Exam 1 Flashcards

1
Q

IBP- Integrated Brand Promotion

A

using a variety of promotional techniques and tools (from T.V, billboards, to digital media) to communicate with consumers about brands; it is brand centric. creating exposure.

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2
Q

key features of IBP

A
  • IBP is a process – it is complicated and needs to be managed in an integrated way
  • IBP uses a wide range of promotional tools that have to be evaluated and scheduled – (it creates exposure for a brand)
  • Have to work together – needs to create a consistent and compelling impression of the brand (given multiple inputs, creative teams, translation of brand message, agencies etc. – not as simple as it sounds)
  • Have to actually reach consumers and be processed – again not as simple as it sounds
  • Consumer centric culture to build trust
  • Helps ensure that a brand has a unified voice, look
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3
Q

Advertising

A

defined differently for different people in different contexts; a paid mass-mediated attempt to persuade (can be a product, idea, organization etc.)

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4
Q

According to O’Guinn et al. what separates advertising from other types of communications?

A
  • It is a paid placement
  • Must be delivered to an audience via mass media (meaning designed to reach more than one person, typically a large number of people) – not a face to face contact
  • Has an attempt to persuade
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5
Q

Content Marketing

A

the marketing of informational content such as videos/posts for target audiences online and on social media

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6
Q

Model of Communication Processing

A

A process in which people, institutions, and messages interact
–Production: interaction of advertiser, imagined audience, agency, media and other social institutions that results in production of advertising content
–Mediating: interpretation process of accommodation and negotiation
–Reception:
Each audience member decided what meaning to take away from a communication

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7
Q

Types of audiences/audience categories

A
  • Household consumers→ most media directed at this group
  • Members of business organizations → business & industrial goods
  • Members of trade channel → retailers, wholesalers, distributors
  • Professionals → doctors, lawyers, accountants etc. specialized needs & interests
  • Government officials & employees → directed thru direct mail, catalogs, personal selling & web advertising
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8
Q

Audience Geography

A
  • Global advertising→ can be used worldwide (difficult to achieve)
  • National advertising → mass media and domestic market
  • Regional advertising → carried out by products, wholesalers, distributors
  • Local advertising → directed at audiences in a since trading area
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9
Q

The role of advertising in the marketing mix (Product, Price, Promotion, Distribution)

A

IBP techniques and advertising messages must be consistent with and complement strategies in all other areas of the marketing mix
-Product: functional features, aesthetic design, accompanying services etc.
-Promotion: amount and type of advertising, number of qualifications of sales people, sales promotion etc.
-Price
Level: top of the line, competitive, low price
Terms offered cash/ credit
-Distribution: # of retail outlets, location of retail outlets, etc.

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10
Q

Advertising and the four spheres of human experience

A

-Public Sphere: moving from one place or activity to another in the physical and virtual worlds
Example: Zappos ads in airport security bins
-Social Sphere: where we interact with and relate to one another; facilitates social interactions
Example: Nintendo Wii parties for young moms
-Tribal Sphere: where we affiliate with groups in order to express our identity
Example: Oakley branded products and decals
-Psychological Sphere: where we connect language with specific thoughts and feelings
Example: Nike “Just do it”

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11
Q

Structure

A

Advertisers (Kellogg) employs agencies (Grey Group) which may or may not contract for specialized services with various external facilitators (comScore) which results in advertisements being directed with the help of various media organizations (TBS or Google) to one or more target audiences

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12
Q

Types of agencies

A
  • Full Service: meets virtually all the promotional needs of clients (Omnicom, Publicis, Dentsu)
  • Creative Boutiques: emphasis on creative concept development, copywriting and artistic services to clients; niche expertise
  • Digital Interactive Agencies: focus on ways to use online, mobile, and social media solutions for direct and targeted marketing communications
  • In house agency: advertising department within a firm that takes responsibility for the planning and preparation of some or all advertising materials
  • Media Specialists: specialize in buying media time and space and offer media strategy consulting to advertising agencies and advertisers
  • Promotion Agencies: specialize in promotional efforts
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13
Q

Service roles within the industry

A
  • Account Services: identifying the benefits a brand offers, its target audiences and the best competitive positioning and then developing a complete plan
  • Marketing Research Services
  • Creative Services: comes up with concepts that express the value of a company’s brand in an interesting and memorable way
  • Production Services: producing the creative ideas
  • Media planning and buying services: determining how a client’s message can most effectively reach the target audience
  • Admin services: managing business affairs
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14
Q

Compensation

A
  • Commission: traditional
  • Markup charges: additional costs to go thru external facilitators
  • Fee systems
  • Pay-for-results- based on how good their work was
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15
Q

Black ops advertising

A

creating content that grabs out attention while hiding its corporate sales pitch; the purposeful masking of corporate bias by either the advertiser or the publisher so that we can’t discern the underlying perspective.
Goals: profit, obscure the marketing message, creating an audience for advertisers, gaming into emotions, tapping into consumer needs and engaging with the consumer; above all its is to make content not look like marketing

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16
Q

content confusion

A

the state of uncertainty in deciphering if an advertisement is really an advertisement, making it difficult to separate hard news content from a soft sales pitch

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17
Q

black ops advertising benefits for consumers

A
  • advertisements should only be received for products we want and need, rather than seeing unnecessary commercial clutter;
  • less intrusive than traditional marketing; occurs at a natural flow of our day;
  • it’s convenient
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18
Q

black ops advertising costs to consumers

A
  • no separation between editorial content and advertising, eliminating any cue that we are engaging with it;
  • the importance of WOM is making marketers intrude on social relationships;
  • corporations are having more control over what we see and what we don’t;
  • data determines what gets published and is therefore based on popularity;
  • being manipulated to want to constantly stay connected through our devices to be in the know
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19
Q

Content messaging strategies

A

(Unpaid content is publicity, paid content is advertising)
-Brand
Paid: Display Advertising & Content Marketing
Unpaid: Viral Video
-Brand and News Media
Paid: Native Advertising (Branded Content)
Unpaid: Publicity
-News Media
Paid: Native Advertising (sponsored content)
Unpaid: Editorial Content
-User
Paid: sponsored WOM & Brand motivated CG Marketing
Unpaid: WOM, Consumer Generated marketing

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20
Q

emotional connection value

A

provide a better gauge of customers’ future value to a firm than any other metric, including brand awareness and customer satisfaction, and can be an important new source of growth and profitability (Magids)

  • Emotional Motivators→ feelings that drive customer’s behavior
  • By following the “emotional connection pathway” customer become more valuable at each step
  • Helps set objectives and make better investment decisions
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21
Q

Emotional connection sources of variation

A

Sources of Variation→ emotional connections with products are neither uniform nor constant; they vary by industry, brand, touchpoint, and the customer’s position in the decision journey

  • Variations by brand and category
  • Across customer segments
  • A person’s position in the customer journey
22
Q

emotional connection relation to traditional models

A

Traditional→ companies focus on turning dissatisfied customers into satisfied ones. However, analysis shows that moving customers from highly satisfied to fully connected can have three times the return of moving them from unconnected to highly satisfied. And the highest returns we’ve seen have come from focusing on customers who are already fully connected to the category
This model focuses less on the function and more on the connection with consumers

23
Q

Consumer decision journey

A

today’s consumers take a much more iterative and less reductive journey of four stages: consider, evaluate, buy, and enjoy, advocate, bond. (Edelman)

24
Q

STEPPS model

A

the common principles found in “contagious content”
STEPPS Model
-Social currency- people want to look and feel good about themselves
-Triggers- stimuli that prompt people to think about related things
-Emotion- “when we care, we share”
-Public- making things more observable makes them easier to imitate, which makes them more likely to become popular
-Practical Value- people like things that have practical use
-Stories- embedding products and ideas in stories that people want to tell

25
Q

WOM

A

only about 7% of WOM happens online

  • offline convos are more prevalent and impactful
  • social media platforms are technologies, not strategies
26
Q

how social currency works and why it does

A

create value in your products so that by utilizing it, consumer will feel cool, in the know and elite. they will feel like they have an advantage over others.

27
Q

features of a good trigger and value of

A
  • frequent
  • strong link, the more things a given cue is associated with, the weaker any given association
  • triggers that happen near where the desired behavior is taking place
28
Q

observability impacts and the psychology of imitation

A
  • it is hard to copy something you cannot see, so products and ideas need to be made more public, products should be designed to adverrtise themselves and create behavioral residue that sticks even after
  • people imitate those around them because others’ choices give information and direction
  • social proof
29
Q

power of awe

A

the experience of confronting something greater than yourself

  • awe boosts sharing
  • positive vs negative emotion: positive articles are more likely to be shared than negative ones, but high arousal negative things are likely to get shared
  • positive vs negative and high arousal vs low arousal quadrant
30
Q

value of sharing emotion

A

sharing emotions helps us connect, helps maintain social relationships

31
Q

Managing creativity (liquid and linked, 70/20/10, iterative production processes)

A

coca colas case for creative transformation

  • liquid and linked: liquid is share-worthy and linked is connected
  • dynamic storytelling
  • iterative production processes: calls for more fluid process fo production “more stuff without more money”
  • 70/20/10: 70% low risk, 20% medium risk, and 10% high risk
  • live positively
32
Q

Situation analysis

A

In an advertising plan (specifies the thinking, tasks, and timetable needed to conceive and implement an effective advertising effort) , the section in which the advertiser lays out the most important factors that define the situation and then explains the importance of each factor
Includes:
cultural context, historical context, industry analysis, market analysis, competitor analysis

33
Q

Inadequacy vs. Empowerment Marketing (foundation in values, tactics in use) -Sachs

A
  • The goal of empowerment marketing is to invite the audience to connect to their deepest values, to believe more is possible, and to stand up for justice, beauty, and healthy self-expression.
  • Inadequacy Marketing is about lowering one’s perception of oneself, describing where they are lacking without the product being advertised. They are trying to get someone to feel insecure or unfulfilled without the product.
  • Speak to the Hero not to the child
34
Q

Good stories are structured like baseballs

A

on the surface, you have the setting, characters, action, plot, mood, etc
beneath the surface, you find structure and the moral of the story

35
Q

vessel analogy

A

-berger argues that we dont just share information, we tell stories- but while people focus on the story, information comes along for the ride. stories carry morals and messages too.

36
Q

major plotlines

A
  • overcoming the monster (classic underdog)
  • rebirth/renewal
  • quest
  • journey and return
  • rags to riches
  • tragedy
  • comedy
37
Q

valuable virality

A

analogy of GoldenPalace.com “fool in the pool”

  • stunt must have something to do with the product which it is trying to sell
  • make advertising both viral and valuable to the sponsoring company
  • barclays primes $100 steak
  • desired benefits must be a key part of narrative
38
Q

Skype case study

A

they took a story approach and it was more successful than their traditional approach
developed different stories of people who use skype to help them connect with other people around the world

39
Q

Creative brief development (ogilvy)

A

short doc. that sets up the goal for any advertising effort, moving people in the same direction; provides basic guidelines & room to be creative; joint activity involving the client lead and the AE
should include answers to questions such as: What is the product/service, who/what is the competition, who are we talking to, what consumer need/problem are we addressing, what does the consumer currently think of us, what one thing do we want them to believe, what can we tell them to make them believe this, what is the tonality of the advertising?

40
Q

Specific Message objectives- objective 1

A

promote brand recall

  • repetition
  • slogans and jingles
  • resistant to forgetitng
  • efficient for customer
  • long-term commitment/expense
  • competitive interference
  • creative resistance
41
Q

Specific message objectives-objective 2

A

link key attributes to brand name

  • big carryover
  • very resistant
  • long term commitment and expense
  • some creative resistance
42
Q

Specific message objectives-objective 3

A

persuade the consumer

  • reason why ads
  • hard sell ads
  • comparison ads
  • testimonials
  • demonstrations
  • infomercials
43
Q

Specific message objectives-objective 4

A

affective associations

  • feel good ads: may perform better in cluttered media environment, can generate compelling thoughts and connections
  • humor ads: can adversely affect comprehension, can wear out quickly, must be integral to platform
  • sex appeal ads: high attention levels, good if tied to brand, some ethical issues
44
Q

Specific message objectives-objective 5

A

scare consumer into action

-fear appeal ads

45
Q

Specific message objectives-objective 6

A

change behavior by inducing anxiety
-social anxiety ads
can generate perception of widespread threat and motivate action

46
Q

Specific message objectives-objective 7

A

define the brand image

  • fewer counterarguments
  • iconic potential
  • very common in some categories
  • creatives love it
47
Q

persuading with emotion

A

warmth, humor, brand image

  • advertisers use positive and negative emotions
    eg. romance, nostalgia, compassion, excitement, joy, fear , guilt, disgust, regret
48
Q

Rayport

A

4 spheres of human experience

49
Q

Edelman

A

New consumer decision journey

50
Q

Fallon & Senn

A

Connecting emotionally

51
Q

Magids et al

A

Emotional motivators and variations

52
Q

Sachs

A

Stories and empowerment marketing