The document appears to be an advertising proposal from the fictional Sterling Cooper Draper Pryce advertising agency. It is addressed to an unnamed Creative Director, Don Draper, and seems to focus on whether the creative industry is losing its ability to sell products. In just a few words and lines of text, the document raises the question of the creative industry's effectiveness at marketing and persuading consumers in modern times.
100 % sajūsmas vērts pasākums un vieta, bet tas nebūtu interesanti. is whether Cannes is really celebrating creativity at all – and what that might mean for the future of the advertising industry.
advertising has foregone the idea that what it is creating is for someone.
36 000 entries, 12 000 apmeklētāju.
There is hope about winning creative awards, hope about new clients, hope about better careers, hope about fame, hope about more money and even hope that optimism will continue once the festival finishes. The grim reality of the traditional advertising industry – never discussed at Cannes – is that creative and media agencies are under enormous financial pressures, as clients cut fees and find lower-cost ways of creating and distributing ads throughout the highly fragmented media landscape.
They are using their particular bully pulpit to moralize and sermonize and offer up, in the end that a better world can be achieved, because a better world can be bought.
From Amazon to Apple, from Starbucks to upscale hotel chains, brands are making claims not just about what people should buy, but about what people should be.
Of course advertising has the ability to drive social change but why should it?
The right side of history can often double as the most lucrative side of history
They are using their particular bully pulpit to moralize and sermonize and offer up, in the end that a better world can be achieved, because a better world can be bought.
“In these times, actually, it’s becoming more important for brands to take a point of view.” Not just because brands have the power to effect change, but because people want them—expect them—to use it
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Coleman Sweeney
The two most engaging powers of an author are to make new things familiar and familiar things new