[雙語翻譯]電影宣傳外文翻譯——電影消費(fèi)中消費(fèi)情緒對口碑的影響（原文）

1、See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/298428043Impact of consumption emotions on WOM inmovie consumption: Empirical evidence fromemerging marketsArt

2、icle in Australasian Marketing Journal (AMJ) · March 2016DOI: 10.1016/j.ausmj.2015.12.005CITATION1READS763 authors:Some of the authors of this publication are also working on these related projects:Rural Marketing

3、 View projectCurrently working on three research areas, Influence of csr on youth purchase behaviour moderatedby personal ethics, gender and advertising effects, and film music marketing View projectPrashant MishraIndian

4、 Institute of Management Calcutta46 PUBLICATIONS 30 CITATIONS SEE PROFILEMadhupa BakshiHeritage Academy, Kolkata, India12 PUBLICATIONS 8 CITATIONS SEE PROFILERamendra SinghIndian Institute of Management Calcutta5

5、8 PUBLICATIONS 284 CITATIONS SEE PROFILEAll content following this page was uploaded by Ramendra Singh on 13 December 2016.The user has requested enhancement of the downloaded file.evaluating the perceived its qualit

6、y (Wang et al., 2010). Researchhas shown that consumers’word of mouth strongly influences futuredemand of movies (Liu, 2006), with potentially varying strengthsat different stages. Given their short lifecycles, movies ar

7、e gener-ally “sequentially distributed”(Lehmann and Weinberg, 2000), whichmeans movies are first released in theaters and then to rental com-panies, followed by entertainment channels, for higher profitability.In emergin

8、g markets such as India, income plays an important rolein the adoption of experiential services such as movies given the vari-ability in income of consumers (Dawar and Chattopadhyay, 2002).The Indian Hindi movie industry

9、, popularly called, ‘ Bollywood’notonly reflect through the movies the day-to-day life of ordinary Indians,have also become a part of Indian life, so much so that Bollywoodfans look to Bollywood movie to guide them on dr

10、essing, talking, andbehaving in various social settings (Dwyer and Patel, 2002). Bolly-wood, the moniker for the popular Hindi cinema from Mumbai, Indiahasbecomeanimportantcatchwordvocabularyof globalAsianpopularculture(

11、Mishra,2002;Virdi,2003).Arecentstudyreportedthatviewersexposure to Bollywood films results in re-acculturation and re-connection with the Indian culture, bringing the family together asBollywood films were consumed and e

12、xperienced as families and thenreflected on as a family (Dudrah, 2006) and enabling young viewersto become aware of the significance of the Indian culture in their livesand identity (Takhar et al., 2010). Invoking emotio

13、n and social con-sciousnessintheiraudiences,socialfilmsaddressthemselvestoculturalchanges through the interplay of personal identity, love, human re-lationships, and family (Dudrah, 2006).Besides, Bollywood has also beco

14、me a huge marketplace for pro-moting goods and services (Kripalani, 2007), and has grown to becomea USD 1.5 billion industry (FICCI-KPMG- Indian Media andEntertainment Industry Report, 2011). However, generating posi-tiv

15、e word of mouth is one of the biggest challenges faced by movieproducers even before the release of the movie in the box office.Significantly, Bollywood is recognized as a creative and significantworld cinema, the Indian

16、 version of Bollywood offers an enormousproduction output (1000 films/year). It seems the “fascination forall things Bollywood seeped into mainstream Western music, theatre,fashion and television” (Dudrah, 2006). The cha

17、nges precipitatedby liberalization of the Indian economy throughout the 1990s fa-cilitated the growing internationalization of the production anddistribution of Hindi films. With the entry of satellite television, Indian

18、filmmakers began operating in a new media landscape, where a vastrange of options, including easy access to Bollywood and Holly-wood films, were available to viewers at home. With liberalization,the financial equations i

19、n Bollywood changed too. Overseas distri-bution rights for a big budget film roughly doubled in price thanthat in the Indian market. Television and music rights additionallygenerated more revenues than the entire product

20、ion had cost, evenbefore a single ticket was sold. (Rao, 2007). Attracted by a growingmiddle class and a more welcoming investment environment, foreigncompanies are flocking to Bollywood, funding films and musicians.The

21、foreign money is already helping India’ s pop culture to reacheven greater audiences (Rajadhyaksha, 2003). Academic researchin this domain has largely been lagging behind market develop-ments, and given that most WOM res

22、earch has been conducted indeveloped markets (Liu, 2006; Moore, 2012) despite the rapid growthof movie consumption in the emerging markets (Barkin, 2011). Sothere is a need to study the WOM in the context of movie con-su

23、mption in emerging market such as India.Ladhari (2007) in the context of movies found that the impactof arousal on the likelihood of WOM is partially mediated by sat-isfaction, but the effect of arousal on positive WOM i

24、s mediated bysatisfaction. Past research has established that age, gender, and ed-ucation are likely to activate the flow of referral information (Rogers,1983). Besides, gender may also drive types and styles of relation

25、-ships among consumers (Fournier, 1998). Cognitive psychologysuggests that with age, processing and interpreting of emotionsundergo a change, and older consumers may even have reducedemotion recognition accuracy compared

26、 to younger adults (Ruffmanet al., 2008). While the emotion–customer satisfaction relation-ship has received considerable attention in the literature (Liljanderand Strandvik, 1997), there is scanty evidence when it comes

27、 to ex-amining the moderating influence of demographic characteristicsof consumers on these impact of consumer emotions on satisfac-tion, likelihood of WOM, and WOM.In this study, we empirically examine the impact of ple

28、asure, andarousal on customer satisfaction, likelihood of WOM and positiveWOM in the context of Bollywood movies in India. We also examineif differences in age, gender, or income of consumers affect how theconsumer emoti

29、ons impact customer satisfaction, likelihood of theirword of mouth, and positive word of mouth.The rest of the paper is organized as follows. We first providetheoretical background to the research context, followed by de

30、vel-opment of hypotheses, and the model. We then describe themethodology, data collection, and measures used in the study, fol-lowed by results and discussion. The paper concludes withmanagerial and theoretical implicati

31、ons.2. Theoretical background and hypothesis development2.1. Consumption emotionsConsumption emotions have been conceptualized as discreteemotions (such as interest, joy, sadness, fear, contempt, shame,guilt, disgust, an

32、ger, and surprise), or as generally as “positiveemotions” and “negative emotions” (Richins, 1997). Generally, it isaccepted that emotional states exist in bipolar categories (Mehrabianand Russell, 1974; Russell et al., 1

33、989), such as pleasure-displeasure,arousal/non-arousal, and dominance–submissiveness. Since the re-jection of the dominance–submissiveness dimension by scholars(Russell et al., 1989), recent marketing studies (Bigné

34、 et al., 2005;Mattila and Wirtz, 2000; Yüksel, 2007) have represented emo-tions in two dimensions: pleasure and arousal, also called the P–Amodel. Pleasure is defined as the degree to which a person feels good,happy

35、, contented, or joyful in a situation, and arousal is the degreeto which a person feels excited, alert, stimulated, awake, or activein a situation (Mehrabian and Russell, 1974).The P–A model began to be used only after l

36、ate 1990s in satis-faction studies (Bigné et al., 2005). In a study of theme parkexperience, Bigné et al. (2005) found that disconfirmation evokedarousal, which in turn influenced pleasure. Subsequently, the ro

37、leof disconfirmation/confirmation of emotions has been explored innumerous studies. Ha and Lennon (2010) found that pleasure andarousal caused by various online visual merchandising cues werepositively related to custome

38、r satisfaction. Hanzaee and Khanzadeh(2011) found that pleasure had a considerable importance in arous-ing satisfaction. Morrison et al. (2011) noted that arousal inducedby music and aroma resulted in increased pleasure

39、levels, whichpositively influenced shopper behaviors and satisfaction with shop-ping experience. Therefore, we hypothesize that:Hypothesis 1. Arousal in movie consumption leads to pleasure.2.2. WOM, pleasure, and arousal

40、Word of mouth usually refers to informal communicationsbetween private parties concerning evaluation of goods and ser-vices (Yang et al., 2012). The positive word of mouth or PWOM isthe product related information spread

41、 by satisfied customers, whilenegative word of mouth or NWOM is the interpersonal communi-cation among consumers denigrating the product (Singh, 1990), ordescribing dissatisfying experiences about a product or service60