教老品牌新技巧复古品牌和品牌价值的复苏外文翻译.docx

教老品牌新技巧复古品牌和品牌价值的复苏外文翻译.docx

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教老品牌新技巧复古品牌和品牌价值的复苏外文翻译

标题：

TeachingOldBrandsNewTricks:

RetroBrandingandtheRevivalofBrandMeaning

原文：

Retrobrandsarerelaunchedhistoricalbrandswithupdatedfeatures.Theauthorsconducta"netnographic"analysisoftwoprominentretrobrands,theVolkswagenNewBeetleandStarWars:

EpisodeI—ThePhantomMenace,thatrevealstheimportanceofAllegory（brandstory）.Aura（brandessence）,Arcadia（idealizedcommunity）,andAntinomy（brandparadox）.RetrobrandmeaningsarepredicatedonaUtopiancommunalelementandanenliveningparadoxicalessence.Retrobrandmanagementinvolvesanuneasy,cocreative,andoccasionallyclamorousalliancebetweenproducersandconsumers.

Americahasnonow....Ourcultureiscomposedofsequels,reruns,remakes,revivals,reissues,re-releases,recreations,re-enactments,adaptations,anniversaries,memorabilia,oldiesradio,andnostalgiarecordcollections.

—GeorgeCarlin,BrainDroppings,1998

Brandextension,theuseofanexistingbrandnametointroduceanewproductorservice（Keller1993,1998）,isanimportantmarketingtacticthathasattractedconsiderableacademicinterest（e.g.,DesaiandKeller2（X）2;John,Loken,andJoiner1998）.However,anotherformofbrandextensionstrategyisgainingprominenceandrequiresurgentresearchattention.Manylongabandonedbrandshaverecentlybeenrevivedandsuccessfullyrelaunched（Franklin2002;Mitchell1999;Wansink1997）,somuchsothatmarketersappearinthemidstofa"retrorevolution"inwhichrevivalsofoldbrandsandtheirImagesareapowerfulmanagementoption（Brown2001）.

Theriseofretrobrandsplacesmarketinginaninterestingconceptualquandary.Ontheonehand,marketersarecontinuallyremindedoftheneedforproductdifferentiation,thattoday'smarketingenvironmentdemandsstrongbrandidentitiesanddecriesimitation（Aaker1996）.Ontheotherhand,contemporarymarketsaresuffusedwithupdatedimitations,suchasretrobrands,manyofwhichareprovingenormouslypopular（Franklin2（X）2;NaughtonandVlasic1998;Wansink1997）.

BrandRevivalandRetromarketing

Thereisconsiderableoverlapamongnostalgia,brandheritage,andbrandrevival.Revivedorretrogoodsandservices（weuseretrosynonymouslywithrevivedbrands）tradeonconsumers'nostalgicleanings.Familiarslogansandpackages,forexample,invokebrandheritageandevokeconsumers'memoriesofbetterdays,bothpersonalandcommunal.ThesuccessoftheMuseumStore,PastTimes,RestorationHardware,andsimilarretailersof"exact"reproductionsandthecontinuingpopularityofheritage-basedcampaignsforbrandssuchasBudweiser,JohnHancock,andIvoryindicatethatdemandexistsforallegedlyauthenticreproductionsofpastbrands.Theproblemwithexactreproductions,however,isthattheydonotmeettoday'sexactingperformancestandards.Retroproducts,bycontrast,combineold-fashionedformswithcutting-edgefunctionsandtherebyharmonizethepastwiththepresent（Brown1999,2001）.Inthisregard,considertheChryslerPTCruiser,whichamalgamatestheshapeofa1940ssedanwiththelatestautomotivetechnologytoproduceafuturisticcarwithanachronisticstyling.AnotherstrikingexampleisNike'sMichaelJordanXIRetroSneakers.Theseshoesmaylooklikeamonumentto1950shoopdreams,yettheircushionedsoles,aerateduppers,andrecommendedretailpricesarestateofthemarketingart.Denny'sretrodinerisanhomagetoeateriesofthe1950s,butitsregistersarecomputerized,thekitchenequipmentiscuttingedge,smokingisprohibitedinthediningarea,andvegetariandishesareavailableforthoseunwillingtoreverttocarnivoroushabitsofyore.Wedefineretrobranding,therefore,astherevivalorrelaunchofaproductorservicebrandfromapriorhistoricalperiod,whichisusuallybutnotalwaysupdatedtocontemporarystandardsofperformance,functioning,ortaste.Retrobrandsaredistinguishablefromnostalgicbrandsbytheelementofupdating.Theyarebrandnew,old-fashionedofferings.

Findings

TheNewBeetle

TheoriginalVolkswagenBeetlewasthestuffofmotor-enthusiastlegend.CreatedbythepioneeringautomotivedesignerFerdinandPorsche,withapastgroundedinthecommonclassesofThirdReichGermany,thecarprovedwildlypopularacrosspostwarEuropeandNorthAmerica.TheVolkswagenBeetlewasgloballycherishedforitsdurability,economy,user-friendliness,andidiosyncraticdesign.

Atthetime,itwasconsideredanexemplaryvehicleofthepeople.Everyonefromcommune-boundhippiesandmiddle-classcoupleswithchildrentoeccentricmultimillionairesdroveBeetles.TheBeetleevenbegotaseriesoflive-actionDisneymoviesstarringthe"LoveBug"as"Herbie,"thesentientvehiclewithaheartofgold.

Tonyarguesfromtheperspectiveofamoderaterationalistlayingoutalogicalargumenttoeasethetensionsbetweentwowarringfactions.Discountingtheintrinsicvalueofthepast,heinsiststhattheoldbrandmustbeadjustedforanewtime,place,andsetoftargetconsumers.AkintoOrrin,heshiftstheargumentaboutbrandessencetosuperficialdesignelementsandadvertising-ladensymbolicassociations.Theresult,forTony,isanup-to-datevehiclethatstillsharestheenchantingpersonalityoftheoldBeetlebrand.Enchantmentindeedistheoperativeword,asmanyStarWarsfanstestify.

StarWars

Theoriginal1977StarWarsmovieattemptedtodisorientitsconsumerstemporallybyofferingafarawayfutureworldofspacecraftandintelligentrobotssubsumedwithinafairytalesetinthedistantpast.StarWars:

EpisodeI—ThePhantomMenaceattemptedtotopthistemporaldislocation.Settingthefourthmoviethreeepisodesbeforethefirstwasastrokeofmarketinggeniusthatcreatedtheneologismprequel.Thisprequeldemonstratesretrobrandingintherealmofconnectedproductsandservicesthatcharacterizetoday's"entertainmenteconomy"（Wolf1999）.Asaretrobrand.

ThePhantomMenacestampsanestablishedbrandname.StarWars,onanewmoviethatcouplescutting-edgespecialeffectswithacastofcontemporaryactors.AswiththenewBeetle,itimaginativelymeldsafamiliarbrandnamewithanall-new,up-to-dateproduct.

Bill'sdiatribeoffersopposingpolesoftheprofanemarketandthesacredmyth（seeBelk,Wallendorf,andSherry1989）.Zack'spostingisresentfulofthemythandmoneymakingpowermanifestedinGeorgeLucasasaperson.Bothmessagepostersdemonstratethatthoughthebrandisclearlyrecognizedasacommercialcreation,itisalsoadeeplymeaningfulpartofsomeconsumers'lives—itisenthusiasticallyrepresentedasapowerfulmetaphorforlivingandevenforreligion.ThesecommentssuggestnotonlythatcommerceandthesacredareculturaloppositesbutalsothattheirintermixinginbrandssuchasStarWarshasconsiderableculturalpower（seealsoKozinets2001,pp.76-78）.Insupportofthesefindingshavingwidermarketingrelevance,Pefialoza（2（X）0,p.105）findssimilartensionsbetween"commerce"and"soul"amongranchersoftheAmericanWestandconcludesthattheWestisasitefor"theproductionofprofoundculturalmeanings."Bill'sandZack'spostingsexpresstheseimportanttensionsintermsofabrandandthedifferentresponsestothem.TheyrespondtothebrandparadoxbehindStarWars'scombinationofcreedandcommerce,pietyandprofanity,manaandmoney.

Discussion

ImplicationsforBrandMeaningManagement

MarketingscholarsfromAlderson（1957）toZaltman（1997）haverecognizedtheimportanceoftheexperientialnatureofthebrand,butperhapsnotsincetheheydayofmotivationresearch（e.g.,Dichter1960）hastherebeensucharesurgenceofinterestinbrandphenomenology.Themostsuccinctifoverstatedjustificationforthisinterestisthecontentionthatsomeconceptualizeaproductas"nomorethananartifactaroundwhichcustomershaveexperiences"（PrahaladandRamaswamy2000,p.83）.FromthepioneeringworkofLevy（1999）andHirschmanandHolbrook（1982）throughthecurrentwaveofpostpositivistinquiry（e.g..Brown1995;Fournier1998;FournierandMick1999;Holt2002;Kozinets2001;Penaloza2000;Sherry1998;Thompson1997）,thetendencytoregardbrandsassymboliccreationshasledtotheconclusionthatthemanagementofmeaningmustunderliemarketingstrategy.Thatmarketersarequintessentiallymeaningmanagers,shapingtheexperienceofconsumers,isintuitivelyplausible.Thatmeaningmanagementinvolvesattendingtothecreativeactivityofconsumers,orthatconsumersmightjustlyberegardedasthecocreatorsofbrandessence,isequallyplausible,iflessfullyappreciated.

Antinomy,thefinalelementofour4Asabbreviation,isperhapsmostimportantofall,forbrandparadoxbringstheculturalcomplexitynecessarytoanimateeachoftheotherdimensions.Thebrandisbothaliveandnotalive,athingandapersonality,asubjectandanobject:

Thisistheparadoxicalkernelofbrandmeaning.Thestoryisbothtruthandfiction,composedofcleverpersuasionsandfacts,devisedbydistantcopywritersandrealusers.Thisisthecentralconundrumofbrandstoryandconsumer-marketercodependence.Theidealizedcommunityisbotharealcommunityandapseudocommunity,moralandamoral,inthralltoacommercialcreationandarebelliousuprising,dependentandindependent,agatheringofbothangryactivistsandcovetousconsumers.Foraretrobrand,thetensionbetweenpastandpresent—andeven,asinourtwoexamples,thefuture—alsovivifiesbrandmeanings.Retroproductsseemcustom-madetoaddressacoreparadoxattheheartofbrandmanagement.Retrocombinesthebenefitsofuniqueness,newness,andexclusivity（withitshintsofhigherfunctionality,class,styling,andpremiumprices）witholdness,familiarity,recognition,t