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Thesis (M.A.) from the year 2015 in the subject Computer Science - Software, grade: 1.6, Central Queensland University, course: Arts Administration Research, language: English, abstract: Software as a Service (SaaS) is changing the way businesses operate. It’s not just a trend: it’s a proven way for small business owners to save time and money. We owe it all to the cloud for ushering SaaS into the business world. When examining the basics of running a business, a single subscription to a SaaS app could take the place of an entire department. Small businesses and start ups can have email, file storage, expenses, purchasing, human resources, collaboration and task management at a lower cost for IT and software. With access to services and software that was once only available to huge companies because of the high cost of infrastructures and maintenance, software services allow a business to cut costs and focus on their product and services instead of setting up elaborate software or delegating between departments. As a startup in the SaaS space, it is a long and perilous journey just to survive, let alone be notably successful. As the marketplaces have become quickly crowded, just finding a niche deems very difficult, let alone actively dominating one. The big players easily establish themselves, offering freemium cloud storage and software build upon already successfully proven programs. Microsoft now offers its Office suite in the cloud and Google has its slew of online business tools, all as various and competitively priced monthly subscriptions. Other startups moved in quickly at the outset, snatching up software real estate and thriving: Basecamp for project management, Freshbooks for accounting, Salesforce for customer relationship management, Pinterest for project and interest discovery, Snapchat for innovative mobile conversation, the list goes on (Vidra, 2014). So what exactly does it take to survive as a SaaS startup in today’s information age? Technological innovation, design, strong business models and customer attraction and retention all seem to be at the forefront of SaaS culture, although the difference between short and long-term success may be more elusive than any particular set of recipes for permanence.
The widely adopted, now classic book on influence and persuasion—a major national and international bestseller with more than four million copies sold!

In this highly acclaimed New York Times bestseller, Dr. Robert B. Cialdini—the seminal expert in the field of influence and persuasion—explains the psychology of why people say yes and how to apply these principles ethically in business and everyday situations.

You’ll learn the six universal principles of influence and how to use them to become a skilled persuader—and, just as importantly, how to defend yourself against dishonest influence attempts:

Reciprocation: The internal pull to repay what another person has provided us.Commitment and Consistency: Once we make a choice or take a stand, we work to behave consistently with that commitment in order to justify our decisions.Social Proof: When we are unsure, we look to similar others to provide us with the correct actions to take. And the more, people undertaking that action, the more we consider that action correct.Liking: The propensity to agree with people we like and, just as important, the propensity for others to agree with us, if we like them.Authority: We are more likely to say “yes” to others who are authorities, who carry greater knowledge, experience or expertise.Scarcity: We want more of what is less available or dwindling in availability.

Understanding and applying the six principles ethically is cost-free and deceptively easy. Backed by Dr. Cialdini’s 35 years of evidence-based, peer-reviewed scientific research—as well as by a three-year field study on what moves people to change behavior—Influence is a comprehensive guide to using these principles effectively to amplify your ability to change the behavior of others.

The instant New York Times bestseller from Shark Tank star and Fubu Founder Daymond John on why starting a business on a limited budget can be an entrepreneur's greatest competitive advantage.

Daymond John has been practicing the power of broke ever since he started selling his home-sewn t-shirts on the streets of Queens. With a $40 budget, Daymond had to strategize out-of-the-box ways to promote his products. Luckily, desperation breeds innovation, and so he hatched an idea for a creative campaign that eventually launched the FUBU brand into a $6 billion dollar global phenomenon.  But it might not have happened if he hadn’t started out broke - with nothing but hope and a ferocious drive to succeed by any means possible.

Here, the FUBU founder and star of ABC’s Shark Tank shows that, far from being a liability, broke can actually be your greatest competitive advantage as an entrepreneur. Why?  Because starting a business from broke forces you to think more creatively.  It forces you to use your resources more efficiently. It forces you to connect with your customers more authentically, and market your ideas more imaginatively. It forces you to be true to yourself, stay laser focused on your goals, and come up with those innovative solutions required to make a meaningful mark. 

Drawing his own experiences as an entrepreneur and branding consultant, peeks behind-the scenes from the set of Shark Tank, and stories of dozens of other entrepreneurs who have hustled their way to wealth, John shows how we can all leverage the power of broke to phenomenal success. You’ll meet:

· Steve Aoki, the electronic dance music (EDM) deejay who managed to parlay a series of $100 gigs into becoming a global superstar who has redefined the music industry
· Gigi Butler, a cleaning lady from Nashville who built cupcake empire on the back of a family  recipe, her maxed out credit cards, and a heaping dose of faith
· 11-year old Shark Tank guest Mo Bridges who stitched together a winning clothing line with just his grandma’s sewing machine, a stash of loose fabric, and his unique sartorial flair

When your back is up against the wall, your bank account is empty, and creativity and passion are the only resources you can afford, success is your only option. Here you’ll learn how to tap into that Power of Broke to scrape, hustle, and dream your way to the top.
Essay from the year 2014 in the subject Business economics - Company formation, Business Plans, grade: 1.6, Central Queensland University, course: Cultural Entrepreneurship, language: English, abstract: For generations, Zen philosophy has taught the importance of finding tranquillity inside yourself instead of foolishly seeking it in the world around you. One of the most profound teachings from this philosophy, and probably one that is most relevant to the entrepreneur, is that of ignoring doctrine and listening to your gut instinct. (Butt, 2014a) Google (N/A) defines entrepreneur as ‘a person who organizes and operates a business or businesses, taking on greater than normal financial risks in order to do so’, from the French ‘entreprendre’, meaning to ‘undertake’ and ‘go between’. Branagan (2003) outlines several critical success factors: • being able to make connections and spot opportunity • taking a creative approach to problem solving • being able to cultivate networks of appropriate contacts • being able to persuade, inspire and motivate others through enhanced vision • the ability to take calculated risks and having the nerve to work outside convention • the ability to overcome rejection and failure • keeping pace with technology and innovation • an understanding of business strategies and tactics It is the spirit of undertaking something novel and innovative; in some sense either pushing forward with avant-garde activities, or combining elements from previous concepts for new markets or audiences. There are many entrepreneurs within the arts world who do just this, acting as go-betweens for artists and clients, or audiences. Furthermore, the common preoccupation with originality, implementing ideas and making progress, held by many artists and arts consultants, is itself an entrepreneurial trait; translating vision into a creative act. From a contemporary and historical perspective, an entrepreneurial outlook has either inadvertently or intentionally ensured the successful progression of many very influential figures within both the commercial and non-commercial arts sectors. (Branagan, 2003)
Essay from the year 2010 in the subject Sociology - Individual, Groups, Society, grade: 1.1, Central Queensland University, course: Creative Arts Administration, language: English, abstract: Group decision-making is a process where an assembly of people convene to analyse problems or situations, evaluate alternative actions and reach solutions. Decisions may concern the judgement of a particular course of action, how best to solve a problem or the determination of the direction or magnitude of work ahead performed by teams or individuals. Deciding the best course of action can range in perplexity, depending on the effectiveness of how that group functions, the quality of alternatives that are generated, the amount of access to correct and adequate information and their understanding of the problem. Where time is of the essence and also befits the personification of money, it is customary for a business or organisation to engage in Group Decision-Making processes in the attempt to effectively and efficiently solve problems. Though some methods are more time-consuming some others. The group leader usually reserves judgement on which method is used in the Group Decision-Making process, because if one assembled a group to make a decision on what method should be used, what method would one use to decide? And so on one would ramble in an infinite loop. And if the group ever assembled without a leader, who’s idea was it for the group to assemble in the first instance? So the first advantage or disadvantage of a group decision would be how effective its leader is in managing the process, which can either be a solution in itself or it can be a problem. Though the greatest problem of all seems to be time.
Gerry Spence is perhaps America's most renowned and successful trial lawyer, a man known for his deep convictions and his powerful courtroom presentations when he argues on behalf of ordinary people. Frequently pitted against teams of lawyers thrown against him by major corporate or government interests, he has never lost a criminal case and has not lost a civil jury trial since l969.
In Win Your Case, Spence shares a lifetime of experience teaching you how to win in any arena-the courtroom, the boardroom, the sales call, the salary review, the town council meeting-every venue where a case is to be made against adversaries who oppose the justice you seek. Relying on the successful courtroom methods he has developed over more than half a century, Spence shows both lawyers and laypersons how you can win your cases as he takes you step by step through the elements of a trial-from jury selection, the opening statement, the presentation of witnesses, their cross-examinations, and finally to the closing argument itself.
Spence teaches you how to prepare yourselves for these wars. Then he leads you through the new, cutting-edge methods he uses in discovering the story in which you form the evidence into a compelling narrative, discover the point of view of the decision maker, anticipate and answer the counterarguments, and finally conclude the case with a winning final argument.
To make a winning presentation, you are taught to prepare the power-person (the jury, the judge, the boss, the customer, the board) to hear your case. You are shown that your emotions, and theirs, are the source of your winning. You learn the power of your own fear, of honesty and caring and, yes, of love. You are instructed on how to role-play through the use of the psychodramatic technique, to both discover and tell the story of the case, and, at last, to pull it all together into the winning final argument.
Whether you are presenting your case to a judge, a jury, a boss, a committee, or a customer, Win Your Case is an indispensable guide to success in every walk of life, in and out of the courtroom.
Essay from the year 2009 in the subject Communications - Miscellaneous, grade: 1.3, Central Queensland University, course: Creative Industries, language: English, abstract: Censorship can be a grey area and that is usually because what is under contention of being censored is far from black and white. The ramifications of this contention is of most interest to the Creative Industries as it may have a direct effect on the kind of content that governing bodies allow to be distributed, which in turn affects commercial viability and therefore production. There are the artists who may produce art for art’s sake, though there remains an indeterminate amount seeking remuneration from their efforts through sales and exhibitions. When their work or part of their work is suddenly deemed inappropriate by the law, the resulting controversy often results in publicity, a concept Art Photographer Bill Henson is no stranger to. It is somewhat difficult to comprehend who or what is controlling the definition of art and its place in the cultural life of Australia. The manifestation of governmental and public opinion surrounding specific case studies can distinguish publicity from the constant reconstruction of culture, apropos the importance of the re-educating of governing bodies upholding the opinion of the public by the public themselves. Representing a fair spectrum, we have the publicly denounced work of Bill Henson and arguably one of the most controversial films of the decade, Ken Park, with its positive appraisal fiercely contesting only recently updated censorship laws. The battleground for these fights for cultural integrity is the media, the most public and least bias of course being the internet, though the internet in Australia is currently in the process of becoming censored itself! As though product from the creative industries were not being censored enough, the almost alarming concern the government is so compassionately exhibiting for all of our welfare may just be impacting industries in more ways than just what is appropriate to expose to a morally deteriorating or protection-dependant public.

In this urgent and insightful book, public radio journalist Celeste Headlee shows us how to bridge what divides us--by having real conversations

NPR's Best Books of 2017

Winner of the 2017 Silver Nautilus Award in Relationships & Communication

“We Need to Talk is an important read for a conversationally-challenged, disconnected age. Headlee is a talented, honest storyteller, and her advice has helped me become a better spouse, friend, and mother.”  (Jessica Lahey, author of New York Times bestseller The Gift of Failure)

Today most of us communicate from behind electronic screens, and studies show that Americans feel less connected and more divided than ever before. The blame for some of this disconnect can be attributed to our political landscape, but the erosion of our conversational skills as a society lies with us as individuals.

And the only way forward, says Headlee, is to start talking to each other. In We Need to Talk, she outlines the strategies that have made her a better conversationalist—and offers simple tools that can improve anyone’s communication. For example: 

BE THERE OR GO ELSEWHERE. Human beings are incapable of multitasking, and this is especially true of tasks that involve language. Think you can type up a few emails while on a business call, or hold a conversation with your child while texting your spouse? Think again.CHECK YOUR BIAS. The belief that your intelligence protects you from erroneous assumptions can end up making you more vulnerable to them. We all have blind spots that affect the way we view others. Check your bias before you judge someone else.HIDE YOUR PHONE. Don’t just put down your phone, put it away. New research suggests that the mere presence of a cell phone can negatively impact the quality of a conversation.

Whether you’re struggling to communicate with your kid’s teacher at school, an employee at work, or the people you love the most—Headlee offers smart strategies that can help us all have conversations that matter.


Essay from the year 2014 in the subject Design (Industry, Graphics, Fashion), grade: 1.1, Central Queensland University, course: Brand Image Design, language: English, abstract: Aesthetics are an integral part of marketing communications, influencing the design of logos, advertising, atmospherics and package design. The strategic management of brand image design is essential to developing and implementing a corporate or brand identity. According to Simonson & Schmitt (1997), aesthetics can create tangible value for an organization because: • aesthetics creates consumer loyalty • aesthetics allows for premium pricing • aesthetics cuts through information clutter, increasing the memorability of the visual marks of the company, which in turn increases its chance of selection at the point of purchase • aesthetics affords protection from competitive attacks • aesthetics can save costs and increase productivity, as employees and outside suppliers need to spend less time in creating new layouts and messages David Garvin’s (1987) book, the Eight Dimensions of Product Quality, consists of performance, features, reliability, conformance, durability, serviceability, aesthetics and perceived quality. The concept defines aesthetics as ‘the subjective dimension indicating the kind of response a user has to a product. It represents the individual’s personal preference’ (Karch, 2008). Aesthetics management should begin with a thorough status quo analysis of every aspect of a company or brand’s visual and sensory identity. The objective of this analysis is to get a clear understanding of the identity that the organisation wants to project for itself and its brands in its aesthetic output (its corporate expressions) and how customers perceive the organisation’s current aesthetic output (customer impressions). (Simonson & Schmitt, 1997, p.45.) Brand Identity focuses on the following attributes of aesthetics, outlined by Friedlander (2012): • Colours • Fonts • Logos • Images • Layout
Research Paper (postgraduate) from the year 2015 in the subject Tourism, grade: 1.1, Central Queensland University, course: Cultural Entrepreneurship, language: English, abstract: Globalisation has meant that the offerings of many destinations are increasingly homogenous. Branding provides a way of creating a unique identity through relationship building and emotional appeal, rather than differentiation on the basis of functional qualities. While destination branding draws on principals from product marketing there are some important differences. This is a more obvious requirement in some sectors, such as tourism, where countries develop hospitality industries and infrastructure such as convenient airport facilities. However, such marketing concepts increasingly apply to countries as a whole. Nearly all successful communities can quickly identify their “brand.” They draw on their comparative advantages to find ways of encouraging growth by attracting the people, businesses, education service and investment they need. (Hulsbosch, 2011) Hulsbosch (2011) suggests acting and thinking globally as one of his destination branding tips, advising that brand identity and all related promotional activities must appeal across cultural groups. Cultural tourism gives visitors the opportunity to understand and appreciate the essential character of a place and its culture as a whole, including: • History • People and their lifestyle • Cultural diversity • Arts and architecture • Food, wine and other local produce (Foo & Rossetto, 1998, p.63)
New York Times bestseller

What makes things popular?

If you said advertising, think again. People don’t listen to advertisements, they listen to their peers. But why do people talk about certain products and ideas more than others? Why are some stories and rumors more infectious? And what makes online content go viral?

Wharton marketing professor Jonah Berger has spent the last decade answering these questions. He’s studied why New York Times articles make the paper’s own Most E-mailed List, why products get word of mouth, and how social influence shapes everything from the cars we buy to the clothes we wear to the names we give our children. In this book, Berger reveals the secret science behind word-of-mouth and social transmission. Discover how six basic principles drive all sorts of things to become contagious, from consumer products and policy initiatives to workplace rumors and YouTube videos.

Contagious combines groundbreaking research with powerful stories. Learn how a luxury steakhouse found popularity through the lowly cheese-steak, why anti-drug commercials might have actually increased drug use, and why more than 200 million consumers shared a video about one of the seemingly most boring products there is: a blender. If you’ve wondered why certain stories get shared, e-mails get forwarded, or videos go viral, Contagious explains why, and shows how to leverage these concepts to craft contagious content. This book provides a set of specific, actionable techniques for helping information spread—for designing messages, advertisements, and information that people will share. Whether you’re a manager at a big company, a small business owner trying to boost awareness, a politician running for office, or a health official trying to get the word out, Contagious will show you how to make your product or idea catch on.
Essay from the year 2013 in the subject Communications - Mass Media, grade: 1.3, Central Queensland University, course: Applied Communication Arts, language: English, abstract: Governments, businesses and citizens across the world are only beginning to understand the profound implications of living in a hyper-connected world. Organisations operating across borders must recognise that the users of that information, and their governments, often have different cultural norms, values and expectations. These norms are changing as digital natives come of age and challenge old orthodoxies. Digital technologies continue to evolve, making it ever more difficult for anyone to control or regulate the manner and flow of information (World Economic Forum, 2013). According to an International Media Concentration Research Project, led by Professor Eli Noam of Columbia University, ‘Australian newspaper circulation was the most concentrated of 26 countries surveyed, and among the most concentrated in the democratic world’ (Flew, 2013). Rupert Murdoch’s News Corp Australia, the Fairfax Media and the Australian Broadcasting Corporation (ABC) are all examples of mass media communicating systems of norms and values. The first two accounted for 86% of newspaper sales in Australia in 2011, as compared to 54% for the top two newspaper owners in the United Kingdom and as low as 14% for the top two in the United States (Flew, 2013). News Corp and Fairfax have been seen to express a response to political climates according to their owners’ rather singular perspectives. Allegations of news media bias in Australia during the past several years are nothing new, in each case these players are after a different goal (Tucker, 2013).
Seminar paper from the year 2011 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.1, , course: Advertising Design Communication, language: English, abstract: Advertising is all about getting attention. One of the best ways of getting attention through advertising is adding humour. When employed correctly, the power of humour is undeniable. Professional Advertising (N/A) believes that ‘[t]he best ways to get attention with advertising are with strong visuals, sex, powerful headlines, and humour.’ From all the types of advertising appeals, such as Emotional, Rational, Sex, Scarcity and Humour, ‘[h]umour can be an excellent tool to catch the viewer’s attention and help in achieving instant recall which can work well for the sale of the product. Humour can be used effectively when it is related to some benefit that the customer can derive without which the joke might overpower the message’ (Ashwini, 2009). Humour is most effective when it is used to reinforce an existing message, rather than simply adding to it. Catanescu & Tom (2001) maintain that ‘[a]s previous research has revealed... [their] study shows that humour is used more frequently in television commercials than print advertisements’ and so it is with this acumen that generates the focus on television commercials. What humour achieves exactly can differ from one advertiser to the next, but its primary function seems to be about getting attention, regardless if it is good or bad attention. According to a 1993 Journal of Marketing study that examined multinational effects of humour on advertising, ‘humour is more likely to enhance recall, evaluation, and purchase intention when the humorous message coincides with ad objectives, is well-integrated with those objectives, and is viewed as appropriate for the product category. Under such circumstances, humorous advertising is more likely to secure audience attention, increase memorability, overcome sales resistance, and enhance message persuasiveness’ (Dubois, 2010).
2016 Christianity Today Book of the Year in Apologetics/Evangelism One of Desiring God's Top 15 Books of 2015 Hearts Minds Bookstore's Best Books of 2015, Social Criticism and Cultural Engagement In our post-Christian context, public life has become markedly more secular and private life infinitely more diverse. Yet many Christians still rely on cookie-cutter approaches to evangelism and apologetics. Most of these methods assume that people are open, interested and needy for spiritual insight when increasingly most people are not. Our urgent need, then, is the capacity to persuade—to make a convincing case for the gospel to people who are not interested in it. In his magnum opus, Os Guinness offers a comprehensive presentation of the art and power of creative persuasion. Christians have often relied on proclaiming and preaching, protesting and picketing. But we are strikingly weak in persuasion—the ability to talk to people who are closed to what we are saying. Actual persuasion requires more than a one-size-fits-all approach. Guinness notes, "Jesus never spoke to two people the same way, and neither should we." Following the tradition of Erasmus, Pascal, G. K. Chesterton, C. S. Lewis, Malcolm Muggeridge and Peter Berger, Guinness demonstrates how apologetic persuasion requires both the rational and the imaginative. Persuasion is subversive, turning the tables on listeners' assumptions to surprise them with signals of transcendence and the credibility of the gospel. This book is the fruit of forty years of thinking, honed in countless talks and discussions at many of the leading universities and intellectual centers of the world. Discover afresh the persuasive power of Christian witness from one of the leading apologists and thinkers of our era.
Project Report from the year 2010 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.5, Central Queensland University, course: Media Relations in Arts Administration, language: English, abstract: TELEVISION COMMERCIAL SYNOPSIS As part of the Australian Government’s new national reform package, The Organ and Tissue Authority was established on the 1st of January 2009 as a nationally coordinated approach to organ and tissue donation for transplantation (DonateLife, 2009). The Australian Organ and Tissue Authority’s chief executive Karen Murphy has said that ‘families need to know each other’s wishes about organ and tissue donation, because even if you are registered as a donor, your next of kin is still asked to give consent for donation to take place’ (The Border Watch, 2009). ‘DonateLife is the new brand and name for the national network of organ donor agencies that will deliver the message that every Australian has the potential to save lives’ (The Border Watch, 2009). Funded by The Organ and Tissue Authority, DonateLife offers educational services, donor family support, donor/recipient correspondence and also run Australian Organ Donor Awareness Week, the largest public awareness campaign in Australia associated with organ and tissue donation for transplantation (DonateLife, 2009). The Australian Organ Donor Awareness Week’s aims are to ‘raise donation rates in Australia by focusing on the pressing need for organ and tissue donation, encourage families to discuss their wishes, [highlight] the success of organ transplantation in Australia; and, finally, promote the registration of consent on the Australian Organ Donor Register’ (Parry, 2007, p.137). You can watch the television commercial project here:
Research Paper (undergraduate) from the year 2015 in the subject Business economics - General, grade: 1.2, Central Queensland University, course: Cultural Entrepreneurship, language: English, abstract: The cultural tourism of a country cannot prosper without a strong sense of national identity. What sets a nation apart is what draws visitors, which contributes to a flourishing culture where art is at the very centre. The Australian Bureau of Statistics confirms that the culture sector in Australia is big business, perpetuated in art galleries, museums, theatres, film studios, opera companies, writers’ weeks, rock concerts and arts festivals (Grybowski, 2014). Many different factors impact the motivation of cultural visitors, such as demographics, the dollar and what kind of experience is being sought. There are highly innovative businesses and individuals operating in the creative industries. Encompassing music, performing arts, software development, design and visual arts, the creative economy is recognised as a major contributor to a city’s lifestyle and attractiveness to skilled workers. To gain a better impression of ways that an industry impacts an economy, it may be pragmatic to analyse one Australian city in particular. ‘Cities and regions actively nurture their creative industries to capture the economic benefits they bring and grow local competitive industries’ (Quirk, 2014, p.2). Sustaining cultural tourism through the arts requires support from local and federal government. In a message from Mr Rupert Myer AM, Chair of the Australia Council for the Arts, he shares that ‘Australia has every reason to be culturally ambitious and this is a very significant juncture in our cultural life. The development and delivery of the National Cultural policy, Creative Australia, symbolises the importance of the arts to a vibrant, innovative and healthy Australia’ (Myer, 2013). ‘Today, we have more high quality artists applying for support than ever before, some of them working in ways not imagined 10 years ago. On behalf of these artists we welcome the commitment of an additional $75.3 million over four years to boost our nation’s creativity’ (Myer, 2013).
Research Paper (postgraduate) from the year 2014 in the subject Communications - Media and Politics, Politic Communications, grade: 1.4, Central Queensland University, course: Applied Communication Arts, language: English, abstract: Mass Communication is a primary contributor to the construction and maintenance of culture. The precise relation of culture to mass communication and its function in our lives has long been debated (Baran, 2010). Because of the power mass communication has in shaping culture, it presents us with both opportunities and responsibilities. Media industries must operate ethically or risk negatively influencing the culture in which they exist. Consumers likewise have the responsibility to critically examine media messages (Baran, 2010). Both technology and money shape the mass communication process. Innovations in technology bring about new forms of media, or make older forms more accessible. As profit-making entities, the media must respond to the wishes of both advertisers and audience. Ultimately, though, the consumers choose which forms of media they support and how they react to the messages that face them. Technological and economic factors such as convergence and globalization will influence the evolution of mass communication (Baran, 2010). [N]ewspapers are downsizing, consolidating to survive, or closing all together; radio is struggling to stay alive in the digital age; and magazine circulation is decreasing and becoming increasingly more focused on microaudiences. The information function of the news has been criticized and called “infotainment,” and rather than bringing people together, the media has been cited as causing polarization and a decline in civility. (Charles et al. 2009)
Research Paper (postgraduate) from the year 2014 in the subject Design (Industry, Graphics, Fashion), grade: 1.15, Central Queensland University, course: Brand Image Design, language: English, abstract: There are nearly 4,000 colleges and universities in the United States and almost all of these institutions have continued to attract enough students to remain operational year after year, according to Author and Marketing guru Roger Dooley (2013). That’s about to change, and one of the key differences in who survives won’t be the academic output of the faculty or the amenities available to students. It will be a factor seemingly unrelated to the schools’ mission: branding. (Dooley, 2013) Nurko (2010) says that ‘branding is a vital tool for Universities to consider as they not only seek to attract the brightest students, but they also seek to attract and retain top academic faculty talent, become centres for research grants as well as attract investment funding and endowments to subsidize future growth’. The days when Universities were simply hallowed halls of academia around the world are gone. Today, Universities are not only academic institutes but they are commercial organisations and engines of economic growth for their communities and shareholders. Universities compete for talent at both the student level, but also for faculty personnel and investment funding. Both private and public Universities are more accountable for their balance sheets, as well as for their level of academic rigour and reputation. In a world in which academia, commerce and government overlap, the role higher education plays has never been more critical – yet, at the same time more controversial. For this reason, Universities are deploying marketing and branding strategies and tactical executions which seek to help them differentiate while also compete for potential student attention, financial investment and ultimately reputation accolades. (Nurko, 2010) The current Harvard coat of arms certainly retains some complexity, but the question becomes - is the complexity meaningful? Well, yes and no – but the fundamental design flaws do need to be addressed so that Harvard can retain some consistency across the board. Harvard University could definitely simplify its branding without compromising connections to its roots, but it is important to focus on the purposes for doing so.
Essay from the year 2011 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.2, Central Queensland University, course: Creative Arts Administration, language: English, abstract: The American Marketing Association (AMA) defines a brand as a ‘name, term, sign, symbol or design’ intended to identify and differentiate them from competitors (Lake, N/A). Walter Landor, one of the greats of the advertising industry, said “simply put, a brand is a promise. By identifying and authenticating a product or service it delivers a pledge of satisfaction and quality" (Nelson, 2008). Bates (N/A) believes that the best definition is that a ‘brand is a collection of perceptions in the mind of the consumer’. This definition clearly distinguishes that a brand is very different from a product or service. A brand is intangible and exists in the mind of the consumer (Bates, N/A). Social media has turned the ways in which the brand interacts with the customer on its head. With close to 2 billion internet users worldwide, 126 million blogs, 12 billion videos viewed per month in the US alone, (Thomas, 2009), 2 billion tweets on Twitter per month and 500 million people on Facebook (Van Grove, 2010), the face of the consumer may remain essentially the same but the way in which they interact with brands has changed dramatically. It seems brands are now impacted by the creative arts, the ones more specifically known as social media sites, blogging and user-content creation leading to direct consumer participation in the modification of brand identity. The creative arts and technology have allowed the consumer to have their say heard by an audience, to rapidly share information and empowered brand-users to gain control over how a brand is perceived, their reputation, product quality control and even direction. Amidst the impact of these creative arts, brands now ignore their customers at their peril.
#1 Wall Street Journal Bestseller

Instant New York Times Bestseller

A game-changing approach to marketing, sales, and advertising. 

Seth Godin has taught and inspired millions of entrepreneurs, marketers, leaders, and fans from all walks of life, via his blog, online courses, lectures, and bestselling books. He is the inventor of countless ideas that have made their way into mainstream business language, from Permission Marketing to Purple Cow to Tribes to The Dip.

Now, for the first time, Godin offers the core of his marketing wisdom in one compact, accessible, timeless package. This is Marketing shows you how to do work you're proud of, whether you're a tech startup founder, a small business owner, or part of a large corporation.

Great marketers don't use consumers to solve their company's problem; they use marketing to solve other people's problems. Their tactics rely on empathy, connection, and emotional labor instead of attention-stealing ads and spammy email funnels. 

No matter what your product or service, this book will help you reframe how it's presented to the world, in order to meaningfully connect with people who want it. Seth employs his signature blend of insight, observation, and memorable examples to teach you:

* How to build trust and permission with your target market.
* The art of positioning--deciding not only who it's for, but who it's not for.
* Why the best way to achieve your goals is to help others become who they want to be.
* Why the old approaches to advertising and branding no longer work.  
* The surprising role of tension in any decision to buy (or not).
* How marketing is at its core about the stories we tell ourselves about our social status.

You can do work that matters for people who care. This book shows you the way.
Research Paper (postgraduate) from the year 2011 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.6, Central Queensland University, course: Advertising Design Communication, language: English, abstract: As far as movie advertising goes, official web sites have become a crucial tool for advertising upcoming and existing films. Mabry & Porter (2010) reports a ‘relatively important and statistically significant relationship between web site traffic and box office revenue’. Movie trailers have been a vital part of the advertising process, appearing ‘very early on - around 1912 - although they did not become standard for several years’ (Film Reference, N/A). Of some 10-billion videos watched on line annually, movie trailers rank #3, after news and user-created video. With such easy and instant access to them, these increasingly popular cinematic morsels are being devoured by moviegoers–and served up with serious consideration by the industry that sometimes spends sums equivalent to a third world country’s annual budget to concoct them (Merin, 2008). According to a study by Microsoft Advertising and 20th Century Fox, ‘[o]nline film advertising should play a growing role in the marketing of movie releases... Online film advertising [is] particularly effective at presenting film trailers in a positive environment and broadening [the advertiser’s] reach beyond the cinema environment. Trailers were confirmed as the single most influential element in consumers’ decision to view a film’ (Microsoft Advertising, 2009). Snell (2009) believes that movies are a large part of the entertainment industry and that ‘in recent years their websites have become increasingly critical to their overall success’.
Essay from the year 2009 in the subject Sociology - Media, Art, Music, grade: 1.1, Central Queensland University, course: Media Relations in Arts Administration, language: English, abstract: It can be quite difficult to source examples of effective crisis strategies in creative enterprise. Companies may be small, they may not have product that if defective could bring harm to the masses, inciting a recall, or even if a crisis occurred, would necessarily lead to financial ruin or impact enough jobs as to be considered newsworthy. Essentially, being portrayed negatively in the media is what is considered a ‘crisis’ rather than whatever was at fault in the first instance. This is undoubtedly due to the unpredictability of what character-revealing hue the media may taint their brush with when presented the opportunity to paint a picture of whatever business has managed the misfortune of unintentionally wandering into the spotlight. Even though being in the spotlight can be very good for business, a crisis is when a business finds itself in there for the wrong reasons. The biggest business there is in creative enterprise is of course actors. Their sheer bankability provides millions of dollars and hundreds of jobs for each movie they secure, so much can be at stake if their reputation goes down and at the wrong time. When analysing public image and crisis management strategies, the business of being one person follows the same principles of those strategies being employed by companies and corporations because they are in themselves a brand. If a celebrity does not behave accordingly when a crisis occurs, especially when it is usually their behaviour that has caused the crisis, devastating consequences can ensue. They employ publicists just as companies procure PR personnel - for the management of crises and to nudge their image in the right direction, or at times, drag it kicking and screaming. Many act on their own volition, which can be very precarious if they were a big company. But celebrities are probably the easiest for the public to forgive, as after all it is their job to entertain and a public discretion is hardly akin to a situation such as a large toy manufacturer producing their latest line of product which has just caused several child fatalities due to toxic parts. The methods they employ during scandals can be measured by textbook crisis management procedures on a smaller scale humanly while generally on a much larger scale publically.
Just as a distinctive literary voice or style is marked by the ease with which it can be parodied, so too can specific aspects of humor be unique. Playwrights, television writers, novelists, cartoonists, and film scriptwriters use many special technical devices to create humor. Just as dramatic writers and novelists use specific devices to craft their work, creators of humorous materials—from the ancient Greeks to today’s stand-up comics—have continued to use certain techniques in order to generate humor. In The Art of Comedy Writing, Arthur Asa Berger argues that there are a relatively limited number of techniques—forty-five in all—that humorists employ. Elaborating upon his prior, in-depth study of humor, An Anatomy of Humor, in which Berger provides a content analysis of humor in all forms—joke books, plays, comic books, novels, short stories, comic verse, and essays—The Art of Comedy Writing goes further. Berger groups each technique into four basic categories: humor involving identity such as burlesque, caricature, mimicry, and stereotype; humor involving logic such as analogy, comparison, and reversal; humor involving language such as puns, wordplay, sarcasm, and satire; and finally, chase, slapstick, and speed, or humor involving action. Berger claims that if you want to know how writers or comedians create humor study and analysis of their humorous works can be immensely insightful. This book is a unique analytical offering for those interested in humor. It provides writers and critics with a sizable repertoire of techniques for use in their own future comic creations. As such, this book will be of interest to people inspired by humor and the creative process—professionals in the comedy field and students of creative writing, comedy, literary humor, communications, broadcast/media, and the humanities.
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