Lee Anne Shaffer



Fallon Snider

Hanna Mack

Lee Anne Shaffer

Ad Proposal

note: these proposals are already in order of preference

1. Single Ad: LBJ vs. Barry Goldwater—Johnson’s “Daisy” ad

The ad: the political television ad used by Lydon B. Johnson in the 1964 presidential campaign. The ad shows a little girl picking petals off of a daisy and counting the petals as she plucks them. As she is counting, she falters, and the camera zooms into the black part of her eye, which, after a different voice counts backwards: “10-9-8-7-6-5...,”shows an atomic explosion. After this is shown, LBJ quotes: “These are the stakes: to make a world in which all of God’s children can live or go into the dark. We must either love each other or we must die.” The last frame shows “VOTE FOR PRESIDENT JOHNSON ON NOVEMBER 3,” while a voice over says “The stakes are too high for you to stay home. Vote.”

Thesis: LBJ’s 1964 “Daisy,” a negative political ad, was incredibly successful because it utilized symbolism, current events, and disturbing imagery to get its point across to the people.

Some of the things we will be analyzing: these will basically be the three prongs in the thesis. The symbolism used in this ad is from Frankenstein, the movie—the little girl in the ad looks uncannily similar to Little Maria, who was killed by the monster. Here, in the advertisement, the monster is the threat of a nuclear war, which directly attacked Barry Goldwater because of his constant jokes about “nuking” other countries. This leads to the use of current events: in 1964, the U.S. was rife with paranoia of potential nuclear wars and suchlike. The imagery used in this ad directly aimed towards this common fear, and it hit home. We might also talk about how, by being such a powerfully persuasive ad, “Daisy” only had to be shown once to make a huge impression—news programs and the rest of the media did the work for LBJ by showing the ad themselves. In addition, the ad never once mentioned Barry Goldwater—the connections were all made by viewers, in their own minds, which made it all the more convincing.

2. Advertising Campaign: Listerine

The Listerine ads:

1) “If you want the truth—go to a child.” This full-page ad depicts a young woman with a little girl on her lap. The child is looking up at the woman with a curious look and a slightly wrinkled brow, while the woman’s face is turned away, with a look of chagrin and perhaps dismay. The ad then goes on to say that “Here was the case of a young woman who, in spite of her personal charm and beauty, never seemed to hold men friends. For a long, long time she searched her mind for the reason. It was a tragic puzzle in her life. The one day her little niece told her.” The ad makes the woman’s case sound so serious and embarrassing that it would make any woman think twice about her breath. The ad then follows with, “You, yourself, rarely know when you have halitosis (unpleasant breath). That’s the insidious thing about it. And even your closest friends won’t tell you.” There it is—the problem. Halitosis: bad breath. Then afterwards the ad presents the solution, which is Listerine, to be used multiple times daily. There is only a small picture of the product—most of the ad is taken up by the picture of the woman and the child.

2) “Often a bridesmaid but never a bride” Here, “Edna’s case was really a pathetic one. Like every woman, her primary ambition was to marry. Most of the girls of her set were married—or about to be. Yet not one possessed more grace or loveliness than she. And as her birthday’s crept gradually toward that tragic thirty-mark, marriage seemed farther from her life than ever. She was often a bridesmaid but never a bride.” The ad shows a young woman looking hopeless and clutching her unused wedding garments to her chest, and follows Edna’s pathetic story with the identification of the problem—halitosis, and the solution—Listerine, as mentioned in the previous ad.

3) “Halitosis makes you unpopular.” “DON’T FOOL YOURSELF—since halitosis never announces itself to the victim, you simply cannot know when you have it.” In this particular ad, though it is still mainly directed towards women, as evident by the depiction of a dejected, “unpopular” young woman and also the “facts” in the lower right hand corner which state that hairdressers report one-third of all their predominantly wealthy female customers to have halitosis. Again, the ad pounds the idea that halitosis is detrimental to your social life and that it is hard for you to know whether you have it or not—hence, it is better safe than sorry—use Listerine! The ad has the same description of halitosis and the same solution as the ads mentioned above.

4) “Could I be happy with him in spite of that?” This ad is directed more towards men—a girl is looking at her engagement ring, and in a background picture behind hers, there is a sketch of a bride and groom walking down the aisle. “She had announced her engagement to him. Her friends were beginning to be quite curious as to when the wedding would occur. And he, more insistent than any of them, was pleading with her to set a definite time. One thing seemed to stand in the way—something she didn’t have the courage to talk to him about—something, she feared, might interfere with her happiness. She simply didn’t know what to do.” This is then followed by the halitosis explanation and the Listerine solution.

Thesis: Through the Listerine ad campaign and by practically inventing the problem of halitosis, Lambert, the creator of Listerine, made consumers painfully aware of the effects of bad breath and created a market for his product.

Some of the things we will be analyzing: Each of the ads is pretty meaty. They are each directed to a certain age group and a certain social problem that the ads then blame on halitosis. Also, there is the history of Listerine and the original “Lister,” which, ironically, had nothing to do with oral hygiene, as well as Lambert’s “creation” of halitosis—basically putting halitosis into every American mouth.

3. Product Group: Automobiles

The ads being compared and contrasted are:

1. …an advertisement from the DuPont Registry for a Lotus Esprit V8. The background is black. At the very top of the ad is the title, in a script font: “The Beauty & The Beast”. The entire ad seems to have a ghost of a large depiction of the engine of the car. On the right side of the ad, towards the middle, there is a paragraph in which the language appeals mostly to pathos, using adjectives such as stunning, sweeping, phenomenal and devastating. Its main purpose is to establish beauty of the exterior and the beastly aspect of the engine. On the very bottom, there is a picture of the front end of the car, set at a slight angle.

2. …an advertisement from L’auto-journal for a Saab 9-5 Estate. There are two cars set on what seems to be a sheet of ice. The car furthest in the background is actually made up of cubes stacked in such a way that they resemble a car. The car in the front is the actual Saab 9-5 Estate. The title of the ad reads “Saab vs. le Cubisme”. The paragraph right below it explains how their car differs from that which is built by the cubists, namely in the aerodynamic design. The last sentence, which I find amusing, states that “[t]his might explain why they made their appearance at the beginning of the twentieth century, and not at the end.” The color scheme of the entire ad seems to be various shades of blue, with white.

3. The third ad is actually two ads that go together, from Auto Motor Sport, for the Boxter, and the new Boxter S from Porsche. The first of the ads shows the back of a silver Boxter as it drives along what looks to be a setting in nature. The background, made up of warm colors, such as red and orange, is somewhat blurred to show the speed of the car. At the bottom of the ad it says “A beautiful, juicy steak. In a world full of sushi. The Boxter.” The second ad shows a red Boxter S, in much the same setting, except with a lot more red, yellow, and orange tones. The background is again very blurred to convey the speed of the car. The caption at the bottom of the ad reads “But even the best steaks can always use more pepper. The new Boxter S.”

Thesis: Although car ads always seem to blend together into one boring genre, different cars use different techniques in their ads, such as coloring, the messages of the texts, and the depiction of their car or its parts within the setting to target different groups of people.

Brief Analysis

The Lotus Esprit V8 advertisement targets an audience who is searching for power

and the feeling of invincibility that a car will give him. The coloring, which is

mainly black and grey, support this because they evoke the feeling of power. Also,

the depiction of the motor, which looks like a formidable piece of machinery backs

up the idea of power as well. The most convincing aspect, however, is the title and

the text. The title is a gripping statement whose strength comes from the fact that it is

setting up a paradox by showing how the car in question is both a beauty and a beast.

There is no real allusion to the Disney story, but the fact that this phrase “Beauty and

The Beast” is so recognizable makes it easier to initially grab the audience’s attention.

The use of such adjectives as stunning, sweeping, phenomenal, and devastating,

which are hyperbolic descriptions of the vehicle, create the illusion that the owner of

this product is living on the wild side, flirting with danger.

The advertisement for the Saab 9-5 Estate is geared towards a professional and

educated audience. The blues and white used in the color scheme are very subdued

colors. They create a relaxed and professional atmosphere, which would appeal to a

professional. The text definitely appeals to an educated audience, since one would

have to know what cubism entails in order to understand the relationship between

this car’s design and that of a cubist. Especially the wit of the last statement

would escape someone who didn’t have enough background knowledge. The

presentation of the car is also very direct. The entire car is displayed and the its

contours are very distinct. This way, the buyer sees exactly what he/she is going to

get, which appeals to a professional.

The Porsche Boxter and Boxter S ads appeal to an audience that is out for the thrill of

the ride, without much thought for the consequences. The colors, which are

predominately red, orange, and yellow, evoke a certain wildness and excitement that

the audience associates with the vehicle. The text is concise, but compelling because

it presents an easily understandable analogy. Therefore, the audience does not

necessarily have to be educated to understand the image Porsche is attempting to

convey. This ad appeals to those who don’t think of the consequences of their actions

because it uses mainly pathos to build up the audience’s desire for the freedom,

speed, and status this car promises. This suggests that the audience of this particular

ad does not need logos (such as price or what features this car has) to convince

him/her to buy the Boxter, and that if they are sufficiently taken with the excitement

that the ad conveys, they will actually buy the car without giving too much thought to

the price, which might prove to have dire consequences.

4. Advertisement over time: Clairol Hair Color (ad/product campaign)

Some of the ads we’ll be using: “Does she...or doesn’t she?” “Hair color so natural only her hairdresser knows for sure!” Also, see the bold headlines in the paragraphs after the thesis. Most of the ads from the 1950’s and 60’s show happy looking women with vibrant, natural looking hair color, and hair as glossy as that of the children next to them.

Thesis: Though the target audience of hair color, despite having expanded, hasn’t changed much, different tactics were necessary for the initial introduction of hair color and for selling hair color in today’s market where coloring hair is a normal thing to do.

When hair color was first introduced in World War II, there were two major obstacles to overcome by the producers of the product. The product needed to demonstrate that it not only was a new revolutionary concept for women, not just a prostitute’s tool, but that it was natural and was different than any other hair tinting products. With the first target audience being the wealthy and urban women looking to be a glamorous as Jean Harlow, the product soon became more widely used. Several years later the process became simplified, thus improved, because it could be done at home in one-step, a concept hard to grasp by women at the time. Demonstrations were often done onstage to prove how easy it was, though it was at this time that magazines rejected ads for coloring. However, the main focus of advertising the product was through Miss Clairol who served as the hostess of the product and soon became a mother-like symbol that related to women all over, and excluded men resulting in the “it’s a woman thing” and “men don’t understand” attitudes. Through the headline, the advertisements also promoted salons, where virtually all the business occurred.

Once these advertisements had propelled sales by 413 percent, they turned to a very logical type of advertising in which the message indicated that “touch-ups” were a necessity for women to look their best and avoid their roots from showing. Now, many competitors began to introduce their products, L’Oreal creating the illusion that it was a better product of value because it cost more, but the user’s are “worth it”, however Miss Clairol had constructed the base for advertising this kind of product. By the 1980s the focus had shifted from the hairdressers, and the themes were no longer discreet, and did not try to keep dyed hair a secret, but rather bragged that yes, they do dye their hair. In a current ad for Clairol, an actress interrupts a wedding to show the product and claim that the color will last even if the marriage didn’t, while the guests nod understandingly. The advertisements for Clairol hair coloring products have empowered woman, by making the usage of it socially acceptable, targeting older women with gray hair, but appealing to women from thirteen years old. Miss Clairol has made it possible for a woman to present and express herself.

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