[雙語(yǔ)翻譯]電影營(yíng)銷外文翻譯—病毒視頻在電影營(yíng)銷中的應(yīng)用研究及在上映前和首周對(duì)網(wǎng)絡(luò)口碑的影響（節(jié)選）

1、字?jǐn)?shù)：英文 字?jǐn)?shù)：英文 3214 3214 單詞， 單詞，17453 17453 字符；中文 字符；中文 5588 5588 漢字 漢字出處： 出處：Sophie Sophie Moore. Moore. Film Film Talk: Talk: An An investigation investigation into into the the use use of of viral viral videos videos in

2、 in film film marketing, marketing, and and the the impact impact on on electric electric word word of of mouth mouth during during pre-release pre-release and and opening opening week[J]. week[J]. Journal Jou

3、rnal of of Promotional Promotional Communications, Communications, 2016, 2016, 3(3), 3(3),381-404 381-404外文文獻(xiàn)： 外文文獻(xiàn)： Film Talk: An investigation into the use of viral videos in film marketing, and the impact on electric

4、word of mouth during pre-release and opening weekAbstract This research paper focuses on the use of viral videos in film marketing and the impact on electronic word of mouth. As cinema admissions rapidly decrease, ther

5、e is a growing importance for marketers to find unique and innovative ways to attract audiences to a film. Viral marketing is one way in which marketers create buzz around a film prior to release. Previous academic liter

6、ature has studied the positive impact of viral marketing on a film’s electronic word of mouth, however research into the recent influx of viral videos used for film promotion remains scarce. Research adopts an explanator

7、y sequential mixed method design, in which quantitative data is used to analyse the impact of viral videos on the volume of electronic word of mouth, and qualitative data provides further explanation as to why electronic

8、 word of mouth has been impacted. The study found that the sample of viral videos successfully initiated electronic word of mouth, represented by a large volume of Tweets referencing both the videos and the promoted film

9、s. The results demonstrated that the use of originality, humour and emotion within the content prompted online conversation expressing the viewer’s enjoyment. Consequently the increase in online conversation and the prom

10、inent branding within the videos’ content audiences to pass along a favourable or compelling marketing message that they receive in a hypermedia environment (Hausmann 2012). Previous viral campaigns have used elaborate w

11、ebsites, blogs, interactive games, and videos to build awareness prior to a film’s release. There is also a growing sub-culture of film fans for which the hunt for this additional film material is as exciting as the film

12、s themselves (McMahon 2010). Consequently, the use of viral marketing in film promotion is now as important as conventional practices (Kerrigan 2010).At the core of viral marketing is audience participation in online con

13、versation, also known as electronic word of mouth (eWOM). Online conversation about films can build anticipation and buzz around new releases. According to research, eWOM on Twitter contributes to 13% of UK cinema ticket

14、 sales (Moosman 2015), reinforcing the important role eWOM has on a film’s box office success.Videos that have diffused through eWOM are the most regularly used method of viral marketing (Haque et al. 2006; Nelson-Field

15、et al. 2013). The age of technological mobility is driving an increase in video consumption as the recent proliferation of new devices allows the audience to connect with content, anytime and anywhere (Nielsen 2014). Mar

16、keters are therefore creating videos for the sole purpose of film promotion and Hollywood is leading the way when it comes to the production of viral videos that get shared by millions of viewers (Goldsmith 2011). Resear

17、ch found that viewers who enjoyed a video demonstrated 139% higher brand association and 97% higher purchase intention than those who did not enjoy it (McNeal 2012). Thus, viral videos that entertain the audience can pos

18、itively impact viewers’ awareness and attitude towards a film.Viral videos typically have smart distribution and optimisation strategies in order to reach a large number of people (Goldsmith 2011), yet research on how ma

19、rketers can optimise video content for sharing remains scarce. In addition, there is little evidence to show the direct impact of viral videos on film-related eWOM. This paper seeks to contribute to a gap in current know