Advertising

Minute-for-minute the most expensive/ intensely produced televisual content A great deal of expertise goes into each step of production – An area where a number of telecommunications- related opportunities lie

Features of advertising The goal is not to amuse but to sell – Some promotional effect must occur or the advertising has failed Time is short – The message must be delivered within 30 (or fewer) seconds No time for subtlety

The individual commercial is rarely expected to have a great deal of effect – Repetition – Part of a campaign

Cross-media/platform integration is required – Integrated Strategic Communication The creative idea is expected to guide a number of executions – Thematic and aesthetic continuity

Context Clutter – Simply gaining attention from the target market is a significant challenge Counter-advertising – Competitors are concurrently arguing that their product, service, etc. is a better buy Skepticism – “Suspension of disbelief” is not operative – Experience with your brand, other products, etc. makes consumers wary

Appeals A number of appeals can be drawn upon to gain viewer attention and generate a ‘brand image’ Purely informational advertising, preferred by economists, does not appear to work all that well – Emotionally charged advertising scores best

Jib Fowles produced a list of 15 advertising appeals

Need for sex- surprisingly, Fowles found that only 2 percent of the television ads, he surveyed used this appeal. It may be too blatant, he concluded, and often detracts from the product. Need for affiliation- the largest number of ads use this approach: you are looking for friendship? Advertisers can also use this negatively, to make you worry that you'll lose friends if you don't use a certain product.

Need to nurture- every time you see a puppy or a kitten or a child, the appeal is to your paternal or maternal instincts. Need for guidance- a father or mother figure can appeal to your desire for someone to care for you, s you won't have to worry. Betty Crocker is a good example.

Need to aggress- we all have had a desire to get even, and some ads give you this satisfaction. Need to achieve- the ability to accomplish something difficult and succeed identifies the product with winning. Sports figures as spokespersons project this image.

Need to dominate- the power we lack is what we can look for in a commercial "master the possibilities." Need for prominence- we want to be admired and respected; to have high social status. Tasteful china and classic diamonds offer this potential.

Need for attention- we want people to notice us; we want to be looked at. Cosmetics are a natural for this approach. Need for autonomy- within a crowded environment, we want to be singled out, to be a "breed apart." This can also be used negatively: you may be left out if you don't use a particular product

Need to escape- flight is very appealing; you can imagine adventures you cannot have; the idea of escape is pleasurable Need to feel safe- to be free from threats, to be secure is the appeal of many insurance and bank ads

Need for aesthetic sensations-beauty attracts us, and classic art or dance makes us feel creative, enhanced Need to satisfy curiosity-facts support our belief that information is quantifiable and numbers and diagrams make our choices seem scientific Physiological needs- Fowles defines sex (item no.1) as a biological need, and so he classifies our need to sleep, eat, and drink in this category. Advertisers for juicy pizza are especially appealing late at night. Source: Media Impact Introduction to Mass Media (4th Ed) Author: Shirley Biagi, Wadsworth

Commercial development and production Although most advertising reflects an ongoing relationship between an advertiser and an advertising agency, there are times when an advertiser will call for proposals from agencies with regard to their creative strategy for a given ‘account’ Agency shootout

Creative development in an ongoing account The creative strategy and the media strategy for a brand interact – The types of media chosen may reflect the strategy – The creative strategy may be limited by the media choices already made Online v. broadcast v. cable Print v. electronic

Brainstorming Creative people in the ad agency freely develop a wide range of ideas around the basic features of the brand that will be promoted – Often features are chosen based on consumer research

Winnowing Several approaches are chosen by a supervisor for further development – Storyboarding – Animatronics

Further winnowing Remaining ideas based on storyboards are presented to an agency principal – Or a departmental head – May be tested for consumer response Those that are considered strongest are presented to a representative of the client – Further winnowing, presentation, etc. until the client is satisfied that the storyboard(s) are ready for production Must also agree on media and on production budget

Production Agency hires independent production company, director, etc. – Often assembles crew for ‘shoot’ Extremely expensive for high-quality (Broadcast quality) commercials, etc. Some specialist agencies, such as those focusing on online marketing, may have production expertise

Production Creative team meets with director, etc. to prepare for shoot – Make sure that the actual film produced, etc. reflects the ideas of the creatives/clients – Iron out any difficulties of producing video requested Sound recorded separately – Voice-over – Music

Post-production Digital effects added Sound and visuals combined

Post production Copies distributed to appropriate media Depending upon the expense and length of campaign, may research consumer response in actual markets – Feedback to production of next round of commercials/advertisements