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亞歷山卓精品家具集團品牌研究

為了解決高雄流行音樂中心徵才的問題，作者徐郁政 這樣論述：

In the time when it boasted mature techniques and enjoyed profitable exporting business, Taiwan was once internationally renowned for its furniture industry. After its retrocession, Taiwan continued to adopt the furniture manufacturing techniques acquired from Japan, and operated the furniture indu

stry in the form of family-based OEM (original equipment manufacturer) system. The furniture industry played a part in Taiwan’s soaring economy by driving economic activities in traditional manufacturing industries. To meet export demand, furniture manufacturers procured automatic production equipme

nt to increase production efficiency and capacity, expand factories, and scale up business. During this time, Taiwan’s furniture industry achieved breakthroughs in manufacturing techniques and actively sought more OEM orders in overseas markets. Taiwan was therefore acclaimed as “the kingdom of furn

iture.” Nevertheless, any industry that takes OEM orders as the only source of profits will eventually face grave challenges as OEM profits diminish on the one hand and costs increase on the other. One of the ways for furniture manufacturers to reverse the fate of OEM is to create their own bra

nds, so that they can produce products that represent their enterprises and brands and create Taiwan’s own brand culture. However, after the brands are created, maintaining the brands and developing brand equity both vertically and horizontally is another important issue for companies’ operation of

brands. This research conducts a brand study on Alexandre International Corp., Inc., a Taiwan-based furniture brand. By participating in the company as an intern, the researcher adopted the method of observation survey to observe the development of the company’s master brand and sub-brands and h

ow it solved brand-related problems. It was discovered that unclear brand position obstructed the marketing of the brand. By reconstructing the brand, establishing digital marketing regulation systems, and recording the process of the establishment of sub-brands, the researcher helped the company wi

th sequential marketing of the brand. In the end of research, the researcher verified the research conclusions with fs/QCA (fuzzy set/Qualitative Comparative Analysis).

OTT平台上《奇葩說》的置入奇觀：90後閱聽人接受研究

為了解決高雄流行音樂中心徵才的問題，作者呂哲海 這樣論述：

在過去針對置入性廣告的研究中無論是電視、電影、廣播，多以支持自然、低涉入度、不突兀、不能過度商業化為原則，學者多主張以此廣告置入模式較不會受到觀眾反感，然而在OTT平台的發展趨勢下，針對網路原住民90後閱聽人所推出的自製節目《奇葩說》，其中所採用的置入性廣告手法，與過去所主張的置入性行銷的理論並不完全相符，反而是以突兀、刻意的手法，以極具商業化色彩的方式去置入廣告，卻獲得90後閱聽人的好評。以過往經驗而言，通常這種類型的置入，不管是置入節目的處理置入方式或者閱聽人看節目時的反應，可預期會遭到負面評價，如同過去學者研究置入性廣告，無論是電視節目、電影、廣播應該要以低涉入度、自然不突兀為策略，來

減少觀眾對於廣告的抗拒程度，為何在網路新的環境可以容許這種特別的置入文化?而影響閱聽人願意接受此類型置入性廣告的因素為何?此個案與過去學者的研究結論做法略有不同，但依舊獲得不錯的市場迴響，因此希望透過本研究針對《奇葩說》置入性廣告進行探討，了解置入性廣告是否可以擁有更加多元化的作法，期望能給予理論、實務領域上的學術貢獻。因此本研究欲以焦點團體訪談法，針對《奇葩說》此個案，了解不同消費者對於網路綜藝節目的商業化置入性行銷態度如何?本研究發現90後閱聽人可以明確認知網路綜藝節目背後商業化運作的邏輯，因此普遍對置入性接受程度較高。因此當閱聽人已經可以習慣並察覺廣告的存在，《奇葩說》選擇用不刻意偽裝的

方式置入廣告，並透過有趣的包裝，相比試圖隱瞞廣告的置入模式，後者反而容易產生欺騙的負面感受，前者直率坦白的廣告風格更加受90後喜愛。而針對部份不滿意《奇葩說》置入廣告的人來說，比起容易被跳過或忽視的破口式廣告，選擇以置入性廣告的方式，是更能達到宣傳效果的作法，所以討人厭的廣告不等於失敗的廣告，即便有人不滿意，置入性廣告對產品低涉入度、剛進入市場的贊助商而言，依舊是較佳的選擇。此外，倘若產業界要採用《奇葩說》的置入性廣告手法，除了坦率與幽默的置入風格外，本研究歸納出包含主持人、廣告詞設計及置入頻率，需要在上述三點進行評估及調整到符合目標族群的合適狀態，才能發揮較佳置入效果。