Evaluation of Foolsspeed: Final Phase Douglas Eadie Institute for Social Marketing University of Stirling and The Open University

1.Campaign background 2.Research aims 3.Evaluation method and sample 4.Results 5.Conclusions

1. Campaign Background History: Conceived as a 5-year campaign – launched 1998 Aim: “To reduce the use of excessive and inappropriate speeds on Scottish roads” Core target : Male, urban drivers, aged 25-44, ABC1 Media: Paid advertising supported by unpaid publicity Theory-based: Theory of Planned Behaviour (TPB) Consumer-led: Formative research used to guide development Creative strategy: Avoids graphic imagery in favour of everyday driving scenarios

5 waves of TV advertising Series of 10-second ads to establish campaign identity (Winter 1998) “Mirror” ad addressing attitudes (Spring 1999) “Friends and Family” subjective norms (Spring 2000) “Simon Says” perceived behaviour control (Summer 2001) “Doppelganger” positive affective beliefs (Winter 2004) 1. Campaign Background

2. Research Aims Aimed to explore: –Recall and recollections –Reactions –Perceived message –Perceived target and identification –Links between Foolsspeed ads

3. Evaluation Method & Sample Focus group discussions Conducted Jan-Feb 2006 Stratified to focus on the campaign’s core target group Group NoAgeGender Socio-economic GroupLocationSpeeder Type MaleABC1UrbanFrequent Speeders FemaleC2DESemi-ruralModerate Speeders MaleABC1UrbanModerate Speeders MaleC2DEUrbanFrequent Speeders FemaleABC1Semi-ruralFrequent Speeders MaleABC1UrbanFrequent Speeders FemaleC2DEUrbanFrequent Speeders MaleABC1Semi-ruralInfrequent speeders MaleC2DESemi-ruralFrequent speeders FemaleABC1UrbanInfrequent speeders

4. Results Recall: –Most able to recall some road safety advertising –Five specific TV ads featured prominently Four part of ‘Think’ One from Foolsspeed –Suggests hard-hitting imagery is more memorable, but road safety advertising dominated by accident scenes

4. Results Recall cont’d: –Male drivers more appreciative of hard- hitting creative strategies, although can feed voyeuristic tendencies R1: “The woman in the bar getting flung against the bar – that was a cracker that one.” R2: “I liked that other one (‘Pizza’) … it was her son who wasn’t strapped in – bang! That was really good … it was like a stabbing or something.” –Female drivers more inclined to engage with the slice-of-life imagery adopted by Foolsspeed  Emotional triggers important to gaining audience attention, but choice critical to effectiveness

4. Results ‘Doppelganger’ Highest levels of recall Many initially interpreted as a commercial car ad “I thought it was an advert for the actual car…. ‘cos he got there quicker….” Creates an element of intrigue Subtle creative approach also had other significant ramifications: –Led some to conclude ad lacks impact –Plus few initially recognise safe driving message Targeting a strength of the ad: –Interpretations consistent with intended target –Other groups also able to relate to the ad –Many also identify with the driving scenario “…everybody’s guilty of it, you leave things to the last minute, so you do chase the old amber light…”  Scope for literal devices to reinforce message

4. Results ‘Simon Says’ Lowest recall of the four ads Well received Credible depiction of a familiar speeding scenario “I just about had an accident like that, because someone was right behind me, and this car stopped right in front of us … I can relate to that” But some equally as guilty of tailgating “The thing with being in a transit is you’re in a much higher driving position, and you forget that the people in front of you can’t see obstructions…” “Yes, so there’s a guilt factor for me in the Simon Says” Rural drivers inclined not to associate intimidating driving behaviour with country roads Identification not as high as with some other ads  A compelling ad which focuses attention on the concept of external pressure, but internal pressures exert more influence

4. Results ‘Friends and Family’ Limited recall Clear and unambiguous message Mixed response –Some critical of its light-hearted tone –Others respond positively to giving a voice to concerned passengers “I've been in cars with folk like that and you get shit scared.” Much discussion about whether ad promotes constructive dialogue Whilst many recognise the driving style, fewer identify with the driver himself  Greater impact on concerned passengers than on complacent drivers

4. Results ‘Mirror’ Least likely to be recalled spontaneously, but wide recognition Well received Credible driving scenarios and convincing characterisation Speaks directly to male frequent speeders (women identify more with the passer-by’s perspective) “I’ve got to put my hands up, that’s my worst habit - I’m easily distracted and just don’t pay attention….” (Male, Frequent Speeder)  Arguably the strongest of the four Foolsspeed ads

5. Conclusions Realistic approach encourages feelings of recognition and identification Decision to avoid dramatic accident scenes and graphic imagery encourages deeper self-reflection Real benefit in campaigns which combine drama and emotion with realism Use of behaviour change theory is possible with careful use of consumer research