\documentclass[11pt,twoside]{article}\makeatletter \IfFileExists{xcolor.sty}% {\RequirePackage{xcolor}}% {\RequirePackage{color}} \usepackage{colortbl} \usepackage{wrapfig} \usepackage{ifxetex} \ifxetex \usepackage{fontspec} \usepackage{xunicode} \catcode`⃥=\active \def⃥{\textbackslash} \catcode`❴=\active \def❴{\{} \catcode`❵=\active \def❵{\}} \def\textJapanese{\fontspec{Noto Sans CJK JP}} \def\textChinese{\fontspec{Noto Sans CJK SC}} \def\textKorean{\fontspec{Noto Sans CJK KR}} \setmonofont{DejaVu Sans Mono} \else \IfFileExists{utf8x.def}% {\usepackage[utf8x]{inputenc} \PrerenderUnicode{–} }% {\usepackage[utf8]{inputenc}} \usepackage[english]{babel} \usepackage[T1]{fontenc} \usepackage{float} \usepackage[]{ucs} \uc@dclc{8421}{default}{\textbackslash } \uc@dclc{10100}{default}{\{} \uc@dclc{10101}{default}{\}} \uc@dclc{8491}{default}{\AA{}} \uc@dclc{8239}{default}{\,} \uc@dclc{20154}{default}{ } \uc@dclc{10148}{default}{>} \def\textschwa{\rotatebox{-90}{e}} \def\textJapanese{} \def\textChinese{} \IfFileExists{tipa.sty}{\usepackage{tipa}}{} \fi \def\exampleFont{\ttfamily\small} \DeclareTextSymbol{\textpi}{OML}{25} \usepackage{relsize} \RequirePackage{array} \def\@testpach{\@chclass \ifnum \@lastchclass=6 \@ne \@chnum \@ne \else \ifnum \@lastchclass=7 5 \else \ifnum \@lastchclass=8 \tw@ \else \ifnum \@lastchclass=9 \thr@@ \else \z@ \ifnum \@lastchclass = 10 \else \edef\@nextchar{\expandafter\string\@nextchar}% \@chnum \if \@nextchar c\z@ \else \if \@nextchar l\@ne \else \if \@nextchar r\tw@ \else \z@ \@chclass \if\@nextchar |\@ne \else \if \@nextchar !6 \else \if \@nextchar @7 \else \if \@nextchar (8 \else \if \@nextchar )9 \else 10 \@chnum \if \@nextchar m\thr@@\else \if \@nextchar p4 \else \if \@nextchar b5 \else \z@ \@chclass \z@ \@preamerr \z@ \fi \fi \fi \fi \fi \fi \fi \fi \fi \fi \fi \fi \fi \fi \fi \fi} \gdef\arraybackslash{\let\\=\@arraycr} \def\@textsubscript#1{{\m@th\ensuremath{_{\mbox{\fontsize\sf@size\z@#1}}}}} \def\Panel#1#2#3#4{\multicolumn{#3}{){\columncolor{#2}}#4}{#1}} \def\abbr{} \def\corr{} \def\expan{} \def\gap{} \def\orig{} \def\reg{} \def\ref{} \def\sic{} \def\persName{}\def\name{} \def\placeName{} \def\orgName{} \def\textcal#1{{\fontspec{Lucida Calligraphy}#1}} \def\textgothic#1{{\fontspec{Lucida Blackletter}#1}} \def\textlarge#1{{\large #1}} \def\textoverbar#1{\ensuremath{\overline{#1}}} \def\textquoted#1{‘#1’} \def\textsmall#1{{\small #1}} \def\textsubscript#1{\@textsubscript{\selectfont#1}} \def\textxi{\ensuremath{\xi}} \def\titlem{\itshape} \newenvironment{biblfree}{}{\ifvmode\par\fi } \newenvironment{bibl}{}{} \newenvironment{byline}{\vskip6pt\itshape\fontsize{16pt}{18pt}\selectfont}{\par } \newenvironment{citbibl}{}{\ifvmode\par\fi } \newenvironment{docAuthor}{\ifvmode\vskip4pt\fontsize{16pt}{18pt}\selectfont\fi\itshape}{\ifvmode\par\fi } \newenvironment{docDate}{}{\ifvmode\par\fi } \newenvironment{docImprint}{\vskip 6pt}{\ifvmode\par\fi } \newenvironment{docTitle}{\vskip6pt\bfseries\fontsize{22pt}{25pt}\selectfont}{\par } \newenvironment{msHead}{\vskip 6pt}{\par} \newenvironment{msItem}{\vskip 6pt}{\par} \newenvironment{rubric}{}{} \newenvironment{titlePart}{}{\par } \newcolumntype{L}[1]{){\raggedright\arraybackslash}p{#1}} \newcolumntype{C}[1]{){\centering\arraybackslash}p{#1}} \newcolumntype{R}[1]{){\raggedleft\arraybackslash}p{#1}} \newcolumntype{P}[1]{){\arraybackslash}p{#1}} \newcolumntype{B}[1]{){\arraybackslash}b{#1}} \newcolumntype{M}[1]{){\arraybackslash}m{#1}} \definecolor{label}{gray}{0.75} \def\unusedattribute#1{\sout{\textcolor{label}{#1}}} \DeclareRobustCommand*{\xref}{\hyper@normalise\xref@} \def\xref@#1#2{\hyper@linkurl{#2}{#1}} \begingroup \catcode`\_=\active \gdef_#1{\ensuremath{\sb{\mathrm{#1}}}} \endgroup \mathcode`\_=\string"8000 \catcode`\_=12\relax \usepackage[a4paper,twoside,lmargin=1in,rmargin=1in,tmargin=1in,bmargin=1in,marginparwidth=0.75in]{geometry} \usepackage{framed} \definecolor{shadecolor}{gray}{0.95} \usepackage{longtable} \usepackage[normalem]{ulem} \usepackage{fancyvrb} \usepackage{fancyhdr} \usepackage{graphicx} \usepackage{marginnote} \renewcommand{\@cite}[1]{#1} \renewcommand*{\marginfont}{\itshape\footnotesize} \def\Gin@extensions{.pdf,.png,.jpg,.mps,.tif} \pagestyle{fancy} \usepackage[pdftitle={Brand Recall for Product Placement in Hindi Movies}, pdfauthor={}]{hyperref} \hyperbaseurl{} \paperwidth210mm \paperheight297mm \def\@pnumwidth{1.55em} \def\@tocrmarg {2.55em} \def\@dotsep{4.5} \setcounter{tocdepth}{3} \clubpenalty=8000 \emergencystretch 3em \hbadness=4000 \hyphenpenalty=400 \pretolerance=750 \tolerance=2000 \vbadness=4000 \widowpenalty=10000 \renewcommand\section{\@startsection {section}{1}{\z@}% {-1.75ex \@plus -0.5ex \@minus -.2ex}% {0.5ex \@plus .2ex}% {\reset@font\Large\bfseries}} \renewcommand\subsection{\@startsection{subsection}{2}{\z@}% {-1.75ex\@plus -0.5ex \@minus- .2ex}% {0.5ex \@plus .2ex}% {\reset@font\Large}} \renewcommand\subsubsection{\@startsection{subsubsection}{3}{\z@}% {-1.5ex\@plus -0.35ex \@minus -.2ex}% {0.5ex \@plus .2ex}% {\reset@font\large}} \renewcommand\paragraph{\@startsection{paragraph}{4}{\z@}% {-1ex \@plus-0.35ex \@minus -0.2ex}% {0.5ex \@plus .2ex}% {\reset@font\normalsize}} \renewcommand\subparagraph{\@startsection{subparagraph}{5}{\parindent}% {1.5ex \@plus1ex \@minus .2ex}% {-1em}% {\reset@font\normalsize\bfseries}} \def\l@section#1#2{\addpenalty{\@secpenalty} \addvspace{1.0em plus 1pt} \@tempdima 1.5em \begingroup \parindent \z@ \rightskip \@pnumwidth \parfillskip -\@pnumwidth \bfseries \leavevmode #1\hfil \hbox to\@pnumwidth{\hss #2}\par \endgroup} \def\l@subsection{\@dottedtocline{2}{1.5em}{2.3em}} \def\l@subsubsection{\@dottedtocline{3}{3.8em}{3.2em}} \def\l@paragraph{\@dottedtocline{4}{7.0em}{4.1em}} \def\l@subparagraph{\@dottedtocline{5}{10em}{5em}} \@ifundefined{c@section}{\newcounter{section}}{} \@ifundefined{c@chapter}{\newcounter{chapter}}{} \newif\if@mainmatter \@mainmattertrue \def\chaptername{Chapter} \def\frontmatter{% \pagenumbering{roman} \def\thechapter{\@roman\c@chapter} \def\theHchapter{\roman{chapter}} \def\thesection{\@roman\c@section} \def\theHsection{\roman{section}} \def\@chapapp{}% } \def\mainmatter{% \cleardoublepage \def\thechapter{\@arabic\c@chapter} \setcounter{chapter}{0} \setcounter{section}{0} \pagenumbering{arabic} \setcounter{secnumdepth}{6} \def\@chapapp{\chaptername}% \def\theHchapter{\arabic{chapter}} \def\thesection{\@arabic\c@section} \def\theHsection{\arabic{section}} } \def\backmatter{% \cleardoublepage \setcounter{chapter}{0} \setcounter{section}{0} \setcounter{secnumdepth}{2} \def\@chapapp{\appendixname}% \def\thechapter{\@Alph\c@chapter} \def\theHchapter{\Alph{chapter}} \appendix } \newenvironment{bibitemlist}[1]{% \list{\@biblabel{\@arabic\c@enumiv}}% {\settowidth\labelwidth{\@biblabel{#1}}% \leftmargin\labelwidth \advance\leftmargin\labelsep \@openbib@code \usecounter{enumiv}% \let\p@enumiv\@empty \renewcommand\theenumiv{\@arabic\c@enumiv}% }% \sloppy \clubpenalty4000 \@clubpenalty \clubpenalty \widowpenalty4000% \sfcode`\.\@m}% {\def\@noitemerr {\@latex@warning{Empty `bibitemlist' environment}}% \endlist} \def\tableofcontents{\section*{\contentsname}\@starttoc{toc}} \parskip0pt \parindent1em \def\Panel#1#2#3#4{\multicolumn{#3}{){\columncolor{#2}}#4}{#1}} \newenvironment{reflist}{% \begin{raggedright}\begin{list}{} {% \setlength{\topsep}{0pt}% \setlength{\rightmargin}{0.25in}% \setlength{\itemsep}{0pt}% \setlength{\itemindent}{0pt}% \setlength{\parskip}{0pt}% \setlength{\parsep}{2pt}% \def\makelabel##1{\itshape ##1}}% } {\end{list}\end{raggedright}} \newenvironment{sansreflist}{% \begin{raggedright}\begin{list}{} {% \setlength{\topsep}{0pt}% \setlength{\rightmargin}{0.25in}% \setlength{\itemindent}{0pt}% \setlength{\parskip}{0pt}% \setlength{\itemsep}{0pt}% \setlength{\parsep}{2pt}% \def\makelabel##1{\upshape ##1}}% } {\end{list}\end{raggedright}} \newenvironment{specHead}[2]% {\vspace{20pt}\hrule\vspace{10pt}% \phantomsection\label{#1}\markright{#2}% \pdfbookmark[2]{#2}{#1}% \hspace{-0.75in}{\bfseries\fontsize{16pt}{18pt}\selectfont#2}% }{} \def\TheFullDate{2015-03-15 (revised: 15 March 2015)} \def\TheID{\makeatother } \def\TheDate{2015-03-15} \title{Brand Recall for Product Placement in Hindi Movies} \author{}\makeatletter \makeatletter \newcommand*{\cleartoleftpage}{% \clearpage \if@twoside \ifodd\c@page \hbox{}\newpage \if@twocolumn \hbox{}\newpage \fi \fi \fi } \makeatother \makeatletter \thispagestyle{empty} \markright{\@title}\markboth{\@title}{\@author} \renewcommand\small{\@setfontsize\small{9pt}{11pt}\abovedisplayskip 8.5\p@ plus3\p@ minus4\p@ \belowdisplayskip \abovedisplayskip \abovedisplayshortskip \z@ plus2\p@ \belowdisplayshortskip 4\p@ plus2\p@ minus2\p@ \def\@listi{\leftmargin\leftmargini \topsep 2\p@ plus1\p@ minus1\p@ \parsep 2\p@ plus\p@ minus\p@ \itemsep 1pt} } \makeatother \fvset{frame=single,numberblanklines=false,xleftmargin=5mm,xrightmargin=5mm} \fancyhf{} \setlength{\headheight}{14pt} \fancyhead[LE]{\bfseries\leftmark} \fancyhead[RO]{\bfseries\rightmark} \fancyfoot[RO]{} \fancyfoot[CO]{\thepage} \fancyfoot[LO]{\TheID} \fancyfoot[LE]{} \fancyfoot[CE]{\thepage} \fancyfoot[RE]{\TheID} \hypersetup{citebordercolor=0.75 0.75 0.75,linkbordercolor=0.75 0.75 0.75,urlbordercolor=0.75 0.75 0.75,bookmarksnumbered=true} \fancypagestyle{plain}{\fancyhead{}\renewcommand{\headrulewidth}{0pt}} \date{} \usepackage{authblk} \providecommand{\keywords}[1] { \footnotesize \textbf{\textit{Index terms---}} #1 } \usepackage{graphicx,xcolor} \definecolor{GJBlue}{HTML}{273B81} \definecolor{GJLightBlue}{HTML}{0A9DD9} \definecolor{GJMediumGrey}{HTML}{6D6E70} \definecolor{GJLightGrey}{HTML}{929497} \renewenvironment{abstract}{% \setlength{\parindent}{0pt}\raggedright \textcolor{GJMediumGrey}{\rule{\textwidth}{2pt}} \vskip16pt \textcolor{GJBlue}{\large\bfseries\abstractname\space} }{% \vskip8pt \textcolor{GJMediumGrey}{\rule{\textwidth}{2pt}} \vskip16pt } \usepackage[absolute,overlay]{textpos} \makeatother \usepackage{lineno} \linenumbers \begin{document} \author[1]{Chirag Patel} \affil[1]{ Gujarat Technological University} \renewcommand\Authands{ and } \date{\small \em Received: 12 February 2015 Accepted: 1 March 2015 Published: 15 March 2015} \maketitle \begin{abstract} In present era, media fragmentation and proliferation has directed advertisers? interest in developing more effective ways to communicate with consumers. So they are moving with the new concept of promotion named product placement. In this paper, researchers try to study the impact of movie genre, product placement type, and viewer gender on audiences? recall of brand placed in movies in order to know which one gets more attention and more attraction for buying behaviour. This study uses experimental design and comprises samples of 137 students enrolled in MBA course, who watch hindi movies. The research was conducted with three hindi movies and respondents? were asked to recall brands placed in these movies after watching video clips. Data has been collected by the use of questionnaire. This research paper has implications for both academicians and practitioners which include the advertising agency people, the media planners, the brand managers, the movie scriptwriters and producers for developing strategies to increase the use of product placement as a tool for brand communications. Findings suggest that product placed in prominent mode has higher brand recall than product placed in subtle mode. Further it reveals that automobile products are highly recognized products among other products placed in selected hindi movies. \end{abstract} \keywords{product placement, hindi movies, brand recall.} \begin{textblock*}{18cm}(1cm,1cm) % {block width} (coords) \textcolor{GJBlue}{\LARGE Global Journals \LaTeX\ JournalKaleidoscope\texttrademark} \end{textblock*} \begin{textblock*}{18cm}(1.4cm,1.5cm) % {block width} (coords) \textcolor{GJBlue}{\footnotesize \\ Artificial Intelligence formulated this projection for compatibility purposes from the original article published at Global Journals. However, this technology is currently in beta. \emph{Therefore, kindly ignore odd layouts, missed formulae, text, tables, or figures.}} \end{textblock*} \let\tabcellsep& \section[{Introduction}]{Introduction}\par n recent era, brands and products are more and more appearing in Hindi movies popularly known as Bollywood. Otherwise such concept was only popular in Hollywood movies. Increasingly, the Indian movie industry is using this technique for promoting as well as earning revenue. Obviously for audiences, it makes movie viewing experience more real. Two reasons are attributable to such a change. First, with increase in production cost of movies, such secondary sources of revenue act as an additional benefit to the financers as well as producers of a movie. Second, with the growing population of the young urban middle class in the Indian economy it becomes more important to satisfy need of this changing economy that this class follows. From the brand managers' point of view using product placements as a tool in movies provides his product and or brand with a higher reach and penetration level. It is true for India that many villages don't have electricity but they have cinema halls running on generator sets. This makes the use of product placement through celebrities as an ideal way to push them for use. From the perspective of a sponsor neither advertisement nor publicity provides the appropriate blend as the sponsor has control over the message and its content only but the audience decides its credibility. Hence according to \hyperref[b3]{Balasubramanian (1994)} a different form of marketing communication tool is required. Product placement is a tool which can effectively combine both advertisement and publicity components. Again since placements are paid for they are sponsor controlled messages both in their format and content. In the broader Integrated Marketing Communication (IMC) context, all the elements of the marketing mix need to be integrated and co-ordinate to achieve both the marketing and organizational objectives, in targeting a specific market. Van der Waldt (2005) contextualized product placements in movie and broadcast programmers as a communication vehicle within IMC.\par Since 1970s, product placement in movies existed in India. One of the famous product placements in Hindi movie was appearance of the yellow coloured 'Rajdoot' bike in the movie 'Bobby'. However the first recognized in-film placement in India was that of 'Cocacola' in the movie 'Taal' in the year 1999. Thereafter, Indian movie producers, advertisers and corporate began to show interest in this advertising technique. They started to use it as a part of their Integrated Marketing Communication Strategy and accounted for 10-15\% of their total marketing budget as confirmed by report published and as quoted in book. This industry is still at its nascent stage in India. In Bollywood, 'In-film' placements help to garner business of not more than Rs.10 crore each year, which is minuscule compared to Hollywood as one of the news article confirms.\par In recent time, though concept of placing brands in movies is widespread, it is not easy to determine the effectiveness of brand placements because much of the data on their effectiveness is proprietary (Karrh, 1998; Yang, Roskos-Ewoldsen, \& Roskos-Ewoldsen, 2004). Consequently, very little is known about the effect of brand placements despite the dynamic nature of this practice \hyperref[b2]{(Babin \& Carder, 1996a} As with the many previous studies, the main purpose of the current study was to explore the effect of brands placed in hindi movies. First, prior research suggests that how the brands were presented in the movie might lead to different responses from the audience {\ref (Russell, 2002)}. The current study focused on the how movie genre, type of placement and gender of viewers influence the recall of brands placed in Hindi movies. Second, the current study also explored which product categories are highly recognized by the viewers. Brand recall was used as measure of explicit memory, which has been used in measuring the effect of brand placements. \section[{II.}]{II.} \section[{Literature Review}]{Literature Review}\par Theoretically, product placement has been defined as "a paid product message aimed at influence movie or TV audiences via the planned and unobtrusive entry of a branded product into the movie or TV programme" \hyperref[b3]{( Balasubramanian, 1994)}. Also Brand placements can be defined as ''the paid inclusion of branded products or brand identifiers, through audio and/or visual means, within mass media programming'' {\ref (Karrh, 1998, p. 33}). Though, it is not stated in this definition, brand placements have been conducted for increasing brand familiarity and sales. Some of the advantages of brand placements practices include overcoming the problem of zapping because people are unlikely to change the channel or leave the room when a brand appears within a movie like they do for commercials \hyperref[b0]{(Avery \& Ferraro 2000;}\hyperref[b7]{d'Astous \& Chartier, 2000)}. In addition, product placements often involve an endorsement by the celebrity using the brands which have a influence on attitudes toward the brand \hyperref[b0]{(Avery \& Ferraro, 2000)}. Further, brand placements allow advertisers to target very specific audiences because the demographics of who attends what kind of movie are well understood {\ref (Nebenzhal \& Secunda, 1993)}. Brand placements also have a longer life span than typical advertisements \hyperref[b5]{(Brennan et al., 1999;}\hyperref[b7]{d'Astous \& Chartier, 2000)}. When a movie is released as a DVD or shown on TV, the brand placement is typically still present. The research regarding the effect of brand placements on memory generally finds that memory is improved for a brand that is placed within a movie, compared with the same brand that is not placed within a movie (Karrh, 1998). However, the early research on the effect of brand placements on brand memory was mixed \hyperref[b2]{(Babin \& Carder, 1996a}\hyperref[b1]{, 1996b;} {\ref Ong \& Meri, 1994)}.\par The inconsistency of these early findings altered the research question from whether the brand placements were effective to the factors that moderate the effect of brand placements on brand memory. Studies found that placements that are more visually prominent result in greater memory for the brand than Gupta and Lord (1998) also distinguished the product placement into two modes by the strategic purpose. They based on the degree of product placement and how obvious it is. The two modes are Prominent Product Placement and Subtle Product Placement.\par Above studies reveals that very little work has been done in the Indian context and on Bollywood movies. In order to fill that gap, authors have tried to investigate impact of different types of Product Placement types in Hindi Movies. \section[{III.}]{III.} \section[{Development of Hypothesis}]{Development of Hypothesis}\par This study is designed to provide understanding of factors which may influence viewer recall of brands appeared in Hindi movies. And such understanding is important for public relations practitioners while counselling clients about strategic brand placements in movies and when they consider placement decisions within strategic public relations program planning. In this research, we examine three variables which have been little researched with respect to brand placement in Hindi movies: Movie genre (Action/ Drama/ Comedy), According to Tan (1996), an important motivation for watching movies is the emotional experience they offer. Television programs and movies have been found to induce strong and enduring emotions and moods {\ref (Capentier et} \hyperref[b15]{(Zillmann, 2000)}. Comedy provides memory escape from real life and elicits laughter through exaggeration of situation, characters action and language. Action movies, on the other hand, supply a different mood to viewers by using non-stop motion, chase scenes, frequent stunts fights, and spectacular sounds and rhythms compared to other genre \hyperref[b8]{(Dirks, 2000)}. Drama is the largest movie genre \hyperref[b8]{(Dirks, 2000)} and it invites more audience involvement (Vorderer \& Knobloch, 2000), it is most frequently used movie genre for placing brands in movies (Sapolsky \& Kinney, 1994), the following hypothesis is proposed: H1: Viewer recall scores will be significantly higher for brands placed in drama movies than in other movie genres. \section[{Global}]{Global} \section[{b) Placement Type}]{b) Placement Type}\par Most recall studies suggest that viewers do recognize and recall brands, products, and services placed in movies. For example, Steortz (1987) used telephone and theatre exit surveys to test brand recall, finding that aided recall averaged about 38\% among audiences and that recall was affected by prominence of product placement in the movie. Similarly, Zimmer and Delorme (1997) found in a movie clip experiment that viewers recalled about 33\% of brands and recognized 55\% of brands. Viewer recall appeared to be affected by prominence of the displayed brand, whether or not brands were mentioned verbally, and the extent of character involvement with the brand. In another movie clip experiment, more than 90\% of viewers were able to recall products {\ref (Vollmers \& Mizerski, 1994)}. Children also recognized and recalled brands, products, and services (Vollmers, 1995). H2: Viewer recall scores will be significantly higher for brands placed in prominent type than in subtle type. \section[{c) Gender Differences}]{c) Gender Differences}\par Several studies have examined relationships between viewer gender and movie genre. Richards and Sheridan (1987) examined the appeal of different movie genres using a sample of 550 moviegoers. They found that females preferred romance, history, and love story themes, while males preferred action, crime, and sex story themes. In studying gender differences regarding the enjoyment of sad or unhappy movies (dramas), Oliver (1993) demonstrated that males are less involved with, less interested in, less emotionally responsive to, and take less enjoyment in sad movies compared to females. Such differences in involvement, interest, and emotional responses suggest the following hypotheses regarding viewer gender and brand placement in movies: H3: There is Significant difference between recall scores different Genders.\par IV. \section[{Research Methodology a) Participants}]{Research Methodology a) Participants}\par One hundred and thirty seven Post graduate students pursuing their MBA participated in this study. The sample had 94 females and than 43 males and all the participants ranged in age from 20 to 24 years. Members of this age group attend movies at least one each month and are referred to as the "target market" for many movies \hyperref[b9]{(Dortch, 1996)}. Upon arrival at a classroom, participants were randomly assigned movie clips to view and assess. Through this process, 53 respondents were assigned to action movie, 43 to comedy, and 41 to drama. \section[{b) Selection of Movies}]{b) Selection of Movies}\par 3 Hindi movies (one per each genre) were selected and edited to 10 minutes in length. Ten-minute movie clips are long enough to induce various emotions and present genre's differences \hyperref[b14]{(Gunter, Furnham, \& Beeson, 1997;} {\ref Kennedy, 1971)}. Most experimental studies use movie clips ranging from 5-30 minutes in length. The 4 movies used for the movie clips were drawn from the list lists of box office hit movies. The genre of each movie was determined by using Dirks's (2000) comprehensive movie classification system and by assessing the distinguishing characteristics of the movie content. Also Product placement type was determined with help of experts of the topic.\par The movies and brands used and type of placement in the experiment are listed in Table \hyperref[tab_2]{1}. Most of the selected brands are very familiar to customers, and this may have reduced the potential for variance of recall among brands. \section[{Global Journal of Management and Business Research}]{Global Journal of Management and Business Research}\par Volume XV Issue VII Version I Year 2015 ( E ) \section[{c) Procedure}]{c) Procedure}\par The experiment was conducted in classroom and clips were shown to participants with the help of projector with sound system. Before movie clips were shown, the researchers briefly informed participants about the movie titles and shared short movie descriptions. The goal of the experiment was not revealed. After viewing the 10-minutes movie clips, respondents completed a brief questionnaire. The questionnaire asked respondents to recall brands for the given product categories. Here product categories were given as clue for recalling brands. Respondents also were also asked to indicate age and gender.\par Viewer recall and recognition have long been used as indicators of potential effectiveness (Rossiter \& Percy, 1997; Stewart, Ratneshwar, Strow, \& Bryant, 1985), and in brand placement studies, aided recall, unaided recall, and recognition tests have been used extensively.\par Each respondent's combined score in recall tests was used as the dependent variable. The range for possible scores was 0 to 4 because each movie clip was featuring four brands. Genre, Placement type, and gender were used as independent variables in each analysis. Data analysis was performed using SPSS. To test the hypotheses, ANOVA tests and t-tests were performed with the recall scores as the dependent variable.\par V. \section[{Results}]{Results} \section[{a) Movie Genre and Brand Recall}]{a) Movie Genre and Brand Recall}\par The one way analysis of variance test was used to compare differences in brand recall scores according to genre (Table \hyperref[tab_3]{-2}). Means for the three genres were: action (2.53), comedy (3.00), and drama (3.08). The difference between mean brand recall scores for drama and action movies is statistically significant (F 2, 2.810, p. < .05), while differences between means for comedy and drama movies, and comedy and action movies, are not significant. Thus, respondents demonstrated significantly higher recall scores for brands in drama versus action movies, and H1 is partially supported. \section[{b) Placement Type and Brand Recall}]{b) Placement Type and Brand Recall}\par The One way ANOVA test was used to compare differences in brand recall scores according to placement type genre (Table \hyperref[tab_4]{-3}). Means for the two placement type were: Subtle (2.40), and Prominent {\ref (3.60)}. This difference between mean brand recall scores for Prominent and subtle placement type is statistically significant (F 2, 3.58, p. < .05), thus, respondents demonstrated significantly higher recall scores for brands placed in prominent type than in subtle type, and H2 is strongly supported. \section[{c) Gender of viewers and Brand Recall}]{c) Gender of viewers and Brand Recall}\par Anticipated differences in brand recall by gender were not found. Though mean brand recall scores for male respondents were higher those of female respondents (Table \hyperref[tab_5]{-4}), but the differences were not statistically significant. Thus, H3 was not supported. \section[{Discussion}]{Discussion}\par The goal of this study was to examine whether movie genre, placement type, and viewer gender influenced brand recall, all factors which might be considered by practitioners during strategic decision making and which have been little researched. Results suggested that brand recall scores are highest in drama movies for both genders, and dramas may therefore provide better placement opportunities for some brands and products. Further it reveals that placing products prominently in movies generate higher recall than placing subtly.\par Finally, Research presented here could be improved in several respects. First, the intensity of viewer emotion was not examined, and emotional intensity during encoding has been shown to influence the extent to which stimuli are recalled \hyperref[b10]{(Dutta \& Kanugo, 1975)}. The specific mood states induced by different movie genres need further investigation. Second, movie involvement and interest are other important variables, and these were not studied. The degree of viewer involvement with, a movie and product can be important factors in brand recall \hyperref[b13]{(Gunter \& Wober, 1992)}. Similarly, \hyperref[b14]{Gunter et al. (1997)} demonstrated that audience evaluation of programs was significantly related to advertising recall.\begin{figure}[htbp] \noindent\textbf{}\includegraphics[]{image-2.png} \caption{\label{fig_0}}\end{figure} \begin{figure}[htbp] \noindent\textbf{1} \par \begin{longtable}{P{0.14648526077097507\textwidth}P{0.23321995464852607\textwidth}P{0.254421768707483\textwidth}P{0.21587301587301586\textwidth}} Movie name\tabcellsep Products\tabcellsep Brand name\tabcellsep Product Placement Type\\ Ajab Prem ki Gajab\tabcellsep Soft drink\tabcellsep Pepsi\tabcellsep Prominent\\ Kahani\tabcellsep DTH service\tabcellsep Reliance big TV\tabcellsep Subtle\\ (Drama)\tabcellsep Ice Cream\tabcellsep Baskin Robbins\tabcellsep Subtle\\ \tabcellsep Coffee\tabcellsep Nescafe\tabcellsep Prominent\\ Kaminey\tabcellsep Mobile Handset\tabcellsep Samsung\tabcellsep Prominent\\ (Action)\tabcellsep Radio FM\tabcellsep 93.5 FM\tabcellsep Subtle\\ \tabcellsep DTH service\tabcellsep Reliance big TV\tabcellsep Subtle\\ \tabcellsep Two wheeler\tabcellsep Pleasure\tabcellsep Prominent\\ All the best\tabcellsep Apparels\tabcellsep Barcelona\tabcellsep Prominent\\ (Comedy)\tabcellsep LCD TV\tabcellsep Samsung\tabcellsep Subtle\\ \tabcellsep Wrist watch\tabcellsep Rolex\tabcellsep Prominent\\ \tabcellsep Airlines\tabcellsep Kingfisher, Jet airways\tabcellsep Subtle\end{longtable} \par \caption{\label{tab_2}Table 1 :}\end{figure} \begin{figure}[htbp] \noindent\textbf{2} \par \begin{longtable}{P{0.43901098901098906\textwidth}P{0.17747252747252748\textwidth}P{0.08406593406593406\textwidth}P{0.09340659340659341\textwidth}P{0.056043956043956046\textwidth}} Source\tabcellsep SS\tabcellsep Df\tabcellsep MS\tabcellsep F\\ Between Groups\tabcellsep 14.23\tabcellsep 2\tabcellsep 7.43\tabcellsep 2.80*\\ Within Groups\tabcellsep 233.43\tabcellsep 134\tabcellsep 1.53\tabcellsep \\ Total\tabcellsep 250.42\tabcellsep 136\tabcellsep \tabcellsep \\ *p < .05.\tabcellsep \tabcellsep \tabcellsep \tabcellsep \end{longtable} \par \caption{\label{tab_3}Table 2 :}\end{figure} \begin{figure}[htbp] \noindent\textbf{3} \par \begin{longtable}{P{0.85\textwidth}} Year 2015\\ 12\\ Volume XV Issue VII Version I\\ E )\\ (\\ Global Journal of Management and Business Research\end{longtable} \par \caption{\label{tab_4}Table 3 :}\end{figure} \begin{figure}[htbp] \noindent\textbf{4} \par \begin{longtable}{P{0.29565217391304344\textwidth}P{0.27717391304347827\textwidth}P{0.18478260869565216\textwidth}P{0.09239130434782608\textwidth}} Gender\tabcellsep Mean\tabcellsep SD\tabcellsep N\\ Male\tabcellsep 3.30\tabcellsep 1.11\tabcellsep 43\\ Female\tabcellsep 3.10\tabcellsep 1.26\tabcellsep 94\\ \tabcellsep VI.\tabcellsep \tabcellsep \end{longtable} \par \caption{\label{tab_5}Table 4 :}\end{figure} \footnote{© 2015 Global Journals Inc. (US) 1} \footnote{© 2015 Global Journals Inc. (US)} \backmatter \par and Managerial Implications," Journal of Current Issues and Research in Advertising, 22 \hyperref[b1]{(2)}, 41-52. 17. Gupta, P. B., \& Lord, K. R. {\ref (1998)} \begin{bibitemlist}{1} \bibitem[D'astous and Chartier ()]{b7}\label{b7} ‘A study of Factors Affecting Consumer Evaluations and Memory of Product Placements in Movies’. Alain D'astous , F Chartier . \textit{Journal of Current Issue and Research in Advertising} 2000. 22 (2) p. . \bibitem[Babin and Carder ()]{b1}\label{b1} ‘Advertising Via the Box Office: Is Product Placement Effective?’. L A Babin , S T Carder . \textit{Journal of Promotion Management} 1996b. 3 (1/2) p. . \bibitem[Dutta and Kanugo ()]{b10}\label{b10} \textit{Affect and memory: A reformulation}, S Dutta , R N Kanugo . 1975. Oxford, UK: Pergamon. \bibitem[Forgas and Moylan ()]{b11}\label{b11} ‘After the movie: The effects of transient mood states on social judgments’. J P Forgas , S J Moylan . \textit{Personality and Social Psychology Bulletin} 1987. 13 p. . \bibitem[Avery and Ferraro ()]{b0}\label{b0} Rosemary J Avery , Ferraro . \textit{Verisimiltude or Advertising? Brand Appearances on Prime-Time Television}, 2000. 34. \bibitem[Balasubramanian ()]{b3}\label{b3} ‘Beyond Advertising and Publicity: Hybrid messages and Public Policy Issues’. Siva K Balasubramanian . \textit{Journal of Advertising} 1994. 32 (4) . \bibitem[Capentier et al. (2001)]{b6}\label{b6} \textit{Dimensions of the entertainment experience factors in the enjoyment of action, comedy, and horror films}, F Capentier , H Yu , R Butner , L Chen , S Hong , D. -J Park , J Bryant . 2001. April. Las Vegas, Nevada. (Paper presented at the Broadcasting Education Association 46 th Annual Convention) \bibitem[Bhatnagar et al. ()]{b4}\label{b4} ‘Embedding Brands Within Media Content: The Impact of Message, Media, and Consumer Characteristics on Placement Efficacy’. N Bhatnagar , L Aksoy , \& S A Malkoc . \textit{The Psychology of Entertainment Media: Blurring the Lines between Entertainment and Persuasion}, (Shrum; Mahwah, NJ) 2004. Lawrence Erlbaum. \bibitem[Dortch (1996)]{b9}\label{b9} ‘Going to the movies’. S Dortch . \textit{American Demographics} 1996. December. 18 (12) p. . \bibitem[Goldberg and Gorn ()]{b12}\label{b12} ‘Happy and sad TV programs: How they affect reactions to commercials’. M E Goldberg , G J Gorn . \textit{Journal of Consumer Research} 1987. 14 (3) p. . \bibitem[Zillmann ()]{b15}\label{b15} ‘Humor and comedy’. D Zillmann . \textit{media entertainment: The psychology of its appeal}, D Zillmann, \& P Voder (ed.) (Mahwah, NJ) 2000. Lawrence Erlbaum. p. . \bibitem[Dirks ()]{b8}\label{b8} \textit{Main film genres}, T Dirks . \url{www.filmsite.org/genres.html} 2000. \bibitem[Gunter et al. ()]{b14}\label{b14} ‘Recall of television advertisements as a function of program evaluation’. B Gunter , A Furnham , C Beeson . \textit{Journal of Psychology} 1997. 131 (5) p. . \bibitem[Zimmer and Delorme (1997)]{b16}\label{b16} ‘The effect of brand placement type and a disclaimer on memory for brand placements in movies’. M R Zimmer , D Delorme . \textit{Paper presented at Association for Education in Journalism and Mass Communication Annual Conference}, (Chicago) 1997. August. \bibitem[Brennan et al. ()]{b5}\label{b5} ‘The influence of product-placement type and exposure time on product-placement recognition’. I Brennan , K M Dubas , L A Babin . \textit{International Journal of Advertising} 1999. 18 p. . \bibitem[Gunter and Wober ()]{b13}\label{b13} \textit{The reactive viewer}, B Gunter , M Wober . 1992. London, UK: John Libbet. \bibitem[Babin and Carder ()]{b2}\label{b2} ‘Viewers' Recognition of Brands Placed Within a Film’. L A Babin , S T Carder . \textit{International Journal of Advertising} 1996a. 15 p. . \end{bibitemlist} \end{document}