住了这一点总是在硬件软件上都做到第一时间更新。以此来吸引消费者的眼球，培养新的目标客户。（二）从好奇心理看小米发布密从心理学的角度来说，人类有一个很大的癖好就是好奇，好奇心理是指在购买商品时、追求商品新奇、注重所购商品要与众不同、对构造奇特，来头神秘的商品有一种天生的好奇感。在饥饿营销实施过程中，企业有计划和有节奏地释放商品信息。大量的广告宣传却迟迟不面市的现象，排队抢购的现象都会给商品披上神秘面纱，从而激发消费者的好奇心。于是，为了解开心中疑团和商品的神秘面纱，很多消费者会主动搜寻商品信息并激发购买欲望。小米手机在正式发布之前都会放出一些虚假信息，或者真假掺杂的信息来制造话题，来激发消费者的好奇心。（三）从攀比心理看小米购买难攀比心理是中国一种比较普遍的社会心理现象，攀比心理是一种以争强斗胜或者向别人看齐并要胜过对方为主要目的的消费心理。在购买商品时，考虑的不是商品本身的实际价值和自己的迫切需要，而是在虚荣心和嫉妒心等的驱使下产生消费行为。企业实施饥饿营销的商品大多是限量版、供货紧张、高价、高档次的商品。当消费者看到周围的很多人都拥有这些商品时，就会激发他们的攀比心理，从而驱使他们产生消费行为。所以雷军在小米手机的发布会上会有意无意的将小米与苹果等其他手机进行对比，而且小米手机本身“难抢”也会使得消费者以抢到手机为荣，从而证明自己极客的身份。（四）从求名心理看小米品牌响求名心理是一种以崇尚名牌商品，追求名牌商品，追求地方土特产或仰慕某种传统商品的名望为主要购买目的的消费心理。这种求名心理与炫耀心理是相结合的，即消费者在求名的同时，其实也体现出其以显示地位、身份和财富势力为主要目的的炫耀心理。这类消费者通常是高收入者和赶时髦者。企业能成功实施饥饿营销的一个重要原因就是抓住一些消费者对某些名牌商品执着追求的求名心理。消费者的求名心理表现为：现在紧缺断货的商品、他们可以等待，甚至可以加价等待，因为消费者认为一旦得到这些商品，他们的等待就是值得的。消费者会因为有这些商品而产生自豪感，并得到满足感，而这个等待的过程就是推动企业成功实施饥饿营销的重要因素。所以小米在大量销售手机的同时也特别注意“小米”这个品牌的自身价值，不断的提高品牌效应，增加品牌附加值，以此来争取更多的消费者。（五）从从众心理看小米受众广从众是指个体在群体行为的影响下，改变个人意见而与多数人取得一致的认识和行为。从众是中国一种比较普遍的社会心理和行为现象。从众心理在中国各个年龄段和各个阶层消费者的消费过程中，都是十分常见的。比如送礼热、汽车购买热、排队抢购时尚手机等消费现象都是消费者从众心理的体现。很多企业实施的饥饿营销，就是通过制造商品供不应求的现象，吸引一些消费者自愿抢购，从而激发更多消费者的从众心理!进而引起消费热的。小米手机的购买者很大一部分就是从众的，一些人其实并不了解“小米”这个品牌，但是受周边其他人的影响，渐渐也跟风购买了小米手机，这也从侧面证明了小米手机的受众极广，上到公司白领，下到学校学生都适用。五总结通过以上对小米公司的发家，以及其手机的营销策略的分析，我们可以得出，“饥饿营销”作为当前比较热门的营销方法在小米身上取得了相当大的成功。因此，也造成了各个行业的“饥荒”几乎现在的各个行业都在学习“小米模式”大量运用饥饿营销，其实这虽然会给其公司带来短期的经济效益，但是注定长久不了。因为过分的饥饿消费者必然会带来消费者的厌恶，一旦消费者对你的产品失去了信心，产生了厌恶，随之而来的必然是消费群体的流失，而这种流失必然是无法挽救的，会给公司及产品带来致命的打击。所以最后总结一句：“饱汉不知饿汉饥，饿汉一旦饿到极致，饱汉也必将成饿汉。”六参考文献1赵根良.基于消费者心理的营销策略J习.工商管理，2012.2李珊.新时代的消费心理及其对营销的影响巨J习.商场现代化，2006.3刘清华.“饥俄营销”背后的消费动机分析巨J习.中国管理信息化，2011.4施蓝.试析现代广告设计中的消费者逆反心理巨J习.湖南大众传媒职业技术学院学报，2003.5成之莹.饥俄营销攻心计巨J习.商场现代化，2011.6刘万里.论消费心理与营销对策巨J习.商场现代化，2006.为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs, Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in. For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root, he says. Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled. The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the only life worth living. I agree with him. This essay was written during a time of social upheaval in America, and it is rather odd that Emerson authored it, as he was a part of the upper crust of society at the time. It just so happened that he looked around him, at the indolence and the wantonness of the people in his circle; he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his excommunication from high society and also caused him a lot of legal trouble. The l