题目内容
Online AdsAfter a decade of experimentation, companies have yet to find a reliable way to burnish their brands online. Research shows barely more than 1 in 1000 people click on banner ads. What’s more, they rarely hang around long enough to absorb a brand message. Former Madison Avenue hotshot Matt Freeman aims to change all that. Freeman’s company, Betawave, is developing ways to boost visitor "engagement" and plans to charge advertisers not just by each click or view but also by people’s attentiveness. The concept is untested, but it has generated excitement. Several venture capital shops in December put $ 22.5 million into Betawave. "Matt’s ahead of the curve," says Sean Finnegan, chief digital officer at Starcom Media Vest, which buys ads for Coca-Cola, Procter & Gamble, Nintendo, and others.Mad Ave was shocked when Freeman quit as Tribal DDB Wordwide’s boss in June to run a small company called GoFish. Tribal is widely considered to be one of the most successful creators of online ads anywhere. GoFish, on the other hand, sold ads on a handful of lesser kids’ sites, such as Mini-clip, which hosts online video games, and Cartoon Doll Emporium, where kids play dress-up with avatars. Yes, GoFish, known in the industry as an ad network, had a good reputation among advertisers looking for a cheaper alternative to sites run by Disney and Nickelodeon. But it was in debt, its stock traded over the counter, and it was losing millions a year.Freeman, who has since renamed the company Betawave, says he took the job because he saw unrealized potential. "GoFish was a tiara in the toilet. "he says, noting that the sites Betawave represents share a valuable audience: kids aged 6 to 17 and their rooms. The 25 million people who stop by Betawave sites each month spend an average of 15 minutes per visit vs. nine at Facebook, according to industry tracker Comscore. That "stickiness" has prompted Dellogg, Hasbro, Nintendo, and others to buy ads.Still, Freeman knows companies want more evidence to prove that their ads are working. " Advertisers always say, ’why am I paying for reach when what I want is people’s attention’" That’s why he aims to charge not only for clicks on ads but also for how long people spend on a page and for how much they interact with the brand on a deeper level.To make that happen, Freeman is borrowing from television, which has been shoring up its prospects with "band integrations"—advertisers can veave their products and messages into the shows themselves. In midFebruary, Freeman launched something called Betawave TV. Essentially an online video player, the links of which can be found on many sites, it provides a distribution platform through which clients can integrate their messages into original shows.For the first such experiment, Freeman has enlisted Raven Symone. The Disney twin star will appear in a video and provide style tips that likely will include nods to certain products. Viewers will be directed to WeeWorld, where they will be able to conduct a makeover on a Symone avatar. Freeman plans to charge sponsors a production fee to set up sites like the Symone makeover game. Advertisers also would pay based on the number of people who log in, the number of games played, or a combination of the two.Betawave’s success depends on whether visitors are drawn into the branded games and other content or simply watch what they want and move on. But for now, at least, Freeman has the advertising world’s attention. From the first paragraph, we could learn that Freeman’s aim is（）
查看答案
搜索结果不匹配？点我反馈
更多问题
患者，43岁，经检查初步印象是慢性牙周炎。 下列哪些全身疾病会影响牙周治疗效果
16.根据支付系统无安全措施的模型填写图5-7。 (4) ( )
16.根据支付系统无安全措施的模型填写图5-7。 (2) ( )
The earliest controversies about the relationship between photography and art centered on whether photographer’s fidelity to appearances and dependence on a machine allowed it to be a fine art (1) distinctive from merely a practical art. Throughout the nineteenth century, the defense of photography was identical with the (2) to establish it as a fine art. (3) the charge that photographers was a soulless mechanical duplication of (4) , photographers (5) that it was instead a privileged (6) of seeing, a revolt against commonplace vision, and (7) worthy an art than painting.Ironically, (8) photography is securely established as a fine art, many photographers find it pretentious or (9) to label it as such. Serious photographers are no longer willing to (10) whether photography is not involved with art, (11) to proclaim that their own work is not involved with it. This shows the extent (12) which they simply take for granted the concept of art imposed by the (13) of Modernism: the better the art, the more subversive it is of the traditional aims of art.Photographers’ disclaimers of any interest in making art tell us more about the troubled status of the contemporary (14) of art (15) about whether photography is or is not art. Photography, (16) Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.Photography, (17) , has developed all the (18) and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the (19) of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity-- (20) , an art. Read the following text. Choose the best word(s) for each numbered blank and mark A, B, C, and D on ANSWER SHEET 1.16（）
微信支付 
支付宝支付