整合营销的一个品牌案例研究外文翻译资料

整合营销的一个品牌案例研究

摘要：

目的——本文旨在分析福斯特啤酒广告在1980年初，它的目标是集中在福斯特啤酒“我相信”品牌主题的整合营销传播。2000年启动和使用“商业民族主义”的整合营销传播策略。

研究方法——以整合营销传播的策略所组成的文本分析符号学，射杀组合分析和内容分析纳入福斯特啤酒广告的讨论研究。这些方法都有助于解构和介导这个标志性的啤酒品牌。

发现——在福斯特啤酒的整合营销传播过程中民族主义和幽默都扮演了一个重要的角色。然而，运动近来变得更加复杂和讽刺。在研究对澳大利亚的旗舰啤酒一些重要的广告宣传中，可以记录到它从国家过渡到全球啤酒品牌。自1888年以来，福斯特品牌已经从仅仅是在澳大利亚的啤酒品牌之一发展到国际旗舰产品全球饮料巨头，和世界上第四大酿酒公司——福斯特集团有限公司。

意义——特别值得一提的是，一个很好的例子—福斯特啤酒“我相信”的整合营销主题活动机智的使用了民族主义和爱国主义的信息进行传播。

实际意义——考察福斯特啤酒品牌如何发展成为一个全球品牌，为营销人员和教育工作者提供了经验和教训，尤其是如何商业的有效的使用民族主义。

原创性/价值——本文带来了商业中成功使用民族主义的案例的详细分析。

关键词——品牌广告、国际市场营销、整合营销传播、澳大利亚

1.1结论

本文研究了福斯特啤酒广告自1980年代初在澳大利亚和海外，福斯特集团生产的“澳大利亚最著名的啤酒”—世界上最受欢迎的澳大利亚啤酒，在150多个国家销售。福斯特和典型的澳大利亚啤酒销售。沟通策略的一个重要组成部分包括提醒澳大利亚，福斯特是全国性民族性的饮料品牌。这个消息对于普遍认为福斯特品牌不受澳大利亚的男性和女性欢迎的澳大利亚来说颇具讽刺意味(Rochfort, 2008)。福斯特啤酒的“我相信”主题营销活动在2000年是一部教科书。它用诙谐的例子用民族主义和爱国主义的信息交流产品销售。

在1980年代中期时间利用霍根的流行旅游大使和鳄鱼邓迪的流行电影，福斯特聪明的利用澳大利亚保罗bull;霍根的名义出售啤酒。福斯特的口号是“福斯特是澳大利亚的啤酒”旨在教其他国家的消费者“如何说澳大利亚”。超过25年的时间，民族主义和个性化幽默成为福斯特啤酒整合营销活动的重要组成部分。同时在最近，福斯特的品牌整合营销运动变得更加复杂和具有讽刺意味，福斯特集团在继续促进受欢迎的啤酒品牌在全球范围的传播的同时，其受欢迎的啤酒也在微调当地市场的消息。自 20 世纪 80 年代早期，福斯特已切实、 一致和相当巧妙地成立澳大利亚的股份有限公司，传递着将本地的啤酒转换成一个标志性的全球性品牌的消息。

1.2方法

密切的文本分析，包括符号学（检查标志意义的生成）；射击组合分析（镜头的镜头分析） 和内容分析（计数的战略）纳入一些福斯特啤酒广告（文本）的讨论。这些方法对于解构这个标志性的国家和全球啤酒品牌是有作用的。结合初级和高级的研究方法用于综合分析一个著名的啤酒品牌能够被想象创建并在世界各地广泛传播的这种传播策略。

在分析福斯特的啤酒广告营销的过程中，如果从开始就制定一个详细的镜头的组合分析策略来更好的理解在文本中存在的组合关系。是非常有帮助的。一个镜头在相机仍然是在固定或移动的图像状态下被认为是时间长度。镜头类型包括建立镜头，远射，把门关上，广角、 低角度、泛、跟踪和缩放。一个镜头组成的单个帧，拍摄一组包括一个场景，而场景的数量被认为是一个序列。在审查每一个镜头的时候是编号和描述的案文，观察下检查镜头的内涵和外延内容。镜头的组合分析提供了一个机会来审议文本识别符，在检查详细信息中的叙事的结构和检测文本的其他方面的时候，可能不会被检查出”正常查看“。

1.3 评价

福斯特啤酒信奉民族主义和品牌的整合营销。“我相信”的竞选广告在悉尼奥运会期间也显示在福斯特集团网站，那些忠诚于福斯特品牌的或只是出于好奇的观众和读者可以访问，进一步了解它的产品和品牌消息。

该网站旨在相对简单的为客户增强提供的产品信息的认知。根据网站上的页面链接领取“免费的东西”，商业电视广告的副本也可供下载，还有动画显示的屏幕保护程序和便携式的文档格式 (PDF) 的打印广告。当站点访问者被鼓励去在公告牌环境中称为“黑板”的里面分享他们的想法的时候，从这个活动中产生的明信片还可以分享给朋友。因此该网站提供了忠实的客户访问，可能有效的转化为购买商品的行为，并成为该公司形象大使的理想场所。福斯特集团的网站提供了相对无成本的持续的广告和信息传播的渠道。

“我相信”的主题整合营销运动被提升为“令人兴奋的多媒体广告闪电战”（有效大预算 IMC即整合营销传播运动）。除了从电视商业、 印刷品广告和网站进行营销传播，这一运动还包括其他媒体，如巨大的户外广告牌，在公共交通工具的照明海报，和在公共汽车候车亭的广告牌，广告覆盖整个城市和郊外。卖啤酒的极端民族主义运动不是福斯特原创的主意。加拿大啤酒莫尔森在 2000 年初播出他们促进加拿大啤酒品牌（这通常被称为'咆哮'） 的版本。1998 年莫尔森以11亿美元买了福斯特的品牌的北美权利。

外文文献出处：中国知网

附外文文献原文

Fosterrsquo;s Lager: from local to global icon

Abstract

Purpose – This paper seeks to analyse Fosterrsquo;s Lager advertising since the early 1980s.In

particular,it aims to focus on the Fosterrsquo;s Lager “I Believe” integrated marketing communications (IMC) campaign launched in 2000 and the use of “commercial nationalism”.

Design/methodology/approach – A close textual analysis consisting of semiotics, shot

combination analysis, and content analysis is incorporated into the discussion of the Fosterrsquo;s Lager advertisements examined. These methodologies are helpful for deconstructing mediated

representations of this iconic beer brand.

Findings – Nationalism and humour have both played an important part in Fosterrsquo;s Lager

advertising campaigns. However, campaigns in more recent times have become more sophisticated and ironic. In examining a number of significant advertising campaigns for Australiarsquo;s flagship beer,the transition from national to global beer brand can be documented. Since 1888 the brand name Fosterrsquo;s has evolved from being just one of a number of beer brands in Australia to the international flagship product of the global beverage giant, and fourth largest brewing company in the world,Fosterrsquo;s Group Limited.

Research limitations/implications – In particular, the Fosterrsquo;s Lager “I Believe” campaign was

an excellent example of the witty use of nationalism and patriotism to communicate a message.

Practical implications – Examining how the Fosterrsquo;s Lager brand evolved into a global brand

provides lessons for marketers and educators, particularly in the effective use of commercial

nationalism.

Originality/value – The paper brings a detailed analysis of the successful use of commercial

nationalism.

Keywords Brands Advertising, International marketing, Integrated marketing communications,

Australia

Paper type Conceptual paper

1.1 Conclusion

This paper has examined Fosterrsquo;s Lager advertising in Australia and abroad since the early 1980s. The Fosterrsquo;s Group produces “Australiarsquo;s most famous beer” – the most popular Australian beer in the world and sold in more than 150 countries. Fosterrsquo;s is marketed as the quintessential Australian beer. An important part of the communication strategy also involves reminding Australians that Fosterrsquo;s is the national drink. For Australians the message is somewhat ironic as Fosterrsquo;s Lager is generally regarded as being famous for its unpopularity with Australian men and

women (Rochfort, 2008). The Fosterrsquo;s Lager “I Believe” campaign in 2000 was a textbook

example of the witty use of nationalism and patriotism to communicate a message (and sell product).

Fosterrsquo;s clever commissioning of Australian Paul Hogan to sell the beer in the mid-1980s was timed to take advantage of Hoganrsquo;s popularity as both tourism ambassador and the popularity of the movie Crocodile Dundee. The slogan “Fosterrsquo;s – Itrsquo;s Australian for Beer” was designed to teach consumers in other countries “how to speak Australian”. For more than 25 years, nationalism and humour h

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外文文献出处：中国知网

附外文文献原文

Fosterrsquo;s Lager: from local to global icon

Abstract

Purpose – This paper seeks to analyse Fosterrsquo;s Lager advertising since the early 1980s.In

particular, it aims to focus on the Fosterrsquo;s Lager “I Believe” integrated marketing communications (IMC) campaign launched in 2000 and the use of “commercial nationalism”.

Design/methodology/approach – A close textual analysis consisting of semiotics, shot

combination analysis, and content analysis is incorporated into the discussion of the Fosterrsquo;s Lager advertisements examined. These methodologies are helpful for deconstructing mediated

representations of this iconic beer brand.

Findings – Nationalism and humour have both played an important part in Fosterrsquo;s Lager

advertising campaigns. However, campaigns in more recent times have become more sophisticated and ironic. In examining a number of significant advertising campaigns for Australiarsquo;s flagship beer, the transition from national to global beer brand can be documented. Since 1888 the brand name Fosterrsquo;s has evolved from being just one of a number of beer brands in Australia to the international flagship product of the global beverage giant, and fourth largest brewing company in the world, Fosterrsquo;s Group Limited.

Research limitations/implications – In particular, the Fosterrsquo;s Lager “I Believe” campaign was

an excellent example of the witty use of nationalism and patriotism to communicate a message.

Practical implications – Examining how the Fosterrsquo;s Lager brand evolved into a global brand

provides lessons for marketers and educators, particularly in the effective use of commercial

nationalism.

Originality/value – The paper brings a detailed analysis of the successful use of commercial

nationalism.

Keywords Brands Advertising, International marketing, Integrated marketing communications,

Australia

Paper type Conceptual paper

1.1 Conclusion

This paper has examined Fosterrsquo;s Lager advertising in Australia and abroad since the early 1980s. The

Fosterrsquo;s Group produces “Australiarsquo;s most famous beer” – the most popular Australian beer in the

world and sold in more than 150 countries. Fosterrsquo;s is marketed as the quintessential Australian beer. An important part of the communication strategy also involves reminding Australians that Fosterrsquo;s is the national drink. For Australians the message is somewhat ironic as Fosterrsquo;s Lager is generally

regarded as being famous for its unpopularity with Australian men and women (Rochfort, 2008). The Fosterrsquo;s Lager “I Believe” campaign in 2000 was a MIP 27, 2188 Downloaded by HANGZHOU NORMAL UNIVERSITY At 23:41 03 April 2015 (PT) textbook example of the witty use of nationalism and patriotism to communicate a message (and sell product).Fosterrsquo;s clever commissioning of Australian Paul Hogan to sell the beer in the mid-1980s was timed to take advantage of Hoganrsquo;s popularity as both tourism ambassador and the popularity of the movie Crocodile Dundee. The slogan “Fosterrsquo;s –

Itrsquo;s Australian for Beer” was designed to teach consumers in other countries “how to speak Australian”. For more than 25 years, nationalism and humour have played an important part in Fosterrsquo;s Lager advertising campaigns. And while the campaigns in more recent times have become more sophisticated and ironic, the Fosterrsquo;s Group will continue to promote their popular beer on a global scale while at the same time, fine-tuning the message for local markets. Since the early 1980s, Fosterrsquo;s have conscientiously, consistently and rather cleverly incorporated images of Australia into their message to convert a local beer into an iconic global brand.

1.2 Methodology

A close textual analysis consisting of semiotics (examining how signs generate meaning); shot combination analysis (shot-by-shot analysis) and content analysis (a counting strategy) is incorporated into the discussion of some of the Fosterrsquo;s Lager advertisements (texts). These methodologies are helpful for deconstructing mediated representations of this iconic national and global beer brand. A combination of primary and secondary research has also been integrated to analyse the way in which this celebrated beer has been imagined, created and relayed around the world.

In the process of analysing the Fosterrsquo;s Lager advertisements, it is useful to begin with a detailed shot combination analysis to gain a better understanding of the syntagmatic relations that exist in a text. A shot is considered to be the length of time that the camera remains with a fixed or moving image. Types of shots include establishing shot, long shot, close up, wide angle, low angle, pan, tracking and zoom. A shot is comprised of individual frames, a group of shots comprise a scene, while a number of scenes is considered a sequence. In examining the texts each shot was numbered and described, observing both the denotative and connotative content of the Figure 1. Official nationalism is the dominant pool of nationalism that primarily emerges from the nation-state From local beer to global icon 179 shot under examination. The shot combination analysis provided the opportunity to scrutinise the text in order to identify signifiers, examine the structure of the narrative in detail, and detect other aspects of the text that may not have been detected with a “normal viewing”.

1.3 evaluation

Fosterrsquo;s Lager believes in nationalism and integrated marketing. Advertising for the “I Believe” campaign was also displayed on the Fosterrsquo;s Group website during the time of the Sydney Olympic Games

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