包装图形设计和跨文化交流外文文献翻译.docx
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包装图形设计和跨文化交流外文文献翻译.docx
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包装图形设计和跨文化交流外文文献翻译
包装图形设计和跨文化交流外文翻译2019-2020
英文
Packagegraphicdesignandcommunicationacrosscultures:
AninvestigationofChineseconsumers'interpretation
ofimportedwinelabels
FranckCelhay
Abstract
Packagegraphicdesignisapowerfultoolforbrandcommunication.Yet,animportantquestionishowthedesignsareunderstoodacrosscultures.Aconsiderableamountofresearchhasfocusedoncross-culturalmarketingcommunications,promptingdiscussionsontheemergenceofglobalconsumercultures,whichmakepackagestandardizationpossibleor,conversely,theawarenessofculturaldifferences,whichhassuggestedthatpackagelocalizationisnecessary.Noresearch,however,hasconsideredthisquestionfromadesign-centeredperspectiveandexaminedwhethersomepackagegraphicdesignsaremorelikelythanotherstoremainintelligibleacrosscultures.Thisresearchproposesthatpackagesusing motivated signsintheirgraphicdesignsaremorelikelytobeintelligibleacrossculturesthanpackagesusing arbitrary signs.Toexplorethisproposition,eightimportedwinelabelswereanalyzedthroughasemioticstudy(study1).Then,twostudiesinvestigatedtheinterpretationsofthewinelabelsbyChineseconsumers.Theresultsindicatethatthelabelsthatwereclassifiedas“motivated”succeededinconveyingthedesiredbrandmeaningstotheChineserespondents(study2:
N = 1391)evenwhentheywerenotfamiliarwiththewinebrandculture(study3:
N = 795).Theresearchpresentsatheoreticalcontributionbyintroducingtheconceptofsignmotivationtothemarketingliteratureandnuancingtheclassicassumptionthatvisualsignsconveydifferentmeaningsacrosscultures.Italsopresentsamanagerialcontributionbypresentingaconceptualframeworkandmethodologyfortheanalysisofwhetherornotagraphicdesignislikelytobeintelligibleacrosscultures.Itthereforeprovidesguidelinesforthedesignofpackagesforinternationalmarkets.
Keywords:
Packaging,Design,Semiotics,Communication,Wine,China
1. Introduction
Marketersagreethatpackagesareaformofadvertisementandapowerfultoolforcommunication(Underwood,2003; Kniazeva&Belk,2007).Packagesconvey“values,ideasandassociations”thathelppositionthebrandintheconsumermindandcommunicatestoriesaboutit(Bobrie,2018; KniazevaandBelk,2007, KniazevaandBelk,2010).
Inthisprocess,thepackagevisualaspectisimportant(Krishna,Cian,&Aydınoğlu,2017; Orth&Malkewitz,2008).Notably,packagegraphicdesigns–thechoicesoftypeface,color,imagery,layout,ornamentsandpatterns–transfermeaningstotheconsumerandhaveastrongimpactonbrandandproductperception(Aresetal.,2011).Theseobservationssupporttheideathatpackagegraphicdesignisavisuallanguagethatdesignersandmarketersusetocommunicatespecificbrandnarrativestotheirconsumers(Wagner,2015).
Yet,animportantquestionishowthisvisuallanguageisunderstoodacrosscultures.Indeed,communicatingdesiredvaluesthroughpackagedesignsisacomplexprocess(vandenBerg-Weitzel&vandeLaar,2001).Thisisespeciallysoinaninternationalcontext,asdesignersfromoneculturehavetodeveloppackagesthatmaybeusedincompletelydifferentculturalenvironments(Diehl&Christiaans,2006).Evidencefromresearchinanthropologyandmarketinghasshownthatsubstantialdifferencesininterpretationmayoccur(Classen,1997; Howes,2003; Machiels&Orth,2019; Oswald,2012),indicatingthatthesymbolicmeaningsofdesignelements(likecolor,typeface,andshape)areculturallydependent(Machiels&Orth,2019).Inlightoftheseobservations,internationalmarketersusuallyconcludethat“theuseofsimilarsymbolstotargetforeigncountriesisilladvised”(Kanso&Nelson,2002)andthatcommunicationmaterialssuchaspackagedesignshouldbe“localized,”i.e.,adaptedtoeachculture.
Severalstudiesalsoreportthatinsomecases,consumers–beingEasternorWestern–voluntarilyseekout“other”cultures(Hendrickson,1996; James,1996; Kniazeva,2010).Inthesesituations,itmightbetheadaptationoftheimportedpackagestothelocalconsumerculturethatisilladvised(Khan,Lee,&Lockshin,2017).Indeed,theconsumersmayassumethatanexotic-lookingpackageindicates“authenticity”orappreciateitasapartofanexperienceofconsumption“otherness.”Moreover,consumerswouldmostlikelyspotthatthepackagefallsintoanotherculturalsystemandwouldthereforereaditasa“foreigntext”ratherthanthroughtheirlocalsystemofsymboliccorrespondences.Still,theirinterpretationsofthepackagemeaningsmightdifferwidelyfromthebrandintentbecausetheirknowledgeoftheimportedcultureprobablyvariesandmaywellbemoreorlessfantasized.
Theseobservationssuggestsomeofthecomplexitythatinternationalmarketersface.Yet,itseemsthatmostoftheacademicdebateinmarketingremainscenteredonthisbinaryquestionofstandardizationversuslocalization(Taylor,2018; Taylor&Okazaki,2015)and“sayslittleaboutthesymbolicdimensionofbrandsastheyareinterpretedoutsideoftheirhomecountries”(Cayla&Eckhardt,2008).Thishasmeantthatmorehybridsituationshavenotbeenconsidered,suchaswhenapackagemustremainrepresentativeofitsoriginwhilebeingreceivedinanotherculturalsetting.
Whatthenisthebestwaytoapproachpackagedesigntoensureoptimalcommunication?
Graphicdesignersknowthatforonecommunicationbrief,therearehundredsofpossiblecreations.Yet,nostudyhasconsideredthisquestionfromadesign-centeredperspectiveandexaminedwhethersomevisualattributesaremorelikelythanotherstoconveytheappropriatebrandmeaningsacrosscultures.Thisresearchproposestofillthisgapbyadoptingadesign-centeredviewpoint.Morespecifically,weproposetoexplorethefollowingresearchquestions:
Whenapackagegraphicdesignisreceivedinanotherculturalsetting,aresomevisualelementsmorelikelytoremainintelligibleacrosscultures?
Ifso,howcantheybeidentifiedandselected?
Webelievethatsemiotictheorymayprovidemuchneededinsight.Thistheorysuggeststhat“indigenous”packagescanbemoreorlessintelligibleacrossculturesdependingontheirgraphicdesign,anditprovidesaconceptualframeworkforexploringhowthisisso.Recommendationscanthenbemadeaboutdesigningpackagesthatarelikelytodeliverthesamebrandmeaningsacrosscultures.
Inthefollowingsections,wepresentthistheoreticalandconceptualframeworkandformulatearesearchpropositionthatflowsfromit.Wethenconductasemioticstudyofeightwinelabeldesignswithinthisframework.Last,weconducttwoempiricalsurveystoexplorehowChineseconsumersinterprettheeightimportedwinelabelsanddeterminewhetherthesedesignssucceedincommunicatingthedesiredbrandmeaningsinadifferentculturalenvironment.Thefirstsurvey(N = 1391)investigatesthereactionsofChinesewineconsumerstotheeightlabeldesigns.Theseconsumersregularlyconsumeimportedwineandarethereforefamiliarwiththeinternationalwineculture.Thesecondsurvey(N = 795)comparesthereactionsofChineseconsumersthatareunfamiliarwiththisconsumerculture.
2. Communicationacrosscultures:
fromtheglobalizationparadigmtotheglocalizationparadigm
2.1. Packagesasculturalproductionsandnarrativevehicles
Theconceptofcultureisfarfromconsensual(Machiels&Orth,2019).Manydefinitionsareavailable,andithasthusbeenstudiedfromawidevarietyofapproacheseveninthelimitedfieldofmarketing.WeusethesemioticdefinitionofanthropologistClifford Geertz(1973) asbeingparticularlyrelevanttothetopicofthisresearch.Geertzdefinescultureas“astratifiedhierarchyofmeaningfulstructures”or“asociallyestablishedstructureofmeanings”inwhichsignsare“produced,perceivedandinterpreted.”Althoughthepresentresearchisnotanthropological,Geertz'ssemioticdefinitionofcultureisstrikinglywelladaptedtoourtopic.Itindicatesthatpeoplefromdifferentculturesmakesenseofthings–suchasgoods,packages,visualsignsandthusgraphicdesign–accordingtodifferent“framesofinterpretation.”
Geertz,however,analyzedculturesfromanemicperspective–i.e.,fromtheviewpointoflocalactorswithintheirlocalframeofinterpretation–whereaswewillconsiderthehybridsituationofwhentwoculturesinteract.Specifically,wewillfocusonsituationswhenpackagedgoodscrossculturalborders,i.e.whenanartifactproducedinoneculturalcontextisreceived(acquired,interpretedandemployed)inanother(Howes,1996).
Aspackagesarepartofthematerialembodimentofbrandsandoneoftheircommunicationtools,theyareloadedwithculturalmeanings. KniazevaandBelk(2007) considerthem“narrativevehicles”thatshouldberegardedas“culturalproductionssimilartothoseofart,literatureandadvertising.”Throughtheirverbalcontent(claimsorstories)andvisualaspects(shape,illustration,typeface,color,etc.),theyconveybrandmeaningsandparticipateinthecirculationofculturalmythsonthemarketplace.
Yet,whileitisclearthatpackagesconveyspecificmeaningsinthecultureinwhichtheyoriginate,itisnotclearwhattheirsignificancewillbewhentheycrossculturalbordersandare“read”bypeoplewithinadifferentframeofinterpretation.Thefollowingsectiondiscussesthisquestion.
2.2. Communicationacrosscultures:
from“globalization”to“glocalization”
Manystudieshaveinvestigatedtheculturalimpactoftheinternationaldiffusionofbrandsandtheircommunications.Thefieldhaslongbeendominatedbythe“paradigmofglobalhomogenization”(Howes,1996).Inthisparadigm,culturaldifferencesarei
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