Category: Advertisement

ABSTRACT

The study identifed and analyzed linguistic, visual, audio, strenghteness and weakness components associated with the selected advertisement of Djarum 76. The research uses descriptive qualitative method to analyze and elaborate the data. Data analysed in this research are the words and sentences converted to written text of Djarum 76 advertisement. The steps of data collection technique are by downloading the advertisement, reading and listening the text, checking the video verbally and visually, and identifying the data. The results showed that such linguistic, visual, audio, strenghteness and weakness resources as verbal, visual and verbal-visual texts enhance the semantic quality of the advertisement. In the whole, the study emphasizes the advertisement as unique and best concept as possible to describe the ciggarate is consumed by various groups and situations. Eventhough the superiority of the product is not conveyed.

INTRODUCTION

Advertising is a form of information carried out by a person, agency / agency, or company, the contents of which are interesting messages about a product or service aimed at the public. The purpose and purpose of advertising is to persuade / encourage the public to become interested in using the products / services offered.

Advertisements usually are placed in various media so that it is seen by many people, both offline and online media. Some of these media include newspapers, magazines, tabloids, television, news sites, blogs, social media, search engines, and public places.

In general, advertisements take the form of non-personal information about a product or service, company, brand, and others, with compensation for certain costs. All communication in the form of advertisements aims to attract attention or persuade others to buy or do something that benefits the ad maker.

One of the advertisements take of non-personal information about a product is cigarettes. Cigarettes are cylinders of paper measuring between 70-120 mm long, with a diameter of 10 mm, which contains tobacco leaves that have been chopped. Cigarettes are burned at its tip and let to burn so the smoke inhaled through the mouth at the other tip. The basic ingredients of cigarettes are tobacco. Tobacco consists of various chemicals that make someone addicted of it, even though try don’t want to try it again. The dangers of smoking on body health have been studied and proven by many people. The adverse effects of smoking are clearly known (Wikipedia, 2016).

Research shows “smoking habits increase the risk of various diseases such as heart disease and vascular disorders, lung cancer, oral cavity cancer, laryngeal cancer, ocular cancer, bronchitis, high blood pressure, impotence and pregnancy disorders and defects in the fetus”. In fact, smoking is hard to break and is rarely recognized by people as a bad habit. “Especially people who smoke to distract themselves from stress and emotional distress, it is more difficult to break away from this habit than smokers who do not have a background of depression” (Mewengkang, 2001).

Djarum 76 is one of the famous cigarettes in Indonesia. It was named Djarum 76 because the cigarettes brand was introduced in 1976. This product is sold in stretched packaging, two wide cigarettes, and ten long cigarettes. Meanwhile, the cigarette itself is rolled up in white paper. PT. Djarum is a cigarette company in Indonesia based in Kudus, Central Java, Indonesia. Djarum’s history begins when Oei Wie Gwan bought a small kretek business was named Djarum Gramophon in 1951, then the name was changed to Djarum. Oei started selling the kretek with the “Djarum” brand that turned out to be a success in the market. After the fire destroyed the company in 1963, shortly afterwards Oei die. Djarum again and modernized the equipment at the factory.

Some research of multimodal analysis in the advertisement has been done by several people. Savitri and Rosa (2019) in their journal entitled A study of multimodal analysis in smartphone advertisement. the study also carry out by Ayodeji Olowu and Susan Olajoke Akinkurolere (2015) in their journal entitled a multimodal discourse analysis of selected advertisement of malaria drugs. the research is also conducted by Chunyu Hu & Mengxi Luo (2016) in their journal entitled A Multimodal Discourse Analysis of Tmall’s Double Eleven Advertisement.

LITERATURE REVIEW

Multimodal is a study of semiotics aspects as a study of signs in the society (Saussure, 1969: 16). Chandler (2007: 2) explains that semiotics involves a study not only about signs in daily conversation, but also about everything referring to the others. Moreover, the signs are figure, sound, gesture, and object. Bateman and Schmidt (2012: 28) use language terms (verbal and written), visual, acoustic, and place as the signs studied in semiotics. The signs is also called as Multimodal. A text said as multimodal text if the text has two or more semotics system. There are five semiotics system: (a) Linguistic, consists of words, generic structure, and verbal and written language grammatical; (b) Visual, consists of color, vector, the angle of moving and unmoving objects; (c) Audio, consists of volume, harmony and music rythm and sound effect; (d) Gesture, consists of move, speed, and the silent in face expression and body language; and (e) Location, consists of the position of the object„ direction, layout, and distance based on layout.

According to O’Halloran and Smith (in Sinar, 2012:133), multimodal analysis includes the analysis of all communications which have interaction and integration of texts based on two or more semiotics sources or as a communication media to reach the communicative function of the text. Simply, multimodal analysis emphasizes that verbal and non verbal communication media have important role to express meaning. Kress and Leeuwen (in Sinar, 2012: 132) state that reprentative and interactive meanings by image exist in analyse multimodal can be done by three system: (a) information value; (b) salience; and, (c) framing, exist. The theory Kress and Leeuwen (1996) are used in analyzing the aspects of visual text. To reveal the meaning in the message of advertisement.

Advertising (advertisement has a variety of purposes, among others, for „marketing‟ products in the form of ideas and materials. Goddard (1998: 3) said that in the process of marketing ideas or materials a cumulative effect will be produced in the long term. This effect, used to construct reality, is created by communicating verbal and visual language displayed in pictures, graphics, layouts, colors combined with sounds, words, phrases, clauses, sentences and other effects.

RESEARCH METHODOLOGY

The research uses descriptive qualitative method to analyze and elaborate the data based on Rakhmat (2005) and Mahsun (2007). Rakhmat (2005: 25) says that descriptive aims to collect the actual information in detail. Meanwhile, Mahsun (2007: 257) states that qualitative method focuses on the description, elaboration, and filteration of meaning and also the placement of the data to its context and often explain the data by words than numeric. Data analysed in this research are the words and sentences converted to written text of Djarum 76 advertisement of PT. Djarum from https://www.youtube.com/watch?v=YOqcoJ7pXeU in consideration that the data is interesting and with short duration for an video electronic advertisement. The steps of data collection technique are by downloading the advertisement, reading and listening the text, checking the video verbally and visually, and identifying the data. Verbal texts transcribe to be written text. Descriptive analysis technique is used to obtain the result and the conclusion.

DISCUSSION/FINDINGS

The first Value Brand is from Djarum 76. Djarum 76 is one of the biggest and famous cogarette brand in Indonesia produced by PT. Djarum. Among the rows of commercial television videos, Djarum 76 often attracts attention by emphasizing the figure of Om Jin who is always considered bring the solution. Even though it is strange, Djarum 76 advertisements are easily remembered by the people of Indonesia. The picture covers substantial part of the image. The reasearch describes the analysis of advertisement based on the multimodal theory by Kress and Leeuwen (2006). the following are the five semiotic systems in Djarum 76 advertisement.

Linguistics Analysis

The language variety is informal used which meant to express the natural use of the language as in the daily life. The language in this advertisement also heard with the sundanese dialect. Orally, the verbal utterances in the commercial as follows: “saya beri tiga permintaan” “Aku mau pulang” “Sama” “Sepi rek” “haa aku mau mereka balek” hahaha.

There are three of written language in the commercial. the first one is “Djarum 76” showed as the last image mean much become the key point of what is being advertised, the second is “yang penting heppiii…” as tagline positioned at the right significantly portray supporting message. The product which can observe the entire of problem, the difficulty and the barrier by relax and “heppiii” and the last of written language in the commercial is “Merokok dapat menyebabkan kanker, serangan jantung, impotensi, gangguan kehamilan dan Janin”. As the last tagline to warn the custumer about the effect cause by smoking. The backsound and the utterances designed to support the commercial. There are backsounds which sounded as follow “76”, and Djarum..Djarum..Djarum..76…..

Visual Analysis

Visually, the advertisement portrays 33 second in process in experience the three young men to send them home and also return back to the first place. The advertisement of Djarum 76 created the commercial with a genie, the three young men, beach, magic lamp, twigs and wood.It uses motion images. It starts from the images of the three young men who were stranded on an island and found a magic lamp, then the genie came out of the lamp. the genie offered 3 requests to them. the two young men asked to return home but the last young man asked him to sent back his friends caused by he felt lonely. Djarum 76 exploited colors and view of the island. it showed the blue colour of the sea and the green colour of the forest. The focus of the message are the area of the beach, a goblin and the three of the young man. There is a painting that looks like Javanese custom carvings which are connotatively looks like clouds accompanying the sun.

Audio Analysis

There are two sound that support the commercial: “76…” the scene appear to initial the commercial whichcreflects the commercial of 76 is familiar to the consumer’s ears because the similar commercial has been presented in previous time. The last scene appear logo Djarum 76 and followed by the song “Djarum Djarum Djarum 76…” which label as the famous cigarette

Strenghtheness

The commercial illustrates that Djarum 76 is a cigarette for various groups and situations. this is reflected in the clothes of each different youth like the first young man wearing neat clothes that illustrates that he is an employee. the second young man dressed more casually which illustrates that his daily life does not work under the company. then the last man seen dressed like he was on vacation at the beach. Advertising can be impactful for many reasons, and humor can help drive brand loyalty and bring remembrance to consumers cognitively. There is humour quality that makes people interested to view the ad more than once.

Weakness

The ad does not focus on the superiority of the product. So that consumers’ attention is limited to the humor of advertisements that are served. So that so the short ad is not enough to make consumers extremely interested to the product. For the new consumers the ad is quite difficult to understand because it does not reflect the ciggarete in each video session.

CONCLUSION

One of the advertisement function is to promote and market the product. With the unique and best concept of the product advertisement can deliver the meaning and describe the product to the customers perfectly. Advertisement can change people.s perspective about the product. From the commertcial of Djarum 76 products we can conclude that they make the advertisement as unique and best concept as possible to describe the ciggarate is consumed by various groups and situations. Eventhough the superiority of the product is not conveyed. In the Djarum 76 advertisement, the multimodal construction successfully conveys and realizes the purpose of the ad—promoting the festival culture and trigger consumption. Based on the previous analysis, the research questions are hereby answered.

REFERENCES

1. Anstey, M and Bull, G. (2010). Helping Teachers to Explore Multimodal Texts: An electronic journal for leaders in Education. Ayodeji Olowu & Susan Olajoke Akinkurolere.2015. A Multimodal Discourse Analysis of Selected Advertisement of Malaria Drugs. Nigeria
2. Bateman, J. a., & Schmidt, K.-H. (2012). Multimodal Film Analysis: How Films Mean, routledge Studies in Multimodality. london: routledge.
3. Chadler, Daniel. (2007). Semiotics: The Basics. 2nd Ed. London: Routledge.
4. Chunyu Hu & Mengxi Luo (2016). A Multimodal Discourse Analysis of Tmall’s Double Eleven Advertisement. China
5. Cheong, YinYuen.(2004).”The construal of ldeational meaning in print advertisements”. Dalam Kay L. O’Halloran (Editor) Multimodal Discourse Analysis: Systemic Functional Perspectives. London: Continuum. Hal. 163 -195.
6. Halliday, M.A.K. (2004). Introduction to Functional Grammar. (Ed. By Matthiesen, C.) London: Printer. https://id.wikipedia.org/wiki/Djarum_76
7. Kussoy, Meklandy Jhovfany. Bahaya Merokok Bagi Kesehatan. Sulawesi Utara : Universitas Klabat.
8. Maulydia Tamara Savitri & Rusdi Noor Rosa.2019. A study of multimodal analysys in smartphone advertisemen Mewengkang, R.S. (Ed). (2001). Jantung Kuat bernapas lega. Bandung: IPH.
9. Saussure, Ferdinand de. 1959. Course in General Linguistics (translated to Indonesia by Wade Baskin). New York: The Philosophical Library.
10. Sinar, T. S. (2012). Teori dan Analisis Wacana: Pendekatan Linguistik Sistemik Fungsional. Medan: Mitra.

Introduction

Emotion, sex, and humor can generally be attributed as three tried and tested (and arguably done to death as well) formulas of advertising communications. A quick search on any advertising portal would show almost all communications have tried to make their way to effectiveness with a mix of emotion, sex, and humor.

As this report’s scope of research has been set to be with academic theories published between 2016 and 2020, the absence of widely accepted communication theories between those years was quite obvious. However, these three theories had come across to the author as most interesting to explore and evaluate (with three recent relevant ads) …

1. Emotion and advertising effectiveness: A novel facial expression analysis approach by Nicolas Hamelin, Othmane El Moujahid, and Park Thaichon. Published in Journal of Retailing and Consumer Services 36 (2017) 103–111
2. When Sex and Romance Conflict: The Effect of Sexual Imagery in Advertising on Preference for Romantically Linked Products and Services by Jingjing Ma and David Gal. Published in Journal of Marketing Research Vol. LIII (August 2016), 479–496
3. Being funny is not enough: the influence of perceived humor and negative emotional reactions on brand attitudes. By Caleb Warren, Erin Percival Carter & A. Peter McGraw. Published in International Journal of Advertising, (June 2019) 38:7, 1025-1045

These three devices and aspects of modern advertising work hand in hand. Also, in real-world advertising strategy development practices, strategy-makers tend to incorporate multiple variables/factors to articulate a single strategic direction. For these, there is a single conclusion that has been drawn based on the overall learnings for this report.

Theory 1 (Emotion)

Emotion and advertising effectiveness: A novel facial expression analysis approach by Nicolas Hamelin, Othmane El Moujahid, and Park Thaichon.

Published in Journal of Retailing and Consumer Services 36 (2017) 103–111

Abstract:

In this paper Hamelin, Moujahid and Taichon (2017) go beyond indicative (such as awareness, preference, etc.) and tangible (such as sales numbers, footfall, etc.) marketing metrics to evaluate the effectiveness of emotion with a neuroscientific tool called GfK-EMO Scan on 60 participants, and theorized ‘The high emotional advertisement generated a higher and more durable safe driving attitude score (or perceptible positive attitude) in comparison to the low emotional advertisement.’

Advertising effectiveness assessment model by Hamelin, Moujahid, and Techno

The 5-dimensional assessment model the researchers have suggested…

They also stated that emotion ‘considerably impacts’ the response or attitude of a target individual at every independent dimension of the aforementioned model.

Evaluation

The author finds the Advertising Effectiveness Assessment model by Hamelin, Moujahid, and Taichon (2017) would be more logical if the

1. Dimensions stated in the original model were made interdependent instead of independent.
2. And belief, driven by emotion can be used as a two-directional influencing factor

Then the model would look like…

Evaluating ‘Emotion’ with an ad

The 2020 ‘Superbowl’ ad by Google LLC is a modern representation of the effective use of emotions in advertising, which Hamelin, Moujahid, and Taichon (2017) articulated in their article. In this depiction of a true story, an elderly gentleman reminisces about the shared life he has spent with his late wife ‘Loretta’ with Google Assistance. Although it was mocked by some as a ‘tearjerker’ and ‘creepy’ (CNN Business) web is now inundated with positive responses (Adweek)

• AV-1. Copyright: Google LLC

In comparison, the ad below, which came out in 2009 for Google Chrome Browser is definitely smart and functional but lacks emotion. Today not many commentaries can be found about it on the web.

• AV-2. Copyright: Google LLC

Theory 2 (Sex)

When Sex and Romance Conflict: The Effect of Sexual Imagery in Advertising on Preference for Romantically Linked Products and Services by Jingjing Ma and David Gal

Published in Journal of Marketing Research Vol. LIII (August 2016), 479–496

Abstract:

In this research article Ma and Gal (2016) have documented 4 experiments they conducted to test their hypotheses: ‘exposure to sex-based ads decreases preference for romantically linked products and services in men.’ The scholars have concluded by stating that- contrary to the general perception sex sells for sexual products only. Romantically linked products need romantic advertising support to appeal to the target audience.

Evaluation:

The author finds that the theoretical model proposed by Ma and Gal (2016)

1. 1. has no mention of a grey area between the binary of sex (momentary pleasure) and romance (sense of commitment). Alike other human instincts or emotions these cannot be put in rigid boxes.

Furthermore, this grey area can and does work magic for a host of brands and categories like perfume (Ralph Lauren) and tourism. Like Ralph Lauren’s ad below, where the product can be perceived as 1. An element to enhance sexual attraction and 2. A commitment gift.

1. 2. secondly, ‘Romantically Linked Products’ are products with romantic associations built in the audiences’ subconscious minds through decades of strategically targeted communications.

For example, ‘A diamond is forever so are happy marriages- this romantic association is the result of a successful communication strategy by De Beers.

So, it is likely that in the future a product/service will gain or lose its attributes like ‘sexy’ or ‘romantic’ based on received promotional support. Which should change the applicability of Ma and Gal’s (2016) theory.

1. 3. Juxtaposing to the ads above, this ad below by the world’s largest pornographic website, Pornhub is quite clutter-breaking by the absence of obviously expected explicit imagery. Instead, it combines humor and environmental responsibility in a clever execution.

It also goes one step ahead of Ma and Gal’s (2016) theory and proves sexual imagery isn’t essential for sexual products as well.

AV-6. Copyright: Pornhub

Evaluating ‘Sex’ with an ad

LJ Hooker’s April 2019 online ad for a listing at Padstow had gained a good amount of publicity and on the other hand, it was termed ‘raunchy’ and ‘breathtakingly horrific’ (Guardian). It showed an attractive couple dancing across the property with extraordinary sexual energy. Though the agent behind the production was elated about the response, LJ Hooker had taken it down, accepting they’d ‘missed the mark’ (Guardian).

AV-3. Copyright: LJ Hooker. The original video has been deleted by the company.

It’s worth noting that LJ Hooker’s staple TV commercials (below) always reinforce traditional family values. Probably using a non-traditional medium (online) made them target younger audiences and redefine the company’s value system.

AV-5 & 6. Copyright: LJ Hooker

Furthermore, the Tab-Coal ad of 1982 (Australia) below is a milestone. In this context, it shows how much a category’s communication environment has evolved in terms of depicting sexual attraction and body image.

AV-7. Copyright: Tab Cola

Theory 3 (Humour)

Being funny is not enough: the influence of perceived humor and negative emotional reactions on brand attitudes

By Caleb Warren, Erin Percival Carter & A. Peter McGraw

Published in International Journal of Advertising, (June 2019) 38:7, 1025-1045

Abstract:

In this research article Warren, Carter, and McGraw (2019) prove that –instead of making a positive impression on the target community, humor can potentially harm the brand.

The researchers conducted a 3-study research program to find the correlations between ‘humor appreciation, negative emotional reactions and brand attitudes’ using randomly selected (by a pilot study) ads.

Broadly the researchers suggest…

They conclude with ‘funny ads do not guarantee favorable attitudes towards the advertised brand’,

Evaluation:

The author finds that the conclusion drawn by Warren, Carter, and McGraw (2019) could be different if they considered…

1. Humorous ads are not made only to entertain the audience. Advertisers consider humor to be a tool or device that is effective in catching the audience’s attention.
2. Using humor is all about balance. Most advertisers always heed unbiased feedback before launching a campaign.
3. If risk aversion is the objective then doing it without a suggested risk calculation tool is not practical. Because the advertising industry cannot afford to lose a tool like humor for the incalculable associated risks.
4. (Although it’s mentioned in the limitations section) both humor appreciation and negative emotional reactions are demography and culture-specific.

Evaluating ‘Humour’ with an ad

Australian Lamb’s 2017 ad showed a diverse pantheon engaged in an alfresco wine-and-dine and casual banters, which immediately after its release faced criticism for being ‘insensitive’ to the Australian Hindu community (SBS Hindi). Because the Hindu deity Ganesha is vegetarian and cannot be shown eating lamb with non-vegetarians (albeit a group of gods.)

However, the makers of this ad were never appreciated for making the Prophet’s presence felt by his absence.

Here the Australian Lamb took the risk of giving a sensitive subject a humorous spin but failed to make it completely risk-proof. This scenario adds to the conclusions of Warren, Carter, and McGraw’s (2019) theory.

AV-8. Copyright: Australian Lamb Pvt Ltd.

Contrary to the ad above, KFC’s 2019 Mother’s Day ad (below) is an example of ‘humor went right. The same ad run in a moderately conservative country like India would put the brand in a detrimental position. Because it would be perceived as a threat to the cultural and moral values of the nation.

AV-9. Copyright: FKC

Conclusion

To conclude this essay the author reflects – emotion, sex and humor are not independent advertising/ communications tools that can be effectively used in isolation. Rather, target community/audience-specific application of empathy can help an advertiser to strike the right balance. So, the sweet spot between tearjerker and touching, raunchy and sensual, ridiculing and humorous can be identified and explored further.

References

1. 5 AD LOT. FILIPPA HAMILTON-PALMSTIERNA RALPH LAUREN ADS https://www.worthpoint.com/worthopedia/ad-lot-filippa-hamilton-palmstierna-110627646
2. Australian Lamb, 2017 https://youtu.be/ZWvKUzyqLDA
3. Caleb Warren, Erin Percival Carter & A. Peter McGraw, 2019, Being funny is not enough: the influence of perceived humor and negative emotional reactions on brand attitudes, International Journal of Advertising, 38:7, 1025-1045, DOI: 10.1080/02650487.2019.1620090
4. How the slogan of the century changed the diamond industry, De Beers, https://www.debeersgroup.com/the-group/about-debeers-group/brands/a-diamond-is-forever
5. Hamelin, N., Moujahid, O., & Thaichon, P., 2017, Emotion and advertising effectiveness: A novel facial expression analysis approach, Journal of Retailing and Consumer Services, 36(C), 103-111.
6. LJ Hooker, https://www.ljhooker.com.au/
7. KFC Chickendale Mother’s Day Performance, https://youtu.be/nKFZJU7bvaw
8. Ma, J., & Gal, D., 2016, When Sex and Romance Conflict: The Effect of Sexual Imagery in Advertising on Preference for Romantically Linked Products and Services, Journal of Marketing Research, 53(4), 479-496.
9. Makers of Ganesha lamb ad apologize to complainant https://www.sbs.com.au/language/english/makers-of-ganesha-lamb-ad-apologise-to-complainant
10. Oster, E., Unruly Ranks Google Tearjerker ‘Loretta’ as the Most Effective Ad of Super Bowl 2020, 3 February 2020, viewed 29 March 2020 https://www.adweek.com/brand-marketing/unruly-ranks-google-tearjerker-loretta-as-the-most-effective-ad-of-super-bowl-2020/
11. Strictly living room: ‘breathtakingly horrific’ Sydney real estate ad goes viral, 17 April 2019, https://www.theguardian.com/australia-news/2019/apr/17/strictly-living-room-breathtakingly-horrific-padstow-real-estate-ad-goes-viral
12. Tab Cola Commercial (1982) https://youtu.be/MOPmVW_HtuY
13. Unruly Ranks Google Tearjerker ‘Loretta’ as the Most Effective Ad of Super Bowl 2020, 3 February 2020, https://www.adweek.com/brand-marketing/unruly-ranks-google-tearjerker-loretta-as-the-most-effective-ad-of-super-bowl-2020/
14. Valisky. J., Google’s Super Bowl ad: People shed tears for ‘Loretta’, 3 February 2020, viewed 29 March 2020, https://edition.cnn.com/2020/02/03/business/google-super-bowl-ad-loretta-trnd/index.html
15. World’s Dirtiest Ad by Pornhub, https://www.youtube.com/embed/nskUHvjylEA?feature=oembed

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Advertisements are used by marketing teams to promote their products and increase sales, but there is a tendency to use stereotyping. We see individuals classed together in groups according to their gender, race and age. Gender stereotyping has been extensively used to portray women as dependent on a man for his protection and provision, (Eisend, Dens & De 2019), shows that this gender stereotyping makes for successful advertising campaign, but does have a negative effect on society. This semiotic analysis will have a look at the denotation, connotation, main signs as well as the semiology of the colours used in the “Anyway, you didn’t burn the Schlitz” advert.

According to Seiler (2005), we discern the principles at work in the media text through a semiological analysis. However, in order to discuss the semiology, we first need to explain the advertisement denotatively. The first thing that one notices in the advertisement is that there is a man and a woman in the middle of the scene. She is crying, holding a handkerchief to her eyes, and he is comforting her. She is wearing a grey dress with a red and white striped apron and he is wearing a suit. There are yellow frilly curtains around the window. The window blinds are closed. There is a yellow table cloth on the table and it is set for two peoples, with cutlery for a two-course meal – a starter and a main. There are red napkins, and a round red tray that holds two bottles of Schlitz beer. There is a beer glasses at each setting. Behind the couple we can see a stove. There is a pot on the stove, with a red spiral stove plate that is still on, we can see that some food has spilt onto the hot plate and stove. The man is holding a frying pan that has smoke coming off of it. The copy of the advert is “There’s hope for any young bride who knows her man well enough to serve him Schlitz beer. For what man (or woman) can resist the taste of Schlitz Beer…a taste millions prefer to the taste of any other beer. No, we’re not just saying that. Here’s the simple proof: Schlitz tastes so good to so many people, it’s first in sales in the U.S.A.” Then there is a with a Schlitz logo and header that says “The Beer that made Milwaukee Famous”. Now that the reader has a picture in their mind of what the advertisement looks like, we can move on to having a look at the connotation of the piece.

According to Barthes (1964, as cited in Serban, 2002), at the first level of semiological analysis is the dissection. In this case, we are looking at the connotation. The advertising industry has long portrayed men and women in traditional roles, especially in the case of women who were depicted as lowly and substandard, with lower-ranking abilities and aspirations (Grau & Zotos, 2016), and completely reliant upon a man for protection (Zotos & Tsichla, 2014). Judging by the paper tear on the left-hand side of the image, this appears to be an advertisement from a woman’s magazine, as opposed to an advert from a newspaper, which confirms that the promoters designed the advert with the intention of persuading women that beer will make men happy. At the time when the advert was set, the 1950s, as the homemaker the women were the decision makers in the home with regards to groceries and perishable home provisions. We get the impression that she is a young newlywed who isn’t confident in her cooking skills, or in her role as a wife; and that her sole aim in life is to look after her husband. The woman, clearly upset, is holding a handkerchief up to her eyes in a manner that gives the impression that she is weak because she can’t control her emotions, especially in such a trivial matter as a burned dinner in the bigger picture of things. A burned dinner is generally not something to be so distressed about; unless one is afraid of the consequences. In other words, either they are poverty stricken, or the husband has a dangerous temper. The mise-en-scene of the advert does not imply either of these scenarios. She is looking up at him adoringly, in a posture that gives the impression of submission. The man is smiling as he waves his hand dismissively over the dinner table and on to the bottles of beer. His attitude implies that all it takes is a beer to keep a man in a good mood. It is made clear to us that even though his wife has spoiled dinner, the beer is immune to her lack of culinary expertise.

Semiotic signs are made up of a signifier and the signified, however the relationship between the two is based on an individual’s personal judgement and associations (Seiler, 2005). An example of signs in the advert is that the woman is wearing a red and white striped apron (the signifier), and her husband is wearing a suit (the signifier) which shows that he is the breadwinner (the signified), while she is the homemaker (the signified). The smoking pan (the signifier) reveals that the dinner is burnt (the signified). Depicted in this way, the advert gives the message that a lot of women were having trouble with burning the dinner, or even managing their homemaker duties. She has let her husband down. Does this devalue her? How is she going to become a mother and care for her family if she can’t successfully prepare a dinner for two?

At this point of the analysis we start the second operation of articulation (Barthes 1964, as cited in Serban, 2002) and examine the signs at a deeper level. Signs, in the context of semiology, can be in the form of an image, a word, an expression on a face, or even in portrayed in a colour. We see that yellow and red are the predominant colours in the advert. The colours used in this Schlitz advert are notable, and have been used for a reason. The effect and reactions that colours will tend to incite on the human subconscious can be powerful indeed, and can also predict the buying behaviour of a consumer (Aslam, 2006). People associate colours with pre-defined meanings (Kauppinen-Räisänen & Jauffret, 2018). For example, we tend to accept that yellow is cheery, frivolous and carefree. It is also the colour most usually associated with sunshine. Does this symbolise the honeymoon phase of a marriage? Is everything sunny and cheerful, but beneath the surface, issues are brewing as shown in the colour red, and smoking pan? Red is used symbolically to signify love, to get attention and signify danger, and red, used in the advert certainly seems to do all three. Also, worth noting, is that the round, red tray holding the beer looks just like a dinner plate. This is interesting because, due to the dinner being burned, the beer now replaces the meal, while the actual dinner plates that were going to be used for the meal, are a dull grey, the same grey as her dress and the chairs. This implies that the plates are not important because they will not be used. The white handkerchief is an interesting addition. A bride is often given a white handkerchief for her wedding day and a white lace or cotton handkerchief also signifies femininity. Not to be dismissed is the ideology in William Shakespeare’s Othello, where the handkerchief as a symbol of love and fidelity, was ultimately the cause of a tragedy (Tao, 2014). A white handkerchief or flag is also used as a universal signal to convey surrender. The use of colour by marketers is becoming an important semiotic sign, one that is worth making note of.

In conclusion, the semiology in the Schlitz advertisement confirms that in middle of the 20th century, gender stereotypes were used to sell products, and successfully as well. Although a text or a media piece will have different meanings, and each meaning is understood and interpreted differently by each individual according to their own life experiences (Barthes, 1964), the advertisement utilizes blatant examples of sexism that doesn’t take much effort at all to notice. This was quite obvious in what was observed of the connotations, signs and colour semiology in the advert. A modern-day glance at the Schlitz advertisement shrieks of gender inequality, and many people today will be astounded that it went to print. However, the lifestyle of the era that the advert was set in, demanded that women were the homemaker and were financially, socially and emotionally dependant on her husband. Women accepted that being a homemaker was their role in life, that their aspirations and dreams were to be sacrificed for the good of the family. They may even have been to classes, or read books on how to be the perfect housewife. Women thus, would probably have been amused by the advert, and perhaps even identified with it.

All 4 persons in the ad are remarkably well-known athletes who play tennis and football. The ad is the Double Stuf Racing League in which the athletes are in a competition to see who’s fastest to twist, lick and dunk their oreo cookies. Most athletes are familiar with the ‘leave it all on the field’ speech, which indicates that athletes should avoid sugar because once they get addicted, they might suffer from a sugar rush which can lead to a crash because of the fast rise in glucose in your body (Baur, 2011). Athletes are supposed to maintain an image of setting a positive example of an athletic body to the fanbase They are supposed to be role models because many people look up to them, expecting them to be the definition of a healthy person so they could influence people.

In this short ad, Serena and her sister, and Peyton and his brother are seen licking an oreo and then struck by a blimp. There is an obvious disconnect, because the athletes in the ad are sending mixed connections to the viewers about diet and health portraying unhealthy foods (oreo) and on the other hand they are athletes and supposed to be portraying healthy choices.

“Marie Bragg of the Rudd Center for Food Policy and Obesity in New Haven, Connecticut, and her co-authors found that 79 percent of the 62 food products in advertisements endorsed by athletes were dense in calories and poor in nutrients, based on a nutrient profile used to assess whether products can be advertised to children in the United Kingdom” (CBC, 2013). It is actually quite ironic because some of the world’s most fit athletes are promoting nutrient-poor food products. A previous study indicated athlete endorsements are associated with higher ratings of healthfulness for the products, which also means if an athlete is seen eating/drinking an unhealthy product, it appears healthy to the viewers because a ‘fit’ and ‘healthy’ person is supporting it. But it should be noted, that a double stuffed oreo has about 70 calories.

Legislation should be passed banning celebrity endorsements. Celebrities endorsing the advertisement may not always be aware of the negative health outcomes of the foods among consumers. After watching TV commercials where celebrities endorse a product, people tend to recall and remember the messages in the ad while buying the products. People view celebrities as their role models and believe everything they portray is in the advertisement is ‘real’. Banning celebrity endorsements in all would address the issue of misleading food advertisements and also act as a key public health intervention to prevent increasing rates of obesity, and diabetes in the public community.

This essay will explore how specific art pieces from various artists within the Pop Art movement have contributed to the birth of branding and advertising and what influence it still has on modern design. It will identify how brands use the Pop Art style within their current marketing tactics to sell products, ideas, or services.

Argument

Art and graphic design are connected to the development of modern-day technology, our media and politics around the world. Because of this, graphic design is constantly being moulded by the world around us at the same time as having the power to influence it.

Designers are commonly inspired by current political themes, cultures, and religions that surround them, either intentionally or unintentionally. They use their art to express opinions, emotions and to tell stories. In today’s modern society, companies have harnessed the use of art to express ideas and trigger the emotions of their audience to influence and even manipulate their consumers.

There is no other art movement that understands the power of consumerism and advertisement than Pop Art. To understand how Pop Art has greatly influenced brand advertising we first need to look at where the movement has come from. One of the first famous art pieces to emerge from the post-war art movement was Richard Hamilton’s collage ‘Just What Is It That Makes Today’s Homes So Different, So Appealing?’ in 1956. The idea of the collage was to mimic a poster and catalogue advertisement. Hamilton combined cut out advertisements from popular magazines where he removed images from their original context and placed into an entirely new composition but still managed to hold some of the original meaning.

The title of the collage asks the audience a question and the images within the design allow viewers to come to their own conclusion, addressing the idea that consumerism was creating a fantasy world that promised escape from the post-war life in Britain. There was this idea that new advancements in domestic products, such as vacuum cleaners, allowed consumers to have more free time to experience other pleasures such as watching talking films on television due to the advancement in technology. The beautiful, glamorous couple portrayed as the type of people living in today’s home also contributes to the fantasy that consumers desperately want and feel they can achieve if they own all those objects around them. Although Hamilton suggests that consumerism is being used to fill a void or used as a form of escapism, he also recognized that mass production and mass consumerism was a fact of life.

Hamilton also wanted to remind people that modern art frequently takes inspiration from previous movements, and he did this by repurposing images to create something new. By doing this, Hamilton highlighted that mass media was no longer a place that only included art from Western culture that was thought to be highly ranked and believed this idea had become outdated. He became aware of new trends within the market being engineered through advertising as people began to have access to art and culture through magazines and fashion instead of museums and galleries.

The shift in art becoming more easily accessible and inclusive combined with the awareness of post-war austerity and culture of mass production led to the birth of the Independent Group. Rationing from the war extended into the mid-fifties, so the idea of exciting new products and technologies emerging would have been exciting to the younger generation of artists. Advertisements were harnessing the influence they had over consumers by playing on the huge range of consumer choice and sense of escapism. This IG was a group of young artists, including Hamilton, that believed modern art should mimic mass production and the idea that everything should be inclusive and easily accessible. The Independent Group are arguable known for constructing Pop Art.

Lawrence Alloway, a member of the IG, said the group discovered it wasn’t art, architecture, design, or art criticism that they had in common, but states “mass produced urban culture, movies, advertising, science fiction and pop music”. We felt none of the dislike of commercial culture standard among most intellectuals, but accepted it as fact, discussed it in detail, and consumed it enthusiastically. One result of our discussions was to take Pop culture out of the realm of ‘“escapism”, ‘sheer entertainment’, ‘relaxation’, and to treat it with the seriousness of art” (1966, ‘Pop Art’, p.31-32). Alloway believed Pop Art was “a friendly way of saying mass media” (1966, ‘Pop Art’, p.31-32). The term was first introduced between 1954-1955 and originally used to describe products of mass media. It wasn’t until the term began being used in frequent talks within the Independent Group that they turned it into a label for the movement.

Because of its sociological intentions, pop was mostly disapproved of by society in Britain and America in its first stages. Andy Warhol was criticized for stating he wanted to be a machine, possibly because society misunderstood Pop Art and still felt threatened by mechanization and mass production.

Andy Warhol was one of the core pop artists to emerge from America. At the time, they had no group of fellow artists unlike the IG formed in Britain and no manifesto. Both groups worked independently from one another, although they did all vaguely share a similar style of vibrant designs and made use of existing materials taken from the commercial environment.

Warhol was an advertising and magazine illustrator who focused on creating mass produced commercial goods. Warhol’s art not only focused on the new America formed by great economic growth, but also revealed the darker aspects of American culture such as troubled celebrities and tragic events by conveying “symbols of the harsh, impersonal products and brash materialistic objects on which America is built today” (1996, Warhol). His keen interest in celebrity culture and mass media has been described as obsessive, which ironically made him complicit in the perpetuation and manipulation of celebrity culture.

Warhol’s obsession likely developed during his childhood when the neurological disorder he suffered from often left him bed ridden. During this period, Warhol would draw and read comics or celebrity magazines for entertainment and as a form of escapism. The media he was consuming began to influence the topics of his artwork.

Pop Art’s role within media expanded into anything that could be consumed in popular culture, from magazines, newspapers, television, music, and fashion. The movement is a constant cycle of being influenced by the media by drawing themes from popular mass culture such as advertisements, comic books and consumed products, and influencing the media by continuing to feed into popular culture. This is something Warhol was aware of very early on and is reflected in the type of subjects he used for his art. A great example is his ‘Campbell’s Soup Cans’. A seemingly mundane, every day, mass produced object that is instantly recognizable. Emerging younger artists like Warhol were interested in creating art from cultural icons that was familiar or had some sort of meaning to them. Warhol used product labels and celebrities for his imagery. This may have contributed to Pop Art’s popularity, because the audience could relate to the things, they saw in their everyday lives more than the fine art being produced from previous movements. ‘Campbell’s Soup Cans’ became a series of artwork exhibited in a Los Angeles exhibition show in July 1962. The collection of artworks was presented in a line as if placed on a shop shelf. The paintings were created using a printmaking method originally used for advertising. Using this process, Warhol was able to print the can design repeatedly onto different canvases and then paint the finer details on after. The process of creating the art itself, and the way in which it was exhibited creates a literal depiction of mass consumption. The repetitiveness of imagery reflects the way in which advertisements are used to infiltrate the consumers consciousness.

When reflecting on his art, Warhol said the ‘Campbell’s Soup Cans’ was his favorite piece. It was created in the same year Pop Art began emerging as the new and exciting main movement. The idea was inspired by a friend who suggested Warhol painted something that everybody would recognize.

Pop Art became a movement that showed advertising was a form of art and consumed all areas of popular culture from fashion to music. At the same time artists such as Warhol were emerging in America, Peter Blake was breaking into the Pop Art scene in Britain. Blake is a well-known artist who designed album covers for musicians such as The Beatles and Elvis Presley. His most famous cover being for The Beatles’ 1967 album ‘Sgt. Pepper’s Lonely Hearts Club Band’. The cover is a collage of 70 different popular culture personalities, from musicians, celebrities and sports athletes. This was a theme frequently used by Blake in his work and many other artists within the Pop movement. The broad use of popular culture from different industries symbolizes the seemingly limitless possibilities at the time with mass consumerism. The album cover itself ended up becoming a piece of artwork that was mass produced and distributed world-wide. Peter Blake is said to have only been paid a one-off payment of £200 for the album artwork which he said, “wasn’t fair at the time”, however, he was successful in creating artwork that became genuinely popular and enjoyed by the masses.

Like other artists within the Pop Art movement, Blake was inspired by his immediate environment, taking ideas from culture and advertisements. During the early sixties, he began experimenting with collages. Jann Hamworth watched Blake’s style evolve whilst working alongside him and recalled that “early in the sixties Peter had done some things, cutting out Victoria heads, engraving, sticking them down, then doing a circus act in front of that” (Peter Blake, Natalie Rudd, p.55).

Playing with collage has inevitably influenced the outcome of his Beatles album cover design. The idea of taking imagery from various popular sources and combing them together to build something new is prevalent in Pop Art and can be linked back to Hamilton’s ‘Just What Is It That Makes Today’s Homes So Different, So Appealing?’. The Pop Art movement allowed artists to repeat previous ideas and use existing media to produce new ones. It also allowed art to cross over into all creative industries. Blake and Jann’s cover design is a great representation of art being created by bringing together various elements. The set they built was a mixture of 2D and 3D figures. Madame Tussaud’s generously lent them some famous figures and others were cardboard cut outs created by Jann. It not only became a collaboration with art and music, but with different creatives within the art industry.

Pop Art and the ideas that fueled the movement are still prevalent in today’s society. Art is regularly re-purposed by brands and advertisements because it is familiar, and a sense of familiarity makes consumers more likely to view them as being trustworthy. Comparably to Blakes album cover design for The Beatles, today’s brands will use imagery of likeable celebrities within their adverts and designs to their advantage. In our current online culture, they are known as ‘influencers’. If you associate a brand with a popular celebrity that you are a fan of, you are more likely to trust their product or services.

The use of Pop Art style is used as a tool in marketing. With people constantly being exposed to advertisements online, and in the real world, the competition is tough. Brands need to stand out in the visual world and catch the attention of their audience within seconds. This is not only achieved by using well known products and celebrities, but the bright, bold colors that are associated with the movement as well as the use of mixed media. Advertisements need to be eye catching and leave a lasting impression on their audience.

Today, artists and advertisers have moved into the more recent Contemporary Pop movement. This type of Pop Art still focuses on the use of mass media and popular culture, but without the vibrant colors and literal use of objects. The most recent style of art to emerge is the ‘meme’, made popular by social media. Meme’s are usually humorous and focus on mundane issues within everyday people’s lives to big political news stories. Christine Wang, a contemporary pop artist, has established herself as the ‘Meme Girl’. One of her most popular paintings is ‘Americans’. The idea behind it is comparable to the ideas behind Warhol’s work as it humorously highlights the glamorous side of America as well as the ugly.

Conclusion

The Pop Art movement essentially became the thing its artists were trying to depict; a mass produced, commercial image. Warhol’s ‘Campbell’s Soups Cans’ and Peter Blake’s ‘Sgt. Pepper’s Lonely Hearts Club Band’ have become overproduced artwork that is well known globally. Artists within the movement had an infatuation with glamour, branding and consumer products, and their artwork accepted narcissism and greediness. For Warhol, art was just as important as self-promotion. “Making money is art and working is art and good business is the best art” (1975, Warhol). He understood how to capitalize from brands and their products and as a result built himself as a successful brand.

The movement is still very relevant today as we continue to live in a world of mass consumerism. Further advancements in technology have increased the amount of product advertising we consume daily, and social media has made art more reachable than ever. In a way, social media allows us to mass produce and show our own artwork on a huge scale. Our goals of constantly owning more or achieving fame and fortune are perpetuated by current businesses through their branding and advertisements. Warhol’s statement that “in the future, everyone will be world-famous for 15 minutes” has become a reality with social media platforms, YouTube and reality TV.

Pop Art today could be explained through the fact it predicted and announced the interests of modern-day society in an intimidatingly accurate way, intentionally or not. It’s like Pop Art artists started this phenomenon of image abundance, obsessions with material things money can or cannot buy, celebrities in forms of singers, actors, actresses, dancers, socialites, public figure in general we still want it all, we still want it now, and there is never enough of it.

The advertising industry is still greatly influenced by Pop Art. The trend of combining popular culture with a brand hugely impacts an audience’s opinion of a business. If a brand can associate themselves with a likeable, well-known celebrity or a hit song, consumers are more likely to invest in their product.

With the introduction to the Metaverse and other virtual realms, NFT’s have become increasingly popular. These virtual art pieces are often digitally drawn representations of real-life consumer products and can sell for millions. Coca-Cola produced a 3D branded jacket that sold for over £500,000. As we move more towards a world being consumed by online activities there is no doubt Pop Art will continue to influence the way brands advertise their products. In a way, the Metaverse will allow us to merge with the technology we’ve created, and we might move closer to becoming a type of machine that Warhol fantasized about.

INTRODUCTION

The sole purpose of the business is to sell products and services for profit. Advertising helps businesses to make a profit, on the other hand, helps consumers choose which products and services to buy and the consumer to choose the most appropriate option. Today, the advertising industry has become a huge industry, offering a wide range of products and services. As a result, competition increases, and each business requires the best promotion of their products and services. This led to the development of a new advertising techniques and the rise in prices of today’s advertising agencies. The goal of an advertising campaign is to provide an opportunity to deliver the product to the right people by raising awareness about the product, its benefits. This is important for business success. One of the biggest advertising platforms is the Super Bowl. During the commercial break of a typical TV show, viewers tend to focus elsewhere, while the Super Bowl is different. The Super Bowl is a popular name in the National Football League (NFL) championship. It is the world’s most-watched sporting event every year, and in 2018 it aired in more than 170 countries, with an average of 104.3 million viewers. The advertisement is part of the show, and the Super Bowl ad takes 30 seconds to get a brand in the spotlight of more than 100 million people. The impact hit record highs, with brands paying $ 5.2 million per ad in the 2020 quarter. Super Bowl advertising prices have doubled in the last 10 years. Super Bowl ads have become a costly part of the game-like experience. From the beginning, several advertisements have been placed to promote the commercial idea of Super Bowl. For example, one of the most famous Apple’s 1984 ads won an award and helped make Apple the company it is today.

Super bowl advertisement and marketing strategies

Most of the time super bowl marketing/advertisement becomes as big as the NFL game. That’s the reason why there is so much opportunities for marketers to post their advertisement at super bowl. Its very hard to get that exceptionally large audience anywhere else except super bowl. An average cost of 30 seconds advertisement in super bowl cost around $5.6 million USD. Here are some ways that you can market your product during super bowl.

Make it simple but perfectly executed

There is no need to complicate the idea of your campaign. It only needs to be perfectly executed. Amazon’s Alexa Lost Her Voice was one of the good example of simple concept but really flawless timing, casting and filming. This suggests that from pre-launch of your campaign you need to ensure that every element flows smoothly and everything needs to be working perfectly.

Collaboration with right Influencers/celebrities

The collaboration with celebrities can be very beneficial of the super bowl advertisement as it draws more attention of the fans towards the campaign. Doritos advertisement campaign is a perfect example of working along with celebrities. And the amazon is another one. On YouTube alone those two campaigns combined has over 42 million views.

Merged promotion for Super bowl marketing campaigns

In this 21st century we can’t ignore role of social media in a success of any advertisement. People don’t expect marketers to stop at 30 to 60 seconds of quality content in an advertisement, they have to use more universal approach that combines both social and digital marketing campaigns, besides TV advertisements. Nowadays the trend is to make people curious by putting small teasers before the campaigns in YouTube or to start a conversation on Twitter or Facebook which leads to an engagement with people and might go viral even before an event.

Consideration of female fans as well

As we have seen in past as well, super bowl advertisements are more focused on men. As most of the fans used to be male but now the situation is changed and more and more women fans are watching super bowl in present time. So, it would be breakthrough as well as something new if advertisement focused on female fans could be made. It would be more successful advertisement and would reach to more bigger audience group.

Advertising activities on the digital era become very important to optimize the distribution of information about goods or services to consumers in a business activity. One of the advertisements that can be done is the use of both traditional and digital advertisements that can help marketing quickly and scalably. Advertising opportunities have expanded to varieties Internet formats such as display, search and online video ads, yet commercial television advertisement persists as the premier branding mechanism in the eyes of advertisers. Related to advertising and marketing topic, Super Bowl is the largest advertising event of the year especially in USA and Its very popular event that can reached a record up to 106.5 million people watched based on Super Bowl XLIV (Madden, L 2013,). This event has very high potential to create significant increases in “brand capital”. Also for the industry that wants to contribute to promoting their industry name on this event will be so much effective since it known the number of people who has interest and watched this event are very high. Furthermore, the brand cannot choose how many impressions it receives in each market despite substantive variations in the market in Super Bowl viewers based on NFL team performance and local preferences for both teams competing in one match (Hartmann, WR & Klapper, D 2014).

Commercial advertising is normally costly a lot, depends on the event or the commercial event that shows up on television based on rating of viewer. This can be the reason putting commercial ads on superbowl cost very high, Due the high interest of people watching this annual event are making so many of the huge company competed to put their name and advertise their product on this event, despite the cost to capturing that kind of mass audience is very high and it can be reached up to $2.5 million to $3 million to purchase just a 30-second ads on superbowl event XLIV (Flint 2010), but its worthy as every second of the ads show up will be seeing by millions of people at one time and it will definitely benefical .

How effective superbowl ads, doritos example

Superbowl is a huge platform where the National league football championship is held. As being a well-known platform, it has its own identity and due to this advertisement plays a very vital role in Superbowl. Every special thing has a pro and cons likewise Superbowl also has the advantage and disadvantage regrading advertising. As far as we have seen that Superbowl has lots of positive effect towards the advertising sector. Superbowl is seen by all around the world and has a huge audience so every company’s want its product to be advertise in the Superbowl so that the product will come to notice and which leads to brand recognition. The advertisement is just shown for short period of a time but the advertisement will get lots of love that after the match also people will still talk about the ad. this is really good platform for those company who are not in the big-name entities. After the brand recognition and the advertisement turn up on all the social media sites the video will gets viral and overall, the product will increase its sales. For an example Doritos, in 2020 February 2 the Doritos collaborate with hits song ‘OLD TOWN ROAD’ which was sung by Lil Nas X and Billy Ray Cyrus. It was the top commercial videos watched by the viewer on the Sunday Superbowl LIV. After the Superbowl ad the Doritos experienced a 37% spike in online sales right after that. Although no matter how many people see the Superbowl but to spend 5 million dollars on single ad would be a really high cost for the company to spend. In spite for a small company due to its large charge for the ad the small company could not afford this kind of deal. Superbowl advertisement are always entertaining so that they also forget the key point to show that why the viewer should purchase that product.

Overall Superbowl is and will be the greatest platform for the marketing sector. It is a platform where the brand can recognize overnight.

Refrences

1. Hartmann, WR & Klapper, D 2014, ‘Do Superbowl Ads Affect Brand Share?’, Working Papers (Faculty) — Stanford Graduate School of Business, pp. 1–21, viewed 20 May 2020, .
2. Madden, L 2013, ‘Remember When a Super Bowl Ad Cost $37,500?’, Forbes.com, p. 36, viewed 20 May 2020, .
3. Quesenberry, KA & Coolsen, MK 2014, ‘What Makes a Super Bowl Ad Super? Five-Act Dramatic Form Affects Consumer Super Bowl Advertising Ratings’, Journal of Marketing Theory & Practice, vol. 22, no. 4, pp. 437–454, viewed 20 May 2020, http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=98560564&site=ehost-live
4. Ad Army Group. 2020. Why Advertising Is Important In Today’s Economy – Ad Army Group. [online] Available at: [Accessed 20 May 2020].
5. 2020. [online] Available at: [Accessed 20 May 2020].
6. http://www.jkradvertising.com/pros-and-cons/
7. https://www.reuters.com/article/us-football-nfl-superbowl-advertising-idUSKBN1ZX2JO

The World Health Organization defines public health as “the art and science of preventing disease, prolonging life and promoting health through the organized efforts of society”. Health campaigns are generally designed both to increase awareness of health threats and to move target audiences to action in support of public health.

Reactive advertising is when the advertisement creates a fear in you, but does not teach them how to prevent it happening. Whereas proactive is more positive and comical, audience may not remember them or not giving them a big shock about it.

Underage drinking is a big issue in Australia, as 90% of Australian teenagers above the age 14 have already tried alcohol. Drinking alcohol at a young age can cause problems with absorbing vitamin B, which can prevent the brain from working properly. 13% of all Australia’s deaths are because of alcohol related causes.

Drinking in general can cause a lot of health problems and can even lead into a car accident. Underage drinking is an issue because below the age of 18 is when we go their brains are still developing. Drinking in teenage years can cause memory loss, learning ability and attention span. Even worse they could get worse grades, skip school.

Reactive advertisements are more effective than proactive advertisements because proactive advertising are harder to remember and won’t give you a shock, whereas reactive will give you a shock and it will remain in your head because it is showing the consequences of doing a certain thing. You won’t do it because you will create a fear inside that if you do it then what they showed in the advertising will eventually happen to you.

‘Mates Motel’ is an example of a proactive advertisement. It is comical and positive about not drink driving, so it wants you to stay at someone’s place until the morning. This is very had to keep the advertising in your mind because it is funny and is not showing the seriousness about it. ‘I see’ is an example of a reactive advertisement. The advertising is showing what can happen if underage people drink alcohol. It is shoeing the seriousness about drinking and what it can lead to in the future. It will create a fear inside you because you don’t want the same sort of thing happen to you in the future after drinking excessive amount of alcohol or even drinking at a young age.

In conclusion, underage drinking is a big problem in Australia. 60 teenagers are being rushed to hospital, and one of them die due to alcohol each week. The best advertising method is using reactive advertising because it can give you a big shock which can make you not want to do it because the advertising remains in your mind reminding you what can happen if you drink alcohol.

Reading Our Lips: A Reflection of Lipstick Advertising from 1920-2019

What makes something beautiful? Each culture has a set of general beliefs about what constitutes femininity and beauty (Frith et al., 2009, p.193). Beauty is a discourse of society and it is constantly changing and reflecting societal values of the given time period. For example, Marilyn Monroe was the beauty ideal in the US in the 1950s and then replaced by Twiggy in the sixties (Frith et al, p. 194). Therefore, beauty is partially defined and represented by the cultural and social beliefs of a given time period. Advertisers, specifically for makeup, promote the ideal beauty of the time period in order to reinforce this societal construct, which women are striving for. For an advertiser’s message to resonate with a target audience, marketing theory is used to reflect the social and cultural norms (Frith et al., p.196). Within Western patriarchal societies, women’s bodies are for the objective of the male gaze – which is depicted in makeup advertisements. Throughout the waves of feminism, advertisements have changed and reflected the societal value of women. When comparing lipstick advertisements from North America, starting from the post-suffrage movement, advertisements have mirrored the changes in the advertiser’s perceptions of beauty, and is outlined below.

First-wave feminism was the time of the 19th and 20th centuries when women fought for equality and within this time period, the United States was becoming a consumer society (Sangster, 2016, p. 10). Women became the primary consumers during this period, as the new economy was producing mass amounts of goods that needed to be purchased. Commodities were being advertised as a way “to fill the cracks of a shattered world and promised to make that world secure in an exciting new way” (Ascher, 1987, p.51). Playing with an emotional tone, advertisers began to sell their products to women. Prior to the 20th century, makeup was only worn by prostitutes and movie stars and was referred to as paint (“Flappers”, 2018). During the post-suffrage movement came the rise of flappers, who represented sexually liberated and independent women – and women that wore makeup (Fox, 2016, p. 372). Applying makeup was a way to be noticed which brought the inclusion of red lipstick, as it represented being bold and free.

The advertisement titled “New Kind of Permanent Lipstick” is a painting of a young-looking girl (See Appendix A for the advertisement). This advertisement came from the 1920s era and represents the idealistic beauty of this period – which was a fair, short-haired, young woman. The ‘Flapper’ girl strived for this look as it was going against previous beauty standards which had included long hair, but now they wanted to have a more boyish look (“Flappers”, 2018). The ideology of wanting to look young came from the flapper girl culture that was breaking the old norms. In the writing of the advertisement, it discusses how this new lipstick will stop your lips from wrinkling and being dull. Both of these could be described as older characteristics that flapper girls wanted to avoid, incentivizing women to buy this product.

Ironically, the advertisement is a painted image, representing a product that was once referred to as paint. When beauty products began to come out in this time period, there were limited shades, which gave an unnatural look to makeup (“Flappers”, 2018). Having the women in the advertisement painted can be looked at as unobtainable, as no one will ever be able to match this complexion or coloring. Red lipstick was seen as an accessory to represent strength, calling colors “fighting red” and “patriot red” (“A History of Red Lipstick”, 2014). The way in which makeup had been advertised in this period demonstrates the political, social, and cultural changes that were happening in society. Women were becoming liberated and free, and this was mirrored in the advertisements and the ideals of beauty of the time period.

After the roaring twenties, there was an economic shift – the Great Depression. Consumer spending and investment began to drop with many people losing their jobs. Women’s employment began to increase due to the ability to be underpaid. From 1930 to 1940 the employment number for women in the United States increased by 24 percent (Remy, 2015). Although women’s employment rates increased, the societal value of their jobs was viewed as less. The discourse of society placed white males in front of women, as they had a seemingly higher value. In the 1920’s we began to see women feeling liberated and free, but the economic downturn of this period brought financial insecurity and many women had to depend on men to survive.

In a lipstick advertisement from the 1930s, the caption reads “He Doesn’t Kiss Me Anymore!” The woman in the advertisement is seen crying because she is not getting kissed, as he said her lips were too red and smeary (See Appendix B for the advertisement). The red lips that were worn in the 1920s represented bold women, which was no longer the case during The Great Depression. As the advertised lipstick color changed, so did the gender role. Men were frustrated by women taking their jobs, and the freedom they were finding. 26 states had laws prohibiting the employment of married women, as men were tired of the “backward world” of women being the breadwinner (Remy, 2015). This advertisement symbolized men controlling the ways in which women should be acting through the makeup she is wearing. The Tangee Lipstick that is enticing this woman with a kiss, is presented in an orange shade, which is far from the “rebelling red”.

In the 1930s natural makeup was presented for women, as it was representing safety (Souhami, 2018). Advertisers had to present natural makeup in a clear way, as natural can be confused with no makeup, which is not what they were trying to sell. Many advertisers played with the relationship between men and women throughout their advertisements, as they made cosmetics seem like a factor to guarantee marriage. Advertisements played on the ideology of makeup as a way for men to love the way you look, which in this period was done through natural-looking makeup. This advertisement is also displaying women wearing makeup for male approval. This is reinforcing the time period that this was created, as women were wanting male attention and a husband in order to survive this economic downturn. The way the advertisement is presented through a drawing presents the male in a business suit and the woman in a house dress. This is reiterating and reinforces the ideology of this time period – males should be at work and women should remain pretty at home tending to their man and his whims.

Moving into the 1960s, we experience a second wave of feminism. As more women were entering the workforce, there was an increased dissatisfaction with the amount of pay and respect women had (Walsh, 2010). This brought the women’s liberation movement, that was fighting for equal rights and opportunities. The attitude of the American culture during the sixties represented sexual inequalities. As an example, women had to get their husbands to sign on their credit cards, and if they did not have a husband, they might not be able to get one (McLaughlin, 2014). The women’s liberation movement was also fighting for issues that included reproductive rights as thirty states had made it a criminal offense to sell contraceptive pills (Walsh, 2010). As women began to stand up for their rights, the sixties became a time for the sexual revolution – which began to change traditional sexual roles. 80% of wives had begun to use contraception, and in 1965 the Supreme Court established the right for married couples to use contraception (Walsh, 2010).

Advertisers began to play on this ideology of the sexual revolution and created advertisements that portrayed women in a sexual manner. In a lipstick advertisement by Cutex, they named the product “Forbidden Fruits”, which correlates with the freeing nature of sex in the sixties (see Appendix C for advertisement). the analogy of forbidden fruit represents something that is desired but not allowed, prior to the contraception pill, sexual intercourse was seen as a way to have a baby, but the pill changed this. The picture of the woman in this advertisement is positioning her to be looking up, showcasing how women are beneath men. The text found in this advertisement reads “Could you ask for a newer, cooler way to collect men?” This displays that wearing makeup is for men and a way to be seen as pretty. The woman in this advertisement is a white, blonde, blue-eyed lady. This was the idealistic woman in this time period, as a Twiggy-girl was what was deemed as beautiful (Frith et al, p. 194). This was the look of sporting a short haircut, dramatic eyes, and light-colored lips. It is noteworthy that in this period there were very few advertisements for women of color. This was a period of sexist advertisements that portrayed women buying products, such as lipstick, in order to get a male’s attention.

Fast forward, to 1990, and into the third wave of feminism. The goal of third-wave feminism was to fight for the end of violence against women. This was started by Anita Hill testified against Clarence Thomas for sexually harassing her at the workplace (Black and Allen, 2018, p. 33). This sparked many women coming forward about sexual harassment that they had experienced. 1992 was deemed the “Year of the Women” with 24 women-owned seats in the House of Representatives and an increase in women in the House by 5% (Charleswell, 2015). This brought women to fight for their equality and to stand up against violence that had been occurring for way too long. Third-wave feminism allowed women to embrace makeup and femininity. During the 1990s lipstick for women was red again or frosted with a pencil outline. The red lips were brought back, as women were supposed to be seen as equals, and in working positions just as men were.

The Revlon advertisement from the 1990s displays working women (see Appendix D for the advertisement). As this time period was when women used their voices and worked alongside men, their makeup was portrayed in the same way. The line was called “Street Wear”, which shows the changing representation of women as they were leaving the home, and heading to work, just like men. The colors that Revlon used were all bold, just like the women in this period. This again displays how advertisement reflected the political, cultural, and social movements of the period, with this advertisement being very different than previous periods.

Fourth-wave feminism is viewed as 2010 and on, which takes us into advertisements today. The focus is on sexual harassment, body shaming, and the inclusion of women of different ethnicities. This is reflected in today’s advertisements with more empowerment and diversity being exemplified. This is displayed in numerous makeup brands, as the ideology of beauty has significantly changed. Fenty Beauty has showcased the beauty of women of all skin tones in a great way with their campaign using women of all ethnicities and cultures to present them within this campaign (see Appendix E for advertisement). This demonstrates inclusion marketing as women are being represented equally and this change occurred due to the culture of society –although we are not perfect, there is becoming a higher representation of minorities in the media. Today the way makeup is being sold is more about the power of the women, rather than wearing makeup for a male’s approval like yesteryear.

The L’Oréal advertisement reads “This is an Ad for Men” in bold letters (see Appendix E Figure 2 for the advertisement). This draws the attention of both males and females, which leads to the second line “Hire more women in leadership roles. We’re all worth it”. The advertisement portrays lipstick coming out of a tube and representing a graph, that states 15% more revenue is achieved with female leaders. Although this advertisement is selling red lipstick it also delivers a potent message that matches society today. Despite women having become more accepted in the workforce the discourse of society still puts them behind males in leadership roles. The ideology of fourth-wave feminism is to fix this issue, which is shown in this L’Oréal advertisement – another powerful illustration that the social, cultural, and political elements of the era are being reflected in the current-day advertisements.

In the future, we will see more advertisements for men and makeup. As the ideology of gender is becoming more fluid, men wearing makeup is becoming more normal. Recently, Covergirl used their first man, James Charles, to portray the issue (See Appendix F for the advertisement). With a full face of makeup, Charles is representing the change of makeup. In a Tom Ford advertisement, the caption reads “Lips and Boys”, and shows a man getting lipstick put on (see Appendix F Figure 2 for advertisement). The lipstick in this collection is named after males, but not with the intention for them to be wearing it. As this becomes more mainstream in society it will be more reflected in advertisements – as advertising is an agency of reflecting social, cultural, and political norms.

Advertising places a major role in shaping our society, as we see thousands of advertisements every single day. It is estimated that we are exposed to 4,000-10,000 advertisements each day (Pounders, 2018). Advertisements have the ability to shape how we view ourselves in society, as they display what the perceived beauty standard is. Culturally, the beauty standard is constructed, and advertisements reiterate this on multiple platforms. Previously, the advertisements have a lot of text and provided a description of the product. They also used paintings and comics to advertise. Throughout the century, advertisements have become more sexualized. In the past, lipstick advertising had a lot to do with kissing men and making them happy. Now, we are seeing advertisements about empowering women, and equality. Although society is not perfect, we are seeing more advertisements about wearing makeup to be beautiful for ourselves and less about impressing men. Throughout the past century, women in society have changed their roles significantly as they have worked hard for equality. This is seen through the advertising of lipstick, as the way women are portrayed in the past was for men, and sexual – now in more enlightened times, it is for themselves and empowerment.

References

1. A History of Red Lipstick: From Suffragettes to Coco Chanel: The Takeaway. (2014, June 17). Retrieved from https://www.wnycstudios.org/podcasts/takeaway/segments/history-red-lipstick-representation-female-strength.
2. Ascher, C. (1987). Selling to Ms. Consumer. American Media and Mass Culture, 43–45.
3. Black, A., & Allen, J. (2001). Tracing the legacy of Anita Hill: The Thomas/Hill hearings and media coverage of sexual harassment. Gender Issues, 19(1), 33-52. doi:10.1007/s12147-001-0003-z
4. Brown, J. K. (1993). The Nineteenth Amendment and Women’s Equality. Yale Law Journal, 102(8), 2175–2204.
5. Charleswell, C. (2015, March 5). Disproportionate Representation: A Look at Women Leadership in Congress. Retrieved December 10, 2019, from http://www.hamptoninstitution.org/women-in-congress.html#.Xe_7Jy0ZPUo.
6. Flappers. (2018, March 6). Retrieved December 9, 2019, from https://www.history.com/topics/roaring-twenties/flappers.
7. Fox, E. R. (2016). Baby, You Can Drive My Car: Advertising Women’s Freedom in 1920s America. American Journalism, 33(4), 372–400. doi: 10.1080/08821127.2016.1241641
8. Frith, K., Shaw, P., & Cheng, H. The Construction of Beauty: A Cross-Cultural Analysis of Women’s Magazine Advertisements. In the Advertising and Consumer Culture Reader (pp. 193–207). New York.
9. McLaughlin, K. (2014, August 25). 5 things women couldn’t do in the 1960s. Retrieved December 9, 2019, from https://www.cnn.com/2014/08/07/living/sixties-women-5-things/index.html.
10. Pounders, K. (2018). Are Portrayals of Female Beauty in Advertising Finally Changing? Journal of Advertising Research, 58(2), 133–137. doi: 10.2501/JAR-2018-021
11. Remy, C. (2015, November 19). Employment of Women in the 1930s. Retrieved from https://medium.com/the-thirties/employment-of-women-in-the-1930s-5998fd255f5.
12. Sangster, J. (2016). Suffragists After Suffrage: Continuing Waves of Feminism. Canadian Issues, 10–14. Retrieved from https://libproxy.wlu.ca/login?url=https://search-proquest-com.libproxy.wlu.ca/docview/2212624653?accountid=15090
13. Souhami, D. (2018, February 4). The 1930s: ‘Women had the vote, but the old agitation went on’. Retrieved December 9, 2019, from https://www.theguardian.com/lifeandstyle/2018/feb/04/the-1930s-women-had-the-vote-but-the-old-agitation-went-on.
14. Walsh, K. (2010, March 12). ‘The 1960s: A Decade of Change for Women’. Retrieved December 9, 2019, from https://www.usnews.com/news/articles/2010/03/12/the-1960s-a-decade-of-change-for-women.

We see advertisements all around us. They are on television, in magazines, on the Internet, all over social media and plastered up on large billboards everywhere. Ads are nothing new. Many of us have noticed them all of our lives and have just come to accept them, without realizing how effective ads really are and how advertisers use many subliminal techniques to get the advertisements to work on consumers. A television commercial is used to spark interest in a product or services, and even now with the growing interest in social media, without this influential and dominant form of advertisements, the majority of the companies and their respective products and services would not maximize their ability to reach various consumer bases. One of the biggest television platforms being the Super Bowl.

Watched by an average of 100 million people yearly, the Super Bowl is one of the most watched events in the U.S. and, as such, companies often attempt to capture the attention of the audience through a variety of entertaining and amusing commercials that are aired during the commercial breaks. But even with its high turnout the Superbowl is not the ideal ad space for all companies, especially with a 5 million dollar stake, and climbing. When pursuing this space companies need to consider things like budget, investment and turn out because you can have an amazing and engaging ad but that still might not prompt people to buy your product and while big brands like beer manufacturers can’t really go wrong because people will buy, the ads will pay for themselves, and social engagement might be the goal, but it might not be worth it for smaller brands.

Once past weighing the pros and cons of this 30 second, million dollar ad they move on to what their ad will be about. Who will be in it? Who are we targeting? What kind of tone will it have? Will it be at the beginning or end? Thing like this are essential because all companies have a budget and they need to make sure they make a quality commercial to get the most bang from their buck. With these ads companies tend to take risks and speak from the heart because that is what’s most effective along with knowing who you want the ad to reach and design it to appeal to them. Companies such as, Skittles and Doritos usually tend to lean on the fun and relevant side, which is great because no one wants to hear nagging from a commercial about snacks that are fun, while other companies, like Stella Artois and Chrysler can get away with taking a more serious and somber tone because their target audience are older and can understand heavier topics.

And although it’s unrealistic to expect someone to buy a car after watching a Super Bowl ad, some brands use this time to bring awareness and stand up for issues they believe in.

In 2018 and even in 2019, Coca Cola has released commercials preaching messages of diversity and inclusion. Here you see people and creatures of all sorts and in all different places and situations all drinking a coke, with the ending message being “Different is beautiful, and together is beautiful too.” Then in 2017, 84 Lumber, a brand that no one would expect having a commercial in the Super Bowl because of the slim probability of its revenue increasing, did have one, and a very powerful one at that. The company’s CEO, Maggie Hardy Magerko, explained that the commercial wasn’t aired to be controversial but to show that they’re a company of opportunity. In the video, called ‘The Journey Begins,’ a Mexican woman and her daughter are seen rising early for a long voyage. They pack their belongings, including personal photographs, and join other voyagers on a trek that appears to be a border crossing. The two cross fields, streams and railroad tracks, while traveling by truck, train and foot and camping by firelight. The rest aired on their website after being deemed too political.

At the end of the day, the Super Bowl and its commercials get the job done. It has the biggest audience, not even the royal weddings or the Olympics compare in viewer size! Everyone watches and/or talks about these ads and maybe the person watching won’t buy the product but in 30 seconds these companies make a lasting impression on them and will prompt them to spread the word.

Works Cited

1. Brown, Joel. “What Makes a Memorable Super Bowl Ad?” Boston University, 1 Feb. 2018, www.bu.edu/articles/2019/what-makes-a-memorable-super-bowl-ad/.
2. Calfas, Jennifer. “Here’s How Much It Costs to Buy a Commercial During Super Bowl 2019.” Money, 3 Feb. 2019, money.com/money/5633822/super-bowl-2019-commercial-ad-costs/.
3. Grabianowski, Ed. “How Super Bowl Commercials Work.” HowStuffWorks, HowStuffWorks, 9 Jan. 2012, entertainment.howstuffworks.com/super-bowl-commercial4.htm.
4. Morabito, Greg. “Coca-Cola’s New Super Bowl Commercial Draws Inspiration From Andy Warhol.” Eater, Eater, 28 Jan. 2019, www.eater.com/2019/1/28/18200891/coca-cola-super-bowl-commercial-2019.
5. Nittle, Nadra. “What Makes a Super Bowl Ad Successful? An Ad Exec Explains.” Vox, Vox, 3 Feb. 2019, www.vox.com/the-goods/2019/1/25/18197609/super-bowl-ads-commercials-doritos-sprint-skittles.
6. Payne, Marissa. “84 Lumber CEO: Super Bowl Ad Showing Trump’s Wall Wasn’t Intended to Be Political.” The Washington Post, WP Company, 7 Feb. 2017, www.washingtonpost.com/news/early-lead/wp/2017/02/04/company-re-tools-rejected-super-bowl-ad-but-you-can-still-see-the-original/.
7. Perez, Sarah. “Super Bowl LIII Set Streaming Records, While TV Viewership Saw Massive Drop.” TechCrunch, TechCrunch, 5 Feb. 2019, techcrunch.com/2019/02/05/super-bowl-liii-set-streaming-records-while-tv-viewership-saw-massive-drop/.
8. Wasserman, Todd. “Super Bowl Ad Effectiveness: Is the Spend Worth $5 Million?” Videa, 15 Jan. 2019, videa.tv/2019/01/super-bowl-ad-effectiveness-is-the-spend-worth-5-million/.

On the 26th August 1963, the BBC transmitted the first ever HD picture on TV. It is hard to believe how much all things have changed since then, including the way in which we advertise.

Traditionally, watching TV brought family and friends together like a social occasion. They would gather round a single TV set watching everything from the latest episode of Coronation Street to Saturday night game shows. Children would write their Christmas lists based on adverts they seen during the breaks, but that era is rapidly disappearing.

Watching TV on multiple devices in separate rooms has become the new norm. Only 23% of people opt to watch broadcastings on a TV as their first choice whilst 42% state their laptop and desktop is their favourite viewing device, smartphones follow with 13% watching whilst on the move.

It was only back in 2014 when 65% of people indicated they preferred watching shows on a TV set. The sharp decline of TV watching within recent years is due to a number of factors, such as the rise of video platforms such as YouTube and Netflix combined with the development of digital devices such as smartphones and tablets. As mobile devices have developed, people have moved away from traditional linear video viewing. On mobile alone, YouTube now reaches more 18-49 year olds than any network, broadcast or cable.

A number of companies use TV commercials to advertise their products and services to a mass audience of viewers. With the changes in the sector moving towards digital viewing, is traditional advertising still the best use of your budget?

87% of people state they check their emails, browse social media platforms, go to the bathroom or get a drink during the TV ads. Therefore, traditional TV ads may no longer be the best use of your marketing budget and it may be beneficial to consider digital advertising.

Almost half of 18 to 24 year olds have already moved to other platforms such as YouTube to view TV programmes and videos within the past five years. In 2018, the number of monthly viewers watching linear TV dropped from 76 hours and 55 minutes to 64 hours and 21 minutes.

YouTube is the second most-used search engine in the world, it has a user base of 1.3 billion and counting with almost 5 billion videos viewed each day therefore giving your ads a larger reach in compassion to TV advertising.

Every year the number of people using social media increases as a result, people are opting to scroll their platforms as a form of past time rather than watching TV. The average internet user spends 15minutes longer each day on social media than they do watching tv. This highlights that traditional advertising alone no longer offers the widest reach and the importance of social advertising.

Whilst TV is still a successful way to deliver mass reach, businesses need to consider where people are engaged and watching, therefore at times a media blend is best. If your target demographic is 18-49 years olds, we recommend YouTube as the best platform to advertise your products to get the best ROI in comparison to traditional TV advertising. If your target audience is older than 45 years old supplementing your TV ads with complimentary digital ones, will reach a wider audience making the best use of your budgets. If you would like to find out more on how Digital advertising could help your business get in touch with us today.