An Analysis of Advertising Wars

Comparative advertising by one brand against another showcases its merits versus the demerits of the other. In a two-stage game with finitely many firms, firms decide first how much to advertise against whom. In the second stage, given the advertising configuration, firms compete as Cournot oligopolists. In the symmetric case, equilibrium advertising constitutes a clear welfare loss. In the asymmetric case, depending on parameter values, a variety of outcomes are possible in equilibrium. An a priori disadvantaged firm (in terms of advertising costs or advertising effectiveness) may advertise more. Advertising can affect firms that are not advertisers or targets themselves.

From Lydia Pinkham to Queen Levitra:Direct-to-consumer advertising and medicalisation

The medicalisation of life problems has been occurring for well over a century and has increased over the past 30 years, with the engines of medicalisation shifting to biotechnology, managed care, and consumers. This paper examines one strand of medicalisation during the last century: direct-to-consumer advertising (DTCA) of pharmaceuticals. In particular, it examines the roles that physicians and the Food and Drug Administration (FDA) have played in regulating DTCA in the US. Two advertising exemplars, the late 19 century Lydia E. Pinkham's Vegetable Compound (for 'women's complaints') and contemporary Levitra (for erectile dysfunction) are used to examine the parallels between the patent medicine era and the DTCA era. DTCA re-establishes the direct and independent relationship between drug companies and consumers that existed in the late 19 century, encouraging self-diagnosis and requests for specific drugs. The extravagant claims of Lydia Pinkham's day are constrained by laws, but modern-day advertising is more subtle and sophisticated. DTCA has facilitated the impact of the pharmaceutical industry and consumers in becoming more important forces in medicalisation. © 2008 The Authors.

‘Some Good Clean Fun’: Humour, Control and Subversion in an Advertising Agency

This article explores the relation between humour and control, drawing on participant observation in an organization in which humour was central to daily life. Keys is a leading advertising agency whose staff spent an unusually large amount of time sending humorous e-mails. Examining these e-mails in some depth, we unpack the role of humour in subverting various forms of control, including gender norms and managerial authority. We find the relation between humour, control and subversion to be ambiguous. Building upon current debates in organization studies, we develop the concept of humour based on our observations at Keys. Specifically, we argue that humour is always in excess of both control and subversion, a 'nicely impossible' object that cannot be captured. This article thus contributes to theoretical approaches on organizational humour, conceptualizing the concept of 'newness' through Judith Butler's re-reading of Derridean différance and the Lacanian Real. In addition, we contribute a novel empirical account of the study of e-mail list humour in a contemporary advertising firm. © 2012 Blackwell Publishing Ltd.

Optimal Front Page Advertising

We consider a model of an on-line software market, where an intermediary distributes products from sellers to buyers. When products of sellers are vertically differentiated, an intermediary, earning a proportion of sales, has an incentive to hide the worse product on the second page, and only keep the better product on the front page: that weakens the competition, allowing the seller with the better product to charge a higher price. With heterogeneous visiting costs to the second page, the platform's revenue might improve, but the outcome will become socially suboptimal.

Pre-Processing Power Traces to Defeat Random Clocking Countermeasures

We describe a pre-processing correlation attack on an FPGA implementation of AES, protected with a random clocking countermeasure that exhibits complex variations in both the location and amplitude of the power consumption patterns of the AES rounds. It is demonstrated that the merged round patterns can be pre-processed to identify and extract the individual round amplitudes, enabling a successful power analysis attack. We show that the requirement of the random clocking countermeasure to provide a varying execution time between processing rounds can be exploited to select a sub-set of data where sufficient current decay has occurred, further improving the attack. In comparison with the countermeasure's estimated security of 3 million traces from an integration attack, we show that through application of our proposed techniques that the countermeasure can now be broken with as few as 13k traces.

On the Security of Balanced Encoding Countermeasures

Most cryptographic devices should inevitably have a resistance against the threat of side channel attacks. For this, masking and hiding schemes have been proposed since 1999. The security validation of these countermeasures is an ongoing research topic, as a wider range of new and existing attack techniques are tested against these countermeasures. This paper examines the side channel security of the balanced encoding countermeasure, whose aim is to process the secret key-related data under a constant Hamming weight and/or Hamming distance leakage. Unlike previous works, we assume that the leakage model coefficients conform to a normal distribution, producing a model with closer fidelity to real-world implementations. We perform analysis on the balanced encoded PRINCE block cipher with simulated leakage model and also an implementation on an AVR board. We consider both standard correlation power analysis (CPA) and bit-wise CPA. We confirm the resistance of the countermeasure against standard CPA, however, we find with a bit-wise CPA that we can reveal the key with only a few thousands traces.

Understanding the Effect of Television Advertising on Women's Attitudes and Purchase Intentions Towards Beer: A Study of Three Major Brands.

Abstract Purpose of Paper: The market for beer in the UK is now mature and sales have been stable at around £16bn for about ten years (Mintel 2014). More recently, there have been changes in the market as consumers have switched from bigger mainstream brands to a growing number of smaller craft beers. However, in order to grow further significantly, the industry needs to explore new market segments and find new consumers for beer. So far, it is estimated that only 1.3m women in the UK drink beer (O'Reilly, 2014; Mail Online, 2015). Women are therefore an underexplored segment and present the main growth opportunity for beer drinking in the UK. However, most beer television advertising has traditionally been aimed at the male audience and there have been suggestions that some of this advertising has been seen as unpopular with or even insulting to women (Jackson, 2013; Zwarun et al., 2006). The Chief Executive of major brewer SAB Miller, which owns the Foster's brand, has recently written that, 'We have to acknowledge that core lager advertising, for many years, was either dismissive of, or insulting to, women.' (Shubber, 2015). If women are to be the new consumers and the future target for beer advertising, there is therefore a significant gap in the knowledge and literature concerned with how women differ from men in responding to the television advertising produced by beer brands and it is important that this gap in knowledge is addressed. The purpose of this paper is therefore to explore the effect of the television advertising of the three top selling UK beer brands on women's attitudes and purchase intentions towards those brands. More specifically, the objectives are: 1) To gain an understanding of how female consumers respond to existing beer television advertising, specifically in terms of the ‘likeability’ of the content of TV commercials produced by the three leading UK beer brands among female consumers. 2) To examine the effect of the rational and emotional content, including the use of humour, in television commercials produced by the three leading UK beer brands on the attitudes of female consumers towards those brands. 3) To explore in-depth female consumer attitudes towards the content (message cues and symbolism) of the television commercials produced by the three leading beer brands in the UK and their effect on subsequent purchase intentions for each brand.

1969 Advertising Recommendations

Highlights from the creative presentation made to Lightning Fastener for the 1969 campaign.