[雙語翻譯]廣告學(xué)外文翻譯--廣告與植入式廣告消費(fèi)者如何評估每一項的價值（英文）

1、This article was downloaded by: [The UC Irvine Libraries] On: 29 October 2014, At: 11:17 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-4

2、1 Mortimer Street, London W1T 3JH, UKJournal of Current Issues Yang and Roskos-Ewoldsen 2007). While investigating the effectiveness of product placements using cognitive and affective measures is vital, understanding

3、what con- sumers think about product placements is also very important. After all, it is the consumers that are ultimately being exposed to these nontraditional promotional strategies. Surprisingly, there exists a big

4、gap in the literature in terms of our understanding of how consumers perceive this promotional strategy in comparison to advertising. Assessing the value of promotional strategies from a consumer perspective is not a ne

5、w research direction. Ducoffe (1995, 1996) proposed a model for how consumers assess the value of advertising, which researchers have relied on when estimating the value of new and interactive formats of advertising (

6、Dholakia and Rego 1998; Joines, Scherer, and Scheufele 2003). However, there are no studies that assess the value of product placements from consumers’ perspective using Ducoffe’s (1995) model. The purpose of this pape

7、r is twofold: one, to reexamine and rep- licate Ducoffe’s (1995) advertising value model, and two, to compare and contrast it to how consumers value product placements. We believe that by doing so we will better our und

8、erstand- ing of how consumers value product placements as a strategy in comparison to advertising. Also, in the interest of triangulation, assessing the value of product placements from consumers’ per- spective will pro

9、vide an alternative approach to studying this phenomenon.LITERATURE REVIEW Product Placements Product placements, also referred to as brand placements, brandvertising, embedded program- ming, strategic placements, and ba

10、rter placements, have been in existence since the birth of motion pictures in mid-1890s (Newell and Salmon 2003). In the recent years, the total revenue generated by product placements is estimated to be more than $4.2

11、 billion (Kim and Linnett 2006) and is estimated to reach $5.6 billion by 2010 (Goodale 2008). Some of the most fre- quently mentioned examples of product placements in literature include Gordon’s Gin in The African Qu

12、een where Katherine Hepburn’s character tosses a crate of the product overboard and the placement of Reese’s Pieces in the movie ET. Other examples include Red Stripe beer in The Firm, and the BMW Z3 in the James Bond

13、film Golden Eye, all of which have been used to illus- trate the potential impact product placement can have on a brand (Neer 2004). Of course, the big screen is not the only medium of choice for product placement today

14、, as advertisers are imbed- ding products in popular television programming (Russell 2002), video games (Pope 1994; Nelson 2002; Nelson, Keum, and Yaros 2004; Glass 2007), and music lyrics aired over the radio (Roberts

15、 2002), and even using this as a means of cross-media promotion (Buss 1998). Given the variety of venues for product placement, it is not surprising that conceptualizations have differed for this evolving tactic over t

16、he years. Karrh (1998) concludes that most definitions of product place- ment, or what many simply refer to as “brand placements,” do not take into account the many different media choices or contact opportunities that

17、exist for advertisers, and Karrh defines placement as “the compensated inclusion of branded products or branded identifiers, through audio and/or visual means, within mass media programming” (11). As researchers have m