Tuesday, 22 September 2015

Sex in Advertising - When does it go too far?

Advertising in all its forms has never really shied away from the fact that sex in its industry is a key mechanism to garner the attention of its audience. The prevalence of sex has definitely increased and is on the rise, moving on from the past when it used to be a more guarded topic. Sex plays a direct role in selling a wide variety of products like magazines e.g. FHM, deodorants/perfumes e.g. Lynx and obviously sex-related products e.g. Condoms. Issues do arise when adverts become too explicit or racy and if they mislead the consumer heavily, such as the banned Lynx advert of 2011 featuring Lucy Pinder, a UK glamour model. The problem of sex in advertising does not inherently lie with these campaigns for which the audience broadly recognizes as acceptable due to the nature of these products. The problem is when it is used indirectly to advertise other products. An example of this is when Microsoft’s Office XP advert of 2007 was banned due to complaints of unneeded nudity, quite understandable when such unexpected raunchiness comes from an IT manufacturer!

'School's out.' campaign 2014
There has been one brand which has been particularly slated for using gratuitous sexuality in their advertising, American Apparel. The worldwide clothing company’s ex-Chief Executive Officer Dov Charney was famous for steering the company’s advertising strategies, but steering the strategies towards inevitably disaster. His raunchy and misogynistic campaigns propelled him into infamy with the press from 2003 onwards, culminating in his job loss in 2014. The advertising campaigns showed for example, young (almost too young) women essentially naked bar some minimal clothing in some very inappropriate settings such as riding a cycle with their bottom completely on show. This degrades women in general and portrays them as weak and vulnerable, as cited by many journalists like Cobb 2011. The campaigns in some sense were a large reflection of Charney’s ‘pervy’ nature, according to media outlets, which is the most obvious and likely correct judgement. But is it possible this is not the whole truth?

To answer this you have to ask, ‘Where do you draw the line?’ I think if you can answer this question with definite certainty, you must be underestimating the question’s complexity. Realistically, the line moves around all over the place in this day and age, mainly due to our friend the internet. The internet is such a fluid environment with example platforms like Instagram having often very revealing ‘selfies’ from the public and models posting equally exposing photos to gain followers online. Also, being in such a trend orientated culture in regards to body image and fashion, things like ‘twerking’, ‘side boob’ and general promotion of certain body shapes as more desirable than others just fuels the fire for the argument that the internet is becoming a more innately sexual and revealing domain. Therefore, when many advertising mavericks live and die by the notion that ‘advertising is simply a reflection of our society’ like Jon Steel, surely the internet which contains such a vast array of sexualised things should rightly play a justified part in advertising campaigns to reflect this changing society. Now, what I mean by this is not that it is always fine to have overtly sexual adverts, but this ‘line’ which reflects what’s wrong and right in terms of sex in adverts is if anything becoming less visible and harder to judge due to this online factor.

So, the internet is a large part of society, but is it large enough? In my opinion it is not large enough yet. It still does not incorporate all the older audiences who make up a big proportion of the people that watch these adverts on TV and may be more guarded towards the subject due to less online involvement and likely stricter upbringings. In addition, with the internet being most people’s escape from everyday life, even if they think it is totally fine when they are looking at something online that is overly sexualised, it may not be fine in a more public television environment due to current social conventions. So there is one rule for one environment and another rule for a different environment which makes the issue more complex and this does not apply just to sex, but for many other things such as violence or swearing.

Although, I see these environments becoming more similar as the internet age develops, with increasing social connectivity online, these almost forbidden subjects are starting to be discussed and critiqued via forums and other social media, hence giving a better and more proactive way to allow us to draw this hard to judge line for sex in advertising. In all consideration, the power is more with the people than ever before and deciding what is right and wrong in advertising and more broadly speaking in the media, is not down to a select few as it was in the past, but it is now shifting towards the masses.

References:

Monday, 14 September 2015

Galaxy's Audrey Hepburn Advert 2013

One thing this advert does not lack is class and sophistication from a bygone era fondly looked upon by film critics and enthusiasts. The iconic film ‘Breakfast at Tiffany’s’ is where two of this advert’s key selling features come from, Audrey Hepburn and the song ‘Moon River’. Audrey Hepburn, a style idol of the sixties, is the centre piece for this intricately created CGI advert and with the charming song from Hepburn’s most famous film and it makes for a powerful and nostalgic 60 seconds. Even for people born after this era, the legend of Hepburn and her successes are still well broadcast making her appeal wide and powerful.

The crux of this advert as I said before is Hepburn herself. The enormous task of creating a CGI version of Hepburn has been well documented in the news, often viewers on Youtube suggesting the uncanny resemblance to be’ slightly eerie’ and bordering on ‘creepy’. But there is no denying recreating her at all has allowed a sudden flood of emotions and nostalgia to pour into the minds of the UK TV audience.

Although as important as the CGI is the story line of her getting in an attractive man’s car on a beautiful day in the Amalfi Coast but then to give him the cold shoulder to revel in her true desire, the Galaxy chocolate bar, exemplifying Galaxy’s final caption ‘Why have cotton when you can have silk?’ and it brings the viewer to unintentionally compare Galaxy to Audrey’s unattainable and timeless class. In essence, why have ordinary ‘cotton’ Dairy Milk or Snickers when you can indulge in the exquisite silk that is Galaxy?

On the other hand, the advert’s story of Hepburn taking advantage of her beauty to manipulate the man into chauffeuring her around  does dampen appeal slightly as some woman such as feminists may argue that this places a stain over a strong and independent female audience. It is a small problem in a generally well made advert and I don’t believe many would take offense to it. This is due to the fact a lot of Hepburn’s films and success centred on her beauty and unattainability during the 50’s and 60’s, the story line Galaxy has created is not too dissimilar to Hepburn’s previous movies. Hence, keeping the authenticity of Hepburn and her films is more important than the slightly anti-feminist plot.  

Overall, Galaxy has hit the proverbial nail on the head. To the older generation she was their film icon and ideal leading lady, seeing her again would allow them to drift into memories of youth and fond days of past gone. To the younger generation who had possibly not previously seen her work, the advert allows them to fascinate about this scenic era and see Hepburn for the first time with a Galaxy in her hand, which indirectly puts Galaxy in the same mythic category as Hepburn for these younger viewers. These are only but a few of the reasons why this advert is such an unforgettable 60 seconds and will have stuck with many people.

References:

https://en.wikipedia.org/wiki/Audrey_Hepburn

Monday, 7 September 2015

TV vs. Online Advertising

Online advertising is an increasingly important part of any brand’s marketing strategy. With 51% of B2B (business to business) marketers saying they are increasing budgets for content marketing, it is no wonder that brands have to make effective campaigns online to keep a hold of their market share. It is also evident that the types of online advertising campaigns vary hugely. A more pressing question even is where to put your online advert? Now a lot of articles online focus on these questions, so to put it simply I’ll discuss the advantages and disadvantages of this marketing strategy as a whole.

A key strength of online advertising is having the ability to target your particular demographic through sites relevant to them and target audiences when it is more effective. For example, stationary stores can put more advertising content before a semester start and on social media platforms that the young demographic are more likely to use like Facebook and Twitter. Furthermore, when you put out online adverts you can track the success and exposure of the content much more effectively unlike TV adverts. Also, the type of content is usually more interactive and hence can improve engagement with the audience. Content come in video, audio, pictorial and written formats mainly but the options will inevitably grow due to further technological progress. The lengths of video adverts vary too from a few seconds to minutes long, hence more control in video length than TV advertising. Due to the nature of a lot of social media platforms, becoming ‘viral’ as an advert is often the aim and a good indicator to show if your campaign is succeeding, much like the ‘Lexus’ advert I reviewed earlier.

Although, there are a few drawbacks to online advertising such as adverts being intrusive to users. This is a problem as pop-ups and random video/audio suddenly appearing when you think you are just casually reading an article for example can be off-putting to say the least. This does cause a fair amount of annoyance to online users who often call on ‘adblockers’ to eradicate online adverts completely. This leads nicely on to the question ‘How effective are these adverts actually?’ The answer is it varies. They can be effective but they need to be bold, engaging and user friendly which quite a few are, but the ones that are not feel like irritating background noise and their presence practically ignored by online users.

TV advertising is relatively established now and it has been suggested by many it is becoming less effective at its job of reaching a wide demographic and high quantity of people because of the growth of internet usage. To an extent this argument makes some valid points especially when considering younger audiences who are viewing more and more content online rather than on TV. The point that TV advertising is essentially to interrupt people while watching programmes is also a valid one, evident from many people fast forwarding recorded or non-live TV shows when adverts are on. Finally, budgets are usually much higher for shorter 30 second TV adverts than online advertising budgets.

But, there are many advantages that TV still holds over online advertising. One is that it can still consistently capture a wide audience of people especially older audiences that online advertising fails to target as effectively as it does younger audiences. The simplicity of the concept of a 30-second advert is what makes a TV advert so beautiful. A traditional advert unlike a lot of online adverts will occupy that whole screen trying to persuade you to buy into a brand. It doesn’t annoy you or come out of the blue; you are expecting it as you are watching a TV programme. This is why TV advert budgets are high, they have to impress you and stand out otherwise they lose a very wide demographic. A well-made TV advert can make such more of an impact than a simple brand banner or video popping up on your screen; this is why more money is put into this form of advertising.

To sum up, there is a place for both forms of advertising and hybrid campaigns bringing the two together is likely to be the way forward, such as the ‘Lexus’ advert I reviewed earlier. Issues arise from both forms of advertising such as the intrusive nature of online adverts and younger audiences viewing more content online. I think primarily where a TV advert cannot be challenged is its ability to cause huge emotional impact or shock to a viewer. The growth of online advertising will inevitably be very important for brand management, but it will unlikely overshadow TV advertising, instead work with this existing platform and hence complement it.



References:

http://www.fallingupmedia.com/video-ads-vs-tv-commercials/

Sunday, 30 August 2015

Spotify Advert Idea

Spotify, a fast growing music streaming service was valued at a staggering $5 billion in early 2015. The company’s revenue is generated from a range of different advertising platforms on the service as well as an estimated 15 million people paying subscriptions monthly. They have marketed the service well thus far by forming partnerships with music magazines, festivals, radio stations and charities. Furthermore, they have invested in creating online adverts ranging from 75 to 90 seconds, one of which is shown below featuring themes of Spotify’s advanced social media influence.


Although, they have not yet ventured into TV advertising due to the company’s opinion that it may not be as effective as online advertising. I believe this may be the wrong approach. The company knows it has captured the attention of younger audiences well through online advertising and social media but consequently they have not engaged with sections of the older audience who may rarely use social media related platforms. Evidently, people aged 45 or over only make up 25% of the demographic for Spotify Usage in the US.

It is widely understood that TV is still the most effective way to connect with a wide demographic, especially with the older audiences. Potential themes needed to connect with a wide audience on television would be ‘Music and its power to bring people together’ (a theme already being used in their online adverts) and ‘The Functionality and Ease of Use of Spotify on many devices’. 

Outline Idea for Theoretical Advert

Scene 1:

Unknown Girl aged 16-18 is shown doing some school work listening to Pop music on Spotify desktop. She gets message on her computer from her Aunt saying ‘Hope your work is nearly finished, can’t wait to see my niece tonight!’ the girl smiles at this message.

Scene 2:

Unknown Man (roughly in 40’s) is in a kitchen stressing about the evening meal and simultaneously has some chaotic opera playing on Spotify laptop. He gets a message on his phone from his father ‘Food better be on point tonight, hungry!’ he sighs with hands on hips clearly slightly anxious.

Scene 3:

Unknown Boy aged 14-16 is doing some art in his room listening to Spotify on iPad with rap/indie music playing. He gets a pop up from Facebook or related service saying ‘Event Tonight’ he laughs texting his cousin ‘Bring the football, got some new skills to show off ;)’.

Scene 4:

Unknown Woman (roughly in 40’s) finishing work and plugs headphones in Spotify’s mobile app and listens to some vibrant jazz. She gets a text from daughter ‘Hurry up, you’ll be late for tonight!’ and smiles, breaking into a jog.

Final scene:

All four of these individuals present at home in their living room with extended family having fun, laughing and joking with Spotify playing in the background on a TV screen (music choice to be suitable for whole family and upbeat). A big faded green comes over the screen, shrinking to a deeper green in the shape of the Spotify logo with quote ‘Bringing Music Lovers together’.

Reasoning

The whole advert centres on these different people, doing different things with completely varying music tastes. It conveys the wide range of devices Spotify can be used on and also how easy it is to use the service due to Spotify’s compatibility on each application which will appeal to the older audience. The final scene is the crux of the piece and shows how everyone is brought together and their time enhanced by the Spotify platform. It must be noted the viewer does not know these people are linked before the final scene to highlight this theme of togetherness. Also, the final caption ‘Bringing Music Lovers together’ sums the dynamic and versatile nature of the brand to the viewer. The advert as a whole convinces viewers to see Spotify as a must need technology for both social and personal usage regardless of age.

They could also use a recurrence of this advert format in later adverts to allow viewers to feel invested in the brand, much like the BT adverts centred on a dysfunctional family which started in 2005. In later adverts Spotify could use four 25-30 year olds going about work, sport etc. in their daily lives and then they could all end up at a party in the final scene where a DJ or Host is using a Spotify playlist to entertain everyone. They could also create a Christmas related advert with a similar format with the final scene cutting to Christmas Eve at a family house. In essence, I definitely think this format with the main theme of ‘Music and togetherness’ could identify well with all audiences, especially older audiences and hence boost revenue from this demographic.

References:


Monday, 24 August 2015

Lexus Hoverboard Advert 2015 Review

A great part of this advert’s success is based on previous techniques used by many other car manufacturers to make a memorable and effective advert. For example, using unrelated scenic places, environments or larger than life situations to symbolize the quality of a car is not unheard of. Lexus uses these techniques in abundance with the ‘Hoverboard’ and skate park elements signifying a rebirth of a quirkier and more edgy Lexus brand. Indeed, just recently Audi’s ‘Ice Hockey’ advert showed a car playing ice hockey with humans to a similar effect.

Another technique which is firmly resonant in many car adverts of the past is using powerful, emotive imagery to make the consumer believe that there is something truly special about their car. Lexus uses the ’Hoverboard’ rider clearing a jump over the Lexus car to symbolize a great technological feat being achieved, making the consumer inevitably in awe of what has happened. Again, the Chevy 2014 ‘Maddie’ advert shows a woman dealing with various hardships in her life but her dog and best friend Maddie is always there to support her. Chevy uses this situation effectively to draw parallels between the loyalty and reliability of Maddie and their new car.


Where this advert is predominantly different is how it has so effectively harnessed the power of social media to make it such a talked about brand online. The winning formula was when Lexus decided to marry their brand name with the iconic and legendary Back to the Future ‘Hoverboard’. The huge fan base of the movie have never been able to stop talking and speculating about the possible inception of such a device, when Lexus somehow were able to create and show this technology working, it was almost inevitable that the internet would blow up with shares, tweets and likes for the campaign, as aided by displaying the handle ‘#lexushover’ in the advert. Incredibly, mentions of the Lexus ‘Hoverboard’ spiked to ‘20x’ on twitter and the video advert quickly amassed 11 million views on Youtube in a matter of days. This also throws open a whole new argument about the power of viral adverts to a brand compared to only TV advertising.

Furthermore, the fact that Lexus is competing in such a concentrated market means it has to stand out, almost show that other car manufacturers are light years behind in development. They developed the elusive ‘Hoverboard’ and indirectly posed to the consumer the question ‘Which other manufacturer can boast such an incredible feat of technology?’ Lexus is now subconsciously a technologically superior car manufacture due to this. This is an especially important factor in the modern era of car consumers and their car sales increase of 9.1% from July 2014 to July 2015 may well be due to the success of this advert.

In fact, Lexus aren’t even making the ‘Hoverboard’ a commercial venture and are not developing the technology further. This to me suggests that they have planned and executed beautifully a daring stunt which will have done wonders for the power and longevity of their brand in the media against other rival car manufacturers like Mercedes-Benz and BMW.

References: