Term
|
Definition
| consistency in tone, messaging, and visual appearance throughout a campaign across all mediums. Hallmark of large and successful brands. |
|
|
Term
|
Definition
| are the ads registering with consumers? |
|
|
Term
|
Definition
| consumers are reaching the point of over-choice |
|
|
Term
|
Definition
| an ad that breaks through the media clutter but does not close the deal (does not get consumer to purchase) |
|
|
Term
|
Definition
|
|
Term
| Great copy/writing uses (More/Fewer) words to be more compelling? |
|
Definition
|
|
Term
| Whats an example of how audience have a greater ability to block out info from advertisers? |
|
Definition
|
|
Term
| What audience are marketers trying to move to today? |
|
Definition
| 8. Marketers are trying to move away from traditional mass audiences --> tap into emotions of select audience |
|
|
Term
| The faster an idea penetrates the mind.... |
|
Definition
| The longer it stays there |
|
|
Term
|
Definition
| Focus results into a single-minded and compelling idea. More stimulating --> more relevant . Simplicity |
|
|
Term
|
Definition
| unique selling proposition |
|
|
Term
| In an ad, the idea is embedded in the _________ and usually communicates ______% of the message |
|
Definition
|
|
Term
| People scan an ad in this order: |
|
Definition
| Illustration ---> Headline ---> First line of body ---> Logo |
|
|
Term
| How many of today's best ads use humor and what kind of humor? |
|
Definition
|
|
Term
| What is the key to great advertising according to Ron Huey? |
|
Definition
|
|
Term
|
Definition
motive to which an ad is directed; designed to stir a person toward a goal the advertiser has set; appeals to their problems, desires, and goals of individuals
• Provides basis of advertising structure; can be expressed many ways |
|
|
Term
| 15. Great advertising Elements (found by Ogilvy & Mather Worldwide) Just list them |
|
Definition
| potent strategy, strong selling idea, stands out, always relevant, can be built into campaigns |
|
|
Term
| Potent Strategy (Great ad elements) |
|
Definition
| heart of advertising; great adv is impossible if strategy is weak or doesn’t exist at all |
|
|
Term
| Strong Selling Idea (Great ad elements |
|
Definition
| great adv promises a benefit to the consumer; idea must be simple and clear; brand must be integrated into selling idea |
|
|
Term
| Stands out (Great Ad Elements) |
|
Definition
| great adv is memorable even when competing for attention with news/entertainment |
|
|
Term
| Always relevant (great ad elements) |
|
Definition
| prospects can easily relate adv to their experience and the role of the product in their lives |
|
|
Term
| Can be built into campaigns (great ad elements) |
|
Definition
| no matter how clever an idea, if you cant make it into a campaign it’s not a great idea |
|
|
Term
| Structure of an Advertisement |
|
Definition
Headline
Spelling out of promise (subheadline, optional)
Amplification of story (as needed)
Proof of claim (as needed)
Action to take (if not obvious) |
|
|
Term
|
Definition
most important part of print ad; 1st thing read, has to excite interest; benefit
• Tell them what they want to know immediately don’t make them guess brands benefit, make it interesting and readable.
• Short simple words no more than 10, invitation to prospect, benefits, brand name, interest provoking idea to gain readership, selective words appealing to prime prospects, and action verb, enough info to learn something about products benefit |
|
|
Term
|
Definition
• Headlines that present a new benefit (most interested in product when it offers something new)
- Ex: Introducing the first in-ear headphones from bose.
• Headlines that directly promise and existing benefit (remind of existing features)
- Ex: Cheerios can lower cholesteral in 2 weeks.
• Curiosity invoking and provocative headlines (Grab attention from uninterested audience by challenging their curiosity. be careful to build strong relationship between curiosity point and brand)
- Mom I hate vegetables – Cambells
• Selective headlines (Concerns them personally. Aimed at a particular prime prospect who would be more interested in the product.To all men and women, To all young men and women, to all college men and women/seniors)
- Ex: Tell your sore throat to chill
• The more specific you can be, the better |
|
|
Term
|
Definition
• When a message is long, it can be conveyed with a main headline (with larger type) and a subheadline (with smaller type)
• Smaller type than headline but larger than body
• Spell out promise presented in headline, can be longer, invite further reading, and serves as transition to the opening paragraph of the body copy, can be used as part of the visual. |
|
|
Term
|
Definition
• Body copy of the advertisement
• Presents your case for the product and explains how the promise in the headline will be fulfilled.
• amplifies what was announced in the headline/subheadline
• Should Emphasize product/service’s features that are of primary importance but cant be included in headline |
|
|
Term
|
Definition
• Particularly important for high priced products, health, and new products with special features
• Seals of approval (allay consumers’ fear about products. Give product edge of credibility) , guarantees, trial offers/samples, warranties, reputation, demonstrations (before and after used to show how a product works), testimonials (credible source used to attract attention.)-use from ppl similar/relevant to prospects and who are viewed by consumers as competent to make decisions on the products they are endorsing, don’t try to rewrite/fabricate use real words of real people, form of proof (use full names to increase credibility) |
|
|
Term
|
Definition
• Nobody reads copy in ad, picture can tell 1000 words; have to work hard to make long copy work (benefit and relevant info)
• People scan print ads as: illustration, headline, 1st line of body copy, then logo. If they’re still interested they’ll read the rest of the copy
• Drop off rate of readers high during 1st 50 words but not so high btw 50 and 500 |
|
|
Term
|
Definition
| • Beginning, middle, and end, must have good, smooth transitions. Must have style to create fresh, charming, and witty advertisements that compels people to read more. Most end by asking or suggesting that the reader buys the product. Difference between lively and dull advertisements lie in the approach to the message at the outset. |
|
|
Term
|
Definition
| method of opening text of advertisement; chief forms are factual, imaginative, and emotional approach |
|
|
Term
|
Definition
deal with reality that actually exists (what it is, how it is made, and what it does)
• Focuses on the facts most important to the reader
• Facts can be interpreted in different ways which launch different lines of thinking.
• Used to sell more than products/services…ideas places anything that can be written and can be presented with fresh point of view |
|
|
Term
| Imaginative (Copy) Approach |
|
Definition
senting a fact imaginatively. saying familiar thing in unexpected way
• Johnson Group’s curiosity approach makes you want answers
• Rosemary toilet bowl cleanser (put in mouth ex) |
|
|
Term
| Emotional (Copy) Approach |
|
Definition
powerful communicator; psychological appeals to hate, love, or fear have great impact
• Warmth, happiness, and delight work best for low involvement goods
• High involvement: emotions must be unique and mesh with brand (Kodak)
• Emotions are key to every decision we make; avoid mixed emotions
• Emotional undersell: advertisers captures attention/engages them emotionally but fails to close the deal |
|
|
Term
|
Definition
• Comparing your product directly with one or more competitors
• Encouraged by FTC but has risks
• Some think it’s not smart to publicize your competition. Others think it creates a bad atmosphere for the company that demeans all advertising.
• (1)Leader in field never starts comparative campaign
• (2) most successful comparison ads compare products with products identical in every respect except special differential featured in ad the stronger the proof the products are identical, the better.
• (3) different features should be of importance to the consumer
• Should be truthful and non-deceptive |
|
|
Term
|
Definition
| Slogans sum up theme for products benefits to deliver easily remembered message in few words. Helps communicate essence of product position; used more often n TV and radio. |
|
|
Term
|
Definition
| establish prestigious image for company to enhance their products or services. (Ex: You’re in good hands with allstate.) |
|
|
Term
|
Definition
change with campaigns, epitomize special/significant features of product being advertised, strongly competitive
• Should be short clear and easy to remember, apt, advantage to include product name (Ex: Gatorade, is it in you?) |
|
|
Term
|
Definition
• Guide agencies in right direction before creating adv
• Creative brief is starting point (key observation, communication objective, consumer insight, promise, support, audience, mandatories)
• purpose is to provide proper direction for creative team prior to developing ideas, heads, and copy (ex developed by Young & Rubicam)
• emphasizes factual info and research data, depends on knowing as much as possible about product, consumer, and expected benefits
• Creative process not a “shot in the dark” but rather depends on knowing as much as possible about the product, the consumer, and the expected benefits.
• Able to channel objective information into a creative and attention-getting sales message.
• many agencies/clients have their own format/style for specific info they think necessary for creative strategy development |
|
|
Term
| A good creative brief should accomplish what 3 things? |
|
Definition
1) give creative team realistic view of what adv really needs to do/is likely to achieve
2) provide clear understanding of people that advertising must address
3) give clear direction on message to which TA seems most likely to be susceptible |
|
|
Term
| Tested Guidelines for Creating an Advertisement (Just list them) |
|
Definition
by Philip W. Sawyer, editor, Starch tested copy
1. Keep it simple, stupid (KISS)
2.You’re not selling the product; you’re selling the benefits of the product.
3. When appropriate spice it up with sex
4. Use Celebrities.
5. Exploit the potential of a color
6. Go with the flow
7. Avoid ambiguity
8. Heighten the contrast
9. Use children and animals
10. When an ad has a good deal of copy, make it as inviting as possible |
|
|
Term
| Keep it simple, stupid (guidelines) |
|
Definition
| KISS principle, most abused of all. People don’t read mags to look at ads, ads must catch eye/deliver message quickly readers move on from “busy” ads |
|
|
Term
| You’re not selling the product; you’re selling the benefits of the product (guidelines). |
|
Definition
| Don’t assume reader is interested in product (no egotism);Only interested in product when convinced it will do something for them. answer the question, “what’s in it for me”; best ads directly address problems that product solves/suggests how it makes life better. The best ads address the problems that the product solves and suggests how that solution makes life better for the consumer. |
|
|
Term
| When appropriate, spice it up with sex (guidelines) |
|
Definition
| The days of sexy advertising are numbered…in 5 years the ‘she’ generation will be unimpressed with sex as a selling point (Dr. Brothers) but in truth women’s publications carry the sexiest advertising today and will continue to work. Sexy ads attract considerable notice and readership. Sexy ads tend to be simple ads; may feature nudity but are not explicitly erotic “Sex sells, get used to it” |
|
|
Term
| Use celebrities (guidelines) |
|
Definition
| Americans don’t believe an ad simply bc it features a well known person but ads with celebs earned ‘noted’ scores 13% higher than average, most effective with women readers (15% higher) compared with 10% higher for men. Overall ads with testimonials from celebs score 11% above avg, non celeb testimonials score below avg. Celebs may not be believable but they’re effective at attracting attention, which is the first job of advertising. |
|
|
Term
| Exploit the potential of color (guidelines) |
|
Definition
| eye is attracted to bold bright beautiful color (has potential to contend with tv ads); one-page color ad has ‘noted’ scores 45% higher than b & w ads; 2 page 53% higher. The more color the better. Print’s ability to generate astonishing, eye-catching colors is substantial, and publications should do everything possible to stay current with new advancements in color technology. |
|
|
Term
| Go with the flow (guidelines) |
|
Definition
| Flow is determined by positioning of the various creative elements; good flow send reader’s eye around page to take in all elements: illustration, headline, copy, brand name; ads with bad flow attract attention at first but send reader off the page (place flashy illustration at top not bottom); position cars back to front, front to back leads them to the right side of the page, which is where the reader is most likely to flip the page. |
|
|
Term
| Avoid ambiguity (guidelines) |
|
Definition
| . Europeans accept ambiguous themes; Americans have little tolerance for unclear distinct messages. Americans like it straight, spend less time thinking about message...if it’s not clear they move on |
|
|
Term
| Heighten the contrast (guidelines) |
|
Definition
| Delights the eye. “visual irony” contrast content of ads; (Ex: wilt chamberlain back to back with Willie Shoemaker.) Another way to do this is to contrast the elements constituting the form of the ad, like color. Use black as background scores increased by 50%, makes things pop off the page. |
|
|
Term
| Use children and animals (guidelines) |
|
Definition
| Appeal to all but most hard hearted emotions. Find a way to incorporate them even if product isn’t connected…Dalmatian in HP LaserJet. |
|
|
Term
| When an ad has a good deal of copy, make it as inviting as possible (guidelines) |
|
Definition
| Advertisers include a copy obviously in hope that it will get read. If you get 20 % of readers to read your copy you’re doing very well. The challenge is to make the whole process of reading copy easy for readers. Good content alone will not attract readers because it is often overlooked. Must be well spaced, sufficiently large, and clear to invite the reader |
|
|
Term
|
Definition
| reduce visual and verbal elements down to their simplest forms |
|
|
Term
|
Definition
Start with consumer across channels
• Ex: Nike controls 20% us shoe market; consistent brand image across channels, integrated marketing model that involves all element of marketing mix from digital to sports marketing etc…carries over well from stores to internet, be flexible, do not start with one approach/medium, start with consumer and look for best ways to connect
Views of viral rules: YouTube can be successful, is free, but the formula for success is unknown. Play by rules of entertainment, not selling.
• Webisodes: mini-movies for web
• Rich media: incorporates animation, sound, video, and/or interactivity. Going to overtake search marketing as dominant form of web advertising by end of decade. Click on rich media ad 5 times to a single banner ad
Sales mission: Internet should not be your priority. Instead, focus on building online community that enhances ability to communicate with consumers. The number one goal should be to drive business to your physical location where you can deliver on your brand promise; Folks Restaurant
Developing Games: product-integration potential; short (Gamers have short attention span) be silent yet entertaining, guide a player without being overt. |
|
|
Term
| Who said: : “Adv is poison gas. It should bring tears to your eyes, and it should unhinge your nervous system. It should knock you out” |
|
Definition
|
|
Term
| Creative process broken down into 4 areas: |
|
Definition
| concepts, words, pictures, and medium |
|
|
Term
|
Definition
| reasoning, controls verbal skills, processes info (Copywriters) |
|
|
Term
|
Definition
| provides intuition, processes info, controls creative process, thinks nonverbally, responds to color, is artistic (art directors) |
|
|
Term
|
Definition
rendering in words, symbols, shapes, forms, sounds, colors, or any combo thereof of an abstract answer to a perceived desire or need. Basic need or concept
• Schizophrenic verb...complete/put to effect/use according to pattern as work of art
• Also means “put to death |
|
|
Term
|
Definition
Art Director and Copywriter
• Art director: responsible for visual, layout and graphics
• Copywriter: creating words for ad and maybe concept, when creative teams are used its their responsibility to develop a concept.
• Copywriter needs to understand art direction, and art director needs to appreciate the impact of words. Together they need to have a rapport to be successful.
• Both are concept thinkers, and think in terms or words and pictures, after team members arm themselves with all the info they need.
• Relationship is like a marriage, spend 8 hours a day with partner, 40 hours a week, better teams feed off each other…no single method, some work alone first
• The truth is that better teams feed off each other. Each has its own method of developing big ideas. |
|
|
Term
|
Definition
• Simple concepts become great advertisements through attention to detail
• Make prime prospect consider product first, then, implant brand name permanently in prospects mind and connect it to positive attributes of your products |
|
|
Term
|
Definition
• Creativity is the product of four developmental stages: preparation, incubation, illumination, and verification or evaluation
• Once you get the idea-the concept and visual words that work together-you’ve made the creative leap |
|
|
Term
|
Definition
• Total appearance of the advertisement-its overall design and the composition of its elements; also the physical rendering of the design of the ad-a blueprint for production purposes
• Working drawing (may be computer developed) showing how ad is to look, printer’s layout is a set of instructions accompanying a piece of copy showing how it is to be set up. There are also rough layouts, finished layouts, and mechanical layouts, representing various degrees of finish. Total design of advertising.
• Images and copy must function as one. |
|
|
Term
| Need to attract attention |
|
Definition
• Primary creative objective of an advertisement
• Cannot rely on strategy alone; cannot sell people until you attract their attention; people aren’t going to read the ad if they can’t see it
• Most ads in most publications are invisible
• Decide which is leading…the picture or the words; illustration tends to help most, if picture, make sure you have a simple headline.
• Illustration is key in making an ad stand out.
Three basic means of attracting attention:
• 1. Using the visual alone
• 2. Using the headline alone
• 3. Using a combo of visual and headline |
|
|
Term
| 3 basic means of attracting attention |
|
Definition
• 1. Using the visual alone
• 2. Using the headline alone
• 3. Using a combo of visual and headline |
|
|
Term
|
Definition
• Some may differ but basic assumptions are the same
• The following design principles will attract readers and enhance the chances that a message is read if executed properly
Unity
Harmony
Sequence
Emphasis
Contrast
Balance |
|
|
Term
| Unity (basic design principles) |
|
Definition
| all creative adv has a unified design. Layout must be conceived in its entirety with all parts related to give one unified effect otherwise ad falls apart and becomes visual confusion. Possibly most important. |
|
|
Term
| Harmony (basic design principles) |
|
Definition
| idea that all elements of layout must be compatible. Art director chooses elements that go together similar to dressing in the morning…needs harmonious elements to be effective. Should not be too many different typefaces or sizes, illustrations, etc (don’t mix plaid with stripes) |
|
|
Term
| Sequence (basic design principles) |
|
Definition
| ad should be arranged in orderly manner so it can be read from left to right and top to bottom…help direct eye in structural or gaze motion. Place elements so eye starts where you want it to and travels a desired path throughout the ad… Z and S arrangements are common. |
|
|
Term
| Emphasis (basic design principles) |
|
Definition
| accenting or focusing on an element (or group of) to make it stand out. Decide if you want to stress illustration, headline, logo, or copy…never equal or ad will end up with no emphasis at all |
|
|
Term
| Contrast (basic design principles) |
|
Definition
| need differences in sizes, shapes, and tones to add sparkle so the ad won’t be visually dull. Altering type to bold or italic or using extended typefaces bring attention to word/phrase and creates contrast between type elements. Makes layout more interesting |
|
|
Term
| Balance (basic design principles) |
|
Definition
| controlling size, tone, weight, and position of elements in ad. Look secure and natural to eye…test for balance by examining relationship between right and left halves of ad..2 kinds-formal and informal |
|
|
Term
|
Definition
| equal weight, size and shape on left and right sides….symmetrical ads give impression of stability and conservatism…not all will have equal weight. Logo may be in corner with no counterpart but if all other elements are symmetrical still formal layout |
|
|
Term
|
Definition
| optical center of page (measured from top to bottom) is 5/8 of the way up the page…differs from mathematical center; objects are placed seemingly at random on page but in relation to one another so that page as a whole seems balanced. Requires more thought than bisymmetric formal balance but effects can be imaginative/distinctive |
|
|
Term
|
Definition
| one of the most versatile elements of ad…can attract attention and create mood |
|
|
Term
|
Definition
• Personal and cultural associations affect experience of color
• Brilliance, darkness, and lightness of a color can alter psychological message
• Psychological association of color is more important than visual experience
Depending on product/adv appeal, color can be used for:
• Attention getting (61% color over b & w readership)
• Realistic presentation (some products more attractive in color)
• Highlight specific elements when carefully built in ad…must be integral part not afterthought
ex: Nuprin: the yellow tablet, different from competitors
ex: Nexium: the little purple pill
• Web must use smaller color palette, advertisers use bright colors to grab attention on the screen that they would never use in print. This use is making brighter hues more acceptable in our daily lives. |
|
|
Term
| • Using warm colors (_______ arousal) for _____ground and cool (_______ arousal) for ______ground enhances depth perception |
|
Definition
| • Using warm colors (red, yellow, orange-high arousal) for foreground and cool (blue green violets-low arousal) for background enhances depth perception |
|
|
Term
|
Definition
| thumbnail sketches (miniature drawings testing arrangements of layout elements), rough layouts(drawings equal to actual size of the ad), comprehensive (or mechanical layout) – accurate in size, color, etc of how final ad will look used for client approval |
|
|
Term
|
Definition
| ability to draw visual info on video terminal |
|
|
Term
|
Definition
| • Pixel: smallest element of computer image that can be separately addressed. Individual picture element |
|
|
Term
| 98% of top scoring ads contain what? |
|
Definition
|
|
Term
| Photo takes ____-____% of layout space |
|
Definition
|
|
Term
| Ad Directing and Photography |
|
Definition
• Twin disciplines-each raises other up a notch; having a great photo in wrong layout makes for bad advertising;
• Good photo in wrong layout = bad ad. Layout’s gotta come first.
• Every ad contains 2 things:
• (1)what you want to say and (2) how you want to say it (layout comes first)
• art directing delivers things emotionally not intellectually, furthers selling idea without you knowing it
• photos=expensive…$700-10,000 |
|
|
Term
|
Definition
• Clutter causes zapping (tivo)
• 38% of viewers change channel during commercial (Up 24% since 85)
• 31% of viewers are amused by funny ads and 70 % agree adv is often fun/interesting to watch (up 5%) |
|
|
Term
|
Definition
| Need new ways to grab viewer’s attention. Strong creative ideas. Take the big idea and blend visuals, words, motion, and technology to create emotional reactions. Ex.) Frat house humor; prevailing theme of commercial airind during Sunday afternoon football. Men as the butt of joke. |
|
|
Term
|
Definition
Many believe its easier to create a good TV commercial than good print ad
• Motion to command more attention, sound, actors, producers, directors, and editors
• Two basic segments: video and audio; creation process begins with video then words and sounds. Video first because television is generally better at showing than telling; however, the impact of words and sounds must be considered. |
|
|
Term
|
Definition
| Testimonials, serials, oldies footage, spokesperson, demonstration, close ups, story line, comparisons, still photographs and artwork, slice of life, customer interview, vignettes and situations, humor, animation, stop motion, rotoscope, problem solution, mood imagery, split and bookend spots, infomercials, combination, visual vicissitudes, bug |
|
|
Term
|
Definition
| can be delivered by known or unknown individuals. Viewers are fascinated by celebrities. (have staying power for years to grab viewers attention-Cindy Crawford); 20% of all TV commercials feature a celeb; always a risk with some celebs getting in trouble/saying the wrong thing in public but it’s worth it because of the attention they get and the impact they have. Costs advertiser about $20,000 to research celeb to get diagnostic info; slimfast uses satisfied customers |
|
|
Term
|
Definition
commercials created in a series in which each commercial continues the previous story; made popular more than a decade ago by the Taster’s choice couple
• Several beers, pacific bell telephone, Ragu, and Energizer batteries |
|
|
Term
|
Definition
| classic TV and film sequences are now easily manipulated to create ads that target media savvy viewers; John Wayne selling Coors beer, Ed Sullivan introducing Mercedes, Lucy Ricardo pushing lottery tickets |
|
|
Term
|
Definition
| features a “presenter” who stands in front of camera and delivers copy directly to viewer; may display/demonstrate product, may be in set appropriate to product/story or in limbo (plain background no set); product should be hero; spokesperson should be likeable/believable but not too powerful to overwhelm product, sometimes presented with humor |
|
|
Term
|
Definition
| old television but creative thinking can make it a modern technique; popular b/c television is the ideal medium for demonstrating to the consumer how the product works. (Timex, VW; successful by showing products in interesting manner). Use close shots so the viewer can see clearly what is happening; make it unexpected; choose subjective camera view (as if viewer were actually doing what product does) using the camera as the viewer’s eyes. Make it relevant and involving; don’t try to fool viewer: must be believable and legally must correspond to actual usage—most sign affidavits saying events took place as they appeared on screen |
|
|
Term
|
Definition
| TV is a medium of close-ups; the largest TV is too small for extraneous details in scenes; fast food close ups to show burger cooking/appetizing finished product. Audio generally delivered off screen |
|
|
Term
|
Definition
| similar to making a mini movie (beginning middle and end in 30 seconds) but narration is done off screen; family trying to paint house with typical paint brush while girl next door sprays paint effortlessly while announcer explains advantages of the spray painter; Mayfield ice cream ad |
|
|
Term
|
Definition
| Their stuff is missing this, ours has this, theirs has carbs, ours is carb free, etc. comparing one product to another answers questions for the viewer. Usually comparison is against leader in product category, must be prepared to prove in court that yours is significantly superior as stated and you must be credible in the way you make your claim or commercial may induce sympathy for competitor |
|
|
Term
| Still photographs and artwork (TV) |
|
Definition
| including cartoon drawings and lettering, can structure well-placed commercial; skillful use of camera can give static visual material surprising amount of movement; zoom lenses and panning |
|
|
Term
|
Definition
| dramatic technique when actors tell a story in attempt to involve people with brand…short miniplay in which brand is hero; most open with problem and brand becomes solution; viewer must see problem as real and reward must fit problem; widely used especially for emotional benefits |
|
|
Term
|
Definition
| involve nonprofessionals; interviewer may ask housewife to compare advertised kitchen cleanser with her own brand by removing 2 identical spots, advertised project does better job |
|
|
Term
| Vignettes and situations (TV) |
|
Definition
| create excitement and motivation; consists of a series of fast-paced scenes showing people enjoying the product as they enjoy life; audio is jingle or song with lyrics based on situation/satisfaction offered…music often holds it all together; update brand or sell lifestyle, challenge to link with brand and can be costly bc you have to shoot 15 or so vignettes |
|
|
Term
|
Definition
| popular with copywriters and consumers because it makes commercial more interesting; danger bc humor can get in way of the sell and viewer will remember humor rather that the product or benefit. Challenge is to make humorous copy relevant to copy or benefit |
|
|
Term
|
Definition
| making inanimate objects appear alive and moving by setting them before an animation camera and filming one frame at a time. Cartoon most common historically; capable of creating a warm, friendly atmosphere both for product and message; today computer graphics extremely realistic and have changed nature of animation; cost depends on style can be low with few movement/characters, many replaced with digital artists |
|
|
Term
|
Definition
| when a package or other object is photographed in series of different positions, movement can be simulated as single frames are projected in sequence. Similar to artwork photographed in animation, package can ‘walk’, ‘dance’, and move as if it had come to life |
|
|
Term
|
Definition
| animated and live-action sequences are produced separately then optically combined…a live boy may be eating breakfast food while a cartoon animal trademark jumps up and down on his shoulder |
|
|
Term
|
Definition
| around since beginning of TV, solve prime prospects problem-headache, poor communication, or plaque. Product is selling the solution. Similar to slice of life but lacks depth of storyline or plot development…let visuals tell story…solve problem with visuals |
|
|
Term
|
Definition
| expensive and difficult, often combines several techniques; main objective is to set certain mood and image for product you’re trying to sell…strong imagery can sell ideas (zippo) |
|
|
Term
| Split and bookend spots (TV) |
|
Definition
| variation on serial commercial: two related (usually 15 second) spots run with a completely unrelated spot between them. Post Grape Nuts ran spot when woman asks man how long cereal stays crunchy in milk and audience left hanging while unrelated commercial plays then the couple comes back and she says it’s still crunchy… Theory behind it is that breaking out of expected format gets product remembered |
|
|
Term
|
Definition
| commercial that looks like a program, sell everything from woks to make-a-million-in-real-estate programs and usually run for 30 minutes; every infomercial begin and end with paid advertisement announcement so consumers understand what they’re watching…advertiser has entire program about its product |
|
|
Term
|
Definition
| most commercials combine techniques. Speaker may begin and conclude message with close ups in between…every commercial should contain at least 1-2 close-ups with brand logo / the product; humor is adaptable to most techniques, animation and live action make effective mixture, and side by side comparisons may be combined with almost any other technique |
|
|
Term
|
Definition
| commercials that weave together a string of apparently non-story-driven scenes full of talking heads, lush landscapes, or crisp graphic shots. Music and sound help serve as placing guide |
|
|
Term
|
Definition
| place a bug in lower right hand corner of commercial…networks use to let you know what network you’re watching; always end commercial with brand name prominently on screen |
|
|
Term
|
Definition
• Writing TV commercial very different from writing print ads.
• Must use simple easy to pronounce easy to remember words and must be brief, only 28 seconds of audio
• Must solve prime prospects problems by demonstrating your products superiority in 28s
• If too big to show in use, show logo or company name at least twice during commercial; think of words and pictures simultaneously
• Divide script paper into 2 columns: left (video action) right (audio portion including sound effects and music)
• Write copy in friendly conversational style
• Make sure off camera announcer is keyed to scenes in video
• Matching audio with video makes cohesive and more effective must work together
• Need strong copy and sound and strong visuals
• Photoscripts: boxes down center for rough sketches of video portion
• Most agencies use full size TV storyboards for presentations |
|
|
Term
|
Definition
• Once the creative art and copy team have developed a script, then next step is to create a storyboard.
• Storyboard is a Series of drawings used to present a proposed commercial. Consists of illustrations of key action accompanied by audio part. Used for getting advertiser approval and as production guide; shows key scenes developed in script
• Extremely difficult if not impossible to visualize look of finished commercial from storyboard
• Vary from stick figures in limbo to full color drawings/photos
• Practical step between raw script and actual production; gives common visual starting point for client agency and production house personnel
• Upon client approval the storyboard goes into production |
|
|
Term
|
Definition
| visual effects that are put on a TV film in a lab in contrast to those included as part of original photography |
|
|
Term
| Music (in TV commercials) |
|
Definition
• Not all need it, but think about it early in process
• Has ability to communicate feelings and moods in unique way
• Can make or break a commercial; every bit as important as copy or visuals in some and often used as background to announcers copy or as song or jingle integral to ad |
|
|
Term
| Music in backgrounds (TV) |
|
Definition
| used primarily to contribute to mood, can establish setting then fade and become soft |
|
|
Term
| Music as transitions (in TV ads) |
|
Definition
| effective transition device to carry viewers from one setting to another; start being sedate as scene is peaceful then switches to product being used as temp builds marking transition from place to place |
|
|
Term
| Music as movement (in tv ads) |
|
Definition
| sound effects, natural sounds, and music can contribute to movement. Music that moves up the scale, or down, supports something or someone moving up or down. |
|
|
Term
| Music as accents (in TV ads) |
|
Definition
| Music can punctuate point of actions. The “beat” of the music and visuals can match to hold viewers’ attention and drive the commercial. Musical sounds, as little as a single note, can attract attention. |
|
|
Term
| The nature of the medium (radio) |
|
Definition
• Radio has power to achieve sales results and market impressions at significant savings cost
• Gives you time to tell a story; no visual image or color to attract people but some argue radio is most visual medium if you do your job right
• Everything must be good for spot to be good (30-60 sec)
• “watching radio” the most misunderstood medium
• Theater of the mind: writer paints pictures in mind of listener through sound (superman, lone ranger, war of the worlds); mental imagery
• Radio was subordinated to position of music, talk, and other audio-oriented programming
• Lower priority among creatives
• 30 second TV spot remains key, fastest way to get noticed
• Most creative teams consist of art directors, designers, and copywriters but visual art peple are out of business when it comes to radio, leads creative team to print, TV etc
• “print radio” copywriters who know little about radio fall back n familiar copy format (headline, subhead, body, logo..etc…audio newspaper ad)
• No one believes anyone anymore, you must disarm, entertain, amuse, and get audience on your sisde
• Personal medium, consumers get to know radio personalities, listener allegiance
• Entertainment is ticket to consciousness |
|
|
Term
| Flexability, marketability and promotionability (radio) |
|
Definition
• 60 seconds all to self, radio listeners have favorite stations, no other adv can interfere with message, locally produced spot can be on level playing field with any national spot, power of radio commercial is the idea, the imagery; nation-al quality production can be easily created for low cost unlike TV
• Radio has most captive audience of any media; heaviest listenership during AM PM drive times, listeners can’t get away from ads like during TV
• Many programming formats to choose from, highly selective medium for advertiser, even foreign-language stations |
|
|
Term
| Creating the radio commercial |
|
Definition
• Understand your target, people buy solutions to problems, “people don’t want quarter inch drill bits they want quarter inch holes”
• Demographics and psychographics before beginning
• Writer can develop entire commercial alone (write script, pick talent, produce) freedom to create scenes in theater of the listeners imagination by painting picture in sound
Words, Sound, Music and jingles, Collaborative music alliances |
|
|
Term
|
Definition
| • Basic building blocks of effective radio commercial |
|
|
Term
|
Definition
• Unlock listeners imagination/create feelings
• Sound effects should be necessary and recognizable, should compliment words
• Manual, recorded, and electronic |
|
|
Term
| Music and jingles (radio) |
|
Definition
• Music has been called the “universal language”, appeal to dif emotions
• Jingle: part of commercial set to music usually carrying slogan or theme line of a campaign, may make brand name and slogan more easily remembered
• Oscar mayer wiener
• Ad jingles are declining overtaken by known songs but may be posed for comeback |
|
|
Term
| Collaborative music alliances (radio) |
|
Definition
| advertising is the new radio |
|
|
Term
| Developing the radio script |
|
Definition
• Most agencies have their own format sheets for copywriters; vary according to how script will be used, if in studio with talent, you can verbally explain how script is read
• Radio, theater of the mind
• Duty of producer to take control of listeners imagery and guide it to positive reaction that seeds memory with targeted message and leads to proper response (ex: car dealership shouting about sale)
• Important to be concerned about how people feel about your advertisement |
|
|
Term
| Elements of a good radio commercial |
|
Definition
• Be single minded/focused; prioritize (commercial is solar system, all points revolve around central idea, sun)
• Research product or service; factual data, adds support to message
• Relate to consumer; relate brand to their wants and needs, don’t assume they will come to right conclusion
• Generate extension; consumers picking up phrases from spot and using them, get spot out there/people talking about it
• Produce immediate physical, emotional, or mental response: (laughter, emotions, etc. help seed the memory and aid message retention)
• Use plain conversational English: (clear, plain simple communication, no unnatural statements.) |
|
|
Term
| Writing the radio commercial |
|
Definition
• Promise of significant and distinctive benefit/position; use arsenal of words and sounds to communicate your product
• Simplicity: build around central idea, copy needs to be conversational, write for the ear
• Clarity: avoid side issues delete unnecessary words
• Coherence: flow in logical sequence from first to last word using smooth transitions
• Rapport: you’re speaking to your consumers, use personal tone, “you”
• Pleasantness: talk as one friend to another about product/service
• Believability: tell the truth, avoid overstatements, be straightforward
• Interest: the way you present product makes it interesting; give useful info as reward for listening
• Distinctiveness: sound dif from other commercials and set product apart, fresh approach |
|
|
Term
|
Definition
| good for service and retail business; can portray company as friendly likeable and easy when negotiating a sale, stand out from other ads, many award-winning spots use humor. appropriate for low priced packaged products, fun, taste, change of pace; be careful about making fun of product |
|
|
Term
|
Definition
| when topic is emotional (family, healthcare, donations, security, etc) use emotion to stimulate the targeted response. |
|
|
Term
| Music and sound effects (radio) |
|
Definition
| music creates mood, sound effects create imagery. Jingles can be very memorable |
|
|
Term
|
Definition
| start with music not copy, evokes curiosity leaving them wide-open to accept a provocative image. |
|
|
Term
|
Definition
| doesn’t confront, good for products that appeal to men and women b/c allows it to appeal to both targets. |
|
|
Term
|
Definition
| basically same as tv, sex sells |
|
|
Term
| Straight announcer (radio) |
|
Definition
| : simplest approach sometimes works best; most direct; depends on copy and warmth of delivery/believability of person performing commercial. Works very well with specific events or promotions, like a sale. |
|
|
Term
|
Definition
| can be mixed in countless ways (using music, sound effects, an announcer, dialogue, etc.) |
|
|
Term
|
Definition
| 10 seconds, 25 words – 20 seconds, 45 words |
|
|
Term
|
Definition
| Intro (beginning of song establishes tempo and lyrics), Verse( middle, where message is developed) Theme or chorus (conclusion of song) |
|
|
Term
| Methods of delivery (radio) |
|
Definition
live
station announcer
prerecorded |
|
|
Term
|
Definition
delivered in person by studio announcer, DJ, news caster, or other station personality. Usually read from script prepared by announcer sometimes revised to complement announcers style; ad-libbing is discouraged; some commercials are delivered part live part prerecorded
• Advantage: announcer may have popular following, listeners accept advice from someone they like; bring credibility to spots, don’t cost a lot
• Word of mouth: live radio endorsements: DJs are provided with talking points about product and mention product/tidbits in segment (3 times encouraged); conversational, penetrate consumers psyche |
|
|
Term
| Station announcer (radio) |
|
Definition
usually for campaign dealing with retail offer that will change frequently; station announcer reads copy written by agency, recorded at station to no charge to client
• allows for frequent changes in copy at no cost |
|
|
Term
| prerecorded commercial (radio) |
|
Definition
| regional or national campaigns; commercial will be the same each time it’s aired, also allows them to take advantages of techniques that would be impractical in a live commercial. |
|
|
Term
| talent and unions (radio) |
|
Definition
| American Federation of TV and radio artists (AFTRA) dictates payments to performers in radio ads; talent is paid a session fee when ad is recorded |
|
|
Term
| Era of exaggerated claims |
|
Definition
1865-1900
• Most people accepted ads as “buyer beware” when any claim was allowed. Claims were outlandish (esp patent medicine) |
|
|
Term
|
Definition
1900-1965
• Both public and gov regulators began to reject notion of laissez-fair (unregulated economic system)
• Pure food and drug act of 1906 (public demanding protection from monopolies as well as prevailing untruthful portrayal of products)
• Enlightened media execs and advertisers realized there were real opportunities to provide consumers with helpful info that would enhance both public image and profitability |
|
|
Term
| Era of social responsibility |
|
Definition
1965-present
• Truth alone is not sufficient to meet demands of ethical advertising, must meet higher standard; philosophical balancing act; consumer protection needed
• Role of corporate responsibility: some argue diverting resources from business to society harms both in long run
-Wealth of Nations by Adam Smith; individuals should pursue a selfish course and in return society would be better ff
-Recognized for “the invisible hand” self interest guides most efficient use of resources with public welfare as by product |
|
|
Term
| Primary role of advertising is? |
|
Definition
| communication, but this info is also helpful to consumers |
|
|
Term
| Advocates of advertising say: |
|
Definition
| adv provides necessary info to allow consumers to make informed decisions about new products and choose the best brands to solve a problem |
|
|
Term
| Critics of advertising say: |
|
Definition
provides consumers with little useful info and advertisers are more interested in persuading prospects to buy products they don’t need at inflated prices than offering useful info
“persuasion versus information debate” never be resolved, function of 2 forces
• 1. Biases of proadvertising and antiadvertising camps
• 2. Fact that adv does function in both roles
• Advertising is a detriment to market entry-by providing little info it works to the detriment of new products, encourages brand switching instead of allowing consumers to make informed decisions about new products in marketplace |
|
|
Term
| Economic arguments in FAVOR of advertising |
|
Definition
• 1. Provides consumers with info to make informed decisions about new products, availability, price, and benefits
• Best way to kill a bad product is to advertise it
• 2. Adv supports largely unrestricted media that disseminate news and entertainment; provides employment for editorial production and administrative workers in these media
• 3. Promote product differentiation; encourages continuing product improvements and intro of new goods; forced to enhance to maintain market share
• 4. Mass advertising permits companies t achieve economies of scale in production that offset per unit cost of adv and results in lower prices (when combined w competition)
• 5. Contributes to inc in overall economy by increasing generic and brand consumption; ex: “better breakfast” campaign |
|
|
Term
| Economic arguments AGAINST advertising |
|
Definition
• 1. Intent is to persuade not inform; communicates extravagant product claims; guilty of sins of omissions by providing only positive info about brand
• 2. On a macro basis, adv spending is largely wasted bc it causes consumers to switch from one brand to another without any net economic gain to society
• 3. Many challenge that adv lowers price of products and services; emphasize emotional appeal so that price comparison becomes less important
• 4. High rate of adv expenditures make it difficult for new products to enter market |
|
|
Term
| Social Role of Advertising |
|
Definition
• Effects of adv on society has drawn most attention and controversy to industry
• Does adv shape/define culture or simply mirror an evolving society
• If economic effect is to make purchaser like what he buys, social effect is to make individual like what he gets
• Used to be dichotomy btwn 2 major types of cultural effects: inadvertent and overt |
|
|
Term
| Advertising's inadvertent social role |
|
Definition
| studied adv from viewpoint that redundant messages in adv created various changes in way audience responded to environment; assumed adv conveys largely unintended messages that impart info about society in general/some segment of public. By sheer weight of exposure adv sets social agenda of what is expected, fashionable, and tasteful for significant number of people, esp young, undereducated, and impressionable people. |
|
|
Term
| Advertising's overt social role |
|
Definition
| less studied, deals with role of adv as agent of social change (campaigns whole primary objective is promoting social agenda) – safe driving, adult literacy, environmental causes, etc. due to success special interest groups have recognized value and effectiveness of adv |
|
|
Term
|
Definition
• Consumption cannot be understood outside societal and group implications in which its undertaken
• Incorporate cultural icons and create new ones; choices cannot be understood without considering the cultural context in which they are made. culture is the lens through which people view products
• Culture: accumulation of shared meanings, rituals, norms, and traditions among members of a society/organization
• Assumes adv is no longer promoting products but brands are positioned as another part of a person’s cultural experience; products are now bought more for perception than function
• Companies brand their products as well as outside culture (by sponsoring cultural events)
• Can create both products and images that closely match the world view of buyers.
• Adv is moving to point where secondary/inadvertent effects are becoming part of primary theme of many advertisers |
|
|
Term
| Specific social criticisms of advertising |
|
Definition
• Social criticism has taken precedence over economic effects
• Privacy concerns: due to development of sophisticated communication technology; spam intrusion, tracking devices (RFID), do not call registry legislation to limit telemarketing is clearest evidence that public and legislative bodies are taking public fears about privacy and intrusiveness seriously; AAF supports
• Product placement: not new, gained popularity with sales success of Reese’s pieces after being seen in ET. Now advertisers are using it as more core adv then minor. Critics question ethics involved.
• Advertisings role in obesity. Lots of lawsuits filed against fast food chains charging their promotions of high calorie fatty menu items have led to various health problems most critical of chains longtime emphasis on promotions to children |
|
|
Term
| Advertising content (social criticism) |
|
Definition
: most criticized, spectrum of alleged abuses including sexual themes, exaggerated product claims, debasement of language, creation of stereotypes, and manipulating children with unrealistic promises
• “subliminal perception” Vance Packard; adv used hidden messages that changed purchasing behavior, caused public scrutiny of adv
• Although misleading advertisements may influence a consumer to make an initial purchase, it is rare that an unsatisfied customer will return.
• Stereotypes in treatment of the elderly, women, and minorities.
• Advertised women characterized by nudity, extreme thinness, sensuality, even bondage. (physical perfection and sexuality create body dissatisfaction, fuel addictions, and subtly legitimize violence and bondage.)
• Men are portrayed as hormonally challenged, “Bumbling male” ripe for reinvention
• Ads should move to more realistic portrayals (no stick thin girls)
• Insensitivity to some group or another; must be extremely careful
• Making progress though, Dove (real beauty) |
|
|
Term
| Advertising of certain product categories (social criticism) |
|
Definition
Trend is toward more liberal stance by both advertisers and media in terms of acceptability of adv…now that tobacco is pretty much out the most controversial categories are:
• Distilled spirits: longstanding taboo for hard liquor on broadcast media until 1990s. Debate not so much concerned with advertising executions as it is with the appropriateness of the products themselves.
• 74% respondents thought TV liquor adv would encourage teens to drink it.
• Condoms: health professionals advocate condoms in battle against STDs but even in light of AIDS epidemic most TV outlets prohibit the adv of condoms due to fear of conservative media watchdogs and religious groups. Accepted in 199os for some late night TV spots and in 2005 NBC accepted Trojan adv in prime time but were required to emphasize health benefits
• Advertising to children: difficult for most conscientious advertiser to avoid reaching sizeable number of children; growth in adv in venues produced solely for kids (online games and videos and traditional tv shows) debate among opponents of kids mktg. Since the audiences of virtually every program have a significant # of kids watching, it is very difficult for even the most moral advertisers to avoid reaching a large amount of children. |
|
|
Term
| Excessive Advertising (social criticism) |
|
Definition
mostly directed toward TV bc print ads are easily ignored.
• 25% TV network time devoted to commercials, higher % on local and late night/daytime periods
• Number of messages and order of messages affect recall and impact of adv.
• concern of both audience and advertising industry (clear channel ex)
• More scrutiny on promo ads, telemarketing and internet spam as well. |
|
|
Term
| Advertising's unwanted influences on society (social criticism) |
|
Definition
• Harshest critics of adv are those who think the very existence of persuasive adv is contrary to best interest of consumers
• Adv makes people buy things they don’t want or need, lowers morals, and exploits most susceptible segments of society; however research shows mass comm. Has hard time making small changes in behavioral intentions or attitudes, idea that people will take action solely bc ad is contrary to every theory of communication |
|
|
Term
| Advertising and social causes (ad council): |
|
Definition
| marshaled the advertising industry to support a number of causes. Success stories (applications for big brothers/sisters or mentors, ready.gov a homeland security campaign, don’t drive drunk, safety belt usage) |
|
|
Term
| Advertising and cause related marketing: |
|
Definition
| amex sponsored a campaign promising to make a donation to the renovation of the statue of liberty each time someone uses an amex card. Example of Cause-related marketing. Marketing their good deeds in the same way they market their products. Research indicates that consumers rarely make purchase decisions solely b/c a company is supporting some favored cause. Transactional programs (contributes to cause based on consumer purchase of brand), message promotions (link brand w/ info about some cause) licensing programs (permit companies to use charities’ logos in their advertising. |
|
|
Term
| Ways in which relationships b/n advertisers and media are changing: |
|
Definition
• Withholding advertising as an attempt to control editorial decisions: very common attempt to control editorial independence when advertiser threats that it will withhold advertising $ unless a medium makes editorial decisions favorable to a company.
• Advertiser-financed productions: advertisers working with media outlet to produce programming.
• Product placement
• Advertorial: use of advertising to promote an idea rather than a product or service. |
|
|
Term
| Advertising's legal and regulatory environment |
|
Definition
• Honest and truthful adv is a part of building consumer trust; most advertisers are well aware of ethical dimensions of their messages and strive to act in a principled manner
• For last 50 years gov, industry, and consumer advocacy groups have monitored and regulated adv
• Today adv operates in environment of regulation and public scrutiny, legit role because advertising is important to free market economy
• Untrue or misleading adv violates relationship btw consumer and advertiser creating market failure
• Caveat emptor: “let the buyer beware” reps notion that there should be no gov interference in marketplace, both groups being rational would make correct economic choices without gov interference. Now, complexities of marketplace led to rejection of principles of caveat emptor. Both business and public realize buyers have far less info than sellers and must be protected bu legal guarantees of authenticity of adv claims |
|
|
Term
| 3 basic constraints on advertising |
|
Definition
• 1. Laws and regulations on legally constituted bodies such as congress and FTC
• 2. Control by media through adv acceptability guidelines
• 3. Self-regulation by advertisers and agencies using various trade practice recommendations and codes of conduct |
|
|
Term
|
Definition
Federal Trade Commission
• Declared that “unfair methods of competition are hereby declared unlawful”, used to regard business to business transactions and did not give FTC jurisdiction over consumer adv and other consumer related activities, was to protect local retailers from unfair pricing practices by large national chains |
|
|
Term
| FTC v. Winsted Hosiery Company |
|
Definition
• In 1922 in FTC v Winsted Hosiery Company the 1922
Supreme Ct. held that false advertising was an unfair trade practice |
|
|
Term
|
Definition
| • 1938, passage of Wheeler-Lea Amendments broadened scope of FTC to include consumer advertising, today FTC has sweeping power of adv for virtually all products sold or advertised in interstate commerce |
|
|
Term
| Role of FTC in regulating deceptive advertising |
|
Definition
• Create a free marketplace based on dissemination of complete, truthful, and nondeceptive advertising; also investigates sales practices and illegal pricing activities
• Advertisers must be able to substantiate their claims (key to FTC enforcement, adv must be able to prove claims made in adv); uses 3 part test to determine truth/not
• When FTC challenges adv claim, company either provides substantiation or agrees to discontinue ad in question |
|
|
Term
| 3 part FTC test to substantiate claims |
|
Definition
• 1. Must be representation, omission, or practice likely to mislead consumer. Sometimes statement is literally true, but total impression of ad is misleading
• 2. Act or practice must be considered from perspective of a consumer who is acting reasonably. Adv is not responsible for every possible interpretation no matter how unreasonable that might be made by consumer
• 3. Representation, omission, or practice must be material. The claim, even if not true, must be judged to have had some influence over a consumers decision (using plastic ice cubes in drink commercial is not deceptive bc no claims are being made about the ice cube) |
|
|
Term
|
Definition
| issued by FTC, adv signs decree, stops practice under investigation, but admits no guilt |
|
|
Term
|
Definition
| if an advertiser refuses to sign consent decree FTC may issue cease and desist order that can carry a $10,000 per-day fine |
|
|
Term
|
Definition
| to counteract past residual effect of previous deceptive ad, FTC may require advertiser to devote future space and time to disclosure of previous deception. Began around 1960s |
|
|
Term
|
Definition
• “puffery consists of exaggerated opinions, usually at the highest degree of exaggeration, which means superlatives, such as ‘the best’ or ‘superior’. You puff your product…it can be best tasting, best looking, best lasting..”
• Use/boundaries of puffery are extremely deceptive
• Legal def: an exaggeration or overstatement expressed in broad, vague, and commendatory language and is distinguishable from misdescriptions or false representations of specific characteristics of a product and not actionable.
• Considered legitimate expression of biased opinion (advertisers) |
|
|
Term
|
Definition
• People like to ID with role models and celebs, heart of testimonial adv
• Seeks to enhance brands rep by having sports star, entertainment personality, or acknowledged expert endorse brand
• Used to be viewed liberally, now FTC has taken more literal approach. FTC has ruled that:
• Endorsements must always reflect honest opinions, findings, beliefs, or experience of endorser
• When ad represents endorser uses product, endorser must have been bona fide user of it at the time endorsement was given
• Endorsers who willfully engage in deception can be held liable along with advertisers
• Recently celebs have been starting their own product lines, eliminates 3rd party endorsements/problems |
|
|
Term
|
Definition
| federal law enforced by FTC requires manufacturer to give proportionate discounts to all competing dealers in market; purpose: to protect smaller merchants from unfair competition of larger buyers; amended clayton act |
|
|
Term
|
Definition
| payments to retailers by manufacturers to gain shelf space |
|
|
Term
| Federal Food, Drug, and Cosmetic Act |
|
Definition
• Food and Drugs Act originally passed by congress in 1906 (Teddy Roosevelt); prohibits interstate commerce in misbranded and adulterated foods, drinks, and drugs
• 1938, Food, drug, and cosmetic act established Food and Drug administration (FDA) superseded original act and gave FDA responsibility for:
• Extending control to cosmetic and therapeutic devices
• Requiring new drugs to be shown safe before marketing—starting new system of drug regulation
• Eliminating Sherley Amendment requirement to prove intent to defraud in drug misbranding cases
• Providing that safe tolerances be set for unavoidable poisonous substances
• Authorizing standards of ID, quality, and fill of container for foods
• Authorizing factory inspections
• Adding remedy of court injunctions to previous penalties of seizures and prosecutions
• Most active/controversial area of FDA is consumer prescription drug advertising
• Could only adv to doctors until 1997
• 1999, drug companies spent 1 bil on DTC ads, 2005, spent 4 bil
• 2006 agency given greater enforcement over labeling
• Agency was given greater enforcement authority over label information enhancing it to include data about trans fat, allergen, wand whole grain ingredients.
• Step toward more fully informing consumers about food. FDA may become much more aggressive in the enforcement of regulations dealing with health claims on labels, packaging, borrowing strategies from the FTC. |
|
|
Term
|
Definition
• J. Sterling Getchell generally credited with first major use of comparison adv; Chrysler “try all three”
• FTC pushed for more comparative adv in 1972; urged ABC and CBS to allow commercials that named competitors
• FTC continues to foster comparative ads, even warning trade associations against industry codes that prohibit such comparisons.
• Three problems cited in comparison advertising:
• Runs risk of inadvertently promoting competitive brands/appearing to offer credibility to them by including their names
• Some comparison adv techniques may appear unfair to consumers and damage rep of brand using it and adv in general
• Firms often fear comparative adv claims will precipitate lawsuits by companies that think their brands have been unfairly disparaged. Most complaints brought by competitors who think company’s comparative claims are not true
• H&R block example
• may result in legal action even if competitor is not named directly (Gillette razors)
• Product substantiation especially important, for qualities of their brand and any other brand they’re comparing |
|
|
Term
| 3 problems of comparison advertising |
|
Definition
• Runs risk of inadvertently promoting competitive brands/appearing to offer credibility to them by including their names
• Some comparison adv techniques may appear unfair to consumers and damage rep of brand using it and adv in general
• Firms often fear comparative adv claims will precipitate lawsuits by companies that think their brands have been unfairly disparaged. Most complaints brought by competitors who think company’s comparative claims are not true |
|
|
Term
| Advertising clearance process |
|
Definition
| internal process of clearing ads for publication and broadcast, conducted primarily by ad agencies and clients |
|
|
Term
| NARC self-regulation program |
|
Definition
• National Advertising Review Counsel (NARC) founded in 1971 in response to many dif consumer movements pushing for more stringent gov regulation of adv and concerns among major advertisers that adv honesty was not being given enough attention in industry
• AAF, AAAA, ANA together created NARC.
• Primary purpose: to “develop a structure which would apply persuasive capacities of peers to seek voluntary elimination of national adv which professionals would consider deceptive”
• sustain high standards of truth and accuracy in national advertising through voluntary self regulation; advertisers became watchdog lodging majority of complaints against their competitors
• “It works b/c it is tough enough to satisfy consumer advocates, business-minded enough to respect advertising’s role in the marketing process, and effective enough to keep the FTC off the industry’s back.” |
|
|
Term
|
Definition
National Advertising Division
primary investigative unit of the NARC self regulation program; staffed by fulltime lawyers who respond to complaints from competitors and consumers and to referrals from local BBB’s. (also monitor national advertising)
• NAD is NOT appropriate forum to address concerns about good taste of ads, moral questions or issue advertising.
• After a complaint is received, NAD determines the issues, collects/evaluates data, and makes an initial decision on whether the claims are important.
• If the NAD find that the claims aren’t substantial, it will recommend that the advertiser modify or discontinue the offending claims.
• Competitor challenges are largest source of NAD cases; most challenges are:
• Product testing
• consumer perception studies
• Taste/sensory claims
• Pricing
• testimonial/anecdotal evidences
• demonstrations
• NAD/NARB cannot
• order advertiser to stop an ad
• impose a fine
• bar anyone from adv
• boycott an advertiser or a product
• But it can bring to bear judgment of advertiser’s Peers that a company has produced ads that are not truthful/harmful to industry public and offender, has great moral weight |
|
|
Term
|
Definition
|
|
Term
|
Definition
National Advertising Review Board
provides adv with jury of peers if it chooses to appeal a NAD decision; 70 members, 40 adv, 20 adv agencies, 10 public sector |
|
|
Term
|
Definition
Children's Advertising Review Unit
established to review special ad concerns of ads directed to children. |
|
|
