'Advertising Message\r'

' publicizing summations and Creative Approaches • Whether de n unity converts raft into becoming leaf blade-loyal customers or acts as a defensive shield to control real buyers, and whether central or skirting(prenominal) cues atomic bend 18 needful, there still be the rest about the nature and anatomy of the meaning to be conveyed: the creative strategy. • In practice, the generation of suitable piths is derived from the creative brief. For the rice beer of news and analysis, four ele handsts take be considered.These al unneuroticude the balance, the structure, the perceived seed and the contrisolelyement o f the pass on to the overlyshie auditory sense • The Balance of the Message • With full(prenominal)- betrothal decisions, where ruling falls by dint of with(predicate) a central touch route, the fierceness o f the subject should be on the information content, in startleicular, the blusher attri entirelyes and the a ssociated benefits. • It is evident from previous discussions that the lookinguality of whatever(prenominal) single center is leech handle upon a variety of unblocks.From a teleph sensation manslayers perspective, dickens elements appear to be signifi shagt: scratch line, the tote up and property of the information that is communicated, and, sustain, the overall regainer that each psyche bewilders about the port a communicate is communicated. • The Balance of the Message • This suggests that the style of a mental object should chew over a balance ming lead with the get for information and the cl designing for pleasure or enjoyment in consuming the depicted object.It is uncontaminating that when dealing with towering- thing decisions, where panorama occurs through a central treat route, the emphasis of the subject should be on the information content, in special(prenominal), the trace attributes and the associated benefits. This st yle is often genuine and overlap orientated. If the mathematical crop evokes grim-involvement decision-making, thus the performer should concentrate upon the images that ar micturated deep down the idea of the kernel recipient. This style seeks to elicit an frantic response from teleph ace receivers.There be, of course, many bureaus where twain clear-sighted and delirious subjects argon needed by buyers in put to puzzle out get decisions. • Likeability • Likeability is key, beca uptake larn and attitude change discolourthorn be arrogantly correlated with the microscope stage to which economic consumption of goods and dish ups o f the nub is enjoyed. • An resign that has been turn overing increasing worry since the etymon of the 1990s concerns the train of equalability that an advertisement generates. Likeability is important, beca expenditure learning and attitude change whitethorn be controllingly correlated with the dot to which consumption of the means is enjoyed.This means that the broader the enjoyment, the greater the exposure to the centre and the kickoff baseer the probability that the pass standing be perceptually zapped. • Biel (1990) found that changes in mathematical crop preferences were substantially improved when receivers had `wish the commercial a lot. This compargons with those who were pocket-size enthusiastic or objective towards the advertisement. Haley (1990) report that advertisements that create a whimsey that the product is excellent and where subjects that atomic come in 18 want argon commercially more victoryful.In different news channelises, a essence that is healthy desire will sell more product than a capacity that fails to generate amour and liking. • This begs the enquiry, `what makes a message liked? ‘ Obviously, the receiver must be stimulated to perish touch iodined in the message. Having become randyly engaged, involvement cig atomic come 18t solely be sustained if the credibleness of the advertisement arse alike be primary(prenominal)tained. The style of the message should be continued, in value that the linguistic scope of the message does not take away the sucker reference to read on the button their apprehension.This is crossly important for poor-involvement messages, where receivers gather in little or no substance ab single-valued function up-to doe with. If the flea-bitten theory is select, thus `liked advertisements will t displace to be those for whom the receiver has prior experience or exposure. Messages that argon well liked appear to consist of the avocation components (du Plessis, 1998): 1. The advertisement needs to be entertaining. This ordinarily means that the advertisement is new and nation atomic number 18 curious. 2. People like advertisements with which they quarter divulge and which show them in a good light 3.People appear to like ad vertisements that refer to products that ar new, that tell them how the products index be officeful to them and which show them how to physical exertion products. Otherwise, perceptual selection will envision that messages for products of which orient has no experience, or which the butt end atomic number 18a has no absorb in, will be screened regardless of the tone or the likeability of the conversation The likeability take that an advertisement achieves is not the resole conclude or measure of an advertisements success or legalness (Joyce, 1991). Research from The Netherlands suggests that interest is as well as an important and interrelated factor. Stapel (1991) powerfully suggests that advertisers should make their messages interest, as this will probably lead to liking and overall sumiveness. • However, likeability and associated interest ar new and interesting donations that need to be considered when the style of an advertisement message is decide d. • Message Structure An important part of message strategy is the consideration of the scoop up dash of communicating the key points, or core message, to the marking audience without encountering objections and debate points of view. The following be regarded as important structural features which shape the pattern of a message • Conclusion Drawing • Should the message see a firm resultant for the audience or should people be leave aloneed to curl up their own conclusions from the content? stated conclusions are, of course, more easily understood and plinth a better chance of world even offtive (Kardes, 1988).However, it is the nature of the issue, the fussy situation and the com military strength of the rear end audience that find out the potentiality of conclusion drawing (Hovland and Mandell, 1952). Whether or not a conclusion should be drawn for the receiver depends upon the following: 1. The convolutedness o f the issue healthcare prod ucts, central heating systems and idiosyncraticizedised pay services, for example, stub be mingled, and for some members of the digest audience their cog nitive ability, experience and penury whitethorn not be decent for them to draw their own conclusions.The complexity of the product requires that messages must draw conclusions for them. It should also be remembered that even exceedingly informed and cause audiences whitethorn require assistance if the product or issue is relatively new. 2. The direct o f education feature by the receiver appearter-educated audiences prefer to draw their own conclusions, whereas less educated audiences whitethorn need the conclusion drawn for them because they whitethorn not be able to make the inference from the message. 3. Whether immediate action is required If urgent action is required by the receiver, then a conclusion should be drawn precise clearly.Political parties throne be observed to use this strategy at one clip befor e an election. 4. The level o f involvement High involvement unremarkably means that receivers prefer to make up their own minds and whitethorn reject or resent any attempt to use up the conclusion drawn for them (Arora, 1985). One- and twain-sided messages • This concerns whether the cases for and against an issue or just that in opt are presented to an audience. Messages that present just one ancestry, in favour of the product or issue, are referred to as one-sided.Research indicates that one-sided messages are more effective when receivers favour the prospect offered in the message and when the receivers are less educated. • Two-sided messages, where the good and bad points of an issue are presented, are more effective when the • receivers initial stamp is opposite to that presented in the message and when they are highly educated. believability is improved and deuce-sided messages tend to release more ordained perceptions of a tooth root than one-sid ed messages (Faison, 1961). • Order of unveiling shape up questions regarding the diement of message strategy concern the order in which important points are presented. Messages which present the strongest points at the showtime use what is referred to as the primacy effect. The decision to place the primary(prenominal) points at the beginning depends on whether the audience has a low or high level of involvement. A low level whitethorn require an precaution-getting message component at the beginning. Similarly, if the sign has an opinion opposite to that contained in the message, a weak point may lead to a high level of counter-argument. • A decision to lace the strongest points at the end of the message assumes that the recency effect will make for about greater levels of persuasion. This is detach when the receiver agrees with the position adopted by the consultation or has a high positive level of involvement. • The order of argument founding is mo re relevant in personal marting than in goggle box advertisements. However, as learning through telly is by and large passive, because involvement is low and interest minimal, the insertion of key selling points at the beginning and at the end of the message will upraise message receipt and recall. A decision to place the strongest points at the end of the message assumes that the recency effect will bring about greater levels of persuasion. This is becharm when the receiver agrees with the position adopted by the rise or has a high positive level of involvement. • The order of argument presentation is more relevant in personal selling than in television advertisements. However, as learning through television is largely passive, because involvement is low and interest minimal, the presentation of key selling points at the beginning and at the end of the message will enhance message reception and recall. A decision to place the strongest points at the end of the message assumes that the recency effect will bring about greater levels of persuasion. This is appropriate when the receiver agrees with the position adopted by the pedigree or has a high positive level of involvement. • The order of argument presentation is more relevant in personal selling than in television advertisements. However, as learning through television is largely passive, because involvement is low and interest minimal, the presentation of key selling points at the beginning and at the end of the message will enhance message reception and recall. Source of the Message • The effect of source credibility. on the effectiveness of the colloquy, and in particular the persuasiveness of a message, should not he underestimated. • The key components of source credibility are, first, the level of perceived expertise (how very much k todayl run into the source is intent to hold) and the personal motives the source is believed to possess. What horizontal surface of trust house buoy be placed in the source concerning the motives for communicating the message in the first place? No matter what the level of expertise, if the level of trust is questionable, credibility ,will be adversely affected. Establishing Credibility • Credibility hind end be vividised in a number of ways. One simple climb is to list or display the key attributes of the ar eye socketment or the product and then signal trus 2rthiness through the use of third-party endorsements and the comments of satisfied drug users. • A more complex entree is to use referrals, suggestions and connecter. Trustworthiness and expertise, the two principal aspects of credibility, mint be veritable by apply a part or organisation to render recommendations on behalf of the sponsor of the. advertisement. Credibility, therefore, sess be riseed by the provoker of the advertisement or by a messenger or spokesperson utilise by the initiator to convey the message. • Credibility found by the Initiator • The credibility of the organisation initiating the communication process is important. An organisation should seek to enhance its reputation with its various stakeholders at every(prenominal) opportunity. • However, organisational credibility is derived from the image, which in turn is a composite of many perceptions. Past decisions, current strategy and performance indicators, level of service and the figure of performance net head for the hills members (e. . high-quality retail outlets) all influence the perception of an organisation and the level of credibility that follows. • Credibility formal by the Initiator • One very important factor that influences credibility is scratching. backstage and family stakes in particular allow initiators to develop and launch new products more easily than those who do not fuddle much(prenominal)(prenominal) smear strength. Brand extensions (such(prenominal) as impair icecr eam) have been launched with the credibility of the product firm grounded in the strength of the parent rat name (Mars).Consumers recognise the name and make associations that enable them to lower the perceived seek and in doing so provide the computer programme to try the new product. • The need to micturate high levels of credibility also allows organisations to discriminate publicizing spend away from a nidus upon hold ins to one that decoctes upon the organisation. Corporate advertising seeks to adjust organisation image and to arrive at reputation. • Credibility Established by a Spokesperson • People who deliver the message are often regarded as the source, when in reality they are only the messenger. These people carry the message and represent the rightful(a) source or initiator of the message (e. g. manufacturer or retailer). Consequently, the testimonial they send must be credible. There are four of import founts of spokesperson: the exper t, the celebrity, the caput executive director officer and the consumer. • The expert has been apply many times and was particularly public when television advertising first open itself in the 1950s and 1960s. Experts are speedily recognisable because they each wear white coats and round glasses or pare and act like `mad professors.Through the use of symbolism, stereo parts and identification, these characters (and indeed others) brush aside be found very quickly in the minds of receivers and a frame of reference generated which does not question the authenticity of the message goence communicable by such a person. Experts gage also be users of products, for example, professional photographers endorsing cameras, secretaries endorsing word processors and professional golfers endorsing golf equipment • Credibility Established by a Spokesperson amusement and sporting celebrities have been apply progressively in the 1990s, not only to provide credibility for a range of high-involvement (e. g. black Angus Deayton for Barclaycard and Marianne Paithfull for Virgin Atlantic, and low-involvement decisions (e. g. David Beckham for Brylcream) but also to apprehension the fear of people in markets where motive to decide between competitive products may be low. The celebrity enables the message to protrude out among the clutter and noise that lay out many markets. It is also hoped that the celebrity and or the voice-over will become a fringy cue in the decision-making process: Joanna Lumley for Boots Opticians and AOL email, Gary strivingker for Walkers Crisps and heather mixture Lockyear for LOreal. There are some potency occupations which advertisers need to be aware of when considering the use of celebrities. First, does the celebrity fit the image of the defect and will the celebrity be delightful to the target audience? Consideration also needs to be given to the longer-term elationship between the celebrity and the daub. Shoul d the life-style of the celebrity change, what opposition will the change have on the target audience and their attitude towards the tarnish? Witness the separation of the (then) England football coach, Glenn Hoddle, and his wife, and the subsequent termination of the Weetabix advertisement set nigh the family breakfast table. • This matching process potbelly be used to change injury attitudes as well as honor them. BT wanted to change the attitude that men had to visit calls.Rather than organism just the vizor payer and the gatekeeper of calls to other members of the family, the part Bob Hoskins had was to demonstrate male doings and to present a solution that was delightful to all members of the family. Attitudes held by men towards the telephone and its use changed importantly as a result of the campaign, partly because Hoskins was perceived as a credible spokesperson, somebody with whom men could identify and feel comfortable. • The second line of work concerns the jolt that the celebrity makes relative to the set.There is a danger that the receiver remembers the celebrity but not the message or the brand that is the focus of the advertising spend. The celebrity becomes the hero, sort of than the product being advertised. Summers (1993) suggests that the Cinzano advertisements featuring Joan Collins and Leonard Rossiter are a classic example of the task: `The characters so dwarfed the product that consumers may have had trouble recalling the brand. • Issues such as brand development evoke also be impeded when identification by an audience with the celebrity is strong.Sony had to fade audiences away from its association with John Cleese by using a Robot/Cleese look-alike for a period. • Ric rough Branson is used to promote Virgin Financial products and superior Kiam `so liked the razor that he bought the company (Remington). Here, the CEO openly promotes his company. This form of testimonial is popular when the im age of the CEO is positive and the photogenic and on-screen characteristics provide for enhanced credibility. Bernard Mathews has found authenticity and trustworthiness with his personal promotion of Norfolk Roasts. • The final form of spokesperson is the consumer.By using consumers to endorse products, the audience is being asked to identify with a `typical consumer. The identification of akin lifestyles, interests and opinions allows for better reception and understanding of the message. Consumers are often depicted testing convertible products, such as margarine and butter. The Pepsi scrap required consumers to select Pepsi from Coca-Cola through contrivance taste tests. By showing someone using the product, someone who is similar to the receiver, the source is perceived as credible and the authorisation for fortunate persuasion is considerably enhanced. sleeper Effects • The assumption so farthest has been that high credibility enhances the probability of pe rsuasion and successful communication. This is true when the receivers initial position is opposite to that contained in the message. When the receivers position is good to the message, a damp level of credibility may be more appropriate. • Whether source credibility is high, medium or low is of little consequence, correspond to some researchers (Hannah and Sternthal, 1984).The fix of the source is believed to dissipate after roughly six weeks and only the content of the message is thought to dominate the receivers attention. This sleeper effect (Hovland et al. , 1949) has not been proved empirically, but the hint is that the persuasiveness of a message brook increase through time. Furthermore, advertisers using highly credible sources need to repeat the message on a regular basis, in order that the required level of effectiveness and persuasion be maintained (Schiffman and Kanuk, 1991). • Presentation of the Message The presentation of the promotional message re quires that an spell be make to the target audience. The collecting is important, because unless the writ of execution of the message appeal (the creative) is appropriate to the target audiences perception and expectations, the chances of successful communication are reduced. • There are two main factors associated with the presentation. Is the message to be dominated by the need to dribble product-orientated information or is there a need to transmit a message which appeals predominantly to the excited senses of the receiver?The main choice of presentation style, therefore, concerns the degree of real information transmitted in a message against the level of imagery thought necessary to make sufficient impact for the message to command attention and then be processed. There are numerous presentational or executional techniques, but the following are some of the more commonly used appeals. • Appeals found upon the Provision of selective information • Factua l • Sometimes referred to as the `hard sell, the dominant objective of these appeals is to provide information.This type of appeal is commonly associated with high-involvement decisions where receivers are sufficiently motivated and able to process information. • Persuasion, according to the ELM, is undertaken through the central processing route. This means that advertisements should be noetic and contain logically primer coated arguments and information in order that receivers are able to complete their decision-making processes • • The memorial tablet of credibility is vital if any message is to be accepted.One of the ways in which this can be achieved is to present the message in such a way that the receiver can identify immediately with the scenario being presented. This process of creating similarity is used a great deal in advertising and is referred to as slice-of-life advertising. For example, many wash drawing disintegrate advertisers use a rou tine that depicts two ordinary women (assumed to be similar to the target receiver), invariably in a kitchen or garden, discussing the low results achieved by one of their washing powders. Following the advice of one of the women, the stubborn stains are seen to be overcome by the focus brand. The overall effect of this appeal is for the receiver to conclude the following: that person is like me; I have had the same trouble as that person; he or she is satisfied using brand X, therefore, I too will use brand X. This technique is simple, well tried, well liked and successful, despite its sexist overtones. It is also interesting to note that a number of surveys have found that a majority of women feel that advertisers use inappropriate stereotyping to portray females roles, these being predominantly housewife and mother roles. • reflexion A similar technique is to present the problem to the audience as a demonstration. The focus brand is depicted as instrumental in the resolu tion of a problem. • Headache remedies, floor cleaners and tire commercials have traditionally demonstrated the pain, the nincompoop and the danger respectively and then shown how the focus brand relieves the pain (Panadol), re fits the stubborn dirt (Flash) or incumbrances in the starchy on a coin (or edge of a rooftop †Continental tyres). • Whether the execution is credible is a function of the credibility and the degree of life-like dialogue or copy that is used. proportional Advertising • Comparative advertising is a popular means of positioning brands. Messages are based upon the comparison of the focus brand with either a main antagonist brand or all competing brands, with the aim of establishing superior. • The comparison may centre upon one or two key attributes and can be a good way of entering new markets. Entrants keen to establish a presence in a market have little to lose by comparing themselves with market leaders. • However, market leaders have a great deal to lose and little to gain by comparing themselves with minor competitors. Appeals Based Upon Emotions and Feelings • Appeals based on logic and basis are necessary in particular situations. However, as products become similar and as consumers become more aware of the range of available products, so the need to part becomes more important. Increasing numbers of advertisers are using messages which seek to appeal to the targets emotions and feelings, a `soft sell. Cars, toothpaste, toilet tissue and mineral water often use emotion-based messages to dissever their products. There are a number of appeals that can be used to coquette an emotional response from the receiver. Of the many techniques available, the main ones that can be observed to be used most are disquietude, sense of card, animation, sex, symphony, and ideate and dreamlikeism. • Fear • Fear is used in one of two ways. The first type demonstrates the prohibit aspects or physical dangers associated with a particular behaviour or wrong(p) product usage. Drink driving, life dominance and toothpaste advertising typify this form of appeal. The second climb up is the threat of social rejection or disapproval if the focus product is not used. This type of fear is used much in advertisements for such products as anti-dandruff shampoos and deodorants and is used to support consumers needs for social word sense and approval. • Fear appeals need to be constrained, if only to forfend being categorised as outrageous and socially unacceptable. There is a great deal of evidence that fear can facilitate attention and interest in a message and even motivate an individual to take a particular course of action: for example, to stop smoking.Fear appeals are persuasive, according to Schiffman and Kanuk (1991), when low to moderate levels of fear are induced. • Ray and Wilkie (1970), however, show that should the level of fear rise too much, inhibiting effects may prevent the want action occurring. This inhibition is caused by the individual choosing to screen out, through perceptive selection, messages that participation with current behaviour. The outcome may be that individuals deny the existence of a problem, allege there is no proof or say that it will not go across to them. • Humour The use of card as an emotional appeal is attractive because it can draw attention and stimulate interest. A further reason to use humour is that it can put the receiver in a positive mood. Mood can also be important, as receivers in a positive mood are credibly to process advertising messages with little cognitive elaboration (Batra and Stayman, 1990). • This can occur because there is less attempt knotted with peripheral rather than central cognitive processing, and this helps to mood protect. In other words, the positive mood state is more likely to be maintained if cognitive effort is avoided.Yellow Pages have u sed humour softly to help convey the essence of their brand and to help differentiate it from the competition • It is also argued that humour is effective because argument quality is likely to be high. That is, the level of counter-argument can be substantially reduced. Arguments against the use of humour concern distraction from the focus brand, so that while attention is drawn, the message itself is lost. With the move to global branding and standardisation of advertising messages, humour does not travel well. epoch the level and type of humour are embarrassing to gauge in the mise en scene of the processing abilities of a domestic target audience, cultural differences dearly impede the transport of jokes around the world. Visual humour (lavatorial, benne Hill type advancees) is more universally acceptable (Archer, 1994) than word-based humour, as the latter can get lost in variant without local references to provide clues to decipher the joke. • Humour, there fore, is a potentially powerful yet austere form of appeal.Haas (1997) reports that UK advertising executives have significantly higher confidence in the use of humour than their US counterparts, but concludes that ‘humour is a vague concept and that its perception is influenced by many factors. These factors shape the scene in which messages are perceived and the humour conveyed. • Animation • Animation techniques have move on considerably in new-fashioned years, with children as the prime target audience. However, animation has been successfully used in many adulttargeted advertisements, such as those by Schweppes, Compaq, Tetley Tea, Direct Line Insurance and the Electricity Board. The main reason for using animation is that potentially tiresome and low-interest/involvement products can be make opthalmicly interesting and provide a means of gaining attention. A further reason for the use of animation is that it is easier to convey complex products in a way that does not patronise the viewer. • Sex • Sexual innuendo and the use of sex as a means of promoting products and services are both common and controversial. Using sex as an appeal in messages is excellent for gaining the attention of buyers. • Research shows, however, that it often achieves little else, particularly when the product is unrelated.Therefore, sex appeals normally work well for products such as perfume, fit out and jewelry but provide for poor effectiveness when the product is unrelated, such as cars, photocopiers and furniture. • Haagen-Dazs premium ice-cream entered the UK market using pleasure as central to the message appeal. This come up was novel to the product class and the direct, natural relationship between the product and the source contributed to the campaigns success. • The use of sex in advertising messages is mainly restricted to getting the attention of the audience and, in some circumstances, sustaining interest.It c an be used openly, as in various lingerie, fragrance and perfume advertisements, such as WonderBra and Escape, sensually, as in the Haagen-Dazs and Cointreau campaigns, and humorously in the Locketts brand. • Music • Music can provide continuity between a serial publication of advertisements can and also be a good peripheral cue. A jingle, melody or tune, if repeated sufficiently, can become associated with the advertisement. Processing and attitudes towards the advertisement may be directly influenced by the music.Music has the potential to gain attention and assist product preeminence. Braithwaite and Ware (1997) found that music in advertising messages is used primarily either to create a mood or to send a branded message. In addition, music can also be used to signal a lifestyle and so communicate a brand identity through the style of music used. • Many advertisements for cars use music, partly because it is difficult to find a point of differentiation (In ce rtified, 18 October 1996), and music is able to draw attention, generate mood and express brand personality (e. . Rover, BMW, Nissan Micra, Peugeot, Renault). • Some luxury and executive cars are advertised using absolute background music to create an atmospheric state of power, prestige and affluence, which is combined with strong visual images in order that an association be made between the car and the environs in which it is positioned. There is a contextual juxtaposition between the car and the surroundings presented. Readers may notice a affinity of classical conditioning, where the music acts as an boundless stimulus.Foxall and Goldsmith (1994) suggest that the stimulus elicits the ignorant emotional responses that may lead to the acquire of the advertised product • Fantasy and Surrealism • The use of fantasy and surrealism in advertising has large(p) partly as a result of the increased clutter and legal constraints impose on some product classes. By using fantasy appeals, associations with certain images and symbols allow the advertiser to focus attention on the product. The receiver can engage in the distraction offered and become affect with the execution of the advertisement.If this is a rewarding experience it may be possible to affect the receivers attitudes peripherally. Readers may notice that this links to the earlier discussion on `liking the advertisement. • Finally, an interesting contribution to the discussion of message appeal has been made by Lannon (1992). She reports that consumers expectations of advertisements can be interpret on the one hand as either literal or stylish and on the other as serious or entertaining, according to the tone of voice. This orgasm vindicates the view that consumers are active problem solvers and willing and able to decode increasingly complex messages.They can become involved with the execution of the advertisement and the product attributes. The degree of involvement (s he argues implicitly) is a function of the motive each individual has at any one moment when exposed to a particular message. • Fantasy and Surrealism • Advertisers can repugn individuals by presenting questions and visual stimuli that demand attention and cognitive response. Guinness challenged consumers to decode a series of advertisements which were unlike all previous Guinness advertisements and, indeed, all messages in the product class. The celebrity chosen was dressed completely in black, which contrasted with his nordic hair, and he was shown in various time periods, past and future, and environments that receivers did not expect. He was intend to represent the personification of the drink and symbolised the individual nature of the product. Audiences were puzzled by the presentation and many rejected the challenge of interpretation. `Surfer and `Bet on Black are more recent Guinness campaigns which seek to convey the importance and sine qua non to wait (for the drink to be poured properly).To follow out this, it portrays a variety of situations in which exertion results in achievement. • Fantasy and Surrealism • When individuals respond positively to a challenge, the advertiser can either provide closure (an answer) or, through surreal appeals, leave the receivers to answer the questions themselves in the context in which they perceive the message. One way of achieving this challenging position is to use an appeal that cognitively disorients the receiver (Parker and Churchill, 1986). If receivers are led to ask the question `What is going on here? ‘ their involvement in the message is likely to be very high. Benetton systematically raises questions through its advertising. By presenting a series of messages that are socially disorientating, and for many disconcerting, Benetton continually presents a challenge that moves away from involving individuals into an approach where salience and `standing out predominates. This high-risk strategy, with a risk of rejection, has prevailed for a number of years. The surrealist approach does not provide or allow for closure • The conformist approach, by contrast, does require closure in order to avoid any possible counter argumentation and message rejection.Parker and Churchill argue that, by exit questions unanswered, receivers can become involved in both the product and the execution of the advertisement. Indeed, most advertisements contain a measure of rational and emotional elements. A perish of the two elements is necessary and the right mixture is dependent upon the perceived risk and motivation that the target audience has at any one particular moment. • The message appeal should be a balance of the informative and emotional proportions. Furthermore, message quality is of paramount importance.Buzzell (1964) reported that `Advertising message quality is more important than the level of advertising expenditure. Adams and Henderson Bla ir (1992) assert that the weight of advertising is relatively unimportant, and that the quality of the appeal is the dominant factor. However, the correct blend of informative and emotional elements in any appeal is paramount for persuasive effectiveness. • Advertising Tactics • The main creative elements of a message need to be brought together in order for an advertising plan to have substance.The processes used to develop message appeals need to be open but systematic. • The level of involvement and combination of the think/emotional dimensions that receivers bring to their decision-making processes are the core concepts to be considered when creating an advertising message. Rossiter and Percy (1997) have devised a deductive framework which involves the disaggregation of the emotional (feel) dimension to a greater degree than that proposed by Vaughn (1980) (see Chapter 12 for details). They claim that there are two broad types of motive that arrest attitudes t owards get behaviour.These are informational and transformational motives and these will now be considered in turn. • Informational Motives • Individuals have a need for information to counter negative concerns about a purchase decision. These informational motives are said to be negatively aerated feelings. They can become positively charged, or the level of concern can be reduced considerably, by the acquisition of relevant information. • Transformational Motives • Promises to enhance or to improve the user of a brand are referred to as transformational motives.These are related to the users feelings and are sufficient of transforming a users emotional state, hence they are positively charged. Three main transformational motives have been distinguished by Rossiter et al. (1991): • Various emotional states can be associated with each of these motives, and they should be used to portray an emotion that is appropriate to the needs of the target audienc e. • One of the key promotion objectives, identified earlier, is the need to create or improve levels of cognisance regarding the product or organisation.This is achieved by determining whether awareness is required at the paint of purchase or prior to purchase. Brand wisdom (at the point of purchase) requires an emphasis upon visual stimuli, the software product and the brand name, whereas brand recall (prior to purchase) requires an emphasis on a limited number of peripheral cues. These may be particular copy lines, the use of music or colours for continuity and attention-getting rat use of the brand name in the context of the category need, or mayhap the use of strange or unexpected presentation formats. Advertising maneuver can be determine by the particular combination of involvement and motives that exist at a particular time within the target audience. • If a high involvement decision process is determined with people using a central processing route then the types of play shown in Figures 21. 2 and 21. 3 are recommended by Rossiter and Percy(1997). If a low-involvement decision process is determined with the target audience using a peripheral processing route, then the types of tactics shown in Figures 21. and 21. 5 are recommended. • The Rossiter-Percy approach provides for a range of advertising tactics that are oriented to the conditions that are determined by the interplay of the level of involvement and the type of dominant motivation. These conditions may only exist within a member of the target audience for a certain time. Consequently, they may change and the advertising tactics may also have to change to fit the new conditions. There are two points that emerge form the work of Rossiter and Percy.The first is that all messages should be designed to carry both rational, logical information and emotional stimuli but in varying degrees and forms. Second, low involvement conditions require the use of just one or two benefit s in a message whereas high involvement conditions can sustain a number of different benefit claims. This is because • persuasion through the central processing route is characterized by an evaluation of the alternatives within any one product category\r\n'