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正品牌标识是标志识别系统的简称,隶属于企业识别系统CIS(corporate identitysystem)设计中VI的范畴。CIS由理念识别(MI)、行为识别(BI)、视觉识别(VI)组成,是一种品牌竞争战略,也是出版企业进行品牌竞争的重要方式。视觉识别系统(VI)是理念识别与行为识别的表现方式,结合大众意义上的VI定义,我们可以知道网站的品牌标识涉及到网站标志、标准字、标准色等元素及栏目设计和整体视觉效果。2013年12月CN- 相似文献
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作为典型的“主持人型”媒体,广播媒体的品牌某种程度上是构架在节目品牌、主持人品牌之上的。电台名嘴成为广播媒体的核心竞争力之一。任何一家强势电台都必须拥有自己的品牌脱口秀节目及极具影响力的主持人。那么。广播脱口秀节目主持人何以征服万千听众？一家电台又如何打造自己的品牌脱口秀主持人呢？ 相似文献
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随着中国电视媒体的不断增多,节目更是逐渐趋于同化,受众市场的竞争压力也变得空前巨大,这种压力不仅来自于国内媒体,也来自看好中国媒体市场的国外媒体.在这种压力下,中国电视媒体发现,单单依靠节目的新颖来吸引观众是远远不够的.东方卫视在全面分析媒体市场后凭借其精准的品牌定位和全方位的品牌塑造,打造出了省级卫星频道中极具影响力和品牌价值的上星卫视,是我国电视媒体品牌塑造成功的典型案例.本文以东方卫视为例,通过分析其品牌塑造的成功过程,挖掘出其成功占领媒体市场的原因,为我国众多媒体的品牌发展做借鉴. 相似文献
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电视频道包装是打造频道品牌、推进频道营销、加强频道管理的重要手段,是进行频道品牌建设的具体实践.品牌的打造不仅是简单的视觉识别,而且是深入到频道理念,由内而外、内外合一地建立频道形象识别系统.如今,福建少儿频道的品牌建设已逐步进入专业化和策略化阶段,在播宣传和离播宣传相结合,频道品牌建设日趋成熟. 相似文献
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提文静 《中国广播电视学刊》2003,(2):37-39
现在我国几乎每个中等以上的城市,都至少有三家电台,而省会城市就多达七八个甚至十几个。如何在频率密布的空中射击一道强劲的冲击波吸引听众宝贵的耳朵?又如何留住这些听众使他们对你的频率情有独种? 在现代激烈的广播市场竞争中,回答这个问题也许只有两个字:品牌。关于品牌对媒体的意义已多有谈及,本文重点是结合实践来探讨一下广播频率如何实施品牌营销。 相似文献
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CIS与媒体形象的塑造 总被引：4，自引：0，他引：4
“形象”是公关界经常谈论的话题。具体到媒介业,媒体形象则是指在一定时期和一定环境下,与媒体发生联系的公众,对媒体及其日常行为所产生的各种印象、感情和认知评价的总和。当谈到如何塑造形象时,实施CIS(企业识别系统)就成为最佳选择。CIS就是运用统一的视觉识别设 相似文献
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《中国广播电视学刊》2005,(12):I0008-I0008
天津交通广播于1994年1月1日成立，从那时起电波陪伴着听众已经走过11个春秋寒暑，作为天津市面向驾驶员和乘车人开办的专业电台，交通广播已经形成自身的优势和品牌影响，成为广播中的强势媒体。 相似文献
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This article explores how Ireland’s first LGBT radio station, Open FM, attempted to offer LGBT radio in a heteronormative media landscape. It uses semi-structured interviews with two of the stations founders as well as posts from online LGBT message bulletin boards to argue how Open FM ultimately became ambivalent about its LGBT status and adopted a dualcasting strategy. Despite its ambitions to be a community-led radio station for Ireland's LGBT community, the dualcasting strategy of the station framed many of its endeavors between the mainstream standards of radio broadcasting and the community of interest that their licence claimed to serve. 相似文献
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Rafi Mann 《Media History》2013,19(2):169-181
The article discusses the political and public debates in Israel over the appropriateness of a military radio station in a democratic state. The Israeli station was established in 1950 to assist the defense forces in absorbing and educating new Jewish immigrants, but later developed to become one of Israel's major media outlets. Previously unstudied documents reveal that the initiative to launch the station was met with criticism from its early stages; concerns about letting the army run a radio station without public oversight have been raised repeatedly ever since. This research project illustrates the benefits of media historiography as an effective prism for studying wider aspects of societies in which various media organizations operate. It adds, as well, to the historiography of military radio stations around the world. 相似文献
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《Journal of Radio & Audio Media》2013,20(2):209-215
All-sports radio became a natural byproduct of the informational radio trend of the 1980s. It originated in New York and other large markets. Although it originated as a large market format, today there are dozens of sports radio stations on the air in markets large and small, with many major markets supporting more than one sports radio station. This article analyzes all-sports radio in a medium market, Peoria, Illinois, the 150th largest market in America. National sports networks provide an essential connection to big league sports in Peoria, but coverage of local sports is valuable in establishing a brand identity. 相似文献
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《Journal of Media Economics》2013,26(4):271-284
Scores of consumer behavior studies have confirmed what has been called a double jeopardy effect, whereby brands earning small market shares attract fewer customers but also experience less customer loyalty than more popular brands. This two-fold plight of the small brand has also been detected among consumers of media, such as newspapers and television programs. This study hypothesized a similar double jeopardy behavior among radio station audiences. Using ratings-based turnover ratio and exclusive cume as operationalizations for listener loyalty, an analysis of over 1,600 stations revealed that, despite radio's emphasis on niche marketing, a significant double jeopardy effect can still be found. Furthermore, station competition and program format were tested as intervening variables. 相似文献
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《Journal of Radio & Audio Media》2013,20(2):231-248
This study compares the radio industry's use of interactivity to that of other traditional media on the Web such as newspapers and television stations, along the dimensions of audience-oriented interactivity and source-oriented interactivity. A content analysis of 112 traditional radio station Web sites, 282 traditional newspaper Web sites, and 128 traditional television station Web sites found that traditional radio station Web sites provided more audience-oriented interactivity compared to other traditional media Web sites, and traditional newspaper Web sites offered the most source-oriented interactivity. A general conclusion of this study is that although traditional radio stations were more likely to transmit live and archived sound than other media, all traditional media Web sites have held back from developing interactivity beyond e-mail, and have limited the transmission of streaming media, as well as archived audio and video content. 相似文献
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Helen Morgan Parmett 《Journal of Radio & Audio Media》2016,23(1):95-108
This article contributes to scholarly literature on local stations in early radio broadcasting history. Taking KVOS in Bellingham, WA as a case study, it attends to how regional geography in conjunction with station operators, broadcasting policy, and audiences helped to define localism in relation to broader national, regional, and international identities forming at the beginnings of early radio and between 1930–1953. KVOS’ history demonstrates how radio was always bound up with the production of locality and how local identity was constituted in and through its relation to broader collective sensibilities taking shape at the time. 相似文献
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For decades, radio was primarily a hidden or unseen medium to listeners. In recent years, digital technologies have transformed radio to a medium that can both be seen and heard. In particular, visuals on social media have given audiences a real-time glimpse of broadcast operations and talent, while enhancing interaction with stations. This study examined how commercial stations across the United States portrayed themselves through posts on Instagram. Using a qualitative methodology and social semiotic theory, results of the study revealed two dominant themes of station posts—station promotion and community—that signified the essence of radio stations. 相似文献
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面对日益激烈的新闻竞争,城市电视台要取得新闻整体竞争效益的最大化,就应当确立大新闻观,打造快捷、高效,与城市生活合拍的新闻资讯传播系统;同时实行品牌带动整体跟进的战略,通过新闻节目的本土风格培养观众的认同感;通过为新媒体提供本市视频资讯内容拓展发展空间,培养新生观众。 相似文献
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《Journal of Radio & Audio Media》2013,20(2):246-247
Radio stations regularly conduct music research to determine what music they should play. Programming belief is that if they play music that people like better, more people will listen and listen longer, and the station's ratings will improve. This project utilizes Radio &; Records' Callout America® callout research of the top 30 songs on its Contemporary Hit Radio/Pop chart and their published CHR/Pop radio station playlists to compile an average favorability score for the music the station played. These scores were then compared to Arbitron ratings. Analysis found a statistically significant direct correlation between music research scores and Arbitron ratings. 相似文献