กลยุทธ์การสื่อสารการตลาดสมัยใหม่ของภาพยนตร์ไทย...

Modern Marketing Communication Strategy of Thai Films

Case Study of Movies in 2005

Wilawan Chainaranon

A Thesis Submitted in Partial Fulfillment of the Requirements

For the Degree of Master of Arts Communication Department of Business

Communication Graduate School, Dhurakij Pundit University

2007

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Thesis Title Modem Marketing Communication Strategy of Thai Films,

Case Study of M o v ~ e s in 2005

.411 thor Wilawan Chainaranon

Thesis Advisor Asst. Prof. Suwattana Vonggapan

Depanment Master of Communication Arts in Business Communication Arts

Academic Year 2007

ABSTRACT

The purpose of this research is to study the modern marketing communication

strategies of Thai movies that make Thai films being well-accepted and more popular among

domestic audiences. The data was collected by using a random method by selec~ing 3 Thai

movies from 3 different producing companies. which were shown in domestic theatres in 2005.

The first movie was "Laung Pee Teng" (The Holy Man) produced by Pranakorn film C.O., Itd.. the

second movie was "Payak raj sai n a h (Dumber Heroes) produced by Avant Film Co., ltd: and the

third movie was "Mahalai Muang Rae" (The Tin Mine) produced by GTH Co., ltd. This paper

also used the in-depth interview as a methodology with 3 marketing executives, 2 advertising

executives and 1 director together with the stnictural questionnaire as a research tool to study and

receive the data relating to the Thai movies marketing communication stralegies. However, the

result found that Thai movies marketing communication strategies had developed from having

only a convincing and motivating advertising through few media channels in the past to become

the modern marketing communication strategies that fit better with the varied choices among

mega media channels at the present time.

Nevertheless, the Thai movie marketing communication strategies can be divided

into 5 stages of the product life cycle which are; 1. Pre - production stage The research showed

that the producing companies studying market directions and consumer demands in order to find

marketing communication plans and strategies guide line to create a precise aptitude to

communicate with their target gmups. 2. Production stage The study found that the producing

companies used the main actors and actresses to send and spread the news about their roles and

acting in the movies through the media ro form the anxiousness among the consumers. They also

tried to make their target consumers feel eager to know what would happen next and make them

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wait for and follow the future news or information, 3. Pre - launching stage The paper presented

that the producing companies coming up with the movie names and the scattered words, which

were a very important part to communicate with their target groups at the sell location. It also

caused an effective marketing cornrnunjcation according to their plans. Furthermore. they also

made media plans to promote the movies through the varied media, for examples; printed media

such as newspapers and magazines, sliIl and motion picture media such as posters, handbills,

billboards, cut outs including teasers or movie preview which were released in the cinemas and

broadcasted through telev~sion channels. 4. In the theatre stage The result illustrarcd that the

producing companies normally set up a press conference around 2 weeks before the movies were

shown in h e theatres. They also held a movie opening event or a movie premier event around 1-2

days before the Iaunch to build up public attention towards their movies. I f the movies

tremendously earned a huge amount of money, there would be an income celebration event to

stimulate the circulation and to create consumer's confidence of the product, which was the

movie. 5. Out of the theatre stage The result demonstrated that at the last stage of Thai movie

marketing communication strategies, the producing companies reported their big income to the

public through the media. I f any movies received any prizes from any film cornpet i tions or had

been selected to be shown abroad, it would be a strong PR. for the movies and the firms in the

long tern. The prizes the movies received and the chances to be shown abroad were the great

opportunities to indicate the quality of the movie as well as represent the good image of the

companies to also create the reliability to their target consumers.

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A d ~ u n i ~ Film noir w~mWuurnfmd~dzl~xL1d~atlna~u$uI$uif11~ dm 7 A 1 q A K I E ~ R ~ U H ~ ~ U J &PEBIJ r i ~ u l n ~ o ~ s t i ~ u u u i t 4 ~ n 1 w u ~ ~ ~ ~ i a ~ ~ f ~ . j ~ ~ n ~ ~ ~ ~ ~ 1 ~ 1940s - 1950s Jwgunliuu~

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$4; UYJ wuniariEi4d5~~n~ P . O ? O I ~ ~ I ~ ~ I U ~ ~ I W u w m f ~ ~ u ?niGuol ~ U I D D ~ ~ (William - Bayer) 1~n:nq'ul jn~~~5dmwuu~1~~0~0~u?ni~~f izd4n~~ $ d ~ ~ l m 5 ~ i u ' . m m w u U R ~ O O R 1 ~ ~

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1). ~ ~ W U U W ~ I ~ U Q U (Westem) d d w A

2). f l l ~ ~ ~ ~ ~ ~ ~ n ' t l ~ ' ~ ~ ~ ~ (Intrigue & Suspense)

3). mwuunfnnn (Comedy)

4). ~ ~ I W U U P I ~ A W ~ I S (Musicals)

5). ni~aumft ia f i51~ (war)

6). ~ W U U R ~ W I ~ ~ ~ ~ (Adventure) drl * 4

7). f l l ~ U M ~ %ifl~an~lnn~a~x11~a:d9nflfl (Manners, Morals & Society)

8). m ~ ~ ~ ~ l f l 6 ~ l ? f i ~ ? 4 n 1 1 ~ ~ 1 ~ " 4 (Films about Films)

9). mwuun$dm h (Cinema of Personal Expression)

10). ~ ~ W U U ~ ~ ~ U P I U I ~ ~ ~ ~ ~ Z A ~ ~ ~ I U ~ ' ~ (Fantasy & Horror)

1 1). SI I W U U F I ~ ~ L # Q U ~ I W .a'9~91 (The Concerned Cinema)

12). 5 1 1 ~ 0 ~ ~ s d P 1 5 ~ ~ ~ ~ 1 ~ f d (Period Films)

1). n ~ t J ~ m ~ f i l ? u e u (Western Film) i r n w u u m i n i ~ u o u l r i o n i w u u w ~ ~ n ~ ~ ~ ~ a ' ~ ~ ~ (western genre) $ U ~ ~ ~ U : ~ ~ U ~ ~ D V ~ J O ~

nmeull~u?~nn~sui9~l0n~nfloJ'~ ifn'omwuurilto4 Haw the west was won

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d d " A 2). ~ ~ I W U U P I ~ U ~ ~ P U ~ ~ ~ U ~ ( Intrbe & Suspense Film)

F Q Y 4 n~nuuaids~mnnnnu~u tk nios:livniimnaum~01'11~7ns51~ n50unpu Wn'a mwuunhIrzmn6~iia1~~~0i Gndu moiiu a ~ ~ n ~ n u u ~ i o ~ s n r r u ~ i ~ ~ ~ ~ c ~ ~ u n ~ ~ u ~ ~ ~ ~ ~ daub n~~u.'lnbiu~a~f wut~undn~wqjtu r i n ~ h v a r r d i ~ ~ ~ 0 ~ 6 1 1 ~ ~ ~ ~ ~ 1 ~ d ~ ~ ~ ~ w d ~ ~ ~ 1 0 ~ ~ 1 ; ~ ~ ~ ~

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3). n~wuuniman (comedy ~ 1 1 3 d c j a a nrinmanluynriouAn'onlwuuRs"~o'u n r i 1 ~ L m w u u ~ i ~ u u ~ ~ ~ ~ , ~ ~ ~ ~ ~ 5 n u i ~ ~ ~

B nwi%rjii~2ud ~ ~ ~ = % ~ ~ I ~ ~ ~ ~ ~ ~ ~ ~ H ~ ' ~ U ~ ~ ~ ~ A I ~ ~ ~ ~ D ~ J U O ~ ~ ~ I R I W X I I U ~ I ~ ~ D I ~ X I & I ~ U ~ ~ J L - A I

~ ~ ~ 4 s l ~ l ~ ~ ~ ~ i l ~ ~ 1 ~ ~ 9 ~ i 7 ~ ~ ; 1 1 1 1 4 f l 1 5 1 ~ ~ f l 9 ~ ~ ~ d 4 1 & ~ ~ i i u n n ~ u ' ~ ~ ~ 7 n $ ~ ~ 1 ~ ~ f l 1 f 4 1 ~ 1 f n ~ 0 9

n1nou~ilflui1~3uu1n m n u u n i ~ u u ~ u o " o i i u i 1 1 ~ ~ 1 ~ $ 1 ~ 0 ~ ~ ~ ~ n 1 ~ n ~ 0 ~ n a 1 ~ 1 ~ ~ l ~ ~ v ~ ~ ~ u ' ~

~iu?mnnioi!$m'plno~nin ~ w n ~ ' l ~ i i n ~ w u u ~ l & m n ~ f B Q I ~ I R I U J I ~ ~ ~ C J ~ I ~ O I ~ D ~ U I ~ ~ U I ~ O ~ ~ Y

L;u~l~ur; w : A H R ~ ~ U ~ ~ ~ ~ ~ R ~ ~ ~ ~ ~ ~ ~ U W ~ ~ " ~ ~ U I I ~ ~ ~ ~ ~ B U ~ ~ W ~ I J H U ~ ~ ~ I ~ ~ ' Q ~ ~ ~ U ~ ~ I ~ O Q ~ O ~

mwuu~iaanldhu a n r l u u r s ~ 1 m n u u n ~ ~ ~ ~ u ~ 1 ' ~ o ~ n ~ ~ 1 1 ~ ~ 5 " m 0 n u ' ~ ' 1 4 1 ~ ~ w ' ~ ~ 0 ~ n ~ ~ ~ ~ ~ ~

fiuuah?6w.~mouiu~8ue,ri1~~ Suynmc~G~Buu (R.II. 1908 - 192s) i i ~ j ~ d ~ ~ m d ~ i b ~ ~ j d ~ a u o j ~ f i p l n n mir~nanr~iaznuoziiiunGu Character ~WS~Z~~U~I~U~~UD~~IJIRIOU ~ U Q G U ~ J D J

mnannlufifiiu 'Ikd" Y

(1) Mack Sennette L~U~!IQIUD@ Biuograph fill Grifith ~ 0 ~ l f 1 1 0 0 f l 4 1 1 ~ ~ U%W A

Keystone Mack Sennette A W O H ~ I ~ n ? ~ l l ~ ~ h t i f l l l ~ ¶ J "Slapstick Comedy" H;O RflflHUIYflIu qU

ti~rnrnod v o ~ n u ~ B u m ~ ~ ~ ~ ~ ~

(2) %I: ll%d%l (Chark Spcccer Chaplin) ~ 1 5 1 1 ~ ~ ~ l ~ ~ ~ ~ f l 4 ~ 1 ~ ~ t d p r l s " % 1 7 ~ 9 f l ~ f l L ~ U

4 ~EI$ IO~'UDJ Mack Sennette ~ 1 ~ 0 n ~ 7 r ~ 9 ~ ~ 1 9 n l ~ u u w 5 " 1 ~ 1 1 1 1 f l u ~ 9 m u a ~ ~ M ' W ' ~ I ~ ~ D Q ~ ~ U ~ I ~ ~ U ~ ~ U

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ai i i l iYd~i idu 4~na~un'anC~nanAu'u*~ y n % o i ~ i g u y n d i t ~ ~ ~ w " ~ 4 ~ v o t ai: ~u ido~u~o in

mqwd~qi 3 h-mr n'o I ) n ~ i u u ' u ~ a u w n u r o ~ d s ~ ~ i ~ ~ ~ a u 1 ~ ~ ~ 0 ~ d a ~ 2) msw'wui ,I qmrnnnssumwuu~fiw~ n i s n a y u u 1 n i ~ l ~ ~ f i 1 7 a u i n ~ 1 ~ ~ 1 1 3) ?7niaiimuol~aznuaZw

qo.ra~ii ~~~n;~li~nriuni~nu& 4 d

(3) Buster Keaton m l l n 5 3 ~ ~ h ldtds ~inwlnaull Y T I I I ~ . ~ ~ U ~ F ~ B @ I I ~ ~ ~ U T I ~

1do9 o1nh;?lo63i&~ plot 0 ~ ~ ~ u ~ i ~ l d h 9 n ~ i d o e r ~

(4) Harold Lloyd RYGUQ~ ~ a c k Sennette du nanldt~iurnl~7 dlt8un ~nnn~lium~Tmt~ 4d 4 I ~ U ~ ~ ~ ~ ~ ~ ~ Q ~ ~ I ~ ~ O ~ Q ~ ~ I M W ~ O P J $ I ~ ' ~ (5) Harry Langdon 1~~~ l t i"d ld04#1 M Z I U U ~ ~ ~ ~ < ~ I W ? ~ l6~~1~1nn~181?%2 1119Fl!9$4

Q m U o ~ i i i ~ u n n n n d ~ d q w ~ L ~ z ~ ~ ~ ~ I ~ ~ q ~

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40 2 A Boabd~uri1.l 7 ni~+mu (social taboos) ~rnr~ibod~ni i~uds~u 1 ~ u ~ a w i z o i ~ ~ u s o o ~ n ~ ~

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l ;~ in~~mn;nnni~i ,~h 2 d5uinlnojq n'o i i

(5.1) Comedy of Incidents gfl ~ W U U R ~ ~ I ~ M R ~ ~ ~ I ~ U ~ W . S S I K ~ LUOI1DI 9::

~ ~ u ~ ~ r r s d - ~ ~ d s r ~ o ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ i ~ a n ~ l f i ~ ~ ~ ~ ~ 44 dl

(5.2) Comedy of Situation /in niwuuRhnnnu&ml8uMa"n T ~ ~ i i ~ n m n f i n ~ ~ A d ~ m r n d ~ l X ~ : a ~ s x ~ n ~ n~pd~utlinu~~pd mauumillr:mn Comedy of Situation 6tYu~iql~du

(5.2.1) Satire P ' I E I ~ ~ ~ ~ U R ? ~

(5.2.2) Parody T ) ~ ~ ~ ~ # D A ~ U U ~ ~ ~ ~ ~ H ? O ~ ~ R P I

(5.2.3) Social Comedy V K i n g l ~ f f ~ f l l d 4 ~ l n r

(5.2.4) lack comedy ~ ~ ~ P T : ~ D U I T ~ ~ I U ~ ~ M ~ L ; S I I ~ ~ ~ ~ U V ' U

4). ~WUMBIGWBQ musical^ ~itd

ninuu~itwn~ ~ o o ~ e k ~ ~ ~ ~ u ~ ~ ~ c l u r ~ ~ ~ ~ u ~ % u ~ ~ w t l u ~ ~ ~ ~ ~ n f d " n d.rC/~du~~udu d

~ ~ W ~ I L ~ ~ U ~ U U O ~ ~ ~ U U ~ ~ I W R Q ~ O B ~ ~ ~ U ~ U I ~ ~ ' ~ ~ ~ U ~ ~ D I U ~ U ~ ~ ~ ' O i~dmnuo~&nuniiuld

q m n m r ~ f l u y n ~ ~ ~ 7 ~ ~ a * 3 ~ z w f l j ~ 4 .u B

dnmuidu? 1 i ~ ~ o ' o ~ ~ u u u ~ m w v u ~ ~ p l l 1 ~ n a i ~ ~ u ~ G ( 1 1 ~ ~ ~ ~ 1 1 ~ ' i u 5 n ' t l 1 ~ ~ ~ ~

mnuunilwad i i a n i n u u n ~ i ~ a i n o ~ ~ n 1 a i 4 1 n i i j r n r f o . r ~ a a c m a o n d ~ ~ ~ ~ w u ~ ~ ~

uomriidom? ~ ~ ~ ~ ~ ~ ~ ~ ~ I ~ ~ ~ D P ~ ~ ~ J ~ ~ B ' F I ~ ~ I ~ ~ ~ ~ ~ ' ~ I ~ ~ M ~ R ~ U I O H ~ ~ ~ O ~ M JQ 4~$876~

d o m a s s r ~ ~ ~ d u ~ ~ i ? ~ 1 ~ ~ ~ ~ ~ ~ i ~ a ~ ~ d 0 d 0 ~ i 1 ~ 9 w " 1 d ~ ~ ~ ' ~ 1 n ~ ~ ~ f i n ' u ~ w n a ~ ~ i i ~ f u mnau~6waa

o:?~~nw:v~dndm~a~nf ~ ~ i o ~ i ~ ~ u ~ a u w a u ~ ~ n l i ~ ~ ~ m q i ~ r n s a ~ ~ a n ~ i u ~ d n o o n u ~ 19u

ma t o ~ n ~ i h ~ $ o a E ; ~ u ~ w ~ ~ L ~ u ~ B Q $ ? ~ o I o $ I ~ ~ ~ u $ ? w 03~~'ilumw ~urni~aulw qjfhdqniw uud c4A d a d d Iwaa nmona~ni jo~nn~~u~~uu~~wiwpdn"~d~ j q f i 1 ' u 1 u S ~ w ~ ~ ~ ~ p r ' ~ n ~ 5 ~ ~ 6 ~ ~u&6~drnnuurni

km4thPlaf1 The JU Singer R.H. 1927 BDnOlU ~ / ~ I ~ ~ ~ ~ u u I ~ ~ ~ ~ I ~ u ~ ~ u ' ~ o I ~ . A ~

n a i o 1 f l u ~ ~ ~ d u ~ u d i $ 1 ' ~ ~ ~ ~ 1 o n ~ ~ ~ ~ w taoipiou~ ~uu~:n"rnriuumfdr~mndu 7 s-117 dl Y . n ? i a d ~ % ~ ~ ~ 1 n s o ~ n 7 n " u n ~ 5 6 ~ f l w ~ ~ ~ d r n w u u m h a ~ o i a o ~ ~ ~ a a ~ ~ . r S i $ I ' ~ ~ ' ~ ~ ~ n a ~ u ~ ~ ~ u

Y e w ndtaliwbilai:o.r i.iu ymnulwad, rinndq~wn.r, jn'iriua~n, ou&$61u~umrpiho r-tiiuii

m w m r a ~ ~ w a . r o r ~ n * ~ a i ~ ~ . s S ~ X q n ' ~ ~ n d ~ u ~ ~ i ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ i ~ ~ ~ ~wnm'oiiqnnrrrida~1d1K~~u

mrliunfiugodwd~~iivu oin'~dunmuunfdoc n e Phantom of the @em ~IWUUR~~W~J~OIU adddl

1 n ~ ~ ~ k l d n . r u ~ o l n ' i l ~ n ~ L a n ~ ~ ~ ~ i ~ c 1 ~ ' u 0 9 Andrew Lloyd Webber L I R ~ ! ~ ~ ~ ? I U ~ U ~ ~ U I ~ A Q ~

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43

n r i u a y u m r l i i a ~ ~ ~ ~ u f a ~ ~ w ~ ~ idu mnuunidqnIuIdTfi~iFi ~ I W I I U F ~ ~ ~ Green Beret YIDJ r A J

ooiu i u 1 ? u u r ~ ~ ~ ~ u u a 1 ~ ~ o n ~ ~ ~ ~ w u ~ 1 1 ~ 1 1 ~ i 1 ~ ~ n ~ ~ ~ 1 ~ ~ ~ ~ ~ u ~ 0 ~ ~ ~ ~ ~ ~ ~ ~ f ~

5.3). m w t l ~ r n i i 6 ~ ~ i i ~ ~ r n ~ ~ n

nansju un:~;n~uci~uriniiu unt~unrnuumfia~~q~~na~u ~ P ~ W I ~ ~ O J W I ~ W ~ ~ U ~ B I ~ ~ ~ ~ ~ I ~

i o t m s s ~ n u o . m i s a o i S ~ ~ ~ ~ ~ u ~ n n i ~ ~ ~ ~ l w " ~ ~ ~ n ~ ~ u ~ ~ 9 " ~ ~ ~ ~ i ~ ~ ~ ~ 7 Pasi~ns:iiuln~oin

n~~idu~%diul~nuw@~~1~1~ndIozLw'u~uk;iuiwmIiuR:naisJ~p.ffi1$tlu d m d

5.4). niwunm~~ilnRq&WnuoJaqnf1pJ nu~un'a~n nmwuuriuynnn&loo& I 14ii1tSudu~6~i?odi~~u"~tuo"1uaudi~d~~n~i~ riolXli i~o~YruuGipn"ut3wvo~~vi i l n ~ ~ t W i j

n ~ n u u m f t f s ? r l a ~ n u d ~ i ~ ~ ~ ~ ~ w ~ 1 ~ ~ ~ i ~ v ~ ~ ' ~ ( ~ p 1 ~ 1 ' ~

5.5). m w ~ ~ m i ~ ~ u ~ t i u n ~ n s 1 ~ 1 0 " ~ ~ 7 $lrilin~nnulan nuan'.m~~~iuiirinwm

l u u ~ a d r r m ~ ~.mnunm;l~u"orm'~d~a'~~udf zind d n r ~ ~ 1 u i i r ~ a w t m ~ z ~ i ~ 1 ~ ~ n s l ~ w u u ~ ~ o u 1 n ~ ~ ~ ; i u w o ~ i u d ~ ~ ~ i ~ o ~ f 1 u i L c i u ~ i u two

prd & a ~ C I 1 ~ ~ a ~ 9 n ~ ~ u ~ ~ o n ~ w s l ' ~ ~ ~ n 1 ~ ~ ~ ~ s " a r ~ n ~ ~ ~ P ; ~ ~ 0 ~ ~ n 0 ~ 1 f l ~ ~ ~ 1 ~ n i ~ n ' ~ 1 w a ~ d ~ ~ % ~ 1 ~ m ms

6). mnuwmipratyn'. (Adventure Film)

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B 4 ainihiilluitau'a ~ o c i ~ ~ u o t m w u u m i d ~ z i n w ~ ~ o Trader Horn (1931 i ~ n z 1973) W ~ ~ ~ U L S Q ~

uosmsriih.riN'oloic1

6.2). m ~ t ~ u n i ~ ~ d ~ d i n ~ ~ ~ ? o I ~ ~ a ~ w ~ ~ 1 ~ 9 b $ A f i ~ t f 0 9 1 1 ~ ? $€I I I ~ W U U R ~ ~ J I I U ?

d ; w a 7). mw~uwsln~anuaaaaa311i~z~4n'~ (Manners, Morals & Society Film)

mwuum~l1rzmn6fifl:z1~i8u$~opJ 1ws1~n~1vnuo'nii~du~~u~~~ni5'ue,9fiui1 d4 I

n ~ ~ ~ l . r n r j u u l ~ n u i ~ 0 9 n i ~ ~ ~ t f ~ 9 n 3 i 9 1 ~ ~ i ~ ~ d a ~ ~ 3 u 0 9 m ~ ~ ~ ~ ~ 0 ~ 9 u ri~uudu%ipJnonui sr ci Aiiiu n m n u u n i ~ ~ z m n h ~ ~ i ~ ~ L u w M o ~ p f i w i ~ o o n ~ ~ ~ i ~ ~ r i ~ ~ i l ~ u ~ ~ i m u t ~ u ~ i n i ~ w

tdu4lnilriln.i 1 1 ~ 1 ~ u ~ ~ u ~ n i s i i ~ ~ d n 1 ~ 9 1 0 9 d 9 n 0 ~ 1 ~ a ~ ~ ~ 1 ' ~ 0 9 n ~ i l ~ p l ' 9 d 9 ~ 1 ~ n ~ ~ u ~ ~ n 3 1 ~ 1 i i u

i r~mn~itr iuld ~ ~ u ~ ~ l u h u u o . r r n s i ~ i ~ u o i ~ n ~ ~ : ~ u ' u o ~ n a i x I ~ ~ u 3 a d z ~ a u

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9). #kl~u~s~;d?9ldi? (Cinema of Personal Expression)

mwuumikluudtunil Art-house fib nio Chamber films nd12n'o 18urnwuunf~nq~u;oudR

10). ~ l ~ l l M ~ & ~ ~ M l f l l l l l ~ ~ l ~ d l ~ ? ' ~ (Fnntasy & Horror Films)

rnu~snl~liailunciouaoflli $ad 10.1). ~ I W U U ~ ~ U C I U ~ ~ I I (Fantasy Film) ~ ~ ~ ~ n d 5 ~ m n n U d ~ ~ t i n ~ n ~ a i 4 ~ ~ 1 1 o l ' u

kud~iul~snuo.mirijrnwuumi l u i ~ d ~ i u n n 19 uoiai iufi~iud riimwauniRor B

LYEventaill Magique D m U 7 I U D . I U ~ ~ ~ U ~ ~ ~ U R ' I ~ U U ' ~ ~ I ~ U ~ ~ n ? i u n u ~ o u a ~ n i ~ o f l l a ~ 1 n 1 ~ ~ ~ ~ 1 ~

Q ~ i u n o a o o n u ~ ~ ~ u m a ~ f i ~ ~ ~ ~ ~ ~ ~ ' % ~ ~ ~ ~ ~ ~ ~ G ~ w " ~ ~ ~ d n ~ w u u o l ~ ~ i u ~ a n i ~ ~ w ' b ~ n ~ ~ n p ~ ~ n 2

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(Categorizing film genres) 78 H9Pd

n). ain (setting) !&iri

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1 1 3 ~ ~ 1

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Customer Relationship Marketing or ReIationship Marketing

2. a m n m -> iuqu (Price -> cast] r$'u3Tnnlri~ulosirn~1~ nsias3m 1 s dpl s

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DPU

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DPU

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i ; p ~ d s : n & w " n n i ~ ~ ~ ~ i ~ ~ ~

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DPU

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segment 8&J.l~Wl5 re - positioning h i A

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{uXnn adIin;rR"nId#nlnci ,,,,, iattiwd, a"rt9um~uf11uu anw

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DPU

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39 Courtland L. Bovee, John V. Thill, George P.Dovel, Mrtrian Burk W d , Advertising

Excellence. (New York: McGraw-Hill Inc., 1995), P. 4.

4u Chris Fill, Marketing Communieatiom. (Wihhire: Prentice Hall 1995), P. 6.

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Book

Keller, K.L. (1998). Strategic brand management : Bulldjng measure, and management

brand equity. Upper Saddle River, NJ : Prentice-Hail

Kotler, Philip. (2000). Marketing Management. The Millenium edition. New Jersy : Prentice-

Hall, Inc.

Bovee, Courtland L., Thill, John V., Dovel, George P. and Wood, Marian Bwk. (1995).

Advertising Excellence. New York: McGraw-Hill Inc,

Fill, Chis. (1995). Marketing Communications. Wilshire: Prentice Hall

DeFleur, Melvin L. and Dennis, Evertte E. (1996). Underatanding Mass Communication.

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New Jersey: Houghton mifin company.

Armstrong, Gary and Kotlor, Philip, (2003). Marketinp An Introduction. kedition.

New Jersey: Prentice Hal. DPU

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