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Exams > Advertising and Promotions Exam 2 (Chp. 5-9) > Flashcards

Advertising and Promotions Exam 2 (Chp. 5-9) Flashcards

1
Q

Communication

A

Passing of information or exchange of ideas
Process of establishing a commonness of thought between a sender and a receiver

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2
Q

Communication success depends on the:

A
  1. Nature of the message
  2. Audience’s interpretation
  3. Environment in which it is received
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3
Q

What is the major barrier to communication

A

Language

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4
Q

Basic communication model

A

Source–>encoding–>channel message–>decoding–>receiver (response to feedback and avoid noise)

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5
Q

Source

A

Person or organization that has information to share with another person or group of people

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6
Q

Encoding

A

Putting thoughts, ideas, or information into a symbolic form

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7
Q

Message

A

Contains the information or meaning the source hopes to convey

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8
Q

Channel

A

Facilitates communication between sender and receiver

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9
Q

Non personal channel or mass media

A

Lacks direct, interpersonal contact between the sender and receiver

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10
Q

Personal channel or direct communication between two or more persons

A

Word of mouth
Buzz marketing
Viral marketing
Seeding

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11
Q

Word of mouth (WOM)

A

Informal communication among consumers about products and services

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12
Q

Buzz marketing

A

Generating positive word-of-mouth discussion

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13
Q

Viral Marketing

A

Propagating marketing-relevant messages with the help of individual consumers

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14
Q

Seeding

A

Identifying and choosing the initial group of consumers who will be used to start spreading the message

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15
Q

Receiver

A

Person with whom the sender shares thoughts or information

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16
Q

Decoding

A

Transforming the sender’s message into thought

Heavily influenced by the receiver’s field of experience

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17
Q

Field of experience:

A

The experiences, perceptions, attitudes, and values a person brings to the communication situation

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18
Q

Noise

A

Unplanned distortion in the communication process
Occurs because the fields of experience of the sender and receiver don’t overlap

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19
Q

Response

A

Receiver’s set of reactions after seeing, hearing, or reading the message

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20
Q

Feedback

A

Receiver’s response that is communicated back to the sender

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21
Q

Analyzing the Receiver

A
  1. Identify who the receiver is
  2. Evaluate what they are feeling or what they know about the product
  3. Figure out how to communicate with them
    (i.e.: language of ad)
  4. What is the potential response of the consumer to sources of communication or different types of messages
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22
Q

Traditional Response Hierarchy

A

see table

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23
Q

Implications of the traditional Hierarchy models

A

-Delineate the steps involved in taking potential purchasers from unawareness of a product to readiness to purchase it
-Identify which stage in the hierarchy a potential buyer is in
-Used as intermediate measures of communication effectiveness

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24
Q

Evaluating Traditional Response Hierarchy Models

A

Cognitive stage
Affective stage
behavioral stage

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25
Q

cognitive stage

A

Represents what the receiver knows or perceives about the particular product or brand

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26
Q

Affective stage

A

Receiver’s feelings or affect level for the particular brand

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27
Q

Behavioral Stage

A

Refers to the consumer’s action toward the brand

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28
Q

Alternative Response hierarchies

A

see table

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29
Q

Implications of the Alternative Response Models

A

Provide insight into promotional strategies marketers might pursue in different situations

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30
Q

In alternative response model what should marketers analyze

A

-Involvement levels and product/service differentiation
-Consumers’ use of various information sources
-Consumers’ levels of experience with the product or service

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31
Q

The social consumer decision journey

A
  1. consumer considers purchase
  2. consumer evaluates brand
  3. consumer buys product
  4. consumer interacts with brand after purchase
  5. consumer advocates for brand
  6. consumer bonds
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32
Q

A Model of Cognitive Response

A

see table

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33
Q

cognitive response

A

Thoughts that occur to individuals while reading, viewing, and/or hearing a communication.

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34
Q

Elaboration Likelihood Model (ELM)

A

-Focuses on the differences in the ways consumers process and respond to persuasive messages
-Attitude formation or change process
-Depends on the amount and nature of elaboration that occurs in response to a persuasive message
-Elaboration likelihood is a function of:
-Motivation
-Ability

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35
Q

central route

A

ability and motivation to process a message is high and close attention is paid to message content

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36
Q

Peripheral route

A

ability and motivation to process a message is low; receiver focuses more on peripheral cues than on message content

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37
Q

central route to persuasion

A

Ability and motivation to process a message is high and close attention is paid to message content

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38
Q

peripheral route to persuasion

A

Ability and motivation to process a message is low
-Receiver focuses more on peripheral cues than on message content
-Peripheral cues lead to rejection of a message

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39
Q

The elaboration likelihood model of persuasion

A

see table

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40
Q

Implications of the ELM

A

Customers level of involvement has important implications for marketing communications
-High involvement - Sales presentation should contain arguments that are difficult to refute
-Low involvement - Peripheral cues are more important than detailed message arguments
Effectiveness of message depends on customers route to persuasion

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41
Q

source

A

Person involved in communicating a marketing message
Direct and indirect sources

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42
Q

Source Attributes & Receiver Processing Modes

A

credibility-internalization
attractiveness-identification
power-compliance

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43
Q

Source credibility—–>Internalization

A

Source credibility-
Extent to which the recipient:
Sees the source as having relevant knowledge, skill, or experience
Trusts the source to give unbiased, objective information
Internalization-
have an objectively “right” position
Sleeper Effect – persuasiveness of message increases over time
high/low credibility has the same effect if…

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44
Q

Source attractiveness———->identification

A

source attractiveness:
Similarity
Familiarity
Likeability
Identification:
Want to be like __________
Stopping Power
Attractiveness leads to persuasion

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45
Q

Choosing a celeb endorser

A

match with audience
match with product
image
cost/ROI
trust
risk
familiarity
likability

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46
Q

Factors to consider when using Celebrity endorsers

A

Benefits:
Stopping power
Respect and popularity
Drawbacks:
Overshadowing the product
Overexposure
Audience receptivity
Risk to the advertiser
ROI

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47
Q

Source power——->Compliance

A

source power:
Perceived control
Concern
Scrutiny
Compliance:
Accepts persuasive influence to gain reward or punishment
Hard to realize via advertising
Most applicable using personal selling

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48
Q

Message structure

A

Order of presentation
Conclusion drawing
Message sidedness
Refutation
Verbal versus visual messages

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49
Q

message appeals

A

Comparative advertising
Fear appeals
Humor appeals

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50
Q

message structure-order of presentation

A

Strongest arguments should be presented early or late in the message but never in the middle
Primacy effect: Information presented first is most effective
Recency effect: Last arguments presented are most persuasive
Depends on:
-Target audience’s receptivity to the message
-Length of the message
-Medium used to communicate the message

51
Q

message structure-conclusion drawing

A

Messages with explicit conclusions are more easily understood and effective in influencing attitudes
Depends on:
-Target audience
-Type of issue or topic
-Nature of the situation

52
Q

one-sided message

A

Mentions only positive attributes or benefits, effective if target audience:
Already holds a favorable opinion about the topic; Is less educated

53
Q

two-sided message

A

Presents both good and bad points, effective when the target audience:
Holds an opposing opinion; Is highly educated

54
Q

refutation

A

Communicator presents both sides of an issue and then refutes the opposing viewpoint

55
Q

Verbal versus visual messages

A

When verbal information is:
Low in imagery value, use of pictures increase immediate and delayed recall
High in imagery value, addition of pictures do not increase recall

56
Q

Message appeal options

A

(see table for more)
Comparative ads
fear appeals
humor appeals

57
Q

comparative advertising

A

Directly or indirectly naming competitors in an ad and comparing one or more attributes

58
Q

fear appeals

A

Evoke an emotional response to a threat and arouse individuals to take steps to remove the threat
Effective when the recipient is:
Self-confident and prefers to cope with dangers
A nonuser of the product

59
Q

Relationship between Fear Levels and Message Acceptance

A

see graph

60
Q

humorous ads

A

Attract and hold consumers’ attention
Put consumers in a positive mood
Increase consumers’ liking of the ad and their feeling toward the product
Distract the consumer from counter arguing against the message
May wear out faster than serious appeals
Wearout: Tendency of a commercial to lose effectiveness when seen or heard repeatedly

61
Q

personal versus nonpersonal channels

A

Information received from personal channels more persuasive than those from mass media

62
Q

effects of alternative mass media

A

Differences in information processing
Self-paced - Readers process the ad at their own rate and study it as long as they desire
Externally paced - Transmission rate is controlled by the medium

63
Q

channel factors

A

personal versus nonpersonal channels
effects of alternative mass media
effects of context and environment
clutter

64
Q

the value of objectives

A
  1. Communications
    -Objectives facilitate coordination of the various groups
  2. Planning and decision making
    -Objectives guide decision making and development of the integrated marketing communications plan
  3. Measurement and evaluation of results
    -Objectives provide a benchmark to measure success or failure
65
Q

marketing objectives versus IMC objectives

A

Marketing objectives
Identify what is to be accomplished by the overall marketing program
Defined in terms of specific and measurable outcomes
Must be quantifiable, realistic, and attainable
IMC objectives:
Statements of what various aspects of the IMC program will accomplish
Based on the particular communications tasks required to deliver the appropriate messages to the target audience

66
Q

sales-oriented objectives

A

Aim to increase sales
Require economic justification
Required to produce quantifiable results
Based on the achievement of sales results

67
Q

problems with sales objectives

A

Successful implementation requires all marketing elements to work together.
Advertising has carryover effect.
Carryover effect: Monies spent on advertising do not have immediate impact on sales.
It is difficult to determine precise relationship between advertising and sales.
Sales objectives do not offer much guidance for planning and developing the promotional program.

68
Q

communication-oriented objectives

A

Provide relevant information
Create favorable predispositions toward the brand
Set using models wherein consumers pass through three stages:
Cognitive
Affective
Conative

69
Q

problems with communication objectives

A

Problems with Communications Objectives
Translating sales goals into communications objectives
Promotional planners have difficulty estimating what constitutes adequate levels of awareness, knowledge, liking, preference, or conviction.
No formulas or guidelines

70
Q

Good objectives are:

A

Concrete and measurable
Specify a well-defined audience
Establish benchmark measures
Specify a time period
Attainable
Realistic

71
Q

Establishing the promotional budget

A

Formulated when:
A new product is introduced
Internal or external factors necessitate a change to maintain competitiveness
Established using economic theory, marginal analysis, and contribution margin
Contribution margin: Difference between the total revenue generated by a brand and its total variable costs

72
Q

Marginal Analysis

A

Increase in advertising/promotional expenditures increases sales and gross margins to a point, after which they level off
Weaknesses - Assumes that sales are:
A direct measure of advertising and promotions efforts
Determined solely by advertising and promotion

73
Q

top-down budgeting

A

Percentage of Sales
Affordable Method
Arbitrary Allocation
Competitive Parity
Return on Investment

74
Q

Bottom-up budgeting

A

Objective and Task Method
Buildup approach
Payout Planning
Quantitative Models

75
Q

Objective and task method

A

Advantage
Budget is driven by the objectives to be attained
Disadvantage
Difficult determine which tasks will be required and the costs associated with each

76
Q

Payout Plan

A

Determines the investment value of the advertising and promotion appropriation
Projects the revenues a product will generate, as well as the costs it will incur
Better and logical approach to budget setting than the top-down approach

77
Q

Quantitative models

A

Employ computer simulation models involving statistical techniques
Computer simulation models: Help determine the relative contribution of the advertising budget to sales

78
Q

Budget Allocation: Factors to Consider

A
  1. Allocating to IMC elements
  2. Client/agency policies
  3. Market size
  4. Market potential
  5. Market share goals
  6. Economies of Scale in advertising
  7. Organizational characteristics
79
Q

creative strategy

A

Determines what the advertising message will say or communicate

80
Q

creative tactics

A

Determine how the message strategy will be executed

81
Q

Different Perspectives on Advertising Creativity

A

managers’ perspective and creative people’s perspective

82
Q

managers’ perspective

A

Advertising is creative only if it sells the product
Ads are promotional tools used to communicate favorable impressions to the marketplace

83
Q

creative people’s perspective

A

Creativity of an ad is in its artistic value and originality
Ads are communication vehicles for promoting their own aesthetic viewpoints and personal career objectives

84
Q

advertising creativity

A

Ability to generate fresh, unique, and appropriate ideas that can be used as solutions to communication problems

85
Q

determinants of creativity

A

divergence
relevance

86
Q

divergence

A

Extent to which an ad contains elements that are novel, different, or unusual
Achieved through:
Originality
Flexibility
Elaboration
Synthesis
Artistic value

87
Q

relevance

A

Degree to which the elements of an ad are meaningful, useful, or valuable to the consumer
Achieved through:
Ad-to-consumer relevance - Ad contains execution elements that are meaningful to consumers
Brand-to-consumer relevance - Advertised brand of a product or service is of personal interest to consumers

88
Q

Planning Creative Strategy

A

Creative challenge
Every marketing situation is different and each campaign or advertisement requires a different creative approach
Creative risks
Essential for creating breakthrough advertisements that get noticed

89
Q

Young’s Model of the Creative Process

A

immersion
Gathering raw material and data, and immersing oneself in the problem
digestion
Analyzing the information
incubation
Letting the subconscious do the work
illumination
Birth of an idea
reality or verification
Studying the idea and reshaping it for practical usefulness

90
Q

Wallas’ Model of the Creative Process

A

Preparation
Gathering background information needed to solve the problem through research and study
Incubation
Letting ideas to develop
Illumination
Finding the solution
Verification
Refining the idea and analyzing whether it is an appropriate solution

91
Q

the creative process

A

Account Planning
Conducting research and gathering relevant information about a client’s:
Product/service and brand
Consumers in the target audience

Account planners
Provide decision makers with information required to make an intelligent decision
Responsible for research conducted during the creative strategy development process

92
Q

Qualitative Research input

A

Product- or service-specific preplanning input

Problem detection

93
Q

Input Verification and Revision

A

Objective
Evaluate ideas
Reject the inappropriate
Refine the remaining
Give ideas final expression

Techniques
Directed focus groups
Message communication studies
Portfolio tests
Viewer reaction profiles

94
Q

Creative strategy Development

A

Advertising Campaigns
Set of interrelated, coordinated marketing communications activities that center on a single theme or idea
Appear in different media across a specified time period
Campaign theme
Central message communicated in all the advertising and promotional activities
Expressed through a slogan or tagline
Slogan (tagline)
Summation line that briefly expresses the company or brand’s positioning and the message it is trying to deliver to the target audience

95
Q

Advertising Campaign Themes

A

The central message that will be communicated in all of the various IMC activities

96
Q

Creative Strategy Development

A

1, basic problem or issue the communication must address or solve
2. communication objectives
3. target audience
4. Insights to drive creative work
5. key benefits or major selling ideas to communicate
6. Reason to believe/supporting information
7. tone and manner/brand personality
8.Deliverables (what is needed and when)
9. Measures of success (should be tied back to objectives)

97
Q

Creative brief

A

Document that specifies key elements of the creative strategy and serves as basis for communication between client and advertising agency.

98
Q

The search for major selling idea

A

Strongest singular thing a company can say about its product or service
Has the broadest and most meaningful appeal to the target audience
Important in business-to-business advertising

99
Q

The unique selling proposition

A

Benefit
unique
potent

100
Q

Image advertising

A

Strategy used to develop a strong, memorable identity for a brand
To be successful:
Associate the brand with symbols or artifacts that have cultural meaning
Use visual appeals that convey psychosocial associations and feelings

101
Q

Inherent Drama

A

Characteristic of a product that makes the consumer purchase it
Advertising should:
Be based on a foundation of consumer benefits
Emphasis on the dramatic element in expressing those benefits

102
Q

Positioning

A

Establishes the product or service in a particular place in the consumer’s mind
Done on the basis of a distinctive attributes
Basis of a firm’s creative strategy when it has multiple brands competing in the same market

103
Q

Advertising Appeals

A

The approach used to attract the attention of the consumer
To influence consumer feelings toward a product, service or cause

104
Q

Execution style

A

The way an appeal is turned into an advertising message
The way the message is presented to the consumer

105
Q

advertising appeals in depth

A

Basic approach used in the advertisement to elicit some consumer response or to influence their feelings towards the product, service, or cause.
Informational/rational appeals – focus on consumer’s practical, functional, or utilitarian need for the product or service
Emotional – relate to customer’s social and psychological needs for purchasing a product

106
Q

Features

A

Focus on dominant traits of the product

107
Q

Competitive

A

Makes comparisons to other brands

108
Q

Price

A

Makes price offer the dominate point

109
Q

News

A

News announcement about the product

110
Q

Popularity

A

Stresses the brand’s popularity

111
Q

Personal states or feelings

A

Safety, security, fear, love, affection, happiness, joy, nostalgia, sentiment, excitement, arousal, stimulation, sorrow, grief, pride, etc…

112
Q

Social-based feelings

A

Approval, affiliation, embarrassment, belonging, involvement, recognition, rejection, respect, status, acceptance

113
Q

advantages of emotional-only campaigns

A

More effective in relation to campaigns using emotional and rational content

Work well during economic downturns

Influence consumers’ interpretations of product usage experience

114
Q

transformational ads

A

create: feelings, images, meanings, beliefs

Must make the product use experience: richer, more exciting, warmer, and more enjoyable

115
Q

Additional types of appeals

A

Reminder advertising:
Builds brand awareness and/or helps keep the brand name in front of consumers

Teaser advertising:
Builds curiosity, interest, and/or excitement about a product or brand by talking about it but not actually showing it

User-generated content UGC:
Created by consumers rather than by the company and/or its agency

116
Q

Executional Techniques

A

Straight sell
scientific/technical
demonstration
comparison
testimonial
slice of life
animation
personality symbol
imagery
Dramatization
humor
combination

117
Q

Basic components of print advertising

A

Headline
subheads
body copy
visual elements
layout

118
Q

Basic components of television advertising

A

Video
Visual elements that attract viewers’ attention and communicate an idea, message, and/or image

Audio
Includes voices, music, and sound effects
Voiceover: Message is delivered by an announcer who is not visible
Needledrop: Music that is prefabricated, multipurpose, and highly conventional
Jingles: Catchy songs about a product or service that carry the advertising theme and a simple message

119
Q

Planning and production of TV commercials

A

Producing high-quality TV commercials incurs high costs
Factors contributing to the costs of producing a TV commercial
Production personnel and equipment
Location fees
Video editing
Sound recording and mixing
Music fees
Talent

120
Q

Planning and production of TV commercial (cont.)

A

Developing a script
Script: Written version of a commercial that provides a detailed description of its video and audio content
Producing and getting approval for story board
Preparing for production phase

121
Q

Creative tactics

A

Creative Tactics for Online Advertising
Role of Digital Ads
Native advertising
A type of paid placement designed to fit seamlessly into the content that surrounds it

122
Q

Creative tactics (cont.)

A

Creative Tactics for Online Advertising continued
Role of Digital Ads continued
Types of digital ads
Display ads
Many different formats
Domination of banner ads
Online video
Growing rapidly across all platforms
Variety of formats and placements
Pre-roll, mid-roll, and post-roll

123
Q

Client Evaluation and Approval of Creative Work

A

Client-side approvals include:
Advertising or communications manager
Product or brand managers
Marketing director or vice president
Legal department
President or CEO
Board of directors

124
Q

Guidelines for Evaluating Creative Output

A

Maintain consistency with the brand’s
Marketing and advertising objectives
Creative strategy and objectives
Creative approach must:
Be appropriate for the target audience
Communicate a clear and convincing message
Be appropriate for the media environment in which it is likely to be seen
Creative execution must keep from overwhelming the message
Advertisement should be truthful and tasteful

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