A Study ofUnderstanding the Effect of Association of ...
A
University of Colombo
Sri Lanka
A Study of
Understanding the Effect of Association of Imagery in Communication on
“Carbonated Soft Drinks” Brands
By
Ravi Jayawardena & Dilan Savio Perera
ravijayawardena26@ and dilansavio@
of
University of Colombo
Declaration
I hereby declare that the project report entitled
“Understanding the Effect of association of Imagery in Communication on “Carbonated Soft Drinks” brands”
Acknowledgment
I am heartily thankful to Mr. Pradeep Randiwela (Professor of Marketing, Former Dean – Faculty of Management and Finance, University of Colombo, Sri Lanka.) for the guidance and support from the initial to the final level of this thesis and all the lecturer of EDBA program.
This thesis would not have been possible without the help & the guidance of Mr Ravi Jayawardena (Former Director Sales & Marketing, Coca-Cola Beverages), Mr Malinda Siriwardena (Former Brand & System Manager, Coca-Cola Beverages), Mr Ashan Kannangara (Former channel marketing Manager, Ole spring Bottlers – Pepsi) & Mr Kumar de Silva (Chief operating Officer, Keells Supermarket chain). It is with great honor that I extend my gratitude to all of them.
It is also a great pleasure to thank Mr Athula Eeriyagama of The Nielsen & Mr Tissa De Alwis of LMRB for sourcing data & TV commercials to carryout the research in this thesis.
Lastly, I offer my regards and blessings to all of those who supported me in any respect during the completion of the project and especially all my team colleagues.
Dilan Perera
Executive Summary
Introduction
The “Carbonated Soft Drinks” Market in Sri Lanka is a very competitive & challenging market with a well established local player (Ceylon Cold Stores – Elephant House) and with 2 multinational giants (Coca-Cola beverages Sri Lanka & Ole Spring Bottlers – Pepsi). [1] Total average annual CSD (Carbonated soft drink) is approximately 142 Million Ltrs & per capita consumption is around 7 Ltrs. According to The Nielsen Company, CSD’s are available in 100,000 retail outlets & it is nearly 60% of the total FMCG outlets. Western province being the most developed region, the volume contribution for the total CSD market is approximately 60% (AC Nielsen)
The main competing brands fighting for the similar consumption needs are Coca-Cola, Pepsi Cola, Fanta, EH Cream Soda, Necto, Sprite, 7up & Lemonade.
Since the competing brands are so similar in providing functional benefit to the consumer, it is very difficult to find or create a unique attribute or benefit to use as the major selling idea. The product differentiation strategy that is adopted by CSD brands narrowed to image differentiation. Therefore the creative strategy used to sell these products is based on the development of a strong, memorable identity for the brand through “Image Advertising”. The Brand’s image is everything and the visualization of the brand’s overall personality is self explanatory. The Brand image purely lies on communication.
1. Research Question
What are the positive and negative associations of existing imagery in CSD advertising in Sri Lanka.
2. Methodology
The methodology will be two layered and is as follows;
Stage 1 : Identification of critical visual cues
Two group discussions were carried out through a “discussion guide”. Individuals for the group were selected randomly. The size of the group was 12 members. Several TV commercials for several brands in the CSD category were shown to 2 groups for their views and comments and discussion.
Stage 2: Quantification
The Stage 1 findings were put through a quantitative study to determine the importance of each of the imagery elements. The sample size was 40 respondents.
The study identified, “Storyline”, “Acting”, “Music”, “Fun”, “Visual” and “Ambassadors” as the main imagery drivers in Carbonated Soft Drink advertising.
Storyline was the main key driver followed by Acting. The element “Music” is highly effective to increase the recall rate of the commercial. Even though ambassadors are coming at a very high cost the study indicates the ambassadors are not the key driver of the communication.
Therefore when producing commercials for CSD category, it is recommended to have a very good Storyline, it can be either in real world or a fantasy story. The acting is very important even it is by known actors or by armature models, and the commercial needs to be backed with good memorable music,
The visual elements in the TVC should represent the brand colors and the feel of the brand.
Ambassadors do add lot of value to CSD communication, yet need to be used extremely carefully to gain the maximum from the amount spent.
CHAPTER 1
Introduction
1 Topic
Understanding the Effect of association of imagery in communication on “Carbonated Soft Drink” brands.
2 Background
The “Carbonated Soft Drinks” Market in Sri Lanka is a very competitive & challenging market with a well established local player (Ceylon Cold Stores – Elephant House) and with 2 multinational giants (Coca-Cola beverages Sri Lanka & Ole spring Bottlers – Pepsi). [2] Total average annual CSD (Carbonated Soft Drink) is approximately 142 Million Ltrs & per capita consumption is around 7 Ltrs. According to The Nielsen Company CSDs are available in 100,000 retail outlets & it is nearly 60% of the total FMCG outlets.
The main competing brands fighting for the similar consumption needs are Coca-Cola, Pepsi Cola, Fanta, EH Cream Soda, Necto, Sprite, & 7up & Lemonade.
Since the competing brands are so similar in providing functional benefit to the consumer, it is very difficult to find or create a unique attribute or benefit to use as the major selling idea. Therefore the creative strategy used to sell these products is based on the development of a strong, memorable identity for the brand through “Image Advertising”.
David Ogilvy popularized the idea of brand image in his famous book “Confessions of an Advertising Man”. He pointed out, “Every advertisement should be thought of as a contribution to the complex symbol which is the brand image”. He argued that the image or personality of the brand is particularly important when brands are similar.
Therefore the product differentiation strategy that is adopted by CSD brands narrowed to image differentiation. Therefore the Brand’s image is everything and as is self explanatory the visualization of the brand’s overall personality. The Brand image is purely lies on communication.
The introduction to our topic is most appropriately carried out with a quote; “Company and Brand Image [3]: Companies are recognizing the power of well-designed packages to contribute to instant recognition of the company or brand. The Campbell Soup Company estimates that the average shopper sees its familiar red and white can 76 times a year, creating the equivalent of $26 million worth of advertising.” Whilst this quote refers to Brand image its definition coming from elements of imagery provides an appropriate introduction to our topic.
[4] God-fearing Christians believe that Jesus accepted crucifixion on a cross for the benefit of us all. The message from this is at the heart of all true gospel preaching and consequently the cross symbol is used by two billion Christians all over the world. This has not always been the case however. Christians didn’t use the sign of the cross as their religious symbol for many generations after Christ was crucified. Rather than being a Christian symbol it had associations with executioners. So initially, Christians adopted the [pic]fish symbol to identify their religion. Then, early in the fourth century, when execution by crucifixion was abolished by Emperor Constantine and the process began to convert the "official" religion of the Roman Empire to Christianity, the cross became the emblem for Christians. The cross is now carried by more people than any other religious talisman and is considered by many to be sacred. People sometimes go far as to make the cross an object of adoration or an icon in its own right. When an image of Christ (corpus) is shown nailed to a cross, it is usually called a crucifix. Roman Catholic and Orthodox churches often display crucifixes to emphasize Christ's sacrifice. Protestant crosses usually depict the cross without the corpus, to emphasize the resurrection.
The cross and the fish symbol today identify followers of Christ and his teachings. This is branding and these two symbols set a standard for imagery in branding for all. Whether the church accepts this or not, how wonderful would it be for a symbol to be identified anywhere in the world!
3 Justification of the Study
Even though there are measurements to monitor performance indicators such as Market share, Distribution (product availability, i.e. no of outlets) or brand health, there isn’t a meter to determine the effectiveness of the CSD advertising.
Advertising effectiveness is mainly depending on 2 elements, “the advertisement” & “the media scheduling”.
Yet, as described earlier, all the Carbonated Soft Drink brands are so similar in providing functional benefit to the consumer. Therefore the creative strategy used to sell these products is based on the development of a strong, memorable identity for the brand through “Image Advertising”.
Therefore it is critically important to understand ‘positives of’ and the ‘negatives of’ CSD communication to ensure the future advertising and maximize communication effectiveness.
The imagery in CSD communication can be the “Visuals” such as colors, the back ground, the environment or it can be actors, i.e. whether a well known celebrity or just a model, or it can be the whole storyline or the emotional (Fun) factor of the communication.
The purpose of the study is to understand what are the effective imagery elements in CSD communication and the effective level of these elements. That is, what are the most critical & what are the less critical imagery elements in CSD communication.
This understanding can help current CSD advertising and promotion efforts to tread out of the comfort zones. For as an example a CSD marketer may assume that the communication can be extremely effective if a well known celebrity is used…, obviously celebrities come with lot of cost. Yet is it the actual scenario…, does an association of a costly celebrity would really give the value that he is spending…, this study will help the CSD marketer to understand that critical factor.
Naturally the results would require further confirmation, but as competition continues to increase and the visual executions become exceedingly difficult to differentiate this understanding can help build a new paradigm for visual / image execution of the company’s/brands communication strategy.
4 Research Problem
“A picture is worth a thousand words” never had more meaning than in the field of advertising. Imagery is all about color and form that gives rise to an emotional connect. Today, many brands advertise. “A dynamic economy today needs an expanding consumption to build bigger and better industries. The present is an age of consumption- The greater the consumption the greater will be the production; only greater and greater production can lower the prices …”[5]. Advertising cannot look back nor can the brands which form the very essence of advertising. Brand image is a much abused word [6], however, the Brand’s image is everything and as is self explanatory the visualization of the brand’s overall personality plays a huge role in translating the advertising into tangible sales ( as in the case of FMCG). IT is therefore important to understand what images depict in the consumer’s mind and what don’t and more importantly what the negative effect of certain imagery denotes. In this instance identifying what image cues have worked and what hasn’t becomes critical if brands are to take their connectivity with consumers to the next level.
5 Objectives
• Understand the critical imagery in existing CSD advertising in Sri Lanka
• Understand the positive and negative cues associated with critical visual hooks
6 Scope
This study will be conducted In Sri Lanka Western Province and will only study existing TV advertising.
7 Organization of the Dissertation
The structure of this dissertation has been kept simple. Beginning with a background to the problem and perceived issues within scope. This chapter provides the backdrop to the perceived problem and introduces the reader to the basket of possible issues. This is followed by the Literature review which explores the gamut of and body of knowledge exiting on the subject and all pertinent issues therein. The literature review provides a totalitarian and holistic understanding of all the issues at hand which leads to the conceptual framework and the gap in the body of knowledge that this research attempts to delve in.
This is followed by the Research design. The details of the mechanics of both the qualitative and quantitative components are discussed and on the ground execution is detailed in order to authenticate the process of the field work. This chapter details the process of administering the group studies as well as the quantitative questionnaire.
The chapter of Data Analysis and presentation follows. This section presents both the qualitative and quantitative research components and proceeds to provide a detailed analysis of the findings. The chapter ends with the principle findings and an attempt to decipher the findings into succinct findings
CHAPTER 2
Literature Review
Introduction
Everyone has heard the time immemorial adage ‘A picture is worth a thousand words[7]’. The literature surveyed here is primarily from marketing and secondly from advertising to bring in a specific view. Imagery has always been what has captured the imagination. In the beginning there was the ‘Word of mouth’ testimonial where one person shares experiences with another. But later on as mediums and vehicles for advertising began to develop the image began to take on prime position in the field of advertising. However, on a parallel note zymology seems to be the predecessor to imagery in Advertising. The cross of course is one of the most popular images right now around the world. The following is not just search into applied marketing science but rather an in-depth coverage of history, evolution of imagery and its application, measurement and several other perspectives on imagery. This chapter attempts to provide as complete a holistic view of imagery and its use in advertising as resources permit.
Literature Survey
It is important to understand the concept of branding. According to the American Marketing Association, A brand is a name, term, sign, symbol, or design, or a combination of them, intended to identify the goods or services of one seller or group of sellers and to differentiate them from those of competitors. A brand therefore is a seller’s promise to consistently deliver a specific set of features, benefits, and services to the buyers. The best brands convey a warranty of quality. But a brand is even a more complex[8] symbol. A brand conveys up to six levels of meaning according to Kotler. “ATTRIBUTES”: A brand is first brings to mind certain attributes. Thus, Mercedes suggests expensive, well built, well engineered, durable, high prestige, high resale value, fast, and so on. The company may use one or more of these attributes to advertise the car. For years Mercedes advertised, “Engineered like no other car in the world.” This served as the positioning platform for projecting other attributes of the car. BENEFITS: A brand is more than a set of attributes. Customers are not buying attributes; they are buying benefits. Attributes need to be translated into functional and / or emotional benefits. The attribute durable could translate into the functional benefit, “I won’t have to buy a new car every few years. “The attribute expensive might translate into the emotional benefit,” The car helps me feel important and admired.” The attribute well-build might translate into the functional and emotional benefit,” I am safe in case of an accident.” VALUES: The brand also says something about the producer’s values. Thus, Mercedes stands for high performance, safety, prestige, and so on. The brand marketer must figure out the specific groups of car buyers who would be seeking these values. CULTURE: The brand may additionally represent a certain culture. The Mercedes represents German culture: organized, efficient, high quality. PERSONALITY: The brand can also project a certain personality. If the brand were a person, an animal, or an object, what would come to mind? may suggest a no-nonsense boss (person), a reigning lion (animal), or an austere palace . Sometimes it might take on the personality of an actual well known person. USER: The brand suggests the kind of consumer who buys or uses the product. We would be surprised to see a 20-year old secretary driving a Mercedes. We would expect instead to see a much older executive behind the wheel. This is because we associated the driver with certain values, culture and personality in line with the products. This does therefore suggest a certain level of complexity associated with a brand. When a company therefore treats a brand only as a name[9] it misses the point of branding. The challenge in branding is to develop a deep set of meanings for the brand, the ultimate aim of course is a brand where the user can visualize all of the above mentioned dimensions of the brand, at which time this would be termed deep branding. A marketer therefore has to anchor the brand’s identity at various levels within these dimensions. The most enduring meanings of a brand are its values, culture, and personality. Just like with a person, Image conveys all of this.
Personality and Associations are Key brand drivers[10], personality is an emotional compact with your customers. It complements the Principles, which acts primarily as a rational agreement with customers. The need for a personality driver in brand is based on the concept that we all treat companies and products as if they were other people. We imbue them with human attributes, from likes and dislikes to ca complete personality.
In certain instances companies use personality as the leading brand driver in their relationships with customers, employees, and stakeholders. These personality driven companies[11] attract customers who are seeking to identify strongly with the companies whose products they use. [12]An image is the character of an organization how an organization is perceived. It will depend on how well an organization is known and understood, and how it is seen to behave. [13]One interesting aspect of Hallmark and Coca-Cola is that the company name and the products they sell are the same. This is not universal, but the potential for creating and sustaining brand loyalty is thought to increase when this is the case[14]. This allows the consumer the opportunity to have positive associations with the product as well as with the company. The brand image is created by sets of these positive associations. The strength of these associations links the collector to the brand, building a relationship of loyalty.
Visual Imagery as a Mediator of Advertising Effects
by Babin, Laurie A. (“Journal of Advertising”; Tuesday, June 1 1993)
Imagery is "a mental event involving visualization of a concept or relationship" (Lutz and Lutz 1978), and it has been defined as "...a process...by which...sensory information is represented in working memory" (MacInnis and Price 1987). The explanatory potential of imagery is both potent and provocative, especially when one takes into account that the forms of mental impressions include all five senses: hearing, touch, taste, smell, and sight. In other words, it is possible for a person to experience a sensory stimulus without the true stimulus ever being present. Since this is true, advertising strategists should be especially interested in the operation and consequences of imagery as a means of influencing consumers (Rossiter 1982).
There is growing interest in mental imagery for good reasons. First, imagery has ample potential for drawing information stored in long-term memory into working memory. This phenomenon has been called "high elaboration" by MacInnis and Price (1987), and tapping long-term memory is believed to lead to greater communications effectiveness (MacInnis and Jaworski 1989). Second, mental images have potential to be more personally relevant because they are anchored in the person's experience base and generated by his/her own mental processes. Strong relevance is a desirable facet of persuasive communications (MacInnis and Jaworski 1989). Next, imagery has the capability of being multisensory and thus could provide for multiple avenues of information processing. Triggering multiple channels of information processing is believed to enhance advertising effectiveness (Rossiter 1982; Lutz and Lutz 1978). Also, images are experiential rather than discursive; thus, they afford a richer base of raw stimuli. Finally, it can be argued that because imagery is believed to be more closely linked to long-term memory, is more personally relevant, and is richer; its effects on consumer attitudes and intentions will be more robust than stimuli which do not engage such depth and breadth of information processing. In fact, Richardson (1983) claims that the consequences of self-initiated thought imagery are indistinguishable from its genuine sensory counterparts. This contention underpins what should be the strong appeal of imagery to advertising strategists.
Richardson's (1969) definition of imagery, as well as the embellishments of others, affords good insight into the phenomenon. He states that imagery refers to all those quasi-sensory or quasi-perceptual experiences of which
We are self-consciously aware and
Exist for us in the absence of those stimulus conditions that are known to produce their genuine sensory or perceptual counterparts.
There are various types of mental imagery (see Holt 1964 or Richardson 1969), but thought imagery, which is voluntary and stimulated by instructions from an external source or even oneself, includes imagery generated in consumers by advertising stimuli. Consequently, our focus is on the naturally occurring process of quasi-sensory perceptual mental experiences brought into working memory through exposure to advertising stimuli.
In the area of cognitive psychology, a substantial amount of research has been devoted to imagery. Almost all the imagery research found in cognitive psychology has restricted itself to memory as the dependent variable. Numerous studies have demonstrated superior recall under conditions highly conducive to mental imagery as compared to those which are believed to be less conducive (Anderson 1978; D'Agostino, O'Neill and Paivio 1977; Elliot 1973; Lippman 1974; McKelvie and Demers 1979; Paivio and Csapo 1969; Peterson and MacGee 1974; Robins et al. 1974; Slee 1978; Wittrock and Goldberg 1975; and Wortman and Sparling 1974). Since recall is a concern of advertisers, two important contributions can be gleaned from this research. First, cognitive psychologists have demonstrated the effects of key independent variables on memory, and second, a theoretical model has been developed to explain the findings associated with one such imagery-inducing factor.
With respect to independent variables, these researchers have demonstrated the effects of explicit instructions for subjects to imagine something (Gregory et al. 1982 or Kulhavy and Swenson 1975 or Pressley 1976); concrete words as opposed to abstract words (e.g., Lippman 1974; Paivio, Yuille and Madigan 1968; van der Veur 1975); and stimuli with pictures versus those with words alone (e.g., Bugelski 1983, Paivio 1971, Shepard 1967).
These findings give rise to Paivio's multiple code theory (1986) which posits that imagery activates multiple encoding processes. Thus, multiple retrieval paths are tapped at the time of recall rather than one, which results in greater recall.
Imagery has been adopted as a consumer behavior construct, and a seminal article by MacInnis and Price (1987) develops a conceptual framework both useful and instructive in examining prior research. Basically, MacInnis and Price (1987) review the three elicitation approaches noted above (instructions to imagine, concrete words, and pictures) and claim -- as have others such as Alesandrini and Sheikh (1983) and Lutz and Lutz (1978) -- that imagery elicitation has practical value to advertising strategists. In their framework, imagery elicitation strategies are identified as antecedents, and imagery is posited as an information processing mode affected by moderators such as individual differences in imagery ability or processing style. Finally, MacInnis and Price (1987) open up a broad range of consequences of induced visualization including memory, incidental learning, and intention, and they even discuss imagery as a consumption experience. MacInnis and Price (1987) have crystallized thinking in this area, and they call for empirical research. While their framework serves as a convenient categorization scheme for reviewing prior research or even designing future studies, we have opted to use an alternative framework with explicit analytical procedures which we will describe and apply in our study.
Despite the acknowledged potential of elicited imagery to affect consumers, only a modicum of imagery research has been reported in the consumer behavior literature (Dobni and Zinkhan 1990). For instance, Robertson (1987) and Rossiter and Percy (1978, 1980) investigated the effects of concrete wording on recall and attitude. Lutz and Lutz (1977, 1978), Alesandrini and Sheikh (1983), and Rossiter and Percy (1983) looked at effects of various types of pictures on recall and attitude. Embedded instructions to imagine have been studied by Bone and Ellen (1990), Gregory et al. (1982), and Wright and Rip (1980), although results have not been consistent.
---“The operation of visual imagery as a mediator of advertising effects” by Babin, Laurie A. (“Journal of Advertising”; Tuesday, June 1 1993)
The Power of Imagery in Communication (“Mental Holography”)
(by Geri Silk and Marsha Sunshine Norwood)
Geri Silk, a registered dance movement therapist and drama therapist/master teacher, has an MFA from Carnegie Mellon University and teaches communication at Kean University. She is composing a video documentary, Street Dancer, the Poetic Life of a Young Man with Down Syndrome.”
Marsha Sunshine Norwood, an Associate Professor in Freshman Studies, in the John Hazen White School of Arts and Sciences of Johnson and Wales University, teaches Communication Skills, Literature, and Composition.
Marsha, who has an MBA from SUNY Buffalo and an MFA in creative writing from Goddard College, chairs the school’s regional Cassola Conference on Teaching Communication.
A hologram is a manipulation of light from different sources to create a very realistic, three-dimensional image of a person or object that is not physically present. The study and practice of holograms is called “holography.”The term “Mental Holography” was coined by the authors to refer to the creation of images in the minds to enhance communication. We believe that the ability of an individual to experience such images can be developed. One result is that the person in question will speak and communicate more effectively. In other words, when speakers learn to create sharp, vivid images in their mind, they can better transfer them to others via means such as traditional language, body language, and facial expressions. A more formal definition is that Mental Holography refers to the use of imagery, metaphor, symbolism and related constructs to focus cognition and the transfer of meaning in the oral communication process. In this paper, we will focus on the use of Mental Holography in the classroom and then briefly explore this idea by looking at supporting research.
2.4.1 Whispering in the Twilight
Let us consider an example of Mental Holography. Think back to a favorite storyteller, perhaps a grandfather sitting on the porch in his favorite chair, or a special friend whispering in the twilight in front of a darkened house. The magic of the story and of the memory depends upon all of the senses and on detailed images exchanged that evening, images that are linked to the emotions. This is indeed an important link because emotion is a powerful tool in Mental Holography. Another fundamental component is, of course, imagery itself. Despite the incomplete understanding of how it functions in the brain and personality, imagery is a familiar term. “Imagery is a common, everyday phenomenon that is indicated by a whole range of colloquial expressions:” having a picture in the head, “picturing” “visualizing,” “having/seeing a mental image/picture,” “seeing in the mind's eye,” and in some contexts, simply “imagining (Thomas 1999, p.3).” It goes beyond visual to auditory, kinesthetic, and other sense formats.
2.4.2 Constructing Reality
There is almost always more involved in communication than meets the eye. For example, just as an artist selects from varied life experiences to construct a painting or a piece of sculpture, so each of us as communicators selects from our experiences to convey a chosen view of reality. This view will be affected by traditions, stories, history, and precedents —especially when symbolism is considered. The media also have an effect because of experiences from television, movies, radio and now the internet. An important part of this understanding is that the images be vivid and real for the speaker. This is so because such a sharpening of images often accompanies a clarifying of ideas. When that is the case —even if there is some difficulty in interpretation —the listener probably could absorb the gist of the communication, or at least be interested enough to inquire. Consciously or unconsciously, good communicators therefore strengthen their awareness of images and of related associations. One of our main points in this article emphasizes that such strengthening is possible and that learning strategies can be extended to the learning of language.
2.4.3 Thinking with the Body
Speaking through creative movement and dance can be a rich source of stimuli for the exchange of meaning. Memories and experiences are thought to be stored deep within the muscles and connective tissue so that activating a familiar or forgotten movement pattern brings forth a flood of memories. Sitting in a rocking chair with the gentle to-and-fro movement may stir vivid memories of Grandma's kitchen, warm cookie in hand. Polishing an old table with long, loving strokes can bring back the long-forgotten action of grooming a favorite horse. A sudden slip on the ice may conjure up the famous third grade slide into home plate for the winning run.
Geri Silk (1996) describes the three-dimensional nature of learning in dance, which uses the imagination to establish an inner environment that can be entered by the dancer as if it were a “holographic reality.” This is a reminder that mental holography works with strong nonverbal images. When a dancer internally sees and interacts with the envisioned reality, an observer can identify kinesthetically and feel the experience imagined by the dancer. “Not only can we see the dancer leap across the stage and over the imaginary brook, [as a deer in the woods], but we can feel, and re-live it, that is, experience kinesthetically, imagine, the musculature and sensations involved to master that moment of movement ”
Turning to the classroom, an action scenario can be provided by the teacher. “Run twenty paces; drop down; hide; jump out; sit down; breathe deeply.” The student then provides an interpretation from his or her own imagination. For example, the above sequence can be interpreted as the following: running through a field, dropping down a rabbit hole, hiding from grownups, jumping out to surprise everyone, sitting down and retelling the experience; relaxing. Dance, either with or without music takes this process a bit further and can provide a powerful entree into the imaginative consciousness of mental holography. For the dance to have meaning, the dancer must visualize where she is dancing and what she is doing. Otherwise the dance is a random series of movements. If the dancer does not see and understand the meaning of the dance, the audience will see and understand less.
2.4.4 Clarified Images and Writing
As the images are clarified in one individual, they are ready to be transferred to others in any number of ways, including writing. Once I “see” the beautiful fawn drinking from the quiet, motionless water of the pool hidden in the greenish light behind the trees, then I can “show” it to others. . We tell students, “You need to see it, or we won't see it.” In search of the perfect words to build this mental projection, they will push beyond casual language to specific, emotion-laden description. Again, we note the great importance of emotion in Mental Holography. Also, experience with the language of art adds to the descriptive palette. For example, words having to do with shapes, sizes, textures, surfaces, shades of color and types of movement can be brought into active vocabulary. A dictionary the teacher might find useful is The Facts on File Visual Dictionary (Corbeil, 1986).
2.4.5 Mental Holography in the Classroom
A number of classroom techniques show promise in developing in students the ability to visualize, that is, “see” images in the mind, , and to evoke those images in the minds of their audience. These may inspire adaptations for a variety of language environments. Starting with actual diagrams or objects, students develop a comfort zone with the use of images. Then, they can be guided to use their imaginations without props, building in emotional content that helps the speaker or writer and the listener or reader to target the intended meaning. Instead of worrying about the production of speech and words, novice speakers are encouraged to concentrate upon the backbones of communication —purpose and meaning —through an exchange of images. Immediately following are nine specific techniques that have been and can be used in the classroom. In addition to being quite useable, they suggest the scope of Mental Holography. More background will be provided later in the article.
2.4.5.1 Diagram Your Home:
When asked to describe their home, students often first give a vague and brief response. Then, they are asked to draw a diagram on the board or to instruct another person in the drawing of their house or building. Class members are encouraged to ask how the home being drawn is different from another similar building or house. Gradually, as the diagram turns into a drawing, the power of detail in both mental and physical pictures becomes obvious. What they have produced in chalk on the blackboard now can be verbalized with words in their speech.
2.4.5.2 Representative Object:
Everyone is asked to bring in an object which represents something special about the person's life. Each person then shows the object and describes its history, meaning, and symbolic value. With prompting, this object will reveal other mental associations. Reinforce the importance of linking the object to an emotionally laden experience or situation. These connections often are vivid enough to last the entire term and beyond. Examples are keys to a new apartment, pictures of family and friends, a gift watch, a book store receipt, and a special hat.
2.4.5.3 Comfort Zone Impromptus:
Students who have minimal experience with public speaking benefit from non-threatening topics such as a favorite place or a good friend: these evoke multi-layered mental images or holograms. Visiting this place or friend in the imagination often helps to reduce anxiety. Building on such images, progress can be made in visualizing our ideas for others.
2.4.5.4 Role Model/Invisible Teacher:
Each student chooses someone he or she admires as an ideal communicator —from personal life, media, politics, entertainment, etc. The students write a detailed essay on why this person is a good communicator. For example, Robin Williams is a quick wit, great comedian, yet a profound and serious actor. These papers are shared with the class in the students' own spoken language. 'Throughout the semester, the students “consult” with their ideal communicator (e. g. Robin Williams) for personal evaluation, brainstorming, and criticism. In this way, the student gains an invisible ally and a constructively didactic inner voice, which assists in developing judgment, confidence, and articulation.
2.4.5.5 Parlays From Props:
This is spontaneous speaking with no preconceived thought or plan. The leader (teacher) assembles an array of props such as a toy truck, a can opener, dried flowers, an aloe leaf, a bowl. The speaker (student) chooses from three to five of them and must string them together into a story, connecting them in a meaningful way. Variations on this could be pulling five objects out of a box without looking at them. Each object is an unknown surprise. Exercises like this help the student gain flexibility, imagination, and inventiveness.
2.4.5.6 Atypical Product Prompt:
Pairs of students are given their choice of a few product photographs, taken from magazines or other sources. Most of the pictures are intentionally bizarre or otherwise challenging. Youth-oriented science magazines are helpful sources of unusual ideas. The objective is to design a new product or service, “illustrated” by the picture, which will be attractive to the given audience and will satisfy a perceived problem, need, or desire. Once the product or service is imagined, a name for it is prepared and a script written for a short television commercial. The following are examples:
Picture: Gorilla facing Tarzan.
Product: Tarzan Gymnasium.
Script: “Get Pumped to face any gorilla. Convenient, low rates; gain the power of 10 gorillas!”
Picture: Girl in a camping site with horse.
Service: 1-800-Animal Care
Script: “We don't call you —You call us. We 'll care for animals at your home or ours!”
2.4.5.7 Stories on Sound:
The teacher provides an evocative, new sound track —something to which the students have no previous association. The music or sound effects should be fresh to the listeners; preferably, they are hearing it for the first time. The students listen and are encouraged to create their own inner guided visualization, as though they were seeing a movie in their mind. Then, the students can either tell an adventure, mood, and/or fantasy tale using the music as a mental sound track, or a group of students get together and create a tale or adventure story. In such a group, they can practice changing voices from the narrator to the characters to a commentator. This exercise promotes shared listening, timing, and discovering a group voice.
2.4.5.8 Silent Silent Night:
The class mentally and silently sings this carol without making any sound or moving lips. As in a choir, breathing must be in the right place, and the proper feeling must be captured. Students notice an immediate change of mood. Many songs can be used for this exercise; however, this one seems to provide a great opportunity to discuss the visualization that accompanies it.
2.4.5.9 Personality:
Students choose from a group of really unusual photographs and drawings of people, animals, and fantastic creatures —a rugged Appalachian share cropper, children intently at play, women with unusual careers such as lion tamers and mountain climbers, a thin snake, a contemplative monkey, etc. The students develop a name and a detailed active biography for their characters. After they give a brief introduction, in the character’s voice and with the character’s gestures and mannerisms, the rest of the class interviews them. The speaker must remain in character while answering these questions. What we have discovered is that students choose characters or animal figures or fantasy projections that reflect hidden aspects of their own personalities. This leads to a discussion of the many presentations of self and the multiplicity of personality necessary to function in a complex society.
1. Strengthening Communication with Ourselves and Others
In Mental Holography, we believe that practice with various applications of imagery will strengthen both our communication with ourselves and with others. In addition to the immediate objects in our imagination, we can follow links to other associations. Janet Muff, a nurse psychotherapist who observes the power of both intuitive and conscious uses of imagery, explains this advantage. “Why,” she asks, “are people attracted to particular images.” Whether they come from our inner world, through dreams or fantasies, or from the outer world, images have the power to move us… A painting, a poem, or the gesture of a stranger can strike a familiar chord, bringing a flash of recognition and the certain knowledge that we have stumbled onto something relevant to our own experience” (1997, p. 2). With experience in following images, it is possible to notice relationships and groupings of images as well. For us and our students, this closer attention to patterns and associations will add most relevant insight.
2.5.1 Emotions and Images
The emotions connected with the images provide memory power. Muff works with clients to amplify images until they reach those with emotional significance. This “expands the meaning of dream [or other] images by bringing to them a wide variety of corresponding images from my personal history as well as from non-personal sources” (1997, p. 4). Extending this idea, we see that learning about archetypes is helpful since they hold significance in society. A better comprehension of our own images and that of our culture (and other cultures) will contribute to mutual understanding, certainly an objective of communication.
2.5.2 Scientific Research
In the realm of cognitive science, there is a significant discussion about the specific brain processes that operate when imagination is at work. In fact, there is an unresolved debate among the major researchers in the field about the operation of imagery in cognition. Theorist Nigel J. T. Thomas has reviewed the cognitive science literature in an accessible summary of key theories. The two major theories, “quasi-pictorial” views of Stephen Kosslyn and the “description or propositional theory” of Zenon Pylyshyn, have been the source of much research and speculation. The first theory considers “that having visual imagery involves having entities in the head or in the mind, which are like or functionally equivalent to, inner pictures” (Thomas 1999, p. 3). The competing theory contends that instead of pictures, mental images are “language-like representations” (p. 6), not perceptual so much as descriptive or in some sort of notation in the brain. A third theory that is particularly interesting to us is that of perceptual activity. “Perceptual learning is not viewed as a matter of storing descriptions (or pictures)of perceived scenes or objects, but as the continual updating and refining of procedures …that specify how to direct our attention most effectively in particular situations: how to efficiently examine and explore, and thus interpret, a scene or object of a certain type ” (Thomas 1999, p. 8). According to this theory, instead of a final description or image, the brain collects details and places them into recognizable patterns. This interpretation also applies to the other senses. It is related to artificial intelligence research and information processing, and sees the mind as active, reaching to and to language teaching, this tends to substantiate our observation that mental holography aids the speaker in spontaneity, in “be here and now” language. . It is not canned or pre-produced. The speech, or even the conversation, seems to lives in the moment because it is produced through imagery that is alive in the mind.
2.5.3 Semiotics and Signs
Further study into semiotics, the study of signs, offers additional insights into the ways that we attach meanings to symbols and how they are learned. In Seeing is Believing, An Introduction to Visual Communication, Arthur As a Berger (1998)looks at the importance of visual literacy skills in interpreting mass media. In this context, we see that images evolve over time as a culture evolves. Accordingly, cultures provide the codes we use to interpret symbols. When we are dealing with a variety of cultures, we need to be aware that translation may be required in order to ensure that communication does in fact take place, and that miss-communication is generally avoided. In Mental Holography, the same is true. This could also be helpful in translating among generations and in each person's construction of reality. For example, in the West, black is the color of mourning. In the East, it is white. Discussion of universal and culture-specific images and symbols will assist students in understanding the constraints that may affect their message.
2.5.4 Exercising the Muscle of the Imagination
Helane Rosenberg, in her book Creative Drama and Imagination: Transforming Ideas into Action (1987), suggests that the imagination is like a muscle that can be developed and exercised. Images are stronger when personal and specific. Instead of stopping at a stereotypical image of a grumpy old man, students can be encouraged to proceed to a particular image of an individual farmer who always forgets his neighbor's face. Since people recall or envision images in varied ways, the method is not as important as practice for improving quality. Some get a flash of an entire picture while others focus as if through a camera lens. Others add detail onto a vaguely shaped template.
Rosenberg explains the Rutgers Imagination Method (RIM), a system which allows greater access to images because they have been consciously noticed and manipulated. The exercises provided can improve a person's ability to use imagery. Sample workouts suggest quickly viewing in the imagination many different items such as dogs, cakes, and shoes. “See” a car, a house, or tree from different angles —above, below, inside. Manipulate an item and change it to something else. Visualize a green crocodile that changes into a rocket ship. Mental transformations help keep the mind flexible, playful, and inventive.
2.5.5 Conclusion
Our students can apply these lessons to become effective communicators, competent in conveying clear ideas with memorable content, enhanced with imagery. Over the next several years, the understanding of such language abilities as Mental Holography will increase. As teachers and facilitators, we need sensitivity to the range of individuals ' aptitudes and experience. At the same time, we should keep our objective of giving confidence to at least attempt some version of Mental Holography. With practice, models, and encouragement, we can assist each student to appreciate the potential of conveying living, breathing ideas. In short, with effort and imagination, we can all use these valuable tools to help us not only in communication but in becoming aware of what it is we want to communicate.
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Imagery, Emoticons, Metaphors, and Marketing Communication
(By Kenneth Rudich)
Figure 2.1: Emoticon
Words alone are often inadequate for communicating emotional nuance, things like mood, tone, timbre, temperament, and pitch.
Take a simple phrase like “You’re really something!” It can be used to convey high praise, glib sarcasm, or even dismay. But until or unless something reveals the intent behind it, getting a proper read can be difficult.
The use of imagery is a good way to fortify gestures, concepts, and words with flavor and meaning.
Emoticons, for example, add clarity. Without them, a playfully light-hearted tone can be lost [pic] , and something communicated in jest can go terribly wrong [pic] .
Or consider how much more powerful “I love you” becomes when accompanied by a dozen red roses, a box of chocolates, or maybe a ring. It enhances the emotional connection, makes it stronger, bolder, deeper, more fulfilling.
Or take a moment to dwell on the difference between a greasy hamburger joint and a fine dining establishment — what you’ll see, what you’ll smell, what you’ll hear, the texture and taste of the food? As you do this, is your brain summoning images to mind or are you meandering among words?
2.6.1 Verbal Expressions, Non-verbal Thoughts
It turns out there’s a reason why imagery has such a noteworthy effect. According to marketing professors and researchers Gerald Zaltman and Robin Higie Coulter, it’s because “Thoughts typically occur as non-verbal images even though they are expressed verbally.” So while the brain processes words, the mind frequently creates images to represent them.
In fact, the rule of thumb among communications specialists is that about 80% of all human communication is non-verbal. Said another way, thoughts are not dependent on words. A sound or sight or smell or taste or touch can evoke non-verbal thoughts in the form of feelings, images, or emotions. No words are needed for these thoughts to occur.
Moreover, imagery can override the meaning of words. If you tell me you love me while looking over my shoulder at someone else, which do you think will carry more weight – the gazing past me or the favorable words?
Has anyone ever told you, “Don’t do as I do, do as I say?” And it caused you to look at them with a huh?
2.6.2 Emotional Branding
I’d mentioned that the perceived benefits variable in the definition of value is usually traceable to some underlying set of human motives, which may be social, functional, physiological, or psychological in origin.
Using imagery to nourish a positive emotional connection with your product or service is a valuable tool in the marketing arsenal. It taps the psychological motive that shapes thoughts, feelings and behaviors; and it can go a long way toward improving perceived value.
A truly effective use of imagery considers the prospect of engaging all five senses if possible, and then focusing them on a singularly desirable association with your product or service. For instance, mull over these questions for a moment:
• do you associate a certain perfume or cologne with your significant other?
• do you have pet names for one another?
• do you know your significant other’s favorite color to wear?
• can your significant other touch you like no one else can?
• can you prepare your significant other’s favorite food?
Notice the different senses but one focus.
2.6.3 Words that Create Imagery
Even when it’s verbal, as in the form of a metaphor, the imagery can yield a powerful effect. One insurance company connects its services with the phrase “Like a good neighbor.” Other companies in other industries have their own metaphors:
• “Hope, triumph and the miracle of medicine,”
• “The king of beers,”
• “Like a rock,” for example.
In an earlier post, I used the phrase “like trying to climb up a waterfall” in lieu of saying it would be futile or ineffective. Both of these descriptive words would have been perfectly suitable, but I was shooting to create an image that would resonate with the reader, perhaps causing him or her to arch an eyebrow when they came across it.
2.6.4 Execution is Key
Once you’ve decided on cultivating a particularly desirable association or core image, it is important to execute with clarity, consistency, and continuity. Be cautioned that this advice can appear deceptively simple, when in fact it can easily be mishandled, particularly if you have a lot of other distractions vying for your attention.
The penalty for mishandling the execution can range from simply having it become a less effective campaign, to diluting the brand, to actually causing harm.
2.6.5 The Creative Aspect
There is a creative component to doing this well. It entails Figure 2.2: Photo Image
the art of producing imagery and metaphors that vividly
and concisely convey an embraceable message, one that
people can and will connect with.
Some folks are more talented than others when it comes to doing this type of work. A person that is adept at writing good ad copy, for example, will clearly stand apart from someone with a lesser ability. A graphic artist or photographer with an astute eye will always find ways to create images that make amateurs pale by comparison.
Never shy away from seeking the help of others with complementary skills, aptitudes, expertise, or experience. Leverage the collective wisdom of the people you trust. More often than not it will make a material difference, and you’ll be awfully glad you did it.
2.6.6 The Technical Aspect
There is a technical facet to this as well, and it has nothing to do with technology per se. By technical, I mean executing the communication strategy with clarity, consistency, and continuity. This is something almost everyone can do as long as they remain vigilant about it. It requires staying abreast of each key area:
• Clarity: making sure all imagery and metaphors clearly convey the desired message, tone, or image.
• Consistency: once you’ve decided on a desired image or message, stick with it; treat it like an
ongoing campaign; remember, it takes time and continual reinforcement to firmly establish a
brand.
• Continuity: make sure the same message is delivered across all your marketing platforms.
While this may seem simple on the surface, be forewarned that it is easy to lose sight of it over time. We all get busy, and sometimes things inadvertently fall off our radar screen.
2.6.7 A Real World Example
The client is a sports bar and grill located in a city that is a popular tourist destination. Consequently, tourists represent one important piece of the customer base. Local clientele, particularly the regulars, comprise another. None too surprisingly, the owner is interested in generating new traffic from both sources.
The image or theme he wants to project is: “A Place for Social Interaction.”
2.6.8 The Physical Premises
The physical premises reflect the work of an owner with close to thirty years experience in the business, almost ten at this location alone. Operating from the notion that everything a customer sees and experiences will affect his business reputation, not a single detail has escaped attention:
• the place is clean and appealing to the eye,
• the menu contains a good variety selection with reasonable prices (and daily specials),
• the staff is friendly (on a first name basis with customers) and service-oriented,
• the general surroundings provide a veritable haven for sports enthusiasts – complete with
modern amenities like 48 new flat screen TV’s, all sorts of satellite reception capabilities, a robust sound system, a billiards area, a rectangular bar with an unobstructed view of everything, a separate dining area, a patio overlooking a park with a small lake and disc golf course, three tabletop shuffleboard stations, and a section discretely set aside for accommodating private groups of up to 40 people.
Ultimately, the diverse clientele offers the best testament of just how inviting it all is. They run the gamut, from young families to seniors to everyone in between. And yes, it has a lively social atmosphere.
2.6.9 The Internet Presence
Unlike the physical premises, the Internet presence is comparable to having fumbled the ball in football or missed a winning free throw in basketball. In short, it is woefully under-leveraged for generating awareness, interest, and action among potential new customers, both locally and beyond.
The website was built in 2003 and has not been altered since. Almost everything about it suggests a conspiracy against the coveted theme of “a place for social interaction.” Let me just mention two or three items for illustration purposes.
The add copy contains an exhaustive list of the bar’s features, like how many TV’s there are, or that the beer is kept cold, as opposed to focusing on giving customers a sense of why their experience here promises to be memorable. It seems to say, “We built it so you should come,” rather than, “You’ll have a great time if you come.” Plus, the landing page looks cluttered due to a poor layout design.
Perhaps livelier copy would be better suited for arousing interest:
• “Ten Reasons Why People Love (insert name of bar here),”
• “Voted Best of (name of city) by (name of publication),” (which it has been),
• “Everything a Sports Fan Could Ever Want in One Place,”
• “We’ve Got A Special Seat Set Aside Just For You,”
• “A Great Place for Great People.”
Oddly, the same copy neglects to mention certain key features like the capacity to entertain private groups, or how the owner gives back to the community through active participation in local civic affairs (which amounts to a lost opportunity for creating good will)
And speaking of imagery, the “photos” page is entirely filled with pictures of an empty establishment. It looks clean and modern, but empty. Does the sight of empty chairs, empty tables, and empty stools insinuate “a place for social interaction” to you? The imagery must match the perception you want to create. In this case, there should be lots of pictures of lots of people having lots of fun in all sorts of ways.
2.6.10 Conclusion
Lastly, there’s an opportunity to further advance its socially-driven image through the launch of a strong social media strategy. Such a strategy could become the virtual extension of “a place for social interaction” and become a nice vehicle for spreading word-of-mouth promotion, for holding contests, sharing information about daily specials and other notable events, and for getting new and current patrons even more invested in the social atmosphere
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2.7 Advertising Effectiveness
By Jerry W. Thomas ()
The advertising industry, as a whole, has the poorest quality-assurance systems and turns out the most inconsistent product (their ads and commercials) of any industry in the world. This might seem like an overly harsh assessment, but it is based on testing thousands of ads over several decades. In our experience, only about half of all commercials actually work; that is, have any positive effects on consumers’ purchasing behavior or brand choice. Moreover, a small share of ads actually appear to have negative effects on sales. How could these assertions possibly be true? Don’t advertising agencies want to produce great ads? Don’t clients want great advertising? Yes, yes, they do, but they face formidable barriers.
Unlike most of the business world, which is governed by numerous feedback loops, the advertising industry receives little objective, reliable feedback on its advertising. First, few ads and commercials are ever tested among consumers (less than one percent, according to some estimates). So, no one—not agency or client—knows if the advertising is any good. If no one knows when a commercial is good or bad, or why, how can the next commercial be any better? Second, once the advertising goes on air, sales response (a potential feedback loop) is a notoriously poor indicator of advertising effectiveness because there is always so much “noise” in sales data (competitive activity, out-of-stocks, weather, economic trends, promotional influences, pricing variation, etc.). Third, some of the feedback is confusing and misleading: agency and client preferences and biases, the opinions of the client’s wife, feedback from dealers and franchisees, complaints from the lunatic fringe, and so on.
2.7.1 Barriers to Great Advertising
Advertising testing could provide a reliable feedback loop and lead to much better advertising, but many obstacles stand in the way. The first great barrier to better advertising is self-delusion. Most of us believe, in our heart-of-hearts, that we know what good advertising is and that there is no need for any kind of independent, objective evaluation. Agencies and clients alike often think that they know how to create and judge good advertising. Besides, once agencies and clients start to fall in love with the new creative, they quickly lose interest in any objective evaluation. No need for advertising testing. Case closed.
Strangely, after 40 years of testing advertising, we cannot tell you if a commercial is any good or not, just by viewing it. Sure, we have opinions, but they are almost always wrong. In our experience, advertising agencies and their clients are just as inept at judging advertising as we are. It seems that none of us is smart enough to see advertising through the eyes of the target audience, based purely on our own judgment.
A second barrier to better advertising is the belief that sales performance will tell if the advertising is working. Unless the sales response to the advertising is immediate and overwhelming, it is almost impossible to use sales data to judge the effectiveness of the advertising. So many variables are beyond our control, as noted, that it’s impossible to isolate the effects of media advertising alone. Moreover, some advertising works in a few weeks, while other advertising might take many months to show positive effects, and this delayed response can confound our efforts to read the sales data. Also, advertising often has short-term effects that sales data might reflect, and long-term (years later) effects that most of us might easily overlook in subsequent sales data. Because of these limitations, sales data tends to be confusing and unreliable as an indicator of advertising effectiveness.
Sophisticated marketing mix modeling is one way to measure these advertising effects on sales, but it often takes millions of dollars and years of effort, and requires the building of pristine databases of sales information along with all of the marketing input variables. Few companies have the budget, the patience, the accurate databases, and the technical knowledge necessary to succeed at marketing mix modeling. Even so, marketing mix modeling does not help us evaluate the contribution of a single commercial but rather the cumulative effects of many different commercials over a long period of time. Also, marketing mix modeling does not tell us why the advertising worked, or failed to work. Was it message, or media weight, or media mix that made the advertising effective? Generally, marketing mix modeling cannot answer these types of questions. So, again, sales data is of limited value when you make critical decisions about your advertising.
A third barrier to better advertising is a pervasive tendency of many (but not all) advertising agencies to delay, undermine, and thwart efforts to objectively test their creative “babies.” Who wants a report card on the quality of their work? It’s very threatening. The results can upset the creative folks. The results can upset clients. The agency can lose control. Agencies can be quite creative in coming up with reasons to avoid copy testing. Some of our favorites:
• There’s no time. We have to be on air in five days, so we’ll just have to skip the testing.
• These ads are built on emotion and feelings, and you can’t measure such delicate, artful
subtleties.
• We’ve already tested the ads with a focus group during the development process.
• These are image ads, and you can’t test imagery with standard advertising testing techniques.
• We have so much equity in this campaign that it doesn’t matter what the testing results are. We
can’t afford to change.
• We’re in favor of testing, but let’s remove those questions about purchase intent and persuasion
from the questionnaire.
• We are in a new age, with new media and new messages, and none of the old copy testing
measures apply any more.
The fourth barrier to more effective advertising is the big creative ego. The belief that only the “creative’s” in the agency can create advertising—and the conviction that creativity is their exclusive domain—constitute a major barrier. Great advertising tends to evolve over time, with lots of hard work, fine-tuning, and tinkering—based on objective feedback from target consumers. Big creative egos tend to resist such evolutionary improvements. We have seen great campaigns abandoned because agencies would not accept minor tweaks to the advertising. To be fair, big egos are not limited to advertising agencies. Big client egos can also be a barrier to good advertising. Research firm egos are yet another problem. Big egos create barriers because emotion is driving advertising decision making instead of logic, reason, and consumer feedback. Big egos lead to bad advertising.
A fifth barrier to better advertising is the widespread belief that one’s major competitors know what they are doing. So, just copy the advertising approaches of the competition, and success will surely follow. We recently had a client who was about to copy the advertising strategy of a major competitor, but we were able to persuade the client to test all major competitive commercials as a precaution before blindly copying the competitor’s advertising approach. This competitor was the industry leader in market share and profitability. Our testing quickly revealed that this industry leader was the industry leader in spite of its bad advertising. The testing also revealed that another competitor, in contrast, had great advertising. Needless to say, the client’s desire to copy the industry leader quickly vanished.
The sixth barrier to better advertising is lack of strategy, or having a poor strategy. The client is most often at fault here. The client has not done his homework, has not thought deeply about his brand and its future, and has not developed and tested strategy alternatives. The client tells the agency to go forth and create great advertising, without providing any strategy guidelines. The agency is left to guess and speculate about strategy. Great advertising is rarely created in a strategy vacuum. If the client cannot define a sound strategy, the agency cannot create great advertising. Again, the responsibility for strategy falls squarely on the client.
A seventh barrier to better advertising is client ineptness. Some clients’ processes, policies, and people tend to discourage the creation of great advertising. Arrogance, ambiguity, impatience, ignorance, risk aversion, and inconsistency tend to be the hallmarks of these “agency killer” clients. Bad clients rarely stimulate or tolerate great advertising.
The eighth and last barrier to better advertising is poor copy testing by research companies. Many advertising testing systems are limited to a few markets (and cannot provide representative samples). Some systems are so expensive that the cost of testing exceeds the value of the results. Research companies have been guilty of relying on one or two simplistic measures of advertising effectiveness, while completely ignoring many other very important variables. For instance, for several years research companies argued publicly over which was more important, persuasion measures or recall measures? The truth is that both are important, but of greater import is the fact that neither of these measures alone, or in combination, measures advertising effectiveness. To judge the effectiveness of an ad, many different variables must be measured and considered simultaneously.
2.7.2 Creating Better Advertising
Given all of these barriers to better advertising, how can client, agency, and research company work together to create more effective advertising?
2.7.2.1 The client must craft a sound strategy for its brand, based on facts, not wishful thinking and self-delusion. The client must carefully define the role of advertising in the marketing plan and set precise communication objectives for the advertising. What exactly does the client want the advertising to convey, to accomplish? Agencies are too often asked to create advertising in an informational vacuum. Agencies are not miracle workers. Once strategy and positioning alternatives are identified and tested, the strategy should be locked down…and rarely changed thereafter.
2.7.2.2 As creative executions are developed against the strategy, each execution should be pretested among members of the target audience (pretesting refers to testing advertising before it is aired, and/or before final production. When the term “testing” is used in this article, it is a shorthand term for “pretesting.”) The greater the number of executions pretested, the more likely it is that great advertising will emerge. Testing the creative provides a reliable feedback loop that helps agency and client alike become smarter over time. Once a conceptual family of commercials is identified as the optimal campaign of the future, then the campaign should be locked down. Long-term continuity of advertising message is essential to maximizing effectiveness.
2.7.2.3 Use the same pretesting system consistently. There is no perfect advertising pretesting system. Some are better than others, but any system will help improve your advertising. The secret is to use one system over and over, so that everyone (client, agency, and researchers) learns how to interpret the pretesting results for the category and the specific brand.
2.7.2.4 If budget permits, test the advertising at an early stage in the creative process (i.e., the “storyboard” or “animate” stage) and also test at the finished commercial stage. Early-stage testing allows rough commercials to be tweaked and fine-tuned before you spend the big dollars on final production. Early-stage testing tends to be highly predictive of finished commercial scores, but not always. Testing the finished commercials gives you extra assurance that your advertising is “on strategy” and working.
2.7.2.5 Build your own “action standards” over time. As you test every execution, you will begin to learn what works and what doesn’t work. Think of the pretesting company’s norms as very crude, rough indicators to help you get started with a testing program. But, as quickly as possible, develop your own norms for your category and your brand (yes, all of the advertising effectiveness measures vary by product category and brand). What you are searching for, long-term, are not norms, but action standards (that is, the knowledge that certain advertising testing scores will translate into actual sales increases).
2.7.2.6 Use a mathematical model to derive an overall score for each execution. It doesn’t matter that an ad has great persuasion if it does not register the brand name. It doesn’t matter that an ad registers the brand name if no one will notice the commercial itself. It doesn’t matter that an ad increases short-term purchase interest if it will damage the brand’s quality reputation over time. So, all of the key variables must be put together intelligently to come up with a composite or overall measure of advertising effectiveness.
2.7.2.7 Use the pretesting results as a guide, as an indicator, but do not become a slave to the mathematical model. Read all of the open-ended questions carefully. Make sure you really understand the underlying reasons. Base your decisions on this comprehensive assessment of the results, and leave yourself some wiggle room. No model or system can anticipate every marketing situation, or give a 100% perfect solution every time. Informed human judgment remains important.
2.7.2.8 Client and agency need to accept that “continuous improvement” of the advertising is an important goal. This means that every execution is tested and tweaked based on scientific evidence from the target audience. We are not talking about changing the strategy or changing the campaign, but making sure that every execution is “on strategy” and working as hard as possible.
2.7.2.9 The ultimate goal of testing is an advertising success formula that works. That is, the goal of advertising creative development, and the goal of advertising testing, is to identify the elements/ideas essential to advertising effectiveness, and then to make sure that those elements/ideas are consistently communicated by all advertising executions.
2.7.3 The Power of Advertising
We believe in the power of advertising, based on thousands of studies in our archives. Advertising has the power to persuade, the power to influence the mind and shape destiny. It has the power to change markets and improve profit margins. Advertising has short-term power (conveying new information, building awareness, enhancing credibility, etc.) and long-term power (conveying brand image, attaching emotional values to the brand, building positive reputation, etc.). The great power of advertising is seldom achieved in practice, but we can’t give up. The potential and the promise are too great. The companies that master the creative guidance and the testing systems to consistently develop and deploy great advertising will own the future and the fortunes that go with it. Great advertising is a cloak of invincibility.
Let us now take some key brands to understand their own Brand drives and as a consequence their personality associations. Let us take a look at the BMW Logo;
2.8 The BMW Logo
Figure 2.3: BMW Logo
The BMW[15] logo consists of a thick black ring encircled by a silver lining. The letters ‘BMW’ are inscribed in a non-serif font in the top half of the black ring. The gap within the ring is divided into four equal alternative blue and white quarters. The BMW logo, commonly known as "roundel", was created and registered in 1917. The logo is remarkably simple and projects an identity that is smart, clear, sporty and image-conscious. It is one of the most distinctive logo designs in the world, speaking highly of a brand-led company. The 1929 Dixi was the first vehicle to carry the famous BMW logo.
The BMW logo has been altered very rarely and minutely and has maintained its original look throughout the company's history. Here are some of the logos that have been used since 1917.
The logo however has been the subject of great controversy. One version of the ‘sky blue and white checker box’ BMW logo myth connects it with a shining silver/white rotating propeller that the engineers of BMW were working on. The other relates the BMW logo to Bavaria as the place where the products of the company are manufactured and with the national colors of Bavaria (sky blue and white).
The current BMW logo is said to be inspired from the circular design of a rotating aircraft propeller. The white and blue checker boxes are supposed to be a stylized representation of a white/silver propeller blade spinning against a clear blue sky.
The theory is further strengthened with the statement that the image has its origins in World War I in which the Bavarian Luftwaffe flew planes painted in blue and white. It also reflects the origins of BMW as a military aircraft engine maker during WWI and the belief that BMW started as an aero engine manufacturer.
According to the company’s journal, “BMW Werkzeitschrift” (1942), the BMW logo emerged when a BMW engineer was testing the company’s first 320 bhp engine. He admired the reflection of the shining disc of the rotating propeller that radiated like an aura of two silver cones. In between the two cones, the blue from the sky shined that made the ‘rotating propeller into four areas of color – silver and blue’. The engineer, who envisioned this image, also saw three letters – B M W – reflected on the propeller. Thus, the BMW logo was born.
However, according to a BMW spokesperson, the BMW logo does not symbolize a spinning propeller (although the imagery did appear in post-WWI advertisements). On other note, this statement is considered by many as merely a bogus claim made by the company to give a logical explanation to the public about the BMW logo’s creation. In fact, the first BMW aero-engine test took place in March 1918 – six months after the BMW logo had been created. Additionally, the founding myth of the BMW logo, the propeller, was a component of the engine that was never manufactured by BMW.
Figure 2.4: The Propeller
On the other hand the Bavarian flag theory is as follows; For BMW, it was ‘a happy coincidence’ that the BMW logo symbolized the Bavarian flag colors and represented the company’s origin. When the BMW logo was first created, it was prohibited by the Trademark Act to feature ‘national coats of arms or other symbols of national sovereignty’ in a trademark. This led the BMW marketers to come up with a solution of ‘incorrectly configuring the color elements in the BMW logo from a heraldic perspective’, while also keeping its relationship with Bavaria evident.
In conclusion however, there is every reason to conclude that the BMW logo was created to signify the company’s origin – Bavaria as the BMW production site. And despite growing hype about the true meaning of the logo design, the BMW logo has become one of the world’s most recognized symbols that exemplifies class, personality and sophistication.
This is the crux of the matter. The BMW logo as one of the most recognized in the world spells class, personality and sophistication and consequently spelt a lot more about the brand over the years. This was no accident but a concerted effort on the part of the communicators. Let us thus dissect the advertising strategy which made these things possible. [16]BMW's strategy has been shaped by four concepts: core brand values, sniper strategy, and centre of gravity and BMW tone of voice.
2.8.1 Core Brand Values
Research indicates that the BMW brand is selected before individual models. The brand was, in the past, very demanding of its driver as he was expected to share the potency of its performance imagery. Broadening its image allowed more types of drivers to desire BMW and rationalize its high price. Increasing the brand's prestige helped sell more affordable models; as a younger marquee than Mercedes or Jaguar, BMW at that point lacked the prestige conferred by heritage.
'A BMW doesn't give me any prestige to arrive outside the Polygon Hotel in, I'll be honest. The BMW is not - well, the mechanics are brilliant, but it does nothing for me.'
'I, rightly or wrongly, regard that Mercedes have had a quality motor car for a good while, and BMW are trying very hard to catch up the Mercedes image. But they are a younger company who are coming along, if you like, behind a position that Mercedes have been in for a while.' 'I don't think they're in that (Mercedes/Jaguar) club yet.'
Example:
Car clinic qualitative research, Communications Research Ltd., July 1980.
Consumer research and 'product interrogation' with BMW engineers in Germany ('interrogating the product until it confesses to its strengths' is a cornerstone in the WCRS strategic process) identified four core brand values: These values shape all BMW communications, though their expression in advertising has evolved in response to social, economic, environmental and competitive changes.
Figure 2.5: Four Core Brand Values
2.8.1.1 Performance
Has evolved from 'cars which go faster' to 'cars which are rewarding to drive', as pure 060mph acceleration has become less relevant (and socially acceptable) in today's driving conditions.
2.8.1.2 Quality
Has evolved from 'cars which are well made' to 'quality which permeates every aspect of BMW ownership, from initial design through to servicing', as standards of car construction have risen among all manufacturers.
2.8.1.3 Advanced technology
Has evolved from 'the latest technology' to 'the most relevant and thoughtful technology', as other manufacturers-particularly Japanese - have packed their cars with hi-tech gizmos.
2.8.1.4 Exclusivity
The product of these values, has evolved from 'rarity and snob value' to 'values not available elsewhere only BMW could make a car like this', as the number of BMWs seen on the road has increased. The evolution of core values ensured that BMW, the ultimate yuppy driving machine of the 1980s, remains a relevant and socially acceptable brand in the recessionary 1990s.
2.8.2 Sniper Strategy
BMW advertising in Britain is notable for the production of a large number of different advertisements every year. Each ad shows a different aspect of core brand values, aimed at a particular group in the marketplace, hence the term 'sniper' strategy. Research is used to identify particular groups of prospective customers and establish which attributes are most important to them. For example, an ad about quality would help sell a 3 Series to an older man who values this attribute most, while an ad about 3 Series performance would be more attractive to a successful young executive. [17]Since 1979, 253 color advertisements in leisure and weekend magazines, and - more recently - 24 television commercials, all reflecting core values, have created a richer image for BMW in Britain than elsewhere.
This approach is different from other car advertisers, who make fewer advertisements and show each one more often. But BMW cars are not mass-produced, so neither are BMW advertisements.
2.8.3 Centre of Gravity
This concept recognizes that the BMW brand is made up of many models varying dramatically in price and performance but sharing a driving experience that can be identified as BMW.
Figure 2.6: Sales vs Advertising
(Raising the Brand’s Centre of Gravity)
Placing greater advertising emphasis than sales warrant on more advanced models raises the centre (average perception) of the brand higher. This benefits the less expensive models in the range by adding to the intangible desirability of owning a BMW; it militates against hardnosed comparisons of price/specification/performance with 'ordinary' cars. For example, a BMW 316i buyer would currently have to spend an extra £2,000 to match competitive specification, and he could easily choose a faster car at the price but then he would not own 'a BMW'. Many ads have stressed the similarities between the less expensive and more expensive models in the range.
2.8.4 BMW Tone of Voice
The BMW advertising produced over the years by WCRS looks and feels remarkably similar because of its consistent tone of voice. The 'BMW world' is not warm.
There are few humans or signs of humans, because humanity can suggest fallibility, whereas BMWs are shown as precise, cold, technical icons with jewel-like perfection.
The car is the master of each advertisement. The advertising idea is based on facts about the car.
The art direction is a neutral frame in which the idea exists. There are no contrivances to add superficial glamour, such as stately homes, sunsets, or glamorous blondes.
Assumptive wit is used to puncture pomposity and create a feeling of belonging to the 'BMW club' amongst those who enjoy the joke.
These values have been consistent across all BMW communications, creating a campaign that is better known than would be predicted from BMW's relatively modest advertising budget. Since 1980, BMW has spent £91 million on advertising (at MEAL prices), which is a modest sum against sales of £6.3 billion.
2.8.5 Summary of BMW's Advertising Strategy Since 1979
BMW (GB) approached the challenge of trebling sales volume at high margins by using advertising to build the BMW brand. It changed the perception of BMWs from performance cars to a richer view of the brand. This was achieved by advertising additional 'core brand values', and by the 'sniper' strategy of communicating many aspects of BMW values in a large number of advertisements. The Marque's prestige was enhanced by raising the brand's 'centre of gravity' associating the values of top-end.
BMWs with more affordable models. Its consistent tone of voice harnessed the energy of all BMW communications to the overall brand.
What this case shows is that Brand drivers which forms the personality’ of the brand have lead quite logically to the Brand conveyors that transform into executables in communication such as advertising. And it is these Brand Conveyors which have spelt memorability, brand association and success for the brand.
It is important here to quote one of two mistaken views of Marketing according to Kotler[18]; “Marketing is selling. The view that marketing and selling are the same is the most common type of confusion held not only by many members of the public but also by many business people. Selling, of course, is part of marketing, but marketing includes much more than selling. Peter Drucker observed that “the aim of marketing is not make selling superfluous”. What Drucker meant is that marketing’s task is to discover unmet needs and to prepare satisfying solutions. When marketing is very successful, people like the new product, word-of-mouth spreads fast and little selling is necessary. Marketing cannot be equivalent to selling because it starts long before the company has a product. Marketing is the homework that managers undertake to assess needs, measure their extent and intensity, and determine whether a profitable opportunity exists. Selling occurs only after a product is manufactured. Marketing is the homework that managers undertake to assess needs. Measure their extent and intensity, and determine whether a profitable opportunity exists. Selling occurs only after a product is manufactured. Marketing continues throughout the product’s life, trying to find new customers, improve product appeal and performance, learn from product sales results, and manage repeat sales”.
The importance of marketing drawn up by Kotler to ensure a product is sold is the core of the BMW‘s exemplary philosophy. As in the example any new product from BMW automatically is born into a philosophy that has been nurtured and built over the years. The family aura thus envelopes all its products. This cannot be achieved without imagery. According to (Tridib Mazumd,1993) Consumer purchase decisions are often guided by a careful assessment of what benefits they obtain in exchange for the costs they incur to acquire and consume the product. Consumers weigh potential benefits against sacrifices, and this comparison results in perception of value. The higher the perceived value, the greater the consumer's willingness to adopt a new product. Three factors that have direct effects on consumer perceptions of benefit and sacrifice are:
• product class knowledge
• attitude risk
• relative concerns for low price compared with high quality.
Focusing on the concept of value permits a firm to analyze how consumers make the trade-off between the potential benefits and sacrifices of a new product
In particular point 2; attitude risk, deserves special attention. In recent years, academicians (see for example, Monroe, 1990; Zeithaml, 1988) have proposed descriptive models to depict how consumer perceptions of benefits and sacrifice are related to perception of value. Figure 1 is an adaptation of these models to suit a new product context. (Figure 1 omitted) According to Figure 1, consumers assess the potential benefits of a new product as we as the sacrifices to be made in order to derive these benefits. New product benefits may include superior product quality, new features, convenience, or other functional, psychological, and social aspects of the new product that are considered desirable by potential adopters. Sacrifices, on the other hand, include the purchase price of a new product as well as other non-price costs. These costs include both monetary and non-monetary costs that potential adopters may incur to acquire, install, operate and consume the new product. Consumers weigh potential benefits against sacrifices, and this comparison results in perception of value. The higher the perceived value, the greater is consumer willingness to adopt a new product. On the other hand according to (Tridib Mazumd,1993) Intrinsic product attributes. For potential adopters to perceive the benefits of adoption, a new product must offer certain additional need-satisfying properties relative to those offered by the reference product. These properties may include superior technology, quality, design or workmanship. New products may also offer savings or other economic benefits to consumers, including added features and increased convenience. Mere presence of desirable physical attributes in a new product does not, however, guarantee that consumers will perceive their benefits. Consumers' ability to perceive benefits depends on the degree to which the benefits are either observable or can be experienced via trial (i.e. without a decision to adopt) (Rogers, 1983).
The roles of “observability” and "trial ability" in consumer evaluation of the benefits of a new product depend on whether the benefits of the product come primarily from its search, experience or credence attributes (Ford et al, 1988). Search attributes are those pieces of product information which consumers can evaluate via visual inspection of the product (e.g. size of a compact disc or portability of a Sony Walkman) or from external sources of product information (e.g. product test results or information labels). Experience attributes require actual consumption of the product (e.g. aftertaste of a new brand of beer; instant relief promised by a new drug). Finally, credence attributes can be evaluated either after a long period of usage of the product or when the product actually fails to perform (e.g. reliability of an automobile, performance of a mutual fund).
A new product may contain all three types of attributes in varying proportions. For example, the smallness of compact discs is a search attribute, high sound quality an experience attribute, infinite recording life a credence attribute. When the new product benefits come primarily from its search attributes, it is critical that these attributes are clearly observable to consumers. For example, prospective buyers of portable computers must be able to acquire information concerning portability (e.g. size, weight, shape etc.) by visual inspection and/or through other external sources of product information (e.g. product brochures and advertisements). However, when the primary focus of a potential adopter is on experience attributes (e.g. "user-friendliness"), trial will best convey the new product benefits to consumers. Finally, when the emphasis is on credence attributes, or when neither observation nor trial opportunities exist, potential adopters rely on extrinsic cues to infer the relative benefits of the product (Zeithaml, 1988).
Extrinsic cues. Extrinsic cues are those pieces of information that are not physically related to the new product but are nonetheless used by consumers to assess future product performance. Reputation and innovativeness of launching firms, a product's country of origin, expert or reference group opinion, brand names, and product prices are some examples of extrinsic cues. Use of extrinsic cues has become popular, for example, in brand extension strategy where the strong name of the parent brand is used to convey the reputation of quality of the extended brand (Aaker, 1990). Auto manufacturers routinely use the country of origin (e.g. German engineering, Japanese reliability) to emphasize superiority of the new models.
When do potential adopters use extrinsic cues rather than (or in addition to) the physical attributes to infer product benefits? The use of extrinsic cues to infer potential benefits or qualities of a new product are prevalent when:
The potential benefits of a new product are not readily observable from the intrinsic attributes;
• The opportunity to use a product on a trial basis does not exist;
• Potential adopters are interested in those dimensions of benefits of a new product (e.g.
reliability, durability) that are not assessable via observation or trial (i.e. credence attributes);
• Consumers lack the knowledge or technical expertise needed to understand and evaluate the
potential benefits; and
• The perceived risks of product failure, economic loss, and social rejection are high.
According to L. Kuhn Kerri-Ann, Alpert Frank and K. Pope Nigel findings of their research titled ‘An application of Keller’s brand equity model in a B2B context’, Powerful brands create meaningful images in the minds of customers (Keller, 1993). A strong brand image and reputation enhances differentiation and has a positive influence on buying behavior (Gordon et al., 1993; McEnally and de Chernatony, 1999). While the power of branding is widely acknowledged in consumer markets, the nature and importance of branding in industrial markets remains under-researched
According to the authors, Brand equity in consumer and business markets a brand is a bundle of functional, economic and psychological benefits for the end-user (Ambler, 1995). Every brand retains a certain amount of brand equity, defined as the assets or liabilities associated with the brand that add to, or subtract from, the value the product provides (Aaker, 1996). Understandably, this is reflected in buyers’ willingness to pay a premium for a favoured brand in preference to others, recommend it to peers, and give consideration to other company offerings (Hutton, 1997). Different sources of brand equity have been proposed. Aaker (1996), for example, proposes brand awareness, associations, other proprietary assets, perceived quality and loyalty. Often though, there is no distinction made between consumer and industrial brands. The most comprehensive brand equity model available in the literature is Keller’s (1993, 2001, 2003). Keller claims the customer-based brand equity (CBBE) model can be applied in a B2B context, but detailed analysis, a full formal adaptation (such as a redesigned questionnaire), and empirical evidence are not yet available. Brand equity, as defined by Keller (1993), occurs when a brand is known and has some strong, favorable and unique associations in a consumer’s memory. As shown in the Figure, the CBBE model identifies four steps for building a strong brand. In this branding ladder, each step is dependent on successfully achieving the previous – from brand identity to brand meaning, brand responses and finally brand relationships. These steps in turn consist of six brand building blocks – salience, performance, imagery, judgments, feelings and resonance. The ultimate aim is to reach the pinnacle Keller’s brand equity model 41of the CBBE pyramid – resonance – where a completely harmonious relationship exists between customers and the brand. Keller’s (2003) argument is as follows.
Figure 2.7: Keller’s Brand Equity Model
[pic]
The first step in building a strong brand is to ensure the correct brand identity. The purpose is to create an identification of the brand with customers, and an association in their minds with a specific product class or need. To do this, brand salience must exist, which represents aspects of brand awareness and the range of purchase and consumption situations in which the brand comes to mind. The salience building block is therefore made up of two sub-dimensions – need satisfaction and category identification.
2.9 Nation Branding
According to de Vicente Jorge, “STATE BRANDING IN THE 21ST ENTURY”, Master of Arts in Law and Diplomacy, May 2004 the basic concepts in Branding: Brand, Brand Image, Brand Identity and Brand equity applies even to the instances of nation branding. According de Vincent The American Marketing Association defines a brand as a “name, term, sign, symbol, or design, or a combination of them intended to identify the goods and services of one seller or group of sellers and to differentiate them from those of the competition.”3 It follows that just as a brand name may be the only common element linking otherwise unrelated products together, a country name is a symbol that joins together a broader range of products and services. According to Kotler, brands’ purpose is two-fold: i) they serve as a ‘major tool to create product differentiation’ ii) they represent a promise of value.4 From a consumer’s viewpoint, a brand is above all a shortcut to a purchasing decision. Even when differentiation is possible based on product characteristics, consumers often don’t take the time to compare and contrast. As David Arnold suggests, “branding has to do with the way customers perceive and buy things.”5 In this sense, marketers’ typically distinguish three levels in a brand: essence benefits and attributes. The essence of the brand is a single simple value, easily understood and valued by customers. It is the personality of the brand, and the element that is distinctive in the market. The benefits delivered by the brand (emotional, status, image) match the needs and wants of the consumer. Finally, you have the attributes, directly noticeable and tangible characters (colors, shapes, functions, and graphics). Brand image is how a product or service is perceived, whereas brand identity is what the company thinks its product is. The closer the alignment between the two the more successful the brand will be. Brand equity is “the value of a brand based on the extent to which it has high brand loyalty, name awareness, perceived quality, strong brand associations, and other assets such as patents, trademarks, and channel relationships.”6
2.10 Cult Branding
According to [19]Bueno BJ, The Power of Associative Images cannot be underestimated.
The bottom of the airplane illustrated in the Southwest Airlines logo is a red heart. Do you think it's an accident that millions of Southwest passengers perceive the airline to be the “heart in the sky?”
Figure 2.8: Southwest Airlines Logo
The author claims that few marketers understand exactly how important imagery is in connecting to the hearts of their customers. Most marketers want to create imagery that will attract EVERYONE. Simply put, that's impossible: when you try to be all things to all people, you become nothing meaningful to anyone. Imagery will attract certain people and repel others.
Figure 2.9: Apple Figure 2.10: Harley Davidson
|[pic] |[pic] |
Cult Brands like Southwest, Apple, and Harley-Davidson not only realize this, they capitalize on it. The author is vociferous about it and goes on to say “Think about the blazing eagle tattoo of your typical HOG (Harley Owner Group) rally attendee.” Does seeing that image excite you? Or do you think to yourself, “No thanks.” The point is that you’re either a lover of the Harley-Davidson brand, or you’re not. Every image signals to consumers whether or not your brand is especially for them. Open up an L.L. Bean catalog and you’ll be struck with images of outdoor and indoor tranquility, with products on old, wooden docks, people engaging in dialogue by a lake, sitting
on rocking chairs looking out at the trees, or indoors by a roaring
Figure 2.11: L. L. Bean Catalogue fire with a yellow Labrador Retriever nestled on his bed. If you
don’t have an affinity to nature, hiking, and quietude, these images probably won’t speak to you. If you do have a love for what this imagery represents, you may dive into their seasonal catalogs with joy and excitement.
Why do images have so much power? logos and marks are symbols. Symbols are triggers of archetypal images—energy patterns that rest in the unconscious. These primordial images are not personal to each individual, but are aspects of the “collective” of all of us. Eminent Swiss psychoanalyst Dr. Carl Jung highlighted that these archetypal images are the building blocks of thought. These unconscious, archetypal images lay the foundation for the experience customers are going to have with your brand. The images you create in your logos and marks—the symbols—are a signal to the customer of what the brand represents.
In Man and His Symbols, Dr. Jung included an old Volkswagen advertisement with an aerial view of Beetle toy cars forming the shape of the Volkswagen logo. He noted that the advertisement “may have a ‘trigger’ effect on a reader’s mind, stirring unconscious memories of childhood. If these memories are pleasant, the pleasure may be associated (unconsciously) with the product and brand name.”
Indeed, there is a science to connecting to the hearts of our customers. Marketers must find ways to positively influence customers through the use of powerful imagery. Only by understanding the images in our customers’ hearts can we create images that will connect with their minds and drive them to choose us more often than our competitors. A critical power of branding lies in your ability to creatively associate your brand in highly relevant ways to your customers. Your marks, logos, and images have to be associated to a deep aspect of your customers’ hearts. Take time to understand what’s meaningful to your customers—to comprehend what’s in their hearts. Only then can you hope to connect with your customers on a deeper, more meaningful level and create a powerful brand that’s irreplaceable in the hearts and minds of your customers.
2.11 Integrated Brand Model
“Integrated Branding” by F. Joseph LePla and Lynn M. Parker
To get the full benefit of branding, companies must actually live the brands they sell. This approach is called integrated branding and it's not just a communications strategy. Companies must demonstrate to themselves and their customers that its brands are what the company is. The Brand and the company are inseparable, and that realization must pervade the entire organization, from new product development to human resource management. Integrated branding is a way of operating, an overall way of doing business, and a way to make certain a company's products are based on the right answers to two mutually reinforcing questions: What do customers value and what does the company do best in relation to what the customers want? The tools to accomplish these goals are called drivers. LePla and Parker show clearly and comprehensively how drivers work and how to apply them. Not just for marketing directors, strategy planners and executive policy makers will also find this to be an essential resource in their quest to increase market leadership and to enhance the bottom line.
Through their integrated brand model, LePla and Parker discuss both organization drivers and brand drivers. They see the process as a research-driven one that gets everyone in the organization contributing to the effectiveness of its brands.
Figure 2.12: Integrated Brand Model
[pic]
Brand personality is an emotional pact with your consumers. It compliments and reinforces the principle, which acts as a rational agreement. The importance of brand personality is grounded in the concept that we all view products and companies as if they were other people. We imbue them with human attributes and personality. Therefore, it is crucial that you give some thought to what kind of person your brand is behaving like. Saturn Corporation is a good example of one company that uses brand personality as a primary brand driver.
The integrated branding model dictates that your brand acts and behaves in a predictable manner, or according to a routine or pattern. Multiple consumers who have had multiple interactions with your brand will generally tell the same story about their experience.
2.12 Summary of Literature Review
2.12.1 Brand
A brand is a name, term, sign, symbol, or design, or a combination of them, intended to identify the goods or services of one seller or group of sellers and to differentiate them from those of competitors. A brand therefore is a seller’s promise to consistently deliver a specific set of features, benefits, and services to the buyers.
6 levels of Meaning to a Brand (Kotle’s 2000 Highly Influential Model)
• Attributes
• Benefits (Emotional & Functional)
• Values
• Culture
• Personality
• User
The challenge in branding is to develop a deep set of meanings for the brand, the ultimate aim of course is a brand where the user can visualize all of the above mentioned dimensions of the brand. The most enduring meanings of a brand are its values, culture, and personality. Just like with a person, Image conveys all of this.
2.12.2 Brand Equity
Brand equity in consumer and business markets, a brand is a bundle of functional, economic and psychological benefits for the end-user (Ambler, 1995). Understandably, this is reflected in buyers’ willingness to pay a premium for a favored brand in preference to others, recommend it to peers, and give consideration to other company offerings (Hutton, 1997).
In a strong brand, brand value can be more than the company’s total asset.
Example:
Table 2.1: Brand Equity
|Brand |Brand Value |Net Book Value |
|Coca-Cola |$113 bn |$7 bn |
|Microsoft |$380 bn |$41 bn |
|IBM |$199 bn |$21 bn |
|McDonald’s |$35 bn |$8 bn |
Brand equity, as defined by Keller (1993), occurs when a brand is known and has some strong, favorable and unique associations in a consumer’s memory.
The CBBE model identifies four steps for building a strong brand. In this branding ladder, each step is dependent on successfully achieving the previous,
• Brand identity
• Brand meaning
• Brand responses
• Brand relationships
These steps in turn consist of six brand building blocks,
• Salience
• Performance
• Imagery
• Judgments
• Feelings
• Resonance - where a completely harmonious relationship exists between customers and the
brand.
The first step in building a strong brand is to ensure the correct brand identity, which mainly drives through imagery in communication.
2.12.3 Imagery
Imagery is "a mental event involving visualization of a concept or relationship" (Lutz and Lutz 1978), and it has been defined as "...a process...by which...sensory information is represented in working memory" (MacInnis and Price 1987).
The explanatory potential of imagery is both potent and provocative, especially when one takes into account that the forms of mental impressions include all five senses: hearing, touch, taste, smell, and sight. In other words, it is possible for a person to experience a sensory stimulus without the true stimulus ever being present.
2.12.3.1 Why imagery so important…?
• Imagery has ample potential for drawing information stored in long-term memory into working memory. This phenomenon has been called "high elaboration" by MacInnis and Price (1987), and tapping long-term memory is believed to lead to greater communications effectiveness (MacInnis and Jaworski 1989).
• Mental images have potential to be more personally relevant because they are anchored in the person's experience base and generated by his/her own mental processes.
2.12.3.2 Creation of images in the minds
A hologram is a manipulation of light from different sources to create a very realistic, three-dimensional image of a person or object that is not physically present. The study and practice of holograms is called “holography. ””The term “Mental Holography ” was coined by the authors to refer to the creation of images in the minds to enhance communication.
2.12.4 Using Imagery in Communication to enhance Brand Equity
BMW changed the perception of BMWs from performance cars to a richer view of the brand. This was achieved by advertising additional 'core brand values', and by the 'sniper' strategy of communicating, that is many aspects of BMW values in a large number of advertisements. The Marque's prestige was enhanced by raising the brand's 'centre of gravity' associating the values of top-end products.
The BMW communication strategy shows, that Brand drivers which forms the personality’ of the brand have lead quite logically to the Brand conveyors that transform into executables in communication such as advertising. And it is these Brand Conveyors which have spelt memorability, brand association and success for the brand.
2.12.5 Integrated Brand Model
To get the full benefit of branding, companies must actually live the brands they sell. The Brand and the company are inseparable, and that realization must pervade the entire organization, from new product development to human resource management. This approach is called integrated branding. Integrated branding is a way of operating, an overall way of doing business.
Through their integrated brand model, LePla and Parker discuss both organization drivers and brand drivers. They see the process as a research-driven one that gets everyone in the organization contributing to the effectiveness of its brands.
Brand personality is an emotional pact with consumers. It compliments and reinforces the principle, which acts as a rational agreement.
The integrated branding model dictates that the brand acts and behaves in a predictable manner, or according to a routine or pattern. Multiple consumers who have had multiple interactions with the brand will generally tell the same story about their experience.
CHAPTER 3
Conceptualization & Research Methodology
As pointed out in literature review Brand is a strong and clear differentiator, & Brand Equity is a strong intangible asset to the business.
In LePla and Parker’s “Integrated Brand Model” they talk of three levels of branding that define brand.
1. Organization drivers; Mission, Values story
2. Brand drivers; Principle, Personality & associations
3. Brand conveyors; Communication, Positioning, Strategy & Products
What are the positive and negative associations of existing imagery in CSD advertising in Sri Lanka.
3.1 Conceptualization
Figure 3.1: “Integrated Brand Model” of LePla and Parker
The visual elements play a role in the personality and association and Become Brand conveyors.
What is key is that every organization has intrinsic values that become entrenched in its communication. “Integrated Branding” describes three levels of branding; Brand conveyors, brand drivers, and organization drivers that define brands.
Figure 3.2: Conceptual Model
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This conceptual model simplifies the philosophy of the brand. It also provides a framework for any work one is interested in doing on the brand. This model’s three level of activity differs with other models in that this framework permits or takes a route that makes it possible to use it to work towards becoming a brand driven organization. The three layers of organization, drivers, brand drivers, and brand conveyors are in fact individual frameworks that help people work on the brand. In this study we pay attention to the Brand Driver and The Brand Conveyor. The Brand Drivers, are principally Principles, Personality, association etc. whereas Brand conveyors include Communication, positioning, strategy product etc. Radiating from the very centre are the Organizations’ drivers; Mission, Values etc. Imagery, our key focus is elements of Brand conveyors but are controlled by both brand Drivers and Organizational drivers.
3.2 Operationalization
Brand = f ( Bconveyor+ Bdrivers+Odrivers)
Where Bconveryor= f(C+S+P)
Where;
Bconveyor = Brand Conveyors
Bdrivers = Brand Drivers
Odrivers = Organizational Drivers
And C = Communication
S = Strategy
P = Product
Table 3.1: Concept, Variable and its Indicators
|Concept |Variable |Necessary Indicators |
|Communication |TV Commercials |• Fun |
| | |• Music |
| | |• Ambassadors |
| | |• Actors and models |
| | |• Storyline |
| | |• Visual |
Given the previous operationalization it is clear that the Brand is guided in its formation as an idea in the mind of the consumer by the three functions of Brand conveyors, Brand Drivers and Organization Drivers. Moreover, Imagery makes its impact from within the layer of Brand conveyor where communication is employed. As a result the influence of imagery on the brand exists and that consumer perceptions of the brand are therefore guided by the imagery, among other things.
Brand Perceptions are Determined by Imagery in Communication;
Where IMAGERY is an Inherent Component of Communication.
3.3 Sampling
Sampling for this research is always random and in the instance of the Qualitative component. The sample would be drawn on a Randomly to form a Stratified sample.
In the instance of the quantitative study the sample is random. With the use of a random number table the researcher will draw a random sample.
3.4 Primary Data
Primary data will be gathered in two phases. The first in the qualitative phase where group discussions will be employed. In the second phase the administration of an quantitative study, a questionnaire will be administered to a random sample of respondents.
3.5 Secondary Data
Access to secondary data will be from publications of the Census and statistics department from which General demographic data would be collected. This would be complemented by any information/data available from the Central bank of Sri Lanka. In particular in a Joint initiative between LMRB[20] and AC Nielson, The Latter has installed and established a people meter live TV ratings system.
Sourced from both main competitors in the CSD category and Monitoring institutions such as AC Nielsen’s.
3.6 Data Analysis
3.6.1 Qualitative
Group discussions will be recorded and then transcribed and translated Where relevant for manual analysis by the researcher.
3.6.2 Quantitative
The data collected will be analyzed with the use of Microsoft Excel and SPSS version 10. The researcher will use tools on a case by case basis.
3.7 Methodology
The methodology will be two layered and is as follows;
3.7.1 Stage 1: Identification of Critical Visual Cues
This will be carried out through a guided discussion with two groups. Individuals for the group will be selected randomly. Strata will be predefined and participants will be selected for each stratum. The size of the group will not exceed 12. The group will be shown several TV commercials for several brands in the CSD category for their views and comments and discussion. This group will also help understand the link between personality and visual cue.
3.7.2 Stage 2: Quantification
These findings will then help devise a quantitative study to determine the importance of each of the critical visual cues as well critical factors of personality and their link to visual cues. The sample will be a stratified random sample. The sample size will be a minimum of 40.
CHAPTER 4
Data Analysis and Presentation
4.1 Analysis 1 : The Qualitative Component
Qualitative analysis to determine the critical factors.
This involved group discussions, guided to understand the critical elements in the evaluation of a commercial in the mind of the consumer.
Two group discussions were held and selection of each individual participant was carried out according to the following;
4.1.1 Stratification
The sample strata are as follows:
Table 4.1: The Sample Strata for Qualitative Study
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Each constituents from a cell were drawn from a random district drawn through lots. Field executives on the ground carried out the recruitment and brought group participants to Colombo for discussion.
4.1.2 Group Discussions
4.1.2.1 The groups were first brought to Colombo and then assembled at a community centre hall where the participants were shown several commercials for Carbonated Soft Drinks.
4.1.2.2 Discussion progress / guide - The group was allowed to gel by virtue of identifying each other and the facilitator ensured that each person was identified by name (vy virtue of a name card) and their respective places of origin articulated. Thereafter this group was shown three commercials namely;
• Bhathiya and Santhush (Happiness - Jeevithe Mal..)
• Coke Happiness Factory
• Coke Partnership with Sangakkara and Mahela Jayewardena
• EGB Anarkali ( Elephant House Ginger Beer)
• Necto Kids
• Elephant House Cream Soda
4.1.2.3 Thereafter the discussion was guided on the following lines which drives the imageries of the TV Ads;
• Fun
• Music
• Ambassadors
• Actors and models
• Storyline
• Visual
4.1.2.4 Henceforth in this report the responses from both groups have been amalgamated for ease of reporting. Reference to ‘group’ actually refers to both group’s response consolidated into one.
4.1.3 Analysis of Imagery Elements
4.1.3.1 Fun
With regard to the ‘Bathiya and Santhush’ commercial
The general response was that soft drink manufacturers in general and in particular all three commercials harped on fun. They loved the fact that all of them cheered them up. The situations could be silly, realistic or even fictitious, but the overall feel of the atmosphere was one of festivity and fun.
• With regard to the Coke ‘Happiness Factory’ commercial
Overall mythical situation of the story is an element that the respondents loved. The uniqueness of the character added to the mystical nature of the situation. They loved the fact that the fictitious storyline attempted to casually lend a hand towards a fictitious sense of rationalism for every element of the coke’s attributes.
• With regard to the ‘Coke Partnership with Sangakkar and Mahela Jayewardena’
Sadly the groups felt the fun element was missing. They noted the fact that the commercial did in fact try to project an element of fun, but it failed on this score. The fun element, was missing. The respondents felt that it was more clear endorsement than anything else and thus even lost the element of memorability. The respondents also noted that people are used to seeing Kumar Sangakkara and Mahela Jayewardena in cricketing gear, so though the more relaxed atmosphere in the commercial was classier, relating visually to the two ambassadors in casuals seemed a bit tasking.
Also several in the group suggested that it might be difficult to associate Mahela with ‘Fun’ since he is rather serious on the field. Somehow his character did not blend with fun. The group also felt that in his mannerism and speech, Mahela Jayewardena was difficult to fit into the fun BOX.
• With regard to the ‘EGB Anarkali’
The respondents believed that there was intended fun. However the fun element did not come through in the story. The respondents felt that that the story was more on a cartoon look and feel. They found the lack of fun in the commercial a big disappointment.
• With regard to ‘Necto Kids’
The respondents liked this commercial. They loved the fact that lots of kids were involved. They loved the fact that new acts were added on. The kids did things that ordinary kids would not. The acrobatics, the dancing the moves seemed new and interesting. Some respondents felt that it might lead to other kids attempting the same moves and cautioned that there might be an element of danger attached to these moves. All respondents were of the opinion that the commercial was memorable due to the fun element incorporated.
• With regard to EH Cream Soda ( band)
This is one commercial that was all fun. The respondents found the commercial to be memorable and found the fun to be slightly exaggerated but believable. They loved the whole atmosphere from the tiredness to the pep to the music.
4.1.3.2 Music
The responded loved the music. They preferred some music over other but they noted they could sometimes identify the brand from the music.
Sonic Branding: In particular with reference to the Elephant House, Cream soda commercial, the respondents key elements of sonic branding. They identified the tune of the school band with ‘Cream Soda’. What is key here is that the tune is original and hence it provided differentiation in terms of music proper. The situation of the band in the changing room was also very real and the pepping up from a totally exhausted and demoralized team to a totally fun filled, carefree lot totally engrossed in the moment came through beautifully. Respondents claimed that the whole commercial had a way about it that the viewer was unknowingly dragged into to participate.
• With regard to the ‘Bathiya and Santhush’ commercial
These respondents felt that the music was almost in the background though as they explained the music formed the core of the moves. They did not see the music taking over the commercial in any serious fashion and in fact noted that the music was a step below the visual. The visual elements in this commercial kept step with the visual. ‘The music was silently commandeering’ is the best way to express the responses.
• With regard to the Coke ‘Happiness Factory’ commercial
Interestingly the first thing that most respondents noted and agreed upon is that the music was so unique that they could identify it with the brand even from a different room. The story, the characters and the music lend a magnificent futuristic reality to each of the attributes. ‘The music is so memorable that by just listening to it, you could live the commercial’, they found the music truly in a different class and said this is the closest a commercial had got to the Cream soda commercial in terms of sonic branding.
• With regard to the ‘Coke Partnership with Sangakkar and Mahela Jayewardena’
The respondents opined that the music element was lacking in this commercial. In particular it did not have the coke music feel. In particular many respondents claimed they could not remember the music. The memorability element was missing.
• With regard to the ‘EGB Anarkali’
The respondents found the music to be disappointing. There was no memorability component and the music was virtually non-existent. The Elephant House brand though not known specifically for music should have employed a better musical score was something that all respondents agreed on.
• With regard to the ‘Necto Kids’
The music, the respondents said was fresh and novel. However, one worry was that it did not leave an impression. The commercial was memorable but the music as s tune was not. This was confirmed by many of the respondents who claimed they could not recall the music.
• With regard to ‘EH Cream Soda (Band)’
The respondents loved the appropriateness of the music. They found it peppy and memorable. It isn’t a great musical score they said, but it was appropriate, believable and unique. They said the best part of the commercial was the music and said many identified the commercial from the music.
4.1.3.3 Ambassadors
• With regard to the ‘Bathiya and Santhush’ commercial
Bhathiya and Santhush, the musical duo that revolutionized music introducing a new brand of fusion and hip hop have been associated with Coca-Cola for some time. The respondents felt that the duo also known to their fans as B&S were in their elements in the commercial. Respondents identified each of the two, Bhathiya and Santhush and stated that they saw Bhathiya and Santhush as Santhush separately and together in the commercial. They also noted that even though Bhathiya and Santhush were brand ambassadors for other brands in other categories, they found no difficulty in identifying them as Coke ambassadors. The respondents in the group felt that though ground braking innovators, B&S were both quite dependable looking. Coke too they said is dependable. They found the two ambassadors to be young and responsible, a quality they associated with the brand Coke. What the respondents did mention is that coke was a brand in perpetual youth. Their concern was that B&S has for the better part managed to stay youthful, but the question they asked is whether they are tethering at the edge. They expressed their fear of this issue but also noted that their success or failure in the music proper market will surely determine how long they will fit so beautifully with the Coke personality.
• With regard to the Coke ‘Happiness Factory’ commercial
The respondents loved the fact that there seemed to be a social structure amongst the characters. Hence they identified not any single character but the whole population of characters with the brand. Again respondents were acclaimed the emorability of the commercial. The characters were said to represent ordinary people. And respondents loved the social structures prevalent in the little scenes. Those giving orders, the factory worker.. so on and so forth. It was a futuristic, mythical and believable world...One word associated with the commercial ‘ KOOL..!’
• With regard to the ‘Coke Partnership with Sangakkar and Mahela Jayewardena’
In this instance Both Kumar Sangakkara and Mahela Jayewardena play the roles of ambassadors. The respondents were of the opinion that both of them did not make the commercial doubly better. For instance the commercial failed to bring out the best of both. The respondents claimed that the two appeared friends on and off the field but the commercial somehow did not bring that through as well as expected. The respondents also claimed they did not know how that could have been done but noted that this should have been the case.
• With regard to the ‘EGB Anarkali’
The respondents did agree that the main actress in the commercial was popular but she did not have a personality of note associated with her. Therefore it was difficult to even call her a EGB ambassador, the respondents surmised. The respondents felt that the main personality, whether popular or not should be an ambassador in the case of the EGB commercial as this brand has been in existence for a long time and also because this brand does have personality. From the darker bottle which identifies it anywhere to the more adult nature of the brand. Also for many years now it has been associated with food/ meals.
• With regard to the ‘Necto Kids’
The absence of famous names in the commercial was considered a positive. Ordinary kids performed extraordinary feats. The ordinary kid was seen and the kids were recognized as a group, in totality according to the respondents. In other words that commercial the respondents said, did not require brand ambassadors and by doing that the viewer concentrated on the commercial and not on any single individual.
• With regard to ‘EH Cream Soda (Band)’
No great names, just ordinary kids in a band. This was good. And the numbers in the commercial made it very believable. This was a good commercial when it came to the personalities. Each individual acted their part well. The whole thing was strung together according to the respondents and the acting was super. They loved the dance component too.
4.1.3.4 Actors and Models
• With regard to the ‘Bathiya and Santhush’ commercial
In analyzing the Coca-Cola commercial the respondents duly noted that the models and actors not only played to their strengths but that they actually did reasonable levels of acting. None of the respondents found any flaws with the acting or the actors or the models.
• With regard to the Coke ‘Happiness Factory’ commercial
The animations were of such high quality the respondents admitted the expressions in general and individual expressions were almost human. This they say added to the memorability factor.
• With regard to the ‘Coke Partnership with Sangakkar and Mahela Jayewardena’
The respondents felt that the quality of acting in this instance was very poor. The respondents felt that even though as ambassadors the commercial attempted to project the two; Mahela and Kumar as friends in a fairly natural environment, the performance was poor.
• With regard to the ‘EGB Anarkali’
There was universal agreement that the main actress in this commercial was a poor actor. Perhaps she ca be considered a model, said most of the respondents, but the biggest issue with this commercial is the poor level of acting and over exaggeration. The respondents also said that the storyline was very poor and that would be the principal cause for the lack of memorability and the poor and exaggerated acting as the flow in the storyline was flawed and not at all smooth.
• With regard to the ‘Necto Kids’
The respondents felt that there was a bit of over acting on the part of the adults but the respondents loved the performance of the kids. They loved the expressions on their faces and thought that the group of kids acted very well. In particular they commended their dancing and the special moves were quite neat according to most respondents.
• With regard to ‘EH Cream Soda (Band)’
The models were good the respondents said. And their acting super. The exaggerations were warranted and the whole thing was one smooth act. It’s a simple situation so it was all up to the actors and the music according to the respondents.
4.1.3.5 Storyline
• With regard to ‘B&S - Happiness’
The storyline was based on a single Sinhala phrase/expression/idiom ‘Jeevithe Mal’ translated ‘life is flowers.’
• With regard to the coke ‘Happiness Factory’ commercial
The storyline’s futuristic feel was great.. the fact that it was up there in the sky gave it an inexplicable status. It came from high above, each bottle was cared for individually with a lot of dedication, each attribute is injected into the brand so to speak and the fact that there is a whole sort of nation out there to so caringly put out each of those coke bottles came through beautifully.
• With regard to the ‘Coke Partnership with Sangakkar and Mahela Jayewardena’
The respondents noted that every time the commercial started they could not remember how it would go… so in a sense the storyline was fresh every time but the flip side of the coin, they noted was that you tended to forget it the moment you finished seeing it.
• With regard to the ‘EGB Anarkali’
There was universal agreement that the storyline did not even merit discussion. Very shoddy said some of the respondents and it had a mismatch with the age group. The storyline, according to the respondents would have suited a younger or teenage setting but these actors were in there early/mid twenties and the storyline suddenly became a joke. A very poor story and even poorer acting made this commercial truly weak.
• With regard to the ‘Necto Kids’
Simple and well executed according to the respondents. The respondents were universally in agreement that the storyline was simple one and for the moment. They agreed that this was well executed as well as kept very tight they said. As they explained, the commercial kept you interested all the way. To add to that this was very believable.
• With regard to ‘EH Cream Soda (Band)’
The cream soda commercial was a simple story. It was believable and kids and adults alike could relate to it. This was the winner, according to the respondents. The reasonable storyline as a base and then good music and powerful acting made the whole thing perfect. In fact the respondents claimed that out of all the commercials they remembered this uniquely the most.
4.1.3.6 Visual
• With regard to the ‘Bathiya and Santhush’ commercial
The whole visual feel is managed. The respondents felt the theme came out beautifully and the visual expression was embedded in all of the incidents in the commercial. They loved the careful use of the red and the animations were very well done, the respondents felt. Overall the way in which the characters were followed around were very engaging. It gives the viewer a participatory feel. The whole thing was believable though un-believable is one of the comments that were brought out.
• With regard to the Coke ‘Happiness Factory’ commercial
One can virtually feel the wind in the air.. one can virtually feel the bottle freezing/ cooling said the respondents. Visual management really projected the atmosphere in a livable format. ‘you can feel the ice’ said several respondents.
• With regard to the ‘Coke Partnership with Sangakkar and Mahela Jayewardena’
With regard to the visual elements the respondents found the environment of the setting to be believable. It was not exceptional and lacked any memorable props.
• With regard to the ‘EGB Anarkali’
The visual props were nothing spectacular said the correspondents. Moreover, the setting also seemed artificial. The respondents however remembered that the setting was something of an apartment and said that this was difficult to relate to because most Sri Lankans did not live in apartments. Overall visual component was not really commented on.
• With regard to the ‘Necto Kids’
The commercial captured the essence of the moment and kept the brand alive right across. The colors, the production values, the direction was very good the respondents said. The respondents agreed that the choice of the kids was also very good. Each with their own individual special moves added well to the combined performance of the group.
Respondents liked the commercial and said their own kids and family found it a memorable one. In fact much talked about.
• With regard to ‘EH Cream Soda (Band)’
The visuals were fantastic according to the respondents. The color themes, with respect to the clothes the area were very much within the brand image. Adding the music and storyline to this the commercial embedded all the key attributes of the brand into the commercial, according to the respondents. The respondents loved the visual aspects of this commercial. But the music they said blended well.
8 Other Key General Remarks Made by the Respondents
Respondents also noted that they did not see a single factor standing on its own as the key to a commercial. Rather it should have all of these components. However from the group we also asked them to rank the importance of these factors. They were in the following order;
• Storyline
• Acting
• Visual
• Music
• Fun
• Ambassadors
The general reasoning for this order of merit was again consolidated and is presented below.
4.1.3.7.1 Storyline - The storyline was universally accepted as the most important component. Respondents said that without a storyline nothing would be memorable. The storyline is that which captures the heart and mind for the viewer. They loved commercials with a storyline. It is that which they remember. Everything else is secondary. The importance of the storyline is therefore so important they said. They cited the Bhathiya and Santhush Jeevithe Mal commercial at the best extreme and the Coca-Cola partnership with Mahela and Kumar Sangakkara at another, in support of these sentiments.
4.1.3.7.2Acting - In this respect they said that after the storyline acting makes is the only thing that is necessary after a good storyline. This can make or break a commercial. Citing the EGB commercial with Anarkali the respondents sported that the storyline may have had merit on paper. But the execution was a flop due to the inability of the actor and director to bring out the story through the actors. They stressed the importance of seeing acting as against seeing beautiful people. They even cited instances of commercials being produced with good but not so great looking actors.
4.1.3.7.3 Visual - The visual binds the whole commercial to the brand the respondents cited. The respondents believed that this was important as the key brand attributes that can be visually brought to screen need to be done from as early on in the commercial as possible. As a worst case scenario the respondents cited the EGB commercial with Anarkali. The brand took a long time to appear onscreen and even then it was for a short while. However, some respondents felt that displaying the brand at the end would have been ok had the storyline been very strong and the climax of the story had been the brand. The color themes were not utilized in the instance of the GB commercial and the strength of the storyline questionable according to the groups. They felt that coke’s usage of the color and the happiness attribute right through the commercial was testimony to the priority they attribute the visual elements of the commercial in the hierarchy of critical factors.
4.1.3.7.4 Music - The group was unanimous with music. Music was the binder and the bonus. A good musical score that was unique did everything for the brand and commercial. In this instance the respondents cited the Elephant House Cream soda commercial. The theme was unique and the tune is almost synonymous of the cream soda advertisement. This they said was the best execution of music they have seen. However, the Jeevithe Mal score though not too memorable did the trick for the commercial. The theme was appropriate and supported the other elements with great balance and harmony. Though it did no stand out the support from the musical score was appropriate.
4.1.3.7.5 Fun - This, the respondents said was based on the storyline and the acting. One could not infuse fun in any other way. So it was more of derivative that anything else and hence the fun element was in the penultimate position.
4.1.3.7.6 Ambassadors - This criterion occupies the last position in terms of importance. It is clear according to the respondents that ambassadors can only add to the equity or overall strength of a commercial if and only if the rest of the elements are present. The importance’s of ambassadors are minimal. But the choice has to be made with great care, according to the respondents. They cited the EGB commercial with Anarkali as a flop in this respect. Along with this they cited the Partnership commercial from Coca-Cola which though not entirely a flop was not at all memorable. The point that the respondents made was that the ambassadors can only add that cherry on the icing, they cannot make up for any of the other elements detailed above.
4.1.3.7.7 Important note - It should be noted that the discussion manager did not guide the discussion under these heads but rather the results were grouped under these headings for ease of reporting. From this grouping it is also clear that the headings actually constitute the critical factors that the respondents considered when viewing a commercial.
9 Summary of Group Discussion Findings
The table below provides a summary of the key attributes of the commercials according to the respondents in the group. The table details the key attributes as the main attributes in the commercials under review.
The respondents having viewed and analyzed all the commercials under review detailed the previous comments. From this it is clear that the following are the critical areas of a commercial. Namely;
Table 4.2: Main Attributes in the Commercials Under Review
| |Fun |Music |Ambassadors |Acting |Story line |Visual |
|Bhathiya and Santhush (Happiness - |Yes |Yes |Yes |Yes | |Yes |
|Jeevithe Mal..) | | | | | | |
|Coke Happiness Factory |Yes |Yes | |Yes |Yes |Yes |
|Coke Partnership with Sangakkar and| | |Yes | | | |
|Mahela Jayewardena | | | | | | |
|EGB Anarkali (Elephant House Ginger| | |Yes | | | |
|Beer) | | | | | | |
|Necto Kids |Yes |Yes | |Yes |Yes |Yes |
|Elephant House Cream Soda |Yes |Yes |Yes |Yes |Yes |Yes |
4.1.4.1 Fun
This research has determined that viewers expect an element of fun in a commercial in this category. This was key to the success of the commercial. Along those lacking fun were two commercials including the EGB commercial and the coke partnership with Kumar Sangakkara and Mahela Jayewardena. These commercials were not only not popular amongst the majority of our respondents , they were only tolerated and memorability was questionable. On the other hand The Elephant House Cream soda commercial rode on fun as did the Necto kids.
4.1.4.2 Music
All respondents looked for an underlying musical score. They commended the EH cream soda highly with Coca-Cola’s Jeevithe Mal as second. Both of which had a tune that was not only original but consequently memorable. The Necto commercial’s tune or underlying musical score could not be recalled by the respondents but what they did say is that they do remember liking it and in this case the music bound the whole commercial together.
4.1.4.3 Ambassadors
In summary respondents in both groups were of the opinion that ambassadors were necessary but that unless they were used wisely the whole commercial would be a no starter. All respondents cited the EGB commercial as one. They cited that ANARKALI the main actress in the commercial was well known but due to a poor storyline, unbelievability, poor acting and rather haphazard and somewhat arrogant execution the commercial lost its intended viewer.
4.1.4.4 Acting
Acting is a very important element. The respondents in fact cited commercials outside those under review and noted how memorable they were. In retrospect it is clear that acting as against modeling plays a huge role in the definitive success of a commercial in memorability and message communication terms. The commercials with a well acted out execution were those remembered. Among those the Bhathiya and Santhush, Jeevithe Mal, Necto kids and the Elephant House Cream Soda commercial came out tops.
As one respondent remarked, if you don’t act then you end up with commercials like EGB, with reference to the commercial under review. Whilst another said that they couldn’t even remember the storyline in the Kumar Sangakkara and Mahela Jayewardena based coke partnership commercial. Here again though ambassadors were used and personalities of very high standing the fact that acting was lacking made a remarkable difference to the memorability of the commercial.
4.1.4.5 Storyline
It is clear from the discussions that the importance of the storyline cannot be underestimated. The importance of the storyline is that without it there is virtually no commercial according to the group. It is important to the viewer as much as it is to the people whose brand is being shown, said the respondents. The strength of the good ones lies here. The weakness of the Coca-Cola partnership commercial with Sangakkara and Mahela Jayewardene was here according to the respondents and so was the case with the Elephant House Anarkali commercial.
4.1.4.6 Visual
The visual effects provide the brand to maintain harmony across the commercial in keeping with brand attributes. This is where the whole visual delivery can be managed to ensure the brand is remembered. Some commercials have it well while others ignore it completely. The Elephant House EGB commercial according to the respondents was one instance where this was completely ignored while the coke mal commercial is one where all was well. From beginning to end the visual elements shouted out Coca-Cola. This one was really good according to the respondents. But most importantly the respondents maintained that the final visual take is not just the part we see but the commercial proper with all of its delivery. So in other words.. The visual elements were founded on the storyline, supported with good acting and sealed with a good musical score, according to the respondents.
4.1.5 KEY FINDINGS
Moving From Execution Cut Through’s to Branded Cut Through’s
It is clear from the above that the critical factors that came through from the group discussions were really the execution cut through’s of the category. It is also clear from the group discussions that the respondent expects a certain level of commitment and delivery from a Carbonated Soft Drinks commercial. Finally the respondents independently talking about a commercial and a specific commercial associated certain attributes to them, which obviously mean that successful commercials were able to achieve branded cut through even if the cut through came from among the standard set of execution cut through’s. Specifically the visual effects of coke, the music in the cream soda commercial etc.
So in effect the so termed ‘Visual’ element results in a branded Cut through.
4.2 Analysis 2 : The Quantitative Study
4.2.1 The Methodology
A sample of 40 respondents were selected from the Western Province of Colombo, this includes the districts of Colombo, Kalutara and Gampaha.
The selection was random and the respondents needed to be between the ages of 13-35 years of age.
Profile of respondents: Age distribution of Respondents
Table 4.3: Age Distribution of Respondents
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The graph below shows the ages of all the respondents in the sample. All respondents were from the Western province of the island and the questionnaire was administered in English or Sinhala according to the preferences of the group. The average is indicated by the red line and respondents fell well within the age groups with a mean of 20.5 which was right about the half way mark. There were a few in early teens and a few in their 30’s. The standard deviation of 4 years means that distribution is quite well kept around the mean. The minimum and maximum ages indicate that the sample fell within the stipulated boundaries. The age of the respondent was important as the consumption of CSD’s generally fell as the age of any individual increased.
Figure 4.1: Age Distribution
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4.1.1.1 Gender Split
Table 4.4: Gender Split
| |Male |female |
|Average |20 |20 |
|Minimum |13 |13 |
|Maximum |35 |33 |
|St. Dev. |4.96 |4.78 |
|N |20 |20 |
The gender split of the sample was kept even. The random sample is near perfect with a matching minimum age and a close Maximum. The average is spot on at a 20 years and the standard deviation is only slightly different as would be expected. In demographic terms this sample is not biased gender wise. In terms of age or place of origin which generally determine the socio-economic backgrounds as well as the exposure or opportunity to view Television is similar for all respondents.
2 Education
All respondents have passed the General certificate of Education, Ordinary level and 25 have also passed the General certificate of Education, Advanced level with 5 of the respondents having received a first degree and 3 others on their way to receiving a first degree. These levels ensured that these respondents were able to articulate themselves. On the other hand their backgrounds also reflected wider opinion and were able to, where appropriate talk of the sentiments of the general populace.
4.1.1.3 Television Viewing
All respondents watched TV the previous day. The question was simple and the study being carried out over a period of 7 days ensured that respondents had watched TV across a full week including a Saturday and Sunday. By having chosen the Western Province for the selection of the sample the reception issues of all major channels were also ensured.
Question : Can you name 5 TV Commercials
Table 4.5: Best Recalled TV Commercials
| |Count |% |
|Bhathiya and Santhush (Happiness - Jeevithe Mal..) |40 |100% |
|Coke Happiness Factory |30 |75% |
|Coke Partnership with Sangakkara and Mahela Jayewardena |25 |63% |
|EGB Anarkali ( Elephant House Ginger Beer) |33 |83% |
|Necto Kids |28 |70% |
|Elephant House Cream Soda |40 |100% |
|Total |40 |100% |
Figure 4.2: CSD Ads Recall Comparison
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The level of intensity with which The Carbonated Soft Drinks manufacturer has been advertising is evident from the responses to this question. Also the importance of this category is highlighted here. Most importantly the recall of the commercials is very high. This is somewhat in keeping with the findings of the qualitative study. However it should be noted here that commercials such as the Elephant House Cream soda commercial has been aired for many years. Therefore when comparing the Coca-Cola commercial with Bathiya and Santhush and then the Elephant House Cream Soda commercial the Coca-Cola commercial has done the virtually impossible. Having only been released recently it was able to achieve universal recall from a randomly selected sample. On the other hand the partnership commercial from Coca-Cola which is older than the other has not been able to achieve the memorability that the Jeevithe Mal commercial.
Question : Name 5 TV commercials.
Figure 4.3: Top 5 Categories Recalled Commercials
[pic]
As can be seen from the chart above recalled commercials were categorized and tabulated. The most recalled commercials were from the Telecom and Carbonated Soft Drinks categories. While the insurance and baby products came next. Since the sample is not a huge one and stratification was not possible one is required to take the equal numbers subjectively. A bigger sample may not have yielded the exact results. However the relative importance in terms of recall cannot be ignored. Both Telecom and CSD advertisers have in fact advertised heavily due to competition. And interestingly both groups target teenagers, youth and young adults. These two categories also have used similar themes and perhaps even similar execution cut through such as music and fun. Therefore the fact that the respondents recalled commercials in these two categories is very real and likely.
2 The Overall Importance of the Selected Elements
Table 4.6: The Overall Importance of Selected Elements
| |# of Strikes |% |
|Not Important |12 |5% |
|May be Important |35 |15% |
|Important |43 |18% |
|Very Important |93 |39% |
|Extremely Important |57 |24% |
|Total |240 |100% |
Total Strikes 240 = 6 Elements X 40 Respondents
Figure 4.4: The Overall Importance of Selected Elements
[pic]
The selected Elements at the focus group discussion were proven at the Quantitative study.
Only a score of 5% were scored by the level “Not Important” from the total strikes of 240. Over 50% strikes were over & above “very important” level
3 The Importance of Element “Music”
Table 4.7: The Importance of “Music”
| |Not Important |May be |Important |Very Important |Extremely |Number of |Weighted |
| | |Important | | |Important |Responses |Average |
| |1 |2 |3 |4 |5 | | |
|Music |0 |1 |3 |27 |9 |40 |4.1 |
|% |0% |3% |8% |68% |23% |100% | |
Figure 4.5: The Importance of “Music”
[pic]
The importance of Music is clearly indicated here. The weighted average score of 4.1 is a clear indication that respondents overall rated it above a level of importance over, ‘Very important’. Moreover, With the Audio visual medium it is only fair that Music plays a huge role. Concepts such as sonic branding gaining ground ever since the Walls ice cream advertising experiment, many others have attempted to own music for their brands. Whilst many of these commercials had upbeat musical tracks accompanying the storyline the importance of the music element has been supported here by most respondents. It is also noteworthy that none of the respondents said that the music was ‘not important’
4 The Importance of Element “Fun”
Table 4.8: The Importance of “Fun”
| |Not Important |May be |Important |Very Important |Extremely |Number of |Weighted |
| | |Important | | |Important |Responses |Average |
|Fun |5 |2 |6 |18 |9 |40 |3.6 |
|% |13% |5% |15% |45% |23% |100% | |
Figure 4.6: The Importance of “Fun”
[pic]
The Fun element appears to be not too important though its weighted average ranks it slightly above neutrality and below very important. 13% of respondents feel the “Fun” element is Not Important at all. From an analytical perspective, Fun is not the only element that creates a good commercial. So these responses are quite correct in articulating that while ‘fun’ as a proposition might have merit, it certainly is not the most important criterion here. The weighted average of 3.6 takes the overall average response to the area of Very important.
5 The Importance of Element “Storyline”
Table 4.9: The Importance of “Storyline”
| |Not Important |May be |Important |Very Important |Extremely |Number of |Weighted |
| | |Important | | |Important |Responses |Average |
|Storyline |0 |2 |6 |18 |14 |40 |4.1 |
|% |0% |5% |15% |45% |35% |100% | |
The storyline’s importance is enshrined in the fact that all respondents found this to be important. It is only the level of importance that differed. The Weighted average score of 4.1 places the answers between very important and extremely important. Which presumably is an acceptable reading.
Figure 4.7: The Importance of “Storyline”
[pic]
4.2.6 The Importance of Element “Ambassadors”
Table 4.10: The Importance of “Ambassadors”
| |Not Important |May be |Important |Very Important |Extremely |Number of |Weighted |
| | |Important | | |Important |Responses |Average |
|Ambassadors |7 |12 |18 |1 |2 |40 |2.5 |
|% |18% |30% |45% |3% |5% |100% | |
Figure 4.8: The Importance of “Ambassadors”
[pic]
With regard to the use or employment of brand ambassadors, the respondents were fragmented. With 18% of the respondents finding the use of ambassadors ‘Not Important’ and 30% finding Ambassadors ‘Maybe important’ with the largest group of 45% of the respondents finding them Important. The point here is that there is a lack of s skew towards the extreme levels of importance’s.
6 The Importance of Element “Acting”
Table 4.11: The Importance of “Acting”
| |Not Important |May be |Important |Very Important |Extremely |Number of |Weighted |
| | |Important | | |Important |Responses |Average |
|Acting |0 |6 |0 |18 |16 |40 |4.1 |
|% |0% |15% |0% |45% |40% |100% | |
Figure 4.9: The Importance of “Acting”
[pic]
Respondents have definitely responded in the affirmative. With 85% in total answering in the Very important to Extremely Important zone. The 15% of the respondents who find Acting ‘May be important’ elicit is also a possibility. The industry is full of commercials with mere models who do engage in acting. However, commercials with actors or models with acting ability have always managed to maintain awareness of commercial and hence product for longer duration as is the case in Sri Lanka.
7 The Importance of Element “Visual”
Table 4.12: The Importance of “Visual”
| |Not Important |May be |Important |Very Important |Extremely |Number of |Weighted |
| | |Important | | |Important |Responses |Average |
|Visual |0 |12 |10 |11 |7 |40 |3.3 |
|% |0% |30% |25% |28% |18% |100% | |
Figure 4.10: The Importance of “Visual”
[pic]
The “Visual” aspects of the commercial are always important. It is however interesting to find respondents who are undecided about the importance of the “Visual” aspects of the commercial. Apart from the 30% with uncertainty on the level of importance all other respondents have demonstrated the importance of the “Visual” component of the commercial. Furthermore, not a single respondent feel the “Visual” component is not important
8 “Extremely Important” Elements
Table 4.13: “Extremely Important” Elements
| |# of strikes |% |
|Music |9 |16% |
|Fun |9 |16% |
|Storyline |14 |25% |
|Ambassadors |2 |4% |
|Acting |16 |28% |
|Visual |7 |12% |
|Total |57 |100% |
Figure 4.11: “Extremely Important” Elements
[pic]
When compared the elements, “Extremely Important” elements are “Acting” and “Storyline”. The element “Acting has scored highest with 28% yet “Ambassadors” scored only 4%, which indicates more than one who is acting the way they are acting is more important in this category.
9 “Very Important” Elements
Table 4.14: “Very Important” Elements
| |# of strikes |% |
|Music |27 |29% |
|Fun |18 |19% |
|Storyline |18 |19% |
|Ambassadors |1 |1% |
|Acting |18 |19% |
|Visual |11 |12% |
|Total |93 |100% |
The element “Music” scored highest (29% from 93 respondents) in the “very important” category. As pointed out in the qualitative section “Music” helps a lot in terms of registering the Ad or Brand in the minds of consumers.
The Ambassadors element scored only 1%.
Considering the both “important” & “extremely important” charts the “Acting”, Storyline” and “Music” elements are greatly important on CSD advertising
Figure 4.12: “Very Important” Elements
[pic]
10 “Important” Elements
Table 4.15: “Important” Elements
| |# of strikes |% |
|Music |3 |7% |
|Fun |6 |14% |
|Storyline |6 |14% |
|Ambassadors |18 |42% |
|Acting |0 |0% |
|Visual |10 |23% |
|Total |43 |100% |
Figure 4.13: “Important” Elements
[pic]
At “Important” level the “Ambassadors” element has scored the highest (43% only from 42 respondents). That indicates even though the ambassadors are important it has not reached the “very important” or “extremely important” level.
On other words the ambassadors could add value to a communication, yet lot depend on they are being used. If a commercial fails to deliver a good storyline with a memorable music element & if the selected ambassador is not capable of acting, the whole commercial can be a total disaster
11 “May be Important” Elements
Table 4.16: “May be Important” Elements
| |# of strikes |% |
|Music |1 |3% |
|Fun |2 |6% |
|Storyline |2 |6% |
|Ambassadors |12 |34% |
|Acting |6 |17% |
|Visual |12 |34% |
|Total |35 |100% |
Figure 4.14: “May be Important” Elements
[pic]
Only 35 strikes were in the “May be important” level. Again this indicates “Ambassadors” element is not a great concern to the respondents. They are not seeing the ambassadors as a highly value adding factor to the CSD advertising
12 “Not Important” Elements
Table 4.17: “Not Important” Elements
| |# of strikes |% |
|Music |0 |0% |
|Fun |5 |42% |
|Storyline |0 |0% |
|Ambassadors |7 |58% |
|Acting |0 |0% |
|Visual |0 |0% |
|Total |12 |100% |
Figure 4.15: “Not Important” Elements
[pic]
Again “Ambassadors” strikes the highest score of 58%, while “Visual”, “Acting”, “Storyline” & “Music” elements scoring 0%.
Yet not a single respondent feels “Visual”, “Acting”, “Storyline” & “Music” elements are not important.
How ever ‘Fun” element scored 42% from total of 12 strikes, reducing the importunacy of the element “Fun”.
13 Summary of Findings
Table 4.18: “Weighted Average Summary”
| |Not Important |May be |Important |Very Important |Extremely |Number of |
| | |Important | | |Important |Responses |
|Music |0 |1 |3 |27 |9 |40 |
|Fun |5 |2 |6 |18 |9 |40 |
|Storyline |0 |2 |6 |18 |14 |40 |
|Ambassadors |7 |12 |18 |1 |2 |40 |
|Acting |0 |6 |0 |18 |16 |40 |
|Visual |0 |12 |10 |11 |7 |40 |
|Total |12 |35 |43 |93 |57 |240 |
Figure 4.16: “Weighted Average Summary”
[pic]
On weighted average “Music”, “Storyline” and “Acting” has an equal importance at the rate of “Very Important”, while ambassadors scoring lowest.
Yet, when consider the weighted average “Ambassadors” element is not at the “Not important level”
Table 4.19: The Ranking of the Elements
| | |Weighted Average |
|1 |Storyline |4.1 |
|2 |Acting |4.1 |
|3 |Music |4.1 |
|4 |Fun |3.6 |
|5 |Visual |3.3 |
|6 |Ambassadors |2.5 |
Figure 17: Elements by Weighted Average
[pic]
It is clear from the above study the “Storyline” “Acting” & “Music”, elements are the key driving elements in CSD advertising. Yet ambassadors are seeing as the least important from all (6 selected elements), 53% respondents believe they are important
CHAPTER 5
Conclusion & Recommendations
2 Conclusion
The Study identified the following elements as the main drivers of the imageries in Carbonated Soft Drink advertising;
• Storyline
• Acting
• Music
• Fun
• Visual
• Ambassadors
1. Storyline
The most important element according to the groups is the “Storyline”. The importance of Storyline is that without it there is virtually no commercial according to the group. They seeing the element “Storyline” as an “extremely important” in the CSD category. On the scale of 5 it scored 4.1 and 14 respondents believes it is extremely important. A good, memorable storyline can do wonders to the brand. The storyline is that which captures the hearts & minds of the viewer. It is what they remember, everything else is secondary.
2. Acting
In this respects they feel “Acting” is the only thing that is necessarily after a good storyline.
This really can make or break a commercial. In retrospect it is clear that acting as against modeling plays a huge role in the definitive success of a commercial in memorability and message communication terms. The “Acting” element was identified as an “Extremely Important” element with a score of 4.1 from 5.
3. Fun
It was determined that viewers except an element of “Fun” in commercials of this category. It scored 3.6 out of 5 & the 9 respondents believe it is extremely important. The “Fun” element was seeing as a “very important” element, they seeing “Fun” as the key to the success of the commercial, yet it was realized that the element “Fun” is heavily based on “Acting” & “Storyline”.
5.1.4 Visual
The “Visual” binds the whole commercial to the brand, the responds cited, they believe that this was important as the key brand attributes that can be visually brought to screen. The “Visual” aspects of the commercial are always important. The visual effects provide the brand to maintain harmony across the commercial in keeping with brand attributes. This is where the whole visual delivery can be managed to ensure the brand is remembered.
5. Ambassadors
It is clear according to the respondents that ambassadors can only add to the equity or overall strength of a commercial if and only if the rest of the elements are present. The importance of ambassadors are minimal. But the choice has to be made with great care, according to the respondents. The ambassadors could add value, but that unless they were used wisely the whole commercial would be not effective compared to the commercial production cost.
It is clear from the above that the critical factors that came through from the discussions were really the execution cut through’s of the category. It is also clear from the group discussions that the respondent expects a certain level of commitment and delivery from a Carbonated Soft Drinks commercial.
The respondents independently talking about a commercial and a specific commercial associated certain attributes to them, which obviously mean that successful commercials were able to achieve branded cut through even if the cut through came from among the standard set of execution cut through’s.
3 Recommendations
Therefore it is recommended to give special attention to following imagery elements when creating CSD communication…
• Storyline
• Acting
• Music
• Fun
• Visual
• Ambassadors
Furthermore, when producing commercials for CSD category, it is recommended to have a vary good Storyline, it can be either in real world or a fantasy story, The Storyline should have the ability to capture the target audience & it should be relevant to them, may be on their real life or on their imaginations.
More focus should be given to the storyline of the commercial and it is much worth to do a story board test on target group before commencing production, hence according to study it is the primary & most important element of a CSD communication.
The “Acting” is very important even it is by known actors or armature models.
The execution of storyline heavily relies on Acting. According to the findings of the study, in CSD category, an armature model can be more effective than a well known celebrity who is not capable enough to deliver the acting which required by the storyline.
In CSD communication, element “Music” holds a very strong position. It positively affects the recall rate of the commercial very much. Therefore it is highly recommended to back the CSD commercial through good memorable jingle.
The CSD commercial should be backed by the “visual” elements which represent the brand colors and the feel of the brand.
In CSD communication, Ambassadors would add lot of value, yet should be able to use extremely carefully. The acting of an Ambassador is a key factor.
Commercials are sourced from both main competitors in the CSD category and monitoring institutions such as AC Nielsen’s.
Reference & Bibliography
For the purpose of this proposal the researcher has employed footnote referencing and has adopted the Harvard system of referencing.
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APPENDIX 1
Discussion Guide: Qualitative Study
DISCUSSION GUIDE
PROJECT “CSD IMAGERY”
INTRODUCTION
• About The Study
• Confidentiality
• No right or wrong answers
• Introduce self and ask respondents to introduce themselves
1. WARM UP
1. Briefly ask;
- daily routine
- Media Habits
- How free time is spent
- Moments of enjoyment – what they like to do most
- Aspirations in life
2. EXPOSE ALL ADS SIMALTANIASLY
Now I’m going to show you something on TV, I want you to relax and watch what I’m going to show you
PLAY DVD – OBSERVE FACIAL / NON VERBAL REACTIONS
Now that you have all watched it, here is a piece of paper for each one, can you write down here what you remember seeing, and please do it without discussing. DO NOT ENCOURAGE DISCUSSION UNTIL THEY FINISH WRITING – COLLECT THE PAPERS
Now let us discuss as a group
OBSERVE THE DEGREE OF ATTENTION THE TVCS IS ABLE TO CAPTURE AND GET A FEEL IF THE TVCS IS GENERATING EXCITEMENT
1. Which are the ads you remember? What made this ad memorable for you ?
2. Which ones did you have a special linking for – why?
3. Which ones did you think were not so good – why?
4. If you were in the panel of judges to select the top three most memorable ads, which ones would it be? Why?
5. If we fixed a ‘heart O meter’ on each one of you to measure how excited the heart gets, what would be the reading for each of these commercials – why that reading?
1. What is it that is different in these three ads to make it memorable?
2. What type of people would like these ads the most – why?
3. EXPOSE FOLLOWING ADS ONE BY ONE AND GET INPUT TO EACH AD SEPARATELY
• Bhathiya and Santhush (happiness - Jeevithe Mal)
• Coke Happiness Factory
• Coke Partnership with Sangakkara and Mahela Jayewardena
• EGB Anarkali ( Elephant House Ginger Beer)
• Necto Kids
• Elephant House Cream Soda
1. Spontaneous Appeal
1. So what do you feel? ….. so what else …… what else
2. What do you like about the ad
3. What do you don’t like about the ad
4. What brand is it about
2. Key Attention Hooks
1. What do you remember very vividly, what is the most memorable part of the Ad why?
2. When you think of these parts of the TVC what does it make you feel, what is it telling us? TAKE EACH ATTENTION HOOK AND DISCUSS IN DETAIL
3. What if these parts were not there in the TVC, what would happen – why?
3. Next ad
1. Give respondents a refreshment & 2 minutes brake
2. Go to the next ad
Repeat for all the Ads
When all done “THANK RESPONDENT” & conclude.
APPENDIX 2
Questionnaire: Quantitative Study
[pic]
[pic]
[pic]
-----------------------
[1] The Nielsen Company Retail Sales Audit.
[2] The Nielsen Company Retail Sales Audit
2 Kotler Philip, ‘Marketing Management: Analysis, planning, implantation, and control (eighth edition), 1994, Prentice Hall of India, India
[3]
[4] Peerbhoy A s, Advertising and Research, 1964, Progressive corporation Pvt. Ltd., Bombay, India.
[5] Ibid 9
[6] It is believed that the modern use of the phrase stems from an article by Fred R. Barnard in the advertising trade journal Printers' Ink, promoting the use of images in advertisements that appeared on the sides of streetcars. The December 8, 1921 issue carries an ad entitled, "One Look is Worth A Thousand Words." Cited at
[7] Ibid 1, pp 444.
[8] Ibid 1 pp
[9] Le pla F J & Parker L M, Integrated Branding: becoming brand-driven through company-wide action,, 2002, Kogan page, India.
[10] Ibid 5
[11] Jefkins F, Advertising, 1994, Pitman publishing, London.
[12] Jones J P & Slater J S, What’s in a name?: Advertising and the concept of Brands, second Edtion,2003, Prentice-Hall, India
[13] Larry Light, The fourth Wave:Brand Loyalty (New York:American Association of Advertising Agencies, 1996) cited in: Ibid 8 pp.223
[14]
[15] Broadbent Tim, ‘Advertising Effectiveness awards’, 1994, UK cited in .uk/download.cfm? type=document&document=283
[16] Ibid13
[17] Kotler Philip, “Kotler on Marketing’, the free press, 1999, Australia
[18] The power of associative imagery as cited at
[19] The Lanka Market Research Bureau
-----------------------
|[pic] |
| |
Stratification
Male
Female
13-18
2
2
18-24
2
2
24-32
2
2
N
40
Minimum
13
Maximum
35
Mean
20.5
Standard Deviation
4.814508
IMAGERY
[pic]
[pic]
[pic]
[pic]
Over Important 80%
Organization Drivers
Brand Drivers
Positioning
Product
Communication
Strategy
Public Relations
Sales Promotion
Personal Selling
Advertising
Integrated Brand
Imageries which would Effect Communication
• Fun
• Music
• Ambassadors
• Actors and models
• Storyline
• Visual
Brand Conveyors
[pic]
[pic]
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