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1177-1-1
CONSUMER BEH****IOR
Fourth Edition
Michael R. Solomon
CChhaapptteerr
1177
The Creation and Diffusion
of Consumer Culture
Copyright 1999 Prentice Hall
CCuullttuurree PPrroodduuccttiioonn 1177-2-2
PPrroocceessss Symbol Pool
Infor****l Ga
Creative Managerial Consumer Innovation/ Grass
Subsystem Subsystem Roots Movement
Culture
Production
System
Communications
Subsystem
Cultural Gatekeepers
For****l Gatekeepers
Consumer
Copyright 1999 Prentice Hall
CCuullttuurraall PPrroodduuccttiioonn 1177-3-3
SSyysstteemmss
• The set of individuals and organizations
responsible for creating and ****rketing a
cultural product is a Cultural Production
System (CPS). It consists of:
– Creative Subsystem - responsible for generating
new symbols and/or products.
– Managerial Subsystem - responsible for selecting,
****king tangible, ****ss producing, and ****naging
the distribution of new symbols and/or products.
– Communications Subsystem - responsible for
giving meaning to the new product and
communicating these symbolic attributes to the
consumer.
Copyright 1999 Prentice Hall
HHiigghh CCuullttuurree aanndd 1177-4-4
PPooppuullaarr
CC•uuClltutuultrureree Production Systems create ****ny
diverse kinds of products, such as Arts and
Crafts:
– An Art Product is viewed pri****rily as an object of
aesthetic contemplation without any functional
value.
– A Craft Product is admired because of the beauty
with which it performs some function.
• Mass culture churns out products specifically
for a ****ss ****rket and ****ny follow a Cultural
Formula where certain roles and props occur
consistently such as in detective or ro****nce
novels.
Copyright 1999 Prentice Hall
RReeaalliittyy 1177-5-5
EEnngRgeiiannlieteyeeErnrgiininneggering Occurs as Elements of Popular
Culture are Appropriated by Marketers and Converted to
Vehicles for Promotional Strategies.
RReeaalliittyyEEnnggiinneeeerriinnggiissAAcccceelleerraattiinnggdduuee
ttootthheePPooppuullaarriittyyooffPPrroodduuccttPPllaacceemmeenntt..
SSppeecciPifPfiricrcooPdPdruruooccdtdtuPuPccltlatascsc/e/eBmBmrraeaennnndtdtiNisNsatathmhmeeeeIsInsnsisinenerMrMttioiooovnvniieoeosfsf&&TTVV..
MMeeddiiaaIIm****aggeessAAppppeeaarrttooSSiiggnniiffiiccaannttllyy
IInnfflluueenncceeCCoonnssuummeerrss’’PPeerrcceeppttiioonnssooffRReeaalliittyy..
Copyright 1999 Prentice Hall
DDiiffffuussiioonn ooff 1177-6-6
IInnDninffouosvivonaaottfiiIononnnovssations Refers to the Process Whereby a
New Product, Service, or Idea Spreads Through a
Population.
Percentage of Adopters Early Majority Late Majority
Innovators
Early 34% 34% Laggards
Adopters
2.5% 13.5% 16%
Early Time of Adoption Late
Copyright 1999 Prentice Hall
AAddoopptteerr 1177-7-7
CCaatteeggoorriieess
• Innovators - 2.5% of the population, the first
to buy, will buy novel products.
• Early Adopters - 13.5 % of the population,
share ****ny characteristics with the
Innovators, but they have a higher degree or
concern for social acceptance.
• Early and Late Majority - 68% of the
population, ****instream public, interested in
new things, but not too new.
• Laggards - 16% of the population, the last to
adopt a product.
Copyright 1999 Prentice Hall
TTyyppeess ooff 1177-8-8
IInnnnoovvaattiioonnss
SSyymmbboolliicc TTeecchhnnoollooggiiccaall
IInnnnoovvaattiioonn IInnnnoovvaattiioonn
CCoommmmuunniiccaatteessaaNNeeww IInnvvoollvveessSSoommee
SSoocciiaallMMeeaanniinngg FFuunnccttiioonnaallCChhaannggee
Copyright 1999 Prentice Hall
BBeehhaavviioorraall DDeem****annddss 1177-9-9
ooff
IInnnnoovvaattiioonnss
Degree to Which an Innovation Discontinuous Innovation Creates
De****nds Changes in Behavior
Major Changes in the Way We Live
DDyynnaammiiccaallllyyCCoonnttiinnuuoouussIInnnnoovvaattiioonn
MMoorreePPrroonnoouunncceeddCChhaannggeeiinntthhee
EExxiissttiinnggPPrroodduucctt
CCoonnttiinnuuoouuss IInnnnoovvaattiioonn
MMooddiiffiiccaattiioonnooffaannEExxiissttiinnggPPrroodduucctt
Copyright 1999 Prentice Hall
PPrreerreeqquuiissiitteess ffoorr 1177-1-100
SSuucccceessssffuul l
AAddooppttiioonn Compatibility
Relative Advantage
Must Give Advantages Must Fit Consumer’s
Other Products Don’t Lifestyle
Have
Observability PPrroodduucctt Trialability
CChhaarraacctteerriissttiiccss
Ones That are ffoorrSSuucccceessssffuull Reduce Risk by
Observable Letting
AAddooppttiioonn
Spread Faster Complexity Consumer Try it
Lower
The Better
Copyright 1999 Prentice Hall
TThhee FFaasshhiioonn 1177-1-111
SSyyFssatstheeiommn is the Process of Social Diffusion by Which a
New Style is Adopted by Some Group(s) of Consumers.
CCuullttuurraall CCoolllleeccttiivvee
CCaatteeggoorriieess SSeelleeccttiioonn
AAffffeeccttMMaannyy PPrroocceessssbbyyWWhhiicchh
DDiiffffeerreennttPPrroodduuccttss CCeerrttaaiinnSSyymmbboolliicc
AAlltteerrnnaattiivveessaarree
aannddSSttyylleess CChhoosseennOOvveerrOOtthheerrss
CCoossttuummeessWWoorrnnbbyy GGrroouuppPPrroodduuccttssbbyy
CCeelleebbrriittiieessCCaann CCaatteeggoorriieess
AAffffeeccttFFaasshhiioonn
Copyright 1999 Prentice Hall
BBeehhaavviioorraall SScciieennccee 1177-1-122
PPeerrssppeeccttiivvee
oonn FFaasshhiioonn
PPssyycchhoollooggiiccaall
EEccoonnoommiicc MMooddeellssooff
FFaasshhiioonn
SSoocciioollooggiiccaall
Copyright 1999 Prentice Hall
FFaasshhiioonn LLiiffee-- 1177-1-133
CCyyccllee Acceleration
General Acceptance
Rise
Innovation Decline
Obsolescence
Introduction Acceptance Regression
stages stages stages
AA NNoorrm****all FFaasshhiioonn CCyyccllee
Copyright 1999 Prentice Hall
CCyycclleess ooff FFaasshhiioonn 1177-1-144
AAddooppttiioonn
• Introduction Stages
– Product is used by a s****ll number of Innovators.
• Acceptance Stages
– Product enjoys increased social visibility and
acceptance by large segments of the population.
– A Classic is a fashion with an extremely long
acceptance cycle.
– A Fad is a short-lived fashion.
• Regression Stages
– Product reaches a state of social saturation as it
becomes overused, and sinks into decline and
obsolesce as new products rise to take its place.
Copyright 1999 Prentice Hall
FFaadd oorr 1177-1-155
TTQrrueeesnntidodn?s?to Ask to Determine if a Trend, Which Lasts for
Some Time, is Occurring Include:
DDooeessiittFFiittWWiitthhBBaassiiccLLiiffeessttyylleeCChhaannggeess??
WWhhaattaarreetthheeBBeenneeffiittss??
CCaanniittbbeePPeerrssoonnaalliizzeedd??
IIssiittaaTTrreennddoorraaSSiiddeeEEffffeecctt??
WWhhaattOOtthheerrCChhaannggeessHHaavveeOOccccuurrrreeddiinntthheeMMaarrkkeett??
WWhhooHHaassAAddoopptteeddtthheeCChhaannggee??
Copyright 1999 Prentice Hall
TThhiinnkk GGlloobbaallllyy,, AAcctt 1177-1-166
LLooccaallllyy
Two Views Exist Regarding the Necessity
of Developing Separate Marketing Plans
for Each Culture.
Etic Perspective Emic Perspective
Adopting a Standardized Adopting a
Strategy Which Focuses on Localized Strategy
Which Focuses on
Commonalties Across Variations Within a
Cultures.
Culture.
Copyright 1999 Prentice Hall
DDeetteerrmmiinniinngg WWhheetthheerr ttoo 1177-1-177
UUttiilliizzee
tPtP•hheeCee–rursTsElEtapupsttrtieeaeiccslccdaottoniifidrvfvreseEretEeylmnmecs,eiicscrelevant to ****rketers.
– Advertising preferences and regulations,
– Cultural norms toward taboos and ****uality.
• To ****ximize the chances of success for
multicultural advertising campaigns, ****rketers
should target those who share a common
worldview, who ****y include:
• Affluent people who are “global citizens”,
and
– Young people who are influenced by the media.
Copyright 1999 Prentice Hall
TThhee DDiiffffuussiioonn ooff WWeesstteerrnn 1177-1-188
CCoonnssuCuCrmremeoolelieizzararttiioCoCnnuOuOclclctctuuuurrsrsreWeWhheennFFoorreeiiggnnIInnfflluueenncceess
aarreeAAbbssoorrbbeeddaannddIInntteeggrraatteeddWWiitthhLLooccaallMMeeaanniinnggss
TThheeWWeessttiissaaNNeettEExxppoorrtteerrooffPPooppuullaarrCCuullttuurree
TThheeUU..SS..IInnvvaaddeessAAssiiaa
EEmmeerrggiinnggCCoonnssuummeerrCCuullttuurreessiinnTTrraannssiittiioonnaallEEccoonnoommiieess
SSiiggnnssTThhaatttthheeWWeesstteerrnnCCuullttuurreeIInnvvaassiioonniissSSlloowwiinngg
Copyright 1999 Prentice Hall
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