Solomon Cb09 PPT 16

Chapter 16
Global Consumer Culture
CONSUMER BEHAVIOR, 9e
Michael R. Solomon
Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall
16-1
Chapter Objectives
When you finish this chapter, you should understand why:
Styles act as a mirror to reflect underlying

cultural conditions.
We distinguish between high and low

culture.
Many modern marketers are reality

engineers.
16-2
Chapter Objectives (continued)
New products, services, and ideas spread

through a population. Different types of people are more or less likely to adopt them.
Many people and organizations play a role in

the fashion system that creates and communicates symbolic meaning to consumers.
Fashions follow cycles.
16-3
Chapter Objectives (continued)
Products that succeed in one culture may

fail in another if marketers fail to understand the differences among consumers in each place.
Western (and particularly American) culture

has a huge impact around the world, though people in other countries dont necessarily ascribe the same meanings to products as we do.
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Where Does Culture Come From?
Influence of inner-city teens Hip-hop/black urban culture Outsider heroes, anti-oppression messages,
and alienation of blacks
Flavor on the streets
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Figure 16.1 The Movement of Meaning
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Figure 16.2 Culture Production Process
16-7
Culture Production System
A culture production system is the set of

individuals and organizations that create and market a cultural product
It has three major subsystems Creative Managerial Communications
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Cultural Gatekeepers
Cultural gatekeepers are responsible for

filtering the overflow of information and materials intended for customers Tastemakers Throughput sector
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High Culture and Popular Culture
An art product is an object we admire for its

beauty and our emotional response
A craft product is admired because of the

beauty with which it forms a function
Mass culture creates products for a mass

market
16-10
Table 16.2 Cultural Formulae in Public Art Forms

Art Form/Genre Time Location Protagonist Heroine Villain Secondary characters Plot Theme Costume Locomotion Weaponry Western 1800s Edge of civilization Cowboy Schoolmarm Outlaws Town folk Restore law and order Justice Cowboy hat, boots Horse Rifle Family Sitcom Anytime Suburbs Father Mother Boss, neighbor Kids, dogs Solve problem Chaos and confusion Regular clothes Station wagon, SUV Insults
16-11
Discussion
Can you identify a cultural formula at work in

romance or action movies?
Do you see parallels among the roles

different characters play (e.g., the hero, the evildoer, the temptress, etc.)?
16-12
Reality Engineering
Many consumer environments have

images/characters spawned by marketing campaigns or are retreads
Marketers use pop culture as promotional

vehicles New vintage (e.g., used jeans) Elements used are both sensory and spatial
16-13
Product Placement and Branded Entertainment
Insertion of specific products and use of

brand names in movie/TV scripts
Directors incorporate branded props for

realism
Is product placement a positive or negative

when it comes to consumer decisionmaking?
16-14
Advergaming
Advergaming refers to online games merged

with interactive advertisements
Advertisers gain many benefits with

advergames
Plinking is the act of embedding a product in

a video
16-15
The Diffusion of Innovations
Innovation: any product that consumers

perceive to be new New manufacturing technique New product variation New way to deliver product New way to package product
Diffusion of innovation Successful innovations spread through

the population at various rates
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Figure 16.3 Types of Adopters
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Behavioral Demands of Innovations
Three major types of innovations (amount of

disruption/change they bring to our lives): Continuous innovation Evolutionary rather than revolutionary Dynamically continuous innovation More pronounced change to existing product Discontinuous innovation Creates major changes in the way we live
16-18
Prerequisites for Successful Adoption

Compatibility
Innovation should be compatible with consumers lifestyles People are more likely to adopt an innovation if they can experiment with it prior to purchase A product that is easy to understand will be chosen over competitors Innovations that are easily observable are more likely to spread Product should offer relative advantage over other alternatives
Trialability
Complexity
Observability Relative Advantage
16-19
The Fashion System
The fashion system includes all those people

and organizations involved in creating symbolic meanings and transferring these meanings to cultural goods Fashion is code Fashion is context-dependent Fashion is undercoded
16-20
Behavioral Science Perspectives and Models of Fashion
Psychological
Economic
Sociological Medical
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Motives and Psychological Models of Fashion
Conformity Desire for variety seeking Need to express personal

creativity
Sexual attraction
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Figure 16.4 Normal Fashion Life Cycle
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Fashion Life Cycle Example
Introduction stage: small number of music

innovators hear a song
Acceptance stage: song enjoys increased

visibility
Regression stage: song reaches stage of

social saturation as it becomes overplayed
16-24
Figure 16.5 Comparison of Acceptance of Fads, Fashions, and Classics
16-25
Discussion
What is and what should be the role of

fashion in our society? How important is it for people to be in style? What are the pros and cons of keeping up with the latest fashions?
16-26
Figure 16.6 Behavior of Fads
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How Might We Know if a Trend is a Fad?
Does it fit with basic lifestyle changes? Are there benefits? Can we personalize it? Is it a trend or a side effect? Is it a carryover effect? Who adopted the change?
16-28
Cultural Differences and Marketing
People around the world develop their own

unique preferences
Marketers must be aware of a cultures

norms and manage the relationship between brand and culture strategically
16-29
Think Globally, Act Locally
Adopt a standardized strategy Adopt a localized strategy
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Consumers and Global Brands

Global citizens
Global dreamers Antiglobals Global agnostics
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Emerging Consumer Cultures in Transitional Economies
Creolization occurs when foreign influences

integrate with local meanings
Peruvian boys carry rocks painted like radios Chivas Regal wrappers on drums in highland
Papua New Guinea
Japanese use Western words for anything

new and exciting I feel Coke and sound special
16-32
Chapter Summary
Styles are like a mirror that reflect culture. We can distinguish between high and low
forms of culture.
Marketers are also reality engineers. New products spread through the
population. Certain characteristics make it more likely that they will be adopted.
16-33
Chapter Summary
The fashion system creates and

communicates symbolic meaning for consumers.
Fashion follows cycles. Products that succeed in one culture may fail
in another due to cultural differences.
Western culture has a huge influence on

other cultures.
Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall
16-34

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Chapter 16

Global Consumer Culture

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Styles act as a mirror to reflect underlying

We distinguish between high and low

Many modern marketers are reality

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Chapter Objectives (continued)

New products, services, and ideas spread

Many people and organizations play a role in

Fashions follow cycles.

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Chapter Objectives (continued)

Products that succeed in one culture may

Western (and particularly American) culture

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Where Does Culture Come From?

Flavor on the streets

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Figure 16.1 The Movement of Meaning

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Figure 16.2 Culture Production Process

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Culture Production System

A culture production system is the set of

It has three major subsystems Creative Managerial Communications

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Cultural gatekeepers are responsible for

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

High Culture and Popular Culture

An art product is an object we admire for its

A craft product is admired because of the

Mass culture creates products for a mass

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Table 16.2 Cultural Formulae in Public Art Forms

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Can you identify a cultural formula at work in

Do you see parallels among the roles

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Many consumer environments have

Marketers use pop culture as promotional

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Product Placement and Branded Entertainment

Insertion of specific products and use of

Directors incorporate branded props for

Is product placement a positive or negative

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Advergaming refers to online games merged

Advertisers gain many benefits with

Plinking is the act of embedding a product in

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

The Diffusion of Innovations

Innovation: any product that consumers

Diffusion of innovation Successful innovations spread through

Figure 16.3 Types of Adopters

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Behavioral Demands of Innovations

Three major types of innovations (amount of

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall

Prerequisites for Successful Adoption

Observability Relative Advantage

Copyright 2011 Pearson Education, Inc. publishing as Prentice Hall