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CHAPTER 4 / INFORMATION SEARCH 90
The nature of information searches 92 Ethical CB Can I trust you? 98
The type of information sought 93 Social & mobile CB Is that a mobile
Sources of information 96 in your pocket? 101
Marketing strategy and information searches Global CB The role of confidence
on the internet 101 in information search 109
Marketing strategy and mobile search 102 Discuss CB How much do you really
The degree of external information want to know? 117
search undertaken 102 Case study A new era of advertising 118
Costs versus benefits of external searches 103 Spotlight on Vietnam What expats want: how
Marketing strategies based on foreigners in Vietnam search for information 119
information-search patterns 110
Summary 114
Key terms 115
Review questions 115
Discussion questions 116
Application activities 116

CHAPTER 5 / EVALUATING AND SELECTING ALTERNATIVES 124

Evaluative criteria 126 Social & mobile CB Which tablet to take? 127
Decision rules 137 Global CB Don 't underestimate underwear 132
Summary 143 Ethical CB So how much do I love you? 142
Key terms 144 Discuss CB Socially responsible consumers 146
Review questions 144 Case study Baby you can drive my car 14 7
Discussion questions 144 Spotlight on New Zealand Whittaker's Chocolate-
Application activities 145 why it's New Zealand 's most trusted brand 148

CHAPTER 6 / OUTLET SELECTION AND PRODUCT PURCHASE 152

Outlet choice versus product choice 154 Social & mobile CB Multi-channel consumers 157
The retail scene 155 Global CB Supermarket price discounts in
Internet retailing 156 Europe 163
Multi-channel outlet strategies 156 Ethical CB Alcohol promotion at the point of sale 168
Attributes affecting retail outlet selection 158 Discuss CB I shop because I am 175
Consumer characteristics and outlet choice 164 Case study Young consumers and retail shops
In-store influences that alter brand choices 166 in Hong Kong 176
Purchase 172 Spotlight on Vietnam Online clothes shopping
Summary 173 is the new black 177
Key terms 174
Review questions 174
Discussion questions 174
Application activities 175
viii CONTENTS IN F.UL~

CHAPTER 7 / POST-PURCHASE PROCESSES, CUSTOMER SATISFACTION AND CONSUMER LOYALTY 182

Post-purchase dissonance 185 Ethical CB Mobile muster helps with recycling 189
Product use 186 Global CB LVMH digital magazine 202
Disposal 188 Social & mobile CB Loyalty programs going mobile
Purchase evaluation and customer satisfaction 191 204
Repeat purchase behaviour and consumer loyalty 199 Discuss CB Online communities as sources of
Summary 205 innovation 207
Key terms 206 Case study Coca-Cola virtual community to build
Review questions 206 brand loyalty 208
Spotlight on New Zealand 'Z' is for
Discussion questions 206
New Zealand 209
Application activities 207
END-OF-PART CASES

1.1 Wow, it's cool. Role of coolness in consumer 1.2 Rheem New Zealand-big 3 challenge 216
decision making 214

PART 2 INTERNAL INFLUENCES 220

CHAPTER 8 / PERCEPTION 222

The nature of perception 224 Social & mobile CB eBay: Clever you ...
Exposure 226 Australia 's first cyber Christmas 2010 238
Attention 227 Global CB Michael Hill Jeweller: branding
Interpretation 235 is forever 241
Marketing applications of the perception process 242 Ethical CB The fat-free TV guide 250
Summary 251 Discuss CB Plain cigarette packaging: is this
Key terms 252 the solution? 254
Review questions Case study ' Look at your man, now look back
252
to me': how Old Spice became new Old Spice 255
Discussion questions 252
Spotlight on Hong Kong 'Can-do Hong Kong
Application activities 253
Spirit'-changing the perception of insurance 256

CHAPTER 9 / LEARNING AND MEMORY 262

The nature of learning 264 Ethical CB Will you swear to look after
Conditioning 266 your mates? 274
Cognitive learning 270 Social & mobile CB It's all about engagement-
General characteristics of learning 272 just ask Nintendo 281
Memory 280 Global CB Virtual grocery store is here 284
Brand image and product positioning 283 Discuss CB Is it always good times with beer? 290
Summary 288 Case study Beware the rhino-just
Key terms 289 don't tell 'em 291

Review questions 289 Spotlight on New Zealand A world first in tea 292
Discussion questions 289
Application activities 290
CHAPTER 10 / MOTIVATION , PERSONALITY AND EMOTION 296
The nature of motivation 298 Social & mobile CB Maslow and slogans:
Theories of motivation 299 a successful partnership? 300
Motivation theory and marketing strategy 306 Global CB A journey to Middle Earth 319
Personality 311 Ethical CB Which brands do we love to trust? 322
Emotion 315 Discuss CB What can you see in my smile
Emotions and marketing strategy 317 and frown? 326
Emotion arousal as a product benefit 317 Case study Consumer motivation for buying
Summary 323 fake brands 327
Key terms Spotlight on South Korea Korean flower boys:
324
catalysts of change 328
Review questions 324
Discussion questions 325
Application activities 325

CHAPTER 11 / ATTITUDE AND ATTITUDE CHANGE 334

Attitudes 336 Ethical CB Talk to me ... only online 341
Attitude components 337 Global CB Does being green, socially responsible
Attitude-change strategies 345 and driving EV cars match? 343
Individual and situational characteristics Social & mobile CB Pitting one brother against
influencing attitude change 351 the other? 353
Communication characteristics influencing attitude Discuss CB Fear to change? 365
formation and change 352 Case study The Mickey Mouse aura 366
Market segmentation and product-development Spotlight on New Zealand 'Bloody legend'-
strategies based on attitudes 359 New Zealand 's highly successful drink driving
Summary 362 campaign takes a new angle 367
Key terms 363
Review questions 363
Discussion questions 363
Application activities 364
END-OF-PART CASES

2.1 Green marketing-how do you feel about 2.2 State of play! 370
environmentally friendly products? 368
 CONTENTS IN F.UL~

PART 3 EXTERNAL INFLUENCES 380

CHAPTER 12 / AUSTRALASIAN SOCIETY: DEMOGRAPHICS AND LIFESTYLES 382
Demographics 384 Global CB Grocers target male shoppers 392
Gender 389 Ethical CB Game with caution 399
Specific population segments 393 Social & mobile CB Boomers embracing
Lifestyle 403 digital media 401
Summary 414 Discuss CB Smartphone fits in with busy mums'
Key terms 415 lifestyle 416
Review questions 415 Case study Is your life a Second Life? 417
Discussion questions 415 Spotlight on the Middle East Spinneys: a
Application activities 416 supermarket for everyone? 418

CHAPTER 13 / HOUSEHOLD STRUCTURE AND CONSUMPTION BEHAVIOUR 422

The nature of Australasian households 425 Ethical CB To recycle or not to recycle 442
Current and future trends in household Global CB Chinese pet market unleashed 443
consumption 441 Social & mobile CB Cyber mums rule 445
Summary 447 Discuss CB Apple 's controversial in-app purchase 449
Key terms 448 Case study Tween fashion backfires on Facebook 450
Review questions 448 Spotlight on New Zealand The New Zealand
Discussion questions 448 Marmite crisis. In search of the 'black gold' 451
Application activities 449

CHAPTER 14 / GROUP INFLUENCE AND COMMUNICATION 456

Types of groups 458 Ethical CB How much do you trust TripAdvisor? 461
Reference-group influences on the consumption Social & mobile CB Social TV: will it change
process 460 your way of watching TV? 469
Marketing strategies based on reference-group Global CB Tennis celebrity marks Chinese
influences 465 tennis boom 476
Consumption subcultures 468 Discuss CB Twit twit 490
Marketing and consumption communities 4 70 Case study Who needs a wallet? I have
Communication within groups 4 70 a smartphone 491
Roles 4 77 Spotlight on New Zealand On the trail
Diffusion of innovations 480 of boy racers 492
Summary 487
Key terms 488
Review questions 488
Discussion questions 489
Application activities 489
CHAPTER 15 / SOCIAL STRATIFICATION 496
The concept of social class 501 Ethical CB Are our health-related behaviours
Social class structure 502 determined by our social class? 507
Social stratification in Australia 504 Global CB Growing income inequality in
The measurement of social status 507 developed nations 511
Differences in patterns of consumption between Social & mobile CB The digital divide 515
groups 514 Discuss CB Trickle-down brands 520
Issues and assumptions in using social class 516 Case study Cashed up and upwardly mobile 521
Social class and marketing strategy 516 Spotlight on Singapore Middle class
Summary 518 consumption in Singapore 522
Key terms 519
Review questions 519
Discussion questions 519
Application activities 520

CHAPTER 16 / CULTURE AND CROSS-CULTURAL VARIATIONS IN CONSUMER BEHAVIOUR 526

The concept of culture 528 Social & mobile CB Facebook culture 535
Culture and change 530 Global CB Mobile your way 546
Cultural values 530 Ethical CB Ethnicity stereotyping 549
Australasian culture 532 Discuss CB Take-away coffee anyone? 554
Cross-cultural variation 534 Case study Halal tourism on the rise 555
Cultural variation in non-verbal communication 542 Spotlight on Indonesia Pay less with cash in
Cross-cultural marketing strategy 548 Australia and bargain hard in Indonesia. 556
Summary 551
Key terms 552
Review questions 552
Discussion questions 552
Application activities 553

END-OF-PART CASE STUDIES

3 .1 Psychographics of adolescent girls in 3 .2 Does it have to be Bonds? Re-launching

Hong Kong and Shanghai 559 an iconic brand 563

Appendix A Consumer research methods

(online only)
Glossary 566
Index 577
This page intentionally left blank
PREFACE xiii

Never has there been so much change in the world consumers. New tables and figures have also been
of the consumer than has been the case since the last included throughout the text.
edition of this textbook. Gone are the days where The fundamental concepts of consumer behaviour
marketers only talked to consumers about their are presented with the support of Australian and/or
brands and products. Today, not only do consumers New Zealand examples. These draw on local goods and
talk back, they also talk to each other about the brands services that are familiar to students and reflect their own
they love and the ones they don't. And the smart cultures, lifestyles and purchasing environments. Local
marketers are the ones listening while the others keep advertisements (and lots of them!) are used effectively to
talking at consumers rather than with them. There further illustrate key ideas. Marketing implications are
are many other new trends in consumer behaviour discussed throughout the text, providing the necessary
that motivated this 7th edition of the book and, along bridge between theory and practice. We also recognise
with enhanced coverage of traditional concepts, this the impact of the Asian Century and include many
new edition brings a fresh approach to our favourite examples and cases of the region of Australasia, from
subject. With a new team of contributors and two new South East Asia to China and other countries to our
co-authors, and based on extensive consultation and north.
market research to allow future users to comment and All the case studies presented in this edition are new.
provide feedback on the text, this edition aims to fulfill These cases have been developed specifically to highlight
the needs of both students and instructors. relevant aspects of consumer behaviour. Given the
In this new edition, we have preserved the successful popularity of this feature in previous editions, we have
features of the previous edition, including our Social retained the idea of offering short case studies at the end
and mobile CB, Global CB, Ethical CB and Discuss CB of every chapter and now provide both Australian and
boxed features, and added many innovative elements New Zealand cases to reflect our readers on both sides
and fresh content. For example, the appendices are of the Tasman Sea. Longer, more comprehensive case
now available online where their content can be studies remain a key feature at the end of each Part.
presented in a more interactive format and where The pedagogical material at the end of each chapter
they can be kept up to date with the latest changes in follows the very successful structure we introduced in
technology or legislation. the previous edition. This material comprises review
Each chapter includes all-new material in the questions, 7 to 10 discussion questions that can be
opening stories, boxed examples and end-of-chapter used in tutorial discussion and a number of application
cases. In addition, we now deal with the issue of the activities, some of which are internet-based, that can
social role that marketing plays, and its impact on be undertaken by students either individually or in
consumers' lives and wellbeing, throughout the book groups for tutorials or assignments, as well as tutorial
rather than in separate sections and a final chapter. mini-cases that can be adapted for class discussions or
Our decision to fully engage in the ethical debate even used for assessment!
surrounding some aspects of consumer behaviour Consumer behaviour is a fascinating discipline and
reflects our own interest in developing students' we hope to have succeeded, in this 7th edition as with
awareness of these questions so that they may consider all our previous ones, in sharing our enthusiasm with
such issues in the future, either as marketers or our readers.

Pascale Quester, Simone Pettigrew,

Foula Kopanidis and Sally Rao Hill
ABOUT THE AUTHORS

Pascale Quester
DESCAF, MA Marketing, PhD
Pascale holds a Professorship in Marketing at The University of
Adelaide Business School. In 2011, after four years as Executive Dean of
the Faculty of the Professions, Pascale became Deputy Vice Chancellor
and Vice President (Academic) at the University of Adelaide. Previously,
she held appointments in the School of Commerce and the Graduate
School of Management at the University of Adelaide, as well as in the
Marketing Department, Massey University (New Zealand).
Pascale has co-authored three leading textbooks (two in Australasia
and one in France). An active researcher, she has also published widely
in academic journals, research books and conference proceedings.
Her research interests include sponsorship, country-of-origin effects,
relationship marketing and the effects of social interactions on consumer behaviour. She is a regular expert
witness in both state and federal courts, as well as in the media more generally, in matters relating to consumer
behaviour and marketing.
In December 2009, Pascale was awarded the highly prestigious title of Distinguished Fellow of the Australian
and New Zealand Marketing Academy. In 2012, she was made a Knight of the French Order of Merit, in
recognition of her contribution to higher education both in France and Australia.

Simone Pettigrew
B Economics, M Commerce, PhD
Simone is a Professor of Marketing and the Director of the Health
Promotion Evaluation Unit at the University of Western Australia. She is a
strong advocate of consumer education, particularly in relation to health
issues. Simone's research focuses on vulnerable consumers and alternative
methods of improving their consumption-related outcomes and her areas
of specialisation include obesity and alcohol-related harms.
Simone publishes widely in a range of marketing, consumer behaviour
and health promotion academic journals and conference proceedings.
She also consults regularly to a range of health agencies to assist them
in understanding and applying consumer psychology. Prior to entering
academic life, Simone worked in marketing roles in the Australian
energy sector for almost a decade.
 xv

Foula Kopanidis
B Education, B Marketing,
M Education and Leadership, PhD
Foula is a marketing academic with RMIT University, College of
Business, School of Economics, Finance and Marketing and is the
Postgraduate Course Coordinator of Consumer Behaviour. Her
teaching and research expertise areas include consumer behaviour,
selection behaviour, choice criteria, education and marketing.
Foula completed her PhD (Marketing) by research on psychological
constructs influencing choice behaviour. Her research is anchored
across three disciplines of marketing, education and psychology. Foula
has recent publications in the journals of Education + Training, Higher
Education, Research and Development, Higher Education Policy and
Management and Women & Aging. She is active in research and provides supervision to PhD students. Prior to
Foula's eight years in academia she worked as a market researcher and consultant.

Sally Rao Hill

B Business (Honours), PhD
Sally is a Senior Lecturer and Researcher in Marketing at the
University of Adelaide Business School where she teaches consumer
behaviour and services marketing. Her research interests are in the
areas of service and organisational environment and its impact on
consumer behaviour, and consumer technology adoption behaviour.
Sally publishes widely in a range of marketing journals, research
books and conference proceedings. She has recently had articles
published in Psychology and Marketing, Journal of Management
& Organization, Managing Service Quality, European Journal of
Marketing and Journal of Business and Industrial Marketing. Prior to
her academic positions, Sally's areas of experience included market
research and public relations.

Del I Hawkins
BBA, MBA, PhD
Del is Professor Emeritus of Marketing. He has served as Director of the MBA Program, Director of the
Lundquist Center for Entrepreneurship, Director of the Oregon Executive MBA Program, Director of the
Museum of Art, Chair of the Marketing Department and Associate and Acting Dean of the Lundquist College
of Business at the University of Oregon. He has also taught at Southern Illinois University, Xiantan University
(PRC), the Netherlands School of Business, in Boston University's Overseas Program, Xiamen University (PRC)
and the Institute for International Studies and Training in Japan. Del has written a number of business cases and
numerous journal articles as well as three widely used college textbooks.
ABOUT THE DIGITAL AUTHORS

We are also indebted to our digital resource authors who have worked hard to ensure that we have the best
resource package on the market.

Tim Daly
B Commerce, MA Management Research, PhD
University of Western Australia
After leaving the market research industry, Tim Daly completed his PhD in Marketing at the University of
Western Australia. He then spent several years as a faculty member at the University of Akron in the United
States. Tim is currently an Assistant Professor at the University of Western Australia where he works with an
international team ofresearchers on The Values Project. Tim is the recipient of the 2013 UWA Business School
Teaching Excellence Award for Undergraduate Teaching (teaching Consumer Behaviour). His research interests
include charitable giving, personal values and negotiation.

Daniela Spanjaard
MBM, PhD
University of Western Sydney
Daniela's industry experience includes working for international market research agencies, specialising in
monitoring consumer activity. Having made the transition to academia, this experience has been used to apply
the theory of marketing to the realities of the corporate environment. In particular, her focus has been research
methodologies and consumer behaviour, with an emphasis on the interactions between the consumer and brand
decision making.

Valeria Noguti
BA, B Management, MSc Management, PhD
University of Technology, Sydney
Valeria Noguti is a Lecturer in Marketing at the University of Technology, Sydney, where she coordinates the
post-graduate subject Buyer Behaviour. Valeria also teaches Marketing Management and conducts research on
topics such as social influences in consumer behaviour, consumer self-concept and advertising.
ABOUT THE BOOK xvii

Today's advanced economies are consumption societies. brand switching. The final stage of the consumer
For most of us, there is not a day that goes by which decision process, discussed in Chapter 7, involves
does not involve evaluating, selecting and buying at behaviour after purchase, including post-purchase
least one thing, from the humble lunch to the expensive feelings, use behaviour, satisfaction, disposal and
holiday abroad. In this book, we explore just how such repurchase motivation. These chapters in turn
decisions are made and what factors influence both present what consumers do at different stages of the
our decision process and its outcomes. Whether or consumer decision process, what factors contribute
not you become a marketer, or simply continue to be a to their behaviour and what actions can be taken by
consumer, studying consumer behaviour should serve marketers to affect their behaviour.
you well in the future. In Part 2, our attention shifts from the steps in
A distinguishing feature of this book is that we purchase decision making to the processes that occur
first describe the more complex type of decision- primarily within the individual. Chapter 8 looks at
making process and then the two main categories of the perception and processing of information for
factors that bear upon it, namely internal and external consumer decision making. The learning process
influences. This 7th edition, like the six it follows and necessary for consumer behaviour is discussed
very much builds on, mixes both goods and services in Chapter 9. Chapter 10 examines motivation,
within each chapter, includes examples of local and personality and emotion. Consumer attitudes are
global strategies implemented by many Australasian the focus of Chapter 11 and these are considered as
companies and considers at length the pervasive representing consumers' basic orientations in terms
influence of technology, particularly the internet. Also of products and marketing activities. Attitudes
unusual in our approach is our inclination to be critical are discussed here because they are the actual
of some marketing practices and our unapologetic manifestations of our learning about products, and
stance in favour of more ethics in consumer behaviour. are the basic concepts that marketers can measure
Chapter 1 provides an overview of the text and and use to predict purchase tendencies. Attitudes are a
indicates the importance and usefulness of this relatively stable composite of knowledge, feelings and
material. It also presents the logic underlying the behavioural orientations that people bring to specific
model of consumer behaviour. purchase situations.
Part 1 explores the ways consumers make up their Part 3 examines how different groups of increasing
minds about goods and services. Behaviour often size influence behaviour. The emphasis is on the
varies, not only among consumers but also from one functioning of the group itself and not the process by
situation to another. Chapter 2 examines in greater which individuals react to the group. First, Chapter
detail the impact of situational variables on consumer 12 analyses the fundamental demographic shifts in
behaviour. Chapter 3 then describes the types of Australasian society, changes in gender roles and group
decisions and their relationship to involvement. It influence through subcultures. We then analyse how
also analyses the first stage of the process-problem demographics and subcultures influence our lifestyle.
recognition. The second stage in the consumer In Chapter 13, we take a closer look at consumption
decision process, information search, is discussed at the family and household level. Chapter 14 presents
in Chapter 4. The nature of consumer information concepts relating to groups in general, including the
searches and the factors influencing different levels particular mechanisms of group communications. A
of pre-purchase information search are considered. wider sphere of influence-social class-is the topic
Chapter 5 examines the brand evaluation and of Chapter 15. Finally, in Chapter 16, we look at how
selection process. Chapter 6 deals with outlet selection cultural and cross-cultural influences have an impact
and the in-store influences that often contribute to on the broader society.
ACKNOWLEDGMENTS

Like its six older siblings, this textbook is very much Bill Proud , Queensland University of Technology
the fruit of the combined effort of a whole team Kaleel Rahman , RMIT University
of people and we would be remiss not to attempt
to acknowledge and thank the many wonderful Abu Saleh , Canberra University
individuals who have contributed to making this 7th Wendy Spinks , University of the Sunshine Coast
edition just as special as each of its predecessors. Our Sam Toglaw, Australian College of Kuwait
thanks go to our students who have, over the years,
provided constructive criticism and positive feedback Jodie-Lee Trembath, RMIT University, Vietnam
as well as a wealth of ideas on how to make the book Kevin Voges, University of Canberra
and its comprehensive suite of ancillary material even Janine Williams, Victoria University of Wellington
better.
Contributors and reviewers
We are very grateful to all the case contributors and ***
reviewers of this edition who have helped us include We also thank those people who helped, in a variety
the realism that only real-life situations and problem- of ways but with outstanding dedication, in putting
based learning can provide: together a lot of the documentation necessary to ensure
this edition is completely up to date, including Michael
Tom Agee, The University of Auckland Shaw, for his tireless editing and brainstorming, and
Paula Arbouw, University of Canterbury Brian McCauley.
We are greatly indebted to all the companies and
Marion Burford, University of New South Wales
individuals who gave us permission to use advertisements
Kara Chan, Hong Kong Baptist University or material, allowing us to make the text more vivid and
Kate Daellenbach, Victoria University of Wellington current with so many examples and stories.
Finally, thanks particularly to our publisher Kate
Tony Garry, University of Otago
Hickey, senior product developer Jane Roy and
Paul Harrison, Deakin University the dedicated and hard-working McGraw-Hill
Nicole Hartley, University of Queensland production team, including permissions editor Haidi
Bernhardt, senior production editor Claire Linsdell
Jacqueline Kenney, Macquarie University
and digital content editor Jess Ni Chuinn. Thanks
Ghazala Khan, Monash University, Malaysia also to freelance copy editor Leila Jabbour. Thank
Liane Lee, City University, Hong Kong you for all your support over these past few months.
We would also like to thank Pinstripe Media, who
Gavin Lees, Victoria University of Wellington
were so helpful in enabling us to package fresh and
En Li, Central Queensland University exciting local video content with the text.
Patricia Liu, Singapore Institute of Management We are indebted to the many reviewers and case and
University content contributors who provided us with precious
Breda McCarthy, James Cook University input into earlier manuscripts and have helped
improve each edition. They include (affiliations
Robyn Mayes, Curtin University correct at the time of contribution):
Valentyna Melnyk, Massey University
Jennifer Algie, University of Wollongong
Karen Miller, University of Southern Queensland
Damien Arthur, The University of Adelaide
Marthin Nanere, La Trobe University
Jennifer Arzaly, The University of Adelaide
Lukas Parker, RMIT University, Vietnam
Wayne Binney, Victoria University of Wellington
 xix

Mike Brennan, Massey University Felix Mavondo, Monash University

Gordon Brooks, Macquarie University Christopher Medlin, The University of Adelaide
Suzan Burton, Macquarie Graduate School of Kimble Montagu, Monash University
Management
Melissa Johnson Morgan, University of Southern
Ken Butcher, Charles Sturt University Queensland
Alice Byrne, Queensland University of Simon Moore, Queensland University of
Technology Technology
Michael Callaghan, Deakin University Jennifer O'Loughlin, Central Queensland
University
Vivien Chanana, University of South Australia
Ian Phau, Curtin University
Jan Charbonneau, Massey University
Carolin Plewa, The University of Adelaide
Meena Chavan, Macquarie University
Mike Potter, Auckland University of Technology
Peter Clarke, Griffith University
Karen Ronning, Coonawarra Vignerons Association
Claire D'Souza, La Trobe University
John Rose, The University of Sydney
Lynne Eagle, Massey University
Paul Rose, Whitireia Community Polytechnic
Michael Ewer, TAFESA
Sim Senesi, The University of Adelaide
Jamye Foster, University of Canterbury
Claire Sherman, The University of Adelaide
Lynne Freeman, University of Technology, Sydney
Felicity Small, Charles Sturt University
Marie-Louise Fry, The University of Newcastle
Mike Spark, Swinburne University of Technology
Alexandra Ganglmair, University of Otago
Shalika Subasinghe, Charles Sturt University
Francine Garlin, University of Technology, Sydney
Gillian Sullivan-Mort, University of Queensland
John Gountas, La Trobe University
Jane Summers, University of Southern
Jessie Harman, University of Ballarat
Queensland
Nicole Hartley, The University of Sydney
Mehdi Taghian, Deakin University
Andrew Hercus, Canterbury Sports
David Toleman, Monash University
Management College
Rob Van Zanten, The University of Adelaide
Alison Huber, The University of Melbourne
Roberta Veale, The University of Adelaide
Andrew Hughes, The Australian National
University Peter Vitartas, Southern Cross University
Raechel Johns, University of Canberra Michael Volkov, University of Southern
Queensland
Amal Karunaratna, The University of Adelaide
Steve Ward, Murdoch University
Wendy Koch, The University of Adelaide
Nick Westerman, Curtin University
Jayne Krisjanous, Victoria University of
Wellington Bradley Wilson, RMIT University
Alex Li, The University of Sydney Ben Wooliscroft, University of Otago
Al Marshall, Australian Catholic University Jeaney Yip, The University of Sydney
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HIGHLIGHTS OF THIS EDITION

Consumer behaviour and marketing strategy

l This chapter features completely updated cases, boxed features and ads, all designed to highlight
the parent theories used in consumer behaviour.

---·'---------------------- ----------------------- -----·-· ----------------------------------------------· ---------------------------

Situational influences
2 Chapter 2 has additional discussion about the characteristics of purchase situations, particularly
the effects of the presence of different types of other people. New insights from the literature
relating to mood and temporal factors are also included.

3 Problem recognition
A new Figure (3.2) has been added that depicts the variables affecting online purchases.

Information search
4 New sections have been added relating to information search on mobile devices and the marketing
strategies suggested by changes in consumers' information search behaviours.

Evaluating and selecting alternatives

5 This chapter includes new material on conjoint analysis, including a new table depicting the
results of a multi-cultural study of preferences for jeans.

Outlet selection and product purchases

6 A new section on multi-channel strategies incorporates digital technologies with other forms of
distribution to provide a more comprehensive account of consumers' shopping outlet decisions.

Post-purchase processes, customer satisfaction and consumer loyalty

7 This chapter features an extension of the section on product disposal, which now also includes an
updated model. It also provides an updated discussion on consumer groups and the different types
ofrecalls.

Perception
8 This chapter discusses issues such as advertising on the internet, social media marketing and
mobile technologies and the role of the latter in terms of exposure and choice.
 xx iii

Learning and memory

9 Chapter 9 has been updated to include greater clarification surrounding key concepts including
high- and low-involvement purchase decisions as well as the increasing use of social media to
create customer involvement.

Motivation, personality and emotion

10 Chapter 10 showcases new material on neuromarketing, social learning theories and social media
relating to personality traits.

Attitude and attitude change

11 This chapter provides new boxed material that discusses global warming and consumers' feelings
about 'green' products and provides new material on social marketing.

Australasian society: demographics and lifestyles

12 Income, migration and geo-demographic statistics have been updated to reflect the most recent
data. The millennials segment has also been updated and growing target markets such as tweens
are discussed.

Household structure and consumption behaviour

13 New tables show household characteristics, reasons for children leaving home, families' use of
childcare services and time spent on household chores. The chapter also features a new section
on waste management and the impact on Australian households of new initiatives on energy
conservation.

Group influence and communication

14 Chapter 14 has an updated discussion on the impacts of social networking on consumer decision
making and the ever growing role of online communities.

Social stratification
15 This chapter features new data on differences in consumption between social classes, as well
as a new section, 'Masstige'. In addition, the section on social class measuring scales has been
streamlined.

Culture and cross-cultural variations in consumer behaviour

16 This chapter now includes an extended account of the effects of individualism and collectivism
on consumption behaviour.
TEXT AT A GLANCE

Consumer Behaviour is a pedagogically rich learning resource. The features laid out on these pages are specially
designed to encourage and enhance your understanding of consumer behaviour.

PART OPENER I
Part openers These introduce the theme of .... :
the section and provide a brief description of
---
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----- ------------
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the chapters you are about to explore. Each --- -------------
part opener displays the consumer behaviour
model, showing the focal point of the chapters
that follow.

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__... ___________
___ .. ___. _
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Learning objectives The learning objectives
-----··--
---- ------------ - -----· ----- ·-_ outline the skills that you should have attained
------------·-
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IN THE CHAPTER
Introduction Each chapter begins with a
short introduction that sets the theme for
Successtutmarkellna:;requlres

the material presented. capltallslntonconsumers· exlstlnt

11e1ceptlonsabouttllep1oduct
belntmarketed Forexample,
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Advertisements Every chapter contains

a variety of advertisements that reflect the
chapter theme.

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Another Random Scribd Document
with Unrelated Content
 MRS. GISH AND “HER GIRLS” Mary Pickford,
Mildred Harris, Mrs. Gish, Dorothy and Lillian

Barely were the words out of his mouth, when there came a far-off
boom from the eastward. He looked at his watch. “Very
extr’ord’nary,” he said, “they are beginning the practice half-an-hour
ahead of time.” A moment later, he was gone.
The firing kept up. Lillian and Dorothy ran down the corridor, to a
balcony. A waiter, passing, told them that the East End was being
raided. He let them look through his binoculars. High in the air, to
the eastward, one could make out a small, black speck—eighteen
thousand feet up, he said.
They hurried down and got into a taxi, to see the raid. On the way
to Whitechapel, they came to a post-office which had been struck. A
corner of it was blown off—a number of persons killed. A great
crowd had collected. They were told that much greater damage had
been done in Whitechapel. They found there a schoolhouse, where
ninety-six children had been killed. Crazed mothers swarmed about,
looking for fragments of their dead.
Other bombs had fallen in the neighborhood. People were insane
from grief. A schoolmaster carried out his own child. A woman
standing near had just discovered that her boy was among the
victims. Her face was distorted—it was as if someone had pulled it
out of shape.
 XI

UNDER FIRE

With the one thought of getting out of London, Mary Gish and her
daughters went to Cambridge. But Cambridge, too, had been raided.
At night, streets and houses were pitch dark. No anti-aircraft guns.
No protection of any sort.
Two nights satisfied them. They returned to London, where for ten
days it was quiet enough. Then, one morning, Mrs. Gish, Lillian and
Dorothy, were awakened from sound sleep by a terrific explosion.
They ran to the windows. Coming up the Thames, in perfect
formation, were twenty German planes, flying in what seemed a
slow and majestic manner, dropping bombs as they came. They
were so low that one could distinguish the crosses on the under side
of their wings. Mrs. Gish and her daughters watched them,
fascinated.
Were they afraid? Undoubtedly they were: with death hovering in
the air, likely to come plunging down at any moment, not many of
the race—a race blessed, or cursed, with imagination—could be
wholly indifferent. The rest of the party—Griffith, Bobby Harron and
Gottlieb Wilhelm Bitzer—came crashing in.
They supposed the planes would drop bombs on Waterloo Station,
and especially on the Hotel Cecil, headquarters of the English Flying
Corps, its roof covered with anti-aircraft guns. The Cecil was near
them—next door. Nothing of the kind happened. The German
planes, undisturbed by the shells fired at them, circled slowly around
the Houses of Parliament, without dropping a bomb; then, turning,
left London. This was on Saturday, July 8, 1917. The papers next
morning reported thirty-seven dead, one hundred and forty-one
wounded—numbers probably minimized. The Griffith party was
shaken, dazed. It seemed incredible that in a world supposedly
civilized such things could happen.
There was no longer any rest. Raids came at night, and in relays.
One followed another—two and three in one night. They were meant
to break the English morale.
The first night raid was by glorious moonlight. Mrs. Gish, Lillian and
Dorothy, sitting in their apartment about ten, heard a distant
booming, then a far-off voice calling: “Take cover—take cover!” They
merely sat there, while the bombing came closer and closer, with
aircraft guns going. By and by it was over. Next morning, they heard
that less damage had been done than before, but enough.
About two nights later, as the girls stood in front of a dressing-table,
in their nightgowns—Mrs. Gish already in bed—there came from just
under their windows such an explosion as could not be described in
words. The electric lights in the bathroom went out—windows were
shattered. They rushed into the hall. All on that floor were there, in
wild confusion. They called to one another that the hotel had been
struck. Then, from outside, came a man’s scream. They had never
realized how terrible a man’s scream could be. Cries and groans
followed. They stared their inquiry into one another’s faces.
The bomb, they learned, had struck just by Cleopatra’s Needle, a
few yards distant. It had hit a tram and killed eleven persons,
wounding many others. The conductor had had his legs blown off. It
was he who had screamed, no doubt. Other bombs had fallen
nearby. One on the little Theatre on Adelphi Terrace; another at the
Piccadilly Circus; still another by Charing Cross Hospital. They had
heard none of these, because of the concussion in their ears from
the one that had fallen beneath their windows.
Lillian and Dorothy crept into one bed, shaking, unable to sleep. At
four they got up, dressed, saw the dawn breaking over London—
workmen going to their jobs. On the street, they found that many
windows had been blown from shops, the glass so finely shattered
that it was like snow. The girls said little, but listened to the
comments of the working people—comments not pleasant to hear.
The raids now came regularly. The nights became hideous
nightmares. Lillian and her mother seemed to get their nerve back.
When the raids came, they would take their pillows and go into their
little foyer, to try to get away from the noise. Dorothy took her
pillow, too, but she did not sit on it—she hugged it. Finally, it was
September. They had been there three months!
“... You cannot imagine, Nell, what terrible things those big things in
the sky are, dropping death wherever they go. If this war would only
end.... I am still here, and will live to see you and Tom and the
babies again, in spite of it. So don’t worry.”
Lillian went out a good deal, and, as was her habit, made a study of
the people ... to see how they acted under the stress and agony of
war. She went to the Waterloo Station, to watch them saying good-
bye. Always she was watching ... on the street ... everywhere.
 XII

FRANCE

Days ... nights ... they seemed to have passed out of any world they
had ever known, into a sinister, topsy-turvy world, where murder
and destruction ruled.
Griffith down on the Salisbury plain, where there were great camps,
was already making portions of the picture. Returning, at last, to
London he escorted his little party down to Southampton, to take
boat for France. It was a transport, crowded with soldiers. Mrs. Gish
and the girls were in one tiny room, two in one bunk. Twice they
started, and were sent back because of floating mines. Finally they
were at Havre, and next evening at Paris, at the Grand Hotel.
Paris was dark—a place where almost anything could happen—but
Griffith and the girls somehow managed to grope their way about, to
the river and elsewhere. By daylight they did some shopping.
Griffith got the papers that would permit them to go to the fighting
area; then, one morning, with Mrs. Gish, Lillian and Dorothy, and
Bobby Harron, set out in an automobile, passed through the gates of
Paris. In an article for a home paper, Lillian described their journey:
Paris still has gates, just as you read about in the romantic
novels. There is a particular gate that leads to the war zone
and not a single, solitary human being can go through it unless
he is a soldier, or one who has business in the zone.
Can you imagine how important you feel when you go through
that gate? You find it very hard to believe that you are not just
acting in a “movie,” in a Los Angeles background that Mr. Huck,
the man who builds the moving-picture sets, has built—the
road and everything.
And how you do go! By tall poplar trees, by long fields of
France. France! Why, the very name is a poem and a romantic
novel, all by itself. Lombardy poplars! It sounds like an old-
fashioned song.
Through the fields are the long lines of barbed wire. That is
where the trenches are. The very trenches that used to defend
Paris. Then, after fifteen minutes’ ride, you are where the
French stood in defense of Paris.... This is where the Germans
were. They came this far. This very road ... these very trenches
are where the men were.
But now you see the first town that the Germans bombed. You
come to the same kind of houses, blown all to pieces, wreck
and ruin everywhere. In one second-story, there was part of a
bedstead still left, and pieces of bed-clothes, that no one had
taken the trouble to pick up, after the French had come back. I
can write about it, and I can talk about it, and you can read
about it, until you are old and gray and sit in a rocking-chair,
but you could not understand it unless you saw it. Just streets,
muddy and deserted, and little graveyards of houses, hundreds
of them.
You may not know it, but if you have been in one raid, or one
bombardment, where you hear the explosions coming closer
and closer, and you shake and shake and tremble and get sick
at your stomach, and dizzy, and lose your mind with fear, every
moment, you can imagine what it was to these people who
had to endure it for hours and days, and finally had their
whole places blown away.
 Were they running down the road we have been on, when this
happened? Sometimes they would not leave, because they did
not know where else to go. They could not believe it was true,
anyhow, and they stayed and stayed on.
The farther they went, the greater the desolation. They worked in
Compiègne and Senlis, and anyone who visited that neighborhood,
even as late as 1921, can form a dim idea of what it must have been
in 1917. Ruin everywhere, broken homes; furniture in fragments,
and scattered. Pieces of everything; clothing, little playthings, bits of
lace, scraps of another existence.
To the eastward, the guns were always going. All that part of France
was still subject to bombing raids. There were days when it was
necessary to take refuge with a little French family, in a bomb cellar.
Lillian wrote:
I have been in cellars myself, with a lot of other people
around, frightened to death, sitting close to Mama and
Dorothy, who had the shakes and whimpered as she used to
when she was a baby, because it was so terrible.
They learned a number of things: they learned to tell enemy planes,
to know shrapnel by its gray drift of smoke. They did not remain
long in that sector—only long enough to get the required pictures.
Griffith went to the front line, and made trench scenes—in the line
itself. Then directly they were all back in London, in the raids again.
Apparently they had not stopped ... they would never stop.
One night when the planes had been over three times, the noise was
so terrific that Dorothy suggested they go down into one of the
ballrooms. They found English officers and ladies strolling about,
calm in their English way, apparently not greatly concerned by the
raid which was still going on. Dorothy, nervously watching, saw a
lovely girl about her own age, come in. They looked at each other, at
first without speaking. Then the girl said:
“You are an American, aren’t you?”
“Yes.”
“So am I,” and they fell into each other’s arms.
They spoke of the horrors of the raids—of the one then going on.
Finally, Dorothy said:
“One thing I’m thankful for, I’m soon going back home, and will get
away from all this.”
The girl’s eyes grew big. She said:
“You are going back! And you are not afraid?”
“Afraid? After all this? At least, if one is hit by a torpedo, it’s direct,
and sure, and soon ended. In a raid like this, you never know.”
But the girl said:
“I can never imagine crossing the water again.”
“Why?”
“I was on the Lusitania, coming to England with a chaperon, to meet
my fiancé. I clung to a deck-chair for four hours. My chaperon was
drowned right beside me.”
Dorothy, telling of it afterwards, said:
“I did not know her name—I do not know it now. She never knew
mine. She had a look in her eyes she will carry the rest of her days.”
 XIII

“HEARTS OF THE WORLD”

October found them safely home. After all their wish to get there,
America seemed a poor place: uninteresting, flat, tepid, futile—its
people had little idea of what was going on, “over there.” No wonder
the returning soldiers could not settle down to a humdrum life of
work. It was a thing next to impossible.
Mary Gish and her daughters found their nerves on a tension.
Blasting in the street made them jump. The strain had been terrible.
Mrs. Gish had lost thirty-five pounds—she would never be quite the
same again. Dorothy, by her own statement, had lost ten pounds.
“Lillian is brave; besides, she couldn’t afford to lose. She gained a
whole pound.” Lillian had no desire to go back, yet was sorry it was
all over. Sometimes, looking back, it seemed to her that she had
been dreaming.
“Hearts of the World” was shown for a tryout at Pomona, California,
on Monday, March 11, 1918, and during the rest of the week at
Clune’s Auditorium, Los Angeles.
Both Lillian and Dorothy had studied and worked very hard for this
picture, and it had been obtained at the risk of their mother’s life
and their own. It deserved success, and it had it. Lillian, as the
heroine of the story, captured and mistreated, gave a beautiful and
pathetic presentation of her part. Dorothy, “the Little Disturber,” a
strolling singer, had a rôle suited to her gifts. A lute under her arm,
she romped through the war scenes with a jaunty swagger, which,
set to music, was irresistible. A London street-girl had provided the
original. Lillian discovered her one day, and followed her about, to
copy her artistic points. Bobby Harron was the hero-lover of the
story—a very good story, on the whole—though it was the ravage
and desolation of war that was the picture’s chief value.
On April 4, “Hearts of the World” was presented at the 44th Street
Theatre, before an invited audience. When, on the following
evening, the theatre was opened to the public, seats sold by
speculators brought as high as five and ten dollars. There were long
runs everywhere. In Pittsburgh, the picture broke all records for any
theatrical attraction in that city.

The writer of these chapters saw the film at this time, and again,
with Lillian, in 1931. A good deal of it was remembered vividly
enough. It had been the first World War picture, and it remained one
of the best. The trench fighting was terribly realistic. There were
scenes taken on the field that were war itself. Always, the action is
swift. Toward the end of the picture, where Lillian and Bobby are
defending themselves against a German assault, it becomes fairly
breathless.
Throughout, the picture has a tender quality, in spite of its cruel
setting. But there are exceptions to this, one especially: Lillian in the
hands of a German, whipped because she cannot handle a big
basket of potatoes.
“Did the beating hurt?” I asked.
“Terribly. I was padded, but not nearly enough. My back bore the
marks for weeks. Mother was fearfully wrought up over it.”
She approved the picture, as a whole. Thought it better than many
of those made today. She was not far wrong. There was more
sincerity of intention—more earnest work. At one place, the heroine,
through the shock and agony of war, becomes mentally unhinged.
Lillian’s portrayal of the gradual approach of this broken condition
was as fascinating as it was sorrowful.
 XIV

“BROKEN BLOSSOMS”

Lillian was entering a period of super-effort and success. Effort,

especially—at first. The indefatigable and relentless Griffith kept
them going, night and day. Hardly had he launched one war picture
till he made another. He had much war film left, and he built another
story around it. Two, in fact, though the second came somewhat
later. While in England, Queen Alexandra and a number of titled
women had lent themselves to the cause, by posing in arranged
groups before the Griffith cameras. In “The Great Love,” these films
were used. “The Romance of a Happy Valley,” and “True Heart Suzie”
followed, idyllic countryside pictures, with Lillian in tender comedy
parts.
Griffith no longer directed her—not really. “I gave her an outline of
what I hoped to accomplish, and let her work it out her own way.
When she got it, she had something of her own. Of course, she was
imitated. A dozen actresses would copy whatever she did. They even
got themselves up to look like her. She had to change her methods.”
What a joy to work for Griffith! At night, in bed, you thought out
your part, and mentally rehearsed it—over and over. Then, next day,
you tried it, and when at last it was “shot,” you eagerly looked, a day
or two later, for the “rushes,” to see what you had done. Sometimes
it was pretty bad—not at all what you had expected. Never mind,
that was the advantage of playing for the pictures: you could see
yourself, and correct your mistakes. You could do it over and over—
Griffith was never stingy with film. He nearly always made twenty
times what he used. He would let you try, and keep trying, until both
you and he were satisfied. He knew that you had studied the lights,
and angles, and groupings—that you had something definite in
mind. Often, he consulted you—sometimes let you direct a scene.

It was during the summer of 1912 that Lillian had begun work with
Griffith, at the old Biograph studio on Fourteenth Street. Now,
almost exactly seven years later, she arrived at what may be called
the crest of her film career. Not suddenly: she had been climbing
steadily, working like a road-builder, almost from the first day. Now
she had reached the top, that was all.
In an article for the Ladies’ Home Journal (Sept., 1925) she said:
When anyone asks me to pick out from the many I have been
in, the picture I like best, I answer without much hesitation,
and without much thought, “Broken Blossoms.” I say this not
because the picture was an artistic picture, which it was. I say
this not because it was a compelling or tragic story with no
clearing-away, no laying of tracks, no getting ready for the
tragedy—it was exactly all this; but because the picture was
quickly and smoothly accomplished. It took only eighteen days
to film.
She does not say that it was her most notable characterization, and
in the broader sense, it may not rank with some of her later work:
with Mimi, for instance, in “La Bohême”; with Hester Prynne, in “The
Scarlet Letter.” Nevertheless, it is the film rôle for which she will be
longest remembered, the part that for artistic conception and
delineation and sheer beauty has not been surpassed, either by
herself, or by any other. To this day, the magazines reproduce
flashes from the now immortal closet scene of “Broken Blossoms,” as
the “highest example of screen realism.”
“Broken Blossoms,” a poetic tragedy of the Chinese slums of London,
was a film adaptation of “The Chink and the Child,” from Thomas
Burke’s collection entitled “Limehouse Nights.” Griffith and Lillian
recognized its possibilities, and what she could make of the part of
the “Child.” She at first thought the part too young for her, but
agreed to try it.
The story is that of a brutal father, a pugilist, who beats and
browbeats his twelve-year-old daughter until she has become a
terrified, trembling little creature, a stunted human semblance, with
a pathetically lovely face. A young Chinese, drift of the quarter, out
of pity and adoration for her loveliness, one day gives her shelter,
when, after a beating, she staggers into his poor shop. The ending
involves the tragic death of all of them, the final scene being one of
exquisite art. This is Griffith’s version, but the character of Lucy
Burrows is the same in both. This bit is from Burke’s story:
... always in her step and in her look was expectation of dread
things; ... yet for all the starved face and transfixed air, there
was a lurking beauty about her, a something that called you in
the soft curve of her cheek, that cried for kisses and was fed
with blows, and in the splendid mournfulness that grew in eyes
and lips.
In the world of drama, there are rôles which the competent artist
“creates”—well, or less well—and makes his own; there are rôles—
oh, rarely enough—which are his from the beginning, created for
him: “Disraeli,” for George Arliss—“The Music Master,” for David
Warfield. I have told my story very badly if the reader does not
recognize that for Lillian Gish, the character of Lucy Burrows offered
such a part: a part such as would not come to her during more than
another ten years, and then, not for the screen.

To a young man named Richard Barthelmess, lately a graduate of

Columbia College, Griffith gave the part of the “Chinaman,” because
he was rather small, very good-looking, with a face that could make
up “Chinese.” To Donald Crisp, an Englishman (he had been General
Grant in “The Birth of a Nation”), he gave the part of Battling
Burrows. Crisp was a realistic person, and had a face that in full war-
paint was a thing to put fear into the stoutest heart.
Lillian was just over the influenza—not equal to the strenuous
Griffith rehearsing. Carol Dempster, who had been a dancer in
“Intolerance,” rehearsed the part under his direction. Lillian
rehearsed with Barthelmess, earning his gratitude.
“It was my first important picture,” Barthelmess said recently, “and I
was anxious to do it well. Lillian had had six or seven years’
experience, and she was the soul of patience.” Reflectively, he
added: “Lillian, Dorothy, and Mary Pickford are the three finest
technicians of the screen. I learned more from Lillian than from any
other person, except Griffith.”
The labor of production began. Lillian had been promised that she
could work short hours, with nine hours each night for sleep. But of
course, Griffith could not stick to that. He could not keep away from
the studio; nor could the others.
It was during this strenuous period that Lillian evolved what Griffith
calls “the one original bit of business that has been introduced into
the art of screen acting.” In his ghastly preparation for beating Lucy,
Battling Burrows pauses, and commands her to smile. Griffith and
Lillian had discussed how this could be done most effectively. Then,
in the midst of the scene, Lillian had an inspiration: Lifting her hand,
she spread her fingers and pushed up the corners of her mouth. The
effect was tremendous. “Do that again!” shouted Griffith, and they
repeated the scene until they got that heart-wringing bit of
technique to suit them. Griffith couldn’t get over it.
Another classic bit is where the cringing Lucy, to arrest her father’s
hand, looks up in an agony of pleading terror:
“Daddy, your shoes are dusty!” And flings herself forward to clean
them.
The closet scene was the climax—the terrible moment where Lucy’s
father is breaking in, to kill her. Nobody could rehearse that for her.
For three days and nights, she rehearsed it almost without sleep.
Small wonder, then, that the hysterical terror of the child’s face was
scarcely acting at all, but reality. It is said that when the scene was
“shot,” there was an assemblage of silent, listening people outside
the studio, awe-struck by Lillian’s screams. Griffith, throughout the
scene, sat staring, saying not a word. Her face, during the final
assault and struggle, became a veritable whirling medley of terror,
its flashing glimpses of agony beyond anything ever shown before or
since on the screen. When it was ended, Griffith was as white as
paper.
“Why didn’t you tell me you were going to do that?” he asked,
shakily.

LILLIAN GISH AND RICHARD BARTHELMESS

IN “BROKEN BLOSSOMS”
“What impressed us all,” writes Harry Carr (he had become Griffith’s
assistant), “was that all her reactions were those of a child. Her wild
terror in the closet scene—the finest example of emotional hysteria
in the history of the screen—was the terror of a child.” Carr further
remembers that she had been to several hospitals, to study hysteria,
and to inquire how one would be likely to die, from beating.

Griffith was not quite sure what to do with “Broken Blossoms.” He

believed it a great artistic success, but it was unusual, tragic: It
might win great and instant approval; it might be an utter failure.
Harry Carr and Arthur Ryal, the latter a well-known press agent,
urged him to take it to New York. Griffith agreed, and took
everybody with him. Morris Gest, who saw it at a private showing,
“went quite mad” over it: “Greatest picture the world has ever seen
—charge what you please for it. You can pack the house at any
cost.” They agreed that two and three dollars would be the proper
figure.
 XV

“I WORK SUCH LONG HOURS”

“Broken Blossoms” was first shown as the initial offering of Griffith’s

“repertory season” at the George M. Cohan Theatre, New York, May
13, 1919, before as distinguished an audience as had ever
assembled in a Broadway theatre. There was not a hitch anywhere.
The film was mechanically perfect; it was accompanied by special
haunting music. The Chinese scenes showed an effect of pale blue
lighting. Griffith, Lillian and Barthelmess were present. When the
picture ended, its success assured, Morris Gest darted back stage,
kicked over chairs, waved his arms, wept and laughed hysterically.
The Sun, next evening, called it the “most artistic photoplay yet
produced.” The Tribune said: “It is the most beautiful motion picture
we have ever seen, or ever expect to see. When it was over, we
wanted to rush up to everyone we met and cry: ‘Oh, don’t miss it,
don’t miss it!’” There was a great deal more in the same strain,
echoed by every critic. The elder Schildkraut said of it: “I have seen
every actress of Europe and America during the last half century.
Lillian Gish’s scene in the closet, where she is hiding in terror from
her brutal father, is the finest work I have ever witnessed.”

And Lillian: if she had been no more than widely popular before, she
was indubitably famous now. All day long, reporters and
photographers waited outside her rooms at the Commodore.
Invitations piled on her table. What a commotion!
“Life,” she wrote Nell, “is just one long photograph and interview.”
Was she all they said? “Queen of the Silent Drama”? “Duse and
Bernhardt of the Screen”? How could anyone be both? And why
must she be anybody but herself? Still, it was rather fun to have
them say those things; gratifying, too. Was she the little girl who
such a brief while ago had lost her little telescope bag, running for a
train, and slept on the station benches—tired, so tired?
She was tired, now. And there seemed no resting place. Almost
immediately back in Los Angeles, she was writing Nell:
“I work such long hours. Sometimes I don’t even see Mother for
days. Can you imagine us living in the same house and hardly seeing
one another?
“I must go to the studio, now, to have what I hope will be my last
interview for years. I certainly was not made to be famous, it is
beginning to get on my nerves.”
Somewhat later, she wrote:
Nell, we don’t belong to that set where they think they buy
happiness with dollars. I think that is why I didn’t like New
York, this time—though of course I shouldn’t say that, as they
were wonderful to me, both the press and the people....
The studio gave a party for Mr. Griffith, Saturday night; all the
stage-hands, electricians and working men, their wives and
families, and of course the actors, and such. It reminded me of
Massillon—was just such a party as we would have there—
bright studio, all decorated with lanterns, and music playing,
dancing, sandwiches, baked beans, ice-cream.... Madam (the
colored lady who cleans the place) sang and danced. Dick,
Dorothy and Bobby acted the fool—it was just a foolish party.
Her taste was for her friends, her work—the simple, daily round. Did
she sometimes stop to look back over the way she had come, and
along a royal road that stretched before? I think not often. She was
not a dreamer in that sense. When fan letters praised her to the
skies, when the newspapers labeled her “The World’s Darling,” she
was pleased, no doubt, but kept her balance; and sometimes, about
three in the morning, she found it no trouble to remember that “the
world’s darling” was just a frail, little figure, huddled in the dark,
trying to get to sleep.
 XVI

DIRECTOR LILLIAN

Griffith now took an important step. He removed himself and his

players from California to New York, really to Mamaroneck, on Long
Island Sound, where he had leased the old Flagler mansion and
grounds, and contracted for a studio, soon to be completed. The
mansion itself would serve for the executive offices, possibly for
occasional scenes of grandeur. Lillian and her mother made the
transcontinental journey with Harry Carr, now Griffith’s right-hand
man. Their train passed through Massillon, but at lightning speed.
Carr remembers that all the way across the country, Lillian looked
forward to this splendid moment, and though very late, refused to
go to bed until it had passed.
She was greatly excited, and kept trying to point out things to
me, though you couldn’t see anything but the ticket office. I
was impressed by how much of the child she had.
Lillian, with her mother and Dorothy, established themselves at the
Hotel Commodore, to be handy to the Grand Central Station, and
thus within thirty minutes of Mamaroneck. It was costly, and
sometimes they planned to have a farm near the studio: “five acres,
with pigs, cows, chickens, horses.” At least, it was something to
dream about, for Spring.
Griffith, having got his new studio about ready, conceived the notion
of making two pictures in Florida, neither of them with a part for
Lillian—a great disappointment, for Nell still lived on the Blue Dog
houseboat, at Miami.
However, there were compensations: Griffith wanted a picture made
in his absence, and agreed to let Lillian direct it. To direct had been
her ambition.
“I have changed my career,” she wrote Nell, “—am a director; yes,
am directing Dorothy’s next picture; will start Friday—have the story
all rehearsed, and will start taking, then.”
They had done the story themselves, she and Dorothy. It had been
partly inspired by a piece of “business” that Dorothy had found in a
comic magazine: A husband had complained to his wife that she
wore such dowdy clothes, no one would notice her on the street.
When they went out again, the wife walked a few steps ahead and
made faces at every man she met, with the result that all looked at
her, much interested.
“We decided to make a picture around that situation”—Lillian telling
the story—“and call it ‘She Made Him Behave.’ We were always
looking for picture possibilities—particularly for leading men. James
Rennie was at the moment in New York, disengaged, and was very
glad to get the part—his first picture. When I first proposed directing
a picture for Dorothy, Griffith said: ‘Why do you want to break up
your happy home?’ meaning that Dorothy and I would fall out over
it. We took the chance, and he went away and left us.”
“He went away and left us!” She was barely twenty-three. However
well-versed she was in the technique of picture-making, she had
never directed an entire picture. She was taking over a new and
untried studio; she was assuming the responsibility of spending what
was at least a modest fortune. Moreover, Griffith had never seen the
script of the picture, for with Harry Carr to help, they made many
incidents and scenes as they went along. The fact that Griffith was
content to go away and leave the venture in her hands, implies two
things: First, that his confidence in Lillian was large; second, that the
motion-picture business is conducted on less rigid lines than other
important enterprises. Both conclusions are warranted: Griffith did
know Lillian, and the motion-picture industry is conducted like no
other business on earth.
To begin with, it is not really a business at all—not merchandising.
You are not buying something which you are to sell again. You are
creating something—painting a canvas, doing it with human beings.
Your accessories are mechanical, but even here, the personal
element is a chief factor—the enthusiasm and good-will of the
photographers, the electricians, the stage-hands. Griffith believed
that Lillian could shape these to her taste. On the set, they were her
friends. She called them by their intimate studio names: “Slim,”
“Whitey,” “Joe,” and so on, and never left a set that she did not go
to each one, and in her grave, dignified little way, thank him for the
help he had been to her.
But let Lillian continue:
“I believed that no director had brought out Dorothy’s sweetness,
especially her comic sense. I believed I could do it. Of course, I had
been in pictures a number of years, and knew something about
directing, but nothing at all of practical mechanics. I knew nothing of
the measurements for a set, and was afraid the company would lose
respect for me if they found it out. I went home and paced the floor
of my room, measuring the number of feet, to try to get some idea
of what I wanted to talk about when I got back to the studio. As a
result, I ordered a room that was too big for the height of it. The
camera couldn’t get far enough away, without shooting over the
back wall. The camera-man, who had come from the war with a
case of shell-shock, would walk up and down and throw his hat on
the floor, and declare he couldn’t stand it. But he was really very
kind, and we learned something every day.
“But then the worst developed. Mr. Griffith had bought an engine to
transform alternating to direct current, and when we were ready to
shoot the picture, we didn’t have enough ‘juice’ for the lights. We
had to put a wire all the way from Mamaroneck, on poles, a costly
job. Still it wouldn’t do. We were promised the power, but we didn’t
get it. Sunday was my big day. Our picture had a wedding party, and
I could get extras from Mamaroneck, thirty or forty of them, at two
dollars a day; then, when we were ready, our lights failed us. It
would be six o’clock in the evening before we could do anything.
Perhaps not even then.”
Desperate as was the situation, she appears never to have lost her
nerve. In a letter from Harry Carr, always present, we gather that
her mechanical assistants were most concerned.
The kindness she had shown to the rough-necks came ripe.
They almost worked themselves to the bone for her. When
anything went wrong, they looked ready to faint in a body.
Lillian would sit hour after hour, alongside the camera, waiting
for the lights to come on. One day she sat there
uncomplainingly, from nine o’clock in the morning until eleven
at night, without a flicker of light.
Uncomplainingly, but what must have been going on inside. There
was a small studio in New Rochelle, the Fischer studio. It was a poor
thing, but at least there were lights. The Mamaroneck electric people
promised that if she would work there a few days, everything would
be all right when she got back. So they carted themselves and their
sets to New Rochelle, and began again.
“It was certainly a poor place,” Lillian remembered; “Damp, the
cellar full of water, no heat, and being late November and into
December, it was very cold. Often, the actors had to hold their
breath so it wouldn’t photograph. The next Sunday we all moved
back to Mamaroneck. The lights, they told us, were all right, but that
was a mistake. Back we went to the Fischer studio. In all, we moved
back and forth three times. I very nearly lost my mind.
“Of course, I was responsible, and spending money—oh, by the
thousands. Mr. Epping, our business manager, every night brought
me the items of what we had spent that day. I am not much at
figures, but I could read the total, which was not cheerful. But
everybody stood by me, the ‘boys,’ as we then called the electricians
and property men, especially. The actors, too—everybody.
“The last day’s work had to be done on Fifth Avenue, New York. It
happened to come on the day before Christmas, and I didn’t want to
postpone it. We engaged a bus, from which Dorothy had to look
down and see her ‘husband’ ride by in a cab with another woman.
To work on the street without a permit laid us open to arrest and
fine, with a good chance of spending Christmas in jail. To get a
permit would take time, which we could not afford. ‘Will you take a
chance?’ I asked those who were going to do the scene. They
agreed that they would, but things had a dubious look.
“Nevertheless, we got our bus and our taxicab, and started. I was on
the bus with the camera-man—George Hill, now a famous director—
Dorothy at the other end, the taxi just below. We had not gone a
block when an enormous policeman started over, to see what it was
all about. Then he took a good look at me and stopped, placed his
fingers at the corners of his mouth and ‘put up’ a smile.
“You remember the scene in ‘Broken Blossoms,’ where the brutal
father commands his terrified daughter to smile. I knew right away
the big policeman had seen it. He really smiled, then, and so did I.
‘Oh, it’s you, is it?’ he said. ‘Yes, and this is my sister, Dorothy, and
we’re trying to finish a picture before Christmas.’ ‘Go right on,’ he
said. Farther up the Avenue, another policeman called out: ‘What do
you think you’re doing up there?’ I put up the smile myself, that
time, hoping he had seen the picture. Evidently he had, for he
laughed and waved us along. I thought it safer not to break any new
ground, so we turned and made the circuit. We made it several
times, and were not troubled again, but helped.
“That night we knew we were done, and everybody was so happy,
and so sorry, weeping on one another’s shoulders. By the time Mr.
Griffith came home, our picture was nearly all cut, and ready. When
he saw and approved of it, I was very happy, but it had nearly killed
me.”
Lillian decided that directing was not for women. “Remodeling a
Husband,” as the picture was finally called, turned out a financial
success. She had spent fifty-eight thousand dollars, and twenty-eight
days, making it, but it netted a profit of a hundred and sixty
thousand dollars, and doubled Dorothy’s picture value. She was
proud of all that, but did not care to try it again. A little while ago
David Wark Griffith said:
“Lillian directed Dorothy in the best picture Dorothy ever made. I
knew she could do it, for whenever we were making a picture I
realized that she knew as much about it as I did—gave me valuable
ideas about lights, angles, color, and a hundred things. She had
brains, and used them, and she did not lose her head. You see what
confidence I had in her to go off to Florida and leave her to direct a
picture in a new studio, with all the problems of lights and sets, and
a thousand other things a director has to contend with. I know how
her lights failed on her, and all the complications that came up, and
how she handled them, and how, out of it, she got that fine picture.
One of the best. She didn’t tell me, but Carr did.”
 XVII

“WAY DOWN EAST”

Griffith now began work on his greatest melodrama. “Way Down

East” had been successful as a book and a play, and was precisely
the sort of thing he could do best. From William A. Brady, for a large
sum, he secured the picture rights, and plunged into production.
There were to be two great outdoor scenes: a blizzard, in which the
heroine, who has been inveigled into a mock marriage—and is,
therefore, under the New England code, fallen and outcast—is lost;
and the frozen river, which, blinded and desperate, she reaches, to
be carried to the falls on a cake of ice. There was very little that was
artificial about such scenes, in that day: the blizzard had to be a real
one, the ice, real ice—most of it, at any rate. Griffith began
rehearsing some scenes at Claridge’s Hotel, in New York, continuing
steadily for eight weeks; but all the time there was an order that in
case of a blizzard, night or day, all hands were to report at the
Mamaroneck studio. Lillian had taken Stanford White’s house on
Orienta Point. Reading the play, she knew it was going to be an
endurance test, and went into training for it. Cold baths, walks in the
cold against the wind, exercises ... she had faith in her body being
equal to any emergency, if prepared for it. In a magazine article, a
few years later, she wrote:
The memorable day of March 6th arrived, and with it a snow-
storm and a ninety-mile-an-hour gale. As I was living at
Mamaroneck, near the studio, I quickly reported, and was
made up as Anna Moore, ready but not eager for the work to
 be done. The scene to be taken was the one just after the
irate Squire Bartlett turns Anna out of the house into the
storm. Dazed and all but frozen, she wanders about through
the snow, and finally to the river.
The Griffith studio was on a point or arm well out in Long Island
Sound. The wind swept this narrow strip with great fury. The
cameras had their backs to the gale. She had to face it.
She had been out only a short time when her face became caked
with snow. Around her eyes this would melt—her lashes became
small icicles. Griffith wanted this, and brought the cameras up close.
Her lids were so heavy she could scarcely keep them open.
No need of spectacular “falls.” The difficulty was to keep her feet.
She was beaten back, flung about like a toy. Her face became drawn
and twisted, almost out of human semblance. When she could stand
no more, and was half-unconscious, they would pull her back to the
studio on a little sled and give her hot tea. A brief rest and back to
the gale. Griffith had invested a large sum in the picture, and she
must make good. One could not count on another blizzard that
season. Harry Carr writes:
That blizzard scene in “Way Down East” was real. It was taken
in the most God-awful blizzard I ever saw. Three men lay flat
to hold the legs of each camera. I went out four times, in
order to be a hero, but sneaked back suffocated and half dead.
Lillian stuck out there in front of the cameras. D. W. would ask
her if she could stand it, and she would nod. The icicles hung
from her lashes, and her face was blue. When the last shot
was made, they had to carry her to the studio.
A week or two later, they were at White River Junction. Vermont, for
the ice scenes. Griffith took a good many of his company, and they
put up at an old-fashioned hotel, a place of hospitality and good
food.
White River Junction is at the confluence of the White and the
Connecticut rivers. There is no fall there, but the current moves at
the rate of six miles an hour, and the water is deep. The ice was
from twelve to sixteen inches thick, and a good-sized piece of it
made a fairly safe craft, but it was wet and slippery, and very cold. It
was frozen solid when they arrived; had to be sawed and dynamited,
to get pieces for the floating scene. Lillian conceived the idea of
letting her hand and hair drag in the water. It was effective, but her
hand became frosted; the chances of pneumonia increased. To the
writer, recently, Richard Barthelmess, who had the star part opposite
Lillian, said:
“Not once, but twenty times a day, for two weeks, Lillian floated
down on a cake of ice, and I made my way to her, stepping from
one cake to another, to rescue her. I had on a heavy fur coat, and if
I had slipped, or if one of the cakes had cracked and let me through,
my chances would not have been good. As for Lillian, why she did
not get pneumonia, I still can’t understand. She has a wonderful
constitution. Before we started, Griffith had us insured against
accident, and sickness. Lillian, frail as she looked, was the only one
of the company who passed one hundred percent perfect—condition
and health.
“No accidents happened: The story that I missed a signal and did
not reach Lillian in time, and that she came near going over the falls,
would indicate that she made the float on the ice-cake but once. As
I say, she made it numberless times, and there were no falls. Lillian
was never nervous, and never afraid. I don’t think either of us
thought of anything serious happening, though when I was carrying
her, stepping from one ice-cake to another, we might easily have
slipped in. I would not make that picture again for any money that a
producer would be willing to pay for it.”
 “ANNA MOORE”

At the end of the ice scene, there is an instant when the cake, at the
brink of a fall, seems to start over, just as Barthelmess, carrying
Lillian, steps from it to another, and another, half slipping in before
he reaches the bank.
The critical moment at the brink of the fall was made in summer-
time, at Winchell Smith’s farm, near Farmington, Connecticut. The
ice-cakes here were painted blocks of wood, or boxes, and were
attached to piano wire. There was a real fall of fifteen feet at this
place, and once, a carpenter went over and was considerably
damaged. In the picture, as shown, Niagara was blended into this
fall, with startling effect.
Barthelmess remembers that Lillian kept mostly to herself. She took
her work very seriously—too much so, in the opinion of her
associates. But once there was a barn-dance at the hotel, in which
she joined; and once she and Barthelmess drove over to Dartmouth
College, not far distant, with Mr. and Mrs. Elmer Clifton, to a dinner
given them by Barthelmess’s fraternity. After dinner, they heard a
great tramp, tramp, and someone said to Lillian: “It’s the college
boys, coming to kidnap you.” They sometimes did such things, for a
lark.
But they only wanted to pay their respects. They gathered outside
the window, which Mr. Clifton opened, and both Lillian and
Barthelmess spoke to them through it.
The summer scenes of “Way Down East” were made at Farmington
and at the Mamaroneck studio. Griffith had selected a fine cast,
among them Lowell Sherman, the villain; Burr McIntosh, as Squire
Bartlett; Kate Bruce, his wife; Mary Hay, their niece; and Vivia
Ogden, the village gossip. The scene where Squire Bartlett drives
Anna Moore from his home, was realistic in its harshness, and poor
Burr McIntosh, a sweet soul who long before had played Taffy in
“Trilby,” and who loved Lillian dearly, could never get over having
been obliged to turn her out into the storm. Often, in after years, he
begged her to forgive him.

A few minor incidents, connected with the making of “Way Down

East,” may be recalled: Griffith had spent a great sum of money for
the rights—$275,000, it is said—and was spending a great many
more thousands producing it. He was naturally on a good deal of a
tension. All were working to the limit of their strength, but they
could not hold the pitch indefinitely. When Barthelmess, who is
short, had to stand on a two-inch piece of board, to cope on terms
of equality with Lowell Sherman, Sherman, who was a trained actor
of the stage, could, and did, make invisible side remarks which made
Barthelmess laugh. Whereupon, Griffith raged at the waste of time
and film, and everybody was sorry, the villain penitent. “Stop that
laughing! Turn around and face the camera,” were sharp
admonitions perpetuated by a right-about-face in the picture to this
day.
It was harsh in form, rather than by intention. They did not resent
these scoldings. They believed in Griffith, knew something of his
problems, wanted him to make good.
There was one scene during which Griffith had no word to offer—the
scene in which Anna Moore (Lillian) baptizes her dying child. Harry
Carr writes:
The only time I ever saw a stage-hand cry was in the baptism
scene in “Way Down East.” It was made in a boxed-off corner,
with only D. W., Lillian, the camera-man, a stage-hand and
myself there. Everybody cried. It never made the same
impression on the screen, because it was necessary to
interrupt the action with the sub-titles. You saw her dripping
the water on the baby’s head; then a sub-title flashed on,
saying: “In the Name of the Father, etc.,” and the spell was
broken.
Carr, Lillian and Griffith would sit far into the night, watching rushes
from the scenes made the day before. It was a drowsy occupation—
so many of the same thing—and after a day in the open, it was not
surprising that Carr should nod. Across a misty plain of sleep,
Griffith’s voice would come to him: “Which shot do you like best,
Carr?”
It is noticeable in the baptism scene, that Lillian sits relaxed, her
knees apart; that when she leaves the house, she walks with a
dragging step, as one who had recently experienced the struggle
and agonies of child-birth. It has been suggested that she had
visited a maternity hospital for these details. When asked, she said:
“No, I did not do that. There was an old woman connected with the
studio, who had borne a number of children. She told me all that I
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