【正文】 業(yè)可以通過開設(shè)、BBS、博客、微博，對影片進(jìn)行評(píng)論、炒作。未上映前，許多關(guān)于這部電影的不實(shí)信息，片方就都通過微博予以澄清。就這樣，在網(wǎng)絡(luò)的巨大影響下，一批又一批的觀眾被吸引進(jìn)電影院。（三）電影綠色營銷所謂電影綠色營銷，就是一種以保護(hù)生態(tài)環(huán)境為宗旨的綠色市場營銷模式。電影企業(yè)進(jìn)行綠色銷售，不僅可以保護(hù)環(huán)境，擔(dān)負(fù)起對社會(huì)公眾負(fù)責(zé)的角色，同時(shí)也可以在這個(gè)前提下，實(shí)現(xiàn)企業(yè)自身的利益，保證企業(yè)社會(huì)效益和經(jīng)濟(jì)效益的統(tǒng)一。能夠巧妙運(yùn)用這一觀念的電影企業(yè)必能在未來的發(fā)展道理上越走越遠(yuǎn)。主要表現(xiàn)在以下幾個(gè)方面：（1）美國電影界紛紛以推動(dòng)和宣傳環(huán)保為榮。帕爾介紹，美國公民的環(huán)保意識(shí)70%來自影視傳媒。以最早對企業(yè)員工進(jìn)行綠色教育的華納公司來說。（3）美國電影企業(yè)在進(jìn)行影片拍攝時(shí)自覺履行環(huán)保義務(wù)。（4）美國好萊塢各大影星以身作則，在電影拍攝和實(shí)際生活中積極實(shí)踐著環(huán)保理念。迪卡普里奧親力親為地拍攝與環(huán)保有關(guān)的電影；喬治羅伯茨擔(dān)當(dāng)環(huán)保組織代言人，用自己的聲明將環(huán)保的種子傳播得更遠(yuǎn)；布拉德而在我國，隨著“《驚情神農(nóng)架》劇組破壞神農(nóng)架自然保護(hù)區(qū)”、“《情癲大圣》劇組砍伐神農(nóng)架的大片樹林，致使現(xiàn)場無法恢復(fù)”、“《無極》劇組破壞香格里拉生態(tài)環(huán)境”、“《神雕俠侶》劇組因多次水下拍攝，嚴(yán)重破壞九寨溝風(fēng)景”這一系列“丑聞”的曝光，中國電影界終于開始意識(shí)到綠色電影的重要性，一場“綠色影視”風(fēng)暴呼之欲出。此外，電影企業(yè)還必須與政府、媒介保持密切的溝通與交流，共同承擔(dān)起教育與引導(dǎo)公眾，增強(qiáng)其環(huán)保意識(shí)的重任，只有這樣，電影企業(yè)才能實(shí)現(xiàn)其電影綠色營銷的目標(biāo)。主要有以下幾個(gè)途徑：2004年，20世紀(jì)?？怂构局Ц读?0萬美金用于造林，以抵消《后天》一片拍攝過程中所制造的一萬噸廢氣，之后許多影片都緊隨其后，開始采用這種方法去平衡由于影片拍攝所給自然環(huán)境造成的危害。（3）電影內(nèi)容綠色化所謂電影內(nèi)容的綠色化，就是指影片內(nèi)容的健康環(huán)保。（4）電影宣傳綠色化電影宣傳綠色化主要包括兩方面：其一，是指電影作為一種具有極大社會(huì)影響力的影像產(chǎn)品，其自身就是傳播綠色環(huán)保觀念的最好宣傳載體。其二，除了可以發(fā)揮電影影像宣傳的優(yōu)勢外，電影明星、著名導(dǎo)演的社會(huì)號(hào)召力和影響力，同樣可以成為開展電影綠色營銷活動(dòng)的有效手段。（四）電影后產(chǎn)品開發(fā)及營銷電影后產(chǎn)品是指除了電影的票房收入以外，因電影而產(chǎn)生的包括電影海報(bào)、圖書、音像制品、玩具、郵票、紀(jì)念品、電子游戲、主題公園等各種相關(guān)的衍生產(chǎn)品。從時(shí)間看，電影后產(chǎn)品并不僅僅指產(chǎn)品出現(xiàn)在電影上映之后，后產(chǎn)品的開發(fā)可以與電影的發(fā)行和放映同期進(jìn)行，甚至還可以在上映之前。在好萊塢，一部新電影在放映環(huán)節(jié)的價(jià)值實(shí)現(xiàn)，一般會(huì)按下圖所示順序?qū)嵤好绹就劣霸荷嫌?3個(gè)月后在海外影院上映46個(gè)月后在數(shù)字付費(fèi)頻道播出69個(gè)月后在全球發(fā)行音像制品12個(gè)月后在付費(fèi)電視頻道波播出24個(gè)月后在免費(fèi)電視頻道播出更久以后在跟多免費(fèi)電視頻道播出圖2：好萊塢電影放映環(huán)節(jié)圖中的每一個(gè)環(huán)節(jié)都可以產(chǎn)生利潤，與電影放映相關(guān)的核心后產(chǎn)品是眾多后產(chǎn)品鏈條中最基本的一環(huán)。與電影放映無關(guān)的衍生后產(chǎn)品除去與電影放映相關(guān)的電視版權(quán)、音像制品等，電影的后產(chǎn)品開發(fā)還大有可為。國產(chǎn)電影《夜宴》和淘寶網(wǎng)合作拍賣電影道具的案例中的后產(chǎn)品即屬于此類，這部分電影后產(chǎn)品具有開發(fā)靈活度高、盈利能力強(qiáng)、品牌效應(yīng)強(qiáng)等特點(diǎn)，是電影后產(chǎn)品開發(fā)的重點(diǎn)。當(dāng)然這也同國產(chǎn)電影不擅商業(yè)運(yùn)作、過于依賴票房從而導(dǎo)致電影產(chǎn)業(yè)價(jià)值鏈斷裂不無關(guān)系。所以盡管目前出現(xiàn)了少量優(yōu)秀的電影后產(chǎn)品運(yùn)作個(gè)案，但整個(gè)電影后產(chǎn)品的開發(fā)理念和鏈條卻尚未形成。第二，本文通過收集和整合資料，對2011年兩部不同類型的熱門影片做了營銷分析，基本具備了應(yīng)有的要素。全文組織較嚴(yán)密，邏輯性較強(qiáng)。其次，在后產(chǎn)品開發(fā)的若干環(huán)節(jié)，缺乏更加詳細(xì)的實(shí)踐總結(jié)經(jīng)驗(yàn)。時(shí)代的進(jìn)步，國際化的競爭，要求中國電影市場營銷輸入新理念、新思維；要求中國電影市場營銷理念進(jìn)行與時(shí)俱進(jìn)的變革與發(fā)展。如何探索更加適合國電影的發(fā)行和營銷方式，是保證國產(chǎn)電影能夠在本國市場立于不敗并逐漸向國家市場延伸和拓展的重要基礎(chǔ)?？死胀?著 劉云舟/[M].北京：中國電影出版社，.[3][M] .上海：上海三聯(lián)書店，2006。[5]張晗:《電影產(chǎn)業(yè)哪能只盯票房收入》，《經(jīng)濟(jì)日報(bào)》，2004年4月13日第T00版。][8]尹鴻:《20022003中國電影產(chǎn)業(yè)備忘(上)》，《電影藝術(shù)》2004年2月。s dynamic entertainment environment, movies are struggling to stay afloat and remain profitable. Challenges such as piracy, digital theft, petition, overlapping movie campaigns, media fragmentation, and audience saturation are forcing marketers to stretch their film budgets and make every dollar as effective as possible. With more and more entertainment options crowding peoples39。 attention to the point that talking about a movie bees an enjoyable experience to share, buzz marketing is one such promotional posture that drives audiences to theaters. In order to achieve success with buzz marketing, however, marketers must recognize the role it plays in the context of movie differentiation strategies to support the pany39。 movies。 promotion。s movie marketers confront a difficult reality: the game plan by which they39。 similar trends are underway in Europe, as well. Cable fragments the broadcast audience, TiVo users are zapping through 30second mercial spots, and online advertising is on the rise. This sort of fragmentation makes it more difficult to generate an impact, accumulate sufficient reach and awareness, and plan promotional campaigns in general. Added to this fractured landscape, multitasking has bee increasingly mon across the board. While surfing the Web, the typical US teenager engages in an average of two other activities, one of which is often homework. Reportedly, some 80% of business people also multitask while performing work related duties (Greenspan, 2004). In concert with this, there is an increasing trend for consumers to “switch off”。 the proclaimed successors to the current DVD format (Thomas, 2006). According to Geoff (2005), by the end of 2004, Forrester Research estimated there were TiVo’s and other DVDs in million US households, up from million in 2002. That number, the firm claims, will climb to almost 50 million by 2009, representing 41% of all US households. On another front, the popularity of Netflix, an online subscription service boasting 3 million users, prompted both Blockbuster and WalMart to offer similar services whereby people rent DVDs for an unlimited time for a monthly fee. While it39。 attention to the point that talking about a movie bees an enjoyable experience to share. Essentially, buzz marketing mimics the traditional marketing model in that it sends messages to targeted audiences through varying media. Under the buzz marketing model, however, the entertainment marketer injects the audience and media with a jawdropping, movierelated message that is so interesting and exciting that it causes the information to spread like wildfire. That appealing element of exhilaration represents the essence of and key to, buzz marketing, and differentiates it from the traditional marketing approach. Among its many attractive qualities, buzz marketing is a lowcost, farreaching mode of promotion. This being the case, entertainment marketers39。 preferences and actual purchase behaviors: “Forget about market surveys and analyst reports. Word of mouth is probably the most powerful form of munication in the business world. It can either hurt a pany39。s mind….Quite simply, we find messages more believable and pelling when we hear them directly from other people, particularly people we know and respect.”– Regis McKenna“Word of mouth seems to be a frequently used riskreduction device。s subsequent actions.”– Leon G. Schiff man and Leslie L. Karuk Malcolm Glad well (2002), author of the national bestseller The Tipping Point, says WOM is so powerful because ideas, behaviors, messages, and products sometimes behave just like outbreaks of infectious disease. Similar to how an ill person can start a flu epidemic, so too can a small but precisely targeted push cause a fashion trend or the popularity of a new product. According to McKinsey amp。s exposure and influence (Wilson, 2000). Though the terms buzz marketing and viral marketing are often used interchangeably with WOM munications, the following discussion points highlight clear distinctions betwe