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Marketing Communication > Lecture 4: Emotional Appeals > Flashcards

Lecture 4: Emotional Appeals Flashcards

1
Q

Emotional appeals have a direct effect on the peripheral route.

A

True.

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2
Q

Emotional appeals have less reactance than argument appeals.

A

True.

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3
Q

Emotional appeals are easier to remember and are easier to access from memory.

A

True.

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4
Q

Emotional appeals have direct behavioural effects.

A

True.

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5
Q

Emotional appeals require less processing effort.

A

True.

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6
Q

Emotional appeals require more processing power as they can be mentally draining.

A

False.

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7
Q

Emotional appeals are easier to implement than argument based messages.

A

False.

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8
Q

Emotional appeals are more difficult to implement than argument-based messages.

A

True.

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9
Q

Emotional appeals work best when consumers have high involvement.

A

False.

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10
Q

Emotional appeals work best when consumers have low involvement.

A

True.

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11
Q

Fear appeal is divided into two parts; informational about threats, and recommendation on how to avoid it.

A

True.

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12
Q

Fear appeals are contents of persuasive communication which allude to or describe unfavourable consequences that are alleged to result from failure to adopt and adhere to the communicator’s conclusions.

A

True.

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13
Q

Self-efficacy is having the self confidence in one’s own ability to carry out behaviour.

A

True.

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14
Q

Response-efficacy is having the belief in the recommended response’s effectiveness.

A

True.

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15
Q

The relationship between fear and persuasion has a linear positive relationship.

A

True.

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16
Q

Shock used in MC is used to deliberately rather than inadvertently startle and offend the audience.

A

True.

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17
Q

Shock creates surprise through norm violations and unexpectedness.

A

True.

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18
Q

Shock leads to attention, comprehension, elaboration, but can also cause negative feelings.

A

True.

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19
Q

Guilt arises from doing something that violates one’s standards or by failing to take proper actions.

A

True.

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20
Q

Guilt arises when MC leads people to think about their standards, evokes self-awareness, focusses on victims similar to the target market.

A

True.

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21
Q

MC can encourage people to anticipate guilt if they ignore advice.

A

True.

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22
Q

The effects of humour in advertising on ad attitudes are stronger than that of most other persuasion tools and techniques.

A

True.

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23
Q

The effects of humour in advertising are weaker than that of most other persuasion tools and techniques.

A

False.

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24
Q

There are three ways to operationalize humour in MC; stimulus, behavioural response, and perception.

A

True.

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25
Q

Humour in MC typically involves some kind of incongruity that violates a predominating view. If individuals resolve this incongruity, they experience humour.

A

True.

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26
Q

Humour originates in the repressed expression of sexual and aggressive feelings.

A

True.

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27
Q

Humour is a release and relief mechanism that individuals need to get rid of physical and psychological tensions.

A

True.

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28
Q

Humour demonstrates superiority and elevates social status by laughing about others and their misfortunes.

A

True.

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29
Q

Congruency effect is where a positive affect increases positive ad-related cognitions.

A

True.

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30
Q

Music consists of three elements; time, pitch and texture.

A

True.

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31
Q

High message-music-congruency can lead to distraction (can have positive or negative effects).

A

False.

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32
Q

Low message-music congruency can lead to distraction (can have positive or negative effects).

A

True.

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33
Q

Low message-music-congruency increases attention and elaboration likelihood.

A

False.

34
Q

High message-music-congruency increases attention and elaboration likelihood.

A

True.

35
Q

Arousal and attention increase motivation to process information, but can decrease ability to process due to distraction.

A

True.

36
Q

Metaphors are a representation of one thing in terms of another, non-literal representations (e.g., butterfly conveys the idea of gentleness, the term “up” represents an emotional state.

A

True.

37
Q

Narratives communicate through a story-like format, with characters, plots, and dramatic structure.

A

True.

38
Q

Narratives are ineffective because of transportation (attention, imagery, and a pleasurable flow-like state), mental stimulation, identification with characters.

A

False.

39
Q

Narratives are effective because of transportation (attention, imagery, and a pleasurable flow-like state), mental stimulation, identification with characters.

A

True.

40
Q

Personification / anthropomorphism is the process of transferring human characteristics to objects (e.g., M&Ms).

A

True.

41
Q

Anthropomorphism has positive effects due to evolutionary roots, baby scheme.

A

True.

42
Q

Anthropomorphisms enhance understanding, bonding, liking of and identification with a brand.

A

True.

43
Q

Colour affects perceptions of mood in MC.

A

True.

44
Q

Colour affects mood and emotions of audience.

A

True.

45
Q

Green advertising is focused on promoting environment, healthy people, place and things.

A

True.

46
Q

The colour green works best for environmentally concerned consumers.

A

True.

47
Q

Creativity in advertising is the production of something that is both original and useful.

A

True.

48
Q

Divergence is when an ad contains elements that are novel, different, or unusual.

A

True.

49
Q

Relevance is the degree to which the various elements of an ad are meaningful, useful, or valuable to the consumer.

A

True.

50
Q

Affect transfer is where the liking of a creative ad transfers to liking the brand.

A

True.

51
Q

Signaling is when creative ads convey effort and ability on behalf of the sender, thus the brand is perceived and evaluated positively.

A

True.

52
Q

Channels and MC trends include new technological possibilities such as virtual reality, augmented reality and chat bots.

A

True.

53
Q

Native advertising is a type of marketing that involves the creation and sharing of online material that does not explicitly promote a brand but is intended to stimulate interest in its products or services.

A

False.

54
Q

Content marketing is a type of marketing that involves the creation and sharing of online material that does not explicitly promote a brand but is intended to stimulate interest in its products or services.

A

True.

55
Q

Content marketing is a type of advertising, mostly online, that matches the form and function of the platform upon which it appears.

A

False.

56
Q

Native advertising is a type of advertising, mostly online, that matches the form and function of the platform upon which it appears.

A

True.

57
Q

Branded Entertainment is a form of advertising that blends marketing and entertainment through television, film, music talent, and technology.

A

True.

58
Q

Branded Entertainment is the use of entertainment media to gain consumers’ attention and exposure to products/brands.

A

True.

59
Q

Repetition works by mere exposure which increases attitude with increasing number of exposures to the ad.

A

True.

60
Q

High repetition rates indicate low advertising costs.

A

False.

61
Q

Low repetition rates indicate high advertising costs.

A

False.

62
Q

High repetition rates indicate high advertising costs.

A

True.

63
Q

High advertising costs indicate greater manufacturer effort and higher manufacturer confidence in brand quality.

A

True.

64
Q

High advertising costs indicate lower manufacturer effort and lower manufacturer confidence in brand quality as compensation.

A

False.

65
Q

Consumers associate higher advertising costs with higher brand quality.

A

True.

66
Q

Excessive costs can make consumers wonder why the company is trying so hard which leads to negative effects.

A

True.

67
Q

Wearin is when there is increasing response to an ad with increasing repetition of exposures of the ad.

A

True.

68
Q

Wearout is where there is a decreasing response to an ad with increasing repetition of exposure of the ad.

A

True.

69
Q

In terms of total weight of carryover effects, a one-year ad campaign leads to carryover effects as long as another two years.

A

True.

70
Q

In terms of individual ad exposure in very small time periods such as hours, advertising carryover is short, lasting just about eight hours.

A

True.

71
Q

Wearin occurs faster when exposures are scheduled apart.

A

False.

72
Q

Wearin occurs slower when exposures are scheduled apart.

A

True.

73
Q

Wearout occurs faster for infrequently purchased product categories.

A

False.

74
Q

Wearout occurs slower for infrequently purchased product categories.

A

True.

75
Q

Wearout occurs slower for campaigns that use a variety of creative executions.

A

True.

76
Q

Wearout occurs faster for campaigns that use a variety of creative executions.

A

False.

77
Q

Consumer involvement determines processing (central vs. peripheral root).

A

True.

78
Q

The Third-Person Effect suggests people tend to believe others are more influenced by communications than themselves, which is referred to as third-person perception.

A

True.

79
Q

Self-serving bias or self-enhancement motive is the human tendency to perceive the self in ways that make one look good, or at least better than others.

A

True.

80
Q

The cognitive explanation for third person effects is that people misperceive communication effects due to a lack of information, insufficient processing of information, or false interpretation of information.

A

True.

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