Convetions of adverts Evaluation

 

 

 

 

 

 

Key concepets of adverts - institution

 Modern advertising agencies usually form their copywriters and art directors into creative teams. Creative teams may be permanent partnerships or formed on a project-by-project basis. The art director and copywriter report to a creative director, usually a creative employee with several years of experience. Although copywriters have the word "write" in their job title, and art directors have the word "art", one does not necessarily write the words and the other draw the pictures; they both generate creative ideas to represent the proposition (the advertisement or campaign's key message). Once they receive the creative brief from their account team, the creative team will concept ideas to take to their creative director for feedback. This can often be a back and forth process, occurring several times before several ads are set to present to the client. Creative departments frequently work with outside design or production studios to develop and implement their ideas. Creative departments may employ production artists as entry-level positions, as well as for operations and maintenance. The creative process forms the most crucial part of the advertising process.

Broadcasters rely entirely on advertising, excepting a proportion made from programme

sales and spin-o

ffs, and allowing for the special case of the BBC whose main

income is derived from a licence fee. Even the BBC raises money through sponsorship

deals, providing cash to put on event shows such as the Royal Variety Performance or

something like a tour by the Teletubbies (characters from a popular programme for

young children).

In 2002 these deals were worth £2 million, contributing to the £500

million made by BBC Worldwide, the sales and spin-offs arm of the corporation.

Movies vary – low budget films rely on box office and TV sales for their income. Big

budget and mainstream films rely more, though not mainly, on income from product

placement deals or spin-off rights. But in both cases the box office take relies a great deal

on the amount spent on promotion – advertising and publicity – which might add an

additional 20 per cent to the production costs for a low budget movie, to about 50 per

cent for a big movie. And, of course, other media examples also need to promote

themselves.

So media institutions rely substantially on the work of, or on income from, advertisers.

In turn, advertisers depend on media for a vital means of communication with

customers. By advertisers I mean any organization behind the advertising text, from

consultancies to video outfits shooting an advert, to media brokers doing deals over the

cost and placing of the ad, to any business or organization that contracts the ad. But

advertisers do have other means of communication apart from obvious examples of

mainstream media.

I am arguing that the meanings of media texts, the dominant

discourses which produce certain kinds of meanings about how the world should be, are

a consequence of the patterns of ownership and of the production practices of media

owners. They are also the result of a collusive relationship with advertising. This interest

in the work of institutions in manufacturing discourses within a text is part of a political.

Key concepets of adverts - Ideologies

Advertisements are one of the most important cultural factors moulding and reflecting our life today. They are ubiquitous, an inevitable part of everyone’s lives: even if you do not read a newspaper or watch television, the images posted over our urban surroundings are inescapable. Advertising has two main functions. The first is obvious - to sell us something. But the second function is more complex, as it projects advertising as a creator of structures of meaning.  Ideology is defined as the body of ideas reflecting the social needs and aspirations of an individual, group, class, or culture. With this being said, the connection between advertising and ideology becomes clear and so does the deeper meaning of advertising

We often buy products which are promoted by people who seem to be in the same social class as us, and if we do not we are only looking to purchase products which are of a higher quality than we can afford because we feel that we succeed or fold in society based on what we are able to buy. The same goes for our news consumption. This relates directly to framing and agenda setting. According to Mass Communication Theory there is a general tendency to look for well-known people, especially leading politicians and celebrities, around which to construct news. The more prominent the person involved in any sphere, the more attention and privileged access as a source can be expected. News is often reports of what prominent people say about events rather than reports of the events themselves.

When a product is advertised it is projected onto the public in a way that will have meaning to consumers. When consumers purchase a particular product, elements such as social status, class, and culture are represented through their purchase. People identify their lifestyles by the products which they consume. An attempt to differentiate amongst both people and products is part of the desire to classify, order, and understand the world, including your own identity. With that being said, do you people associate your class or social status according to the products that you purchase? And if they do, do they think that purchasing products of a lesser value than they're used to will actually lower their social status? We are made to feel that we can rise and fall in society through what we are able to buy, and this obscures the actual class basis that still underlies social position. The fundamental differences in our society are still class differences, but use of manufactured goods as a means of creating classes or groups forms an overlay on them.

Key concepets of adverts - Narrative

Just as narrative theories apply to films and TV shows, they also apply to adverts. TV advertiser's main goal is to convince consumers to buy products and in doing so they create stories surrounding them.

The structure of the narrative is a reference to the ways the story is told. There are lots of different ways of telling stories and therefore many different narrative structures can be used.

Linear or sequential narrative structures  are the most simple. We are presented with a version of the events as they happened with the beginning, middle and the end in the 'correct' order. Like Soap operas taht give us an endless linear narrative.

Non linear or non-sequential narrative structures  therefore refer to productions where the story is presented in any other fashion. They may occur when we see the same events from a number of points of view, or where the ending is shown and the advertiser decides to tell us the story of how we got to that destination.
Flashbacks  are a form of non sequential narrative that involve details of the past being revealed before us on the screen.

Realist or anti realist narratives can also be discussed. Obviously, a realist narrative will draw its power from the portrayal of actual possible events. An anti realist narrative will have the freedom to indulge in the inclusion of aliens, vampires and all kinds of CGI.

Endings are also an important part of narrative structure and warrant much analysis. They can be open, where we are left with a sense that the story is unfinished or may continue after the section of the narrative we have seen. Alternatively, they are closed and present a definite end to the story being told.

The narrative of my chocolate bar adverts will present the viewer with the idea that the confectionary item is desirable and also brings something different into their life.

Propp and Todorov's theories can be applied to adverts as well. Will I give the role of a hero to a character? Will the advert show a disruption and resolution? Will the narrative be goal-orientated or just a journey? These are the ideas I could incorporate in my advert in ultimaletely the narrative that reflects the sweetness of the honey inside of the bar the best will be chosen.

Reasearch Timetable

List Of Research 

Research	Deadline Date
Textual Analysis 1	26/09/12
Textual Analysis 2	26/09/12
Textual Analysis 3	28/09/12
Target Market Feedback	3/10/12
Overview Of Advert Studies	19/09/12
Editing Software Improvements	8/10/12
Radio And Sponsorship Advert Analysis	1/10/12
Comparisons in a series of adverts	5/10/12
Key Concepts of adverts	5/10/12