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A Thesis Report
On
MEDIA PLANNING AND ADVERTISEMNT EFFECTIVENESS OF VODAFONE
INDIAN INSTITUTE OF PLANNING AND MANAGEMENT
NEW DELHI
(2010 -2012)
Submitted by-
Durgesh Bagga
SM2 ISBE-B (SS 10- 12)
Submitted to-
Mr. Angshuman PAUL
(Faculty of IIPM)
ISBE –B (SS 10-12 ) 1 TS12-M-081.
ACKNOWLEGEMENT
I, Durgesh Bagga have taken efforts in this project. However, it would not have been possible without the kind support and help of many individuals and organizations. I would like to extend my sincere thanks to all of them.
I am highly indebted to Mr. Angshuman Paul (faculty of IIPM) for their guidance and constant supervision as well as for providing necessary information regarding the project & also for their support in completing the project.
I would like to express my gratitude towards my parents & member of Mr. Manish Tripathy (Manager, Advertisement of Vodafone) for their kind co-operation and encouragement which help me in completion of this project.
I would like to express my special gratitude and thanks to industry persons for giving me such attention and time.
My thanks and appreciations also go to my colleague in developing the project and people who have willingly helped me out with their abilities.
ISBE –B (SS 10-12 ) 2 TS12-M-081.
ABSTRACT
In today’s media landscape advertisers find it ever more challenging to break
through the clutter of competing ads in order to shape consumers attitudes
and intentions and move them to purchase. An alternative strategy to
greater advertising spending may be more creative advertising, which has
been proposed to promote advertising effectiveness. However, researchers
have neither agreed on a model of advertising creativity nor conclusively
linked Zoozoo ad campaign to key measures of effectiveness. Based on a
sample of twenty real life campaigns from Vodafone’s ZooZoo Campaigns,
and a panel of consumer responses, this thesis provides strong support for a
of ZooZoo characters based on novelty, meaningfulness, humor,
positiveness, and well-craftiness. It concludes that these particular ads were
more effective in promoting ad and brand attitudes, brand interest, purchase
intentions, ad and brand WOM intentions, as well as perceived ad
expenditure and effort. Results hold even among consumers with a negative
general attitude towards advertising. A test of the relative effect of Zoozoo
ad campaign and media expenditure on sales value produces inconclusive
results, however. Finally, the study shows that the ZooZoo campaigns were
considered more creative among consumers and were more effective in their
communication.
ISBE –B (SS 10-12 ) 3 TS12-M-081.
ISBE –B (SS 10-12 )
PROJECT THESIS TOPIC APPROVAL
Dear DURGESH NANDAN BAGGA,
This is to inform you that the approved topic for project thesis is - “MEDIA PLANNING AND
ADVERTISING EFFECTIVENESS OF VODAPHONE”.
This email is an official confirmation that you would be doing your project thesis work
genuinely and shall try to achieve the said objectives mentioned in the synopsis.
You must always use the thesis title as approved and registered with us.
Your project thesis id Number is TS12-M-081.
You are required to correspond with your Internal Guide MR.ANGSHUMAN
PAUL ([email protected]) at regular intervals before sending the thesis final draft
to him.
Regards,
Dipti Sharma
The Indian Institute of Planning and Management
ISBE –B (SS 10-12 ) 4 TS12-M-081.
INDEX
Serial No TOPIC Page NO
1 INTRODUCTION 6
2 OBJECTIVE 35
3 LITERATURE OVERVIEW 36
4 RESEARCH METHODALOGY 57
5 FINDINGS 66
6 CONCLUSION 77
7 RECOMMENDATION 80
8 QUESTIONNAIRE 81
9 BIBLOGRAPHY 85
ISBE –B (SS 10-12 ) 5 TS12-M-081.
INTRODUCTION
There is always a need to find a sustainable differentiation in a highly
competitive telecom market. Search is always on for a perfect platform to
showcase the array of products and services, building emotional connect
with the customers and yet be positioned as a market leader.
With millions of Indian television viewers expected to tune in, for the Season
2 to season 5 of the Indian Premier League cricket extravaganza, a perfect
media opportunity was upon the brand owners of Vodafone as this was set to
become the biggest mainstream entertainment option for viewers from the
summer of 2009,2010,2011 and 2012 –a chance to talk to over 40 million
consumers. Over 58 days.
O& M created a unique world of lovable and funny egg shaped characters to
tell the brand stories of Vodafone in. The Zoozoos represented a much
simpler and more uninhibited world than our own – a world we could easily
relate to. And the communication for the individual products and services
was set amidst stories of their lives. The Zoozoo commercials were viewed in
rapt attention by over 41 million people across the country. In accordance
with an independent survey conducted by TNS Synnovate, Vodafone was by
far the most recognized brand in IPL – much more than even the presenting
sponsor. But massive as they are, numbers alone don’t really do justice to a
campaign that actually touched the hearts of Indian consumers. The ways in
which the Vodafone Zoozoos have affected consumers is what makes it a
truly iconic campaign. A substantiate evaluation study undertaken by
Dragonfly Research indicated that the Vodafone Zoozoos had had a life
ISBE –B (SS 10-12 ) 6 TS12-M-081.
impact on consumers. And the author believes that. Because of the wedding
cards with a Zoozoo theme that surprised everyone; the Zoozoo cakes that
were baked; Zoozoo cookies were not far behind; Birthday parties with
Zoozoo themes fast became the norm; Zoozoo merchandise did brisk
business! Zoozoo rakhis sold in hoards. Cityscapes were painted with
Vodafone Zoozoo murals. Most recently, India’s leading retail chain,
Shoppers Stop approached Vodafone to create and retail exclusive Vodafone
Zoozoo merchandise – a first for any commercial brand in the country. The
Zoozoos even caught the attention of leading butter brand Amul – who paid
homage to the Vodafone Zoozoo campaign on its advertising.
Vodafone showcased 50 different products and services through the period of the IPL, each
communicated in a simple, refreshing manner.
From an idea to a character
ISBE –B (SS 10-12 ) 7 TS12-M-081.
ISBE –B (SS 10-12 ) 8 TS12-M-081.
Challenge in Strategic Communications
Differentiation. The manna drew every brand desired in a mad rush for
acquisitions in the world’s most competitive telecom market. All other things
being equal, a brand seen as leading innovations in the category was
definitely more likely to gain traction from new users. But given the near
parity in prices and access to technology amongst existing players, this was
never going to be an easy game. It was not a matter of coming up with
innovations that would add value to consumers’ lives, but sustaining them as
differentiators for the brand because even the most ground-breaking
ISBE –B (SS 10-12 ) 9 TS12-M-081.
Television
Interest 29 different offerings Zoozoos on ground TV interviews
Outdoor, Print and POS
Engagement Cricket related offerings IPL Contest
Online and Direct
Conversations with the brand Facebook Youtube Bill messages
On ground
Salience Ground mats Merchandise perimeter boards
Mobile and merchandise
Experience Games MMS Ringtones Greeting cards T shirts Mugs DVD
PR
Spread the cheer Making of Zoozoo capsule for TV channels DVD Merchandise for employees
innovations would be copied by competition in a matter of days. Vodafone
too was straddled with this industry problem in the summer of 2009. While
the brand had a wide array of never-talked about products and services in
the pipeline, not many out of that long tail seemed sustainable as
differentiators for an extended period of time. The challenge was in finding a
way to make that differentiation sustainable, so as to stay in the consumers’
consideration set. Parallely, a perfect media opportunity was upon the brand
owners of Vodafone. Naturally, every brand worth its salt wanted a piece of
the IPL action. A number of these brands had allocated disproportionate
spends and were even saving their best campaigns for the occasion.
The communication challenge then was for Vodafone to use a highly
crowded property like IPL to differentiate itself and establish an emotional
connect with customers. Add to that the challenge of a not-so-happy public
spending sentiment during the period and the huge financial outlay the IPL
demanded and the makers had a brand under tremendous pressure to
deliver from all quarters. The objectives set for the campaign were:
- To position the brand as an innovation leader in the mobile services
category, thereby gaining traction for the brand
- And to do so, leverage the Indian Premier League in a manner that the
brand would be the most salient and engaging through the extended
period of the tournament
The big idea: With the Vodafone Zoozoos, discover something new
every day!
The big idea actually came from the format of the medium available to
Vodafone – the IPL, and the way viewers interacted with the medium. With
59 matches across 37 days, the IPL viewing audience was characterized by a
high level of duplication across the tournament – the same people seemed to
ISBE –B (SS 10-12 ) 10 TS12-M-081.
be watching the matches every day. When it came to the cricketing action,
they had something new to look forward to every day. But brand
communication on the other hand, was subject to very high levels of fatigue.
So Vodafone turned the characteristics of a media property into a strategic
initiative for the brand. Vodafone decided to do the unthinkable - surprise the
viewers/customers by introducing a new product/service message from the
Vodafone repertoire every day. To bring the idea to life, it was necessary for
Vodafone to first string these brand messages together with a device that
would melt its way into the hearts of a billion strong nation and the now
iconic Vodafone Zoozoos were born.
For the campaign to be successful, Vodafone needed for the world of the
Vodafone Zoozoos and their stories to be all permeating. And every piece of
the communication mix needed to work to the teeth, for the sum of the parts
to be greater than the whole.
Driving Interest through television
Central to the communication package was the Vodafone Zoozoo television
campaign, where 50 simple stories told through 50 films – a film almost
every day of the IPL. The initiative was a first in Indian media history, busting
conventional media planning rules and engaging with the customer
according to the rules of the medium. Ashton bands and pushbacks were
also developed featuring the Zoozoos to promote individual products and
services during the IPL matches. During the semi-finals of the IPL, the
Vodafone Zoozoos were ‘inadvertently captured’ by television cameras
enjoying the matches with spectators at the grounds.The Vodafone Zoozoos
also found their way as special guests onto television interviews on the
presenting channel, with commentators seeking their expert (gibberish)
opinion, and the nation watched in rapt attention. The Zoozoo interview on
Set Max during IPL was viewed approximately by about more than 11 million
ISBE –B (SS 10-12 ) 11 TS12-M-081.
people. The Interview was uploaded on Youtube by multiple people and had
over 50000 views in less than a week.
Building Engagement with Print And Out Of Home
Print, outdoor and retail level POS used the Zoozoos to drive relevant
cricket related offerings like Score Alerts, Match schedules and Live
Commentary on your mobile phone. For consumers, Vodafone extended the
benefit of being the telecom partner of the IPL by launching the “Star of
the Match” contest for its subscribers. A SMS based contest, the Star of
the Match contest gave 20 lucky Vodafone customers to not just experience
the IPL in South Africa, but also be part of the felicitation ceremony, shaking
hands with and receiving an autographed cricket ball from the winning
captain. This contest was also driven aggressively using print, out of home
and retail level executions. Zoozoo Chhota Recharges were also released.
Customers who bought a Chhota Recharge worth Rs 50 or Rs 100 could get a
Vodafone Zoozoo sticker free.
For its 9 lakh trade partners, Vodafone launched the “Score Kya Hai (what’s
your score)” contest. A sales driven trade contest that gave retailers a
chance to watch the IPL matches live in South Africa and also win a host of
Vodafone goodies
Engaging In Conversations with the Brand Online and One-On-One
Next, Vodafone harnessed the power of the youth, using the new and ever
expanding platforms of social networking and video sharing – to create a
Vodafone Zoozoo Facebook page and a dedicated Youtube channel. Both
channels were used to build conversations with consumers on a daily basis
and were instrumental in generating tremendous word of mouth for the
ISBE –B (SS 10-12 ) 12 TS12-M-081.
campaign, as well as its viral popularity. Some of the key activities the
makers undertook on the Facebook page to fuel conversations were:
- Naming the characters Zoozoos online
- Distribute viral Tag-me applications
- Preview the television commercials online 3 hours in advance
- Sparking the debate of whether the Zoozoos were real or animated. And
then resolving the debate
- A host of Vodafone Zoozoo goodies distributed periodically
A dedicated microsite and targeted banners on the official IPLT20 website
not only helped specific product message, they also let consumers
experience with world of the Vodafone Zoozoos. Bill envelope backs were
also used to share targeted Value Added Service messages with customers
based on their past usage patterns.
Building Salience on Ground
The on ground visibility of the brand was approached with building salience
through innovative branding opportunities. Regular perimeter boards were
animated, pitch mats were used and free merchandise was distributed at the
grounds to garner maximum visibility amongst ground spectators as well as
television cameras.
Driving consumer experience with mobile
In a bid to bring the world of the Vodafone Zoozoos at a more personal level,
Vodafone created mobile specific content like MMS clips, Zoozoo Callertunes,
E greetings, wallpapers and Games for Vodafone customers to download on
their phones from Vodafone live! Eventually, they were seen, heard and
experienced on non Vodafone customers’ phones as well.
ISBE –B (SS 10-12 ) 13 TS12-M-081.
Seeding Media Conversations with PR
A capsule on the making of Zoozoos was created and that became the most
sought after content for almost all GEC and News channels and all leading
publications. This helped in seeding the right messages with media, because
after the initial coverage, the popularity of the Vodafone Zoozoos took on a
life of its own. A special commemorative DVD was later released to media
from Vodafone with all 29 films, mobile downloads and PC downloads. This
created such a large demand that the makers had to distribute 85000 of
them to customers at Vodafone Stores and Mini stores as well.
Set amidst the canvas of two of India’s greatest entertainment options – the
general elections and cricket – the Vodafone Zoozoos not only managed to
overshadow them both; they also managed to lodge themselves firmly in the
hearts of the Indian consumer.
Impact on the brand
The campaign had a very visible impact on brand health scores as well.
Immediate traction was seen on appeal scores. And since the brand was
being positively talked about, recommendations from friends and family also
grew.
Pre
campaign
Post campaign
Brand becoming more
popular
48 54
Appeals more 42 47
ISBE –B (SS 10-12 ) 14 TS12-M-081.
Recommended by family and friends 38 44
The slew of products and services showcased helped position the brand as a
leader, who developed the market and had differentiated offerings from the
competition
Pre
campaign
Post campaign
Offers something different 42 45
Best quality products and
services
44 49
Leads development of mobile
category
41 45
In category strife with cut throat competition, the most significant impact
though, was the sharp rise in brand consideration scores for Vodafone
amongst category intenders - from a stagnant 20 pre-campaign to 25 post-
campaign – clearly indicating that communication had impacted intention to
purchase.
Incidentally, the post campaign scores also reflected a dramatically reduced
gap between Vodafone and the market leader, bringing Vodafone within
striking distance across all parameters (and even ahead on a few) –
something that had not been last achieved by the brand only during launch.
Though not even a listed objective, sales of the individual services advertised
also saw a significant increase. An average 60% growth in usage was
registered for the individual services advertised, post airing of the respective
commercials. The cricket alerts and commentary services specifically drew in
ISBE –B (SS 10-12 ) 15 TS12-M-081.
over 200,000 new user subscriptions during the period of the campaign.
Over 600,000 consumers downloaded Vodafone Zoozoo mobile content onto
their phones
What started off as a cricketing extravaganza in South Africa will now also be
remembered as the year of the Zoozoos. The Zoozoo commercials were
viewed in rapt attention by over 41 million people across the country.
According to an independent survey conducted by TNS Synnovate, Vodafone
was by far the most recognized brand in IPL – much more than even the
presenting sponsor. The same study also declared Vodafone as the top brand
to have advertised on IPL 2 to IPL 5 on all parameters measured - recall,
message comprehension and likeability of message. The Zoozoos on ground
during the semi-finals of the IPL was another coup the makers pulled off, with
the brand garnering over 8 million views from the television coverage the
makers achieved.
Advertising Age crowned the Vodafone Zoozoo campaign the ‘Top viral
campaign in the World’ - the first time a campaign had debuted at no. 1 spot
ever! The Vodafone Zoozoo Facebook fan page gathered over 600,000 fans
and over 10 million page views, in under 4 years time- the largest for any
Indian brand or personality. This fan base is also larger than iconic
characters like Mickey Mouse, Archie, Donald Duck, Popeye, Asterix and
Superman! With over 3 million views in a month, the Vodafone Zoozoo
channel on Youtube became the highest subscribed Youtube channel in the
country for the month. Online, the Vodafone Zoozoos overshadowed the
cricket with the Facebook and Youtube pages receiving more hits than the
official IPL T20 website itself. Every major online news website in the country
covered the Vodafone Zoozoos. The Zoozoos also found their way into online
conversations on over 8000 consumer blogs across the country.
ISBE –B (SS 10-12 ) 16 TS12-M-081.
What’s more important is that the Facebook page did not remain just a short
lived part of the campaign mix. It has evolved to become a channel for
continuous dialogue with the brand’s consumers. And the subject of a hot
case on community building and leveraging brands on social media, in the
Indian advertising and marketing fraternity
Dozens of TV stations carried specials on the making of the Zoozoos. Some
channels even made hour long programmes on the Zoozoos and sold it as
content to other advertisers. Surprises popped up everywhere. The Economic
Times carried their masthead with Zoozoos and Times Life had a front page
article on Zoozoos. Every national and regional newspaper of repute carried
multiple reports on the Vodafone Zoozoos. Peers from across the industry,
elicited responses of awe, admiration and jealousy all at the same time. In
fact, the free media coverage generated for the campaign in television and
print was estimated at over Rs. 6 crore! But massive as they are, numbers
alone don’t really do justice to a campaign that actually touched the hearts
of Indian consumers. The ways in which the Vodafone Zoozoos have affected
consumers is what makes it a truly iconic campaign. Surprises popped up
everywhere. In fact, the free media coverage generated for the campaign in
television and print was estimated at over Rs. 6 crore!
ISBE –B (SS 10-12 ) 17 TS12-M-081.
Cube dangler
Bunting
Shelf strip
ISBE –B (SS 10-12 ) 18 TS12-M-081.
Mobile manners campaign
Special projects
Star of the match competition:
• A SMS based contest
• Total no of hits on the keyword STAR : 74,652
• Total no of participants: 15,440
• 20 Vodafone customers won a trip to IPL matches in South Africa and also
got a lifetime opportunity to meet and receive an autographed match ball
at the match felicitation ceremony live on TV!
• 39 winners had their names announced on Television and received the
autographed match balls
• Promoted using television, radio and outdoor
ISBE –B (SS 10-12 ) 19 TS12-M-081.
Zoozoo Recharge Card with stickers:
• A limited edition of Zoozoo Recharge (Chhota recharge) for Rs 50 and 100
- Each recharge card with a Zoozoo sticker and 7 different stickers across
the Recharge sheet
• A total of XXX Recharge cards ordered from across circles
Zoozoo Recharge Card & sticker
Zoozoo DVD
A compilation of all Zoozoo films from season 1 along with a special feature
on the ‘making of the Zoozoos’ and many Zoozoo downloads for your mobile
phone and PC. More than 80,000 + DVD were produced and given to
customers under a Vodafone Store led promotion on recharging, VAS
activations and direct debit enrollments across circles.
ISBE –B (SS 10-12 ) 20 TS12-M-081.
Zoozoo merchandise
Zoozoo campaign evaluation
1. Beauty Alerts - on air 20th April
ISBE –B (SS 10-12 ) 21 TS12-M-081.
0
500
1000
1500
2000
2500
3000
3500
4000
4500
12-Apr 17-Apr 22-Apr 27-Apr 2-May 7-May
Date
Subscription
2. Dating - on air 3rd May
0
500
1000
1500
2000
2500
3000
3500
4000
4500
27-Apr 28-Apr 29-Apr 30-Apr 1-May 2-May 3-May 4-May 5-May 6-May 7-May
Dates
Subscription
3. Stock Alerts - on air 28th April
ISBE –B (SS 10-12 ) 22 TS12-M-081.
0
500
1000
1500
2000
2500
3000
21-Apr 23-Apr 25-Apr 27-Apr 29-Apr 1-May 3-May 5-May 7-May
Dates
Subscription
4. Call filter - on air 26th April
0
200
400
600
800
1000
1200
19-Apr 21-Apr 23-Apr 25-Apr 27-Apr 29-Apr 1-May 3-May 5-May 7-May
Dates
Subscription
5. Cricket Services
ISBE –B (SS 10-12 ) 23 TS12-M-081.
0
100,000
200,000
300,000
400,000
500,000
600,000
700,000
800,000
Precontest
Day 5 Day 10 Day 15 Day 20 Day 25
Cricket Subscriber base
200,000 incremental subscribers for Cricket Alerts & Commentary services
for the contest run during IPL
Vodafone Zoozoo Facebook page
Facebook is a relatively new social networking platform available in India,
but already has over 12 million fans, fast gaining popularity amongst the
youth and the influencers in society. But Indian brands (for that matter a
large proportion of the brands around the world) had not tapped this medium
effectively, yet. As a first step, the unique Vodafone characters were
christened Zoozoos on a dedicated Facebook fan page, giving the online
consumers a sense of discovery when they found out about it. To rapidly
spread awareness of the fan page online, special Facebook Tag-me
applications with different types of Zoozoos were created and distributed
virally. As youth signed on as fans in droves, they were rewarded with videos
of the much loved commercials there. A few days later, the makers started
previewing the commercials for fans on Facebook, two hours before they
ISBE –B (SS 10-12 ) 24 TS12-M-081.
went on air. Fans were then invited to share the advertisements with their
friends and get some serious bragging rights. In the second week, the
makers sparked a conversation of how the Vodafone Zoozoos were made –
were they real or animated?
As the discussions gathered fervor, the makers revealed the ‘making of’
videos on Facebook. These were released periodically a day after the
respective film was released on air. By this time, fans had started begging
for more and a large amount of user generated material started appearing
on the Facebook page. So the makers introduced goodies like e-cards,
games, Facebook
applications like
‘What Zoozoo are
you?’ wallpapers
and Zoozoo tones
for them
Zoozoos on
ISBE –B (SS 10-12 ) 25 TS12-M-081.
Zoo Zoos on You Tube
ISBE –B (SS 10-12 ) 26 TS12-M-081.
Zoozoo game - Spot the difference
Zoozoo MMS clips
ISBE –B (SS 10-12 ) 27 TS12-M-081.
Zoozoos on the web
‘Most viewed viral campaign in the world’ in May 2011 and’ Top viral
campaign in the World’ for the week’ by Advertising Age (14th May 2011).
The Zoozoo Facebook fan page has over 3, 15,000 fans the largest in India
across brands & personalities. Over 6000 Indian blogs reviews online!
A channel on Youtube with over 4
mn views. Two viral videos on
Diwali and Independence Day with
2 mn views
ISBE –B (SS 10-12 ) 28 TS12-M-081.
The Zoozoo commercials were viewed by over 41 million people across the
country. 75% of this population viewed this campaign at least 5 times. Media
pundits hailed it as an ideal case study of how to approach and leverage a
media property. The campaign captured the imagination of viewers and for
once, a cricket-crazy country waited and looked forward to the commercial
break in the games. It was the highest subscribed YouTube channel in the
country for the month, with over 4 million views on Youtube alone. And the
amount of buzz created on the site and the resultant spillover on Youtube
didn’t go unnoticed as Advertising Age crowned the campaign the ‘Top
viral in the World for the week’ - the first time that a campaign had
debuted at no. 1 spot ever! The campaign remained in Ad Age top 10 viral
lists for 5 weeks, making it the most viewed viral in the world in May 2009.
Every national and regional newspaper of repute carried multiple reports on
the Vodafone Zoozoos. In fact the free media coverage generated was
estimated at a staggering 1.25 million USD. The Facebook page did not
remain just a short lived part of the campaign mix. It has evolved to become
a channel for continuous dialogue with the brand’s consumers.
The Star of the Match contest was a unique prize, which gave the brand
television visibility to approximately 4 million viewers per match. The
hallmark of an iconic campaign is the level it permeates to in public
consciousness and the Vodafone Zoozoo campaign emerged with flying
colours. Zoozoo merchandise did brisk business!
In the recent summer of 2012, three things captured the imagination of India
– Vodafone Zoozoos, IPL and the General Elections – in that order
Campaign evaluation
Night Talk: On air 27th Nov
Circle
Nov (in lacs)
Dec (in lacs)
ISBE –B (SS 10-12 ) 29 TS12-M-081.
UPE 37.6 33.9
Mah 2.1 2.1
Mum 0.53 0.51
Guj 6.9 6.6
http://www.vodafone.in/vodafone/misc/night_talk30sec_eng_261109.zip
Pay Bills online: On air 3rd march
• Rs. 22.35 Cr in march
Increase in payment @average of 70 Lakh/day
Busy message: On air 27th No
• Number of selections made in Jan’10: 514
• Number of selections made in april’11: 1536
• Number of selections made in april 12’: 1934
Job Alerts: on air march 2012
April subscriptions were 102,747 as compared to 70,000
of .March
April
Date Subscriptions
1 - 7 11,378
8 - 14 20,905
15 - 21 26,369
22 - 28 29,039
ISBE –B (SS 10-12 ) 30 TS12-M-081.
28 - 31 15,056
Total 102,747
Live counseling: On air 4th April 2012
• Incremental revenue of Rs. 35,624 daily In April as compared to the
month of March
SiteImpressions
deliveredClicks CTR’s
Orkut 12152524 43504 0.36
Yahoo Msgr 5457413 68221 1.25
YouTube 5493102 33143 0.60
Google 42419558 131101 0.27
Facebook 13190 -
Jivox 1560763 6153 0.39
Sify EDM 3562082 57605 1.62
Sify iWays 648522 5116 0.79
Rediff 100000 9397 9.39
Clinck 2993182 42134 1.41
Site Entries
Vodafone.in 33458
Facebook 7551
Orkut 1549
Jivox 82
Total 42640
Site Views
ISBE –B (SS 10-12 ) 31 TS12-M-081.
YouTube Video 191049
Hungama Prerolls 743398
Jivox Video 536329
Vdopia Prerolls 448664
Youtube Channel 450000
Total 2369440
Analysis
The total entries of Complete the Zoozoo Story were 42640. The total Video
Views during the Campaign 2369440. The increase in Facebook fans: 9121.
The increase in Orkut fans: 540. The avg. CPC for this campaign Rs.7.25/-
and the avg. cost per video view 50paise
Learning
Facebook & Orkut still is a question mark with respect to the regular users.
Cyber cafes were one of the best options for targeting youth. Google content
network (Targeted) one of the best options for online promotions. Interactive
banners will still take some time to capture market in India.
Zoozoo ID day viral
ISBE –B (SS 10-12 ) 32 TS12-M-081.
This viral became the most favorite and one of the most viewed videos
within just 24 hours being uploaded.
• YouTube Channel: 57470 views
• Youtube Video Banner: 33888 views
• Facebook: 15000 views
• Vdopia Video Network: 816788 views
• Vuclip : 2080 views
• Rediff.com : 10000 views
• Many blog sites picked it up spontaneously and featured it
• Google, Rediff.com etc
• All top searches showed third party sites streaming the video
ISBE –B (SS 10-12 ) 33 TS12-M-081.
Diwali viral
ISBE –B (SS 10-12 ) 34 TS12-M-081.
This viral became the “Top Viewed” and “Top Favourited” videos within just
48 hours being uploaded
• Youtube Channel: 58,660 views
• Youtube Video Banner: 67,176 views
• Facebook: 10,402 views
• Vdopia Video Network: 9,50,876 views
• Other Zoozoo videos during this period on Youtube: 36,102 views
• Total 10, 87,114 views of the Diwali video!
• 13,766 customer subscriptions
ISBE –B (SS 10-12 ) 35 TS12-M-081.
PROBLEM AREA
Ad agency professionals have long supported creativity as one of the most
significant elements in advertising, maybe even important in its own right.
The vital figure in the making of advertising is titled a “creative” and the
main advertising awards center on creativity. On the other hand, many of
these have been condemned as “beauty contests, focusing on industry
specific criteria more willingly than on the actual effectiveness of ads. Yet,
some view creativity as essential for advertising effectiveness or even that
creativity is effectiveness.
Even though creativity is extensively acknowledged as significant to
advertising, researchers differ on what chief factors of ad implementation
add to ad creativity. Chief reviews of the theoretical space of creativity are
short of any major reference to advertising and in advertising research only a
few studies deal openly with creativity. Amongst these, few have formed
results that are together significant and clear-cut. Some findings are open to
doubt. Time and again cited Kover, Goldberg, and James (1995) found that
ads classified as creative by consumers also made the strongest fondness
and purchase interest—yet the authors confessed that they could only
“examine trends and indications rather than look for statistically significant
differences.” Other findings are at odds with one another. For instance, while
some authors find a positive outcome of Zoozoo ad campaign on brand
attitude and purchase intentions. Lastly, there is a total lack of research in
many areas of advertising effectiveness. No study has tried to associate
Zoozoo ad campaign to brand interest, perceived ad expenditure, perceived
ad effort, and the influence of universal advertising attitude on the
effectiveness of Zoozoo Ad campaigns is unknown.
ISBE –B (SS 10-12 ) 36 TS12-M-081.
In sum, researchers are undecided on the nature and effects of the Zoozoo
campaign on consumers. The Zoozoo commercials were one of the most
successful campaigns of all times. Over 41 million people viewed it across
the country. 75% of this population viewed this campaign at least 5 times.
OBJECTIVE
This thesis has the primary purpose to determine the main dimensions of
advertising creativity of ZooZoo ad campaigns and to establish whether
these dimensions had significantly improved several key measures of
advertisement’s effectiveness. Secondary purposes are to decide to what
extent each dimension ZooZoo ad campaign impacted each effect measure,
to conclude if the campaign retains effectiveness among consumers with a
negative general ad attitude. The research is on the Vodafone Zoozoo iconic
campaign. Also the research would show the effect of this campaign on the
consumer behavior towards the brand.
LIMITATION
The author has focused on Zoozoo Ad campaigns execution and not, e.g. the
media choice. Most studies of advertising have depended on experimental
research designs, using alternatives of mocked-up ads as stimuli. To keep
away from repeating this, the author based the advertisement selection on
real-time campaigns. The author limited the study to the Vodafone ZooZoo
advertising, which he believed is a representative one. The focus has been
on consumer advertising and the author decided to test Vodafone Zoozoo
ads from television, print, or outdoor media.
ISBE –B (SS 10-12 ) 37 TS12-M-081.
The campaign collection spans from March 2009 till date, to create a
representative sufficient sample size at the same time as keeping material
as up to date as possible. While the age disparity of campaigns might danger
skewing perceived creativity, affirmation checks determined that this was
not the case. Most preceding creativity studies have tested ads from one
product or service category.
Literature Review
The thesis is separated into five main chapters. Subsequent to this
introductory chapter, the second chapter looks at the present state of
theory. It evaluates the likely dimensions for case in point the Zoozoo ad
campaign and proposes some advertising effects to which it may have a say:
ad and brand attitude, brand interest, intentions, perceived ad expenditure
and effort. Also discussed is the function of general advertising attitude, the
comparative effectiveness of Zoozoo ad campaign. Hypotheses are
developed all through the chapter on theory.
The third chapter outlines the method used, evaluating the initial work,
research design, survey design (the scales and measures, questionnaire, and
sample), external data, reliability and validity, and instruments and methods
of analysis. The fourth chapter is devoted to the analysis and results from
hypothesis testing. This chiefly aims to institute the important dimensions of
Zoozoo Ad campaigns and the effect measures to which it actually
contributes. Lastly, the fifth chapter discusses the results, suggests ways for
recommendations, and draws conclusions for advertising theory and
practice.
ISBE –B (SS 10-12 ) 38 TS12-M-081.
BACKGROUND
In 1758, Dr. Samuel Johnson affirmed: “Advertisements are now so numerous
that they are very negligently perused”. Since then it has turned out to be
ever more taxing for advertisements to break through the clutter of rival ads
so as to gain consumers’ attention, shape their attitudes, and let alone shift
them to purchase. Nowadays, consumers are open to thousands of
commercial messages each week, making it hard for every advertiser to
stick out as only one of its kind and influence consumers to support their
offer.
The broad trend is reflected in a steady growth of advertising expenditure.
One approach of breaking through the clutter is to outspend the rivalry by
making more and bigger campaigns than other brands. Leaders in
advertising media spending, as calculated by share of voice, are awarded
greater brand salience and experience less from brand confusion. Certainly,
Schroer (1990) sustains that superior and more steady advertising spending
than competitors is a key factor at the back of larger market share of leading
firms. This game is not for the faint heart, on the other hand: to move market
share forward and ahead of comparable competitors, the majority of firms
would require as a minimum doubling-up their chief rival’s advertising
expenditure and sustaining this rank for years.
While one path towards attaining advertising objectives is to make the most
of the share of voice, a small number of firms have the capability to
outspend competition to this degree. It has been probable that 70–85% of
new product introductions fall short and empirical proof points to marketing
as a chief factor behind the phenomenon. Senior managers in the U.S.
believe that close to 90% of all advertising fail to meet its objectives. Many
markets are affected by advanced costs, bigger competition, and pulling
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down demand, promoting the need to get better the effectiveness of
marketing expenses (Keller 1993).
There may be an additional cost-effective way to share market. As ad
spending is the way to share of voice, Zoozoo ad campaign may lead
straightforwardly to “share of heart”. Eastlack and Rao (1986) encourage the
creative element of advertising, maintaining it has been established to be far
more significant than real spending rates or patterns. Some say it is
creativity that “pushes the message into viewers’ minds”. A small number of
studies have tried to bond advertising creativity to changeable measures of
advertising effectiveness. On the other hand, though known as imperative,
the connection between advertising creativity and advertising effectiveness
is far from researched at length and amongst the studies so far, researchers
have the same opinion that findings are open to doubt or even contradictory.
Creativity in Advertising
Earlier than developing the hypotheses connected to the dimensions and
effects of advertisement, the reader will be given support of a short
introduction to the idea of creativity; its function on the whole, in strategy,
marketing, and advertising; and the a variety of definitions of the word.
The implication of creativity is recommended by the scope of research
activity carried out to know its nature and appliance in assorted fields. These
comprise art, music, science, education, management, and advertising. Near
the beginning, work on creativity is characterized by the “aha” meaning in
Parnes (1975). Opening in the late 1980s this inclination was made out of
order and more refined definitions of creativity were launched. Creativity can
be conceptualized as personal attribute, environment, process, and product
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(e.g. advertising). Zinkhan (1993) maintains that creativity is very important
to the business strategy as strategic planning deals with the allotment of
resources amongst the possibilities of what’s to be done, creativity plays an
imperative role in creating or recognizing what could be done—i.e. to do the
right thing rather than just doing things right.
Marketing researchers have asserted the importance of creativity in
marketing programs, of which advertising is a central element, to build
meaningful differentiation from competing alternatives. This in turn
stimulates customer satisfaction and loyalty, and reduces the risk of price
wars. For new products, marketing program novelty is at least as important
as product novelty "to add enough value to the strange service to
counterbalance the pain of the new idea" (Wasson 1960). Indeed, products
can rise from anonymity to market-leader status without offering
groundbreaking product innovation. Advertising may be the only profession
where the central figure in the business process is titled a “creative,”
illustrating the focus placed on creativity within the field (Till and Baack
2005).
Definitions of Creativity
The Oxford American Dictionary defines creativity as “the use of the
imagination or original ideas, esp. in the production of an artistic work.”
Creativity in advertising varies from this common idea, and unluckily the
understanding of it differs a great deal. Though Taylor, Hoy, and Haley
(1996) put forward that definitions of advertising creativity differ
transversely through cultures, certain key elements seem universal. Not
contrasting from definitions in psychology, creativity in advertising is
regarded as a way of problem solving. To make this path, the majority of
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definitions propose that creativity depends on two central aspects: novelty
and meaningfulness. For instance, Amabile (1996) argues that a “product or
response will be judged creative to the extent that it is a novel and
appropriate, useful, correct, or valuable response to the task at hand.” The
“task at hand” in advertising is the advertising objective, i.e. the
psychological and behavioral reaction of target consumers. Amabile argues
that together novelty and meaningfulness must be incorporated in the
definition of creativity, for the reason that the target audience may make out
ideas as weird or bizarre if they are novel or unique but carry no meaning for
the audience. More definitions bring into line with and elaborate on this
notion. Zoozoo Ad campaigns communicate the message in a “playful but
relevant way”. Likewise, Marra (1990) defines creativity in advertising as
“being new and relevant with your ideas” and Smith and Yang (2004)
consider that creative ads are those that are perceived to be different and
relevant.
Leo Burnett defined advertising creativity as “the art of establishing new and
meaningful relationships between previously unrelated things in a manner
that is relevant, believable, and in good taste, but which somehow presents
the product in a fresh new light”.
As said by Parnes (1975), the core of creativity is the notion of “aha,” which
is “the fresh and relevant association of thoughts, facts, and ideas, into a
new configuration which pleases, which has meaning beyond the sum of the
parts, which provides a synergistic effect”. Tellis (1998) defines creativity as
“productive divergence.” Holtzman (1984) offers a comparable explanation
of creativity: "divergent thinking that yields some kind of highly valued
product or idea." These definitions put forward that creativity must provide
value ads.
ISBE –B (SS 10-12 ) 42 TS12-M-081.
Many other dimensions have been suggested as element of advertising
creativity, and thus implicitly or explicitly incorporated in the definition:
particularly humor, positiveness, and well-craftiness. As a purpose of this
thesis is to determine the effectiveness of ZooZoo ad campaigns, the author
will not set out to choose or construct any one definition beforehand.
Dimensions for Zoozoo Ad Campaign
Even though creativity is important subject matter for advertising, it is not
apparent how to operationalize it. Gordon White (1972) distinguished that
creativity “is the X factor in advertising theory, it escapes the scientific probe
of the researcher and the decision-maker.” While there has been a great
deal of research in the field, and some agreement, numerous facets of
creativity are construed in different ways, and results from comparable
interpretations may be vague.
The simplest way to gauge creativity is on a single-item scale. For instance,
Amabile (1982) circumvented the problems of both the definition and the
measurement of creativity by letting experts evaluate the “creativity” of
creative products using their own individual standards and definitions of
creativity. Amabile suggests that if suitable judges separately concur that a
given product is creative, it can and must be established as such. On the
other hand, even experts may differ in their definition of creativity.
In addition, to completely know creativity, one would require exposing what
factors are usually held to include it. Such a requirement would also make
measures more similar and dependable. So, what factors might be
positioned behind the concept of creativity in advertising?
Novelty
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Researchers in the field usually have the same opinion that as a minimum,
one facet must be “novelty” (also referred to as “originality,” “divergence,”
“unexpectancy,” and “newness”). This relates in countless of disciplines,
from art to business. For instance, in the fine arts creative artists have been
said to display disequilibrium in their private lives and to mirror such
deviations in their works. In business literature, a creative product is thought
to be original and the result of imaginative thinking that needs a theoretical
formation of objects that are not real. In actual fact, as said by some
researchers novelty should be the main criterion measured when making a
decision on a product’s creativeness, in spite of other possible positive
attributes.
In the field of advertising, the majority of definitions of creativity entail a
feature of newness, unexpectedness, or originality. This idea of creativity
matches to a deviation from the standard—a stimulus that is not anticipated
from preceding information. Such novelty is similar to expectancy in
advertising projected by Heckler and Childers (1992), which concerns how
well information obeys the rules to a prearranged structure suggested by the
ad theme. Novelty matches to unexpectedness in the sense that ads not in
agreement with other ads of the same product category or scheme are novel
(Ang and Low 2000). The author therefore expects the following:
H1a: Novelty of Zoozoo Campaigns promoted its ad creativity
Meaningfulness
Novelty is usually looked upon as a need but not enough criterions for an
advertisement to be measured creative. Consumers have particular
expectations for ads in a particular category, e.g. what visuals a detergent
ad ought to have. The more an ad diverges from expectations, the more
consumers will assess the ad as novel.
ISBE –B (SS 10-12 ) 44 TS12-M-081.
Simultaneously, unless the creative part expresses some meaning about the
advertised product, unexpectedness does not essentially mean creativity.
Consistent with many researchers of advertising creativity, the novel ad
element must also be meaningful for the ad to be eligible as creative. The
mixture of novelty and meaningfulness (also referred to as “relevancy,”
“appropriateness,” “usefulness,” and “the strategic component” to
creativity) makes sense also from the viewpoint of advertising professionals
and marketing strategy. The course of creativity in advertising has one
central oddity from the process of creativity in the traditional arts and
sciences. The creativity desirable in advertising is problem-solving creativity,
forced by marketing objectives, competition, the organizational support
hierarchy, etc. It is practical creativity: on demand, on a deadline, and inside
strict parameters. From this viewpoint, meaningfulness complements
novelty, spinning creativity into an instrument of problem solving and goal
attainment, in the framework of marketing strategy. In addition, Holtzman’s
(1984) definition of creativity, “divergent thinking that yields some kind of
highly valued product or idea,” suggests that creativity must give value ads.
Meaningfulness should be vital for advertising to add value. Based on the
preceding discussion the author hypothesizes:
H1b: Meaningfulness in Zoozoo Campaigns promoted its ad creativity
Humor
At the same time as the majority of common elements in previous research,
novelty and meaningfulness are by no means the just factors commendable
of consideration for advertisement creativity. Lee and Mason (1999) did test
expectancy and relevancy as variables in print ads, but tested humor also.
The authors hold the three factors to be connected, all functioning as
variables of “information inconguency” in advertising (p. 156). Findings
propose humor can lift the assessment of unexpected–irrelevant ads (but not
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unexpected–relevant ads). Smith and Yang also suggest humor as a facet of
creativity, connected to the different qualities of ads. Lastly, Weinberger and
Spotts (1989) maintain humor to be “one aspect of […] advertising
creativity” (p. 39). The author expects that:
H1c: Humor in Zoozoo Campaigns promoted its ad creativity
Positiveness
Ang and Low (2001) also talk about novelty and meaningfulness as parts of
advertising creativity. As an added factor they take account of valence of
feelings, i.e. the “emotional direction of the ad content”—to what degree the
advertisement expresses positive feelings. Why positiveness might be
measured? As preceding research proposes, novelty ought to be a core
factor of creativity. Ang and Low compete that the unanticipated stimulus of
novelty will draw out emotional consequences, which in sequence color the
assessments of novelty. This would powerfully persuade whether consumers
will acknowledge the novel ad. Consequently, positiveness should play a
function very much parallel to meaningfulness, as a lubricant to the
acceptance a of novel ad implementation. Smith and Yang (2004) suggest a
comparable relationship, in which an ad’s “expression of emotion” adds to its
creativity. Make a note that in this way positiveness is not conceptualized as
a measure of effectiveness for the Zoozoo ad campaign, but rather as a
factor corresponding to, e.g. novelty. The author hypothesizes that:
H1d: Positiveness in Zoozoo Campaigns promoted its ad creativity
Well-Craftiness
Besemer and O’Quinn (1986) aimed to build up a semantic scale of
creativity, and integrated the factors novelty, resolution (meaningfulness),
and “elaboration/ synthesis.” The concluding variables stand for the stylistic
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details of ad execution; how well-crafted it is. The study built on Besemer
and Treffinger (1981), which instituted novelty, resolution, and
“attractiveness” to be criteria to clarify creativity. White and Smith (2001)
have built on this custom, and included “well-craftiness” next to measures of
novelty and meaningfulness in their study of differences in creativity
judgments among advertising professionals, the common public, and
students. Koslow, Sasser, and Riordan (2003) include “artistry” along with
innovation and meaningfulness in their study of advertising creativity. To
review this line of creativity research, the author proposes:
H1e: Well-craftiness in Zoozoo Campaigns promoted its ad creativity
Finally, Figure 1 outlines the proposed dimensions of to check the
effectiveness of the Zoozoo Ad campaigns
Advertising Effectiveness
ISBE –B (SS 10-12 ) 47 TS12-M-081.
Effectiveness of Zoozoo Ad campaigns
Novelty H1aNovelty H1a
Meaningfulness H1b
Meaningfulness H1b
HumorH1cHumorH1c Positive –
nessH1d
Positive –nessH1d
Well-craftinessH1e
Well-craftinessH1e
Advertising effectiveness mirrors the extent to which advertising achieves its
objectives. Many such effects are linked in a sequential chain of steps—e.g.
brand awareness, knowledge, favorable attitude, preference, and intentions
— which ultimately lead to purchase or repurchase. However, not all
advertising has the main objective to stimulate overt action. For example,
products in different markets or at different points in the life cycle may differ
markedly in what advertising effects are prioritized, whether direct action or
long-term behavioral attitudes. Eastlack and Rao (1986) affirm that creativity
in advertising is far more important than actual spending rates or patterns.
They argue that “effective advertising creative” can move a brand into a new
competitive structure, possibly permitting significantly higher prices. Others
maintain that creativity “pushes the message into viewers’ minds”.
Researchers generally hold advertising creativity to be very important, and
certain studies have indeed examined the relationship between creativity
and effectiveness.
However, these studies are in relatively short supply and in some cases
present findings that are inconclusive or that contradict other studies. The
author will now propose several possible effects of Zoozoo ad campaigns,
and develop hypotheses as to how the campaigns may affect each.
Ad and Brand Attitude
In consumer behavior literature attitude is defined as “a person’s
consistently favorable or unfavorable evaluations, feelings, and tendencies
toward an object or idea” (Kotler 2007). As obliqued by this definition,
attitudes are usually considered steady over time. Holding a positive attitude
toward a good or service is one chief requirement for consumers to hold a
positive purchase or consumption intention toward it. Brand attitude (Ab) is
the consumer’s assessment of a brand on the whole, and time and again
forms the base of consumer behavior. Attitude toward the advertisement
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(a.k.a. ad attitude) (Aad) is the consumer’s evaluative reaction to an ad
through a particular exposure occasion. Notably, ad attitude has been shown
to act as a go-between the advertisement’s upshot on brand attitude, such
that AadAb. The upshot of ad attitude on brand attitude has been established
to function both directly and indirectly through its effect on brand cognitions.
Additionally, it holds for in cooperation central and peripheral processing and
is pertinent for both low and high involvement product categories as well as
high knowledge/importance and low knowledge/importance consumer
segments (Gardner 1985).
MacKenzie and Lutz (1989) present many antecedents to ad attitude,
amongst them ad execution. A creative ad execution thus holds the
prospective to optimistically affect attitudes (ibid.). To maintain this, Smith
and Yang (2004) dispute that creative ads may create considerably more
positive cognitive and affective responses based on the value of different
stimuli. In addition, research has shown that consumers have internal
dispositions concerned with creativity. For instance, novelty seeking, variety
seeking, incongruity seeking, exploratory drive, innovative proneness, and
exploration “erg” are all examples of consumers seeking divergent. There is
also well-built proof from social psychology that consumers can be expected
to appreciate creative ideas (Guilford 1967).
In addition, under the lower levels of involvement characteristic of most
advertising exposure (Krugman 1965), ad creativity may work as a
peripheral cue with significant effect on ad and brand attitude (Petty and
Cacioppo 1986). Some studies have tried to institute the connection between
advertisement creativity and attitude. A lot of these, though, have significant
caveats or produce conflicting results. Additionally, their research designs
have always been experimental, and thus debatably have sacrificed
practicality. Kover, Goldberg, and James (1995) found that ads classified as
ISBE –B (SS 10-12 ) 49 TS12-M-081.
creative by consumers also produced the strongest liking and purchase
interest. Unfortunately, their test had limited statistical significance. Lee and
Mason (1999) showed that unexpected advertisements, if also relevant, are
more favorably evaluated than expected ones. However, the authors provide
no explicit reference to creativity. Ang and Low (2000) found that the novelty
dimension of creative ads contributed to higher ad attitude and brand
attitude, with the strongest effect for unexpected, relevant, and positive-
feeling ads. This study relied solely on a student sample for measuring
creativity, a method that has raised significant concerns. Stone, Besser, and
Lewis (2000) linked advertisement creativity to likeability, but in relatively
simple terms. Finally, Till and Baack (2005) studied television commercials,
equating creative to award winning, but found no significant effect of
creativity on brand attitude. Research and intuition suggest that the
unexpectedness of novel ad execution would cause greater arousal, more
elaborate processing, and in the end more favorable evaluations, i.e. ad and
brand attitude. Additionally, meaningful, humorous, positive, and well-
crafted elements of ads should all work to promote favorable attitudes
toward the ad, with certain effects spilling over to the brand. In spite of this,
the mixed findings above call for a more comprehensive study of the effects
of Zoozoo ad campaign on attitudes. Based on the theoretical foundation laid
out, the author hypothesize the following:
H2a: Ad attitude will be greater for Zoozoo Ad campaigns which are creative
ads than for non-creative ads
H2b: Brand attitude will be greater for Zoozoo Ad campaigns which are
creative ads than for non-creative ads
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Brand Interest
Machleit, Allen, and Madden (1993) contend that research on attitudinal
constructs generally has had an understanding focus on unfamiliar brands.
For familiar brands, such as Coca-Cola, McDonald’s, and Vodafone, when
brand attitude by now is well recognized, a boredom factor can occur even
when the attitude is positive and the brand is providing sufficient
contentment. For that reason, advertising that merely reinforces this attitude
cannot be anticipated to give as strong a motivational “push” to action as
advertising that revives interest in the brand. This is especially relevant
when fostering repeat purchasing as opposed to trial behavior.
Brand interest is defined as “the base level of approachability,
inquisitiveness, openness, or curiosity an individual has about a brand”.
Machleit, Allen, and Madden (1993) maintain that their conceptualization of
brand interest is consistent with approach, exploration, and “creative
encounter”. Advertising should strive for more than to increase brand
awareness, and humorous advertising may not be sufficient. Novel and
atypical methods are needed to create an ample affective reaction and
thereby revive interest, especially for familiar brands. Indeed, one study of
agency creatives indicated that sameness among brands has been a key
reason for improving creativity in recent years. Zoozoo Ad campaigns are
novel by definition and so should be expected to enhance brand interest to a
greater extent than noncreative advertising. And the meaningfulness
dimension seems reasonably important when promoting repeat purchasing.
The author therefore hypothesizes:
H2c: Brand interest will be greater for Zoozoo Ad campaigns which are
creative ads than for non-creative ads
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Purchase and WOM Intentions
One of the most important skills of a successful company is the ability to
predict the behavior of its customers. One way of forecasting, e.g. future
sales, is by looking at past behavior. However, due to the fact that
behavioral patterns change over time, the prevalent theoretical model of
predicting behavior is to look at. Intentions are “the subjective judgments
about how we will behave in the future”. A number of studies have
demonstrated that intentions have an explanatory effect on actual behavior.
But the intentions–behavior model has been shown to have some
imperfections. Belk (1985) refers to several studies that show certain
degrees of discrepancy between consumers’ intentions and their true
behavior. However, much can be done to improve the result (ibid.) and
despite these limitations the intention–behavior model is generally regarded
as the best method of predicting actual behavior.
In a previous discussion the author hypothesized that the creativity of the
Zoozoo Ad campaigns should lead to more favorable ad and brand attitudes.
As brand attitude promotes purchase intentions, this means Zoozoo Ad
campaigns should result in greater purchase intentions. There might be
direct effects of Zoozoo ad campaign on purchase intentions as well. For
example, ad meaningfulness might illuminate the brand’s link to consumer
needs. And ad novelty might bring the offering into new light, moving
previously neutral consumers to “want” the product. Ang and Low (2000) in
fact found that unexpected, relevant, and positive advertisements (i.e.
creative ads by their definition) have the highest positive impact on
purchase intentions. The authors relied on a student sample and used an
experimental research design with a mock-up ad as stimuli. The author aims
to extend the general applicability of theory in this regard—backed by a set
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of real-life ad campaigns and a large panel of consumer respondents, the
author set up the following hypothesis:
H2d: Purchase intentions will be greater for Zoozoo Ad campaigns which are
creative ads than for non-creative ads
Beside the prediction of purchase behavior, much attention has been drawn
to the measurement of word-of-mouth (WOM) intentions.
Research shows that WOM, “the informal transmission of ideas, comments,
opinions, and information between two people”, has an indirect positive
effect on the performance of the firm. One might expect a creative ad to
offer more talk fodder than a non-creative one, as people should be more
prone to talk about divergent or humorous experiences. In addition, it should
be easier to convey meaningful elements. Last but not least, both
positiveness and well-craftiness ought to vouch for a more pleasant
message, or at least reduce the effort needed to process and pass it on. In
the case of creative advertising, as opposed to creative product
development, the effect should be largest on ad WOM intentions, yet also
affect brand WOM intentions. Also, it is not unlikely that a strong enough ad
attitude would increase word-of-mouth intentions. If Zoozoo Ad campaigns
results in greater ad attitude, as reasoned above, then WOM intentions
should be promoted by an indirect effect as well. In sum, the author presents
the following hypothesis:
H2e: Ad WOM intentions will be greater for Zoozoo Ad campaigns which are
creative ads than for non-creative ads
H2f: Brand WOM intentions will be greater for Zoozoo Ad campaigns which
are creative ads than for non-creative ads
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The effects discussed so far all stem from the classic advertising hierarchy-
of- effects. In an effort to further extend the knowledge of the effectiveness
of Zoozoo Ad campaign, the author will factor in also the perceived ad
expenditure and effort, the role of general advertising attitude and the sales
value impact of ad creativity in relation to media expenditure
Perceived Ad Expenditure and Effort
Ambler and Hollier (2004) find that perceived advertising expenditure
enhances the consumer's perception of the brand. The portion of advertising
expenditure that may be perceived by the target market, but which adds
nothing to the functionality of the advertisement—that is, understanding the
message or its persuasiveness—is referred to as “waste.” This perceived
extravagance of an ad contributes to its effectiveness by increasing
credibility. This theory draws especially on the “Handicap Principle” in
biology: animals use wasteful characteristics to signal their exceptional
biological fitness.
The authors maintain that excesses in advertising work in a similar way by
signaling “brand fitness.” They find that perceived ad expenditure is a strong
indirect predictor of brand choice, through its influence on perceptions of
brand quality. Interestingly, consumers tend to overestimate the amounts of
advertising expenditures.
The conclusions of Ambler and Hollier agree with those of Kirmani and Wright
(1989) as well as Homer (1995). In addition, the latter tested perceived
advertising effort, i.e. perceptions of “the amount of advertising effort
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expended by an advertiser,” and found that it too positively influenced
perceived brand quality.
A lower actual level of ad expenditures might very well be compensated for
by creative ad execution, adding to its perceived expenditure. As described
above, creativity “has meaning beyond the sum of the parts”—it “provides a
synergistic effect” which may well boost the ad’s perceived expenditure and
effort. Such a relationship would implicate that the Zoozoo Ad campaigns
indirectly promoted the advertised brand's perceived quality. It’s worth
noting that while the author does not measure perceived brand quality in
this study, it should be a direct predictor of brand attitude and purchase
intentions, which is measured. In summary, the author hypothesizes:
H2g: Perceived ad expenditure will be greater for Zoozoo Ad campaigns
which are creative ads than for non-creative ads
H2h: Perceived ad effort will be greater for Zoozoo Ad campaigns which are
creative ads than for non-creative ads
General Advertising Attitude
Obermiller, Spangenberg, and MacLachlan (2005) note how the increase of
ad skepticism makes it harder to inform and influence consumers through
advertising. As one would expect, consumers with a generally negative
attitude towards advertising would tend to evaluate any given ad less
favorably than would the general public.
However, the authors find that people with a negative general advertising
attitude tend to be more positive towards advertising with emotional
appeals, and less influenced by their general adverting attitude for products
that are of interest to them. Some contrary conclusions have surfaced, e.g.
MacKenzie and Lutz (1989) who found that advertising attitude had very
ISBE –B (SS 10-12 ) 55 TS12-M-081.
little or no effect on ad attitude, since the specific ad or situation tends to
dominate ad evaluation. Also, Friberg and Nilsson (2006) established that for
ads in traditional media there is no significant difference in ad attitude
between consumers with a negative general advertising attitude and the
total population.
But they did show that choosing a Zoozoo Ad campaigns medium
significantly raises ad attitude compared to using traditional media— and the
increase is lesser for consumers with a more negative general advertising
attitude. Clearly, more research about the role of general advertising attitude
is needed. It’s conceivable that advertisement creativity would work to
mitigate the negative effect of higher skepticism, as does emotional appeal
and product involvement. For this reason the author hypothesize that
although consumers with a general advertising attitude will evaluate ad
attitude and the like lesser, Zoozoo Ad campaigns will be more effective
among this group as well.
H2i: Consumers with a negative general advertising attitude will evaluate
objectives lesser, but among them Zoozoo ad campaigns’ creative ads will
achieve greater objectives than non-creative ads
Media Expenditure and Sales Value
To break through the clutter of competing ads, many businesses resort to
larger or longer-running ad campaigns. Leaders in advertising spending
suffer less from consumers confusing their brand with those of competitors.
Media expenditures may also strengthen sales and market share by
increasing brand salience in a particular category. Schroer (1990) believes
advertising spending to be a key factor behind the larger market share of
leading firms. As a case in point, Wilcox (2001) found a positive relationship
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between total brand advertising expenditures and brand market share from
1977 to 1998 for eight U.S. brands of beer.
However, this strategy is expensive: to successfully raise market share
ahead of similar competitors, most firms would need to at least double its
main rival’s outlay and maintain this level for years (Schroer 1990). Few
firms have the ability to outspend competition to this extent. And most
businesses face challenges in achieving cost-effectiveness at any level of
spending. Indeed, most advertising is believed to fail meeting its. In the case
of new product introductions, an estimate 70–85% fall short; empirical
evidence points to marketing as a key factor behind this. Some researchers
have therefore shifted focus from ad spending to ad execution, from share of
voice to “share of heart”. For instance, Eastlack and Rao (1986) promote the
creative component of advertising, claiming it to be far more important than
actual spending rates or patterns. Kover, Goldberg, and James (1995) believe
creativity “pushes the message into viewers’ minds.”
Pitched against well-funded campaigns, which are promoted by frequency
and breadth of ad exposures, the author proposes that Zoozoo Ad campaigns
have three main advantages. First, the author has demonstrated that Zoozoo
Ad campaigns which are creative ads are more effective in promoting brand
attitude, brand interest, and purchase intentions in each exposure to an ad.
Second, because Zoozoo Ad campaigns are more novel and meaningful, and
perhaps more humorous, positive, and well-crafted, they should have more
“staying power” with consumers. Indeed, creative ads have been shown to
be more memorable.
To compete, non-creative campaigns need to be exposed more frequently,
and well-funded campaigns certainly are. They would therefore tend to
induce more negative wear-out over time. Third, because Zoozoo Ad
campaigns generated stronger ad and brand WOM intentions, they should
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have greater “sharing power” with consumers. Even though greater
expenditure buys exposure in more media channels and thus potentially
among more consumers, a Zoozoo Ad campaigns may compete by more
productively spreading its message through WOM, a source of demonstrated
effectiveness and credibility. The question is which advantage—
effectiveness, staying power, and sharing power, or greater scale and scope
of ad exposure—are dominant in the aggregate.
The notion of an idea overpowering might is a classic one, echoing
throughout art and history. In the words of Victor Hugo, an “invasion of
armies can be resisted, but not an idea whose time has come.” One finds a
body of research on Vodafone’s Zoozoo campaigns; a central aim of this
thesis is to ascertain its effectiveness. However, no study has empirically
tested the effect of creativity in relation to media expenditures. Media
expenditure is an absolute measure, which is dependent on product
category. It will therefore be tested within each of the three largest
categories. The author proposes that in each category:
Up until now the author has reviewed a number of psychological advertising
objectives, all prevalent in research and business practice. One effect
measure remains, however, as it deserves special attention. While several
studies have linked advertising creativity to the psychological hierarchy-of-
effects, there is currently no research relating Zoozoo Ad campaigns to
actual sales value. Assuming that Zoozoo Ad campaigns positively influenced
the hierarchy-of-effects, as hypothesized—strengthening notably ad and
brand attitude, brand interest, and purchase intentions, which in turn have
been shown to predict consumer behavior and thus sales value—then
advertising creativity should, to some degree, positively influence sales
value. Such a link would prove to be a novel and quite valuable discovery.
Like media expenditure, sales value is an absolute measure, dependent on
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product category. It will be tested together with media expenditure within
each of the largest categories. The author hypothesizes that in each
category:
RESEARCH METHODOLOGY
Initial Work
The author got underway discussions with experienced advertising agency
professionals and marketing researchers. This led the author to focus on the
time and again problematic and questioned connection between Zoozoo Ad
campaigns and its objectives, such as attitudes, intentions, and sales.
The surprised author found that definitions of creativity differed
substantially, especially within the field of advertising. Also, research was
usually restricted to experimental research designs, which the author wanted
to move beyond in the interest of general applicability and to be able to
introduce data on media expenditure and sales.
Data Collection Methods
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There are so many ways in which data shall be collected. The methods that
have been used for collecting the data are:
Primary Research
Questionnaire Method
Direct Interview Method
Secondary Research
Books
Internet
Articles
Newspapers
Magazines
Both of these methods have been used for collecting the data. Questionnaire
method was used for collecting the primary data. This has been done by
firstly preparing an appropriate structured questionnaire. Then this
questionnaire was given to 50 customers who belong to different age groups
at the various shopping malls in Ernakulam. This data has been used for data
analysis.
Secondary data for the purpose of research has been mainly taken from
internet and various magazines. Various journals have been used for the
purpose of reference.
Research Design
Since this study built on previous research and the aim was to test specific
hypotheses and examine relationships between Zoozoo Ad campaigns and
its effectiveness variables the author chose a conclusive research design.
This choice was also supported by the clear definition of sought-after
information and the large and representative sample in the experiment. The
author aimed to test both established and, from literature, proposed theories
with quantitative research, and draw conclusions and discuss the conclusions
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and recommendations. This also called for a conclusive research design. To
be able to test how Zoozoo Ad campaigns ratings correlate with quantifiable
effect measures, and compare different groups’ ratings, the author chose to
conduct a quantitative study. A quantitative study gave the opportunity to
answer the proposed hypotheses and draw significant conclusions. The first
question to address was how many and which advertisings campaigns to
include in the study.
Campaign Period
The first thing was to decide on was from which period of time the
campaigns were to be selected from. In addressing a relevant time period for
advertisement campaigns, there is some trade-off between using up-to-date
material on the one hand, and obtaining a large and representative
campaign sample on the other. There is also the issue of natural time lag in
the production and collection of relevant sales data. Too recent campaign
would not have had a measurable effect on the market and therefore
analysis of the market impact would have been impossible.
Campaigns
The author needed to find real campaigns where one could get access to
representative advertising material along with data on media expenditure
and sales value growth. In the first phase the author amassed a set of 30
advertising campaigns, mostly based on Vodafone’s Zoozoo campaigns.
Further, campaigns deemed to target a market too local were not included.
Lastly, a few campaigns exhibited special external circumstances and were
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thus excluded. From this phase remained the following material: 30
campaigns from campaigns all based on Vodafone’s Zoozoo campaigns 2009
and 2010. To be able to draw general conclusions and to minimize stimulus-
specific effects the author chooses to include 20 campaigns in the study.
This was also the quantity that balanced the wish of including a high number
of campaigns and a high number of responses per campaign, as the limit of
the study initially were set to 200 respondents. In the third phase the author
started to search the internet to get campaigns along with sales and media
expenditure data. To make sure that respondents would be presented with a
representative media sample of each selected campaign, the author focused
on campaigns that were dominated by one single media choice. The author
also delimited the selection to Vodafone, and excluded entirely new
launches. This was important both because the author wanted to measure
sales in percentage increase and since the novelty rating should focus on the
advertising, not new product launches. This also led to the choice of focusing
on brands that are at least somewhat familiar to respondents.
In the final selection of 20 campaigns are represented. Yet awards are no
definite, end-all proof of creativity or lack thereof. The author used a scale of
1–7 and, when choosing which additional campaigns, aimed to arrive at a
final selection of ads with a wide apparent range of Zoozoo Ad campaigns.
The mean of all Zoozoo Ad campaigns ratings were in fact 4.33, ranging from
3.40 to 5.66, on a scale of 1–7. This indicates a good distribution between
Zoozoo Ad campaigns which are creative ads and non-creative ads (out of
200 responses, 6% were 1-ratings and 10% were 7-ratings).
Advertisement Media
Advertisement campaigns in the initial set were either focused on one ad
medium, such as television or print, or built on a mix of media. The latter
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was the predominant case. The survey panels at the disposal did not
technically limit to only, say, print ads; the author had the ability to test
executions of television, print, and outdoor advertising. This freedom had
important methodological gains. It promoted the aim to execute a realistic,
non-experimental research design. The ability to test the hypotheses across
a real-life spectrum of media contributes to the external validity of findings.
Furthermore, it minimizes distortion from the potential idiosyncrasies of any
one medium. Of course, from campaigns using a mix of media the author
selected only one element for inclusion in the panel surveys, to avoid
respondent fatigue. Out of the 20 campaigns finally chosen, 7 were
represented with a movie and 13 with images.
Survey Design
After deciding on research design, which included twenty campaigns the
author needed to find a survey design that could be implemented in practice.
The author decided to conduct two surveys that complement each other.
First survey targeted consumers, testing both Zoozoo advertising creativity
and measures of its effectiveness and therefore constituted the main study,
used to answer the hypothesis. To decrease respondent fatigue each person
rated only four campaigns. The second survey targeted ad industry
professionals. This study was aimed at obtaining specific Zoozoo Ad
campaigns ratings from creatives, strategists and advertisers.
These ratings worked as a complement to the consumer study and are
reported in the analysis only where specific ratings differ from consumers.
The author chose to delimit the number of campaigns per respondent to
four, and respondents were exposed for the same eleven creativity questions
used in the consumer survey.
Since the sample of respondents in this survey is not representative of
consumers in general, the effectiveness questions were wholly excluded
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from this survey. This also worked to reduce respondent fatigue. To be able
to separate the different judges of Zoozoo Ad campaigns within the industry
survey the author included a question where the respondents had to pick
one of the four following positions: creative, strategist, advertiser or other.
The author also included a question of how many years the respondent had
worked in the industry. The respondents were also offered to get access to
survey results.
Scales and Measures
The author only used structured questions in the survey, mainly because
unstructured questions are not suitable for web based surveys but also to
decrease interviewer bias and coding time and cost. For the questions
regarding respondents’ position and years of experience in the industry, the
author chose to use multi-choice questions when there were several
possible, mutually exclusive alternatives, and dichotomous questions for two
response alternatives. For all Zoozoo Ad campaigns and effect questions the
author used the interval scale, ranging from 1 to 7 with numerically equal
distances. Interval scale, or in this case a semantic differential scale, is a
well-established measurement technique in the field of marketing research,
which permits many key statistical analyses.
Questionnaire
The author started with an extensive review of previous research and made
a list of questions or propositions relevant for measuring the variables. The
author rounded up those formulations most proven in the literature, and took
care to make them easy to understand. Wherever possible, the author chose
to limit the number of questions to minimize respondent fatigue and the risk
of response bias.
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Creativity: The questionnaire starts off with a single-item scale to measure
creativity with the pair creative vs. non-creative. This is the simplest way to
measure.
Novelty: This concept is probably the most acknowledged dimension of
creativity. The author chose a multi-item scale with three frequently used
pairs: predictable vs. novel, expected vs. unexpected and conventional vs.
original.
Meaningfulness: Meaningfulness has long been an accepted dimension of
creativity and as such has been included in many studies. The author chose
a multi-item scale with three pairs- relevant vs. irrelevant, appropriate vs.
inappropriate, and adequate vs. inadequate.
Humor: Another potential dimension of creativity is humor. The author used
the proposition “The ad is humorous” from Lee and Mason (1999).
Positiveness: Ang and Low (2001) presented valence of feeling or
positiveness as a possible dimension of creativity. The author followed their
formulation and asked consumers whether the ad conveyed feelings that
were positive vs. negative.
Well-Craftiness : the author used a multi-item scale with two propositions to
measure well-craftiness: well-made vs. botched and skillful vs. bungling
Ad and Brand Attitude: For both ad and brand attitude the author used a
well established multi-item scale with three questions: like vs. dislike, good
vs. bad and positive vs. negative impression.
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Brand Interest: Three propositions were used: “I am curious about
[brand]”, “I would like to know more about [brand]”, and “I am intrigued by
[brand]”. Machleit, Allen, and Madden (1993) recommend these questions for
measuring brand interest.
Intentions: There are three different intention constructs: intentions-as-
expectations (“How likely is it…”), intentions-as-plans (“Do you plan…”), and
intentions-as-wants (“Do you want…”). Earlier research has shown that
intentions-as-expectations are finest in forecasting behavior. On the other
hand, the priority with this measure was not to come as close to predicting
behavior as probable, but to a certain extent to inspect the psychological
outcome of the campaigns. Most campaigns have the reason to build positive
attitudes and create loyal costumers over time, and intentions-as-wants are
more connected with consumer variables such as positive affect and
motivation. In addition, the author included actual sales data to represent
behavior. Therefore the author has chosen the following three questions “I
want to buy [brand]” to measure buying intentions, “I want to recommend
[brand]” to measure the will to recommend a brand and “I want to talk about
[ad]” to measure word-of-mouth intentions.
Perceived Ad Expenditure and Effort: the author chose two propositions,
corresponding with previous research, “I perceive the cost behind this ad
campaign as — high vs. low” and “I perceive the effort behind this ad
campaign as — high vs. low”.
General Attitude towards Advertising: To measure the general attitude
towards advertising the author used the proposition “I like advertising” from
MacKenzie and Lutz (1989).
Sample
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In a final entry to the survey design, the author discusses how he went about
collecting large and representative enough samples for the two surveys, and
how response rates were managed.
Consumer Survey
The author needed to determine an appropriate sample size, large enough to
give us a valid representation of the original population of consumers in
India. Malhotra (2004, p. 318) recommends a sample of 150 responses
minimum when examining TV or print advertising. After discussions the
author agreed on a target sample size of 200 responses per campaign. The
survey resulted in 500 valid responses with at least 25 for each campaign.
Industry Survey
The total population for this survey is defined as professionals in the
advertising industry. Due to the risk of respondent fatigue the author divided
the total sample into five subgroups with four campaigns each. The data
collection was active for two weeks and resulted in 278 valid responses for a
completion rate of 18.1%. Since the investigated population is highly
delimited and the author was not able to get in touch with non-respondents,
the author cannot perform non-response adjustments such as sub-sampling,
replacement or substitution. To inspect whether non-response bias has
prejudiced results, the author instead performed a trend analysis and
compared early respondents to late ones. Respondents during the first week
(173 hours) were placed in the first group (n=161) and respondents during
the following week (173 hours) in the second (n=39). Comparisons of the
responses revealed no significant difference between the groups.
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External Material and Data
To build the industry and consumer surveys the author drew material from
several external sources. Firstly, high quality print and television ads were
collected directly from advertising agencies, various magazines and the
internet. Secondly, sales data was collected mainly from the advertiser or
the ad agency that produced the campaign (O&M).
Instruments and Methods of Analysis
All survey data was collected through surveys and electronically plotted in
Microsoft Excel documents, which then were altered into SPSS files.
Participation figures were coded into SPSS by the author. The author used
SPSS for all analysis, which includes factor analysis, independent t-test,
linear regression and MANOVA (multivariate analysis of variance). When a
measure needed to be split in high vs. low values the author used a cut-off
point to compute two groups. If nothing else is written, the main analysis is
based on the consumer sample of 200 respondents. The author has chosen
to accept results only sat the 0.1% level of significance.
FINDINGS
Hypothesis Testing
As discussed earlier, the main motive for studying the Zoozoo ad campaigns
is to check the effects it has on consumer behavior, and consumers, rather
than experts, “may have the last word” in the matter. As a result, the author
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will report results from hypothesis testing based on the consumer study, and
add industry results only in cases they significantly differ.
Dimensions of measuring the effectiveness of Zoozoo ad campaigns
Hypotheses 1a addresses the issue of defining which dimensions influencing
Zoozoo campaigns. These were tested using linear regressions, where the
five independent variables novelty, meaningfulness, humor, positiveness and
well-craftiness were run towards the dependent variable creativity, across all
consumer responses. Results confirm novelty (0.298), meaningfulness
(0.108), humor (0.220), positiveness (0.154), and well-craftiness (0.187) to
be significant in explaining the effectiveness of the Zoozoo campaigns. All
five hypotheses are accepted at a high level of significance. See Table 1 for
details.
Hypothesis:
Dimension
Beta
(β)
Decisio
n
H1a: Novelty 0.298 Accepte
d
H1b: Meaningfulness 0.108 Accepte
d
H1c: Humor 0.220 Accepte
d
H1d: Positiveness 0.154 Accepte
d
H1e: Well-Craftiness 0.187 Accepte
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d
Table 1: Dimensions of Zoozoo Ad Campaigns: linear regressions for H1a–e
Results confirm that these five dimensions are able of explaining Zoozoo
campaigns as judged by consumers. Each hypothesis is accepted as
significant at the 0.1% level. The five dimensions together account for 68.8%
of the variation in the measure. In addition, removing any dimension from
the model results in a reduced the industry research R2, suggesting that the
dimensions complement one another in influencing creativity.
The regression model based on the industry study has an even greater R2
(0.819). In other words, unknown variables or natural variability explain less
of the variation in creativity. One reason for this may be that the general
public has a lesser-defined notion of the effectiveness of Zoozoo campaigns.
Also of note, for industry respondents, positiveness does not significantly
influence Zoozoo ad campaign and is thus removed from the regression
model. This proves to be valid, as R2 stays constant upon running the test
with the four remaining factors. R2 is reduced when removing any other
dimension from the model. Lastly, a t-test revealed no significant differences
between creatives and strategists in judging any dimension of the Zoozoo
campaigns.
Novelty: Novelty seems the most well accepted dimension of Zoozoo
campaigns. The regression analysis lends further support to this argument.
In line with H1a, Zoozoo campaigns were considered more novel are indeed
associated with greater creativity. As evident in Table 1, novelty’s β (0.298)
is the highest among the proposed dimensions of Zoozoo campaigns. In fact,
the effect of novelty is almost triple that of meaningfulness. Striking is that in
the industry study novelty has a considerably greater β than in the consumer
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study (0.613 vs. 0.298), while the other dimensions differ to a lesser extent.
This implies that to advertising agency professionals, the novelty dimension
plays an even larger part in the extent to which the campaign was deemed
creative, both in relation to consumer judgment and to the four remaining
dimensions.
Meaningfulness: While most researchers consider novelty to be essential
to advertising creativity, many agree that ad elements must also be
meaningful for an ad to qualify as creative. The more unexpected an ad
element, the more meaningfulness is needed for consumers to retain the
connection to product category needs.
H1b predicted that greater meaningfulness should strengthen ad creativity,
and testing supported this at a high level of significance. Notably, however, β
is the lowest among these dimensions (0.108).
Humor: Research has proposed humor as a facet of creativity, related to the
divergent qualities of ads. In accordance with H1d, the humor level in the
Zoozoo campaign should positively influence its creativity. This relationship
is supported by regression as in fact humor has the second highest impact
on creativity (β = 0.220).
Positiveness: Similarly to the role of meaningfulness, the emotional
direction of the ad content—positiveness—could help lubricate the
acceptance of novel elements. H1c proposed that higher positiveness should
raise perceptions of the Zoozoo campaign. This was supported by the
consumer study (β = 0.154). For ad professionals, however, no significant
relationship was found between the variables. This might suggest that
professionals, experienced by the craft behind the scenes, are not swayed by
the conveyance of “mere” positive feelings. To them it is, first and foremost,
ad novelty that counts.
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Well-Craftiness: Quite a few researchers contend that the Zoozoo
campaign’s well-craftiness is also brought to bear on perceived creativity.
Indeed, whatever idea lies behind the campaign, intuition suggests that one
part of the creative element should spring from the ad’s attractiveness. H1e
proposed that Zoozoo campaign’s well-crafted ads should garner greater
creativity. This was supported by testing as wellcraftiness demonstrates high
impact on creativity (β = 0.187).
The author started testing the effects of the Zoozoo campaign by running a
MANOVA—with ad creativity as a fixed factor and ad attitude, brand attitude,
brand interest, purchase intentions, ad WOM intentions and brand WOM
intentions as dependent variables—to test hypotheses 2a–f simultaneously.
The overall multivariate test demonstrates that the Zoozoo campaign has a
significant effect on all dependent variables, which confirms all of these
hypotheses as working independently.
To answer hypotheses 2a–f the author split the consumer sample in two
groups, noncreative versus creative ads. The author wanted to examine
Zoozoo Ad campaigns that stand out and therefore the author chose a cut off
point that place ratings 1–4 in the non-creative and 5–7 in the creative
group. the author tested the hypotheses with a t-test for the mean difference
between the two groups on the dependent variables ad attitude, brand
attitude, brand interest, purchase intentions, ad WOM intentions and brand
WOM intentions. See Table 2 for details. Hypotheses 2a–f are all accepted,
the conclusions of which is discussed for each effect measure further below.
Hypothesis: Effect Beta
(β)
Decision
H2a: Ad Attitude 2.09 Accepte
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d
H2b: Brand Attitude 1.17 Accepte
d
H2c: Brand Interest 0.77 Accepte
d
H2d: Purchase Intentions 0.75 Accepte
d
H2e: Ad WOM Intentions 0.91 Accepte
d
H2f: Brand WOM
Intentions
0.78 Accepte
d
Table 2: Effects of Zoozoo Ad Campaigns: t-tests of H2a–g
To get further insights and likelihood to understand the results on all five
dimensions of the Zoozoo Ad campaigns the author also ran linear
regressions, where the five independent variables novelty, meaningfulness,
humor, positiveness and well-craftiness were run towards a single dependent
effect variable across all consumer responses. This was performed for all six
effects variables ad attitude, brand attitude, brand interest, purchase
intentions, ad WOM intentions and brand WOM intentions, which resulted in a
total of six linear regressions that are horizontally summarized in Table 3.
Effect \
Factor
Novelty Meanin
gfulnes
Humor Positiv Wellcra R2
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s eness ftiness
Ad Attitude 0.065 0.170 0.289 0.252 0.284 0.84
Brand
Attitude
0.110 0.194 0.041 0.218 0.157 0.38
Brand
Interest
0.048 0.262 0.128 0.101 –0.018 0.21
Purchase
Intent.
0.068 0.205 0.050 0.105 –0.025 0.13
Ad WOM Int. 0.104 0.169 0.254 0.021 0.010 0.24
Brand WOM
Int.
0.060 0.195 0.080 0.107 –0.006 0.14
Table 3: Effects of Zoozoo Ad Campaign dimensions: linear regressions
Ad and Brand Attitude
In accordance with theory, creativity in advertising is expected to cause
arousal, more elaborate processing, and in the end more positive evaluations
(Ang and Low 2000). Nevertheless, earlier studies have created ambiguous
results in trying to ascertain this relationship. The author therefore used
sample of actual advertisements to test the effect on both ad and brand
attitudes. The results, displayed in Table 2, are unambiguous: since the
Vodafone ads were more creative, more creative ads generated considerably
greater consumer ad and brand attitudes (mean difference = 2.09 and 1.17,
respectively, at p < 0.1%). Ad attitude is evidently affected to a greater
extent, which is intuitive as the creativity judged is that of the advertisement
and not the brand. The linear regressions of Table 3 confirm this: the
hypothesized creativity dimensions explain an impressive 84% of the
variance in ad attitude (R2). Still, their effect carries over to explain 38% of
the variance in brand attitude. Among the creativity dimensions of Zoozoo
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Ad campaign, the author believed the different ones to be dominant in
promoting favorable responses among consumers. The results are mixed in
this respect. For ad attitude of Zoozoo Ad campaign, the divergent quality of
humor does have the greatest impact (β = 0.289).
On the other hand, novelty has the least effect on ad attitude (0.065).
Wellcraftiness (0.284) has an influence comparable to humor, followed by
positiveness (0.252) and meaningfulness (0.170). For brand attitude,
however, positiveness (0.218) is the predominant dimension, followed by
meaningfulness (0.194), well-craftiness (0.157), and novelty (0.110). The
modest effect of humor on brand attitude (0.041) is significant only at the
5% level. It seems that, any entertainment value of the campaigns promoted
attitudes towards the ad but not towards the brand advertised. This is
intuitive; much like the melody of a national anthem might move one to
better like the anthem, but not the nation. In sum, in Zoozoo Ad campaign,
the perceived ad creativity significantly affected both ad and brand attitude;
humor raised ad attitude but hardly affected brand attitude; and novelty has
limited effect on either.
Brand Interest
When advertising familiar brands, a boredom factor can arise even when the
brand attitude is positive. Advertising that simply reinforces this attitude
cannot be expected to provide as strong a motivational “push” to purchase
as advertising that revives interest in the brand. Even though one might
anticipate the deviation of Zoozoo Ad campaigns to help revive interest in
the brand, no currently published study has investigated this relationship.
The author therefore tested whether Zoozoo Ad campaigns would enhance
brand interest to a greater extent than non-creative advertising.
The test confirms this relationship at a high level of significance (mean
difference = 0.77 at p < 0.1%). The results lend further support to the
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effectiveness of Zoozoo ad campaign. Interestingly though, ad novelty has
no significant effect by itself when compared to the other dimensions (Table
3). The same is true of well-craftiness. Instead, it is meaningfulness (0.262),
humor (0.128), and positiveness (0.101) that impact brand interest.
In sum, in Zoozoo ad campaigns has a significant effect on brand interest,
with ad meaningfulness as the primary driver and humor and positiveness as
supporters. This finding is instrumental to the objective of promoting repeat
purchasing of established brands.
Purchase and WOM Intentions
Purchase intention is a well-established predictive measure of actual
consumer behavior, e.g. purchase. Theory has shown purchase intentions to
be promoted by brand attitude, which in turn is affected by ad creativity.
Also, one previous study, based on experimental ad execution, has hinted at
a direct Zoozoo ad campaign effect on purchase intentions. The author thus
hypothesized that in the case of Zoozoo ad campaign positively influences
purchase intentions, and the result is clearly in agreement (mean difference
= 0.75 at p < 0.1%). Besides purchase intentions, advertisement execution
may also spark intentions to talk about the ad or brand. Results confirmed
the hypotheses that Zoozoo ad execution promotes both ad and brand word-
of-mouth intentions (mean difference = 0.91 and 0.78, respectively, at p <
0.1%). The linear regressions confirm this: dimensions of creativity explain
24% of the variance of ad WOM intentions, 14% of brand WOM intentions,
and 13% of purchase intentions (Table 3). This is a consequence liable to
testing Zoozoo Ad campaigns as opposed to creative product development.
Meaningfulness surfaces as the only dimension to exert both significant and
substantial influence on all three types of intentions. This strengthens the
problem-solving role of ad meaningfulness, which should illuminate the
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Vodafone’s link to the needs of consumers and thus propel their purchase
intentions. As for the effect on WOM intentions, meaningfulness might work
to simplify relaying the message. Humor is a great factor for ad WOM
intentions, but lesser so for brand WOM intentions and both lesser and less
significantly so for purchase intentions. This seems reasonable— a humorous
ad is interesting enough to become the topic of conversation, but the effect
doesn’t extend as well to the brand and in itself drives few consumers to
purchase. Similarly, novelty most significantly affects ad WOM intentions, but
lesser so than does humor. Interestingly, ad positiveness is significant in
affecting brand WOM and purchase intentions, but not ad WOM intentions.
Conceivably, while positiveness offers nothing tangible to talk about, it may
work as a peripheral cue to spark conversation and action vis-à-vis the
brand. Lastly, well-craftiness is at most a hygiene factor, with no significant
effect on any measure of intentions.
Perceived Ad Expenditure and Effort
Excesses in advertising expenditure, which adds nothing to the message or
its persuasiveness, may still promote perceived brand quality in the case of
Zoozoo Ad campaigns. The perceived amount of advertising effort expended
by the advertiser may have an analogous effect. No currently published
study has attempted to link the creativity of ad execution to perceived ad
expenditure or effort. The author hypothesized that Zoozoo Ad campaigns
promoted both, and results are positive (mean difference = 0.69 and 1.34,
respectively, at p < 0.1%). Whether Zoozoo Ad campaigns was less or more
costly, consumers apparently perceive it to be backed by greater
expenditure. And whether Zoozoo Ad campaigns took less or more effort to
produce, consumers perceive the effort to be greater. Linear regressions
unveil that, between perceived ad expenditure and effort, the dimensions of
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Zoozoo Ad campaigns explain a greater deal of the latter’s variance. Well-
craftiness dominates the other dimensions in influencing these two effects,
which is highly intuitive. Perceived ad effort is also affected by ad novelty
and humor. This is reasonable, since crafting novel or humorous ads would
tend to demand more effort. Perceived ad expenditure is actually (slightly)
negatively affected by positiveness. Beyond the workings of each dimension,
perceived ad expenditure and effort are clearly promoted by Zoozoo Ad
campaigns. In this way, Zoozoo Ad campaigns should signal “brand fitness”
and promote perceived brand quality, which in turn is a demonstrated
precursor to brand attitude.
General Ad Attitude
Increasing ad skepticism among the general public compounds the challenge
of influencing consumers through advertising. A more negative general
advertising attitude tends to dampen attitude toward specific Zoozoo Ad
campaigns. However, the author hypothesized that Zoozoo ad campaign has
the power to elevate ad attitude among those negatively inclined towards
advertising in general, and to the same extent as for those with a positive
general ad attitude.
Summary of Main Results
Based on hypothesis testing at the 0.1% level, the main conclusions can be
summarized in the following:
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HYPOTHESES H1A–E: ACCEPTED
Zoozoo ad campaigns were positively influenced by ad novelty,
meaningfulness, humor, positiveness, and well-craftiness.
HYPOTHESES H2A–H: ACCEPTED
Zoozoo ad campaigns were effective in strengthening central measures of
advertising effectiveness: ad and brand attitude, brand interest, ad and
brand WOM intentions, purchase intentions, as well as perceived ad
expenditure and effort.
Conclusions
This management thesis has been done for the company Vodafone Essar for
understanding the effectiveness of their advertisements for the people of
Kochi. The study proved that the advertisement has got relevant
effectiveness to the people of Kochi while they try for a new mobile
connection.
The customers of Vodafone are happy with the services of the company and
they suggest the advertisements of Vodafone should be more interactive and
funny like the one that has been done by them during the IPL Session – 2 to
IPL Session- 5. The customers say that the people who are not usually
watching television came to know about the advertisement and they say that
this was the effectiveness of that advertisement.
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Leaking Buckets
The hypothesized effects of Zoozoo Ad campaigns may be ordered into a
hierarchical chain, e.g. from ad attitude to brand attitude to purchase
intentions. Such a chain may be conceptualized as a set of “leaking buckets”
in the course of which the effect of its ad exposure dissipates through each
step: for instance, a subset of consumers positive towards the ad is positive
towards the brand, and a subset of the latter has positive purchase
intentions.
The model here has straightforward conclusions for how pliant each
dimension to check the effectiveness of Zoozoo Campaigns. First and
foremost, it sheds new light on the two most prevalent dimensions in this
research, ad novelty and meaningfulness, the workings of which are
apparently more complex than previously understood. The author turns to
explain this below, along with what remains to uncover.
Novelty and Meaningfulness
Amongst the dimensions hypothesized, novelty was shown to have the
greatest impact on perceived creativity of the Zoozoo campaign. These
findings reinforce the key role of novelty as suggested by prior publications.
Not to the author’s surprise, novelty was shown to have doubled the impact
on creativity perceptions among creative professionals. Regardless of this,
novelty was one of the weaker dimensions in following through the chain of
psychological measures. This is an interesting finding, which shades the role
of novelty suggested in earlier works: even though novelty is dominant in
Zoozoo Ad campaigns, it translates into a more modest impact on the
hypothesized measures of effectiveness of those ads. Although novelty does
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affect other psychological measures, e.g. attention and memory, more
research is needed to extend the knowledge of the precise mechanism of ad
novelty.
Meaningfulness is another factor emphasized in previous research. Although
significant, its impact was shown to be lesser than the other hypothesized
dimensions. Theory suggests that meaningfulness works as a hygiene factor
for creativity, which may still be the case even though it does not elevate it
as much. To further clarify the role of meaningfulness, future studies should
attempt to establish interaction effects between this and other dimensions of
creativity such as novelty.
In addition, even though meaningfulness was not the greatest factor in
Zoozoo ad campaigns per se, it had the greatest stamina in the flow of
“leaking buckets” from ad attitude through brand attitude and purchase and
WOM intentions. Also recall that meaningfulness dominated the other
dimensions in affecting brand interest, important for well-established brands.
This resilience is perhaps testament to the proposed status of
meaningfulness as a hygiene factor. Again, the link between meaningfulness
and creativity deserves further probing, as does its interplay with effect
measures.
Well-craftiness, Humor, and Positiveness
Earlier studies have principally missed the significant role of well-craftiness
in explaining THE dimensions for effectiveness of Zoozoo ad campaigns, as
demonstrated by this study. It significantly affects both ad and brand
attitude, while being the main influence on perceived ad expenditure and
effort. It seems well-craftiness is entitled to more room in coming studies.
While humor is instrumental in improving ad attitude, positiveness is the
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same to brand attitude. As concluded, any entertainment value of Zoozoo ad
campaigns promoted attitudes towards the ad but not towards the brand
advertised. Brand attitude is arguably the main objective in most practical
cases—however; humor may have positive side effects on other variables,
such as memory. The explanatory power of the multi-dimensional model
makes for interesting potential application to complementary variables like
attention and memory. This would deepen the understanding of the effects
of Zoozoo ad campaigns. Furthermore, the author concluded that humorous
ads are interesting enough to spark ad WOM intentions, but the effect
doesn’t extend as well to brand WOM intentions or purchase intentions. Also,
the ad positiveness is significant in affecting brand WOM and purchase
intentions, but not ad WOM intentions. The author suggested that while
positiveness, unlike humor, offers no incentive to tell friends of the ad, it may
work as a peripheral cue to influence talk and even purchase of the Vodafone
brand. Further study is needed to determine if this is the case.
Conceivably most notably, against a backdrop of questionable or even
contradictory studies on the effectiveness of creativity this model provides
conclusions of much-needed clarity and certainty—Zoozoo Ad campaigns are
effective, significantly strengthening ad and brand attitude, brand interest,
purchase intentions, ad and brand WOM intentions, as well as perceived ad
expenditure and effort.
In sum, the author advocates the continued use of the dimensional model
based on its great explanatory power. A natural next step is to apply the
model to a single brand at a time, to establish which dimensions play larger
or smaller roles in different ones—both in explaining creativity and affecting
attitudes and intentions. The model can also be applied to ascertain the
impact of creativity on additional measures of advertising effectiveness.
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RECOMMENDATIONS
The author recommends others to build on this study of media expenditure
and sales value, and perhaps include other actual market performance
measures, such as market share. The next methodological step is to deploy a
creativity study with sole focus on actual market performance measures, in
one particular category: ridding the survey of psychological measures will
shorten the amount of questions, so the number of questionnaires per
respondent can be raised; and focusing on one category will aggregate more
comparable data. Furthermore, the author’s advice is to work even more
closely directly with advertisers, ad agencies, market research agencies,
tracking agencies, or ad effectiveness award shows, to capture market
performance data as standardized as possible, or transparent enough to
allow for standardization with other, equally transparent sources for case in
point the Zoozoo ads. Beyond the conclusions based directly on the findings,
the author would like to propose a number of related avenues of research:
applying the multi-dimensional model to other advertising media, e.g. radio,
web, or integrated marketing communications; introducing the theoretical
implications in studies of creative product development, creative marketing
strategies, creative market segment choice, and creative media choice;
examining any interaction effects among or non-linear effects of Zoozoo ad
campaign dimensions; looking into the interaction effects between creative
media choice and creative ad execution; investigating the moderating roles
of context, knowledge, brand-congruence, and involvement on the
effectiveness of creativity (i.e. maybe humor loses some effectiveness if
brand-incongruent; perhaps product benefits take over ad characteristics in
high-involvement categories); determining the effect of Zoozoo ad campaign
on certain emotions or brand values, and on brand equity; combining it with
informational/ transformational or central/peripheral processing frameworks
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(i.e. perhaps positiveness acts as peripheral cue on brand WOM and
purchase intentions); studying different effects of creativity among various
demographics (i.e. age, educational level, or income); testing the effect of
Zoozoo ad campaign on evaluation of the product/service itself; ascertaining
whether, e.g. meaningfulness and well-craftiness work as hygiene factors
and novelty as a motivator; determining the endurance of Zoozoo ad
campaign effects in terms of wear-out and memory; testing which ad
elements (message, visual, etc.)
QUESTIONNAIRE
1. Thinking about brands of telephone connection, what brands have you
seen of heard of?
2. If you were to buy a telephone connection, which brands would you
seriously consider?
3. If all the brands shown below were available to you at the same price
and quality, which one would you be most likely to choose?
4. Please select the statement that best describes the likelihood of you
buying the brand listed below the next time you get a new telephone
connection
o Definitely will buyo Probably will buyo Might or might not buyo Probably will not buyo Definitely will not buy
5. Please think about all the different places you have seen, heard or read
about Vodafone’s Zoozoo ad campaign
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6. Please tell me everything you saw the Zoozoo ad campaign that was
just shown to you
7. Have you seen this TV commercial before?
o Yeso Noo I don’t know
8. Have you seen a commercial similar to this one?
o Yeso Noo I don’t know
9. What specific product was being advertised?
10. What is your overall satisfaction, having seen the Zoozoo
characters
Not satisfied at all Extremely satisfied
1 2 3 4 5 6 7
11. What did this commercial make you feel it was?
o Creativeo Non-creativeo Expectedo Unexpectedo Conventionalo Originalo Relevanto Irrelevanto Appropriateo Inappropriateo Adequateo Inadequateo Humorouso Positive
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o Negativeo Well-madeo Botchedo Skillfulo You liked it?o You disliked it?o I am curious about Vodafone nowo I would like to know more about ito I’m intrigued by Vodafone brand
12. Thinking about the ad you just saw, please evaluate the following
statements:
Yes
No I don’t know
I enjoyed watching it a lotIt made me want to buy the productIt contained new information about the brandThe points made in the commercial were believableIt was like any other ad for a tee phone connectionI like the characters in the commercialI thought it was irritatingIt made me feel differently about the brand
13. Having seen the advertisement, how likely would you be to
o Speak to friends and family about Zoozoo’so Visit Vodafone.como Search the internet to find out more information about Zoozooo Go to a telephone Shoppe to see the Zoozoo merchandiseo Purchase a Vodafone connection
14. There are some commercials that people remember but never
know which brand they are for. Which of these phrases applies best to
this commercial?
o You couldn’t help but remember it was for
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o It was pretty good at making you remember it is foro It is just okay at making you remember what it is foro It could have been for any telephone companyo It could have been for almost anything
15. You perceive the cost behind this ad campaign aso Higho Low
16. You perceive this effort behind this ad campaign iso Higho Low
17. What is the highest level of education you have completed?
o Some high school or lesso Graduateo Post college graduate schoolo Prefer not to answer
18. What is your gender?
o Maleo Female
BIBLIOGRAPHY
Ambler, T. and Hollier E. A. (2004),”The Waste in Advertising Is the Part
That Works”
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Andrews, J. and Smith, D. C. (1996), “In Search of the Marketing
Imagination:
Factors Affecting the Creativity of Marketing Programs for Mature
Products”
Ang, S. H. and Low, Y. M. (2000), “Exploring the Dimensions of Ad
Creativity”.
Blackwell, R. D., Miniard, P. W. and Engel, J. F. (2005), Consumer
behaviour
Gonten M. F. and Donius, J. F. (1997), “Advertising Exposure and
Advertising Effects: New Panel-based Findings”. Journal of Advertising
Research
www.vodafone.in
http://www.vodafone.in/existingusers/pages/aboutus.aspx )
http://www.medianama.com/wp-content/uploads/2009/07/q2-09-
vodafone-arpu.jpg)
http://cricket.vodafone.co.uk/england_cricket.Par.92856.Image.o.gif )
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