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Advertising
Outline
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Helen:
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Sonja:
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What is advertising?
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The creative strategy
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Emotion in advertising
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Source credibility
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Shockvertising
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Framing the message and
importance of user- generated
content
Ella:
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Advertising Models
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The strong and weak
theories of advertising
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Cuong:
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Traditional media
3 main elements of an Advertising plan
Message
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what is to be said?
Medium
- how the message will be conveyed?
Timing
- manner in which the message will be carried?
What is advertising?
Advertising is any paid form of non-personal
presentation and communication of ideas, goods
or services by an identified sponsor.
Its realistic task is not to change what people think
about your brand, which is always hard to achieve,
but to have them think about your brand.
Kotler et al. 2009
Pervasiveness
To repeat a message many times
Positive about the seller’s size, power and success, in a large-scale
Amplified expressiveness
To dramatise the company and its products/services
Through artful use of print, sound and colour
Impersonality
The audience does not feel obligated to pay attention or respond
Advertising is a monologue in front of the audience
Kotler et al. 2009
Advertising is on its deathbed
and it will not survive long, having contracted a fatal case of new technology.
In consumer markets, 21st Century Marketing, via the new media, will have radically
transformed retailing as well as advertising.
Advertising's heir will be customer communications, a broader and more flexible topic
which will be able to incorporate the dramatic changes introduced by the information
superhighway.
Roland T. Rust and Richard W. Oliver, 1994
Emotion in advertising
"At the constitutional level where we work,
90% of any decision
is emotional. The rational part of us supplies the reasons for
supporting our predilections.”
----Justice William O. Douglas
Rational or emotional?
People buy on emotion then justify their decision with facts.
Rational Appeals
Listing Product Benefits
– To underscore consumer benefits rather than
product features.
Convincing Proof
– "Seeing is believing."
– Ads take the form of a product demonstration.
Emotional Appeals
The primal tongue/mind
It seeks symbolic relationships.
It communicates through:
- Design and color
- Motion and stagecraft
- Music and tonality
It's nice to feel that a company that I’ve been repping for so long went out of its
way to stand behind marriage equality.
Tynan Sinks Jan 14, 2015
The cultural challenge
A case study of FIAT
FIAT released an ad in Italy in which actor Richard Gere drives a Lancia
Delta from Hollywood to Tibet.
Gere is hated in China for being an outspoken supporter of the Dalai Lama
There was a huge online uproar on Chinese message boards commenting
that they would never buy a FIAT car.
Shockvertising
Shock advertising is generally regarded as one that
deliberately, rather than inadvertently, startles and offends its
audience’.
Venkat and Abi-Hanna (1995)
To shock or not to shock?
Pros:
Cons:
Catch public attention
Evoke strong feelings
Be memorable
Generate word-of-mouth
Raise brand awareness
Stimulate responsive behaviors and actions
Become the subject of arguments
Cause negative feelings and associations
Damage brand identity
Fail to connect with target audience
Override the actual product
Can’t guarantee it will happen as planned
Advertising models and concepts to explain how advertising works
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AIDA (attention, interest, desire, action)
as one of the earliest hierarchy of
effects models
Easy to comprehend, neatly mirrored the
purchase decision process
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Nowadays frameworks reflect practice
→ hierarchy of effects models simplify
the consumer behavior too much
Sales framework
Persuasion framework
Sales
Persuasion
Level of sales the only
factor that measures
the effectiveness of an
advertising campaign
Assumes that
advertisement works
rationally → buyer
decision is rational &
can be predicted
Involvement
Salience
Involvement with the
product in question as
a consequence of
involvement with the
advertisement
Believes that
advertisement works by
standing out and by
being different
Involvement framework
Salience framework
Fill, Chris (2009), ch 16
Strong vs. weak theory of advertising
The strong theory
The weak theory
Advertisement capable of effecting knowledge,
attitudes, beliefs, behavior of passive target
audience
Brand purchases driven more by habit than by
exposure to promotional messages
Advertising can persuade someone to buy a
product they have never purchased
Continual long-run purchase behavior can be
generated
→ the hierarchy of effects model
Improves knowledge & reinforces existing
attitudes but consumers regarded as selective
in determining which advertisements to observe
Advertising not potent enough to convert people
who disagree with the advertisement to buy the
product in question
→ ATR (awareness, trial, reinforcement)
framework (Ehrenberg, 1997)
Fill, Chris (2009), ch 16
Using advertising strategically
One of the first significant attempts to
formalize advertising’s strategic role
→ informative, affective, habitual, self-satisfaction
A useful guide to help analyze consumer/product
relationships and develop appropriate
communication strategies
Involvement
High
Proposes that by combining involvement and
elements of thinking and feeling, four primary
advertising planning strategies can be distinguished
Feeling
Low
→ FCB matrix (Vaughn, 1980) based on
brain specialization theories
→
Thinking
Informative
Thinker
Affective
Feeler
Habit formation
Doer
Self-satisfaction
Reactor
Fill, Chris (2009), ch 16
FCB matrix
→
Thinking
Informative
Thinker
Affective
Feeler
Economic, learn-do-feel
Cars, houses, furnitures
Media: long copy format, reflective vehicles
Psychological, feel-learn-do
Jewellery, cosmetics, motorcycles
Media: large spaces, image specials
Habit formation
Doer
Self-satisfaction
Reactor
Responsive, do-learn-feel
Food, household items
Media: Small space ads, radio
Social, do-feel-learn
Cigarettes, liquor, candy
Media: newspapers, billboards
Involvement
High
Low
Feeling
Fill, Chris (2009), ch 16
Impacts of ad originality and familiarity on consumer’s memory
The contribution that advertising can make to brand equity is
increasingly challenged in today’s markets and media, where
competition for the consumer’s attention is fierce
Pieters, Warlop, and Wedel (2002) suggest that ad originality
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enhances information storage about the advertised brand in
memory by increasing the amount of attention devoted to it
Ad originality
“Thinking up new ways to
present selling
propositions.”
“Thinking about familiar
issue from unexpected
perspective.”
- in interaction with ad familiarity enhances the retrieval of
information about the advertised brand by lowering the
threshold for accurate memory
Ad originality promotes significant indirect &
direct improvements in memory for the
advertised brands
Reinforced memory & attention
may lead to increased purchases
Pieters, Warlop, Wedel (2002) Breaking through the clutter
The creative strategy
When making an advertisement campaign, its
goals about communication need to be
determined. There are four key elements when it
comes to making a decision about proper nature
and form of the message:
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The message source
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Balance
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Structure
advertising is a Rorschach test of what you bring to the image”
-“Our
Presentation
Oliviero Toscani, Benetton’s creative director
Fill, Chris (2009), ch 17
Source credibility and the use of spokespersons
Kelman (1961) assumed there to be three characteristics of message source:
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the level of perceived expertise
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the personal motives the source is believed to possess
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the degree of trust that can be placed in what the source says or does on behalf of the
endorsement.
How credibility can be established?
By the initiator
By a spokesperson
The expert, the celebrity, the chief executive officer, the consumer
Fill, Chris (2009), ch 17
Message framing
Framing works on the hedonic principles of our
motivation to seek happiness and to avoid pain
➔ Focus either on positive or negative
outcomes
Tsai (2007): When consumers are exposed to a
positively or negatively framed brand message,
there are considered to be three factors
moderating their response:
1. Self-construal
2. Consumer involvement
3. Product knowledge
Fill, Chris (2009), ch 17
The increasing importance of UGC
Organisations aren’t yet capable of
communicating in the new environment as
freely as individuals. The development of
technology has made it possible for consumers
to create content and share information in
multiple ways (blogs, social network,
discussion boards).
➔ Vigilante marketing
➔ An opportunity for marketers to pay
attention to consumers’ feelings towards
the brand
Fill, Chris (2009), ch 17
Digital Media
- Interactivity
- Multichannel Marketing
- Database Technologies
- Personalisation
- Mobility
- Speed
- Efficiency
Traditional
vs Digital
The development of
digital media has enabled
interaction, which we
know can lead to
dialogue, and this in turn
enables relationship
development.
(Ballantyne, 2004)
Interactive Marketing Communications
- Interactive Online advertising
- Search Engine Marketing
- Email Marketing (permission advertising)
- SMS
- WoM
- Viral Marketing
- Widgets/ Blogs/ Podcasts
Communication mix
- Evaluative criteria
- Communication richness
- Audience profile
"Medium is the message."
- Marshall McLuhan
Relevant in 20 years?
10 years?
5 years?
"The more things change, the more
things stay the same." - French proverb
Do we have your ATTENTION?
"…video killed the radio star, in my mind and in my car, we can't rewind we've gone
too far…" (1981)
Snapchat Geofilters
Selfies as an advertising medium
Discussion