外文翻译-软广告的效果-观众的新见解及外文翻译-高速立铣ti-6al-4v合金的刀具磨损和切削力变化

PAGE1外文文献Effectivenessofbrandplacement:NewinsightsaboutviewersAbstractSincetraditionalmediahavebecomesaturated,thetechniqueofproductplacementhasbeenattractinggrowinginterest.Thisresearchexploresnewinsightsconcerningviewers'reactionsduringasecondviewingofamovie.Asampleof3532FrenchviewersofDVDshasbeenusedtolinkthewaythemoviewaschosen,viewedandappreciated(ornot)withaspontaneousbrandplacementrecall,thedayafterthefilmwaswatchedathome.Resultsmakeacontributiontoaddingtoacademicknowledgeofthetopic.Afirstviewingofthemovieatthecinemaimprovesbrandplacementrecall,asdoeswatchingthemovieathomeonalargehomecinemascreen.SuchanimprovementalsooccurswhenaDVDmovieischoseneitherbecauseofthemoviedirectororwhentheviewerlikesthemovie.Keywords:Consumer;Productplacement;Brandplacement;Movie;Branded-entertainment;Spontaneousday-afterrecallIntroductionProductplacements(aproductand/orabrandintentionallyplacedinaculturalmedium)aremushroominginmoviesnowadays.Thoseproductsarepartofaso-calledproductplacementdeal.Productplacementinmovieshasbecomeacommunicationtechniquewhichisusedmorethaneverbyadvertisers(Karrhetal.,2003;PQMedia,2007).ArecentAssociationofNationalAdvertisers(ANA)surveyindicatesthat63%oftheAmericanadvertiserswhorespondedalreadyintegratedproductplacementactionsintheircommunicationplan,52%specifyingthatfinancingforthoseactionshadbeentransferredfromtheirTVadvertisingbudget(Consoli,2005).Agreatdealofresearchisalreadydevotedtoproductplacementinallitsforms(Nelson,2002;LaFerleandEdwards,2006;GuptaandGould,2007)andmorespecificallytoproductplacementinmovies(Karrh,1998).BrandplacementinmoviesSincethefirstbrandplacementsappearedinnovelstwocenturiesago,theyhavedevelopedwiththemovieindustry(Turner,2004;NewellandSalmon,2004).Productplacementisacrossbreedtechnique,thatcombinesdifferentcommunicationtechniquesintoone,takingplaceinaculturaland/orentertainmentenvironment.Placingaproductconsistsofputtingaproductand/orabrandintoamoviescenewhereitcanbeseenand/oritsnameheard.Theplacementcaneitherbepaidforbytheadvertiserorbepartofabarterdealconcerningproductsand/orservicessuchaslogisticsfacilities(Karrh,1998).Mainlysincetheendofthe1980s,severalpaperscontributetoabetterunderstandingofthiscommunicationtechniquewhichisdubbedhybridbyBalasubramanian(1994)sincebrandplacementputsanadmessageinentertainmentmedium.Itspositiveeffectonattitude(Fontaine,2005;Redondo,2006)andespeciallyitspotentialimpactonbrandrecall(Brennanetal.,1999;d'AstousandChartier,2000)representthemaincoreoftheresearchknowledge.ThereasonsforproductplacementgrowthConfrontedwiththefragmentationofmediaandtheiraudiencesontheonehand(Deloitte,2005)andwiththeriseofelectronicvideodevicesallowingviewerstoskipcommercials(O'NeillandBarrett,2004)ontheother,advertisersareincreasinglyseekingtore-establishthelinkbetweenproductsandtheirconsumers.Asbrandplacementinmoviesseemstobewellaccepted(O'Reillyetal.,2005),sometimeslessexpensivethana30-secondTVspotandalsomoreeffective(Jaffe,2005),thiscommunicationtechniqueisbecomingmorefrequentlyused.Waysofplacingthebrandmaydiffer,butthemainpurposeofobtainingbrandrecallandimprovingbrandimageremains(Lehu,2007).ThatiswhyChiefInspectorClouseaudroveaSmartcarinThePinkPanther.Moviesarenottheonlymediumusedforbrandorproductplacement.Somecanbefoundintelevisionseriesorshows,theatreplays,songs,videogames,novels…(Kretchmer,2004;Moseretal.,2004).Theprimaryreasonremainsthesame:generatingcomplementaryincomefortheauthor,themediumortheproductionontheonehand,whileofferinganopportunityofbrandedentertainmenttotheadvertiser(RussellandBelch,2005).Carmakerswereamongthefirsttousethetechniquebecauseofthepotentiallyverylargeaudienceforalowcost(Parrish,1976).Moreoverthesamemoviecannowbeseenintheatres,onDVD,cable/satelliteTV,syndicationandreruns.Besides,buildingafakecarwouldbetoocostlyforaproductionandsomehowcouldappeartooobvioustotheaudience(Moseretal.,2004).ModalitiesandeffectivenessofaproductplacementResearchintoproductplacementusuallyfocusesoneffectivenessorspectators'acceptanceofthishybridtechnique.Nevertheless,mostresearchinthisfieldexplainsandgaugeseffectivenessbythewaytheplacementismade,meaningthatmostoftheresultsshowhowthecharacteristicsofthebrandplacementaffectitseffectiveness(effectsfromtheplacement).Balasubramanianetal.(2006)identifyseveralmeasuresofeffectiveness:brandtypicality/incidence,placementrecognition,brandsalience,placementrecall,brandportrayalrating,identificationwithbrand/imitation,brandattitude,purchaseintention,brandchoice,andbrandusagebehavior.Threeplacementmodalitiesareusuallydistinguished:prominence,audiovisualandplotinsertion.Prominentplacementsoccurwhentheproductismadehighlyvisiblebythevirtueofthesizeand/orpositiononthescreenoritscentralitytotheactioninthescene(GuptaandLord,1998).Theaudiovisualcharacteristicreferstotheappearanceofthebrandonthescreenand/ortothebrandbeingmentionedinadialogue(Russell,2002).Finally,plotinsertionreferstothedegreetowhichthebrandisintegratedintothestoryitself(Russell,1998).Suchresearchcontributestoabetterunderstandingofproductplacementeffectiveness(VollmersandMizerski,1994;Russell,2002;Karrhetal.,2003;BressoudandLehu,2007b),andmorespecificallybrandcommunicationeffectiveness.Severalresearchershaveworkedonplacementeffectiveness,andstilldo,eitherinmovietheatres(OngandMeri,1994)orinTVprogram,includingseries(SternandRussell,2004).However,eveniftheyrecognizedthatamovieplacementhasafirstlifeintheatresandasecondlifeinthehome(VollmersandMizerski1994),littleresearchhasfocusedonthistopic(Brée,1996).Researchintoproductplacementconcentratesonplacementconditionswhichcanbepartlycontrolledbytheadvertiser.ResearchobjectiveBecausethelinkbetweenaspectator'sconditionsofexposureandbrandplacementeffectivenesscannotbecontrolled,lessresearchfocusesonthisrelationship.Butaspectator'sattitudeinfluencessucheffectiveness(JohnstoneandDodd,2000;Fontaine,2002),andtheadvertisercouldhavechosenthemovieonthebasisoftheattitudethestorywassupposedtogenerate.Thisprimaryanalysisleadsustoonegoal:exploringtheinfluenceofthespectator'sattitudeontheeffectivenessofasecondlifebrandplacementinafilmonDVDwatchedinthehome.Thisgoalisachievedbyexplainingtheeffectivenessofthebrandplacementintermsofthespectator'sattitudewhilewatchingthemovieduringthissecondviewing;theeffectivenessisanalyzedusinganexperimentwithDVDviewers.HypothesesTheextentofspontaneousday-afterrecall(SDAR)intermsofnumberofbrandplacementsseenonscreenandrememberedisusedinthisresearchasthemeasureofbrandplacementeffectiveness.Indeterminingthis,theroleoftheconsumerbecomespregnant,discussinghowmanybrandsaconsumershouldremember,giventheconditionspertainingwhenheorshewasexposedtothemovie.Theadvertiser'sobjectiveisobviouslytomakesurethattheconsumerrecallsthespecificbrandandthatheorshedoessoregardlessofthemodalitiesofthebrandplacement.Fourhypotheseshavebeenformulatedtolinkbrandplacementandtheconsumerwhohasbeenexposedtothiscommunicationtechnique.Thefirsttwohypothesesfocusonthisaspect,beforeandduringtheexposuretothemovie.Thelasttwohypothesesconcentrateonthespectator'sattitudetowardsthemoviebeforeandafterviewingthemovieinwhichbrandsareplaced.3.1.SecondlifeoftheplacementAmongtherespondents,somemayhaveseenthemoviepreviously,incinemas.（JohnstoneandDodd2000)FirsttestthehypothesisthatSDARmightbehigherifviewerswerewatchingthemovieforthesecondtime.Unfortunately,theyconcludethatpriorexposurehastoolittleimpactuponbrandsalienceleveltosupportthishypothesis.Theirhypothesisistestedonasampleof53viewers.Thepresentresearchemploysasampleof3532viewers.Abrandplacementhasseverallives(Brée,1996)whichinteractthroughthemanyviewingsofthemovie.Consequently:Hypothesis1a.TheextentofbrandplacementSDARonDVDviewingisfavorablyinfluencedbyafirstviewingofthemovieatthecinema.ConsistentwiththisfirsthypothesisthatlinksTVandtheater,andthewishtofocusontheTVsecondviewing,thedifferenceofsizeofaTVscreen,smallerthanthatofatheatrescreen,mustbeconsidered.Twoofthethreemodalitiesofproductplacement,plotintegrationandaudiovisualremainthesamewhetherthemovieisshownonatheatrescreenoronaTVscreen.However,thethirdmodality,prominence,maybedrasticallychanged,giventhedifferenceinabsolutescreensize.Dependingonthesizeofthescreen,theproductplacementmayappearlessprominentonTVthanonacinemascreen.Ofcourse,therelativesizeoftheplacementinthemoviescenealwaysremainsproportionallythesame.Inacinemaallthespectatorsareseeingthemovieonalargescreen,butthisisnotthecasewhenitisviewedathome.However,pre-testsinformedusthatacertainnumberofviewersusevideowidescreenprojectioninsteadofatraditionalTVset.Thisisnotaproblemifthesizeoftheplacementhasnoimpactonitsrecall.Nevertheless,severalresearchersinsistontheroleofplacementprominence(GuptaandLord,1998;Brennanetal.,1999;d'AstousandChartier,2000).Theydemonstratethatthemoreprominenttheplacement,thegreatertheimpact.Thusthesizeoftheplacementinrelationtothesizeofthescreen–whichispartoftheplacementprominencedefinition–influencestheplacementrecall.Thisledustoquestionwhethertheabsolutesizeoftheplacementcouldplaythesamerole:thatis,whetherthelargerthescreenonwhichtherespondentshavebeenwatchingthemovie,andthusthebiggerthebrandplacement'sappearance,would,viathisprominence,resultinbetterrecognitionandrecall.Consequently:Hypothesis1b.Watchingthemovieathome,onalargehomecinemascreen,improvestheextentofbrandplacementSDAR.3.2.Spectator'sattitudetowardsthemovieThetwofollowinghypothesesconcernthechoiceofthemovieanditsappreciation.Somemovieviewerschoosetheirmovie(inmovietheatresoronDVD)becauseofthefilm'sdirector(Ainslieetal.,2003).Thosemoviefansmaybemoreinterestedthantheaverageinthedirection,thesetand/ortheacting,theirsupposedlyhigherattentioncouldleadtoagreaterdegreeofSDARforbrandplacements.Thepurposeofthishypothesisisnottoanalyzetheimpactofthedirector'scontingentfameontheSDAR.Alltheselectedmoviescouldbeconsideredassuccessfulintheirdomesticmarket,butthefameofthedirectorwasobviouslyverydifferentfromonefilmtoanother.Sothegoalisjusttoidentifythepossibleimpactofthemoviedirector,whoeverheorshewas.Basedonadirecteffectduetovigilance:Hypothesis2a.ChoosingaDVDmoviebecauseofthedirectorimprovestheextentofbrandplacementSDAR.Fontaine(2002)showsthatappreciationofamoviehasapositiveimpactonattitudechange.Thisresultisstillaccurateforrecallandthen,foraviewerwhohasenjoyedthemovie,detailsmightbebetterperceivedandthenbebetterrecalled.ThishypothesisisalsoinspiredbyJohnstoneandDodd'swork(2000)stressingthefactthatplacementscouldincreasebrandsalience,andparticularlysoiftheaudiencelikedthemovie.Consequently:Hypothesis2b.ThemoretheDVDviewersappreciatethemovie,themoretheyspontaneouslyrecallplacedbrands.ResearchdesignThissectionpresentstheoriginalmethodadoptedofcollectingdatafollowingasecondstageviewingofamovieandthemethodologyusedtotestthefourhypotheses.DatacollectionThepurposeofthisresearchistoinnovatebyusingalarge,convenientsampleofvideoviewersquestionedthedayafterwatchingamovieonDVD,whenleavingoneofthethreeFrenchvideorentalshopschosenforthestudy.Theintentionistocollectanswersfromsinglerespondentsonly.ThismeansthattheDVDviewersareeachinterviewedaboutonefilmonly.Thefinalsampleincludes3532videoviewersquestionedaboutoneofthefollowing11Americanmovies:MeninBlackII,MinorityReport,AnalyzeThat,BangerSisters,FashionVictim,AustinPowersinGoldmember,JohnnyEnglish,IntolerableCruelty,Mr.Deed,HardballandPaycheck.ThesemovieswereselectedfortheresearchbecausetheywerenewlyreleasedDVDs(meaningheavyrentalsduringthedatacollectionprocess),becausetheyweresuccessfulandessentiallybecausetheplacementswereeasilyandclearlyrecognizable.Thisresearchcoversaperiodfrom2003to2005partlybecausethedecisiontochooserealmotionpicturesmeantthattheyhadtobeselectedcarefullytoensuretheirmaximalusefulness.Allthebrandplacementsidentifiedandusedintheresearchwerestrictlyisolated,meaningthatthelinkbetweenanSDARandaspecificplacementisexclusive,becauseeachbrandplacementoccursjustonceinthemovieconsidered.Themovieshavenotbeenmodifiedinordertocontrolbrandplacements.Thispointwascrucialtoensurethat,duringtheinterviewwiththerespondent,questionswerereferringtothesamebrandplacement.Furthermore,Americanmoviesrepresented55%ofthe2003FrenchDVDmarketbyvolume,and69%byvalue(CNC,2005).MeasurementsTheSDARofeachplacementwasaddedtocalculatetheextentofSDARpermovieforonerespondent，thatisthedependentvariable.Thepreviouswatchingofthemovieinacinemawasmeasuredbyadichotomousquestion.RespondentswereaskedwhethertheywatchedthemovieonaTVoronalargehomecinemascreen.TheywerealsoquestionedaboutthereasonsfortheirDVDchoice,whichwereconsideredas“director:yesorno”.Finally,appreciationofthemoviewasevaluatedona0to20scale(0meaningatotaldislikeand20anabsoluteliking).ThedatacollectionprocesstookplacefromJanuary2003toFebruary2005focusingontheselectedjustreleasedDVDs.ThequestionnairewassystematicallysubmittedtoeverypersonrentingoneoftheDVDsemployedintheresearch.Everyrespondentfreelychosethemovieheorshewantedtowatch.Owingtothesmallsizeofthevideoclubs,theirproximityandtheappealoftheresearchsubject,onlysixindividualsrefusedtoanswerthequestionnaire.MethodologySincethefourhypothesesarenotindependent,allofthemhavebeentestedinthesamemodelratherthanindividually.HypothesesarevalidatedusinganANCOVA,whichallowsustostudythesimultaneousimpactofeachindependentvariableonthedependentvariable.Independentvariablesarementionedineachofthefourhypothesespresentedabove.Thedependentvariableisthenumberofbrandsrecalledbytherespondent(SDAR)inonemovie.Ahypothesisisvalidatedwhentherelationshipbetweenthestudiedvariableandthedependentvariableissignificant,thatisp-valueislessthan5%,andproducestheexpectedmeanofthevalue.Becausethenumberofplacementsvariesfromonemovietoanother(indeedfrom4to22inthemoviesconsidered),thetotalnumberofbrandplacementsinthemoviehasbeenincludedinthemodelasacontrolvariable.ResultsanddiscussionOftherespondentsquestioned,34%noticedand,thefollowingday,recalledatleastonebrandplacementinthemovietheywatched.Thesizeofthesample,3532DVDviewers,appearssufficientlylargecomparedwiththenumberofrespondentssurveyedinthereviewedresearchinthisfield,from62(Sabherwaletal.,1994)to378(Fontaine,2002),toallowustodiversifyspectators,moviesandplacementmodalities.Thisseemednecessarypartlytocompensatefortheconstraintsarisingfromthefactthat,whenusingrealmoviesratherthanfilmscreatedespeciallyfortheresearchorsimplyexcerpts,researchersdonothavefullcontroloftheplacementmodalities.Firstofall,accordingtotheANCOVAresults,thecontrolvariable–thatisthetotalnumberofbrandplacementsinthemovie–doesnotexplainthedegreeofSDAR(probabilityassociatedis0.88),whichmeansthataprofusionofbrandplacementsdoesnotautomaticallyincreasethenumberofbrandsrecalled.5.1.ExtendedtimepotentialforproductplacementBecauseofthespecificcharacteristicsofDVDviewers,thisresearchtookplaceduringapotentialsecondexposuretoproductplacements.ValidatingHypothesis1a(“Shown_Cinema—Yes”parameterN0;pb0.01)meansthattherespondentswhohavepreviouslyseenthemovieinacinemashowmoreSDARthanrespondentswhohaveseenthemovieforthefirsttimeonDVD.Ontheonehand,thisanalysisshowsthatproductrecallisstrongeramongviewerswatchingthemovieonDVDafewmonthsafterviewingthissamemovieincinemas.Ontheotherhand,becausesome15%oftherespondents(representing522viewers)rentedaDVDevenafterhavingseenthefilmincinemasthepreviousyear,thisresultsupportstheproductplacementprofessionals'viewaswellastheacademicresearchwhicharguesthatthepotentialtotalaudiencecouldbefarbiggerthantheonecalculatedfromcinematicketsalone(Brée,1996).Ofthesample17%sawthemovieonalargescreen(homecinema).SincetheextentofSDARwassignificantlygreateramongthese587respondents,Hypothesis1bisvalidated(“Projection—HomeCine”parameterN0;pb0.01).Indeed,thelargedimensionsofthescreenallowthebrandplacementtoappearsignificantlygreaterinsize,thatismoreprominent,andhencetobemoreeffective(Brennanetal.,1999;AstousandChartier,2000).Consideringonlythesizeoftheplacement,independentofitsduration,placementsseenforthefirsttimeatthemovietheatremightbemoreeffectivethanplacementsseenforthefirsttimeonaregularTVscreen.5.2.Benefitsfromspectators'positiveattitudeThefindingsrelatingtochoiceofaDVDbecauseofthemovie'sdirectorsupportHypothesis2a(“Choice_Director—Yes”parameterN0;pb0.01).Logically,amoviefanwhoprefersaspecificdirectorismorealerttocertaindetails,andthustovariousbrandplacements.Nevertheless,the10.4%ofrespondentswhochosetheirDVDforthisreasonwereknowledgeableaboutmoviedirecting.Theywereattractedbythedirector'sname,leadingtoadirecteffect.Foradvertisers,theseresultsthereforeinvitethemtofavorwell-knownandaccomplisheddirectorsfortheirbrandedentertainmentdeal.Thispartlyexplainswhythe$25millionglobalproductplacementdealforStevenSpielberg'sMinorityReportappearsquitesuitableandlogical(Lehn,2005).Hypothesis2b,abouttheevaluationofthemoviebytherespondents,isvalidated(“Evaluation_Rank”parameterN0;pb0.001).Here,also,suchavalidationmeansthatthemoretheviewerslikedthemovietheywatched,thebettertheyrecalledthebrandplacements.ThevalidationofthishypothesisleadsustoconcludethatapositiveenvironmentinfluencesthedegreeofSDARforbrandplacements.Thus,notonlyareadvertisersinvitedtoselectthetypeofmovieinwhichtoplacetheirproductsandbrands,bearinginmindtheirintendedtargetaudience,buttheyarealsocalledupontoevaluatethechancesofgettingagoodmovieattheend.SomemighthesitatewhenvalidatingHypothesis2baboutthelikingofthemovies,asthesuccessorfailureofamoviecanrarelybepredicted(Bressoud,2007).Evenifitscomponents(theme,story,director,editor,actors…)seemtobeahighqualitycombinationduringpreproduction,numerousmoviesareultimatelywhatprofessionalscallabomb,becomingarealbox-officefailure.MainmanagerialimplicationsTheseresultscancontributetoreinforcingadvertisers'favorableattitudestowardsbrandplacementasaratherprofitabletechnique(LubbersandAdams,2004),consideringitsglobalimpactaswellasthefactthattheplacementefficiencyincreaseswiththesecondviewing,namely,inthisresearch,watchingthemovieonDVD.Inaddition,inFrance,homecinemaequipmentseemstobeaconsumerfavorite,notablysincethenumberofDVDplayersinFrenchhomesgrewby28.3%between2002and2003,and26%between2003and2004(Médiamétrie,2005).Thisisalsoanincreasingtrendindevelopedcountries(Schimetits,2005),enablingviewerstoenjoyfilmsinthecomfortoftheirownhomes.Whenviewerswatchtheirmoviesonbiggerscreensathome,thelikelihoodofnoticingandrecallingtheplacementsduringthesecondviewingalsoincreases.Thisfindingcanalsostimulateadvertiserstoconsideraplacementinamovie,evenafterthereleaseinmovietheatres.Ifdomesticconditionsareimprovingandifviewersaremoreandmoreaddictedtohomecinema,thegrowingpossibilitiesofdigitallyinsertingplacementforDVDreleasesandTVshowingcanattracttheirattention(Brown,2003;Moseretal.,2004).Adirector'sreputationcaninfluencetheconsumers'evaluation,especiallyifthemoviecriticsarepositive(d'AstousandTouil,1999).Asrespondentsattractedbyafamousdirector'snamewhenchoosingtheirmoviepresentedmoreSDAR,thepresentresearchinvitesadvertiserstofavorfamousdirectorswhousuallyteamupwithafamouscast.Thiscanspellbadnewsforunknowndirectorsorforlow-budgetmoviesingeneral.Nevertheless,althoughadirector'sappealisalreadyknownbyadvertiserswhenchoosingthemovieinwhichtheycouldmakeplacements,thesuccessofthemoviewillremainuncertain.Butiflargemultinationaladvertisersarenolongerinterestedorwillingtotakerisks,thiscanofferarealchanceforsmallerbrands.BarndiscernedthatcountlessBollywoodmoviesalsogeneratevaluableopportunitiesforproductplacement(Barn,2005).中文翻译软广告的效果：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。本研究探讨的新见解是关于观众第二次观看影片的反应。这项研究抽取了3532个法国DVD观看者，他们需要观看指定的电影。研究这些人在观看影片一天后，对品牌再现或是回忆是否有所提高。研究结果建设性地增强该课题的学术知识。在电影院第一遍观看电影和在家看家庭影院的观众能提高对软广告的回忆。这种改善也出现在观众并不是出于喜爱DVD影片的导演和影片本身的情况下。关键词：消费者；产品植入；品牌植入;电影；品牌娱乐；一天后自发的回忆介绍植入性广告（产品或品牌有意图的放在一种文化中）在电影中如雨后春笋般兴起。这些产品是一个所谓的植入式广告协议的一部分。产品在电影中的植入已成为通信技术，比起以前，它更广泛地被广告商使用。（Karrhetal.,2003;PQMedia,2007）。最近，一个名为全国广告商协会的机构（ANA）调查显示：协会63％的美国广告商回应说已经有加入植入式广告行列的行动计划，52％明确表示：该行动的资金已经从其电视广告预算资金中转移出来（Consoli，2005）。大量的研究已经致力于多种形式的植入式广告(Nelson,2002;LaFerleandEdwards,2006;GuptaandGould,2007)，和如何更具体的在电影中植入广告（Karrh，1998）。影片中的植入式广告自从第一个品牌植入在两个世纪前出现，植入式广告已伴随电影业不断发展（Turner,2004;NewellandSalmon,2004）。植入式广告如同一项杂交技术，结合不同的通信技术为一体，同时在文化和/或娱乐环境中进行。配售的产品包括：将一个产品改编成一个电影场景并在那里可以看到它的名字听到它的品牌。这种植入的费用可以是由广告商支付或如物流设施（Karrh,1998）服务协议那样支付其中的一部分。主要是因为在80年代末，一些论文的发表有助于该通讯技术，它被称为杂交技术Balasubramanian（1994）是由于植入式广告把广告中的信息放在多项媒介中。其积极的效果（Fontaine,2005;Redondo,2006）特别表现在观众潜在的对品牌回忆的效果，（Brennanetal.,1999;d'AstousandChartier,2000）这一研究结果是该知识研究的主要核心。植入式广告增长的原因一方面电子视频工具的出现满足了观众跳过商业广告观看影视，使得媒体与观众分离（O'NeillandBarrett,2004）广告商逐渐寻求建立产品与他们的消费者之间联系的新途径。另一方面，品牌在电影中的植入似乎是可以接受的（O'Reillyetal.,2005），有时更便宜于超过30秒的电视广告，且效果更好（Jaffe,2005），这种通信技术正越来越频繁地被使用。不同品牌的植入方式也有所不同，但是对于保持品牌和品牌形象提高的主要目依旧不变。（Lehu,2007）这就是为什么在2006年，例如为什么总督察Clouseau开着粉红豹智能车。电影并不是品牌与产品植入的唯一媒介，一些品牌与产品的植入还在电视连续剧或其它节目、剧场戏剧、歌曲、视频游戏以及小说中出现。（Kretchmer,2004;Moseretal.,2004）。主要的原因都一样：一方面给创作者提供收入的机会，他是产品植入的中间人，另外一方面是能够提供给广告商们一个产品植入的机会（RussellandBelch,2005）。汽车制造商是第一批使用植入技术的，因为它是一项低成本（Parrish,1976）高潜在观众群的技术。此外，同一部电影，现在可以在电影院看到，也在在DVD，有线/卫星电视，联合重播。此外，建立一个汽车模型太昂贵且有时在观众面前出现的过于明显做作（Moseretal.,2004）。产品植入的形式与效果产品植入的研究通常致力于植入效果的研究和观众对这种混合技术接受度地研究。然而，在这一领域的大多数研究通常通过植入的形成来解释和估计其植入的效果，这意味着大多数的结果并不揭示植入品牌的特点对效果的影响。研究设置了采取的措施及测量的成效：品牌典型性/发生率，植入的识别，品牌的突出，对植入的记忆，品牌塑造的评价，鉴定/模仿，品牌态度，购买意愿，品牌选择，品牌使用行为。三种植入方式为：很明显突出的植入，音像中植入和情节中的植入。当植入式广告在屏幕中有着较大尺寸出现、在场景的中心位置清晰可见时，其突出的植入效果便产生了（GuptaandLord,1998）音像植入是指品牌出现在屏幕上及对品牌的描述（Russell,2002）。最后，情节植入是指该品牌植入故事情节之中（Russell,1998）。这种研究有助于更好地了解产品植入效果（VollmersandMizerski,1994;Russell,2002;Karrhetal.,2003;BressoudandLehu,2007b），及其品牌沟通的效果。几位研究人员（OngandMeri,1994)一直致力于不论是电影院或是系列电视节目中的品牌植入效果的（SternandRussell,2004）研究。不过，他们认为到在电影院的电影植入是“第一生命”，在家里是“第二生命”，由此少数研究已经开始集中在这一主题上了。产品植入的研究专注于植入环境，植入环境部分是由广告商控制的。研究对象由于品牌之间的相互作用和植入成效与观众的特点之间的联系不能被控制，那么对这种关系的研究是重点。对于上述的分析使我们有了一个目标：探索观众在家中观看DVD电影即对“第二次生命”态度影响的研究。这个目标是就观众的态度解释植入式广告的效果，当观众第二次观看电影时，通过对DVD观众的实验来分析效果。假设第二天自发地回忆出的个数、回忆程度依赖于在屏幕上出现的植入品牌的个数，将其作为对植入品牌的效果的研究方法。这一设计使得消费者的角色变得富有意义。讨论消费者在各种条件下记住多少品牌，当消费者观看接触电影时，广告商的目的就是确保消费者能够尽可能地记住特定的品牌。四种假说被设计来联系植入品牌和身处在这种交流技术中的消费者。前两个假设的重点在研究植入的广告出现在电影之前、之中的不同效果。后两个假设集中在研究观众对前后两次观看有植入广告的电影的态度。3.1.产品植入的第二次生命在被试中，有些人可能在电影院看过电影。（JohnstoneandDodd2000)如果观众再观看电影第二遍，第一次测试出的假设，即SDAR可能会更高，。然而，他们得出这样的结论：依据这一假设，电影之前曝光植入的广告极少影响品牌植入的潜在效果。他们的假设是对53个被试的测试获得的。本研究共采用了3532观众的样本。一个植入的广告通过很多观众的互动，有很多次生命（Brée,1996），因此：假说1a。在DVD上植入品牌的SDAR程度是受第一次在电影院观看该电影影响的。根据第一个假设，即涉及电视与电影院，还有在电视中第二次观看植入的广告，再一个电视屏幕尺寸的差异，电视比影院屏幕小，必须加以考虑。三分之二的植入广告，不论影片是在影院或电视屏幕上观看，情节和视听一体化保持不变。然而，第三种形式，考虑到绝对屏幕尺寸的区别，明显的，可能会大不相同。根据屏幕大小，产品植入效果在电视上可能会比在电影院屏幕上显得不那么明显。当然，在影片中的植入的相对大小始终保持比例不变。在电影院的所有观众都看到在大屏幕上的电影，但在家里观看不是这样的情况。然而，预测试告诉我们，一定数目的观众使用视频宽屏投影，而不是传统的电视机。这就不是植入的大小对其回忆率产生影响的原因。不过，一些研究人员坚持突出植入的效果。（GuptaandLord,1998;Brennanetal.,1999;d'AstousandChartier,2000）。它们表示：越是突出的植入，其效果就越明显。所以，相对于屏幕上的植入大小影响品牌植入后的回忆，观众观看的电影屏幕及外观越大，就会产生更好的品牌记忆以及识别。因此：假设1b。在家中的家庭影院大屏幕上观看电影，提高了品牌植入SDAR程度。3.2.观影者的态度以下两个关于电影的选择和欣赏的假设。一些电影观众选择观看电影（在电影院或DVD中观看），是出于对这部电影导演的喜爱（Ainslieetal.,2003）。这些影迷可能比一般影片的执导、设置、表演表现出更大的兴趣，他们可能表现更多注意力且能使其在SDAR上的程度更高。j这个假设的目的不是为了分析导演的名望在SDAR上的影响。所有选定的电影可被视为在其国内市场上取得的成功，但不同导演名气显然大不相同。所以研究目的就是找出影片的导演，无论对他或她产生的潜在影响。基于直接影响而产生的警惕：假设2a。选择的DVD影片是因为导演提高了品牌植入的SDAR程度。Fontaine(2002)提出，观众对电影的喜爱程度能对其态度的改变产生积极影响。这一结果同样适用于观众的回忆率，对于一个特别喜欢某部电影的观众，能对电影中的细节更好的接受和回忆。这个假设同样得到JohnstoneandDodd'swork(2000)的支持，他强调如果观众尤其喜欢这部电影，那么植入的广告能增强品牌的特点。因此：假设2b。DVD观众越欣赏某部电影，他们自发回忆出的植入的品牌越多。4.研究设计本节呈现的独创方法是收集第二阶段观看电影后的数据，并将该方法用来检测这四个假设。4.1.数据搜集本研究的目的是通过使用一个大的、方便取样的观看录像观众的样本，他们在看完DVD一天后被提问，他们从三个法国录影带出租店的其中一间离开时被邀请来做被试。目标只是收集单个被试的答案。这意味着每个DVD观众只被采访一部电影。最后的样本包括约3532看录像的观众的回答，他们被提问以下11部美国电影：《黑人2》、《未成年人报告》、《那些分析》、《香肠姐妹》《时尚的受害者》，《有权势的奥斯丁》《约翰尼英语》，《难耐的残酷》，《契约先生》，《硬式棒球和薪水》。这些影片被选是因为它们是新发售的DVD光盘（即使在数据收集过程中租金昂贵），因为他们是