Advertising – Cross Platform

Studies

Rob Miller

AQA MEST 1/MEST 3 – COMMONLY USED AS EXAM STIMULUS (2015 – COD: GHOSTS LIVE ACTION TRAILER, NEXUS 5 SMARTPHONE AD (2M + YOUTUBE HITS)

WJEC MS1 PRINT STIMULUS (2015 – FILM POSTERS, THE MORTAL INSTRUMENTS: CITY OF BONES AND RED 2 FOR REP. OF AGE)

WJEC MS4 – ADVERTISING COMMONLY AN OPTION

WJEC GCSE UNIT 1 (2015-16) – FILM TRAILERS AND FILM POSTERS)

OCR G325 SECTION B – CONTEMPORARY MEDIA REGULATION, MEDIA IN THE ONLINE AGE, GLOBAL MEDIA, POST-MODERM MEDIA

BTEC L3 ADVERTISING PRODUCTION FOR TV……

MEDIA LANGUAGE (TEXTUAL ANALYSIS)

NARRATIVE AND GENRE (LESS SO)

REPRESENTATION (BEST TEXTS EVER)

INSTITUTION – OWNERSHIP, REGULATION, PRODUCTION VALUES, DISTRIBUTION….

DIGITAL TECHNOLOGY

EVERYWHERE – PASSIVE CONSUMPTION

COMMERCIALLY POWERFUL, DRIVING CONSUMERISM (should I wait for iPhone 7?)

THE FUNDING FOR MOST MEDIA FORMS INCL. DIGITAL MEDIA – ADV. INNOVATES IN RELATION TO THE ‘PERFORMANCE’ OF MEDIA PLATFORMS

IMMENSELY CREATIVE – PERFECT FOR TEXTUAL ANALYSIS BUT ALSO TEACHING INSTITUTION

EXPLOITS REPRESENTATION AND STEREOTYPING AND CAN BE CONTROVERSIAL…….

MULTI CHANNEL TV - LESS CHANNEL LOYALTY

DIGITAL PLATORMS LIKE NETFLIX

DECLINING TV RATINGS (see also DECLINING PRINT CIRCULATION)

VIRAL MAREKTING - CHEAPER, REQUIRING LOWER PRODUCTION VALUES)

TV MUCH LESS WATCHED AT SCHEDULED TIMES – TARGETING AUDIENCES HARDER (FRAGMENTATION)

TV/RADIO/CINEMA /DIGITAL OUTDOOR ADVERTISING/MOVING IMAGE BUS SHELTER (ADSHEL)/TRAIN STATIONS…..

PRINT - MAGAZINE/NEWSPAPER/BILLBOARD/POSTER/LEAFLETS/FLIERS/SANDWICH BOARD/TUBE OR TRAIN ADVERTS/SHOP WINDOW

INTERNET – POP UPS/FLASH/SKYSCRAPERS/BANNERS/LEADERBOARDS….

SMS/MMS TEXT ADVERTISING

VIRAL - EXPLOITING SOCIAL NETWORKING

BUT THEN ALSO – TOILET DOOR/PLANE/FOREHEAD/REMEMBER UKIP’S VANS?

COMMERCIAL – You name it

CHARITY – Barnardos…..

GOVERNMENT – e.g. explaining Scottish Independence Referendum. (UK govt. advertising spend £300m for 2015)

CAUSE – Ebola outbreak

SAINSBURY’S XMAS ADVERT (2014)

(GREAT FOR OLD FASHIONED TEXTUAL ANALYSIS)

DARK MISE-EN-SCENE – CONNOTATIONS OF WAR/CONFLICT (SINGLE SOURCE LIGHTING, DE-SATURATED COLOURS)

THUNDER ANCHORING FEARFUL TONE/MOOD – TEXT ANCHORS NARRATIVE AS WW1, TRENCHES, CHRISTMAS 1914 (SAINSBURY’S EXPLOITING THE 100 YEAR ANNIVERSARY)

CLOSE UP OF ‘JENKINS’ – EMOTIVE (CUTS TO CLOSE UP OF WIFE AND BAR OF CHOCOLATE)

BLUE COLOUR PALETTE (NIGHT) AS TIME OF YEAR IS IDENTIFIED WITH GERMANS SINGING SILENT NIGHT

DIEGETIC SOUND OF WIND WHISTLING REINFORCES ISOLATION AND BLEAKNESS

RHYTHMIC EDITING AND HIGH ANGLE CAMERA REVEAL BRITISH SOLDIERS SINGING SILENT NIGHT

SERIES OF CLOSE UPS REVEAL EMOTIONAL REACTION SHOTS

INTERCUTTING BETWEEN GERMAN AND ALLIED TRENCHES DEVELOPING EARLY POSITIVE RELATIONSHIP

SINGLE RED ROBIN ON BARBED WIRE HAS CONNOTATIONS OF INNOCENCE AND VULNERABILITY

SILENCE IDENTIFIES MORNING. NARRATIVE DISRUPTION - NON DIEGETIC MUSIC AND FAST PACED EDITING SUGGESTS PANIC AS ‘JIM’ GOES OVER THE TOP WITH HIS HANDS UP.

SHOT REVERSE SHOT OF JIM AND GERMAN SOLDIER WALKING TOWARDS EACH OTHER WHILE OTHERS ARE TOLD NOT TO SHOOT. CUTS TO WIDE ANGLE REVEALING BOTH PLATOONS ADVANCING AND EMBRACING

CUTS BACK TO JIM AND OTTO (BOTH DELIBERATELY YOUNG REMINDING AUDIENCES OF THEIR VULNERABILITY) FRAMED CENTRALLY IN MEDIUM SHOT, THEN SHOT/REVERSE SHOT AGAIN ESTABLISHING RELATIONSHIP

A GAME OF FOOTBALL BEGINS ANCHORED BY HIGHLY EMOTIVE STRINGED VIOLIN MUSIC (ALSO REFLECTING HISTORICAL SPORTING RIVALRY)

FAST PACED EDITING, JOYOUS MUSIC, HAPPY FACIAL EXPRESSIONS FOLLOW THE GAME WHILE A FORM OF EQUILIBRIUM IS RESTORED (SOLDIERS SHAVING, DOING MORE ‘NORMAL; THINGS ETC.)

DISTANT DIEGETIC GUNFIRE RESTORES DISRUPTION THROUGH REACTION SHOTS AND ACTIONS

MEDIUM SHOT OF CENTRAL PROTAGONISTS AGAIN BIDDING FAREWELL, FOLLOWED BY ZOOMS AND CLOSE UP OF EXCHANGED GIFTS

ANCHORING TEXT/TAGLINE – “CHRISTMAS IS FOR SHARING” WITH BRAND NAME FOREGROUNDED

NARRATIVE MESSAGES, FINAL SHOT “MADE IN PARTNERSHIP WITH THE ROYAL BRITISH LEGION”

https://www.youtube.com/watch?v=Z3cO43LpMt4 (Esurance)

https://www.youtube.com/watch?v=z5aHeUg0BIk (Mercedes – for Section B)

https://www.youtube.com/watch?v=GC2qk2X3fKA (Clash of the Clans)

CULTURAL PHENOMENON

2ND LARGEST SEARCH ENGINE IN THE WORLD (2 bn VIDEOS STEAMED DAILY)

YOUTUBE ADVERTISERS PAY PER VIEW OF THEIR AD E.G. £7 - £25 PER VIEW

FOUR TYPES OF YOUTUBE AD (SEE NEXT SLIDE)

MORE PRECISE AUDIENCE TARGETING INCREASES EXPENSE/ADV SPEND

IN-SEARCH - AD SHOWS UP ABOVE THE YOUTUBE RESULTS

IN-SLATE – AD SHOWS UP IN THE SUGGESTED VIDEOS AFTER THE VIDEO HAS ENDED

IN-DISPLAY – AD SHOWS UP ON THE SUGGESTED VIDEOS BESIDE THE VIDEO YOU ARE WATCHING

IN-STREAM (MOST COMMON) – AD PLAYS BEFORE YOU CAN WATCH YOUR VIDEO. ADV CHARGED ONLY IF FULL AD IS WATCHED

Colour palette and Lighting

Framing and type of shot, camera angle

Dress code, body language, expression, gaze

Typography – connotations

Logos and graphics

Tagline and other textual information

Depth of field

Mode of address

Relevant institutional information

1. PAYS FOR PRODUCTION/PUBLICATION AND DISTRIBUTION COSTS.

2. MAINTAINS PRODUCTION VALUES.

3. BALANCES EDITORIAL/ADVERTISING COPY.

4. IS ARGUABLY A FORM OF SYNERGY.

5. LINKS BRAND AND READER.

6. AUDIENCE EXPECTATIONS.

1. LONG SHELF LIFE (COMPARED TO DIGITAL ADVERTISING)

2. ADVERTS ARE READ MORE SLOWLY – INFORMATION TAKEN IN

3. BRAND CONSOLIDATION

4. SPECIFIC/TARGETED AUDIENCE

5. DIRECT LINKS WITH POINT OF PURCHASE

6. MORE ‘TRUST’ THAN DIGITAL ADVERTISING

7. LESS COMPETITION

Identity the product and brand name

What is your slogan/tagline/strapline?

Storyboard the first 6-8 frames of your advert

Explain your ideas

What are the audience appeals?

WHERE WILL YOUR ADVERT BE SHOWN/WHAT CHANNELS AND HOW WILL YOU USE DIGITAL TECHNOLOGY TO REACH YOUR AUDIENCE?

Create a name for your car and explaining the reasons why you chose it.

Explain three key features that will be in you car advert.

Storyboard the first 8-10 frames of your advert.

How does your advert challenge, or reinforced the conventions of car advertising?

WHY IS TV ADVERTISING FINDING IT INCREASINGLY DIFFICULT TO REACH THEIR AUDIENCE?

Identity the product and brand name

What is your slogan/tagline/strapline? VERY IMPORTANT TO ADVERTISING

Storyboard the first 6-8 frames of your advert

Explain your ideas

What are the audience appeals?

WHERE WILL YOUR ADVERT BE SHOWN/WHAT CHANNELS AND HOW WILL YOU USE DIGITAL TECHNOLOGY TO REACH YOUR AUDIENCE?

Brand:“Skin Deep”

Tagline: “For when you’re in too deep” (sex sells)

Three features:

Model/Celebrity at work and at play

Product use in close up

Product image – glamourous connotations

Diegetic sounds – camera shutters at premiere

1. JUST HOW MUCH CAN YOU GET AWAY WITH ONLINE?

2. THE ROLE OF CLEARCAST

3. THE ASA – CODES OF PRACTICE (CAP CODES), PANEL

4. THEIR MANTRA – ALL ADVERTS MUST BE “LEGAL, HONEST AND TRUTHFUL”

5. POST BROADCAST/PUBLICATION REGULATION

6. FUNDED BY A LEVY - ADVERTISERS

7. COMMERCIAL ADVERTISING MORE LIKELY TO BE REGULATED THAN CHARITY

PRESS AD - 6000 COMPLAINTS ONLINE PETITION VIA CHANGE.ORG – 122,000 SIGNATURES ASA RESPONSE – “THE STRENGTH OF THE PUBLIC OUTCRY HAS FORCED US TO TAKE THE ‘UNUSUAL’ STEP OF TELLING PADDY POWER TO PULL THE AD IMMEDIATELY”

ASA NOW LOOKING MORE CLOSELY AT CHARITY AND PUBLIC SERVICE ADVERTS THAT USE SHOCK AND GRAPHIC REPRESENTATIONS TO TARGET AUDIENCES:

http://www.youtube.com/watch?v=woqFenpL97c (litter tray)

http://www.youtube.com/watch?v=_FwkDK1qxn4 (Smoking tumor)

http://www.youtube.com/watch?v=yFOcrZeMRUU (Barnardos)

https://www.youtube.com/watch?v=tyMjdXhcffw