890 resultados para Humor in advertising


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Mode of access: Internet.

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Provocative advertising is characterized by a deliberate attempt to gain attention through shock. This research investigates the reactions of individuals to a provocative appeal for a cause as opposed to a provocative advertisement for a standard consumer product, using mild erotica as the element of provocative imagery. An experiment using 391 adult subjects was conducted, and two analyses were performed. The first examined the effect of stimulus type (mildly erotic/nonerotic) by product category (cause appeal/consumer product) on attitude to the ad. The second examined the effect of stimulus type (mildly erotic/nonerotic) by cause (AIDS [acquired immunodeficiency syndrome]/SIDS [sudden infant death syndrome]) on corporate image. Both analyses also included gender as a third independent variable. The results suggest that people prefer mildly erotic ads generally, that an organization using mild erotica in appeals for a cause will be viewed more favorably where the erotica is congruent with the cause, and that women may be more responsive to mild erotica in cause appeals than are men.

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In the wake of German unification, initial advertising by many West German companies in the new federal states (the former German Democratic Republic - GDR) proved largely ineffective and many advertisers were forced to change their approach to this new market. The advertising task proved even more complicated for banks, because banking existed only at the most basic level in the former GDR. Furthermore, under the old regime, "capitalist" banks represented the very antithesis of the GDR's founding ideology. This analysis of advertising by West German banks - in particular Dresdner Bank - in the new federal states brings together elements of discourse and communication theory, particularly Relevance Theory [Sperber and Wilson 1986], with the overall objective of designing a model of intercultural advertising communication. A series of simple association tasks based on texts from pre-Wende advertisements was completed by a sample of advertisees (as they are called in the study) in Leipzig. The research shows the lack of relevance between the advertiser's understanding of concepts such as "credit", "bank" etc. and the associations which these concepts have for the sample of advertisees. Further analysis reveals that this lack of relevance occurs because advertisers and advertisees assign differing contexts to these concepts when they communicate through advertising. The study concludes that these different contexts, governed by the contrasting ideological, economic and linguistic environments of the advertisers and advertisees, interfere with the effective communication of the advertising message.

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The concept of 'masculinity' has over more years received increased attention within consumer research discourse suggesting the potential of a 'crisis of masculinity', symptomatic of a growing feminisation, or 'queering' of visual imagery and consumption (e.g. Patterson & Elliott, 2002). Although this corpus of research has served to enrich the broader gender identity debate, it is, arguably, still relatively underdeveloped and therefore warrants further insight and elaboration. The aim of this paper is, therefore, to explore how masculinity is represented and interpreted by men using the Dolce et Gabbana men's 2005 print advertising campaign. The rationale for using this particular campaign is that it is one of the most homoerotic, provocative, and well publicised campaigns to cross over from the 'gay' media to more mainstream UK men's magazines. Masculinity, and what it means to be 'masculine', manifests itself within particular ideological, moral, cultural and hegemonic discourses. Masculinity is not a homogenous term which can be simply reduced, and ascribed, to those born as 'male' rather than 'female'.