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Advertising Outline - - Helen: - Sonja: - What is advertising? - The creative strategy - Emotion in advertising - Source credibility - Shockvertising - Framing the message and importance of user- generated content Ella: - Advertising Models - The strong and weak theories of advertising - Cuong: - Traditional media 3 main elements of an Advertising plan Message - 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 - AIDA (attention, interest, desire, action) as one of the earliest hierarchy of effects models Easy to comprehend, neatly mirrored the purchase decision process - 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 - 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: - The message source - Balance - 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: - the level of perceived expertise - the personal motives the source is believed to possess - 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