Cultural Differences in Television Advertising (5)
CREATIVE STRATEGY 1)
Another aspect that has frequently been looked at is the overall communication or creative strategy that is used in advertising. One frequently used measurement system analyses
· if the advert presented in the form of a lecture, with a narrator speaking about the product (typical of direct sales commercials),
· or if a “story” or drama is created in the commercial. This distinction was originally developed by Wells (1988) and later adopted and expanded by Deighton, Romer and McQueen (1989).
|
|
Message elements | |||
| Wells | Deighton | Narration | Character | Plot |
| Lecture |
|
Yes | No | No |
| Drama and Lecture | Demonstration | Yes | No | Yes |
| Story | Yes | Yes | Yes | |
| Drama | Drama | Yes | Yes | Yes |
· Typically, a lecture-type commercial will use hard sales strategy to convince the consumer,
· whereas a drama will be more soft sell approach. Equally, a lecture-type commercial will usually contain more information cues than a drama-type commercial, due to the nature of the presentation.
Looking at the communication style used,
· direct speech can be expected to be predominant in lecture type commercials, as the narrator usually addresses the audience directly (”Call now”).
· Indirect speech is logically more dominant in drama-type commercials, where the characters can be expected to speak to each other as the plot develops.
A slightly different flavour of creative strategy research, and more differentiated than the above, focuses on a variety of possible creative strategies that are frequently used in commercials. Most dominantly used are Simon’s Creative Strategies (1971). Martenson (1987), researching advertising in the US and Sweden, defined the strategies as follows:
| Strategy | Description |
| Information | Presentation of unadorned facts, without explanation or argument, merely “news about” the product concerned |
| Argument | Relating of facts (reasons why) in some detail to the desired purchase; logical “playing on established desires” in presenting “excuses” to buy |
| Motivation with psychological appeals | Explicit statement of how the product will benefit the consumer; use of emotions and appeals to self-interest in creating desires not previously readily apparent; interpretation of facts in an “especially for you” framework |
| Repeated assertion | Hard-selling repetition of one basic piece of information, often a generality, unsupported by factual proof. |
| Command | A “non-logical” reminder (either hard-sell or soft-sell) to predispose audience favourably; maybe reinforced by an authoritative figure |
| Brand familiarisation | Friendly, conversational feel, few or no “selling facts”, but suggestion of loyalty to and “trustworthiness” of the advertiser, keeps brand name before the public. |
| Symbolic assertion | Subtle presentation of a single piece of information, links the product to a place, event, person or symbol (any positive connotation); sales pitch usually not explicit, copy [print ed.] usually minimal, and product, in general, not “featured”. |
| Imitation | Testimonial, by a celebrity, by a “hidden camera” participant or by individual(s) unknown but with whom readers can readily identify (or whom they respect because of specified characteristics). |
| Obligation | Free offer of a gift or information or a touching sentiment, some attempt to make the reader feel grateful. |
| Habit sharing | Offer of a sample or reduced price to initiate a “regular practice or routine”; product usually featured. |
This method again is clearly more differentiated, and allows for a greater variety of creative styles to be analysed than the lecture/drama method. It is however quite limited in its approach and usability to analyse the interaction between values and advertising, as it focuses more on an additional preference for a certain creative style or styles in a country. It is however well suited for that, and possibly a good tool for a more descriptive research than pure value centred research.
Again, this method makes use of communication style and the use of linguistic styles, such as a preference for indirect and direct speech, however the link is less clearly visible than with the lecture/drama method.
Another stylistic or creative method that is frequently referred to and researched is the use of humour in advertising. This stands out somewhat, as it doesn’t represent a full creative style, and is not linked directly within the area of information cue or appeals research.
As can be seen from the above examples of research instruments used, the focus of research into (cross-cultural) advertising can be radically different, though related. Research into appeals is evidently the most broadly focused research, whereas information cues and strategy research takes a far narrower, however more explicit, focus. All of theses research foci make a useful contribution to identify more clearly how advertising is influenced by culture, and if used in combination, have the potential to provide an extremely powerful analysis of advertising practice.
Prof. C.J.M. Beniers
NL Zoetermeer
18-05-2009
© Copyright 2009
About Professor C.J.M. Beniers
Prof. C.J.M. Beniers is a well known authority in the field of modern and international communication techniques. He developed the Six-Component-Model. This model enables companies, institutions and politicians to communicate and negotiate with counterparts from all over the world successfully. His career began as international manager at Philips and later he earned his doctorate as professor in communication. He has more than 35 years experience as manager and management trainer. Thus he knows both sides - theory and praxis - very well. As scientist, Prof. Beniers conducts frequently research in the field of intercultural communication. The results of his interesting research can be found in news articles, free pod casts, audio books and his E-books such as “Bridging The Cultural Gap.” Here, modern managers learn how to prepare for business meetings with people from different cultures; they acquire the techniques and tools to handle situations in times of crises successfully, master intercultural barriers, country-specific communication patterns, looking into personal cultural values & systems. Knowing all this, men can prevent cultural misunderstandings and misinterpretations – not only in business but also in private life.
Contact:
Prof. C.J.M. Beniers
Amaliaplaats 2
2713 BJ Zoetermeer
The Netherlands
Telefone: +31 (0) 79 - 3 19 03 81
Mobile: +31 (0) 6 2 061 8494
Email: info@beniers-consultancy.com
Website: www.beniers-consultancy.com
Cultural Differences in Television Advertising (2)
VALUES, APPEALS, CONTENT AND STYLE 1)
In researching advertising across borders a number of terms are used to describe WHAT is said in a commercial or HOW things are said in a commercial. All of this type of research focuses primarily on the message of advertising, taking both the visual and the audible component into account. Most researchers have paid little interest in execution or objectives, which may influence the advertising message. Both execution and objectives are taken a priori as being equal across countries. This limitation should be clearly pointed out, as it may account for some of the differences observed.
I have divided four main areas of research, with all overlapping or influencing each other to some extent:
· Appeals (values) research, looking primarily at all or some of the advertising appeals used in commercials.
· Information cues research, trying to identify the amount and type of information that is presented, usually about a product, in a commercial.
· Communication strategy research
· Creative strategy research, looking at the actual advertising, communication or creative strategy, or parts thereof, used in a commercial.
Frequently researchers have combined certain areas. For example, Mueller (1996) in her study about beer advertising in the UK and the US looked for selected appeals as well as some communication styles in commercials.
The terms “appeals” and “values” are used loosely in the literature to describe the traditional notion of “advertising appeals”. In their textbook “Advertising - Principles and Practice”, Wells, Burnett and Moriarty (1995) give the following description of appeals:
Persuasion in advertising rests on the psychological appeal to the consumer. An appeal is something that makes the product particularly attractive or interesting to the consumer. Common appeals are security, esteem, fear, sex, and sensory pleasure. Appeals generally pinpoint the anticipated response of the prospect to the product and message. Advertisers also use the word appeal to describe a general creative emphasis. For example, if the price is emphasised in the ad, then the appeal is value, economy, or savings. Wells, Burnett and Moriarty (1995): 278.
1. As this definition suggests, appeals make the product attractive to the consumer, and are hence emphasised in advertising for the product.
2. However, they do not necessarily represent product attributes, nor do they have to be realistically connected to the product at all.
3. De facto they are often used to set a desired atmosphere or as a means to “connect” with the target group.
4. As such, they are “built” into the commercial and designed to represent the supposed values of the desired target group.
For example, a product that has housewives as a target group may show, as an appeal, pictures of a happy family - which is thought to represent a value of the target group, or at least a desired state. Also, for example beer in itself has little sex appeal - however this appeal is frequently used in beer advertising (Dahl, 2000). The combination of “sex appeal”, displayed in the advertising connected to the consumption of that particular brand of beer, may however make the product attractive to the potential consumer, as it may represent a widely held value in the target group. Connected to the product, this may make the product more appealing to the target group.
Clearly, not everybody will have the same values, and the appeals that are used do not necessarily actually appeal to all consumers - even within the target group.
However, they usually are chosen to represent values thought to be held by the target group as a whole.
The advertiser aims to link the set of appeals used in the commercial with the product in the mind of the consumer, in order to enhance and position the product, the product image and perception. They are used strategically to influence consumer perception of the product (such as drinking beer = success with women) and hence to increase consumer readiness to purchase - or product appeal. Understood as such, they can be regarded as an active part in positioning the product in the market place and enhance the product’s image, by associating desirable aspects to the product.
Prof. C.J.M. Beniers
NL Zoetermeer
11-05-2009
© Copyright 2009
About Professor C.J.M. Beniers
Prof. C.J.M. Beniers is a well known authority in the field of modern and international communication techniques. He developed the Six-Component-Model. This model enables companies, institutions and politicians to communicate and negotiate with counterparts from all over the world successfully. His career began as international manager at Philips and later he earned his doctorate as professor in communication. He has more than 35 years experience as manager and management trainer. Thus he knows both sides - theory and praxis - very well. As scientist, Prof. Beniers conducts frequently research in the field of intercultural communication. The results of his interesting research can be found in news articles, free pod casts, audio books and his E-books such as “Bridging The Cultural Gap.” Here, modern managers learn how to prepare for business meetings with people from different cultures; they acquire the techniques and tools to handle situations in times of crises successfully, master intercultural barriers, country-specific communication patterns, looking into personal cultural values & systems. Knowing all this, men can prevent cultural misunderstandings and misinterpretations – not only in business but also in private life.
Contact:
Prof. C.J.M. Beniers
Amaliaplaats 2
2713 BJ Zoetermeer
The Netherlands
Telefone: +31 (0) 79 - 3 19 03 81
Mobile: +31 (0) 6 2 061 8494
Email: info@beniers-consultancy.com
Website: www.beniers-consultancy.com
1) http://www.stephweb.com/capstone/t8.shtml