This document discusses the effects of ad variation and brand familiarity on consumer memory for brand names and claims. It theorizes that familiar brands may benefit more from ad variation than unfamiliar brands. Specifically, it proposes that:
1) Completely varied ad executions, which change both the theme and executional elements between ads, may be better than partially varied ads at enhancing memory for familiar brands.
2) Partially varied ads, which change executional elements but keep the theme the same, are exemplified by Diet Pepsi ads that featured the same celebrity and concept in different executions.
3) Varying ads increases encoding variability, allowing brand information to be associated with different contexts and increasing the chances of later
The document discusses various challenges that brands face throughout their lifecycle, from establishing an identity to building awareness, trial, and loyalty. It provides examples of how brands can overcome these challenges, including through effective messaging, culture-tailoring, use of mascots, and personification. Some potential drawbacks of personification are that any human or character representing a brand may age or die, potentially harming the brand's image or sales if not properly managed. Overall, the document offers insights into the diverse challenges brands face at different stages as well as strategies that have been successfully employed to meet those challenges.
The document discusses how new media technologies were used at different stages of creating a media production. During research and planning, YouTube was used extensively to analyze existing advertisements and understand conventions. During construction, video editing software was used to produce the advertisements. For evaluation, an online survey was created using Google Forms and distributed on social media to collect audience feedback on the advertisements. The feedback provided insights on how to improve future productions.
Consumer perception the base for decision making. People make decisions instantly within 20 seconds about other person, yet when it comes to product they take more time. If the perception tone is set right by the companies consumer will not have any confusions. This presentation explores the ways and means of consumer perception and ends with the application of perception at large by organizations around the globe.
Introduction to Consumer Behaviour; Consumer Behaviour
and Marketing Strategy; Consumer Involvement – Levels
of involvement, and Decision Making.
Consumer Decision Process – Stages in Decision Process,
Information Search Process; Evaluative Criteria and
Decision Rules, Consumer Motivation – Types of Consumer
Needs, Ways of Motivating Consumers. Information
Processing and Consumer Perception.
Consumer Attitudes and Attitude Change; Influence of
Personality and Self Concept on Buying Behaviour,
Psychographics and Lifestyles, Impuse Buying.
Diffusion of Innovation and Opinion Leadership, Family
Decision Making, Influence of Reference Group
Industrial Buying Behaviour– Process and factors, Models
of Consumer Behaviour – Harward Seth, Nicosia, E& D,
Economic Model; Introduction to Consumer Behaviour
Audit; Consumer Behaviour Studies in India.
This document discusses various codes and conventions used in advertising across different mediums. It explains that narratives, whether realistic or unrealistic, are commonly used in video ads to engage audiences. Techniques like lighting, editing, props and characters can be altered for different target groups. Slogans are also discussed as a way to make brands memorable. The different codes and conventions for print, video and radio ads are outlined, noting elements like visual appeal, audio language. Audience classification methods like social grades, demographics and psychographics are described as important for targeting specific groups.
Guides to the codes and conventions of advertisingBethPotter4
This document provides an overview of 12 common types of advertising and describes each type. It also includes examples of codes and conventions commonly used in television and print ads. Some key types discussed include demonstration ads, problem-solution ads, comparison ads, and testimonial ads. Technical codes like camera techniques, symbolic codes like objects and settings, and written codes like captions are outlined. Conventions around editing, lighting, music, and other production elements are also summarized. The document serves as a guide to understanding different advertising strategies and the typical visual language of ads.
This document summarizes a research paper that studied corporate rebranding involving a change of name. It analyzed a sample of 166 rebranded companies to understand the drivers and impact of rebranding on brand equity. The findings suggest that rebranding is often provoked by structural changes like mergers and acquisitions that impact a company's identity and strategy. It also indicates that changes to marketing aesthetics may affect brand equity less than other factors like employee behavior. The paper proposes a conceptual model to integrate the dimensions of corporate rebranding and suggests further research on leveraging brand equity across brand hierarchy levels.
The document discusses various challenges that brands face throughout their lifecycle, from establishing an identity to building awareness, trial, and loyalty. It provides examples of how brands can overcome these challenges, including through effective messaging, culture-tailoring, use of mascots, and personification. Some potential drawbacks of personification are that any human or character representing a brand may age or die, potentially harming the brand's image or sales if not properly managed. Overall, the document offers insights into the diverse challenges brands face at different stages as well as strategies that have been successfully employed to meet those challenges.
The document discusses how new media technologies were used at different stages of creating a media production. During research and planning, YouTube was used extensively to analyze existing advertisements and understand conventions. During construction, video editing software was used to produce the advertisements. For evaluation, an online survey was created using Google Forms and distributed on social media to collect audience feedback on the advertisements. The feedback provided insights on how to improve future productions.
Consumer perception the base for decision making. People make decisions instantly within 20 seconds about other person, yet when it comes to product they take more time. If the perception tone is set right by the companies consumer will not have any confusions. This presentation explores the ways and means of consumer perception and ends with the application of perception at large by organizations around the globe.
Introduction to Consumer Behaviour; Consumer Behaviour
and Marketing Strategy; Consumer Involvement – Levels
of involvement, and Decision Making.
Consumer Decision Process – Stages in Decision Process,
Information Search Process; Evaluative Criteria and
Decision Rules, Consumer Motivation – Types of Consumer
Needs, Ways of Motivating Consumers. Information
Processing and Consumer Perception.
Consumer Attitudes and Attitude Change; Influence of
Personality and Self Concept on Buying Behaviour,
Psychographics and Lifestyles, Impuse Buying.
Diffusion of Innovation and Opinion Leadership, Family
Decision Making, Influence of Reference Group
Industrial Buying Behaviour– Process and factors, Models
of Consumer Behaviour – Harward Seth, Nicosia, E& D,
Economic Model; Introduction to Consumer Behaviour
Audit; Consumer Behaviour Studies in India.
This document discusses various codes and conventions used in advertising across different mediums. It explains that narratives, whether realistic or unrealistic, are commonly used in video ads to engage audiences. Techniques like lighting, editing, props and characters can be altered for different target groups. Slogans are also discussed as a way to make brands memorable. The different codes and conventions for print, video and radio ads are outlined, noting elements like visual appeal, audio language. Audience classification methods like social grades, demographics and psychographics are described as important for targeting specific groups.
Guides to the codes and conventions of advertisingBethPotter4
This document provides an overview of 12 common types of advertising and describes each type. It also includes examples of codes and conventions commonly used in television and print ads. Some key types discussed include demonstration ads, problem-solution ads, comparison ads, and testimonial ads. Technical codes like camera techniques, symbolic codes like objects and settings, and written codes like captions are outlined. Conventions around editing, lighting, music, and other production elements are also summarized. The document serves as a guide to understanding different advertising strategies and the typical visual language of ads.
This document summarizes a research paper that studied corporate rebranding involving a change of name. It analyzed a sample of 166 rebranded companies to understand the drivers and impact of rebranding on brand equity. The findings suggest that rebranding is often provoked by structural changes like mergers and acquisitions that impact a company's identity and strategy. It also indicates that changes to marketing aesthetics may affect brand equity less than other factors like employee behavior. The paper proposes a conceptual model to integrate the dimensions of corporate rebranding and suggests further research on leveraging brand equity across brand hierarchy levels.
The document discusses the relationship between Hofstede's five cultural dimensions and Keller's brand building blocks and elements of brands. It analyzes how each cultural dimension (individualism, power distance, uncertainty avoidance, masculinity and long-term orientation) relates to brand performance, imagery, judgments, feelings and resonance. It also examines the relationship between cultural dimensions and brand name, logo, characters and packaging. The analysis aims to help managers develop culturally appropriate branding strategies in different markets. Key findings include relationships between brand performance and masculinity/femininity, imagery and individualism/uncertainty avoidance, judgments and masculinity/femininity/collectivism, and feelings and masculinity/femininity.
This document outlines an advertising pitch for a print advert aimed at raising awareness of mental health issues among 14-19 year olds. The proposed advert would focus on depression in young people and highlight statistics from sources like the WHO. Primary research with teens found they were unaware of depression statistics and preferred online and bus stop advertisements. The advert would use emotional imagery and credible statistics to communicate the importance of talking about feelings of stress or depression. It would be distributed on the Daily Mail website, YouTube homepage, and bus stops targeting the intended teenage audience.
Industry Guide to the Codes and Conventions of AdvertisingBethPotter4
The radio advertisement uses typical codes and conventions such as celebrity endorsement with Mr. T promoting the Snickers bar. Though little information is given about the product itself due to its popularity, the unexpected phone call dialogue at the beginning captures listeners' attention in an unconventional way for a radio spot. By humorously portraying Mr. T becoming irritable when hungry but then satisfied after eating a Snickers, the ad associates the product with resolving irritability to create an emotional connection with the audience.
The document discusses optimizing a brand's media mix based on its relationship with customers. It introduces the DM Brand Relationship model which was developed by Belgian Post Solutions and Synovate Censydiam. The model involves understanding the different types of relationships customers can have with a brand in order to improve communications and loyalty. It then provides an example application of this model in the fashion retail sector, identifying 8 different brand relationships and analyzing how two players are perceived differently by customers.
This document discusses line extensions and brand extensions. It provides the example of Bisleri mineral water introducing different bottle sizes as a line extension to meet varying customer needs. Brand extensions involve using an existing brand name for a new product category, like Ponds expanding from cold cream into other personal care products. While extensions provide benefits like reduced costs, there are risks like confusing customers or diluting the parent brand if extensions fail.
This document discusses brand extension, which is using an established brand name to launch a new product in a different category. It provides examples of successful and unsuccessful brand extensions. Specifically:
- Brand extensions can be line extensions that target new market segments within a category, or category extensions that enter a new product category.
- Successful brand extensions like Fabindia were able to leverage trust in the parent brand while expanding product lines.
- Unsuccessful extensions like Pond's oral care failed because consumers did not associate attributes of the parent brand like fragrance with the new category of toothpaste. Extending too far can damage a brand if the new product is not a good fit.
The document discusses optimizing a brand's media mix based on its relationship with customers. It introduces the DM Brand Relationship model which was developed by Belgian Post Solutions and Synovate Censydiam. The model involves understanding the different types of relationships customers can have with a brand in order to improve contact quality through tailored messaging, media mix, and tone of voice. A qualitative survey across multiple categories identified six common brand relationships. A subsequent quantitative fashion sector survey using the model revealed eight brand relationships specific to that industry.
Brand hierarchy refers to displaying a brand strategy through the common and distinctive elements across a firm's products, revealing the ordering of brand elements. It can involve corporate, family, and individual branding strategies. Corporate branding uses a company name for products, while family branding markets different products under one name. Individual branding gives each product a unique name. Modifiers like words or phrases can further distinguish brands according to product types or models.
To create an advertising proposal, information is needed about the company, desired advertising locations and budget. The proposal is for a perfume aimed at teenagers to be worn everywhere. Television campaigns featuring famous people wearing the perfume are proposed to influence young people. The print ad would feature Beyonce with the perfume name "Love" in red and black colors, sending messages of self-love and love for others to women aged 18-30, the target market.
This document discusses various branding strategies including co-brands, line extensions, brand extensions, multi-brands, and new brands. It provides examples for each strategy. Co-branding occurs when two brands collaborate, such as Nestea which was a collaboration between Coca-Cola and Nestle. Line extensions add new variants or features to an existing brand, while brand extensions enter new product categories with the same brand name, like Airtel entering DTH with Airtel TV. Multi-branding is when a company has multiple brands across categories, and new brands introduce both a new product and brand name, such as ZEE's DISH TV and KIDZEE.
The document discusses the influence of brands in the fashion purchasing process. It identifies six key factors that influence brand choice: rational, product, cognitive, environmental, peer and cultural factors. Through focus groups, it was found that price (a rational factor) was a primary influence, with consumers perceiving brands along a continuum based on quality and price. Product factors like fit and style were also important. Consumers can develop strong affiliations with brands and refuse other options. Understanding how these internal and external factors interact is key for fashion retailers to influence purchasing.
In this short presentation, I try to explain what brand differentiation is, why it is necessary for brand-building, the methods by which brands differentiate themselves, and with the help of specially created adverts, I illustrate how a differentiated brand positioning can be communicated to the target audience.
When the brand is at the core of business, brand building is more than marketing. It must be aligned to corporate strategy, with the CEO's endorsement and buy-in from all employees.
This document discusses consumer perception and imagery. It defines perception as how individuals interpret stimuli to understand the world. Perception involves selection, organization, and interpretation of stimuli. Consumer imagery refers to the images consumers form about products, services, prices and quality. Key topics covered include subliminal perception, elements of perception like selection and interpretation, issues with consumer imagery like perceived quality and risk, and how positioning and price influence consumer perception.
(1) A brand provides a unique identity for a company's products and creates emotional associations with consumers through marketing efforts.
(2) In complex markets with many similar competitors, branding helps differentiate companies and build trust and loyalty with consumers.
(3) Successful brands create aspirational lifestyles that consumers want to associate themselves with through the brand's values and image.
This document discusses managing brands across geographic boundaries and market segments. It addresses regionalization as an important trend for more focused targeting, while noting potential drawbacks like increased costs. Other segments discussed include age, ethnicity, and culture. Building a global brand requires understanding differences in various markets while maintaining a consistent brand image and leveraging ideas across regions. Success requires balancing standardization with customization and global versus local control.
Both Aldi and Tesco focus their marketing strategies around price, using red in their designs and slogans about bargains to draw attention. They target families with simplistic primary color schemes. In contrast, Marks & Spencer's and Waitrose focus on quality over price, using white fonts and images of high quality food without mentioning cost. They target an upper middle class audience. Vitamin Water and Innocent Smoothies emphasize healthy images over price, using fruits and natural backgrounds. Premier Inn and Travelodge both prominently feature prices but contrast in lighting, with Premier Inn using bright high key lighting and Travelodge using darker low key lighting. Coca Cola and Pepsi use similar primary colors in their designs and target 14
The second in a series of my guides on brand building, it focuses on corporate brands, how they differ from product brands, what they have in common with them, how they relate to each other, and more.
Importantly, it focuses on the need to build corporate brands, and clarifies whether brand purpose or customer-facing businesses are essential to creating a corporate brand.
Finally, it helps us understand why corporate brands are not about corporate communications or marketing alone. Why they need a composite corporate brand strategy to relate to all stakeholders of companies.
Kayleigh is creating a TV advertisement for Daz washing tablets to target a younger audience aged 19-28 of both genders. She will use humor and satire, featuring Jesus, to promote the product in a memorable way. Her research found this audience values education and cost efficiency. She plans to air the ad during shows like Hollyoaks on Channel 4 after 9pm to reach this target demographic. The ad will use slogans and exaggerated claims to suggest the product is widely used and very effective.
1) The document discusses customer-based brand equity, which is defined as the differential effect that brand knowledge has on consumer response to marketing.
2) It explains that brand knowledge consists of brand awareness and brand image, which are the key sources of creating strong brand equity.
3) The customer-based brand equity model shows how brand performance, imagery, judgments, feelings, and resonance can build relationships between customers and brands.
Factors influencing successful brand extensionsLaiqa Ahmed
This document discusses factors that influence the success of brand extensions. It presents four hypotheses: 1) Extensions into more similar categories will be more accepted; 2) Brands with higher reputations will have more favorable extensions; 3) Higher perceived risk of the extension category will lead to more positive evaluations; 4) Consumers' innovativeness will lead to more positive evaluations. The document reports on research testing these hypotheses for fast-moving consumer goods, durable goods, and services brands. Descriptive, bivariate, and multivariate analyses provide support for the hypotheses.
This document discusses content analysis as a method for comparing advertisements across cultures. While content analysis has traditionally been used to describe ad content, it provides little insight into advertising effectiveness or consumer interpretation. The document argues that cross-cultural advertising research should incorporate consumer interpretation to gain more meaningful insights. It then presents a variation of content analysis based on consumer interpretation and tests it against the traditional descriptive approach. The results and implications for future cross-cultural advertising research are discussed.
My Master's thesis : Shifting advertising strategies and designs - Consequenc...Michaël Perez
This document is a research memoire presented by Michaël Perez-Diaz to obtain a Master's degree in business administration. The research aims to determine if shifting from provocative to more traditional advertising strategies impacts brand perception solely due to the change in ad content or also due to consumer perceptions of the brands. The memoire reviews literature on the evolution of provocative advertising and its effects. It presents hypotheses and research questions to examine the impact of ad strategy shifts on consumer attitudes toward ads, brands, and purchase intentions. An experiment will assess these variables in relation to provocative and traditional ads from Benetton, Diesel, and Sisley to determine if brand perceptions influence responses beyond ad content alone.
The document discusses the relationship between Hofstede's five cultural dimensions and Keller's brand building blocks and elements of brands. It analyzes how each cultural dimension (individualism, power distance, uncertainty avoidance, masculinity and long-term orientation) relates to brand performance, imagery, judgments, feelings and resonance. It also examines the relationship between cultural dimensions and brand name, logo, characters and packaging. The analysis aims to help managers develop culturally appropriate branding strategies in different markets. Key findings include relationships between brand performance and masculinity/femininity, imagery and individualism/uncertainty avoidance, judgments and masculinity/femininity/collectivism, and feelings and masculinity/femininity.
This document outlines an advertising pitch for a print advert aimed at raising awareness of mental health issues among 14-19 year olds. The proposed advert would focus on depression in young people and highlight statistics from sources like the WHO. Primary research with teens found they were unaware of depression statistics and preferred online and bus stop advertisements. The advert would use emotional imagery and credible statistics to communicate the importance of talking about feelings of stress or depression. It would be distributed on the Daily Mail website, YouTube homepage, and bus stops targeting the intended teenage audience.
Industry Guide to the Codes and Conventions of AdvertisingBethPotter4
The radio advertisement uses typical codes and conventions such as celebrity endorsement with Mr. T promoting the Snickers bar. Though little information is given about the product itself due to its popularity, the unexpected phone call dialogue at the beginning captures listeners' attention in an unconventional way for a radio spot. By humorously portraying Mr. T becoming irritable when hungry but then satisfied after eating a Snickers, the ad associates the product with resolving irritability to create an emotional connection with the audience.
The document discusses optimizing a brand's media mix based on its relationship with customers. It introduces the DM Brand Relationship model which was developed by Belgian Post Solutions and Synovate Censydiam. The model involves understanding the different types of relationships customers can have with a brand in order to improve communications and loyalty. It then provides an example application of this model in the fashion retail sector, identifying 8 different brand relationships and analyzing how two players are perceived differently by customers.
This document discusses line extensions and brand extensions. It provides the example of Bisleri mineral water introducing different bottle sizes as a line extension to meet varying customer needs. Brand extensions involve using an existing brand name for a new product category, like Ponds expanding from cold cream into other personal care products. While extensions provide benefits like reduced costs, there are risks like confusing customers or diluting the parent brand if extensions fail.
This document discusses brand extension, which is using an established brand name to launch a new product in a different category. It provides examples of successful and unsuccessful brand extensions. Specifically:
- Brand extensions can be line extensions that target new market segments within a category, or category extensions that enter a new product category.
- Successful brand extensions like Fabindia were able to leverage trust in the parent brand while expanding product lines.
- Unsuccessful extensions like Pond's oral care failed because consumers did not associate attributes of the parent brand like fragrance with the new category of toothpaste. Extending too far can damage a brand if the new product is not a good fit.
The document discusses optimizing a brand's media mix based on its relationship with customers. It introduces the DM Brand Relationship model which was developed by Belgian Post Solutions and Synovate Censydiam. The model involves understanding the different types of relationships customers can have with a brand in order to improve contact quality through tailored messaging, media mix, and tone of voice. A qualitative survey across multiple categories identified six common brand relationships. A subsequent quantitative fashion sector survey using the model revealed eight brand relationships specific to that industry.
Brand hierarchy refers to displaying a brand strategy through the common and distinctive elements across a firm's products, revealing the ordering of brand elements. It can involve corporate, family, and individual branding strategies. Corporate branding uses a company name for products, while family branding markets different products under one name. Individual branding gives each product a unique name. Modifiers like words or phrases can further distinguish brands according to product types or models.
To create an advertising proposal, information is needed about the company, desired advertising locations and budget. The proposal is for a perfume aimed at teenagers to be worn everywhere. Television campaigns featuring famous people wearing the perfume are proposed to influence young people. The print ad would feature Beyonce with the perfume name "Love" in red and black colors, sending messages of self-love and love for others to women aged 18-30, the target market.
This document discusses various branding strategies including co-brands, line extensions, brand extensions, multi-brands, and new brands. It provides examples for each strategy. Co-branding occurs when two brands collaborate, such as Nestea which was a collaboration between Coca-Cola and Nestle. Line extensions add new variants or features to an existing brand, while brand extensions enter new product categories with the same brand name, like Airtel entering DTH with Airtel TV. Multi-branding is when a company has multiple brands across categories, and new brands introduce both a new product and brand name, such as ZEE's DISH TV and KIDZEE.
The document discusses the influence of brands in the fashion purchasing process. It identifies six key factors that influence brand choice: rational, product, cognitive, environmental, peer and cultural factors. Through focus groups, it was found that price (a rational factor) was a primary influence, with consumers perceiving brands along a continuum based on quality and price. Product factors like fit and style were also important. Consumers can develop strong affiliations with brands and refuse other options. Understanding how these internal and external factors interact is key for fashion retailers to influence purchasing.
In this short presentation, I try to explain what brand differentiation is, why it is necessary for brand-building, the methods by which brands differentiate themselves, and with the help of specially created adverts, I illustrate how a differentiated brand positioning can be communicated to the target audience.
When the brand is at the core of business, brand building is more than marketing. It must be aligned to corporate strategy, with the CEO's endorsement and buy-in from all employees.
This document discusses consumer perception and imagery. It defines perception as how individuals interpret stimuli to understand the world. Perception involves selection, organization, and interpretation of stimuli. Consumer imagery refers to the images consumers form about products, services, prices and quality. Key topics covered include subliminal perception, elements of perception like selection and interpretation, issues with consumer imagery like perceived quality and risk, and how positioning and price influence consumer perception.
(1) A brand provides a unique identity for a company's products and creates emotional associations with consumers through marketing efforts.
(2) In complex markets with many similar competitors, branding helps differentiate companies and build trust and loyalty with consumers.
(3) Successful brands create aspirational lifestyles that consumers want to associate themselves with through the brand's values and image.
This document discusses managing brands across geographic boundaries and market segments. It addresses regionalization as an important trend for more focused targeting, while noting potential drawbacks like increased costs. Other segments discussed include age, ethnicity, and culture. Building a global brand requires understanding differences in various markets while maintaining a consistent brand image and leveraging ideas across regions. Success requires balancing standardization with customization and global versus local control.
Both Aldi and Tesco focus their marketing strategies around price, using red in their designs and slogans about bargains to draw attention. They target families with simplistic primary color schemes. In contrast, Marks & Spencer's and Waitrose focus on quality over price, using white fonts and images of high quality food without mentioning cost. They target an upper middle class audience. Vitamin Water and Innocent Smoothies emphasize healthy images over price, using fruits and natural backgrounds. Premier Inn and Travelodge both prominently feature prices but contrast in lighting, with Premier Inn using bright high key lighting and Travelodge using darker low key lighting. Coca Cola and Pepsi use similar primary colors in their designs and target 14
The second in a series of my guides on brand building, it focuses on corporate brands, how they differ from product brands, what they have in common with them, how they relate to each other, and more.
Importantly, it focuses on the need to build corporate brands, and clarifies whether brand purpose or customer-facing businesses are essential to creating a corporate brand.
Finally, it helps us understand why corporate brands are not about corporate communications or marketing alone. Why they need a composite corporate brand strategy to relate to all stakeholders of companies.
Kayleigh is creating a TV advertisement for Daz washing tablets to target a younger audience aged 19-28 of both genders. She will use humor and satire, featuring Jesus, to promote the product in a memorable way. Her research found this audience values education and cost efficiency. She plans to air the ad during shows like Hollyoaks on Channel 4 after 9pm to reach this target demographic. The ad will use slogans and exaggerated claims to suggest the product is widely used and very effective.
1) The document discusses customer-based brand equity, which is defined as the differential effect that brand knowledge has on consumer response to marketing.
2) It explains that brand knowledge consists of brand awareness and brand image, which are the key sources of creating strong brand equity.
3) The customer-based brand equity model shows how brand performance, imagery, judgments, feelings, and resonance can build relationships between customers and brands.
Factors influencing successful brand extensionsLaiqa Ahmed
This document discusses factors that influence the success of brand extensions. It presents four hypotheses: 1) Extensions into more similar categories will be more accepted; 2) Brands with higher reputations will have more favorable extensions; 3) Higher perceived risk of the extension category will lead to more positive evaluations; 4) Consumers' innovativeness will lead to more positive evaluations. The document reports on research testing these hypotheses for fast-moving consumer goods, durable goods, and services brands. Descriptive, bivariate, and multivariate analyses provide support for the hypotheses.
This document discusses content analysis as a method for comparing advertisements across cultures. While content analysis has traditionally been used to describe ad content, it provides little insight into advertising effectiveness or consumer interpretation. The document argues that cross-cultural advertising research should incorporate consumer interpretation to gain more meaningful insights. It then presents a variation of content analysis based on consumer interpretation and tests it against the traditional descriptive approach. The results and implications for future cross-cultural advertising research are discussed.
My Master's thesis : Shifting advertising strategies and designs - Consequenc...Michaël Perez
This document is a research memoire presented by Michaël Perez-Diaz to obtain a Master's degree in business administration. The research aims to determine if shifting from provocative to more traditional advertising strategies impacts brand perception solely due to the change in ad content or also due to consumer perceptions of the brands. The memoire reviews literature on the evolution of provocative advertising and its effects. It presents hypotheses and research questions to examine the impact of ad strategy shifts on consumer attitudes toward ads, brands, and purchase intentions. An experiment will assess these variables in relation to provocative and traditional ads from Benetton, Diesel, and Sisley to determine if brand perceptions influence responses beyond ad content alone.
The document provides an analysis of Dove's "Campaign for Real Beauty" advertisements. It analyzes the structure and language of three Dove advertisements based on theories of advertisement discourse analysis. The structure consists of a headline, illustrations, and body copy. Through analysis of verbal and non-verbal signs, the study finds the advertisements use propaganda-like language to convey the message that Dove cares about portraying a wide range of women's beauty beyond just fashion models. The purpose is to change stereotyped beauty standards.
Value Amplification. Developing Authentic Brands Through an Exploration of Co...Glenn Reid
This document proposes the Value Amplifier Model for developing authentic corporate brands through exploration of corporate values. The model involves anthropomorphizing a brand's values into a personality, then amplifying that personality through the brand's value proposition, CSR strategy, and leadership. The personality must consistently refer back to the brand's values over time in order to form an emotional connection with consumers and withstand crises. The document argues that applying a brand's values across these areas can help establish an authentic brand identity.
This document discusses the impact of surrogate advertising on brand awareness, brand image, and brand attitude. Surrogate advertising refers to advertising banned products like liquor or tobacco through related but non-banned products.
The study aims to test the effect of Kingfisher beer's surrogate advertising on the relationships between brand awareness, brand image, and brand attitude. It is hypothesized that brand awareness and brand image will be positively related, and that this relationship will weaken after exposure to surrogate ads. It is also hypothesized that the relationship between brand awareness and brand image will be strengthened by surrogate advertising.
To test this, respondents' brand awareness, image, and attitude of Kingfisher will be measured before and after exposure to surrogate ads, and
This document discusses the debate between the strong and weak theories of advertising. The strong theory argues that advertising can directly change consumer attitudes and behaviors, leading to increased sales. The weak theory argues that advertising mainly reinforces existing brand perceptions rather than directly changing attitudes. The document evaluates several models from each school and argues that neither fully captures how advertising works. It concludes that advertising's role goes beyond just generating sales, and its effectiveness depends on the specific communication objectives.
This document discusses various marketing techniques used to categorize and target different demographic groups. It explains that demographics categorize people based on attributes like age, gender, income, etc. and companies use demographics to target the appropriate audience. Psychographics provide more detailed profiles of people's interests, beliefs and lifestyles. Social grades further segment people into classes. The document also examines codes and conventions used in television, print, and radio advertising such as using celebrities, setting the scene, music choice and direct address. Sample ads are described that effectively employ these techniques.
Reverse product placement, fictional brands and purchase intention:Fancy a co...Laurent Muzellec
fictional brands are brands that exist only in the world of fiction and not the real physical
world.reverse product placement consists of transforming these fictional brands into products
and services in the real physical world.this paper posits that consumers,despite having no preexisting
experience of fictional brands in the real world, may develop positive attitudes towards
fictional brands; hence the fundamental managerial question is to ascertain whether these
positive attitudes can drive purchase intention to justify the investment into a real product or
service based on the fictional brand. using two fictional service brands, ‘Maclaren’s Pub’ and
‘Central Perk’, featured respectively in How I Met Your Mother and Friends, this study confirms
the existence of protobrands, and shows that attitudes towards a fictional brand are driven by
perceived service quality, identification with the brand and attitudes towards the television
programme. the study goes on to provide evidence that attitudes towards the fictional brand
can influence purchase intention of a future defictionalised brand in the real world.the paper
contributes to product placement and branding literature in a new emerging area.
The document describes different types of advertising genres. It discusses demo/demonstration ads which introduce products and their benefits. Problem-solution ads focus on problems people face and introduce the product as the solution. Comparative ads compare a company's product to competitors, presenting it as superior. Character-driven ads use characters associated with products like masculine men for aftershave. Celebrity endorsement ads use celebrities to build brand identity and awareness. Symbolism ads represent product advantages through symbols or graphics.
1) Repeated and consistent exposure to a brand through various media platforms can lead to increased familiarity and preference for that brand due to the mere-exposure effect. Factors like visual branding elements, brand name, age during initial exposure, and positive experiences influence this process.
2) Brand loyalty develops from an enjoyable initial introduction to the brand's culture, continuous reinforcement of its message, and intangible rewards for buying into the brand.
3) While research supports mere-exposure influencing brand loyalty, individual variability and new technologies mean more study is needed to understand branding in today's environment.
1. The document discusses various frameworks for how advertising works, including the sales, persuasion, involvement, and salience frameworks. It explains concepts like using emotion, shock advertising, and developing brand awareness.
2. Strategic uses of advertising discussed include differentiating brands, reinforcing messages, and engaging customers. The FCB matrix combines involvement with rational/emotional thinking for ad strategies.
3. Case studies are provided on how companies like M&S, Sony Ericsson, Yellow Pages, and NesCafe have effectively used advertising frameworks and strategies.
This document provides guidance for analyzing print advertisements and marketing materials. It instructs students to:
1) Analyze the layout, typography, photography, and other elements used in print ads and how they influence meaning.
2) Examine the representations of individuals, groups, events, and issues portrayed in ads and how audiences may interpret them.
3) Consider how historical and social contexts can impact the approaches used in advertising over time.
4) Study examples of print ads in detail, paying attention to language, techniques, representations, and cultural interpretations.
Advertising messages are everywhere. There are advertisements on radio,
television, billboards, newspapers, magazines, the Internet, matchbook covers, gas
pumps, shopping carts, clothing, and on. Advertising researchers want to answer
questions such as should a certain product be packaged in blue or red? Is
Cosmopolitan a better advertising buy than Vogue? Advertising research does not
involve any special techniques; the methods discussed earlier— laboratory, survey,
field research, focus groups, and content analysis—are in common use.
Advertising
Generally we can say that Advertising is a marketing communication and non-
personal message to promote or sell a product, service or idea.
Advertising is a means of communication with the users of a product or service.
https://economictimes.indiatimes.com/definition/advertising
Advertising research
Advertising research is a specialized form of marketing research conducted to
improve the efficiency of advertising.
Advertising research is the systematic gathering and analysis of information to help
develop or evaluate advertising strategies, ads and commercials, and media
campaigns.
https://www.slideshare.net/PranavKumarOjha/advertising-research-13466787
So research in advertising is applied research, which attempts to solve a specific
problem and is not concerned with theorizing or generalizing to other situations.
Areas in advertising research
There are three functional research areas in advertising these are
1. Copy research
2. Media research and
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(i.e., industry structure in the language of economics).
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Hingorani
1. The Effect Of Ad Variation And Brand Familiarity On Brand Name And Claim Recall:
A Theoretical Perspective
Dr. Anurag G. Hingorani
University of Technology, Sydney
Abstract
Consumers’ memory for an advertised brand is of great concern to advertisers. Previous research
has demonstrated that one way for advertisers to enhance consumer memory is to show different
or varied ads for the same brand, from one ad exposure to the next, instead of repeating the same
or identical ad. The emphasis of this prior research has been on unfamiliar brands even though, in
practice, ads have been typically varied for familiar brands. This paper extends the work of past
research by theoretically examining the effect of ad variation and brand familiarity on consumer
memory. Specifically, it addresses cosmetic and not substantive ad variation, and compares the
effects of ad executions that are completely varied, partially varied, and the same, from one ad
exposure to the next, on the recall of brand names and ad claims (about the brand), for familiar
versus unfamiliar brands. Research propositions are developed using the differential attention and
encoding variability explanations that emerged from psychology. The paper suggests that familiar
brands might be more likely than unfamiliar brands to benefit from ad variation, and that
completely varied ad executions might be better than partially varied ad executions if the goal is to
enhance memory for a familiar brand.
Introduction
Some empirical studies in marketing (e.g., Unnava and Burnkrant 1991) have suggested that an
advertiser is better off showing different or varied ads (ad executions) for the same brand from one
ad exposure to the next because the brand is more likely to be remembered (recalled) at a later
time, date, or place than if the same or identical ad is shown. Cola giants, Coke and Pepsi, have
done just that. Their ads are not identical from one ad exposure to the next. However, unlike the
Coke ads which are completely varied (i.e., non-identical and dissimilar), the Diet Pepsi ads are
partially varied (i.e., non-identical but similar). For instance, one Coke ad from the 1993 ‘Always
Coca-Cola’ ad campaign showed a woman watching a man blowing a Coca-Cola glass bottle, and
another ad depicted polar bears. These ads were completely different from each other because the
theme or creative concept was different, and by definition, the execution was also different. The
Diet Pepsi “You’ve got the right one baby, uh-huh!” campaign, on the other hand, had almost
always included the celebrity, Ray Charles, and the three “uh-huh” girls. The commercials were,
however, different in other aspects, such as some were in color and others were not. These ads
were partially different from each other because even though the executions were different, the
theme or creative concept was the same.
2. Based on the evidence that in order to improve consumer memory for ads, it might be better to
vary ads from one ad exposure to the next, the question that can be raised is: Which ad variation
strategy is better?; is it more effective to develop and show ads that are completely varied or, are
partially varied ads more useful in enhancing learning and forestalling wearout? Also, because
prior ad variation research has controlled for the level of brand familiarity, another question that
can be raised is: How useful is it to vary ads to different extents for familiar versus unfamiliar
brands? This question is important because most studies (e.g., McCullough and Ostrom 1974;
Schumann, Petty, and Clemons 1990) have assessed the effects of ad variation for unfamiliar
brands even though, in practice, ads have been typically varied for familiar brands.1
This paper
provides answers to these two questions in terms of theory.
Background
Ad Variation
In the marketing literature, one conceptualization of ad variation has been in terms of the type of
ad variation, namely, substantive or cosmetic variation (Schumann and Clemons 1989; Schumann
et al. 1990). Substantive variation in ads refers to variation or change in the message content (i.e.,
product or brand claims/arguments/attributes) over repeated ad presentations but the cosmetic
characteristics of ads (e.g., color, layout, print font) remain reasonably constant (Schumann et al.
1990). Cosmetic variation in ads refers to variation or change in the background or non-
substantive features (e.g., graphics, color, music) over repeated ad presentations but the basic
product or brand message is kept the same (Schumann et al. 1990). Essentially, substantive
variation represents changes from ad to ad that are central to the product or brand being
advertised, and cosmetic variation represents changes from ad to ad that are peripheral or ancillary
to the advertised product or brand (Pechmann and Stewart 1988; Schumann et al. 1989).
The focus of this paper is on the level or extent of ad variation, and not on the type of ad
variation as defined by Schumann et al. (1990). Specifically, different levels of cosmetic ad
variation are considered but the brand claims/arguments remain the same (i.e., no substantive
variation).
It should be noted that although ad variation (in particular, level of ad variation) is a continuous
variable, in that, consumers might perceive ads to be varied to different extents, this paper
examines only three discrete levels of ad variation, namely, no cosmetic ad variation, low to
moderate cosmetic ad variation, and high cosmetic ad variation. Treating ad variation as a discrete
(trichotomous) variable is consistent with prior research (Burnkrant et al. 1987; Schumann et al.
1989; Schumann et al. 1990; Unnava et al. 1991) that appears to have examined two discrete
levels, namely, no ad variation and low to moderate ad variation.
3. In this paper, ‘no cosmetic ad variation’ is represented by ‘same ads,’ ‘low to moderate cosmetic
ad variation’ by ‘partially varied ads,’ and ‘high cosmetic ad variation’ by ‘completely varied
ads.’ These ads are differentiated according to cosmetic differences in their theme and execution.
‘Theme’ (as applied to cosmetic ad variation) is defined as the creative concept or idea around
which an ad campaign is organized [adapted from a definition of ‘theme’ by Toffler and Imber
(1994) and based on a description of ‘theme’ by Schumann et al. (1990); refer to footnote for an
illustration of the term ‘theme’].2
‘Execution’ (as applied to cosmetic ad variation) is defined as
the way in which an ad is prepared to communicate the theme [adapted from a definition of
‘execution’ by Toffler et al. (1994) and a definition of ‘execute’ by Wiechmann (1993)]. The way
in which an ad is prepared refers to the executional elements used, such as, pictures, music,
celebrities, etc.. Thus, in this paper, completely varied ads are those ads that are cosmetically
varied in execution and theme, partially varied ads are those ads that are cosmetically varied in
execution but not theme, and same ads are those ads that do not cosmetically vary in execution or
theme. Additionally, it should be noted that a completely varied ad is viewed as being varied in
other executional elements (e.g., picture, layout, font type, font size, color, etc.) besides those
executional elements that are varied in a partially varied ad. That is, it is viewed as having more
number of executional elements that are varied than a partially varied ad.
Brand Familiarity
In this paper, a brand is viewed as being either ‘familiar’ or ‘unfamiliar’; a brand is viewed as
being ‘familiar’ if a consumer had some prior experience with it, and ‘unfamiliar’ if a consumer
had no prior experience with it. This is consistent with prior conceptualizations of brand
familiarity (e.g., Machleit and Wilson 1988).
Development of Propositions
It has been posited that varying ad executions from one ad exposure to the next is more effective
(in terms of improving recall and/or attitudes) than repeating same ad executions
(Burnkrant et al. 1987; Schumann et al. 1990; Unnava et al. 1991). Two prominent explanations
that have been offered for this hypothesis include encoding variability (Burnkrant et al. 1987;
Schumann et al. 1990; Unnava et al. 1991) and differential attention (Unnava et al. 1991).
The Encoding Variability Explanation
The Encoding Variability Explanation has roots in the encoding variability hypothesis (Madigan
1969; Martin 1968; Melton 1967) that emerged from cognitive psychology. According to the
encoding variability hypothesis (D’Agostino and DeRemer 1972; Young and Bellezza 1982),
when an individual is exposed to information more than once, the likelihood of retrieving (i.e.,
recalling) that information later is greater if the information is encoded (i.e., represented in
memory) differently on every exposure occasion than if it is encoded in the same way on different
exposure occasions.
4. When applied to advertising, the encoding variability hypothesis suggests that if a brand name or
ad claim about the brand is associated with two different cues (cues such as graphics, layout,
scenery, spokesperson, etc.) instead of the same cue on two different ad exposure occasions, the
likelihood of recalling that brand name or ad claim is increased. Typically in ads, the context in
which the brand name and other brand-related information is embedded serves as a retrieval cue
for the information to be recalled (Unnava et al. 1991, p 406). Thus, if a brand of cola is
embedded in the context of a beach party in one ad and a dorm party in another ad, the two
contexts may serve as two different retrieval cues for the cola.
When advertisers pair or associate a brand (or brand information) with two different contexts (or
cues) in ad executions shown on two exposure occasions, it may be said that they are facilitating
encoding variability by the ad viewer (consumer) by means of ad variation. The purpose behind
such ad variation may be to increase the number of traces (i.e., representations or paths) in a
consumer’s memory for that brand (or brand information), and thus, the chance that he or she will
recall it at a later time, date, or place. Because some studies have shown that brand recall is
strongly correlated with brand choice (Nedungadi and Hutchinson 1985), influencing recall
through ad variation could be in an advertiser’s interest.
Based on the encoding variability hypothesis which links recall or retrieval superiority with the
number of traces or representations encoded in memory for the to-be-remembered information
(e.g., brand name and claims), it may be posited that completely varied ads should be more
effective in enhancing recall for brand names and ad claims than partially varied ads since the
former ads should generate more traces than the latter. Completely varied ads should generate
more traces than partially varied ads as a direct result of variation, not only in more executional
elements than partially varied ads but also in the thematic or conceptual element (cue) associated
with the brand name and claim. Relatedly, same ads should generate fewer traces than either
partially varied or completely varied ads because not only is the thematic or conceptual element
not varied but also no executional element is varied. Thus, based on the encoding variability
hypothesis, it could be posited that completely varied ads should be superior to same ads, in
enhancing recall of information such as brand names and claims. But, because advertising for
familiar brands may not work in the same way as advertising for unfamiliar brands (Machleit et al.
1993), will completely varied ads be superior, and same ads be inferior, in enhancing recall for
both familiar and unfamiliar brands? The encoding variability hypothesis (e.g., Martin 1968), and
studies that have supported it (e.g., Unnava et al. 1991), have nothing to say about the role of
brand familiarity. This paper addresses its role by examining the effect of ad variation on recall
for familiar versus unfamiliar brands.
The Differential Attention Explanation
The Differential Attention Explanation for the effect of ad variation on memory (recall) was
explicitly provided by Unnava et al. (1991) but it can be traced to the work of Adams (1916),
Poffenburger (1925), and Heeler (1972) in the marketing literature (Schumann et al. 1990, p 193).
5. In the psychology literature it may be associated with the related work of Berlyne (1950),
namely, the effects of stimulus novelty and variation on attention.
According to the differential attention explanation, when individuals are exposed to the same or
identical information repeatedly, the level of attention paid to later exposures declines. The
rationale is that individuals perceive the information to be the same as what they have seen and
attended to previously, which results in reduced attention due to not only a loss of interest in the
information but also a lack of motivation to attend to it (Greenberg and Suttoni 1973; Unnava et
al. 1991). This decreased attention to later exposures is observable as inferior recall performance
in the same-execution presentations when compared with varied-execution presentations
(Burnkrant et al. 1987; Unnava et al. 1991). This is because, in the case of the latter, the novelty
of the new, varied execution arouses interest, which leads to enhanced attention (Berlyne 1950).
The greater the attention (i.e., the greater the amount of time spent looking at an ad), the greater
the likelihood of recall (i.e., remembering information from the ad) (Greenberg et al. 1973).
Because partially varied ads are partly varied and partly same, it may be inferred that they are
less novel and have less arousal potential than completely varied ads, and are more novel and have
more arousal potential than same ads. Thus, according to the differential attention explanation, it
could be posited that, “Completely varied ads should be superior to partially varied ads which, in
turn, should be superior to same ads, in enhancing recall of information such as brand names and
claims.” However, advertising for familiar and unfamiliar brands may work in different ways
(Machleit et al. 1993). Thus, before accepting the superiority of completely varied ads and the
inferiority of same ads, the effect of these ads on recall must be assessed for both familiar and
unfamiliar brands. In other words, the question that is raised here is: Does brand familiarity
moderate the effect of ad variation on brand name and ad claim recall?
The Role of Ad Variation in Consumer Memory
For ads of familiar brands:
When consumers are exposed once to a new ad for a familiar brand, they can readily associate or
integrate the advertised information, such as claims, with the brand name. This is because they
have a preexisting brand name node in memory (Bettman 1979). This preexisting node
representing the brand or brand name is the result of their prior experience with the brand, such as
brand trial, consumption, prior ad exposure, etc.. When shown the same ad for the second time,
and within a short period of time, the individual has another opportunity to learn brand
information (i.e., the claim) but might be less motivated or willing to learn. This is because the
second exposure to a previously, and recently, encountered stimulus (i.e., the brand and the ad),
might not arouse any interest in the viewer and in fact might bore him or her (Greenberg et al.
1973). However, if the second ad execution, that is shown within a short time period, is varied,
then the novelty or unfamiliarity of this stimulus (i.e., the ad) may arouse or renew his or her
interest. Thus, the viewer is more willing to attend to, and learn information about the brand on
this second ad exposure occasion; information such as the brand claim. Consequently, varied ad
executions could facilitate ad wearin (i.e., learning) and postpone ad wearout (i.e., forgetting) in
6. the case of familiar brands. Thus, the differential attention explanation could account for the
superior claim recall scores for completely varied ads, less superior recall scores for partially
varied ads, and inferior recall scores for same ads, in the case of familiar brands. A similar
argument of attention renewal versus inattention can be made in the case of brand name recall
when a consumer is exposed to a different (varied) versus an identical (same) ad, the second time
around. Specifically, it is proposed that:
P1: For a familiar brand, brand name (and claim) recall scores will be the highest in
the completely varied-ad condition, the lowest in the same-ad condition,
and neither as high nor as low in the partially varied-ad condition.
Again, because an individual can form multiple traces or paths to the brand, as a result of being
exposed to brand information that is embedded in varied (hence, multiple) contexts or associated
with different cues, recall scores are expected to be higher for varied than same ads. Thus, the
encoding variability explanation could also account for the effect of ad variation on recall of
information about a familiar brand.
For ads of unfamiliar brands:
When consumers are exposed once (i.e., for the first time) to an unfamiliar brand, they develop or
have the opportunity to develop a brand name node since it is not already preexisting (as in the
case of a familiar brand). When shown the same ad for the second time, and within a short time
period, they have an opportunity to strengthen the brand name node (Anderson 1983) as well as
associate or integrate the advertised information, such as claims, with the brand name. That is,
they have a greater opportunity for learning (and therefore, a greater likelihood of later recalling)
the brand name or claims as a result of the repetition (Anderson 1983; Belch 1982; Gartman and
Johnson 1972; MacInnis et al. 1991). This repetition is also highly unlikely to be boring or
uninteresting since the stimulus (i.e., the brand) is relatively novel or unfamiliar. When exposed
to an ad execution that is partially or completely varied on the second exposure, the individual
might have less of an opportunity (i.e., a small or weak second opportunity) to learn about the
brand because he or she is not shown the same ad. Also, learning might be hindered; the varied ad
execution on the second exposure could either go unnoticed due to it being mistaken as an ad for
another product/brand, or be insufficiently attended to, due to the consumer’s unwillingness to
expend additional effort that might be necessary to learn about a relatively unfamiliar (as opposed
to familiar) brand from a newly (as opposed to previously) encountered ad. Thus, in this case,
varied ads could impede attention and learning, and hence subsequent recall of information. It
should be noted that because partially varied ads are less varied than completely varied ads, they
provide less of an impediment to attention and learning than completely varied ads.
Consequently, it could be hypothesized that: “For an unfamiliar brand, brand name (or claim)
recall scores will be the highest in the same-ad condition, the lowest in the completely varied-ad
condition, and neither as high nor as low in the partially-varied ad condition.”
Now, according to the encoding variability explanation, varied ads are more effective than non-
varied ads. In fact, this has been supported in studies that did not manipulate the level of brand
7. familiarity but kept it constant by examining an unfamiliar brand only (Unnava et al. 1991).
Thus, there are two competing hypotheses; one in favor of non-varied ads when the brand is
unfamiliar and the lag between ad exposures is short, and another in favor of varied ads under
similar conditions. It is expected that, on average, neither of the two hypotheses would dominate
in the case of an unfamiliar brand and that any recall differences observed among the three ads
(same, partially varied, and completely varied) would be non-significant. Thus, it is proposed
that:
P2: For an unfamiliar brand, there will be no significant differences in brand
name (and claim) recall scores among the same-ad, partially varied-ad, and
completely varied-ad conditions.
It should be noted that the rationale for P2 could also be derived from the argument that in the
case of an unfamiliar brand, the unfamiliarity or novelty of the brand itself could contribute to
recall, and that the extent of ad variation might not make any difference.
Conclusion
Regarding consumer memory for cosmetically varied ads, this paper addresses two questions.
‘To vary ads or not? That’s one question.’ The answer from a theoretical perspective is: Vary, if
the brand is relatively familiar. Vary or not—it does not matter—if the brand is relatively
unfamiliar. ‘To vary ads partially or completely? That’s another question.’ The suggestion is:
Vary completely, if the brand is familiar.
1
An exception is the study by Burnkrant and Unnava (1987). They used a non-fictitious, and hence, potentially familiar brand of whisky
(Dewar’s). However, they did not compare ad variation effects for a fictitious (unfamiliar) brand with a non-fictitious (familiar) brand.
2
If one ad for a dandruff shampoo depicts “a girl staring at her date who has dandruff” and another ad depicts “a dermatologist
recommending the product,” then the two shampoo ads are different in theme or creative concept. The theme in the first ad is “someone is
staring at the person with dandruff” and the theme in the second ad is “someone is endorsing the product.” However, if “Dermatologist John”
is depicted in one ad and “Dermatologist Jane” in another ad, then the creative concept or theme is considered to be the same in both ads,
namely, “someone is endorsing the product.” Or, if one ad depicted “a girl staring at her date who has dandruff” and another ad depicted “a
supervisor staring at a subordinate who has dandruff,” then the creative concept or theme is the same in both ads, namely, “someone is staring
at the person with dandruff.” It should be noted that this illustration of the term “theme” (as applied to cosmetic ad variation) was adapted from
a description of ads used by Unnava and Burnkrant (1991).
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