【正文】 Co. (Ramsey, 2005), approximately twothirds of all economic activity in the United States is influenced by shared opinions about a product, brand, or service. On the basis of aggregated data and interviews with various WOM marketing experts, remarketer estimates that almost 50% of online marketers will engage in some form of WOM or viral campaign in 2006. A recent survey of marketers, which asked what type of digital media they were either using or were, planning to use, found that exactly twothirds cited WOM (Ramsey, 2005). The nature and scope of the Internet, as well as other messaging devices, has inspired marketers to deliberately attempt to stimulate or simulate the WOM process by designing marketing campaigns with characteristics that attract audiences and encourage individuals to pass along a message. Also known as buzz marketing and viral marketing, these tactics create the potential for exponential growth in the message39。 and this source of information is particularly sought for in situations characterized by high uncertainty.”– Johan Arndt “Word of mouth tends to be highly persuasive because the sender apparently has nothing to gain from the receiver39。s reputation…or give it a boost in the market. Wordofmouth messages stand out in a person39。 interest in the method is raising as media fragmentation continues and movie marketing costs increasingly spiral upward. Buzz marketing also satisfies studio executives who are confronted with steadily mounting marketing costs, and are thus challenged by existing promotional tactics in search of more mileage for fewer dollars.2. Buzz marketing enpasses word of mouth and viral marketingAt the core of buzz marketing is the phenomenon of word of mouth (WOM), the process by which an individual influences the actions or attitudes of others. As indicated by the following quotes on the value of word of mouth, academicians have long been aware of the power of WOM on consumers39。s true that DVDs may be a cash cow for studios, theaters suffer when patrons skip the cinema experience and wait for those releases at home. Needless to say, given the increase in entertainment options, the moviegoing experience needs to be far more pelling to draw in audience members. Moreover, this challenge is not likely to subside, but rather grow more pelling: as discussed by Chary (2005), a recent study by Informal Research Services indicates that 125 million people about 5% of all cell phone owners – will be watching television on their handsets by 2010. In addition, the Digital Lifestyles 2006 Outlook from Parks Associates (Escher, 2006) estimates that US consumer spending for online entertainment, including ondemand gaming, music, and video services, will grow by 260% in the next five years. In this frenetic and petitive environment, marketers must search for innovative ways to reach and attract movie audiences. Buzz marketing is one such promotional posture that is capable of breaking through the existing noise and clutter of the marketing scene, to capture peoples39。 they are evermore selective about what they watch and the advertising messages they trust. As Court (2004, ) cites, according to Yankelovich Partners, 65% of consumers feel “constantly bombarded with too much advertising,” 69% are “interested in products and services that would help skip or block marketing,” and 54% “avoid buying products that overwhelm with advertising and marketing.” To add, television and movie lovers are witnessing a revolution in digital home entertainment. With it, a growing number of people are turning away from neighborhood cinemas in order to stay home and be entertained by new technologies and advanced personal theater systems. Consumer electronics manufacturers, IT vendors, and movie panies are lining up to extol the virtues of Blueray and HDDVD。ve played for years is being challenged and there is a call for new, innovative ways to drive box office sales. Under the historically used traditional model, corporate marketers spend marketing dollars on messages aimed at a target audience. The marketing team creates a message, purchases media, and sees that the message is delivered to personal and business customers. Given the fragmentation of media today, however, it is being increasingly difficult for marketers to promote movies using the traditional model. In the United States, for example, what was once a handful of television stations has now proliferated into more than 1600 broadcast and cable outlets。 buzz marketing1. The marketing challengeToday39。 marketing。s overall approach. To that end, this article analyzes buzz marketing as it pertains to six movie differentiation strategies (differentiation with cosmetic movie features, differentiation to reach market segments, growing a movie segment, positioning to support the movie image, positioning to extend the movie image, and differentiation via nontraditional channels) and offers steps for its successful implementationKeyword: motion pictures。 lives, marketers must search for innovative ways to reach movie audiences. By breaking through the daily clutter and noise, and capturing peoples39。[9][M]..[10]（美），[M]..[11]Andrew Ainslie. Modeling Movie Life Cycles and Market Share UCLA Anderson School of Management, 110 Westwood Plaza.[12][M]..[13]，全球化背景下的中國電影[M]..附錄1：外文文獻原文Buzz marketing for moviesAbstract: In today39。[6]Iris Mohr. Buzz marketing for movies. Tobin College of business, St, John’sUniversity, 8000 Jamaica, NY11439, USA [7]尹鴻、詹慶生:《2005中國電影產(chǎn)業(yè)備忘》，《電影藝術》，2006年3月。10.[4]徐東：《電影置入式廣告營銷新趨勢》，《中國電影報》，2006年6月第16版。[參考文獻][1]田川流，.[M]. 濟南：山東人民出版社，[2]（法）洛朗隨著我國電影產(chǎn)業(yè)的不斷開發(fā)，制度法規(guī)的不斷完善，因此需要更加精細并有針對性的電影營銷方式研究。最后，本文提出的電影整合營銷是一塊比較大的課題，尤其是網(wǎng)絡類型的營銷是現(xiàn)在理論界的新趨勢，本文尚未就此進入深入的討論。（二）本文的不足首先，由于缺少詳細的統(tǒng)計資料支持，本文缺少嚴謹?shù)臄?shù)量分析和模型推導。第三，本文從電影營銷的理論入手，先對電影營銷的概念及實施做了系統(tǒng)的介紹；然后通過國內(nèi)電影營銷與好萊塢營銷的對比，總結出了國產(chǎn)電影營銷的不足之處，并得出基本結論和啟示；接著從2011年兩部大獲成功的極具代表性的電影入手，提煉出了我國商業(yè)大片和小成本影片的可借鑒之處；最后，作為對全