Launch! Advertising and Promotion in Real Time, 2009a
Launch! Advertising and Promotion in Real Time, 2009a Launch! Advertising and Promotion in Real Time, 2009a
here is subjective—your image of your body may not be what your body looks like to other people. You might have an exaggerated notion of the bulge of your muscles or the bulge of your thighs. Knowing that people’s body images are often distorted, some marketers exploit our insecurities and suggest that purchasing their product will help alleviate the “problem.” Indeed, advertising can affect a person’s self-esteem when it takes advantage of our powerful instinct to gauge our physical and mental states relative to others. Numerous studies have noted that female college students compare their physical appearance to that of models in ads. Participants who viewed ads with beautiful women expressed lower satisfaction with their own appearance afterwards than did women who didn’t see these ads. Another study showed that as little as thirty minutes of TV programming can alter young women’s perceptions of their own body shape. [2] One of the prevailing arguments in the history of advertising is whether advertising merely reflects existing cultural values and views of gender or whether it constructs and creates those views. Some analysts believe that advertising is merely a “mirror” of culture. Others argue that advertising is a “distorted mirror” that both reflects and shapes our culture. [3] The advertising industry likes to say that ads simply reflect existing values because this view absolves advertisers of blame for perpetuating unreal standards. Denise Fedewa, senior vice president and planning director for the LeoShe subsidiary of the Leo Burnett agency, presented an updated, unified view when she said, “Advertising is so fascinating, because it’s both a mirror of the culture and it moves culture forward. I think the best advertising…taps into a direction that we are moving in, but we are not there yet, and it helps take us there…I think we’ve gotten a lot better at doing that…in tapping into where they [women] are moving next.” [4] Dig Deeper A provocative advertising campaign by Dove features underwear-clad women with imperfect bodies to call attention to the unrealistic messages about our bodies that some marketing messages communicate. Unilever (which makes Dove soap) initiated the Campaign for Real Beauty after its research showed that many women didn’t believe its products worked because the women shown using them were so unrealistic. [5] The marketers decided to focus the campaign’s message on reassuring women about their insecurities by showing them as they are—wrinkles, freckles, pregnant bellies, and all. Taglines ask “Oversized or Outstanding?” and “Wrinkled or Wonderful?” Dove even has a Web site (campaignforrealbeauty.com) where visitors can view the ads and cast their votes. For a real treat (and to Saylor URL: http://www.saylor.org/books Saylor.org 73
appreciate how much “postproduction editing” goes into the fashion business), see how experts morph an average woman into a billboard beauty on this Dove Web site:http://www.boardsmag.com/screeningroom/commercials/3421. Perhaps because of the success of the Dove campaign, other companies also are turning to ordinary people instead of professional models when they advertise. As an extension of its “I’m lovin’ it” campaign, McDonald’s held a casting call for consumers (as opposed to professional models) who will appear on its world cup and bag packaging. Nike and Wal-Mart also have run advertisements with average-looking employees. [6] Will this emphasis on “keeping it real” continue, or will it give way to consumers’ desires to aspire to perfection (and buy the products they think will help them get there)? So, which way is it? Is advertising a mirror or an idealized picture? It’s likely that advertising both reflects and affects gender roles in our daily lives. Since the 1970s, researchers have investigated the extent to which American advertising portrays women in stereotypical roles. Most report that ads do tend to portray women as subservient to men, as preoccupied with physical attractiveness, and as sex objects who are preoccupied with their appearance, and they tend to minimize depictions of women in positions of authority. To rub salt into the wound, this media exposure can indeed influence real women’s selfconcepts and aspirations. [7] James Twitchell, in his book Twenty Ads that Shook the World, takes a more positive view. Using the example of the ads for Charlie perfume in the 1970s and 1980s, he shows how this advertising provided the imagery of the new woman in the workplace: striving, not strident, proud of her accomplishments and not afraid to say so, but not the dour “make room for me or else” feminist that the press portrayed at the time. Twitchell’s view is that Madison Avenue is not immoral in imposing stereotypes but amoral in reflecting prevailing roles; that is, advertising follows whichever way the wind is blowing. The point is that if stereotyped roles didn’t sell products, advertisers would gladly use different imagery. [8] One celebrated ad campaign—Nike’s “If You Let Me Play”—challenged stereotypes about women while at the same time achieving Nike’s advertising objective of enticing more women to buy its shoes. This effort successfully blended statistics with a powerful story that showed how exclusion and outdated norms concerning girls’ participation in school sports hurt their self-esteem and even their health. The campaign included lines like these: Saylor URL: http://www.saylor.org/books Saylor.org 74
- Page 24 and 25: message to them. What do you percei
- Page 26 and 27: LEARNING OBJECTIVES After studying
- Page 28 and 29: eally are trying to fake you out. F
- Page 30 and 31: MySpace. We weren’t early enough
- Page 32 and 33: Specialty print media include bookl
- Page 34 and 35: Ad-Supported Content Ad agencies ar
- Page 36 and 37: [5] “Traditional Radio’s Digita
- Page 38 and 39: the promotional activities that int
- Page 40 and 41: increasingly thin layer of audience
- Page 42 and 43: Figure 2.8 A sales promotion is a t
- Page 44 and 45: 2.3 Advertising Industry Structure
- Page 46 and 47: Figure 2.10 Matrix Organization in
- Page 48 and 49: P&G reacted to this problem when it
- Page 50 and 51: Media buyers and media planners eva
- Page 52 and 53: Within a company, the jobs of the a
- Page 54 and 55: [1] Suzanne Vranica, “Ad Houses W
- Page 56 and 57: drumsticks and simulated drumhead p
- Page 58 and 59: Figure 3.1 Build a Foundation Chapt
- Page 60 and 61: 3.1 Economic Effects of Advertising
- Page 62 and 63: Broadcast radio and TV rely exclusi
- Page 64 and 65: 3.2 The Good: Advertising Enhances
- Page 66 and 67: washing with soap, that remain kill
- Page 68 and 69: share, so they tend to be more stri
- Page 70 and 71: now one of the primary attributes s
- Page 72 and 73: [8] Mister Snitch!, “Top Ten Reje
- Page 76 and 77: “If you let me play sports, I wil
- Page 78 and 79: Categories can be made quite specif
- Page 80 and 81: Luxury products are not a bad or wa
- Page 82 and 83: [9] Jean Grow and Joyce M. Wolburg,
- Page 84 and 85: 3.4 Advertising Regulation: Who Loo
- Page 86 and 87: Agencies), the ANA (Association of
- Page 88 and 89: [3] American Association of Adverti
- Page 90 and 91: about one-half the size of existing
- Page 92 and 93: Chapter 4 Consumers and the Communi
- Page 94 and 95: messages they see or hear, and when
- Page 96 and 97: 4.2 Is the Medium the Message? Comp
- Page 98 and 99: Figure 4.4 SS+K used actor George C
- Page 100 and 101: SS+K developed a comparative messag
- Page 102 and 103: Audio Clip “Ahem” http://app.wi
- Page 104 and 105: After studying this section, studen
- Page 106 and 107: SS+K Spotlight The memes and trends
- Page 108 and 109: 4.4 Decision Making LEARNING OBJECT
- Page 110 and 111: Motivation refers to the processes
- Page 112 and 113: 4.5 Internal Influences on Consumer
- Page 114 and 115: isn’t sure. And, regardless of hi
- Page 116 and 117: it’s not subliminal; the stimulus
- Page 118 and 119: Product line extensions. Marketers
- Page 120 and 121: 1. Sensory memory permits storage o
- Page 122 and 123: Of course, the nature of the ad its
here is subjective—your image of your body may not be what your body looks like to other people. You<br />
might have an exaggerated notion of the bulge of your muscles or the bulge of your thighs. Know<strong>in</strong>g that<br />
people’s body images are often distorted, some marketers exploit our <strong>in</strong>securities <strong>and</strong> suggest that<br />
purchas<strong>in</strong>g their product will help alleviate the “problem.”<br />
Indeed, advertis<strong>in</strong>g can affect a person’s self-esteem when it takes advantage of our powerful <strong>in</strong>st<strong>in</strong>ct to<br />
gauge our physical <strong>and</strong> mental states relative to others. Numerous studies have noted that female college<br />
students compare their physical appearance to that of models <strong>in</strong> ads. Participants who viewed ads with<br />
beautiful women expressed lower satisfaction with their own appearance afterwards than did women who<br />
didn’t see these ads. Another study showed that as little as thirty m<strong>in</strong>utes of TV programm<strong>in</strong>g can alter<br />
young women’s perceptions of their own body shape. [2]<br />
One of the prevail<strong>in</strong>g arguments <strong>in</strong> the history of advertis<strong>in</strong>g is whether advertis<strong>in</strong>g merely reflects<br />
exist<strong>in</strong>g cultural values <strong>and</strong> views of gender or whether it constructs <strong>and</strong> creates those views. Some<br />
analysts believe that advertis<strong>in</strong>g is merely a “mirror” of culture. Others argue that advertis<strong>in</strong>g is a<br />
“distorted mirror” that both reflects <strong>and</strong> shapes our culture. [3] The advertis<strong>in</strong>g <strong>in</strong>dustry likes to say that<br />
ads simply reflect exist<strong>in</strong>g values because this view absolves advertisers of blame for perpetuat<strong>in</strong>g unreal<br />
st<strong>and</strong>ards. Denise Fedewa, senior vice president <strong>and</strong> plann<strong>in</strong>g director for the LeoShe subsidiary of the<br />
Leo Burnett agency, presented an updated, unified view when she said, “<strong>Advertis<strong>in</strong>g</strong> is so fasc<strong>in</strong>at<strong>in</strong>g,<br />
because it’s both a mirror of the culture <strong>and</strong> it moves culture forward. I th<strong>in</strong>k the best advertis<strong>in</strong>g…taps<br />
<strong>in</strong>to a direction that we are mov<strong>in</strong>g <strong>in</strong>, but we are not there yet, <strong>and</strong> it helps take us there…I th<strong>in</strong>k we’ve<br />
gotten a lot better at do<strong>in</strong>g that…<strong>in</strong> tapp<strong>in</strong>g <strong>in</strong>to where they [women] are mov<strong>in</strong>g next.” [4]<br />
Dig Deeper<br />
A provocative advertis<strong>in</strong>g campaign by Dove features underwear-clad women with imperfect bodies to call<br />
attention to the unrealistic messages about our bodies that some market<strong>in</strong>g messages communicate.<br />
Unilever (which makes Dove soap) <strong>in</strong>itiated the Campaign for <strong>Real</strong> Beauty after its research showed that<br />
many women didn’t believe its products worked because the women shown us<strong>in</strong>g them were so<br />
unrealistic. [5] The marketers decided to focus the campaign’s message on reassur<strong>in</strong>g women about their<br />
<strong>in</strong>securities by show<strong>in</strong>g them as they are—wr<strong>in</strong>kles, freckles, pregnant bellies, <strong>and</strong> all. Tagl<strong>in</strong>es ask<br />
“Oversized or Outst<strong>and</strong><strong>in</strong>g?” <strong>and</strong> “Wr<strong>in</strong>kled or Wonderful?” Dove even has a Web site<br />
(campaignforrealbeauty.com) where visitors can view the ads <strong>and</strong> cast their votes. For a real treat (<strong>and</strong> to<br />
Saylor URL: http://www.saylor.org/books<br />
Saylor.org<br />
73