that ads are “exaggerat<strong>in</strong>g” and are particularly annoyed by ads/promotion about loans and slimm<strong>in</strong>g care products. Few <strong>of</strong> them do not like advertis<strong>in</strong>g at all and express strong negative feel<strong>in</strong>gs. Compare to traditional advertis<strong>in</strong>g, young consumers found the covert market<strong>in</strong>g communication--product placement more acceptable. None <strong>of</strong> the UK respondents felt negative about this practice and only two HK respondents are aga<strong>in</strong>st it. Respondents regard it as a w<strong>in</strong>-w<strong>in</strong> practice for movie producers and brand owners. It is a good/clever way for promot<strong>in</strong>g products while at the same time br<strong>in</strong>gs movie producers extra fund<strong>in</strong>g. <strong>Product</strong> placement and brand familiarity. Obvious differences emerged between the UK and HK consumers with respect to the type <strong>of</strong> brands that are suitable for plac<strong>in</strong>g <strong>in</strong> movies. The UK respondents found that both unknown and well-known brands are suitable for product placement. They believe that small brands can benefit even more because <strong>of</strong> extra publicity. However, HK respondents found that well-known brands are more suitable for placement. They tend to associate the placement <strong>of</strong> unknown brands with promotional <strong>in</strong>tention. Regulatory and ethical concerns regard<strong>in</strong>g product placement. Both the UK and HK respondents understood that film production needs f<strong>in</strong>ancial support and do not f<strong>in</strong>d it ethically wrong that film producers receiv<strong>in</strong>g money from brand owners. Divergence is found <strong>in</strong> the two samples regard<strong>in</strong>g prior notify<strong>in</strong>g audience about product placement. UK audience generally are supportive towards prior notification. It <strong>in</strong>dicates that the film has permission to <strong>in</strong>tegrate the brands which are not used randomly. It also reduces compla<strong>in</strong>ts from audience. HK respondents are aga<strong>in</strong>st the practice and regard it as another round <strong>of</strong> promotion. The prior notification looks like rem<strong>in</strong>d<strong>in</strong>g them that the film is promot<strong>in</strong>g someth<strong>in</strong>g. The sell<strong>in</strong>g <strong>in</strong>tention becomes so obvious. Few <strong>of</strong> them reported that they may even consciously locate the brands <strong>in</strong> the movie. They believe prior notification would not change anyth<strong>in</strong>g because audience will be exposed to the brands regardless <strong>of</strong> be<strong>in</strong>g notified or not. Prevalence <strong>of</strong> brands <strong>in</strong> UK and HK movies. The table below details the characteristics <strong>of</strong> brand appearance <strong>in</strong> movies released <strong>in</strong> the UK and HK with highest box-<strong>of</strong>fice-hit each week <strong>in</strong> 2010. Surpris<strong>in</strong>gly, more brand appearances were recorded <strong>in</strong> movies released <strong>in</strong> the UK than <strong>in</strong> HK (277 vs. 180 brands). The HK sample conta<strong>in</strong>s slightly more well-known brands and a much higher percentage <strong>of</strong> positively portrayed brands. A higher proportion <strong>of</strong> brands appeared <strong>in</strong> the UK sample is connected to the plot and has character <strong>in</strong>teraction. Table 1. The prevalence <strong>of</strong> brands <strong>in</strong> movies released <strong>in</strong> the UK and HK <strong>in</strong> 2010. Brand appearance characteristics UK HK No. <strong>of</strong> movies analyzed 18+11* 18+11* No. <strong>of</strong> brand appearance 242+35^ 145+35^ No. <strong>of</strong> brand appearance per movie 3~34 2~31 Most frequently appeared product category Durables Servic<strong>in</strong>g/ retail<strong>in</strong>g % <strong>of</strong> well-known brands appeared 74.37% 78.33% % <strong>of</strong> brands with character <strong>in</strong>teraction 62.82% 46.11% % <strong>of</strong> brands connect with the plot 37.55% 25.56% % <strong>of</strong> positively portrayed brands 10.47% 21.11% Note: *^ These figures belong to movies released <strong>in</strong> both countries. 6
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