加拿大广告学论文代写：电影中的广告
广告是一个很重要的部分，当然有一个精确的电影开始，但你说的话是重要的事情。在电影行业，负面的口碑可能会损害名誉，我们都知道。电影院有任何销售的产品最畅销的生活。在目前的时间，如果一部电影即将达到观众，他们必须理解他们的消费者，主要是年轻一代，每天花费约16-18小时生活在网络。这表明关于电影的评论直接在网站上获得。因此，如果一个人发贴，“这是我看过的最可怕的电影”，每个人都有同样的感受！这种想法会瞬间摧毁那部电影。这是经常发生的事实。
我们原来是一个通过网络进行交流的世界。万维网提供了好的和坏的，因为一旦一部电影被释放-它已经出来了。二十年前的工作室试图确定如何防止网络攻击。目前，他们要想办法把网络整合到他们所做的每一件事上，因为这是命令式的晋升和降级。互联网有直接的全球影响——这是一个国际事件。Jo Lewis说：“当你进入圆环的时候，没有地方可以藏起来”。一旦你发行了你的电影，就没有地方可以隐藏了。电影上映的时候，人们就知道了。
这本书“技术作为经验”说明了这一思想背后的四条线索的经验-感性，心理，成分和时空。这样的台词就像电影中观众的对话一样。他们的观点受到许多其他人的支持。然而，这种理解并非新鲜事。作为人的最初的洞穴版画-物化已发展成清楚的表明我们有能力认知和情感的交流，通过艺术的语境中，作为语言，除了语言的特点。
加拿大广告学论文代写：电影中的广告
Advertising is a significant part, and certainly having the precise movie to begin with, but the way you say is important thing. In film industry negative word of mouth may kill one’s reputation, we all know that. Cinemas have the shortest saleable life of any saleable product. In present time if a film is about to reach an audience- they have to comprehend that their addressees, mainly younger generation, spend about 16-18 hrs per day live on the web. This indicates that comments regarding the film get straight on websites. Therefore if a person posts, “this is the terrible movie I have ever seen” and everyone feels in the same manner! This thinking will destroy the promotion of that movie instantaneously. This is the truth, which happens often.
We have turned out to be a world that communicates through the web. WWW has offered the good as well as the bad of that since the moment a motion picture is released- it’s out. Studios, twenty years back, attempted to determine how to prevent from the web. At present, they need to make out the means to integrate the web into everything they perform, considering that it is that commanding as a way of both promotion and demotion. Internet had a direct global impact- it is an international event. Jo Lewis, stated, “When you get inside the ring there is no place to hide”. Once you release your film, there is no place to hide. People know about it the moment movie is released.
The book “Technology as Experience” illustrates the ideology behind this recommending four ‘threads’ of experience – sensuous, psychological, compositional and spatio-temporal. Such strands operate as one throughout the ‘dialogue’ of an audience with a movie. Their view is sustained by many others. Such understanding, nonetheless, is not new. As the materialization of man’s initial cave-etchings- it has develop into clear that we have the capability to communicate cognitively and emotionally via art- which, in context, features both as to language and apart from language.