Summary
Moving pictures are ubiquitous in modern media and this article looks at how they have and will continue to evolve, highlighting historical milestones and assessing their likely future development. Moving pictures, more than any other form, can convey abstract brand values by reaching the "autopilot" part of the brain though symbolic, linguistic, sensory and episodic codes. Moving pictures can also be used to tell stories (which people more readily pass on) and create mental convenience. Equally, they can actively improve a person's mood. Co-creating videos with consumers improves the credibility of brands and is easily done with digital and online video. The future of moving pictures will be seen in smartphones, allowing video to fill in the time when previously people just had to wait. Location tracking can push ads at timely moments and augmented reality will tap into the human sense of curiosity.

Summary
An extensive research program of fieldwork into Australian campaigns has proved that cinema advertising has a significant impact on consumer's propensity to buy, driving potential return on investment for advertisers. The research, conducted by AMR Interactive, involved eleven advertising campaigns from leading brands across a broad range of product categories. Fieldwork took place from September 2008 to January 2010, with a total of 4075 online interviews conducted across the eleven campaigns. Key insights included a three-fold increase in propensity to buy the brand and higher rating for the brand in terms of liking, image, advocacy and value for money.

Summary
This research examines young adults’ attitudes towards product placement in films and television shows from two countries that represent contrasting cultural distinctions: the US and Korea. The results suggest that young adults in both countries perceive film product placement in a similar way but, with respect to television, Korean respondents tend to perceive it as less effective in enhancing content realism and more unethical and misleading. In addition, the findings suggest that, for both film and TV, materialism, attitude towards advertising, and realism enhancement appeared to be significant predictors of consumer cognitive response to product placement. However, cross-cultural differences were observed for TV product placement. In the US, materialism and realism enhancement were found to be most powerful predictors of cognitive response to product placement. In contrast, attitude towards advertising and materialism were found to be the strongest predictors in Korea. Implications for both advertising researchers and practitioners are provided.

Summary
The cinema offers a good opportunity to reach a younger audience across the globe. The “cinema experience”, with its shared nature, tends to lead to greater attention being paid to advertising, making it more memorable, so cinema ads can boost the impact of a TV campaign. However, not all advertising works well in the cinema, and the best ads tend to reflect the cinema-goer’s desire for escapism, fantasy and entertainment.

Summary
This article considers case studies where the specific strengths of cinema advertising have been used. Cinema can be powerfully engaging and can create buzz. Examples described are Discovery Channel, Football Federation Australia, Bacardi, Lego, VisitScotland, Olympus, and Westpac Bank. Cinema gives the opportunity for product sampling on site, for example Bluebird Foods (New Zealand). Cinema can also get around some regulatory restrictions on TV, for example Dove Pro-Age, Volkswagen, and Frosters (Canada). Cinema's advantage can also be that it narrowcasts a young audience. Examples exploiting this aspect are Phaeton, Northern Ireland knife crime campaign, Arriva, and Toyota's launch of the Matrix (Canada).

Summary
Cinema advertising offers a relatively less cluttered environment for advertisers to present their message to a captive audience. However, little is known about its effectiveness in countries such as Hong Kong (a city that is relatively underdeveloped in terms of cinema adspend). Building on the work of Ewing et al. (2001) and Dunnett and Hoek (1996), insights into perceptions of cinema advertising in Hong Kong were obtained from a survey of 150 interviewees. As opposed to previous studies, which utilised delayed recall, this study interviewed audience members immediately after they had viewed a particular movie. Results showed that cinema advertising exposure and recall rates were significantly related to various demographic variables, especially gender and age. Furthermore, the level of recall was found to be correlated with various situational stimuli in the cinema, such as the larger-than-life screen, Dolby stereo sound, the silent environment, comfortable seats and audience members’ expectations to focus on the screen. Based on these findings, recommendations for cinema managers and advertisers are made.

Summary
Describes a research project to investigate the differences between girls and boys, at different ages, in their attitudes to pocket money, brands, media and responses to advertising. Media investigated are TV, the Internet, cinema and mobile phones. A number of intriguing differences were found.

Summary
A worldwide surge in cinema advertising expenditure underscores the need for additional research into the medium's impact and effectiveness. Proponents argue that among cinema's many virtues are its abilities to reinforce and complement other media. To explore this contention empirically, a study of commercials launched ~ simultaneously on television and in cinema is reported here. Findings confirm that assuming a set budget/GRP constraint, in-market recall scores for commercials I flighted concurrently in both media are significantly higher than for those launched only on television. Furthermore, young adults, a cohort often considered by advertisers to be evasive and difficult to target via traditional media, can be effectively reached -through cinema advertising. Cinema's appeal is not restricted to the youth market, however. It is an underrated and underutilized medium through which to target older - consumers. Conclusions are drawn and future research directions outlined. -

Summary
Describes the industry measurement of the cinema and video audience, CAVIAR, now in its 14th year.

Summary
Product placement in motion pictures has grown enormously in recent years, but there is very little empirical research regarding its communication effectiveness. The few prior empirical studies have all assessed viewers' recall of and attitudes towards brands placed in a film. This study examines whether or not viewers can even recognize brands placed within a film. Two films containing multiple product placements are used, and results suggest that viewers are able to correctly recognize brands placed in their respective film, while correctly distinguishing among those brands that did not appear in the film they viewed.