This document contains summaries of 7 questions related to advertising techniques.
Question 1 summarizes an Intersport advert that uses humor and juxtaposition to convey the message that sporting activities can be part of everyday life.
Question 2 analyzes the effectiveness of Nike's famous "Just Do It" slogan by breaking down the meaning and impact of its short, imperative phrase.
Question 3 discusses a controversial Dolce & Gabbana advert that was banned for depicting violence against women and how it provokes shock by challenging audiences' needs for safety and protection.
This document discusses media texts that would appeal to different audience categories. It provides examples of shows and magazines and analyzes why they would appeal to each category. The Mainstream would like The X-Factor as a popular show that allows fitting in. Succeeders would enjoy Dragon's Den for its focus on businessmen. Explorers may have liked The Mighty Boosh before it was mainstream for its unusual style. Aspirer's would be drawn to Vogue for its focus on beauty, fashion and image.
The document summarizes Reece Jones' media project of creating an opening sequence for a comedy film. It discusses how the opening sequence follows conventions of the genre like including ordinary characters and locations, while also challenging conventions through its soundtrack and spoofing of the Rocky training montage. The intended audience is described as teenagers aged 12-16, with alternative/indie groups and students as secondary audiences. Caveman Films and Handmade Films are identified as media institutions that might distribute the film due to their experience with independent comedy films.
The document provides an evaluation of a student's media project - an opening sequence for a comedy film.
The student learned new techniques using software like iMovie and blogging platforms. Through the process, the student gained skills in shooting footage, editing clips together, adding effects, music and credits.
Feedback on the opening sequence was positive with many likes on Facebook and YouTube. In comparing it to the preliminary task, the student improved on making the shots more professional looking with smoother camerawork, more natural lighting and pace.
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.
Voldemort's power grows as Harry, Ron, and Hermione search for Horcruxes to defeat him. They find love and finish Dumbledore's work, though there is little hope. The films target 11-year-olds and families through genres like fantasy and coming-of-age. Merchandise, social media, TV ads, and public displays effectively promote the films to teenagers through relatable items and common platforms. Meetings and interviews further excite young fans.
The document discusses the storyline, target audience, and marketing methods for the Harry Potter films. The target audience is ages 11 and up as the films are family-friendly with genres like fantasy and coming-of-age that appeal to both children and parents. Common marketing methods include merchandise, broadcasting trailers and ads online and on TV, outdoor advertising on billboards and buses, and promotions like meet-and-greets that are especially exciting for younger fans.
The Marketing Power Of Jungian Hero Archetypesphillrrr
Jungian archetypes have proven powerful tools for brand building and influencing consumer behavior. Marketers have studied archetypes and employed them successfully to stimulate emotional responses in consumers. Archetypes personify cultural virtues and activate patterns of behavior in the collective unconscious. When brands align themselves with archetypes through mythic storytelling, they can build strong, lasting support by appealing to deep-seated psychological motivations.
The document provides information on codes and conventions commonly found in print advertisements. It notes that print ads usually include a logo, make it clear what they are advertising, and may include dates/times. They typically feature one main image chosen to appeal to audiences and grab attention through bold text, slogans, and creative/noticeable designs while avoiding large blocks of text. Dates and times are included when relevant to events.
This document discusses media texts that would appeal to different audience categories. It provides examples of shows and magazines and analyzes why they would appeal to each category. The Mainstream would like The X-Factor as a popular show that allows fitting in. Succeeders would enjoy Dragon's Den for its focus on businessmen. Explorers may have liked The Mighty Boosh before it was mainstream for its unusual style. Aspirer's would be drawn to Vogue for its focus on beauty, fashion and image.
The document summarizes Reece Jones' media project of creating an opening sequence for a comedy film. It discusses how the opening sequence follows conventions of the genre like including ordinary characters and locations, while also challenging conventions through its soundtrack and spoofing of the Rocky training montage. The intended audience is described as teenagers aged 12-16, with alternative/indie groups and students as secondary audiences. Caveman Films and Handmade Films are identified as media institutions that might distribute the film due to their experience with independent comedy films.
The document provides an evaluation of a student's media project - an opening sequence for a comedy film.
The student learned new techniques using software like iMovie and blogging platforms. Through the process, the student gained skills in shooting footage, editing clips together, adding effects, music and credits.
Feedback on the opening sequence was positive with many likes on Facebook and YouTube. In comparing it to the preliminary task, the student improved on making the shots more professional looking with smoother camerawork, more natural lighting and pace.
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.
Voldemort's power grows as Harry, Ron, and Hermione search for Horcruxes to defeat him. They find love and finish Dumbledore's work, though there is little hope. The films target 11-year-olds and families through genres like fantasy and coming-of-age. Merchandise, social media, TV ads, and public displays effectively promote the films to teenagers through relatable items and common platforms. Meetings and interviews further excite young fans.
The document discusses the storyline, target audience, and marketing methods for the Harry Potter films. The target audience is ages 11 and up as the films are family-friendly with genres like fantasy and coming-of-age that appeal to both children and parents. Common marketing methods include merchandise, broadcasting trailers and ads online and on TV, outdoor advertising on billboards and buses, and promotions like meet-and-greets that are especially exciting for younger fans.
The Marketing Power Of Jungian Hero Archetypesphillrrr
Jungian archetypes have proven powerful tools for brand building and influencing consumer behavior. Marketers have studied archetypes and employed them successfully to stimulate emotional responses in consumers. Archetypes personify cultural virtues and activate patterns of behavior in the collective unconscious. When brands align themselves with archetypes through mythic storytelling, they can build strong, lasting support by appealing to deep-seated psychological motivations.
The document provides information on codes and conventions commonly found in print advertisements. It notes that print ads usually include a logo, make it clear what they are advertising, and may include dates/times. They typically feature one main image chosen to appeal to audiences and grab attention through bold text, slogans, and creative/noticeable designs while avoiding large blocks of text. Dates and times are included when relevant to events.
This document provides information about an advertisement campaign created by BBH agency for Lynx deodorant. It discusses BBH's ownership history and operating model as a global creative agency. Regarding the Lynx campaign, it analyzes a print ad promoting the "Peace" product line. The ad depicts soldiers and civilians enjoying a beach party in a war zone. It aims to suggest that using Lynx will make the viewer attractive and able to "make peace." The target audience is identified as males aged 13-25 who enjoy action films, games and spending time with females. Issues around the ad's representation of gender, race and war themes are also examined.
Presentation given by Susan Gunelius, President & CEO of KeySplash Creative, Inc., at the July 2009 Azkatraz Symposium (a Harry Potter Education Fanon Event) held in San Francisco, California. Based on information from Susan's book, "Harry Potter: The Story of a Global Business Phenomenon", available through most online and offline book sellers. (www.keysplashcreative.com)
This document summarizes and analyzes the marketing campaign for the 2015 James Bond film Spectre. It discusses how the film targeted different audiences through its posters, trailers, and press interviews. Three posters targeted male audiences with dark colors and images of Bond holding a gun, while one poster used lighter colors and featured Bond with a woman to appeal more to female viewers. The teasers and trailers focused on codes for action movies like weapons, cars and explosions to attract young male audiences. Press interviews in magazines like Loaded and GQ also helped promote the film to both male and female viewers through images of the attractive cast.
The document discusses targeting audiences for horror films. It notes that horror films appeal to some audiences through a sense of excitement and fear. However, not all audiences enjoy feeling scared. The document then discusses aiming its opening horror sequence towards a slightly higher-end market between the lower B to C categories that likes independent cinema and challenges. It also discusses including social elements and appealing to ages 15 and up while not alienating middle-aged audiences. Character construction and theories by Richard Dyer, Blumier & Katz, and Abraham Maslow were used to address the target audience.
The combination of the main product (a short horror film) and ancillary texts (a film poster and magazine review) is effective because they maintain continuity through shared themes, imagery, and brand identity. Specifically, all products use a Gothic color scheme and feature a villainous mask to symbolize the protagonist's psyche. Together, the products serve to advertise and promote the short film, with the poster generating anticipation and the review providing more information to interested audiences. The mask logo and villain help link the separate mediums into a cohesive promotional package for the horror genre product.
The document discusses the Wizarding World of Harry Potter and provides key details. It introduces the main characters of Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Severus Snape, and Voldemort. It then explains how Harry Potter grew to be a global phenomenon through word-of-mouth marketing by consumers. It attributes the success of Harry Potter to elements like a good product, emotional involvement of fans, word-of-mouth marketing, teasing fans, and maintaining brand consistency.
The document discusses various marketing strategies used to promote the Harry Potter film franchise over multiple films and build the Harry Potter brand. It describes how the films were advertised through posters, trailers, television spots, and merchandise. It also discusses how fan sites, theme parks like The Wizarding World of Harry Potter, and premier events helped generate excitement and awareness around the films. The overall marketing approach leveraged multiple channels, teased new content to build anticipation, and maintained brand consistency to keep the franchise successful.
This document discusses marketing strategies for films targeting different audiences. It summarizes:
- The A-Team film marketed to both older audiences who remembered the TV show and younger audiences through merchandise like action figures and partnerships with McDonald's Happy Meals.
- Toy Story 3 reminded both children and adults who grew up with the earlier films through similar merchandise and fast food promotions.
- Marketing a film targeting teenagers and young adults could partner with a popular clothing brand to feature the film's characters in ads and engage the target demographic.
Marketing Harry Potter presentation delivered to the Wilson Dow sales and marketing team on June 14, 2012 at the Wizarding World of Harry Potter in Universal Studios, Orlando, Florida. Discusses how the Harry Potter brand grew to a global phenomenon and includes information from the book, "Harry Potter: The Story of a Global Business Phenomenon" available through Amazon and all book stores.
Popularity is a theme very close to our hearts – in fact it’s in our DNA.
‘We don’t make brands famous, we make them popular’, that’s the Leo Burnett philosophy. We’ve been looking deeper into our belief that Popularity is an essential ingredient for a brand’s enduring success. In fact, straight from the smokin’ abacus of Mike Treharne, our Head of Doing Nifty Stuff With Numbers, we’ve done some brand new research into where brands sit in a lifecycle of popularity, and what drives that popularity. We’d be delighted to talk to you more about the study – just let us know. You can read a bit about it within this Frisk, along with plenty of other stuff that neatly complements it – a piece from Canvas8 on brands being your BFF, some wise thoughts on Popularity from our Planning department, and a big chunk of celebrity endorsement stuff thanks to our in-house retail mogul, Sarah Leccacorvi.
The document discusses strategies for distributing an independent film. It examines how to target a specific audience through research on demographics like personality, gender, income, and ethnicity. Case studies of independent films like Bait and Sorry We Missed You show how their websites and social media campaigns helped distribution. Film festivals can further promote a successful independent film. The conclusion recommends starting with a social media campaign, and potentially pitching the film to independent distributors like Verve or Warp if it gains attention.
The document discusses the international marketing and strategic alliances of the Harry Potter brand. It provides background on the Harry Potter book series and timeline of releases. It then focuses on Coca-Cola's $150 million sponsorship of the first Harry Potter film in 2000-2001, where they placed the Harry Potter logo on 850 million beverage bottles. While this alliance helped spread brand awareness, there is a risk it could tarnish the image of Harry Potter with children if not implemented carefully without directly marketing junk food. Overall licensees need to avoid using characters to promote their brands in an unethical way and respect the integrity of the Harry Potter world.
- The document summarizes audience feedback from test screenings of advertisements for a clothing brand.
- Responses were mostly positive from the target audience but negative from those who knew they weren't the target.
- Some felt the models and music weren't relatable to all, while others liked that different tastes were represented.
- Locations, outfits, and editing styles engaged most of the target audience but were too flashy or fast-paced for some.
Advertising photography uses photographs to promote and sell products and ideas. It is used in areas like fashion, food, and product photography. Fashion and glamour photography emphasizes clothing and the human body to advertise products like perfumes. Food and still life advertising also sells products but may involve editing photographs. A perfume advertisement example uses the celebrity Scarlett Johansson to appeal to audiences and increase sales by associating the product with her glamour.
American Apparel uses sexually provocative advertising that has led to complaints and bans in some countries. While the company has strong social values like manufacturing in the US and fair labor practices, the CEO continues to defend the ads. The document suggests American Apparel should instead advertise its core social values and business practices to attract customers interested in supporting ethical companies. It proposes the brand create an informative website and social media presence to educate people on its mission and build a community around promoting social change. This could help American Apparel regain public trust and reputation lost due to controversial ads.
The document provides an evaluation of the effectiveness of combining a film's main product with ancillary texts like posters and magazine covers. It analyzes the first Harry Potter poster and an Entertainment Weekly magazine cover that advertised the film. It also discusses posters and magazine covers for other films like Iron Man 2 and New Moon. The evaluation concludes that corresponding the themes, colors and imagery between a film's various marketing materials is an effective promotional strategy.
This document discusses how the media product uses and challenges codes and conventions of real media genres.
For the slasher film poster, the document analyzes how it follows conventions like centering the antagonist, using a low camera angle, and dark colors. It also discusses challenges like using a hoodie costume instead of a jacket to make the antagonist seem more modern and relatable.
For the magazine cover, it describes how conventions like placing the masthead at the top and including a skyline were followed to look professional. It also discusses adding original elements like a "puff" to attract readers to the new magazine.
In both cases, the document examines how codes and conventions were used as a starting point
The document discusses different options for distributing an independent film project. It describes various film distribution companies and strategies. Based on the genre of the student's psychological thriller film project, an appropriate distribution partner would be Stage 6 Films, an independent company that specializes in low-budget films. Stage 6 distributes 10-15 films per year, making it a good fit for an independent student project. Marketing strategies like film festivals, posters, and social media could help get the film noticed by its target audience. Overall, an independent distributor is recommended over self-distribution due to the distributor's experience and resources.
Media audiences are the most important factor for media. Advertisements divide audiences into categories like age, gender, lifestyle, and location to target specific groups. Advertisers consider various demographic factors to segment audiences. They use colors, themes, and imagery that will appeal to the desired age, gender, interests, or locations of their targeted potential customers. Test screenings with focus groups are used to gauge audience reactions and improve films before broader release.
This document discusses theories of consumer needs and how advertisers appeal to those needs. It summarizes Maslow's hierarchy of needs and how advertisers seek to tap into consumers' physiological, safety, love, esteem, and self-actualization needs. It then outlines 15 common lines of appeal used in advertising, such as affiliation, nurturing, achievement, prominence, and escape. Finally, it analyzes persuasive techniques in advertising including humor, repetition, stereotypes, intertextual references, music, and signs conveyed through camera positioning, lighting, and image composition.
This document discusses four models for classifying audiences: the Income/Status model, Audience Profiling, Young & Rubicam's '4Cs', and Lifestyle Categories. It is important for media students to understand these theories and be able to apply them when analyzing media, though some models may be more appropriate than others depending on the context.
This document discusses categorizing people into different lifestyle types or attitudes. It provides 14 potential lifestyle categories, including cowboys, cynics, drifters, drop-outs, egoists, groupies, innovators, puritans, rebels, traditionalists, trendies, and utopians. The categories are based on people's attitudes towards life and how they want to experience and impact the world.
This document provides information about an advertisement campaign created by BBH agency for Lynx deodorant. It discusses BBH's ownership history and operating model as a global creative agency. Regarding the Lynx campaign, it analyzes a print ad promoting the "Peace" product line. The ad depicts soldiers and civilians enjoying a beach party in a war zone. It aims to suggest that using Lynx will make the viewer attractive and able to "make peace." The target audience is identified as males aged 13-25 who enjoy action films, games and spending time with females. Issues around the ad's representation of gender, race and war themes are also examined.
Presentation given by Susan Gunelius, President & CEO of KeySplash Creative, Inc., at the July 2009 Azkatraz Symposium (a Harry Potter Education Fanon Event) held in San Francisco, California. Based on information from Susan's book, "Harry Potter: The Story of a Global Business Phenomenon", available through most online and offline book sellers. (www.keysplashcreative.com)
This document summarizes and analyzes the marketing campaign for the 2015 James Bond film Spectre. It discusses how the film targeted different audiences through its posters, trailers, and press interviews. Three posters targeted male audiences with dark colors and images of Bond holding a gun, while one poster used lighter colors and featured Bond with a woman to appeal more to female viewers. The teasers and trailers focused on codes for action movies like weapons, cars and explosions to attract young male audiences. Press interviews in magazines like Loaded and GQ also helped promote the film to both male and female viewers through images of the attractive cast.
The document discusses targeting audiences for horror films. It notes that horror films appeal to some audiences through a sense of excitement and fear. However, not all audiences enjoy feeling scared. The document then discusses aiming its opening horror sequence towards a slightly higher-end market between the lower B to C categories that likes independent cinema and challenges. It also discusses including social elements and appealing to ages 15 and up while not alienating middle-aged audiences. Character construction and theories by Richard Dyer, Blumier & Katz, and Abraham Maslow were used to address the target audience.
The combination of the main product (a short horror film) and ancillary texts (a film poster and magazine review) is effective because they maintain continuity through shared themes, imagery, and brand identity. Specifically, all products use a Gothic color scheme and feature a villainous mask to symbolize the protagonist's psyche. Together, the products serve to advertise and promote the short film, with the poster generating anticipation and the review providing more information to interested audiences. The mask logo and villain help link the separate mediums into a cohesive promotional package for the horror genre product.
The document discusses the Wizarding World of Harry Potter and provides key details. It introduces the main characters of Harry Potter, Ron Weasley, Hermione Granger, Albus Dumbledore, Severus Snape, and Voldemort. It then explains how Harry Potter grew to be a global phenomenon through word-of-mouth marketing by consumers. It attributes the success of Harry Potter to elements like a good product, emotional involvement of fans, word-of-mouth marketing, teasing fans, and maintaining brand consistency.
The document discusses various marketing strategies used to promote the Harry Potter film franchise over multiple films and build the Harry Potter brand. It describes how the films were advertised through posters, trailers, television spots, and merchandise. It also discusses how fan sites, theme parks like The Wizarding World of Harry Potter, and premier events helped generate excitement and awareness around the films. The overall marketing approach leveraged multiple channels, teased new content to build anticipation, and maintained brand consistency to keep the franchise successful.
This document discusses marketing strategies for films targeting different audiences. It summarizes:
- The A-Team film marketed to both older audiences who remembered the TV show and younger audiences through merchandise like action figures and partnerships with McDonald's Happy Meals.
- Toy Story 3 reminded both children and adults who grew up with the earlier films through similar merchandise and fast food promotions.
- Marketing a film targeting teenagers and young adults could partner with a popular clothing brand to feature the film's characters in ads and engage the target demographic.
Marketing Harry Potter presentation delivered to the Wilson Dow sales and marketing team on June 14, 2012 at the Wizarding World of Harry Potter in Universal Studios, Orlando, Florida. Discusses how the Harry Potter brand grew to a global phenomenon and includes information from the book, "Harry Potter: The Story of a Global Business Phenomenon" available through Amazon and all book stores.
Popularity is a theme very close to our hearts – in fact it’s in our DNA.
‘We don’t make brands famous, we make them popular’, that’s the Leo Burnett philosophy. We’ve been looking deeper into our belief that Popularity is an essential ingredient for a brand’s enduring success. In fact, straight from the smokin’ abacus of Mike Treharne, our Head of Doing Nifty Stuff With Numbers, we’ve done some brand new research into where brands sit in a lifecycle of popularity, and what drives that popularity. We’d be delighted to talk to you more about the study – just let us know. You can read a bit about it within this Frisk, along with plenty of other stuff that neatly complements it – a piece from Canvas8 on brands being your BFF, some wise thoughts on Popularity from our Planning department, and a big chunk of celebrity endorsement stuff thanks to our in-house retail mogul, Sarah Leccacorvi.
The document discusses strategies for distributing an independent film. It examines how to target a specific audience through research on demographics like personality, gender, income, and ethnicity. Case studies of independent films like Bait and Sorry We Missed You show how their websites and social media campaigns helped distribution. Film festivals can further promote a successful independent film. The conclusion recommends starting with a social media campaign, and potentially pitching the film to independent distributors like Verve or Warp if it gains attention.
The document discusses the international marketing and strategic alliances of the Harry Potter brand. It provides background on the Harry Potter book series and timeline of releases. It then focuses on Coca-Cola's $150 million sponsorship of the first Harry Potter film in 2000-2001, where they placed the Harry Potter logo on 850 million beverage bottles. While this alliance helped spread brand awareness, there is a risk it could tarnish the image of Harry Potter with children if not implemented carefully without directly marketing junk food. Overall licensees need to avoid using characters to promote their brands in an unethical way and respect the integrity of the Harry Potter world.
- The document summarizes audience feedback from test screenings of advertisements for a clothing brand.
- Responses were mostly positive from the target audience but negative from those who knew they weren't the target.
- Some felt the models and music weren't relatable to all, while others liked that different tastes were represented.
- Locations, outfits, and editing styles engaged most of the target audience but were too flashy or fast-paced for some.
Advertising photography uses photographs to promote and sell products and ideas. It is used in areas like fashion, food, and product photography. Fashion and glamour photography emphasizes clothing and the human body to advertise products like perfumes. Food and still life advertising also sells products but may involve editing photographs. A perfume advertisement example uses the celebrity Scarlett Johansson to appeal to audiences and increase sales by associating the product with her glamour.
American Apparel uses sexually provocative advertising that has led to complaints and bans in some countries. While the company has strong social values like manufacturing in the US and fair labor practices, the CEO continues to defend the ads. The document suggests American Apparel should instead advertise its core social values and business practices to attract customers interested in supporting ethical companies. It proposes the brand create an informative website and social media presence to educate people on its mission and build a community around promoting social change. This could help American Apparel regain public trust and reputation lost due to controversial ads.
The document provides an evaluation of the effectiveness of combining a film's main product with ancillary texts like posters and magazine covers. It analyzes the first Harry Potter poster and an Entertainment Weekly magazine cover that advertised the film. It also discusses posters and magazine covers for other films like Iron Man 2 and New Moon. The evaluation concludes that corresponding the themes, colors and imagery between a film's various marketing materials is an effective promotional strategy.
This document discusses how the media product uses and challenges codes and conventions of real media genres.
For the slasher film poster, the document analyzes how it follows conventions like centering the antagonist, using a low camera angle, and dark colors. It also discusses challenges like using a hoodie costume instead of a jacket to make the antagonist seem more modern and relatable.
For the magazine cover, it describes how conventions like placing the masthead at the top and including a skyline were followed to look professional. It also discusses adding original elements like a "puff" to attract readers to the new magazine.
In both cases, the document examines how codes and conventions were used as a starting point
The document discusses different options for distributing an independent film project. It describes various film distribution companies and strategies. Based on the genre of the student's psychological thriller film project, an appropriate distribution partner would be Stage 6 Films, an independent company that specializes in low-budget films. Stage 6 distributes 10-15 films per year, making it a good fit for an independent student project. Marketing strategies like film festivals, posters, and social media could help get the film noticed by its target audience. Overall, an independent distributor is recommended over self-distribution due to the distributor's experience and resources.
Media audiences are the most important factor for media. Advertisements divide audiences into categories like age, gender, lifestyle, and location to target specific groups. Advertisers consider various demographic factors to segment audiences. They use colors, themes, and imagery that will appeal to the desired age, gender, interests, or locations of their targeted potential customers. Test screenings with focus groups are used to gauge audience reactions and improve films before broader release.
This document discusses theories of consumer needs and how advertisers appeal to those needs. It summarizes Maslow's hierarchy of needs and how advertisers seek to tap into consumers' physiological, safety, love, esteem, and self-actualization needs. It then outlines 15 common lines of appeal used in advertising, such as affiliation, nurturing, achievement, prominence, and escape. Finally, it analyzes persuasive techniques in advertising including humor, repetition, stereotypes, intertextual references, music, and signs conveyed through camera positioning, lighting, and image composition.
This document discusses four models for classifying audiences: the Income/Status model, Audience Profiling, Young & Rubicam's '4Cs', and Lifestyle Categories. It is important for media students to understand these theories and be able to apply them when analyzing media, though some models may be more appropriate than others depending on the context.
This document discusses categorizing people into different lifestyle types or attitudes. It provides 14 potential lifestyle categories, including cowboys, cynics, drifters, drop-outs, egoists, groupies, innovators, puritans, rebels, traditionalists, trendies, and utopians. The categories are based on people's attitudes towards life and how they want to experience and impact the world.
This document outlines an option for a charity advertising campaign coursework project. It involves individual pre-production work including research on existing campaigns and storyboarding an advert. Students will then produce 3 print advertisements and a 1200-1600 word individual report. The report will discuss the research, justify the target audience, evaluate the strengths and weaknesses of the production, and compare it to other campaigns. Completing thorough research and targeting a specific audience are emphasized as keys to success.
The document discusses audience classification and profiling by discussing how media producers define a "typical" audience member based on subjectivities like gender, age, education, family, self-image, class, nation, ethnicity, religion, politics, and location. It provides a list of subjectivities that are used to help define the social position of individual audience members. Producers are encouraged to use 15 questions to build a profile of someone without meeting them based solely on these subjectivities.
This document discusses how the uses and gratifications model has been adapted to various media and genres, using quiz shows as an example. It suggests that some key gratifications or reasons for watching quiz shows include self-rating one's own knowledge, social interaction in watching or competing with others, excitement in seeing who wins and what they win, and education in gaining knowledge from the show. The document examines the enjoyable and rewarding aspects of quiz shows from a uses and gratifications perspective.
The document discusses early media effects theories that assumed audiences were passive, including the hypodermic needle theory, narcotizing dysfunction model, and inoculation model. It notes that these theories must be replaced with recognizing that people are active with media rather than media acting on people. The opposite of a passive audience is an active one that can make use of media in various ways.
This document discusses applying uses and gratifications theory to analyze magazine audiences. It prompts the reader to consider what types of audiences would consume the magazine based on demographic and lifestyle categories. It then asks the reader to think about the needs of those audiences and what uses they might have for the magazine according to the uses and gratifications model.
Uses and Gratifications theory proposes that audiences actively engage with media to fulfill certain needs. Blumer and Katz identified four main needs fulfilled by television viewing: entertainment and escapism, information and surveillance of current events, exploring personal identity, and facilitating social interaction.
The Uses and Gratifications model posits that audiences actively seek out media to fulfill certain needs. It suggests audiences are active, rather than passive, in interpreting media. However, the model may oversimplify how audiences engage with media and assume media can directly meet audiences' needs, rather than audiences having a variety of potential needs. It also takes a simplistic view of the relationship between audiences and texts.
There are seven types of people according to Maslow's hierarchy of needs and the 4Cs system:
1) Explorers are driven by a need for discovery and new experiences.
2) Aspirers are motivated by status and how others perceive them.
3) Succeeders seek control and prestige and feel they deserve the best.
4) Reformers value independence of thought and being at the leading edge of social issues.
5) Mainstreamers focus on family and security within a daily routine.
6) Strugglers live for today and seek escape through sensation.
7) The Resigned celebrate tradition from the past and prioritize survival.
The document discusses Abraham Maslow's hierarchy of needs and Young & Rubicam's 4Cs model of audience classification. Maslow's hierarchy proposes that people are motivated to fulfill basic physiological needs before moving on to more advanced needs. Young & Rubicam segmented audiences according to seven categories that map to different levels in Maslow's hierarchy, including Explorer, Mainstream, and Resigned. Examples are given of how The Mighty Boosh appeals to Explorers and how Toy Story 3 appeals to Mainstream audiences.
This document outlines the requirements for a media studies coursework project worth 50% of the student's final grade. It consists of three linked pieces: pre-production research and planning (20%), a production piece (40%) developing from the pre-production, and a 1200-1600 word evaluation report (40%). Students must choose one of two options - a charity advertising campaign or a music video project - and submit drafts to receive feedback to improve their grade. Group work of up to four students is allowed only for video productions.
This document outlines an income/status model for classifying audiences into 6 groups: upper middle class, middle class, lower middle class, skilled working class, working class, and those with the lowest income levels. It categorizes audiences based on the occupation and income level of the main wage earner in a household. However, this model has problems for media producers and other industries because it oversimplifies audiences and does not account for other important factors beyond income and occupation.
This document provides guidance for students creating 3 print advertisements for a charity as part of a coursework assignment. It outlines the production process, emphasizing planning, drafting ideas, choosing imagery, writing copy, and taking photos. Key aspects covered include defining the target audience, using lines of appeal to craft persuasive messages, designing logos, and utilizing techniques like mise-en-scene when shooting original photographs. Students are advised to be organized, seek feedback, and focus on technical and creative excellence to earn a high mark on this important project.
This document provides instructions for students to complete a charity advertising campaign coursework project. It outlines 6 tasks: 1) researching why charities advertise, 2) analyzing existing charity campaigns, 3) developing a brand identity and slogan, 4) defining the target audience, 5) brainstorming ideas, and 6) creating a step treatment and storyboard for a TV advertisement. The document gives guidance on each task and provides examples to help students develop their campaign ideas and materials.
This document discusses how media texts attract different audiences. It provides examples of factors to consider in analyzing a text's audience appeal, such as trailers, target demographics, adherence to genre expectations, dramatic elements, visual style, and stars/directors. It also notes that a film was a major success due to its mixing of conventional romance and drama themes through an unusual narrative and visual storytelling that allowed it to appeal to both mainstream and less mainstream audiences.
The best things about Slumdog Millionaire, in my opinion, are:
1) The compelling narrative story of Jamal Malik's journey from the slums of Mumbai to winning the game show "Who Wants To Be A Millionaire?".
2) The realistic and heartbreaking portrayal of poverty in India.
3) The feel-good underdog story of Jamal overcoming immense hardship through intelligence, perseverance, and luck.
This document discusses different ways to define and understand audiences. It introduces the concept of audiences as a mass - people experiencing the same media texts individually without interaction. However, this theory from 1950 that audiences are anonymous and isolated is now outdated, as people often share their media experiences with others. The learning objectives are to understand how audiences can be defined, particularly key ways of defining them.
Look magazine targets career-focused 24-year-old women who enjoy socializing with friends but also work hard. The magazine effectively reaches this audience, as 97% of Look readers have purchased or plan to purchase fashion items after seeing them in the magazine, and 90% rely on Look for beauty advice and inspiration, with many purchasing beauty products featured in the publication.
The Elongating Tail of Brand Communication: An approach to brand-building inc...Iqbal Mohammed
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This advertisement for Gucci's Guilty perfume line utilizes several common advertising codes and conventions while also subverting some expectations. It features celebrities Jared Leto and Lana Del Rey engaging in exaggerated and unrealistic narrative scenarios associated with the brand's theme of living outside social norms. Visual elements like bright colors, lavish sets, and Gucci's signature animal motifs create an anti-realistic storytelling style common for the perfume industry. By appealing to alternative audiences with iconic figures, the ad promotes the lifestyle surrounding the products while diverging from typical celebrity-endorsed advertising.
This document provides a review and analysis of Lucozade's latest advertisement "Movement is Art" compared to its predecessors and other sports drink advertisements. The review analyzes the advertisement's style, use of a female protagonist, and target demographic. While less dramatic than past Lucozade ads, the change in style could allow the brand to better represent itself and appeal to more women. However, the ad still focuses on a youthful demographic and could be seen as discriminating against the elderly. Overall, the reviewer finds the ad moderately conforms to genre conventions and should appeal to its targeted young female audience.
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This document provides guidance on how to integrate media theories into analysis of media texts and issues. It recommends allowing the theories to naturally inform your understanding rather than just adding them on. Examples are given for how uses and gratifications theory, reception theory, and narrative theory could be applied to analyses of advertising campaigns, television shows, and current affairs programs. The key is for the theories to be an integral part of the analysis rather than just mentioned separately.
The document discusses how to future-proof brands. It provides examples of how brands like the Louvre museum, Nike, and Starbucks have adapted to remain relevant and appealing to new generations of consumers. The consulting firm, Bharat Bambawale & Associates, helps clients future-proof their brands by focusing on brand purpose, audience, functionality, aesthetics, and enduring appeal. They believe future-proof brands combine business goals with an inspiring purpose, create authentic connections, and innovate to be sustainable and beloved.
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Many brands are turning off the lights or choosing to say not much at all; don't go that route. Here is a simple set of rules, framework and examples to follow, along with a collection of resources. Created by Phoenix Brand Strategy, March 2020.
The document discusses the importance of authenticity for brands on social media. It provides 7 qualities of authentic people, including being accepting of oneself and thoughtful. It also discusses how the pandemic led to more organic, home-shot content that viewers prefer. To market authentically, brands should be honest, ensure their values are true, remain consistent in messaging, and think before speaking. Examples are provided of Summersalt's inclusive campaign and Burger King's Moldy Whopper video that validated claims. The future of branding emphasizes transparency, live streaming, hashtags like #nofilter, and use of "real" models.
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Andrex, a leading toilet paper brand in the UK, faced competitive challenges in the 1980s from a new softer product. Instead of rational arguments, Andrex launched an advertising campaign featuring a playful Labrador puppy to tap into consumers' emotions. The campaign was highly successful and boosted Andrex's sales during this difficult time. The document discusses how many of the world's top brands, like Nike and Apple, have built strong emotional connections with consumers through their marketing, beyond rational product attributes. While appealing to emotions is powerful, brands must ensure a rational product basis and address any disconnects to maintain customer loyalty over time.
BRANDS as PEOPLE, PEOPLE as BRANDS is the first part of the 2015 trends that I will be describing. Here I discuss the two way trend that is affecting both people and brands.
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This document discusses how brands can go beyond traditional 30-second advertisements by using storytelling and branded entertainment. It argues that in order to truly engage consumers, brands need to provide value or entertainment in exchange for the consumer's time and attention. The document then explores how brands can tap into universal human desires and archetypes to craft compelling brand stories for longer-form entertainment. It provides an example of how Snickers created a branded road trip TV show centered around archetypal characters to promote their urban festival event. The goal was to entertain consumers and strengthen the brand message through an engaging story.
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The poster uses blue as its main color to catch attention and convey themes of knowledge and understanding. It features a close-up image of a teenager to represent the documentary's focus on technology's cognitive effects. While the title could be more prominent, its simple font appeals to the target audience. Overall, the poster succeeds in depicting the documentary genre through icons and color without giving too much away, and uses a rhetorical question as its tagline to intrigue the sophisticated audience.
My media product challenges conventions in three key ways:
1) It does not edit or airbrush images, showing subjects in their natural state to emphasize that no one is perfect and fame relies on talent, not appearance.
2) It portrays a positive role model of an artist through natural shots not depicting partying or drinking to convey a genuine image.
3) It focuses on the academic side of college rather than social life to imply the importance of commitment to work and study over partying.
My media product challenges conventions in three key ways:
1) It does not edit or airbrush images, showing subjects in their natural state to emphasize that no one is perfect and fame relies on talent, not appearance.
2) It portrays a positive role model of an artist through natural shots not depicting partying or drinking to convey their genuine talents.
3) It focuses on the academic side of college rather than social aspects to imply the importance of commitment to work and study over partying.
The student evaluated their media products which included a digipak, advert, and music video for the band Daughter. For each product, the student discussed how they used, developed, or challenged conventions of real media. Across the products, the student aimed to maintain continuity through techniques like using similar fonts, colors, and motifs like polaroid photos. The student also discussed how audience feedback validated their efforts to effectively match the visuals to lyrics, illustrate themes through imagery and motifs, and incorporate intertextuality. The student learned they successfully conveyed their intended messages and storylines through their creative adaptations of conventions.
This document summarizes the coursework evaluation of a media product created by Daniel Robbins in March 2012. The media product aimed to follow conventions of the superhero genre but challenged conventions by featuring a female hero. It represented teenagers through stereotypical "chav" and "geek" characters. The intended audience was teenagers and the product would likely be distributed by British companies like Working Title and Pathe. Through creating the product, the author learned how to use editing software like iMovie and Audacity.
1. Lines of Appeal Model Answers
Question 1. Use of humour as a persuasive device.
This advert for Intersport (a sports clothing and
equipment retailer) uses the juxtaposition of two
easily recognisable (but very different) situations put
together to create humour. The runner on a treadmill
which is actually a conveyer belt at a supermarket is
used to reinforce the message of the advert that we
all have a desire to partake in sporting activities and
that with the right equipment, there is nothing
stopping us. This is taken to exaggerated proportions
in the advert, creating an impossible situation which is
obviously ridiculous and incongruous to real life.
The target audience would be the Mainstreamers
from Young & Rubicam‟s 4Cs model. The ideologies
encoded in the advert are that sport can be an everyday activity for anyone. That it should be
as much a part of your daily routine as shopping in the supermarket. There is also a universal
appeal in the advert through the assumption that everyone has a desire to „Free‟ the sport
inside them. The audience may also recognise the Adidas logo on the clothing. Adidas is a
long standing and world renowned brand and therefore valued by the Mainstreamer
audience. The prestige of the Adidas brand may also appeal to the Succeeder audience type,
who look for „the best‟, this may also be reinforced by the ideology encoded that many
people lead busy lives which makes physical fitness difficult to fit in as part of their hectic
schedule, again fulfilling the needs of the Succeeder audience.
Question 2. Use of slogans.
In some ways this slogan is effective simply because
of its fame and notoriety, but it is worth analysing just
why the slogan has enjoyed the longevity it has.
Obviously three short words are easy to remember
however there is more to the slogan‟s effectiveness
than this. The slogan is an imperative, it tells the
audience to do something. This acts as an order, but
also creates a link to the audience establishing a
relationship and therefore allowing them to form Personal Identity with the brand.
The slogan offers a positive ideology that „anything is possible‟, all that is required is action,
fulfilling the need to achieve. To emphasise this, the verb „Do‟, central to the slogan, signifies
activity of some kind. The word „Just‟ connotes that there is simplicity in the command and
2. Lines of Appeal Model Answers
that to achieve what you want in life needn‟t be complicated or „put off‟ for another day. The
word „It‟ is open to interpretation – suggesting that everyone has their own „It‟ in life and this
reinforces the personal identity that the audience will have already formed. When presented
in print form, the slogan is always concluded by a full stop. This small punctuation mark
connotes that there is nothing left to discuss, that no other advice needs to be taken on
board other than that offered by Nike.
Question 3. The use of shock tactics.
This advert for fashion label Dolce &
Gabbana caused much controversy with an
obviously shocking image in an advert that
was banned in many countries. The ad
represents what looks to be an attack on a
young woman, as she is restrained by one
man and another three look on
voyeuristically. For many, the implication is
that she will be raped. This representation of
women as weak, submissive and to be used
for violent sexual abuse was rejected by many and seen as promoting sexual violence against
women. However this would give weight to the Hypodermic Syringe or Inoculation audience
theories which treat the audience as passive robots, unable to make their own decisions.
Modern thinking suggests that audiences are actively involved with consuming the media. So
if audiences already reject the ideology of violence against women this advert is unlikely to
change their mind. In this case we must look closer at why it is so shocking. Firstly the advert
creates fear by challenging certain needs we have – the need for safety is clearly challenged
by the image. Also the need to nurture and protect those who are vulnerable is made
impossible. In addition to this the audience is positioned in a way that forces us to look
without helping. Even more uncomfortable is that the advert positions the audience in a way
that suggests that we are one of the figures partaking as they all look on.
Apart from presenting challenges to our needs, the advert also juxtaposes different needs
with the violent act depicted in the advert. Sexualising the models used, both men and
women wear clothes and have body types which connote sex appeal and are generally
considered an aspiration or even „beautiful‟ within the context of advertising. The elite brand
name also fulfils the need for prominence. Experiencing the fulfilment of these needs sharply
contrasts with a hideous and taboo act – making the audience feel uncomfortable,
challenged and even exploited.
Question 5. Stereotypes in advertising.
3. Lines of Appeal Model Answers
This advert for Post-it notes uses the
Stereotype of men as forgetful and
occasionally thoughtless in regards to
their relationships with women. Whilst it
is not necessarily suggesting that this
man has so many sexual partners that he
has to use the notes to remember them
all, it may be considered a negotiated
reading that the ad also uses the
stereotype of men as being promiscuous.
It also stereotypes men as finding
practical solutions to problems even if they might not always be appropriate!
Question 6. Intertextuality in advertising.
This simple but effective advert uses various
intertextual references and primarily uses Nostalgia as a
technique to engage with the audience and encourage
them to Personally Identify with the text. The main
image is of a cassette tape, now seen as an obsolete
form of musical storage but one which people will
recognise as having its heyday in the 1980s. This
particular era is in popular consciousness at the
moment as the clothing, music and cultural effects of
that time are now considered „retro‟ and have a cache
of cool.
The second intertextual reference is the written code:
“Ipod... I‟m your father” a misquote from a Star Wars movie of the same era. Recognising the
quote will reward the audience for having knowledge of the movie that others may not.
Interestingly, knowledge of the quote is not compulsory for the text to still be understood as
many will still get the joke about cassette tapes being the ancestor of MP3 players. The
advertising slogan: “Do You Remember?” emphasises the sense of nostalgia and also
deepens the Personal Identification through the personal pronoun: “You”.
Question 7. Elite Persons in advertising.
Scarlet Johansson is the celebrity used in this advert for Dolce & Gabbana‟s make-up range.
The choice of this actress is particularly apt as she embodies and represents many of the
qualities and ideologies that D&G wish to promote about their brand.
4. Lines of Appeal Model Answers
As a Hollywood „A list‟ star,
Johansson‟s represents
exclusivity and prestige –
one of the best! She is the
archetypal movie icon and
this is emphasised by her
white underwear and change
of hairstyle which is an
intertextual reference to
Classic Hollywood movie
idol, Marilyn Munroe, further
representing Johansson (and
the D&G brand) as timeless and classic.
Her known beauty and sex appeal, emphasised by the body language and dress codes in the
advertisement, also reinforce the ideologies of the product but also give the product a sense
of mystery and difference as Johansson is notoriously guarded about her private life and
associated with making slightly more unusual films away from the mainstream compared
with her contemporaries in Hollywood.
Question 8. Reward & Punishment in
advertising.
There are numerous ideologies at work in this
advert that offer Reward & Punishment –
mostly punishment! Firstly the central ideology
that children are the most vulnerable when it
comes to smoking, challenging an audiences
need to nurture and emphasised by the
childlike handwriting of the copy. By extension
this will also feed an audience‟s need for Love
& Belonging, suggesting that the family unit is
at risk from those who smoke.
As many people are scared of spiders the text
uses the shock tactics in the main image of a
large dangerous looking spider, lit from
behind to exaggerate the shadow of its long
legs. Some might equate this fear to smoking,
again challenging their need to feel safe and secure.
This advert does not only punish it‟s audience, it offers the audience an opportunity to fulfil
the need to achieve by giving them a phone number to call which may lead to quitting their
5. Lines of Appeal Model Answers
habit and through this an audience may also see the advert as fulfilling the need for
guidance – in a sense, the advert is giving audiences the opportunity to find rewards that will
avoid the punishments that the advert itself is dishing out!
Where people go wrong...
The following are the most frequent mistakes made by students when they answer these
questions.
Not enough detail in analysis
Overly generalised answers
Not using the actual Lines of Appeal handout to complete the answers
Not being thorough when looking for suitable advertisements
Sometimes using ads from the internet which are not actually adverts!
Not thinking about the other audience theories that we have already studied
Ignoring the ideologies that are encoded into the advert – i.e. not realising that
adverts do not just sell us a product – they are often selling us ideas, lifestyles and
concepts
Not using the visual codes and written codes from the actual adverts as evidence