The seventh edition of this field-leading textbook provides an accessible and rigorous presentation of major theories of persuasion and their applications to a variety of real-world contexts. In addition to presenting established theories and models, this text encourages students to develop and apply general conclusions about persuasion in real-world settings. Along the way, students are introduced to the practice of social influence in an array of contexts (e.g., advertising, marketing, politics, interpersonal relationships, social media, groups) and across a variety of topics (e.g., credibility, personality, deception, motivational appeals, visual persuasion). The new edition features expanded treatment of digital and social media; up-to-date research on theory and practice; an increased number of international cases; and new and expanded discussions of topics such as online influencers, disinformation and 'fake news,' deepfakes, message framing, normative influence, stigmatized language, and inoculation theory. This is the ideal textbook for courses on persuasion in communication, psychology, advertising, and marketing programs. Instructors can also use the book's downloadable test bank, instructor's manual, and PowerPoint slides in preparing course material.

100 lessons from one of Britain's most successful businessmen You must know businesses or leaders that seem to have it all - loyalty and success in equal measure. Do you aspire to the same, but worry that 'nice guys finish last'? In Nice Is Not a Biscuit, Peter Mead reveals the secrets of his success, and distils a lifetime's thought about the right way to do business. His 100 entertaining lessons include: How to be a boss and a human being at the same time Why trust in your brand is so precious How to gain a share of both heads and hearts Nice is not patting people on the head. It's every person respecting every other person. Do that and you create a great business. It's a credo for life.

Between the advent of print advertising and the dawn of radio came cinema ads. These ads, aimed at a captive theater audience, became a symbol of the developing binary between upper-class film consumption and more consumerist media. In Profit Margins, Jeremy Groskopf examines how the ad industry jockeyed for direct advertisement space in American motion pictures. In fact, advertisers, who recognized the import of film audiences, fought exhibitors over what audiences expected in a theater outing. Looking back at these debates in four case studies, Groskopf reveals that advertising became a marker of class distinctions in the cinema experience as the film industry pushed out advertisers in order to create a space free of ads. By restricting advertising, especially during the rise of high-class, palatial theaters, the film industry continued its ongoing effort to ascend the cultural hierarchy of the arts. An important read for film studies and the history of marketing, Profit Margins exposes the fascinating truth surrounding the invention of cinema advertising techniques and the resulting rhetoric of class division.