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Int. J. , Vol. x, No. x, xxxx 1 Neo-Creative Advertising: from emotive narrative to electronic entertainment Paloma García Department of Advertising, CEADE / Prifysgol Cymru University of Wales Avda. Leonardo Da Vinci s/n, Seville, Spain E-mail: [email protected] Abstract: The modern mind needs to be fascinated. This simple and conclusive statement made by Edgard M. Hallowell (Hallowell, 2006) as part of his research on cognitive and emotional health would lead us to think, by antithesis, about another reality that would be rather more disturbing: the current constant desire in individuals to alter the mental state. Nowadays, possibly more than ever before, we could talk about a social state created by intolerance to boredom, which undoubtedly opens up new and interesting research studies for psychology, communication and advertising. The objective of this study is to reflect upon how advertising is operating in this scenario and delve into the relationships between creative advertising, entertainment and emotion. Keywords: Entertainment, new technologies, information society, emotion, attention, insight, advertainment, neo-creative advertising. Reference to this paper should be made as follows: García Candón, P. (2009) ‘Neo-Creative Advertising: from emotive narrative to electronic entertainment, Int. J. Arts and Technology, Vol. X, No. X, pp.XX–XX. Biographical note: Paloma García is a practicing creative and advertising copywriter, with expertise in strategic communication. She has worked for ten years in advertising and marketing communications agencies in Spain, including McCann Erickson as creative director, also winning several creative awards. She is a certified member of the Creative Club in Spain (CdeC) and last two year, has been in academic research as professor of advertising and creativity at university, publishing in area of brand identity, creativity and technological convergence. She is also interested in scientific research for creativity. Copyright © 200x Inderscience Enterprises Ltd. P. García 1 Introduction Creative advertising is linked to the consumer society in that it represents the way of forming the messages that the producers of goods and services want to reach their consumers. That’s why, if the behavioural norms of consumers change and new social factors come into play or change within the wheel of consumption, creative advertising feeds off all of them to continue creating contents that catch the consumer and do not leave him/her indifferent. Therefore, to approach the new creative advertising, it is necessary to attend to the most significant and profound phenomena occurring in society, making it almost imperative to reflect on the new culture of entertainment. We shall begin with the hypothesis that the current entertainment consumption could be dealt with in the same way as any commercial product, in that it is orientated towards individual consumption by means of technological objects. 2 A new culture of entertainment In the last few years, a series of sociological, psychological and technological factors have been coming together is such a way that they have profiled a consumer as needing a great amount of stimulation. A person who intensely seeks discourses that contribute new emotions and help him/her maintain the levels of activation that today have become necessary to maintain themselves as competitive individuals. 2.1 Psychosocial factors Historically, the media have filled three social functions: offering information, entertaining, and forming. In the work Sociology by Anthony Giddens we find an identification of the media as a means of access to the consciousness (Giddens, 1994), but in the last decade there have been many indicators which establish that the media have evolved in their contents, since the interest in personal entertainment of their audiences has surpassed the interest in information. In other words, the access to today’s media appears to no longer satisfy a need for information, since we can, for example, subscribe by sms to current affairs, but rather a prevailing need for distraction. Proof of this is the growing controversy over the media and the quantity and quality of the contents of entertainment offered by televisions whose object is to broadcast to majority audiences. The factors associated with this growing need of entertainment could revolve around several realities, such as the deterioration of the Neo-Creative Advertising: from emotive narrative to electronic entertainment conditions of existence typical of the feeling of well-being and the diffusion of a new mode of development that configures the entire productive model based on information and knowledge. Important sociologists such as Barman, Luham and Beck have been advancing a new conscience in individual contemporaries of insecurity about the future; that is, insecurity as a vital experience in the postmodern present. The syndrome of loss of control that leads to worry (Beck, 1992; 1996; Luhmann, 1996) tells of the loss of confidence in science and progress and in the utopia of the economic well-being with no limits. Looking at it this way, the term Risk Society is coined to define the current historical and social moment. What characterizes this so-called Risk Society is the generalized state of uncertainty and discontent. Its consequence for individuals, in the words of Buxó (2008), is that “now the family faces problems with no solutions and this vulnerability produces among its members an ontological insecurity that makes anxiety a basic component of lifestyle”. It would not seem reckless to think, therefore, that if anxiety is a factor derived from the postmodern lifestyle, the necessity of finding experiences that manage to calm it or avoid it will be present with the same force in our society. In relation to this point of view and as a consequence of this theory, Alonso (2009) tells us about “the increase in leisure time consumption (trips, entertainment industry, dissipative shopping) in order to live rapidly in the eternal present created by a culture of oversized and triumphant enjoyment, product of the substantial weakening of the possibilities of long-term stability associated with deregulation” that characterizes the so-called Risk Society. As for the interrelating theory of Kemper, reinforcing the earlier theory, it holds that the majority of human emotions is nourished and makes sense within the framework of our social relations; that is, the nature of emotions is conditioned by the nature of the social situation in which people feel. Nowadays we live in vertiginous times, where anxiety, this generalized discontent, would not seem so painful if we didn’t depend on waiting to interact with another individual in order to be entertained. This is where the commodification of moods comes into play: just as we buy food in a supermarket or shop without depending on others for its consumption, nowadays we feel a strong need to acquire and possess “objects” that give us entertainment and emotion in an individual manner. Therefore, it’s not a matter of a social necessity of affiliation or a phatic dimension of contact relating to entertainment, but rather a new necessity of finding experiences that are immediately available in some physical place, completely prepared and ready at our command, rapidly accessible without which we would feel a true deficit. P. García It is true that in other times there have been greater risks, anxieties of extreme magnitude related even to mere survival, but never before has our society had access to so much information, so much communication, so many objects of entertainment and in such an immediate form, that it appears to have changed individuals and their human relations several times. These circumstances raise, without a doubt, a new philosophy of understanding work, forms of production, sex or social relations and consequently, creative advertising. 2.2 Technological factors The different economic agents that operate in our system, amongst them businesses and their brands, coexist with these phenomena and offer their products, adopting them to this new voracity of individualism and immediacy. It’s a part of the entertainment market: the new electronic entertainment, quite a post-industrial economy sustained by a very potent technological component set in the production, treatment and circulation of information and data. Internet, the mobile phone, videogames, consoles, music and video players and other electronic devices form a part of this. All are accessible instantly, without waiting, without needing “another” to interact. All provide emotions that alter our emotional state, like Prozac pills, which remove us from subjective worries and anxieties that may arise as postmodern individuals when we are not busy. This progressive substitution of leisure time, which we designate to entertainment, for electronic time, which is designated to activities related only to technology, runs parallel to a profound impact on society and an incipient destruction of the identity of the individual as social beings of direct contact. Following a survey done by the Pfizer Foundation, an article was recently published in a spanish magazine on the social networks in internet. Several experts were consulted on the subject, amongst them a scholar and researcher that claims to have proven that “to the segmental population of 12- to 20-year-olds, reality seems more boring and less varied than virtual reality”. 70% of them access the web daily and surf alone. (Jiménez, 2009) As for the European Commission, it points out that in the Green Book: Living and Working in the Information Society: priority for people (1996) it states: “In the last twenty years we have seen a revolution in communication and information technologies whose reach is much wider than the majority of us could have imagined.(…) This evolution is transforming work, the structures of grading and organization in Neo-Creative Advertising: from emotive narrative to electronic entertainment businesses, which introduces a fundamental change in the job market and society in general.” The consequence of all these facts is that nowadays we can have a certain feeling that sometimes individuals may be more attached to objects associated with electronic entertainment than to people, not only because these have become an important part of our well-being, but because they are understood to be a social symbol, like many of the products and brands that have been offered throughout our economic history. Simmel has already established a difference between the use of an object and the possession of the same as elements that are different but complementary: “The economic form of worth fluctuates between two limits: on one hand the desire of the object, which is tied to the feeling of satisfaction, possession and anticipated enjoyment; and on the other, the same enjoyment which, in the strict sense of the word, does not constitute any economic act (…) In this way, every object has two functions: one, to be used, and the other, to be possessed” (Simmel, 1977). This differentiation shows that objects have a worth that goes beyond the function for which they were created, since the possession of these imply a social symbol that transmits cultural significance. The objects associated with electronic entertainment transmit the message of “being integrated”, ultimately, forming a “current and connected” part of what is also called the Information Society, which makes it practically essential for the “emotional survival” of the present-day individual. This emotional survival is conditioned in part by social acceptance which paradoxically depends on the capacity of the individualism of the individual. All in all, from the creative advertiser’s point of view, we gather that entertainment may be consumed in a similar way as any commercial product in so far as it is orientated towards individual consumption by means of technological objects. “The new portable and ultra-light objects (…) lose their fixed or familiar character and become authentic personal prostheses of a consumer that is more and more independent” (Attali, 1999). 3 The displacement of entertainment and the new consumer: According to what we have seen in the earlier section, we may ascertain that there exists a displacement of entertainment from social spaces, with direct interaction, to individual spaces, with interaction on the web. Several authors specialized in consumption consider that there formerly existed within the culture a set of elements of festive-carnival tradition (Hetherington, 1992) made by adapting a recreational aspect to shopping places. From this perspective, malls, shopping centres and large P. García supermarkets form a part of the recreational-festive component inherent in the act of shopping. We do not believe that this form of entertainment associated with shopping has substantially changed, but there may be a loss of importance for social relations and individual enjoyment, since electronic entertainment is more comfortable, accessible and on occasion cheaper. Through internet and its multiple possibilities (mail, chats, social webs…) and video consoles we can continue to be “connected” to other users of the web, consuming entertainment, without sharing a physical and social environment and satisfying the same necessity of leisure time and on occasion, direct buying. The development of technology has caused a true change in consumer patterns and the way the individual faces advertising. In the same way that entertainment has somewhat displaced public places with private ones, within the home this has displaced the traditional television with the new technological screens, originating a whirlwind of uncertainty for brands and their advertising. The revolution of internet and the web 2.0 has caused the consumer to discover a different access to information and entertainment where he can “escape” from the impact of advertising and this has tempted him to leave off watching television as the main form of domestic entertainment. The rules of the consumption of new technologies have substantially changed the profile of the consumer regarding information. From the passive consumer, typical of earlier stages of interactivity, we have passed to the self-productive consumer, active and interconnected, the prosumer (Toffler, 1980). “Today, the consumer wants to be continually connected, has a multitasking behaviour by sharing his time between different mediums and frequently simultaneously. This same consumer, on the other hand, tends to personalize his pattern of consumption, desegregating the contents to select only what interests him, creating his own programs by eliminating or regrouping contents, and chooses where and when to consume” (Linares, 2007) We can imagine the important consequences that this on-demand consumerism has for brands, which have enjoyed the model of content interruption for decades. If before, the consumer society was characterized by a dimension of social integration, the new consumers with much more individualized patterns blur the homogeneous consumer segments and force creative advertising to consider our messages in a much more generic and more complex form, with many more supports, abandoning old work patterns. 4 The twilight of the emotive narration For years, so-called “emotional advertising” has been talked about as a creative style that has without a doubt reached our day. This tendency Neo-Creative Advertising: from emotive narrative to electronic entertainment arose from the basis that it was no longer necessary to give rational arguments for consumption, because consumption had become part of the cultural idiosyncrasy; that is, the acceleration of consumption made rational justification almost useless and emotional differentiation began to be talked about as a key competitive factor. This creative treatment was characterized as presenting or suggesting situations or affective behaviours with those that the receptor tended to identify with or to pull the strings of diverse emotions (García, M. 2008). Under this light, brands began to go beyond the goods that they produced and introduced codes that created a symbolic world, their own mythology around themselves. It was part of the brand image philosophy pushed by Ogilvy that replaced the unique selling proposition. Nevertheless, we believe that brand differentiation through emotive messages as part of a competitive advantage eventually stopped being a truly strategic factor when the majority of the competitive brands adopted this form of communication. With the arrival of the new technologies, virtualization becomes progressive in the individual sphere, social relations and in entertainment, eroding as well this type of emotional advertising. This has changed structurally, as perceptions, attitudes and behaviour have changed in a consumer who is harder and harder to reach through massive advertising impacts. It’s true that work is still being done in this way when we find our target in conventional communication media, especially in advertising campaigns orientated towards television, but its use in pieces destined for different technological supports or new targets are undoubtedly infected by another creative philosophy. The same rules that work in conventional media do not work where feed-back is possible. As an example, we shall touch briefly on the study published by the investigative unit of McCann Ericsson (MERIC, 1995) which presented a new consumer profile that had grown in a digital world. The characteristics of this new profile present, from a pragmatic perspective, two new precedents when it comes to working in creative advertising. On the one hand, according to the published work, these new consumers possessed an extremely high level of advertising and marketing languages and techniques, which requires a change in the way advertising contents have traditionally been generated to make them continue to be attractive. On the other hand, a great need of individuality became obvious, that is, the creation of messages directed to a large public began, therefore, to give way to others much more individualized. For creative advertising, the news this type of investigation brought at the end of the nineties was that emotive advertising was no longer effective in the new media. This was already well-known, much imitated and not very personalizable. The good news, nonetheless, was that in order to interest the target in our ideas, it was no longer necessary P. García to create emotions where none existed. In this sense, I agree with the opinion that in communication, we tend to over-use any concept or idea that has emotional force. In the words of the Heath brothers (Heath, 2007): “The use of emotional associations is an arms race; if our adversary manufactures a missile, we have to manufacture two. If he is unique, I have to be super-unique.” From the creative profession’s point of view, this represents in itself a bother and sometimes unjustified limitation. We can gather, from this, that neo-creative advertising will originate when we give up working exclusively from the point of view of emotivity and embrace the terms of utility and experience that emerge from the new media. In fact, the basic principle of the so-called “new advertising” (García C., 2007) is defined as that which quits pursuing the consumer, making him be the one to come to the brand; that is, to the exciting experiences created in that same universe. On this point we believe it is important to clarify that the twilight of emotive advertising does not imply that creativity no longer continues to work with emotions, but rather in a much wider, freer and above all useful sense for the consumer. The fundamental difference is that one no longer seeks to create emotions that simply move us, but rather ones that stimulate us; that is, those that affect us in a much wider sense: entertaining us, increasing our reality, feeling close, not merely aspirational… Ultimately, contributing something valuable so we wish to invest our time no longer in “messages” but in “contents” contributed by brands. Contents contributed by brands for the entertainment of their consumers. This focus has generated a new discipline in which some agencies try to specialize: the advertaitment, a hybrid concept between the term advertisement and entertainment. 5 Attention as a scarce commodity We all know that attention is a necessary condition for the process of communication to take place. On the other hand, one must also take into account “the purposeful character of all communication; that is, the acceptance or rejection on the part of the receptor of the specific sense of the communication, which might or might not constitute a premise for his conduct” (Luhmann, 1995). Translated into terms of creative advertising, in order for this process of communication to take place effectively, the creator must on one hand capture the attention and on the other communicate or offer a content relevant to the consumer. Until now, in the traditional media, we gather that attention may “be bought”. The central offices and the media planners offer brands GRPs (Gross Rating Points), which seem to assure not only coverage but also frequency of advertising impacts. However, the Information Society, characterized by the existence of a very ample communicative offer, Neo-Creative Advertising: from emotive narrative to electronic entertainment converts attention into a very scarce commodity, vied for from advertising to the powers that be. For the advertising market, this also implies a totally new perspective, and for creative advertising, an added difficulty to a complex profession. The capacity of capturing attention has become one of the most required possessions for marketing, which makes it not surprising that brands invest thousands of millions in learning to capture it, for as the habits of consumers have changed, so too has attention changed place. If we maintain the hypothesis that the spectator has transferred to the new technological screens, we must realize that with these, especially in internet, the consumer is not passively exposed to them, but looks specifically for the contents that interest him. Media planners have been working for some time with segmentation techniques of behavioural targeting, capable of creating adhoc populations for brands. This would also affect the creative profession. Numerous authors coincide in pointing out that currently capturing attention in on-line media is by one-to-one communication; that is, with the implantation of electronic supports, creative strategy must generate messages that are much more individualized and personalizable. To a certain extent, these facts imply that the creative must yield the protagonism of the product to the user, especially keeping in mind his behaviour in internet, what he enjoys doing, what he enjoys watching. If not, attention in an on-demand medium would be very difficult to achieve and the brand would be far from emitting contents that may “affect” web users. Using this approach, concentrating on the user, we can glimpse the key points to capturing the attention of new consumers. On one hand, as we have seen earlier, concentrating on the entertainment of the new consumers, being providers of leisure time under the strategies of recreational marketing that reinforce the symbolic universe and the brand values. On the other hand, continuing with the formats of interactive publicity spots, but using a different methodology. In this sense, a recent european study (EIAA, European Association of Interactive Publicity, 2009) published that 54% of those surveyed were in favour of or neutral to only regarding on-line advertising based on their own buying habits on internet. In Spain, internet users appraised online advertising according to the following features: being entertaining being good, that is, creatively interesting relating to their own interests being able to click on the spot not interrupting their surfing P. García All in all, capturing attention nowadays with on-line advertising requires an effort to learn the new languages of a much more specific target that behaves very differently than the traditional one, where interruptions or impersonal contents are more bothersome than ever, which greatly affects the effectiveness of the message. If we manage to capture the attention in a significant manner, the reward is great. Aside from the advantages of reporting and the direct sale, the spontaneous broadcasting of advertising implies really surprising advantages over off-line advertising. It has never been so easy to convert a user into a prescriber. The enormous potential of the multiplying effect that internet offers us is well worth a change in creative planning. 6 Final conclusions on neo-creative advertising All the above-mentioned factors have either directly or indirectly affected the creative profession. The rules have changed so much that nowadays we can talk about new advertising or neo-creative as disciplines that are substantially different from their predecessors. From a reflexion on the aspects mentioned in the article, we can establish four key aspects to define this neo-creativity: 1. Converse vs. announce: The neo-creative must know that the grammar of the new communication media is different from the grammar of conventional media. This is perhaps the most evident consequence of all that we have been dealing with, and it represents a point of view that affects both the creative strategy and the message content. If nowadays we wish to achieve the communication of a message to our target in an effective manner, we must explore the way of entertainment, feedback and sincere dialogue as a differentiating strategy within the universe of the new technologies. We may remember here the famous phrase of the copywriter Neil French, which reaches a special significance in the present: “People hate advertising, so I try not to write advertising” (D&AD, 1995a). This circumstance requires that the creative have wide knowledge of his public, forgetting purely informative content and concentrating on messages that generate a mutual benefit, a personal dialogue, since consumer and publicist meet at the same level of hierarchy. In this sense, the creative directors Steve Hayden and Peter Hirshberg recently published The Manifest on Monday Morning to promote the so-called conversational marketing. Their theory may be summarized in the title at the head of the study: “Conversations are about talking, not announcing. They’re about Neo-Creative Advertising: from emotive narrative to electronic entertainment listening, not surveying. They’re about paying attention, not getting attention. ‘Driving’ is for cars and cattle, not conversation.” The question underlying this approach is, logically, the way this conversation should be held with consumers. To answer this, the abovementioned study establishes the following characteristics that this dialogue must fulfil so that live brands participate in market conversations: Real. Conversational marketing is carried out by human beings, writing and speaking in their own voices, for themselves—not just for their employers. Constant. Conversational marketing’s heartbeat is the human one, not some media schedule. Brands need to work incessantly to be understood within the context of the market conversation and to earn and keep the respect of their conversational partners. Genuinely interested. Intellectual engagement can’t be faked—at least for long. Current interest is what keeps conversations going, and it’s the key to sustained brand presence. Intent on learning. Every participant who stays with the conversation learns. Humans are distinguished by their unlimited capacity to learn. This should be no less true of brands than it is of individuals. Humble. The term "branding" was born in the cattle industry and borrowed by advertising and mass media at the height of the Industrial Age. In those days the power to inform was concentrated in the hands of a few giant companies. Now it's in everybody's hands. Attentive. In the old days, brands wanted everybody else to pay attention to them. Now brands need to pay attention to everybody else. Personal. No individual outsources their conversation or their education. This is no less true of brands than of people. Because brands today are people. Smart brands reward individual employees for engaging in market conversations. 2. Utility vs. emotivity P. García We have seen that in the current technological context, emotive narration created around brands has lost part of its charm. From one simple observation of the western advertising market we can observe how current advertising tends towards being natural. Brands, bit by bit, have moved away from idealized worlds, in part because consumers identify more with spots that reflect daily reality. So it comes down to looking for complicity with the consumer, finding an insight into what connects us with him. But, what insights are those of the new consumer? This search is not easy, nor intuitive, and is usually based on projective research techniques, amongst them, to give us an idea, the family brand and paper doll techniques (Hernandez, 2003). In the family brand technique, for example, the existing relationship between brands is looked for by representing them personified in a family context. As for paper doll, it is a recreation of the identification techniques that facilitate the job of connection, allowing the researched individual to physically manipulate a drawing in accordance to the image the brand consumer has of the prototype. This way of working is common in the brand creation process and provides material the creative can work with in advertising in terms of the brand values. Nevertheless, with all that we have said, we can gather that, as several experts indicate, the current brand market no longer competes with other brands, but rather with all the possibilities of leisure time that exist in the world. The revolutionary part of this approach is that it brings the consumer closer in a much broader psychosocial view, in which he is configured as needing stimulation and entertainment where contact is only possible if we offer something in which he wants to invest his time, something “useful”. That is, searching for complicity is not based so much on emotions that provoke thinking “I felt this” as much as “this is fun”. However, we must not conform ourselves with only this vision of fun for fun’s sake. Leisure time and the content that brands generate for entertainment must be integrated into commercial strategies, although perhaps more in the short run, and respond to brand objectives that are transferred to the consumer. This is not always easy, for it involves maintaining a delicate balance between solidity and immutability of brand values and the agility and rise of what is today considered entertainment, and tomorrow will not be. 3. Brand vs. trends Finding coherency between brand values and efficient actions in internet means the new creative must have very concrete skills. This perhaps has more to do with experience and intuition than with imagination or creative talent in order to avoid weakening a brand with a passing trend or phenomena on internet that we want to join. It also implies greater courage Neo-Creative Advertising: from emotive narrative to electronic entertainment on the part of agencies at the moment of saying “no” to certain passing phenomena that may result in purely pyrotechnic marketing. Aaker states that “strong brands usually move beyond product attributes to a brand identity based upon a brand personality and a relationship with customers”. Thus, if we consider a brand as a person, with values, a way of understanding life and a way of talking and being in the world, it would appear logical to think that he would have one behaviour and not another, he would choose one trend and not another, and, as with what happens to real individuals, there would be people who they do not want to talk to because they have nothing to do with them. This involves a great effort on the part of the announcer and a tremendous consulting job on the part of the agencies regarding their clients to make them understand the phenomena, the format and the actions suitable to each brand. We stand before a profession “in complete metamorphosis, which is evolving from a vision centred almost exclusively on the relationship with the media and advertising to another much more complex, orientated towards the management of the intrinsic value of companies” (Cervera, 2004). When the time comes to transfer this intangible value of electronic entertainment, we consider it important to name the three important principles of branding on-line mentioned in the book Advertising on-line now by Lars Hemming Jorgensen (2008): Promote frequency (generate traffic): you should start by knowing who you mean to interact with and control the narrative flow, as well as create a work capable of encouraging conversational themes that are susceptible to being spread on the web. Mouth-tomouth is a very strong promotional channel. In this sense, it must be mentioned that the importance of P2P interchanges is such that in Spain it involves 80% of total IP traffic (study). Promote brand conversation: if we obtain a lot of traffic on a web page without doing anything else, we will increase the billing but in no way the conversion to a brand in terms of fidelity. The first step must be to create certain profiles which may be identified by surfing behaviour and, in this way, make unique messages reach him in an updated and original form in order to fortify the relationship with the brand. Promote internal alignment: improve visibility and solidity of the brand by counting on ideas that we agree on in terms of brand coherency. P. García 4. Planning vs. creativity More than ever nowadays creative advertising has a great ally: planning. Traditionally, the bigger the media, the more creativity was needed to attract attention; however, now there are many more specialized media and a good planning can be used to make our message much more relevant. However, this is a two-edged sword for the creative profession, for if our objectives are eminently quantitative and not a strengthening of the brand, the effectiveness of the message does not depend on the creativity, but rather on the relevancy of the message within the content. I believe that is something creatives must be able to assume: creativity, per se, will not always be the protagonist of the effectiveness if our message is inserted into a micro-specialized media. What we creatives can demand is that the strategy be defined by a correct micro-segmentation that especially includes psychographic, not demographic variables. Variables whose particularities we can know in order to establish a communication channel with a code that is close to the lifestyle and the consuming patterns of our target. We must remember that we no longer create for a homogenous group, but rather a generation of individuals. In this sense, planning and creativity must more than ever work together and the creatives, beyond thinking to converse, must be able to integrate the strategic part without worrying about doing work not related to their profession. 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