Trend in Commercial Strategy for Young Adults
The advertising messages are increasingly cluttering our air waves. The average consumer is bombarded with at least 300 brand images per day. As each brand fights to be heard in the cacophony of the commercial world, it is vital that it strikes the perfect note to stand out. The consequent fragmentation of our attention requires advertising to develop a totally innovative brand message and creative technique in such a way that the brand becomes instantly recognisable. The strategies used in India have undergone significant change in recent years, and there has been increased use of emotion in commercial packaging alongside a major intensification of strategies aimed at targeting urban young adult markets, to stimulate the need and purchase of the products.
In the electronic age, few would disagree that television is a powerful medium. Apart from its ability to reach a large number of people, the persuasive synergy in combining sight and sound has long been acknowledged in both academic and lay arenas. Each day more corporate join the bandwagon of television advertising, in an attempt to increase their visibility and reaching out to the vast majority of Indian consumers.
Young adult is the period between late adolescence and early adulthood. It is the period of adjustments to new patterns of life and new social expectations. The young adult is expected to play new roles, such as that of career determinator, breadwinner, spouse, and parent and to develop new attitudes, new interests and values in keeping with these new roles. These adjustments make early adulthood a distinctive period in the lifespan and also a difficult one. It is the age of ‘settling down'. That meant settling with the line of work, settling with partner, settling with lot of responsibilities. Once individuals decide upon the pattern of life they believe will meet their needs, they develop patterns of behaviour, attitudes, values which will tend to be characteristically theirs for the reminder of their lives. The new found freedom for the youthful adults, with economic independence and the drive to realize their dream of self-actualisation, makes them the prospective and vulnerable customers to the advertisers.
How young adults process and understand advertising is very important for analysis. Whether advertising stimulates low-involvement or high involvement processing is only one dimension of the problem, and it is likely not the most important one. What is more important is whether advertising stimulates an emotional response from the consumer. Emotional engagement at some level is a prerequisite for behavioural change – cognitive processing of information is secondary to the underlying emotional and behavioural effects.
The commercials are dominated by emotional oriented ads than the rational oriented ads. Humour is the dominant appeal used in the ads. It is matching with the finding of Mary Garrett who states Humourous ads were recalled more often than the non Humourous ads. Fear appeal, health appeal, relationship appeal, sex appeal are the other emotions used in the ads. Emotional tone is the route used by the advertiser to communicate both the strong and weak arguments. Emotion is not just used as a peripheral cue in communicating an ad message; it is also used as central merits to communicate strong arguments. Emotional oriented ads are not just peripheral cues as found by Petty and Caccioppo but as a effective communication modal to even communicate vital informations.The finding by Erik du Plessis(2008),how sensory functions get interpreted in the brain by use of emotion, and emotions act as a best means to reach people is very significant.
Commercials represent people and places in ways that aim to persuade young adults to buy product and services. Placing the target product within a related contextual scene encourages relational or semantic analysis (Malaviya, Kisielius and Sternthal 1996). Context, in this instance, concerns the visual material surrounding the product within the confines of an ad. It appears that the contextual scene information activates a schema for the theme or gist of an ad prior to product identification. The activated schema in turn creates expectancies about the items depicted in the ad (Shapiro 1999). For example, the scene spark an assessment of different categories of people who might use the product, objects related to its use, or occasions when it might be used (Malaviya, Kisielius and Sternthal 1996). Both reality and idealised version of reality are offered to young adult into make them believe that buying the product, user access the lifestyle
Hitchon and Duckler(1994) found commercials with many scenes, in which lot of things happen and are fast moving, received higher arousal scores than their lower counterparts.Most of the commercials are fast paced, with many shots in it to communicate many thoughts. The use of montage technique, use of graphic and animation add to the pace of the commercial communication. Lang(1990) found consumer level of interest increases after a scene change. The processing of television commercials is sensitive for scene changes.
Commercials are presented in a rapid paced, multi-visual mode and often accompanied with upbeat music and other special effects. These commercials are designed in the hope of finding a perfect mix of visuals and advertisement copy that will "cut through the clutter and gain the attention of the television viewing audience" (Tse and Lee, 2001).
The music video style of formatting, with fast paced ad, musical element, too many inter cut shots are in the fashion. Rapid editing serves each shot quickly presented a new meaning for the viewer to absorb.
Advertisers seem to intuitively believe that the ‘faster' the better, which means that a higher speed at which the information is visually presented to the viewer for cognitive processing – the commercial pace – is better.
The meanings that the commercial invoke are luxury, leisure and conspicuous consumption, Individualism, sexuality and romance, novelity and progress. All the commercials are conceptualised in and around these principal values. Use of extraordinary and excessive style, graphics and animation, product differentiation and superiority, metaphor, utopian style are the persuasive styles used in the commercials.
Young adults perception of self or self as they would wish to be ‘Future Self' can be a vital importance in the sales pitch of advertising campaigns. Concepts of individualism, freedom, aspects of escapism, utopian idealistic world are reflected in the commercials.Establishg and belonging to social identity is a vital force for young adults. Gender and peer social identity is the essence of young adulthood.
It seems to be the case that those who want their advertising to build strong relationships between the consumer and the brand would be well advised to focus more attention on the emotional metacommunication - the creativity - in their advertisements, than they do on the rational message communication.
In the electronic age, few would disagree that television is a powerful medium. Apart from its ability to reach a large number of people, the persuasive synergy in combining sight and sound has long been acknowledged in both academic and lay arenas. Each day more corporate join the bandwagon of television advertising, in an attempt to increase their visibility and reaching out to the vast majority of Indian consumers.
Young adult is the period between late adolescence and early adulthood. It is the period of adjustments to new patterns of life and new social expectations. The young adult is expected to play new roles, such as that of career determinator, breadwinner, spouse, and parent and to develop new attitudes, new interests and values in keeping with these new roles. These adjustments make early adulthood a distinctive period in the lifespan and also a difficult one. It is the age of ‘settling down'. That meant settling with the line of work, settling with partner, settling with lot of responsibilities. Once individuals decide upon the pattern of life they believe will meet their needs, they develop patterns of behaviour, attitudes, values which will tend to be characteristically theirs for the reminder of their lives. The new found freedom for the youthful adults, with economic independence and the drive to realize their dream of self-actualisation, makes them the prospective and vulnerable customers to the advertisers.
How young adults process and understand advertising is very important for analysis. Whether advertising stimulates low-involvement or high involvement processing is only one dimension of the problem, and it is likely not the most important one. What is more important is whether advertising stimulates an emotional response from the consumer. Emotional engagement at some level is a prerequisite for behavioural change – cognitive processing of information is secondary to the underlying emotional and behavioural effects.
The commercials are dominated by emotional oriented ads than the rational oriented ads. Humour is the dominant appeal used in the ads. It is matching with the finding of Mary Garrett who states Humourous ads were recalled more often than the non Humourous ads. Fear appeal, health appeal, relationship appeal, sex appeal are the other emotions used in the ads. Emotional tone is the route used by the advertiser to communicate both the strong and weak arguments. Emotion is not just used as a peripheral cue in communicating an ad message; it is also used as central merits to communicate strong arguments. Emotional oriented ads are not just peripheral cues as found by Petty and Caccioppo but as a effective communication modal to even communicate vital informations.The finding by Erik du Plessis(2008),how sensory functions get interpreted in the brain by use of emotion, and emotions act as a best means to reach people is very significant.
Commercials represent people and places in ways that aim to persuade young adults to buy product and services. Placing the target product within a related contextual scene encourages relational or semantic analysis (Malaviya, Kisielius and Sternthal 1996). Context, in this instance, concerns the visual material surrounding the product within the confines of an ad. It appears that the contextual scene information activates a schema for the theme or gist of an ad prior to product identification. The activated schema in turn creates expectancies about the items depicted in the ad (Shapiro 1999). For example, the scene spark an assessment of different categories of people who might use the product, objects related to its use, or occasions when it might be used (Malaviya, Kisielius and Sternthal 1996). Both reality and idealised version of reality are offered to young adult into make them believe that buying the product, user access the lifestyle
Hitchon and Duckler(1994) found commercials with many scenes, in which lot of things happen and are fast moving, received higher arousal scores than their lower counterparts.Most of the commercials are fast paced, with many shots in it to communicate many thoughts. The use of montage technique, use of graphic and animation add to the pace of the commercial communication. Lang(1990) found consumer level of interest increases after a scene change. The processing of television commercials is sensitive for scene changes.
Commercials are presented in a rapid paced, multi-visual mode and often accompanied with upbeat music and other special effects. These commercials are designed in the hope of finding a perfect mix of visuals and advertisement copy that will "cut through the clutter and gain the attention of the television viewing audience" (Tse and Lee, 2001).
The music video style of formatting, with fast paced ad, musical element, too many inter cut shots are in the fashion. Rapid editing serves each shot quickly presented a new meaning for the viewer to absorb.
Advertisers seem to intuitively believe that the ‘faster' the better, which means that a higher speed at which the information is visually presented to the viewer for cognitive processing – the commercial pace – is better.
The meanings that the commercial invoke are luxury, leisure and conspicuous consumption, Individualism, sexuality and romance, novelity and progress. All the commercials are conceptualised in and around these principal values. Use of extraordinary and excessive style, graphics and animation, product differentiation and superiority, metaphor, utopian style are the persuasive styles used in the commercials.
Young adults perception of self or self as they would wish to be ‘Future Self' can be a vital importance in the sales pitch of advertising campaigns. Concepts of individualism, freedom, aspects of escapism, utopian idealistic world are reflected in the commercials.Establishg and belonging to social identity is a vital force for young adults. Gender and peer social identity is the essence of young adulthood.
It seems to be the case that those who want their advertising to build strong relationships between the consumer and the brand would be well advised to focus more attention on the emotional metacommunication - the creativity - in their advertisements, than they do on the rational message communication.
Source...