Advertising Arens Schaefer Weigold Pdf
M: Advertising examines advertising from the inside, from the perspective of the advertiser (the client) and the specialists who create advertising, the ad agency. This lively program takes students beyond theory to learn about roles within each of these organizations, and to consider which they might one day play themselves.
Sample questions asked in the 3rd edition of M: Advertising:
Obtaining a clear understanding of what your client wants from you and what you are prepared to do for your client is essential for a mutually satisfying relationship. From your end it is vital that you be clear about the finished product. In many classes this might be a plans book, which contains research, an advertising plan, a media plan, and even some creative plans. In other classes you might not provide all of that. In either case, make sure your client knows what to expect. If previous classes have done campaign work for other clients, you might wish to show your client that work. As important as it is that your client understand you, it is equally crucial that you understand your client’s expectations. Recognize that some clients may not have a clear set of expectations at first; these may in fact evolve over time. Even in this instance, asking the right questions can get your client thinking about what they hope advertising will do for them. Below you will find some questions that might prove useful for getting to know your client better. Dr. Debbie Treise, who regularly teaches advertising campaigns at the University of Florida, uses this form. Sending it to the client in advance of a meeting can make your first interaction more useful and informative. Are there media that you would like us to be sure to consider?
What happens when unregulated meets anonymous? Welcome to public relations in the Internet age. PR practitioner Todd DeFren raises several real-world digital public relations ethical issues in his blog “PRsquared.” In one, Defren asked “What would you do if a client contact—who had a pretty solid Twitter following—asked you to tweet from his account as if you were him? Crazy? Wrong? Unethical?” Defren raises the same issue about a corporate blog. He refers to the practice of a PR agency writing unattributed posts for a client as “ghostblogging.” “You can rail against it as a black mark against authenticity,” notes Defren, “but, it is happening and it is a trend that will only grow. Not enough people see this as a bright line separating ‘good’ from ‘bad’ …” And speaking of blogs, how ethical is it to pay people to give a brand or company favorable coverage? The site “payperpost.com” encourages visitors to “Make money blogging! PayPerPost lets you pick your advertisers, name your own price and negotiate your own deals. You can get paid to blog on virtually any subject. Sign up below!” How credible would you find such posts if you knew they were sponsored? Even big brands are getting in on the game. Coach collaborates with bloggers, even asking them to appear in its ad campaigns. WWD.com quotes David Duplantis, executive VP of global and digital media, as saying, “We see bloggers as editors, influencers and entrepreneurs who reach a very specific and unique audience. We find great value in working with those who are relevant to our brand, and are willing to pay fairly for projects.” Duplantis believes that while Coach benefits from bloggers, the bloggers in turn benefit from working with a brand as important as Coach. But how do consumers benefit if they are unaware of a brandblogger relationship? The analyst firm Forrester thinks it’s smart for companies to pay bloggers to engage in “sponsored conversations.” Marshall Kirkpatrick at ReadWriteWeb.com disagrees, noting “We respectfully disagree with Forrester’s recommendations on this topic. In fact, we think that paying bloggers to write about your company is a dangerous and unsavory path for new media and advertisers to go down.” Maybe all of this has convinced you that if you are looking for advice, you might want to skip blogs. Better to use a search engine, like Google, that can deliver search results that reflect the wisdom of millions of consumers. But what if a company tried to take advantage of Google’s search engine? JCPenney decided it would try. Thousands of fake pages were created featuring key words valuable to the store. The initiative was designed to take advantage of Google’s PageRank system and send shoppers to Penney’s website. Not illegal, certainly. But ethical? Google eventually intervened and made it less likely Penney’s results would show up in “organic” search. But if Google polices Penney’s, who polices Google? The company admitted that it paid bloggers to promote its Chrome browser. Dailytech.com reported that Google indicated it had “investigated” and that it would be “taking manual action to demote www.google.com/intl/en/chrome/browser/ and lower the site’s PageRank for a period of at least 60 days.” Maybe all of this seems so frustrating to you that you’ve resolved to stick to Twitter, where at least you can judge a source’s credibility by observing the number of followers that the individual or group has. After all, millions of followers can’t be wrong. Unfortunately, the number of “followers” of a Twitter source may be very misleading, because sources can actually buy followers. The New York Times and USA Today reported recently that up to 70 percent of Barack Obama’s followers, and 71 percent of Lady Gaga’s, are “fake” or “inactive.” The Web is an evolving medium, and companies are searching for ways to profit from it. The history of advertising suggests that consumers will reject companies that try to take advantage of them unfairly, unethically, or dishonestly. That is something every brand manager might want to keep in mind. Do any of the activities described above strike you as unethical? Why?
When two companies run strikingly similar ads, is it imitation, plagiarism, or coincidence? Ads for Michelob Light beer and Colombian coffee were set in supermarkets and shared the same plot: grocery baggers manhandle products until the item being advertised comes down the conveyer belt. For both Michelob Light and Colombian, the bagger wraps the advertiser’s package in bubble wrap and carefully gives it to the buyers. Advertisers and the media commonly point to “coincidence.” Bob Garfield, ad critic for Advertising Age, said, “It’s seldom plagiarism, especially if the ads are appearing simultaneously.” Both of the agencies representing Michelob Light beer and Colombian coffee agree. Peter le Comte, president of DDB Worldwide Marketing, said, “We have written it off as an incident of coincidence. Besides, I don’t think we share the same consumers. They will run their commercial and we will run ours.” Unfortunately, plagiarism is difficult to prove, as long as you make a few changes. There is no set number of words that make up a plagiarized effort. And plagiarism covers not only words but ideas, plots, and characters. When Kendall-Jackson Winery filed a suit against E&J Gallo Winery, charging that Gallo’s Turning Leaf Vineyards brand and labeling infringed on Kendall-Jackson’s Colored Leaf trademark, a jury determined there was no infringement and that judgment was affirmed on appeal. It seems that grape-leaf designs have become generic emblems for wine. The crux of the problem may be that imitation is an accepted part of the business, at least unofficially. Clients tend to avoid the debate, perhaps because they’re more comfortable with well-worn ideas than with bold, original concepts. Many art directors and writers collect competitive ads for inspiration. And advertising is such a highly collaborative process that it’s often difficult to determine each individual’s creative contribution. With personal responsibility so unclear, ignoring professional ethics is relatively easy. “There are very few original ideas,” according to Philip Circus, an advertising law consultant to the Newspaper Society in London. “Plagiarism is the name of the game in advertising. It’s about recycling ideas in a useful way.” That’s why some industry leaders are passionate about the need for personal ethics. Jim Golden, executive producer of DMH MacGuffin, says, “All we have in this business are creativity and ideas. The moment someone infringes on that, they’re reaching into the very core of the business and ripping it out.” Ultimately, advertisers must stop “borrowing” ideas from each other and demand greater creativity from themselves. Some art directors claim that “coincidental invention” explains why many ads look the same. Do you think that’s really possible?
Obtaining a clear understanding of what your client wants from you and what you are prepared to do for your client is essential for a mutually satisfying relationship. From your end it is vital that you be clear about the finished product. In many classes this might be a plans book, which contains research, an advertising plan, a media plan, and even some creative plans. In other classes you might not provide all of that. In either case, make sure your client knows what to expect. If previous classes have done campaign work for other clients, you might wish to show your client that work. As important as it is that your client understand you, it is equally crucial that you understand your client’s expectations. Recognize that some clients may not have a clear set of expectations at first; these may in fact evolve over time. Even in this instance, asking the right questions can get your client thinking about what they hope advertising will do for them. Below you will find some questions that might prove useful for getting to know your client better. Dr. Debbie Treise, who regularly teaches advertising campaigns at the University of Florida, uses this form. Sending it to the client in advance of a meeting can make your first interaction more useful and informative. Do you have a current, active website? If so, what is its primary purpose? Who accesses it? Do you use social media? Would you like to use social media? Do you have people who could commit to engaging on social media regularly?
Sample questions asked in the 3rd edition of M: Advertising:
Obtaining a clear understanding of what your client wants from you and what you are prepared to do for your client is essential for a mutually satisfying relationship. From your end it is vital that you be clear about the finished product. In many classes this might be a plans book, which contains research, an advertising plan, a media plan, and even some creative plans. In other classes you might not provide all of that. In either case, make sure your client knows what to expect. If previous classes have done campaign work for other clients, you might wish to show your client that work. As important as it is that your client understand you, it is equally crucial that you understand your client’s expectations. Recognize that some clients may not have a clear set of expectations at first; these may in fact evolve over time. Even in this instance, asking the right questions can get your client thinking about what they hope advertising will do for them. Below you will find some questions that might prove useful for getting to know your client better. Dr. Debbie Treise, who regularly teaches advertising campaigns at the University of Florida, uses this form. Sending it to the client in advance of a meeting can make your first interaction more useful and informative. Are there media that you would like us to be sure to consider?
What happens when unregulated meets anonymous? Welcome to public relations in the Internet age. PR practitioner Todd DeFren raises several real-world digital public relations ethical issues in his blog “PRsquared.” In one, Defren asked “What would you do if a client contact—who had a pretty solid Twitter following—asked you to tweet from his account as if you were him? Crazy? Wrong? Unethical?” Defren raises the same issue about a corporate blog. He refers to the practice of a PR agency writing unattributed posts for a client as “ghostblogging.” “You can rail against it as a black mark against authenticity,” notes Defren, “but, it is happening and it is a trend that will only grow. Not enough people see this as a bright line separating ‘good’ from ‘bad’ …” And speaking of blogs, how ethical is it to pay people to give a brand or company favorable coverage? The site “payperpost.com” encourages visitors to “Make money blogging! PayPerPost lets you pick your advertisers, name your own price and negotiate your own deals. You can get paid to blog on virtually any subject. Sign up below!” How credible would you find such posts if you knew they were sponsored? Even big brands are getting in on the game. Coach collaborates with bloggers, even asking them to appear in its ad campaigns. WWD.com quotes David Duplantis, executive VP of global and digital media, as saying, “We see bloggers as editors, influencers and entrepreneurs who reach a very specific and unique audience. We find great value in working with those who are relevant to our brand, and are willing to pay fairly for projects.” Duplantis believes that while Coach benefits from bloggers, the bloggers in turn benefit from working with a brand as important as Coach. But how do consumers benefit if they are unaware of a brandblogger relationship? The analyst firm Forrester thinks it’s smart for companies to pay bloggers to engage in “sponsored conversations.” Marshall Kirkpatrick at ReadWriteWeb.com disagrees, noting “We respectfully disagree with Forrester’s recommendations on this topic. In fact, we think that paying bloggers to write about your company is a dangerous and unsavory path for new media and advertisers to go down.” Maybe all of this has convinced you that if you are looking for advice, you might want to skip blogs. Better to use a search engine, like Google, that can deliver search results that reflect the wisdom of millions of consumers. But what if a company tried to take advantage of Google’s search engine? JCPenney decided it would try. Thousands of fake pages were created featuring key words valuable to the store. The initiative was designed to take advantage of Google’s PageRank system and send shoppers to Penney’s website. Not illegal, certainly. But ethical? Google eventually intervened and made it less likely Penney’s results would show up in “organic” search. But if Google polices Penney’s, who polices Google? The company admitted that it paid bloggers to promote its Chrome browser. Dailytech.com reported that Google indicated it had “investigated” and that it would be “taking manual action to demote www.google.com/intl/en/chrome/browser/ and lower the site’s PageRank for a period of at least 60 days.” Maybe all of this seems so frustrating to you that you’ve resolved to stick to Twitter, where at least you can judge a source’s credibility by observing the number of followers that the individual or group has. After all, millions of followers can’t be wrong. Unfortunately, the number of “followers” of a Twitter source may be very misleading, because sources can actually buy followers. The New York Times and USA Today reported recently that up to 70 percent of Barack Obama’s followers, and 71 percent of Lady Gaga’s, are “fake” or “inactive.” The Web is an evolving medium, and companies are searching for ways to profit from it. The history of advertising suggests that consumers will reject companies that try to take advantage of them unfairly, unethically, or dishonestly. That is something every brand manager might want to keep in mind. Do any of the activities described above strike you as unethical? Why?
When two companies run strikingly similar ads, is it imitation, plagiarism, or coincidence? Ads for Michelob Light beer and Colombian coffee were set in supermarkets and shared the same plot: grocery baggers manhandle products until the item being advertised comes down the conveyer belt. For both Michelob Light and Colombian, the bagger wraps the advertiser’s package in bubble wrap and carefully gives it to the buyers. Advertisers and the media commonly point to “coincidence.” Bob Garfield, ad critic for Advertising Age, said, “It’s seldom plagiarism, especially if the ads are appearing simultaneously.” Both of the agencies representing Michelob Light beer and Colombian coffee agree. Peter le Comte, president of DDB Worldwide Marketing, said, “We have written it off as an incident of coincidence. Besides, I don’t think we share the same consumers. They will run their commercial and we will run ours.” Unfortunately, plagiarism is difficult to prove, as long as you make a few changes. There is no set number of words that make up a plagiarized effort. And plagiarism covers not only words but ideas, plots, and characters. When Kendall-Jackson Winery filed a suit against E&J Gallo Winery, charging that Gallo’s Turning Leaf Vineyards brand and labeling infringed on Kendall-Jackson’s Colored Leaf trademark, a jury determined there was no infringement and that judgment was affirmed on appeal. It seems that grape-leaf designs have become generic emblems for wine. The crux of the problem may be that imitation is an accepted part of the business, at least unofficially. Clients tend to avoid the debate, perhaps because they’re more comfortable with well-worn ideas than with bold, original concepts. Many art directors and writers collect competitive ads for inspiration. And advertising is such a highly collaborative process that it’s often difficult to determine each individual’s creative contribution. With personal responsibility so unclear, ignoring professional ethics is relatively easy. “There are very few original ideas,” according to Philip Circus, an advertising law consultant to the Newspaper Society in London. “Plagiarism is the name of the game in advertising. It’s about recycling ideas in a useful way.” That’s why some industry leaders are passionate about the need for personal ethics. Jim Golden, executive producer of DMH MacGuffin, says, “All we have in this business are creativity and ideas. The moment someone infringes on that, they’re reaching into the very core of the business and ripping it out.” Ultimately, advertisers must stop “borrowing” ideas from each other and demand greater creativity from themselves. Some art directors claim that “coincidental invention” explains why many ads look the same. Do you think that’s really possible?
Obtaining a clear understanding of what your client wants from you and what you are prepared to do for your client is essential for a mutually satisfying relationship. From your end it is vital that you be clear about the finished product. In many classes this might be a plans book, which contains research, an advertising plan, a media plan, and even some creative plans. In other classes you might not provide all of that. In either case, make sure your client knows what to expect. If previous classes have done campaign work for other clients, you might wish to show your client that work. As important as it is that your client understand you, it is equally crucial that you understand your client’s expectations. Recognize that some clients may not have a clear set of expectations at first; these may in fact evolve over time. Even in this instance, asking the right questions can get your client thinking about what they hope advertising will do for them. Below you will find some questions that might prove useful for getting to know your client better. Dr. Debbie Treise, who regularly teaches advertising campaigns at the University of Florida, uses this form. Sending it to the client in advance of a meeting can make your first interaction more useful and informative. Do you have a current, active website? If so, what is its primary purpose? Who accesses it? Do you use social media? Would you like to use social media? Do you have people who could commit to engaging on social media regularly?
Advertising Arens Weigold
This is completed downloadable of M Advertising 3rd edition by David H Schaefer,Michael F. Weigold, William F. Arens Solution manual Instant download M: Advertising 3rd edition by David H Schaefer,Michael F. Weigold, William F. Arens Solution manual pdf docx epub after payment.
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