The persuasive effectiveness of mini-films: Narrative transportation and fantasy proneness
ABSTRACT
Little empirical investigation has been made on mini-films, an innovative online marketing technique of branded entertainment. This study intends to gain a deeper understanding of the advertising effectiveness of mini-films. Employing a narrative persuasion research approach, an online survey with hyperlinks to a variety of real mini-films was conducted to test the aggregate persuasive effectiveness of this marketing innovation. The results demonstrated that narrative transportation has a major influence on the attitude toward the mini-film; the mini-film attitude fully mediates the effect of narrative transportation to brand attitude, and subsequently to purchase intention. Furthermore, conceptualized as a normal consumer characteristic, the influence of fantasy proneness on the persuasive mechanism of this online advertising genre has also been under study. Empirical evidence showed that fantasy proneness has a positive influence on narrative transportation. This study has made a contribution to academics and practitioners alike for future research into branded entertainment.
INTRODUCTION
As people turn away from traditional print and broadcast media and increasingly form negative attitudes toward traditional advertising, advertisers must develop new ways to engage their consumers, especially members of the youn-ger generation, who rely heavily on the Internet for their leisure activities. One growing advertising strategy, known as branded entertainment, involves integrating branded communication into content that consumers seek out for entertainment purposes (Wise et al., 2008), which appears to be part of the solution in the digital communication world. Conceptualized as a more contemporary, sophisticated use of product placement, branded entertainment was defined by Hudson and Hudson (2006) as the integration of advertis-ing into entertainment content, where brands are embedded into the story lines of a film, television program, or other entertainment medium. The Internet is the “hotbed” of many innovative branded entertainment techniques, such as advergames. One special form of branded entertainment is the short movie-like online advertising, known as mini-films(Lehu, 2007: 212) or Net films (Kiley, 2004), first introduced by BMW in 2001 when it produced a series of mini-films titled “The Hire” to showcase their range of luxury cars (Lehu, 2007:213; Chan, 2012). This online advertising format is gaining popularity in recent years among product and service advertisers in Chinese-speaking areas (Ad-Talk, 2012; Baidu Beike, 2012), and YouTube in Taiwan even
established a mini-film channel. Mini-films have expanded the boundaries of advertising formats on the web, creating a situation where the entertainment is the advertisement (Hudson and Hudson, 2006). It refers to the branded entertainment with the form of a short feature film, generally with a duration between 3 and 10 minutes with a romantic or comedic storyline, which is posted on a dedicated website or video-sharing websites. The sponsor is identified at the beginning or ending ofthe movie,and brand messages may or may not be explicitly placed in the film. Despite the popularity of mini-films worldwide, the academic endeavor into this innovative branded entertainment format has been lacking; therefore, its persuasive effectiveness is worthy of empirical investigation. With its narrative form, the effectiveness of mini-films can be derived from narrative persuasion or narrative transportation (Green and Brock, 2000), a construct heavily studied in recent years in print advertising (Escalas, 2004, 2007; Phillips and McQuarrie, 2010), and by entertainment education (E-E) researchers as well (e.g.,Slater and Rouner, 2002; Moyer- Guseacute;, 2008). Narrative transportation refers to the mental process of viewers who become absorbed or engaged in the story lines and are “transported” into the fictional worlds, just like being moved from one place to another, and cognitively and affectively experienced the constructed worlds in the story. Cognitive resistance or counterarguing against persuasive content in the narratives is diminished because the message would be perceived as “real” and not persuasive in nature. Changes in belief, attitude, and even behavior would ensue (Green and Brock, 2000; Slater and Rouner, 2002; Moyer-Guseacute;, 2008). When a mini-film is employed as an advertising vehicle, the persuasive outcomes should be positive ad and brand attitudes, as well as purchase intention as possible behavioral change by consumers (MacKenzie et al., 1986). To obtain a comprehensive view of the effectiveness of certain advertising genres, the interaction of the characteristics of the individual and the characteristics of the ad must be taken into consideration (Escalas et al., 2004). In persuasion research, it is an age-old thinking that individuals who could picture the consequences of persuasive messages, that is,mentally process the messages with “richness of fantasy,”are inclined to adopt the behaviors suggested (Infante, 1975). Furthermore, the entertaining value of media resides largely in providing an opportunity to escape from the boredom of everyday life to a world of fantasy where emotions can be experienced (Sherry, 2004). Fantasy proneness (FP) may be one of the individual factors that predispose viewers to be absorbed and immersed into the constructed world and further influence the level of narrative transportation. FP refers to a set of characteristics of people who often displayed an extensive and deep involvement in fantasy (Wilson and Barber, 1983) and are closely associated to absorption (Merckelbachetal.,2001).Fantasizers are susceptible to outside stimulus such as hypnosis (Wilson and Barber, 1983). To a lesser degree, viewers prone to fantasy may be susceptible to and imagin
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迷你电影的有说服力的有效性：叙事运输和幻想倾向
摘要：对迷你电影进行的实证调查很少，这是一种创新的品牌娱乐在线营销技术。本研究旨在深入了解迷你电影的广告效果。采用叙述性说服研究方法，进行了一项在线调查，其中包含各种真实迷你电影的超链接，以测试这种营销创新的总体说服效果。结果表明，叙事交通对小型电影的态度有重要影响;迷你电影的态度充分调节了叙事交通对品牌态度的影响，并随后影响了购买意愿。此外，概念化为正常的消费者特征，幻想倾向对这种在线广告类型的说服机制的影响也在研究中。经验证据表明，幻想倾向对叙事运输有积极影响。这项研究为学术界和从业者的未来研究品牌娱乐做出了贡献。
介绍
随着人们转向传统的印刷和广播媒体，并越来越多地对传统广告形成负面态度，广告商必须开发新的方式来吸引他们的消费者，特别是那些依赖互联网进行休闲活动的贵族成员。一种不断增长的广告策略，即品牌娱乐，涉及将品牌传播整合到消费者寻求娱乐目的的内容中（Wise等，2008），这似乎是数字通信世界解决方案的一部分。概念化为更现代，更复杂的产品植入使用，Hudson和Hudson（2006）将品牌娱乐定义为广告与娱乐内容的整合，其中品牌嵌入电影，电视节目或其他的故事情节中。互联网是许多创新品牌娱乐技术的“温床”，例如广告游戏。一种特殊形式的品牌娱乐是短片式在线广告，被称为迷你电影（Lehu，2007：212）或网络电影（Kiley，2004），于2001年首次由宝马推出，当时它制作了一系列迷你电影。电影名为“The Hire”，展示他们的豪华车系列（Lehu，2007：213; Chan，2012）。这种在线广告形式近年来在中文区域的产品和服务广告商（Ad-Talk，2012;百度Beike，2012）和台湾的YouTube中越来越受欢迎建立了迷你电影频道。迷你电影扩大了网络上广告格式的界限，创造了一种娱乐性的广告（Hudson and Hudson，2006）。它指的是具有短片的形式的娱乐品牌，通常持续3到10分钟的浪漫或喜剧故事情节，发布在专门的网站或视频分享网站上。赞助商在电影的开头或结尾被识别，并且品牌消息可以或可以不明确地放置在电影中。尽管全球迷你电影的普及，但这种创新品牌娱乐形式的学术研究一直缺乏;因此，其有说服力的有效性值得进行实证研究。凭借其叙事形式，迷你电影的有效性可以来自叙事说服或叙事运输（Green and Brock，2000），这是近年来在印刷广告中大量研究的结构（Escalas，2004,2007; Phillips和McQuarrie，2010） ），以及娱乐教育（EE）研究人员（例如，Slater和Rouner，2002; Moyer-Guseacute;，2008）。叙事交通是指观众被吸收或参与故事情节并被“运输”到虚构世界中的心理过程，就像从一个地方移动到另一个地方一样，并且在认知和情感上体验故事中构建的世界。对叙述中有说服力的内容的认知抵制或反驳被削弱，因为这种信息被视为“真实的”而不具有说服力。随之而来的是信仰，态度甚至行为的变化（Green和Brock，2000; Slater和Rouner，2002; Moyer-
Guseacute;，2008）。当迷你电影被用作广告载体时，说服力的结果应该是积极的广告和品牌态度，以及购买意图作为消费者可能的行为改变（MacKenzie等，1986）。为了全面了解某些广告类型的有效性，必须考虑个人特征与广告特征的相互作用（Escalas等，2004）。在说服研究中，一个古老的思想是，能够描绘说服性信息后果的个人，即用“幻想的丰富性”来精神处理信息，倾向于采用所建议的行为（Infante，1975）。此外，媒体的娱乐价值主要在于提供一个机会，摆脱日常生活的无聊，到一个可以体验情感的幻想世界（Sherry，2004）。幻想倾向（FP）可能是使观众被吸收并沉浸在构建世界中并进一步影响叙事交通水平的个体因素之一。 FP指的是人们经常表现出广泛而深刻的幻想参与的一系列特征（Wilson和Barber，1983），并且与吸收密切相关（Merckelbachetal。，2001）.Fantasizers易受外部刺激如催眠（威尔逊）和巴伯，1983年）。在较小程度上，易于幻想的观众可能容易并且更加生动地想象由迷你电影创造的虚构世界，从而导致更大的吸收或运输效果。总而言之，这项研究将解决两个有关迷你电影的有趣研究问题，这些问题是在营销人员接受十年之后。
理论基础与假设
叙事说服
电视广告的基本形式被分为论证和戏剧（Deighton等，1989）。依靠字符和情节来讲述品牌故事，迷你电影可以归类为戏剧广告。 Deighton等人认为，旨在将观众吸引到它所描绘的事件中的戏剧广告的功能与论据广告完全不同。当广告成功时，观众在故事中成为“流动”并体验人物的感受。不太倾向于争辩，观众将接受广告的消息并在情感上回应它。戏剧广告的情绪反应被埃斯卡拉斯和斯特恩（Escalas and Stern，2003）称为“移情”，并被埃斯卡拉斯等人“迷住”（2004）。这源于一个观察者的视角，他认识到角色的感受并引起他或她的兴趣在情感上识别广告内容的特征，情况或其他元素。在一项媒体心理学研究中，Green和Brock（2000）使用Gerring（1993）首次提出的“交通”一词来描述一个将观众引入叙事世界的故事的说服机制。交通代表着注意力，意象和感受的融合，专注于故事事件。交通的结果是现实世界的某些部分变得无法进入，观众接受了叙事世界。运输的观众可能会经历强烈的情绪和动机。 Green和Brock（2000）使用短篇小说作为实验性处理，证明故事作为事实或虚构的描述通常对交通和相应的信念没有影响。叙事运输的有说服力的有效性扩大了Petty和Cacioppo（1986）的具有里程碑意义的研究所理论化的可能说服“路线”。精化可能性模型表明，有动力的消费者将通过说服尝试集中处理消息，并详细阐述消息的主张，而未涉及的消费者将不会详细阐述论点，而是将使用各种外围线索来制定启发式判断（Petty et al。，1983; Petty and Cacioppo，1986）。然而，运输的说服效果源于观众的中心处理和外围处理（Green和Brock，2000; Slater和Rouner，2002）。被运送的观众是认知和有效的吸收或沉浸在故事中;因此，虚构的世界将被接受为“真实的”和嵌入的消息，无论是有意还是无意。叙事中嵌入的说服性信息的影响将取决于叙事的交通程度（斯莱特和Rouner，2002）。广告研究人员采用叙事运输的概念来讨论平面广告的说服效果（Escalas，2004,2007; Phillips和McQuarrie，2010）。然而，由于平面广告主要是修辞文件，它们缺乏运输所需的戏剧性和叙事质量（Green and Brock，2000）。即使是60秒的电视剧商业广告也缺乏亚里士多德称之为实现情感反应的全面必要的“量级”（Escalas和Stern，2003年引用）。干扰叙事运输在广告中应用的另一个主要障碍是广告是明确的说服尝试，这会引发消费者的怀疑并阻碍他们对故事的精神沉浸（Green and Brock，2000; Phillips和McQuarrie，2010）。将叙事说服应用于广告研究的理论关注点是通过迷你电影的本质来解决的。在线品牌娱乐旨在吸引自愿观看，具有娱乐短片的特点;因此，消费者对嵌入品牌推广尝试的警觉性可以最小化。此外，拥有更长，更详细和更好的故事情节，与传统广告相比，迷你电影应该在观众中产生更深的交通效果。
出处：陈..迷你电影的有说服力：叙事运输与幻想倾向[J]。 消费者行为杂志，2015,14（1）：21-27。
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