MKTG232 revision - Summary Advertising PDF

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!1 MKTG 232 Advertising The role of advertising is to engage audiences in order to develop awareness, build brand associations, cultivate brand values and help position brands in markets in the minds of the target audiences. 1. Cognitive Component (Learning): Level of knowledge and beliefs held indi...

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MKTG 232 Advertising

The role of advertising is to engage audiences in order to develop awareness, build brand associations, cultivate brand values and help position brands in markets and/or in the minds of the target audiences.

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Level of knowledge and beliefs held by individuals

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Advertising used to create attention and awareness, provide information and help audiences learn and understand features and benefits.

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Feelings, sentiments, moods, emotions held about a product/ brand

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Advertising used to induce feelings so that it becomes a preferred brand

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Action component, intention to behave in a certain way

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Advertising used to encourage action.

Persuasion

- Some psychological principles that function in the persuasion process are: - a) Reciprocity - b) Scarcity - c) Authority - d) Consistency - e) Liking - f) Consensus Advertising helps to build and sustain brands

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Standard Hierarchy of Effects

- choice of advertising objective depends on the target audience’s degree of experience with he brand prior to commencing campaign

- for advertising to be successful it must advance consumers through a series of psychological stages

- it assumes that the consumer moves through the stages in a logical, rational manner (learn -> feel -> do)

- there is evidence that a positive attitude is not necessarily a good predictor of purchase behavior

Elaboration Likelihood Model (ELM) - it assumes that once consumers receive message, they begin to process it

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- ability, motivation and opportunity (AMO) factors determine likelihood of attention and elaboration

- ability to process message - motivation to process - opportunity to process - high AMO factors require ‘central route’ to persuasion - low AMO factors - ‘peripheral route’ Iconic ad - 2012 McCann Melbourne (metro trains in Melbourne - Dumb Ways to Die)

- advertising has the ability to communicate the totality of the product (rational and emotional) - the ability to add the emotional, the more intangible value becomes more important as technological advantages make products more alike rather than different

- as the number of competitors increase and the any technical lead would be quickly replicated, the ESP (emotional selling point) becomes more important

- advertising today is less about messaging and more about content - less about ads and more about experiences - inviting customers to talk - top agency in UK - AMV BBDO Process of creative advertising development:

- developing advertising strategy - dev. media strategy - dev. creative ideas - pre-testing creative executions - creative production - campaign execution - campaign evaluation

What is advertising creativity?

- ads are divergent (novel or unusual) and relevant (meaningful, appropriate) - divergence - originality, flexibility, elaboration, synthesis, artistic value According to Smith et al. (2007) it can be achieved in two ways:

- ad-to-consumer relevance - refers to situations where the ad contains execution elements that are meaningful to consumers

- brand-to-consumer relevance - refers to situations where the advertised brand is relevant to potential buyers - brand being used in circumstances familiar to the consumer (Thorson and Zhao 1997)

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MKTG 232 Advertising

- creative ad has meaning, and generates positive feelings - novelty - the degree to which an ad is unexpected and deviates from the norm - meaningfulness - whether the elements in an ad are relevant to the message conveyed - emotional content - the feelings generated by an ad example - Barbie - you can be anything campaign

Features of a creative ad: CAN elements Element

Description

Connectedness

Whether an ad reflects empathy with the target audience’s basic needs and wants. Reflects an understanding of target audience members’ motivations. Relevant to the brand’s target audience.

Appropriateness

Evaluates creativity from the standpoint of the advertising message. Ad must provide info that is pertinent to the advertised brand relative to other brands in the same category. Must deliver brand’s positioning strategy.

Novelty

Unique, fresh and unexpected. Able to break through the competitive clutter and grab attention. Novel ads are creative only if they are connected and appropriate!

example - VW eat the road campaign (edible paper), Wonderbra - string in newspaper, British Airways - look up banner

Five keys ways in which creative's can develop powerful and distinctive advertising (Henry, 1997):

- Find out what everybody else is doing in your marketplace and then do something different. - Forget the logical proposition and find the personality of the brand instead. - Define the target market so that you like it and respect it. - Put in creative starters: examples which describe how the strategy might look in its final medium to demonstrate how actionable your brief is.

- Make it inspiring by making your thinking fresh and unexpected. Characteristics of Sticky Ads:

- Audience readily comprehends the advertiser’s intended message - They are remembered - They change the target audience’s brand-related opinions or behaviour - They have lasting impact: they stick

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MKTG 232 Advertising Absolut vodka campaigns Absolut survivor, Absolut magnetism

- Just do it - Taste the rainbow - Beanz meanz… - Have a break, have a …

Advertising creativity can be a signal of brand ability.

- Ability to work and think in new and different ways. - Signal higher product quality? - Creative advertising communicates effort - More creative advertising generates signals that the client is making a bigger marketing effort. Dahlen et al. (2008)

Always - #LikeAGirl campaign

Means-end chaining as a guide to creative advertising formulation.

- Provides a useful framework for understanding the relationship between consumers and advertising messages.

- Represents the linkages among brand attributes, the consequences obtained from using the brand and the personal values that the consequences reinforce.

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MECCAS model: Means-end conceptualization of components for advertising strategy

- Provides a procedure for applying the concept of means-end chains to the creation of advertising messages.

The method of laddering

- Research technique used to identify linkages between attributes (A), consequences (C), and values (V)

- Constructs a hierarchy, or ladder, of relations between a brand’s attributes and consequences (the means) and consumer values (the end).

- Attempts to get at the root or deep reasons why individual consumers buy certain products and brands

James W. Young Creative processes

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TV "Mainstay of most natonal campaigns • "Medium has sound, colour and mo?on that can visually associate symbols with products, demonstrate usage and show consumer reacton • "Medium has high impact, high reach, often limited frequency, due to cost and viewer boredom. • "Negatives; cost, low message content, limited audience selectvity !

Paid product placement Sex and the City - over 100 paid product placements in the TV series

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- on average a listener tunes into 21.7 hours of live radio per week SMOOTH RAJAR headlines

- Smooth reaches 4.6 million adults a week

- audience targeted 40 - 59 group - listeners are loyal and passionate

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Functional orientation

- Appeals to consumers’ needs for tangible, physical, and concrete benefits.

- Unique Selling Proposition Creative Style -An advertiser makes a superiority claim based on a unique product attribute that represents a meaningful distinctive consumer benefit.

Symbolic or Experimental orientation

- Is directed at psychosocial needs - Brand Image Creative Style - Advertising attempts to develop an image or an identity for a brand by associating the brand with symbols.

- Advertisers draw meaning from the culturally constituted world and transfer that meaning to their brands.

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Resonance Creative Style

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Seeks to present circumstances or situations that find counterparts in the real or imagined experiences of the target audience.

- Emotional Creative Style - Aims to reach the consumer at a visceral level through the use of emotional strategy.

- Positive and negative emotions (romance, nostalgia, compassion, excitement, fear, guilt, disgust, regret).

- Always #Likeagirl Category - dominance orientation

- Designed to achieve an advantage over competitors in the same product category.

- Generic Creative Style - Making a claim that any company that markets a brand in that product category could make.

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- Designed to achieve an advantage over competitors in the same product category.

- Pre-emptive Creative Style - An advertiser makes a generic-type claim but does so with an assertion of superiority.

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New brands comparing themselves to established brands appear to benefit the most from comparative advertising. (Grewel et al. 1997)

- Direct comparative claims attract attention and enhance purchase intentions for low-share brands…

- …but detract from purchase intentions for established brands by increasing awareness of competitors. (Pechman and Stewart, 1990)

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- Comparative advertisements induce more positive brand attitudes for products which elicit cognitive and affective motivations simultaneously.

- Comparative ads positively influence brand switchers and have a negative impact on consumers loyal to competing brands. (Putrevu and Lord, 1994) Samsung vs. Apple - the next big thing is already here

1. Highlight differences people care about! ¤

Too often comparative advertising becomes a battle between two different brands so focused on the minute differences between them that they forget about why the differences matter to customers.

2. Use humor to take the edge off the competitive attack! ¤

Humor helps people feel good about the brand that is making the attacks.

3. No need to mention the competitor! ¤

Many comparative ads that feature both brands often serve to build awareness and familiarity for the attacked brand and as a result often fail to accomplish the intended goal. Ellett (2012)

Sex appeals

- “Sex Sells?” - Initial attention lure - To elicit a positive reaction, sexual content must be appropriately relevant to the subject matter.

- Can attract too much attention and interfere with processing of message arguments and hinder recall of the ad’s contents

- Can be demeaning to females and males - Consumers scoring higher on the extraversion scale have a more positive attitude towards sex in advertising than those scoring lower. (Black, Organ and Morton, 2010).

- Research has found that women, but not men, have an aversion to the gratuitous use of sex in advertising. (e.g., Sengupta and Dahl 2008)

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MKTG 232 Advertising

- Dahl, Sengupta and Vohs (2009) study provided insights into consumers’ spontaneous reactions to the gratuitous use of sex in advertising…

- Women’s spontaneous dislike of sexual ads softened when the ad could be interpreted in light of a relationship laden with devotion and commitment

- In contrast, men’s positive attitudes toward sexual ads were relatively unaffected by the salience of relationship commitment cues. Use of sex appeals in ads

- Use of sex appeal in an exploitative and degrading manner - Use of sex appeal to sell an unrelated product Carl's Jr.'s notorious Memphis BBQ Burger commercial, which features two half-dressed women fighting over pulled pork on a cheeseburger—aka, "barbecue's best pair"—recently arrived in New Zealand. It was promptly banned there, however, for running afoul of two of the country's advertising rules—prohibiting the use of sex appeal in an exploitative and degrading manner, and the use of sex to sell an unrelated product. (Are there any Carl's Jr. ads that New Zealand doesn't ban?) In response to this particular censure, Carl's Jr. decided to describe the TV spot in a radio ad—which, left to the listener's imagination, is perhaps as suggestive as the TV spot. (Special Group did the radio work; 72andSunny did the TV.) It's not a bad use of radio, which is sometimes said to be the most visual medium.

Humour appeals

- Attracts attention, stimulates interest and fosters a positive mood. - There is less effort involved with peripheral rather than central cognitive processing (ELM). - More effective when there is low involvement rather than high (Zhang and Zinkhan, 2006). Caution…

- Distraction from focus brand - Message itself may be lost - Humour doesn’t always travel well - Humour should be appropriate to product category. - Advertisements using humor draw more attention and induce greater liking than advertisements that do not. (Speck, 1991)

- Others suggest that humor may lower message comprehension. (Sternthal & Craig, 1973).

- Does humour facilitate (or interfere) with memory for brand claims? - The answer depends on humour strength!

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- Moderate humour may facilitate encoding but high-strength humour may lower message recall.

- Very funny ads distract from the brand claims, so only the humour is recalled… (Krishnan and Chakravarti, 2003):

Fear and guilt appeals

- Emphasize the negative consequences that can occur unless the consumer changes a behaviour or an attitude.

- Common in social marketing contexts. Types of threat:

- Social threat (e.g. being ostracized by peers – deodorant, mouthwash)

- Physical threat (e.g. illness – smoking, drink driving) Ineffective Guilt Ads…

- If guilt appeal lacks credibility - If ad is perceived as manipulative (Cotte, Coulter and Moore, 2005) - Credible guilt advertisements that are not overtly manipulative induce guilt feelings and positive attitudes.

- However, when consumers infer manipulative intent by the marketer, consumers do not feel guilty, but do have negative attitudes toward the sponsor of the advertisement and the advertisement. Ethical concerns about fear appeals include responses such as:

- Chronic heightened anxiety among those most at risk. - Complacency among those not directly targeted. - Increased social inequity between those who respond to fear campaigns, who tend to be better off, and those who do not respond to fear campaigns, who tend to be the less educated and poorer members of society (Hastings, Stead and Webb, 2004)

‘Don't let the germs settle down’ - JWT China

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The way musicians and advertisers work together has undergone a revolution in the last decade. For starters, brands no longer get by with a friendly jingle—instead, they search for songs that tell stories, conjure memories and forge genuine connections with people. "Music is the feeling. It's the emotion in the spot," Joshua Rabinowitz, evp, director of music at Grey Group, recently told Adweek. And only a few years ago, pop and independent artists—as well as many of their fans—considered it "selling out" to align with brands or sponsors. It wasn't until the early 2000s that this thinking began to change. After the electronic musician Moby released his fifth studio album, Play, to faint fanfare, he had little to lose by licensing every track on the album to movies and commercial spots. Eventually, Play sold 10 million copies." John Lewis - Christmas Ad Oasis - Half The World Away

Execution Styles

- Product as hero - Product demonstration - Problem-Solution - Slice of Life - Testimonial

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- Spokesperson presenter - Celebrity endorsement - Company endorsement - Opportunistic advertising - People like me - Mini drama - Continuing character - Brand heritage and history - Pastiche - Spectacular, musical, stage show - Non-verbal - Teaser - Animation - Fantasy - Infomercial - Shock advertising Opportunistic advertising

Superbowl power outage

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Brand heritage or history

Use of fantasy in advertising Inspired by the themes of dark fairy tales and fantasy travels. “The campaign is an interpretation of dreams and fears” (Ronnie Cooke Newhouse – Art Director).

Shock advertising Benetton UNhate campaign - world leaders are kissing - kiss = universal sign of love, reconciliation

- Thailand - giving a lighter to a kid with a cigarette - that’s not okay. But is it okay for the person to smoke?

- Hello my name is Vladimir beer - anti gay - Brand of cigarettes called Death - Drunk driving - bathroom mirror crash - First aid - Kid in the pool - St. John ambulance - Fuck the poor vs. Help the poor - it works because you’re breaking the convention - shock makes you remember it - Shocking advertising content is that which attempts to surprise an audience by deliberately violating norms for societal values and personal ideals.

- Ability to break through advertising clutter and capture attention of a target audience who then listens and acts on the message.

- Shocking content in an advertisement is beneficial for the following reasons: - Significantly increases attention - Benefits memory - Positively influences behaviour

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Advertising strategy

- “Strategy are the big ideas, tactics are the specific actions that must be taken in developing or rolling out those big strategic ideas.” (p. 286)

- Advertising strategy is concerned with: - Audiences - Positioning Targeting specific audiences

- Is considered the starting point for advertising decisions - Allows for precise delivery of advertising to targeted markets - Prevents wasted coverage to people falling outside the targeted market Methods of targeting

Behaviourgraohic targeting Behaviourgraphics:

- Describe how people behave with respect to a particular product category or class of related products.

- Past purchase behaviour or online search activity. - The best predictor of someone’s future behaviour is his or her past behaviour.

Online behaviourgraphic targeting

- Tracks the online site-selection behaviour of users so as to enable advertisers to serve targeted ads.

- Directing online ads to those who most likely interested (based on search behaviour). - Privacy Concerns

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