Luận Văn Thạc Sĩ Tiếng Anh Difference between Brands and Charities

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1 INTRODUCTION

The World Cyber Games (WCG) is a popular international competitive computer gaming competition that has been running since 2000 and continues to grow in size and popularity each year (Hutchins, 2008). Since the 1980’s to our days, the eSport as a discipline is becoming the new cultural star (Meunier, 2017) of the century. Moreover, this industry has known the best growth of the XX century and probably of the XXI century. (Lebailly, 2015) Indeed, some professionals (André Fläckel, 2016), of the sector expect that in 2020 eSport could have more relevance than ice-hockey or basketball. Then, eSport and videogames are not anymore considered as services, they are proposing some experiences to the public. Moreover, sponsorship in eSport exist since the 1980’s, even if the partnership’s form was different, it evolves with time. (Borrowy, 2012). Kotler (2016) call to mind that creating experience and evoke feeling to the public is one of the principal objectives of a successful event.

Hence, brands are more and more interested by the ESport, even brands without direct link with the sector, we call those types of brands the “non-endemic” brands (Dal Re, Garzon, Vongehr, 2018). Endemics and non-endemics brands both have seen the growth of the ESport market (Statista, 2016; Nielsen, 2017) and all the financial opportunities related to it. Indeed, investment in sponsorship on the ESport scene has known a boom since 2016 with more than 600 sponsorship contracts (Nielsen, 2017). In fact, eSport is more interesting for brands comparing to traditional sport because the amount of the investment needed is anecdotic comparing to a Football or a Basketball event for example (Borrowy, 2012). However, the gaming audience is one of the most difficult to reach through the traditional media for brands and the eSport as an intermediary allow that. (Webedia, 2016) In fact, the eSport community is mostly composed at 86 % by young male people, aged between 16 and 30 years old (Hamari, Sjöblom, 2016). Indeed, the gaming audience represents 1,5 billion people and the eSport audience of 365 million people according to an IPSO’s survey (2017); and the French eSport audience gathers 7,5 million people (Webedia, 2016). Then, inside the ESport audience, we have some subsets of groups with different motivations and behaviours. Mostly divided by the videogames genre they are playing (GlobalWebIndex, 2018). We have a different gaming audience on a Role-playing Game (RPG) than a Sports game or a First-person shooter (FPS) game (Dal Re et al. 2018).

Besides, the eSport communities have the will to change the image of the videogames. Moreover, companies like Blizzard Entertainment are proposing different types of experience to their players. The company organize some event and tournament, like a classic videogames company, but in May 2017, Blizzard Entertainment, and the Overwatch game team particularly, launch an operation “Pink Mercy”, Mercy is an Overwatch female character (figure 3). The principle was simple, player had the possibility to buy a skin (character appearance) reversed to a charity for the breast Cancer (Blizzard entertainment, 2018).

There are different ways to use marketing for a charity (White and Peloza, 2009), eSport is an option in development. There are many different examples of gamers and videogames company involved in helping charities. However, there is a lack of information in academic research concerning the perception of charities involved in ESport and gaming by gamers and competitive players.

That’s why, facing these new trends of investments, the present dissertation aims to understand:

“How, or to what extent the perception of the eSport community differ from a brand to a charity involved on the scene?

To help us to understand the videogames and eSport global market, we will rely on several relevant academics. Then, we will also see some statistics speaking about the past, the actual and the future position of the gaming and eSport. Thus, we will observe how brands integrate videogames and eSport into their strategies and why. Furthermore, we will observe the behavior of the gaming community toward charity association. Finally, we will ask the communities and professionals of the sector with survey to have a better understanding of the look the communities have on brands and charity association actually involved in eSport and their feeling toward these investments.

This dissertation and the research around it aim to meets the following objectives:

  • Objective 1: Highlight the perception of the French eSport community toward brands around eSport and gaming experiences
  • Objective 2: Highlight the perception of the French eSport community toward charity association around eSport and gaming experiences
  • Objective 3: Highlight the difference in French community’s perceptions between brands and charity association in an eSport context

The first objective of this dissertation is to highlight the perception of the French eSport community toward brands around eSport and gaming experiences. Indeed, some academics researchers like Dal Re et al (2016) and also some statistics companies (Webedia 2016; Nielsen, 2017) interest themselves to the brands’ perception of the ESport community toward brand investment and particularly in terms of sponsorship. However, an update of this report in 2018 could be a confirmation of analysis leads by the Nielsen company in France. The researcher wants to disclose how the French community feels this growth and if they are favorable or not to these involvements of brands. More than that, the researcher sought which type of brand are the more and the least susceptible, for the French community, to support the development of the gaming and ESport scenes.

The second objective of this dissertation is to highlight the perception the gaming and eSport communities have about charity association. Indeed, several actors, more or less famous, of the gaming scene engaged themselves and their communities into gaming charity experiences and tends to show how gamers could be philanthropist. The survey leads into this dissertation allows the researcher to highlight if respondents are favorable toward an involvement of charities on the gaming and ESport scenes.

The third objective of this dissertation is to highlight the difference of communities’ perception between brands and charities into the eSport context. There is a lack of academic reference in the gaming and ESport coupled to charities. Even if events are taking place, only few researchers sought to understand the potential philanthropism of the gaming community. Despites a high number of charity events supported by gaming and videogames companies. (Blizzard Entertainment, 2018; Z’event, 2018). We can imagine communities could feel a positive or negative perception of a specific brand involvement. Indeed, this feeling is also possible toward a specific type charity and maybe all charities cannot involve themselves in the eSport in a same way. The survey allows to see these differences by analyzing answers of the respondents.

Several academic authors interested themselves to the evolution of videogames and eSport, the freshness of this dissertation is based on the implementation of charities campaign in gaming and eSport over the last years. The lack of academic researches concerning those involvement by charities in eSport justify a deeper interest for the researcher. Moreover, this dissertation aims to bring a new regard on the result of the Nielsen company, which is not an academic source, and to allow the researcher to confirm or infirm their result. We will highlight how the perception of the community differs from a private company to a charitable organization on the French eSport scene. To support the present work on this dissertation, the researcher mostly relies on the thesis of Michael Borrowy (2012).

Passionate of videogames since the childhood, the researcher supports the development of the eSport industry for several years. He works in parallel of his studies on a YouTube channel, which is axis on gaming and very soon on eSport. He also watches often eSport competition and when he was younger, he was semi-professional as League of Legends player. To him, this industry will go very far, and it is the time to create things around this market. He also wants to work in this industry after this year. And have many knowledges about it. That is why he chose that specific topic.

The following dissertation is built like that: Chapter two will examine the background in-depth of the eSport scene, regarding the community’s perception toward involvement of brands and charities into the discipline. Chapter three aims to build-up a reliable methodology to catch the degree of perception of the community. Chapter four aims to analyses the results of the survey and to identify trends into the community’s perception through brands and charitable organizations. Furthermore, chapter five will be a discussion about the result identify in the previous part. Thus, recommendations for charities, brands and futures researchers will compose the chapter six, in addition to the conclusion. Finally, the chapter seven will be a self-examination of the present work by the researcher.

The research is focused on the perception of the French eSport community toward brands and charities and aims to understand if a differentiation between them exist in the mind of the people who composed this community. Considering a lack of time and financial resource, the researcher limits the population to the French people interested by the eSport.

Theme 1: Globalization of eSport

  • ESport story
  • A new experience
  • ESport ecosystem
  • Theme 2: ESport marketing
  • Modelling sport marketing
  • Sponsorship
  • Community brand’s perception.
  • Theme 3: ESport charities
  • Types of Benefits
  • Marketing charities
  • Involvement in eSport
  • Literature conclusion
  • RESEARCH METHODOLOGY
  • Methodology introduction
  • Research Philosophy
  • Research Approach
  • 4Research Strategy
  • 5Research choice
  • 6Time horizon
  • 7Data collection
  • 7.1Secondary data collection
  • 7.2Primary Data Collection
  • 8Data analysis
  • 9Population and sample
  • 10Research ethics
  • 11Limitation of the methodology
  • 4DATA ANALYSIS
  • 1Quantitative findings
  • 1.1Participants demographics
  • 1.2Relation between participant and videogames
  • 1.3Relation between eSport communities and involvement of brands
  • 1.4Relation between eSport community and charity
  • 1The representation of the community
  • 2Brand’s perception of the community
  • 3Charity’s perception of the community
  • 4Differences in community’s perception between brands and charities involvement
  • 6 CONCLUSION AND RECOMMENDATIONS
  • 1Conclusion
  • 2Recommendations
  • 2.1Recommendation for brands
  • 2.2Recommendations for charities
  • 2.3Recommendation for further researches
  • 7SELF-REFLECTION
  • 1Introduction
  • 2Learning style theory
  • 3Skill improved
  • 3.1Adaptation skill
  • 3.2Research skill
  • 3.3Interpersonal skills
  • 3.4Self-management skill
  • 3.5Marketing and communication skills
  • 4Future application of learning
  • 8BIBLIOGRAPHY
  • 9APPENDICES
  • 1Appendix 1 : Gantt chart
  • 2Appendix 2 : Cost
  • 3Appendix 3 : Questionnaire

Luận Văn Thạc Sĩ Tiếng Anh Difference between Brands’ and Charities’ perception on the French eSport scene, Nhằm hỗ trợ cho nhiều bạn học viên ngành ngôn ngữ anh hoàn thiện bài luận văn được tốt hơn, dịch vụ viết thuê luận văn thạc sĩ tại Luận văn Panda đã cập nhập bảng giá viết thuê luận văn thạc sĩ ngành ngôn ngữ anh, nếu như các bạn muốn tham khảo bảng giá dịch vụ viết thuê luận văn thạc sĩ thì tham khảo tại đường link sau đây nhé.

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