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What Makes Win, Place, or Show? Judging Creativity in Advertising at Award Shows
Douglas West, Albert Caruana and Kannika Leelapanyalert, Journal of Advertising Research, Vol. 53, No. 3, 2013, pp. 324-338
Judging advertising creativity at award shows is poorly understood. This research assessed what constitutes advertising creativity; examined the benefits and consequences of advertising-award shows; and investigated how judges bestow creativity awards.
Judging advertising creativity at award shows is poorly understood. This research assessed what constitutes advertising creativity; examined the benefits and consequences of advertising-award shows; and investigated how judges bestow creativity awards. The research was conducted with elite advertising-award show organizers allowing the investigation of various characteristics that included: the role of judges; the composition of panels; the selection criteria adopted; the judging process; and the time line used. Decisions about what is or is not creative are dependent upon the adjudicating panel while heuristics were found to dominate the entire process. Limitations and future research are indicated.
Advertising creativity and repetition: recall, wearout and wearin effects
Kevin Lehnert, Brian D. Till and Brad D. Carlson, International Journal of Advertising, Vol. 32, No. 2, 2013, pp. 211-231
Creativity is seen as an important component of advertising, with highly creative ads being easier to recall than control ads.
Creativity is seen as an important component of advertising, with highly creative ads being easier to recall than control ads. However, the boundary conditions around this effect are less understood. This research examines how creativity influences recall across repeated ad exposures. Additionally, this paper investigates the influence of creativity on advertising wearin/wearout. We utilise creative and control commercials embedded in a television programme for a naturalistic viewing experience, along with a one-week follow-up measure. We find that creative advertisements exhibit higher recall, though repeated exposures reduce this advantage. Further, creative ads are more liked, demonstrate wearin effects more quickly and are less susceptible to wearout.
Measuring the organisational impact on creativity: the creative code intensity scale
Mark W. Stuhlfaut and Kasey Windels, International Journal of Advertising, Vol. 31, No. 4, 2012, pp. 795-818
A creative code of perceived qualities about acceptable creativity within advertising agencies has been shown to affect creative practitioners’ boundaries of creative expression.
A creative code of perceived qualities about acceptable creativity within advertising agencies has been shown to affect creative practitioners’ boundaries of creative expression. This multi-stage, qualitative and quantitative study developed a tool to measure the intensity of this creative code. After development of a model based on qualitative research, expert evaluations and exploratory factor analysis, three dimensions – predictability, agency creative identity and social influence – were supported through confirmatory factor analysis. The ability to measure the intensity of the creative code offers researchers a way to study its effects on other variables in the creative process within advertising agencies.
Brand Growth at Mars, Inc.: How the Global Marketer Embraced Ehrenberg's Science with Creativity
Rachel Kennedy and Bruce McColl, Journal of Advertising Research, Vol. 52, No. 2, 2012, pp. 270-276
Can science help brands grow? Mars, Inc. has embarked on a program to apply the marketing laws originally developed and promoted by Andrew Ehrenberg.
Can science help brands grow? Mars, Inc. has embarked on a program to apply the marketing laws originally developed and promoted by Andrew Ehrenberg. Mars has discovered that both creativity and science can—and should—work together. Just as an architect marries creativity with the laws of physics, marketers should construct brand plans that embrace the laws of growth. Mars executives are learning that creativity is more productive when unleashed within known boundaries of buyer behavior. The authors share some lessons from a continuing journey that may help others also make the transformation to a marketing science culture.
What makes sponsorships persuasive? Creative best practices for branded or sponsored microsites
Sylvia Barney, Leah Spalding and Alina Bekkerman, ARF Experiential Learning, Audience Measurement 7.0, 2012
This paper outlines how Microsoft Advertising sought to identify which elements of online sponsorships are linked to strong in-market performance, by using Millward Brown Digital's 'MarketNorms' database.
This paper outlines how Microsoft Advertising sought to identify which elements of online sponsorships are linked to strong in-market performance, by using Millward Brown Digital's 'MarketNorms' database. The analysis revealed that online sponsorships have a more positive branding effect compared to a typical digital campaign. Specifically, successful online sponsorships are likely to include both interactive and non-interactive elements and have the strongest impact when they are contextually relevant. The analysis also claims online sponsorships that use celebrity spokespeople or co-branding are more likely to struggle in-market. The paper also outlines the impact of online sponsorships in the automotive and CPG market, claiming automotive sponsorships tend to be twice as persuasive as the typical digital automotive campaign and CPG sponsorships are incrementally stronger than typical CPG campaigns. The paper also provides a summary of creative elements in online sponsorships that have the most impact in meeting specific branding goals, such as online ad awareness and brand favourability.
The creative code: an organisational influence on the creative process in advertising
Mark W. Stuhlfaut, International Journal of Advertising, Vol. 30, No. 2, 2011, pp. 283-304
A study investigated the phenomenon, called the creative code, which is a collection of implicit theories about an advertising agency’s creative product that are held by people within a creative department.
A study investigated the phenomenon, called the creative code, which is a collection of implicit theories about an advertising agency’s creative product that are held by people within a creative department. A foundation was built upon organisation-culture theory. Evidence in literature supported the conceptualisation of the construct. Personal interviews with creative personnel at a midwestern US advertising agency found evidence for a creative code and its components, sources, conditionality and consequences. The study implies that a creative code should be considered as an independent or dependent variable in research about advertising creativity. Client and agency managers and creative employees also may benefit from being more cognisant of the creative code that exists within agency organisations.
Evidence Proves The Future Is Now: Why Great Creative Needs Great Research
Eileen Campbell, Journal of Advertising Research, Vol. 51, No. 1, 2011, pp. 222-223
Advertising has struggled with two critical questions: what makes an advertisement great? And, if we can source that genius, can we use it to predict future greatness? While excellence is frequently judged and recognised with awards, it is the consumer's willingness to invest in the advertised product that defines greatness.
Advertising has struggled with two critical questions: what makes an advertisement great? And, if we can source that genius, can we use it to predict future greatness? While excellence is frequently judged and recognised with awards, it is the consumer's willingness to invest in the advertised product that defines greatness. This commentary considers the effect of creativity on effectiveness, while also recognising that they are not synonymous.
Advertising Creativity Matters
Micael Dahlen, Fredrik Törn and Sara Rosengren, Journal of Advertising Research, Vol. 48, No. 3, Sept 2008, pp. 392-403
Could “wasteful” advertising creativity that does not add to the functionality of the advertisement (i.e., it neither enhances recall and liking of the advertising, nor increases comprehension and persuasiveness of the communicated message) be useful? An experimental study shows that it can.
Could “wasteful” advertising creativity that does not add to the functionality of the advertisement (i.e., it neither enhances recall and liking of the advertising, nor increases comprehension and persuasiveness of the communicated message) be useful? An experimental study shows that it can. By signaling greater effort on behalf of the advertiser and a greater ability of the brand, advertising creativity enhances both brand interest and perceived brand quality. The effects are mediated by consumer-perceived creativity, suggesting that consumers are important judges of creativity. Bringing advertising creativity into new light, the results provide implications for the development, measurement, and positioning of creative advertising.
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