Brand New China: Advertising, Media, and Commercial Culture by Jing Wang
By Jing Wang
One half riveting account of fieldwork and one half rigorous educational research, Brand New China deals a different viewpoint at the marketing tradition of China. Jing Wang's stories within the disparate worlds of Beijing ads businesses and the U.S. academy permit her to proportion a special viewpoint on China in the course of its sped up reintegration into the worldwide industry method.
Brand New China deals a close, penetrating, and up to date portrayal of branding and advertisements in modern China. Wang takes us within an advertisements service provider to teach the impression of yank branding theories and types. She additionally examines the effect of latest media practices on chinese language ads, deliberates at the convergence of grassroots artistic tradition and viral advertising recommendations, samples profitable advertisements campaigns, offers functional insights approximately chinese language shopper segments, and provides methodological reflections on popular culture and ads learn.
This e-book unveils a "brand new" China that's below the sway of the ideology of worldwide partnership whereas suffering to not develop into a reflect photograph of the USA. Wang takes at the job of revealing the place Western pondering works in China, the place it doesn't, and, probably most vital, the place it creates possibilities for cross-fertilization.
due to its blend of attractive vignettes from the advertisements international and thorough study that contextualizes those vignettes, Brand New China can be of curiosity to individuals, scholars of pop culture, and the final examining public drawn to studying a couple of quickly reworking chinese language society.
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Additional info for Brand New China: Advertising, Media, and Commercial Culture
The traits of gifting and “face consumption” (mianzi xiaofei) are key to our understanding of consumer behavior, especially dur- Introduction • 17 ing festival periods. Take the Autumn Moon festival, for example, in which, as a popular saying goes, “those who buy premium moon cakes won’t eat them, and those who eat them don’t purchase them” (mai de ren bu chi, chi de ren bu mai). If you are mystified by this paradox, you have not fully grasped Chinese gifting culture. The majority of those who have bought pricey moon cakes are giving them to friends or seniors who are wealthier and higher in status than they.
They are considered a cut above those deemed “gray collar” (lower-level technicians and service personnel) and close in their pattern of brand adoption to that of the lower end of the white-collar stratum. The psychological profile of this segment sounds a tad boring: confident, optimistic, responsible, well-grounded mentally and emotionally. Less romantic than the white-collar workers, they pursue a lifestyle that squarely matches their income bracket. Thus emulative spending is not the norm. In fact blue-collar couples identify with very few brands, because paradoxically, although many brands are made for this segment, they are branded in white-collar language and images that alienate their real targets.
Icons and images soon took center stage, enabling consumers to acquire an emotional attachment to objects as nonsensical as an eye patch (the Hathaway Man) or a wrist tattoo (the Marlboro Man). Later the same magic appeared in a giant swoosh mark and small alligators sewn on shirts. 19 Ogilvy conceives of a brand as a complex symbol, an “intangible sum of a product’s attributes, its name, packaging, and price, its history, reputation, and 24 • BRAND NEW CHINA the way it is advertised” (D. Ogilvy 1955).