Creativity is an important component of advertising. This research examines the potential effectiveness of creative advertising in enhancing recall, brand attitude, and purchase intent. Our basic methodology compares a set of randomly selected award-winning commercials (Communication Arts) with a random sample of control commercials. The commercials were embedded in television programs and subjects for a naturalistic viewing experience.
Studies 1 and 2 had aided and unaided brand and execution recall as dependent variables. For Study 3, brand attitude and purchase intent were the dependent variables of interest. Results indicated that creative commercials facilitate unaided recall, but that creativity did not enhance aided recall, purchase intent, or brand and advertisement attitude. The basic advantage of creative advertising in enhancing unaided recall was found to persist over a one-week delay. Creativity is arguably a very important component of advertising.
Advertising agencies pride themselves on industry awards, which are often focused more on the creativity of the advertising than brand performance. Past research on the topic has ranged from focusing on formulaic scales of creativity (e. g. , Barron 1988; Kneller 1965; White and Smith 2001) to discussing creative strategy in holistic terms (e. g.. Bell 1992; Blasko and Mokwa 1986).
The Essay on Advertising and Positive Brand Equity
Given all the changes in the branding strategy for Mobinil over the years, has the Mobinil brand conveyed a consistent meaning to consumers? Is this a benefit or a detriment as the mobile service provider business moves forward in Egypt with the entry of Etisalat and Vodafone? Branding strategy made is because brands are powerful assets that must be carefully developed and managed. It is a key ...
A small number of empirical studies of creative advertising have been completed.
As one article stated, “in all, advertising creativity research is limited, abstract, and fairly recent in suggesting that this advertising dimension deserves additional investigation” (Stone, Besser, and Lewis 2000, p. ).
Most important, few of the studies address the relation between creative advertising and effectiveness. Therefore, while this past work has made an important contribution, the effectiveness of creative advertisements is not much better understood now than it was 40 years ago. This study begins to address this gap by focusing on award-winning television advertising (in this case. Communication Arts award winners) and relevant measures of advertising effectiveness— recall, purchase intent, and attitude toward the brand.
Advertising is the only profession where the central figure in the business process is titled a “creative,” illustrating the focus placed on creativity in the advertising process. Although creativity in advertising is widely recognized as very important, the link between creativity and advertising effectiveness has not been extensively examined. The first academic work on creativity began with Kneller’s 1965 book. The Art and Science of Creativity.
This early work on this topic is typified by the “aha” definition in Parnes (1975), and these early papers concentrate on simple discussions and deflnitions of creativity. Work in the late 1980s through the 1990s broke from this trend and began introducing more sophisticated definitions of creativity (e. g. , Barron 1988; MacKinnon 1987).
During this same time period, research began to experimentally investigate the effectiveness of “creative” advertisements.
A variety of operationalizations for creativity emerged in this research, including the use of advertising awardwinners as a proxy for creativity (e. g. Kover, Goldberg, and James 1995).
The Term Paper on Promote Creativity And Creative Learing In Young Children
1. Understand the concepts of creativity and creative learning and how these affect all aspects of young children’s learning and development. 1.1 Analyse the difference between creative learning and creativity. Creative learning and creativity have a different number of meanings. Creativity is linked to the development of imagination, imaginative play and traditional creative arts. Creative ...
This method is based on the concept that creativity is, in the end, a subjective concept best evaluated by professionals (Amabile 1982).
Therefore, if the judges of these awards determine that the advertisement is creative enough to be recognized for this award, then this judgment is an appropriate measure of creativity
We believe that advertising professionals are superior and more appropriate judges, due to their increased experience, advertising training, and respect among their peers. Other studies have found differences between students and advertising professionals regarding measures of advertising creativity (e. g. , Kover, Goldberg, and James 1995; White and Smith 2001).
Research has also found that advertising professionals are consistent regarding their opinions of creative advertising across a variety of demographic and experience variables (Reid, King, and DeLorme 1998).
Therefore, we use a slightly different version of this tradition by sampling a well-respected advertising awards competition as representative of “creative” advertising. Advertising awards have been used to recognize outstanding advertising for decades (www. oneclub. com), and it is estimated that there are 500 advertising award shows worldwide per year (Shamoon 1987).
These awards vary from small, focused awards such as the International Automotive Advertising Awards and the International Travel Advertising Awards, to the attention-grabbing spectacles associated with the Cannes Film Festival’s Lions or the Clios.
A few past studies have looked at the advertising awards from a variety of perspectives. They have considered the impact of advertising awards on advertising agency performance (Helgesen 1994; Polonsky and Waller 1995), the measures used by specific awards (Moriarty 1996), the community links between judges (Wright-Isak and Faber 1996), and the features of award-winning advertisements (Beltramini and Blasko 1986; Ernst 1980; Reid et al. 1985).
Clearly, the relatively limited number of studies on the role and impact of creativity and advertising suggests opportunities to continue exploring this area.
The Research paper on Chad’s Creative Concepts Case Study
Chad’s Creative Concepts Case Study 1. What types of decisions must Chad Thomas make daily for his company’s operations to run effectively? Over the long run? Chad Thomas needs to make sure daily manufacturing schedules are aligned with the current orders. The fact that the same set of employees and the same set of tools are being used to manufacture both the custom and the standard pieces of ...
While the industry rewards creativity, do creative ads provide any measurable value to the advertised brand? Do they result in brand-specific effects such as greater recall, more positive brand attitudes, or increased purchase intent? There have been criticisms that advertising awards are like “beauty contests” (Moriarty 1996, p. 54), focusing on industry-specific criteria (Kover, James, and Sonner 1997; White and Smith 2001) rather than on the actual effectiveness of the advertisements.
This general feeling is reflected in the creation of the Effective awards, or EFFIEs, by the New York Chapter of the American Marketing Association. This award focuses solely on the results of the advertisements, excluding any assessment of creativity. With such an industry focus on creative advertising, and criticism of creative advertising competitions, it is somewhat surprising that so little research really looks directly at the effectiveness of award-winning advertising. There are only three studies that have contributed to this inquiry.
First, the research by Kover, Goldberg, and James (1995) investigated the link between creative advertising and consumers’ responses to that advertising. Their measures were purchase intent, commercial liking, congruency, and creativity. Their measure of effectiveness was purchase intent. Using these measures, the authors use a cluster analysis to group their commercial sample into four groups. These clusters did not correspond to either of their initial three groups, that is, winning an award—either the One Show award or the EFFIE—did not relate to how customers responded to the commercials.
Instead, the authors used the participants’ measure of creativity (in terms of old/new and dull/exciting) to classify commercials as creative. For these commercials, purchase intent was higher, linking creativity to this measure of effectiveness. Due to the small sample size, the authors were unable to determine whether this relation was significant. Because of this small sample size, their statistical analysis was limited to a cluster analysis.
As acknowledged by the authors, this allowed them to only “examine trends and indications rather than look for statistically significant differences” (Kover, Goldberg, and James 1995, p. 31).
The Essay on Advertising and Beauty Product Advertisements
This study examined beauty advertisements in local English magazines from a Critical Discourse Analysis perspective. This study mainly focused on the use of language in beauty advertisements and strategies employed by advertisers to manipulate and influence their customers. The analysis is based on Fairclough’s three-dimensional framework. It demonstrates how the ideology of ‘beauty’ is produced ...
The second study, that of Ang and Low (2000), also investigated the relation between creative advertising and measures of effectiveness, including attitude toward the ad, attitude toward the brand, and purchase intent. To classify advertisements as creative, the authors deflned them in terms of novelty, meaningfulness, and emotional content.
The authors found that creative ads, as they defined them, were consistently perceived as more favorable, and, to a lesser degree, resulted in a more favorable view of the brand and increased purchase intent. The last study, that of Stone, Besser, and Lewis (2000), attempts to link creative commercials to the likability of that commercial. To measure creativity, participants (undergraduate seniors studying advertising) assessed the creativity of the advertisements that were previously listed by the general public as advertisements they particularly liked or disliked.
To be judged creative, 80% of the students had to agree that the advertisement was creative. Overall, the study found that 70% of the liked commercials were judged as creative, whereas only 46% of the disliked commercials were judged to be creative. Thus, this study links likability, measured in simple terms, to advertisement creativity. Overall, prior research suggests an interest in wrestling with the role and importance of creative advertising in having some measurable effects. And while some of the studies have methodological issues (i. e. use of students as judges of creativity, small sample sizes and such), there are some initial signs that creative advertising may provide some incremental beneflt to the brand.
