Promotion Management Test 2
About this set
Created by:
dianaccamp on January 23, 2012
Subjects:
Marketing, Promotion Management
Description:
Dr. Charlene Davis; Trinity University, Spring 2012
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285 terms
Terms | Definitions |
|---|---|
 Communication | the passing of information, the exchange of ideas, or the process of establishing a commonness or oneness of thought between a sender and reciever |
| Two Participants of Communication Process | the sender and the receiver |
| Source | the sender; the person or organization that has information to share with another person or group of people |
| Encoding | process that involves putting thoughts, ideas, or information into a symbolic form |
| Message | this contains the information or meaning that the source hopes to convey |
| Channel | the method by which the communication travels from the source or sender to the receiver |
| Personal Channels | a channel of communication with direct interpersonal (face-to-face) contact with target individuals or groups |
| Word-of-Mouth Communication | Social channels of communication such as friends, neighbors, associates, co-workers, or family members |
| Buzz Marketing | a new name used to describe what used to be known as word-of-mouth communication; includes handing out product samples and providing products to influential people and encouraging them to recommend the brand to others |
| Nonpersonal Channels | a channel of communication that carry a message withou interpersonal contact between sender and receiver |
| Mass Media | what nonpersonal channels are generally referred to; the message is sent to many individuals at one time |
| Receiver | the person(s) with whom the sender shares thoughts or information |
| Decoding | the process of transforming the sender's message back into thought |
| Field of Experience | refers to the experiences, perceptions, attitudes, and values he or she brings to the communication situation |
| Common Ground | this is what is critical for effective communication to take place between two parties |
| Noise | this is an unplanned distortion or interference by extraneous factors that can occur during the communication process |
| Response | this is the receiver's set of reactions after seeing, hearing, or reading the message |
| Feedback | that part of the receiver's response that is communicated back to the sender |
| Successful Communication | This is accomplished when the marketer selects an appropriate source, develops an effective message or appeal that is encoded properly, and then selects the channels or media that will best reach the target audience so that the message can be effectively decoded and delivered. |
| Market Niches | these are very small, well-defined groups of customers |
| Market Segments | this is a broader aggregation of buyers who have similar needs and can be reached with similar messages |
| Mass Markets | these large numbers of present/potential customers are those that most marketers try to reach through mass communication |
| Response Process | this is one of the most important aspect in developing an effective communication program; it is something that the receiver may go through in moving toward a specific behavior |
| AIDA Model | a model developed to represent the stages a salesperson must take a customer through in the personal-selling process; the buyer must pass successively through attention, interest, desire, and action |
| Hierarchy of Effects Model | this model shows the process by which advertising works; it assumes a consumer passes through a series of steps in sequential order from initial awareness of a product or service to actual purchase |
| Innovation Adoption Model | this model evolved from work on the diffusion of innovations; it says potential adopters must be moved through a series of steps before taking some action (awareness, interest, evaluation, and trial) |
| Information Processing Model | this model assumes that the receiver (in a persuasive communication situation like advertising) is an information processor or problem solver |
| Cognitive Stage | stage that represents what the receiver knows or perceives about the particular product or brand |
| Affective Stage | stage that refers to the receiver's feelings or affect level (like or dislike) for the particular brand |
| Conative or Behavioral Stage | stage that refers to the consumer's action toward the brand (trial, purchase, adoption, or rejection) |
| Behavior of Early Digital Adopters | These include risk taking and a desire for novelty that exceeds caution and reflects openness to new products; information gathering because this group likes to mitigate risk by seeking out information to make informed decisions; and status seeking as early adopters take pride in showing off their new purchases and often choose products that represent them to the world. |
| Standard Learning Model | this is a model in which information and knowledge acquired or learned about the various brands are the basis for developing affect or feelings that guide what the consumer will do; in this hierarchy, the consumer is viewed as an active participant in the communication process who gathers information through active learning |
| Dissonance/Attribution Model | this is a model that follows a do, feel, learn process and occurs in situations where consumers must choose between two alternatives that are similar in quality but are complex and may have hidden or unknown attributes |
| Postpurchase Dissonance | the anxiety a consumer may experience resulting from doubt over the purchase |
| Selective Learning | the consumer seeks information that supports the choice made and avoids information that would raise doubts about the decision |
| Low-Involvement Hierarchy | the receiver is viewed as passing from cognition to behavior to attitude change; this learn-do-feel sequence tends to occur when involvement in the purchase decision is low, there are minimal differences among brand alternatives, and mass-media (especially broadcast) advertising is important |
| Visual Image Personality (VIP) | this is often used with low-involvement products; it is the use of symbols like the Pillsbury doughboy, Tony the tiger, or Mr. Clean to develop visual images that will lead consumers to identify and retain ads |
| FCB Grid | this model delineates four primary advertising planning strategies--informative, affective, habit formation, and satisfaction--along with the most appropriate variant of the alternative response hierarchies |
| Informative Strategy | FCB grid strategy used for highly involving products and services where rational thinking and economic considerations prevail and the standard learning hierarchy is the appropriate response model |
| Affective Strategy | FCB grid strategy used for highly involving/feeling purchases where advertising should stress psychological and emotional motives such as building self-esteem or enhancing one's ego or self-image |
| Habit Formation Strategy | FCB grid strategy for low-involvement/thinking products with such routinized behavior patterns that learning occurs most often after a trial purchase; the response process for these products is consistent with a behavioristic learning-by-doing model |
| Self-Satisfaction Strategy | FCB grid strategy for low-involvement/feeling products where appeals to sensory pleasures and social motives are important; the do-feel/do-learn hierarchy is operating since product experience is an important part of the learning process |
| Cognitive Responses | the thoughts that occur to consumers while reading, viewing, and/or hearing a communication |
| Counterarguments | thoughts the recipient has that are opposed to the position taken in the message |
| Support Arguments | thoughts that affirm the claims made in the message |
| Source Derogations | one of the most important types of responses; these are negative thoughts about the spokesperson or organization making the claims |
| Source Bolsters | these occur when receivers react favorably to the source and generate favorable thoughts |
| Ad Execution-Related Thoughts | these can be either favorable or unfavorable; they are important because of their effect on attitudes toward the advertisement as well as the brand |
| Attitude Toward the Ad | represents the receiver's feelings of favorability or unfavorability toward the ad |
| Elaboration Likelihood Model (ELM) | according to this model, the attitude formation or change process depends on the amount and nature of elaboration, or processing, of relevant information that occurs in response to a persuasive message |
| Elaboration Likelihood Model (ELM) | motivation and the ability to process the message influence this |
| Central Route to Persuasion | the receiver is viewed as a very active, involved participant in the communication process whose ability and motivation attend, comprehend, and evaluate messages are high |
| Peripheral Route to Persuasion | the receiver is viewed as lacking the motivation or ability to process information and is not likely to engage in detailed cognitive processing |
| Cognition | the thinking dimension of a person's response |
| Affect | the feeling dimension of a person's response |
| Experience | a feedback dimension based on the outcomes of product purchasing and usage |
| Two major Communication Tools | Message and channel are this |
| Major variables in the communication system | the source, message, and the channel |
| persuasion matrix | helps marketers see how each controllable element interacts with the consumer's response process; had two sets of variables--independent and dependent |
| independent variables | the controllable components of the communication process |
| dependent variables | the steps a receiver goes through in being persuaded |
| destination variable | this is included in the persuasion matrix because although marketers can't control the receiver, they can select their target audience |
| 4 decisions evaluated from persuasion matrix | 1). Receiver/comprehension 2). Channel/presentation 3). Message/yielding 4). Source/Attention |
| personal sources | these people are the most influential factor in a purchase decision |
| source | to mean the person invovled in communicating a marketing message, either directly or indirectly |
| direct source | a spokesperson who delivers a message and/or endorses a product or service |
| indirect source | a model for example who doesn't actually deliver a message but draws attention to and/or enhances the appearance of the ad |
| 3 basic categories of source attributes | 1). credibility 2). attractiveness 3). power |
| credibility | the extent to which the recipient sees the source as having relevant knowledge, skill, or experience and trusts the source to give unbiased, objective information |
| 2 dimensions of credibility | 1). expertise 2). trustworthiness |
| trustworthy | honest, ethical, and believable |
| internalization | occurs when the receiver adopts the opinion of the credible communicator since he or she believes information from this source is accurate |
| Stealth marketing techniques | what are these examples of? hidden cameras, disguised brands compared, overheard-conversation technique (consumers are skeptical) |
| very credible | what type of source is more effective when message recipients are not in favor of the position advocated in the message |
| sleeper effect | whereby the persuasiveness of a message increases with the passage of time |
| attractiveness | a source characteristic frequently used; encompasses similarity, familiarity, and likability |
| similarity | is a supposed resemblance between the source and the receiver of the message |
| familiarity | refers to knowledge of the source through exposure |
| likability | is an affection for the source as a result of physical appearance |
| identification | a process whereby the receiver is motivated to seek some type of relationship with the source and thus adopts similar beliefs, attitudes, preferences, or behavior |
| does not | identification _______ usually integrate information from an attractive source into the receiver's belief system |
| stopping power | ability to draw attention to advertising messages in a very cluttered media environment; many celebrities are believed to have this |
| overshadowing the product | consumers may focus their attention on the celebrity and fail to notice the brand |
| overexposure | consumer skeptical of endorsements because they know celebrities are being paid; pronounced when a celebrity endorses too many products |
| exclusivity clause | this limits the number of products a celebrity can endorse; these are expensive |
| positive attitude | college-age students were more likely to have this toward a product endorsed by a celebrity than were older consumers |
| risk | a celebrity's behavior may pose what to a company |
| high risk strategy | the use of celebrity endorsers can be a very expensive and what because what the celebrities do in their personal lives can impact their image and the way they are viewed by the public |
| meaning transfer model | celebrity endorsers bring their meanings and image into the ad and transfer them to the product they are endorsing and ultimately to the consumer |
| NFL quarterbacks | these people have an advantage when it comes to getting endorsement deals as they play the highest-profile position in the most popular sport in the country |
| Most important factors when choosing a celebrity endorser | - the celebrity's match with the target audience, the product/service or brand - the overall image of the celebrity - the cost of acquiring the celebrity - trustworthiness - the risk of controversy - the celebrity's familiarity and likability among the target audience |
| familiarity score | indicates what percentage of people has heard of the person |
| one of my favorites score | an absolute measure of the appeal or popularity of the celebrity |
| Q score | calculated by taking the percentage of respondents who indicate that a person is "one of my favorites" and then dividing that number by the percentage of respondents who indicate they have heard of that person |
| decorative model | a physically attractive person who serves as a passive model rather than as an active communicator |
| source power | this is when he or she can actually administer rewards and punishments to the receiver |
| 3 factors that affect source power | 1). perceived control 2). perceived concern 3). perceived scrutiny |
| perceived control | source must be perceived as being able to administer positive or negative sanctions to the receiver |
| perceived concern | the receiver must think the source cares about whether or not the receiver conforms |
| perceived scrutiny | the receiver's estimate of the source's ability to observe conformity is also important |
| compliance | when a receiver perceives a source as having power, the influence process occurs through this process |
| long-term relationships with customers | sales reps must be very careful in their use of power position, since abusing a power base to maximize short-term gains can damage what? |
| message structure | this includes how the structure of a persuasive message can influence its effectiveness, including order of presentation, conclusion drawing, message sidedness, refutation, and verbal versus visual message characteristics |
| primacy effect | presenting the strongest arguments at the beginning of the message assumes this is operating; information presented first is most effective |
| recency effect | putting strong points at the end assumes this whereby the last arguments presented are most persuasive |
| counterarguing | if the target audience is opposed to the communicator's position, presenting strong points first can reduce the level of these |
| explicit conclusions | these are more easily understood and effective in influencing attitudes |
| one-sided message | this mentions only positive attributes or benefits |
| two-sided message | presents both good and bad points |
| two-sided message | these are more effective when the target audience holds an opposing opinion or is highly educated |
| refutational appeal | a special type of two-sided message where the communicator presents both sides of an issue and then refutes the opposing viewpoint |
| practical; emotional | effective advertising combines the _______ reasons for purchasing a product with ________ values |
| Comparative advertising | the practice of either directly or indirectly naming competitors in an ad and comparing one or more specific attributes |
| direct comparisons | these can help position a new brand in the evoked, or choice, set of brands the customer may be considering |
| political speech | this enjoys more First Amendment protection than commercial speech and less regulation by either government or self-policing agencies |
| fear appeals | this uses an emotional response to a threat that expresses, or at least implies, some sort of danger; trying to arouse individuals to take steps to remove the threat |
| curvilinear | the relationship between the level of fear in a message and acceptance or persuasion is this |
| low levels of fear | what type of fear can have facilitating effects; it attracts attention and interest in the message and may motivate the receiver to act to resolve the threat |
| high levels of fear | what type of fear can produce inhibiting effects; the receiver may emotionally block the message by tuning it out, perceiving it selectively, or denying its arguments outright |
| protection motivation model | according to this theory, four cognitive appraisal processes mediate the individual's response to the threat: 1). the information available regarding the severity of the perceived threat 2). the perceived probability that the threat will occur 3). the perceived ability of a coping behavior to remove the threat 4). the individual's perceived ability to carry out the coping behavior |
| humorous ads | these are often the best known and best remembered of all advertising messages (ex: GEICO) |
| humorous messages | these attract and hold consumer's attention; they enhance effectiveness by putting consumers in a positive mood, increasing their liking of the ad itself and their feeling toward the product or service; can distract the receiver from counterarguing against the message |
| wearout | refers to the tendency of a television or radio commercial to lose its effectiveness when it is seen and/or heard repeatedly |
| humor | this is more prevalent and more effective with low-involvement, feeling products than high-involvement, thinking products |
| personal and nonpersonal media | what are the 2 broad categories of marketing communications |
| self-paced | information from ads in print media, such as newspapers, magazines, or direct mail, as well as the Internet is this; readers process the ad at their own rate and can study it as long as they desire |
| externally paced | information from the broadcast media of radio and television; the transmission rate is controlled by the medium |
| qualitative media effect | this is the influence the medium has on a message; the medium can communicate an image that is independent of any message it contains |
| clutter | a problem defined as the amount of advertising in a medium |
| creative strategy | this determines what the advertising message will say or communicate; underlies all messages |
| creative tactics | this determines how the message strategy will be executed; underlies all messages |
| big idea | this is what is used as the central theme of the advertising campaign and translated into attention-getting, distinctive, and memorable messages |
| creativity | one of the most commonly used terms in advertising |
| advertising creativity | the ability to generate fresh, unique, and appropraite or relevant ideas that can be used as solutions to communication problems |
| divergence | refers to the extent to which an ad contains elements that are novel, different, or unusual |
| 5 factors to achieve divergence | 1). originality 2). flexibility 3). elaboration 4). synthesis 5). artistic value |
| originality | ads that contain elements that are rare, surprising, or move away from the obvious and commonplace |
| flexibility | ads that contain different ideas or switch from one perspective to another |
| elaboration | ads that contain unexpected details or finish and extend basic ideas so they become more intricate, complicated, or sophisticated |
| synthesis | ads that combine, connect, or blend normally unrelated objects or ideas |
| artistic value | ads that contain artisitc verbal impressions or attractive shapes and colors |
| relevance | reflects the degree to which the various elements of the ad are meaningful, useful, or valuable to the consumer |
| ad-to-consumer relevance | refers to situations where the ad contains execution elements that are meaningful to consumers |
| brand-to-consumer relevance | refers to situations where the advertised brand of a product or service is of personal interest to consumers |
| the creative challenge | this is the difficulty of taking all the research, creative briefs, strategy statements, communications objectives, and other input and transform them into an advertising message |
| recognized and tolerated | the differences between creative and managerial personalities and perspectives must be what so that creative people can do their best work and all those involved in the advertising process can cooperate |
| 5 Steps of Young's Creative Process Model | 1). immersion 2). digestion 3). incubation 4). illumination 5). reality or verification |
| immersion | gathering raw material and information through background research and immersing yourself in the problem |
| digestion | taking the information, working it over, and wrestling with it in the mind |
| incubation | putting the problems out of your conscious mind and turning the information over to the subconscious to do the work |
| illumination | the birth of an idea--the "Eureka! I have it!" phenonemon |
| reality or verification | studyind the idea to see if it still looks good or solves the problem; then shaping the idea to practical usefulness |
| Wallas' 4 step creativity approach | 1). preparation 2). incubation 3). illumination 4). verification |
| account planning | a process that involves conducting research and gathering all relevant information about a client's product or service, brand, and consumers in the target audience |
| informal fact-finding techniques | -reading anything related to the product or market - asking everying involved with the product for information - listening to what people are talking about - using the product or service and becoming familiar with it - working in and learning about the client's business to understand better the people you're trying to reach |
| General preplanning input | can include books, periodicals, trade publications, scholarly journals, pictures, and clipping services, which gather and organize magazine and newspaper articles on the product, the market, and teh competition, including the latter's ads |
| product/service specific preplanning input | this information generally comes in the form of specific studies conducted on the product or service, the target audience, or a combination of the two |
| problem detection | an approach for finding ideas around which creative strategies could be used; this research technique involves asking consumers familiar with a product (or service) to generate an exhaustive list of things that bother them or problems that they encounter when using it |
| BAV model | this propriety tool is made for building and managing a brand; it uses four pillars that include energized differentiation, relevance, esteem, and knowledge |
| focus groups | a research method whereby consumers (usually 10 to 12 people) from the target market are led through a discussion regarding a particular topic; give insight as to why and how consumers use a product or service |
| ethnographic research | this involves observing consumers in their natural environment |
| verification and revision stage | this stage of the creative process evaluates ideas generated during the illumination stage, rejects inappropriate ones, refines and polishes those that remain, and gives them final expression |
| storyboard | a series of drawings used to present the visual plan or layout of a proposed commercial; it contains a series of sketches of key frames or scenes along with the copy or audio portion for each scene |
| advertising campaign | this is a set of interrelated and coordinated marketing communication activities that center on a single theme or idea that appears in different media across a specified time period |
| campaign theme | this should be a strong idea, as it is the central message that will be communicated in all the advertising and other promotional activities |
| slogan or tagline | the theme for an advertising campaign is usually expressed through one of these that reduces the key idea into a few words or a brief statement |
| creative strategy | this is based on these: - identification of the target audience - the basic problem, issue, or opportunity the advertising must address - the major selling idea or key benefit the message needs to communicate - any supportive information that needs to be included in the ad |
| creative brief | this specifies the basic elements of the creative strategy (aka creative platform, work plan, creative blueprint, or creative contract) |
| 4 potential communication interface failure points | 1). the client or client gatekeeper lacking knowledge of some or all of the information needed for effective advertising 2). the client deciding not to share with the agency all of the available information 3). the agency gatekeeper(s) deciding not to share with creative staffers all of the client information they receive 4). internal agency communication failures which may result in the creative staff not receiving all the relevant information received from the client |
| major selling idea | the central theme that will become this of the ad campaign; be sure that this stands strong enough to remain the central issue in every ad and commercial in the campaign |
| key benefit claim | refers to the benefit thought by the copywriter to be the key to selling the advertised product |
| 4 best approaches to sell a major idea | 1). using a unique selling proposition 2). creating a brand image 3). finding the inherent drama 4). positioning |
| unique selling proposition (USP) | 1). Each advertisement must make a proposition to the customer 2). The proposition must be one that the competition either cannot or does not offer 3). The proposition must be strong enough to move the mass millions, that is, pull over new customers to your brand |
| sustainable competitive advantage | this is something that advertisers must also consider whether the unique selling proposition affords them; this is something that competitors cannot easily copy |
| image advertising | this is a strategy that creates a strong, memorable identity for the brand through the use of visuals |
| personality | the manufacturer who dedicates his advertising to building the most sharply defined ________ for his brand will get the largest share of the market at the highest profit |
| inherent drama | this is the characteristic of the product that makes the consumer purchase it |
| positioning | this is the basic idea that advertising is used to establish or position the product or service in a prticular place in the consumer's mind |
| ways to position products | what are these examples of? - on the basis of product attributes - price/quality - usage or application - product users - product class |
| advertising appeal | refers to the approach used to attract the attention of consumers and/or to influence their feelings toward the product, service, or cause; "something that moves people, speaks to their wants or needs, and excites their interest" |
| creative execution style | the way a particular appeal is turned into an advertising message presented to the consumer |
| rational/informational and emotional | What are the 2 broad categories of appeals used in advertising? |
| Informational/rational appeals | focus on the consumer's practical, functional, or utilitarian need for the product or service and emphasize features of a product or service and/or the benefits or reasons for owning or using a particular brand; content of these messages emphasize facts, learning, and the logic of persuasion |
| feature appeal | these type of ads focus on the dominant traits of the product or service |
| competitive advantage appeal | the advertiser makes either a direct or an indirect comparison to another brand (or brands) and usually claims superiority on one or more attributes |
| favorable price appeal | makes the price offer the dominant point of the message |
| news appeals | those in which some type of news or announcement about the product, service, or company dominates the ad |
| product/service popularity appeals | stress the popularity of a product or service by pointing out the number of consumers who use the brand, the number who have switched to it, the number of experts who recommend it, or its leadership position in the market |
| emotional appeals | relate to the customers' social and/or psychological needs for purchasing a product or service |
| emotional integration | whereby they portray the characters in the ad as experiencing an emotional benefit or outcome from using a product or service |
| transformational ad | defined as "one which associates the experience of using (consuming) the advertised brand with a unique set of psychological characteristics which would not typically be associated with the brand experience to the same degree without exposure to the advertisement" |
| product benefits, personality, emotions | 3 levels of relationships with brands |
| emotional bonding | a proprietary research technique that evaluates how consumers feel about brands and the nature of any emotional rapport they have with a brand compared to the ideal emotional state they associate with the product category |
| reminder advertising | has the objective of building brand awareness and/or keeping the brand name in front of consumers |
| mere exposure effect | whereby repeated exposure to a stimulus (such as a brand name) can result in favorable feelings toward it |
| teaser advertising | is designed to build curiosity, interest, and/or excitement about a product or brand by talking about it but not actually showing it |
| mystery ads | these are also known as teasers; they are used by marketers to draw attention to upcoming advertising campaigns and generate interest and publicity for them |
| user-generated content | whereby ads are created by consumers rather than by the company and/or its agency |
| creative execution | the way an advertising appeal is presented |
| straight sell or factual message | most basic types; this type of ad relies on a straightforward presentation of information concerning the product or service; informational/rational appeals |
| scientific/technical evidence | in a variation of the straight sell, scientific or technical evidence is presented in the ad |
| demonstration | this is designed to illustrate the key advantages of the product/service by showing it in actual use or in some staged situation |
| comparison | this offers a direct way of communicating a brand's particular advantage over its competitors or positioning a new or lesser-known brand with industry leaders |
| testimonial | many advertisers prefer this where a person praises the product or service on the basis of his or her personal experience with it |
| endorsement | where a well-known or respected individual such as a celebrity or expert in the product or service area speaks on behalf of the company of the brand |
| slice of life | generally based on a problem/solution appraoch; this type of ad portrays a problem or conflict that consumers might face in their daily lives; then shows how the advertiser's product/service can resolve the problem |
| slice of death | used by business to business marketers; this execution style is used in conjunction with a fear appeal, as the focus is on the negative consequences that result when businesspeople make the wrong decision in choosing a supplier or service provider |
| animation | with this technique, animated scenes are drawn by artists or created on the computer, and cartoons, pupppets, or other types of fictional characters may be used |
| personality symbol | involves developing a central character or personality symbol that can deliver the advertising message and with which the product or service can be identified |
| usage imagery | showing how a brand is used or performs and the situation in which it is used |
| user imagery | where the focus is on the type of person who uses the brand |
| dramatization | well suited to TV; where the focus is on telling a short story with the product or service as the star |
| 5 steps of a dramatic commercial | 1). exposition 2). conflict 3). rising action (conflict intensifies) 4). climax 5). resolution |
| humor | well suited for TV or radio; this is using something funny to break through the clutter |
| combinations | this is combining various execution styles |
| headline | the words in the leading position of the ad--the words that will be read first or are positioned to draw the most attention |
| direct headlines | these are straightforward and informative in terms of the message they are presenting and the target audience they are directed toward |
| indirect headline | are not straightforward about identifying the product or service or getting to the point; are often more effective at attracting readers' attention |
| subheads | usually smaller than the main headline but larger than the body copy; often used to enhance the readability of the message by breaking up large amounts of body copy` |
| body copy | the main text portion of a print ad is referred to this |
| long; short | the body copy must be _____ enough to communicate the advertiser's message yet _____ enough to hold readers' interest |
| visual elements | this part of the ad must attract attention, communicate an idea or image, and work in a synergistic fashion with the headline and body copy to produce an effective message |
| layout | the physical arrangement of the various parts of the ad, including the headline, subheads, body copy, illustrations, and any identifying marks |
| voiceover | common method for presenting the audio portion of a commercial; where the message is delivered or action on the screen is narrated or described by an announcer who is not visible |
| needledrop | refers to music that is prefabricated, multipurpose, and highly conventional; the musical equivalent of stock photos, clip art, or canned copy; inexpensive substitute for original music |
| musical composition | includes the music notes and the words |
| master recording | includes the voice(s) of the original artist; generally more expensive to buy |
| jingle | catchy song about a product or service that usually carry the advertising theme and a simple message |
| residuals | a large expense item that are based primarily on how many times a commercial airs and are given to the actors and actresses who appear in commercials |
| script | a written version of a commercial that provides a detailed description of its video and audio content |
| storyboard | a series of drawings used to present the visual plan or layout of a proposed commercial |
| production phase | 1). preproduction 2). production 3). postproduction |
| preproduction | all the work and activities that occur before the actual shooting/recording of the commercial |
| production | the period during which the commercial is filmed or videotaped and recorded |
| postproduction | activities and work that occur after the commercial has been filmed and recorded |
| good creative approach questions | - consistent with the brand's marketing and advertising objectives? - consistent with the creative strategy and objectives? does it communicate what it's supposed to? - appropriate for the target audience? - communicate a clear and convincing message to the customer? - does the creative execution keep from overwhelming the message? - appropriate for the media environment in which it is likely to be seen? - is the ad truthful and tasteful? |
| mass media | what are these examples of? television, newspapers, radio, and magazines |
| out-of-the-home media | what are these examples of? outdoor advertising, transit advertising, and electronic billboards |
| television | some advantages of this medium over others include creativity and impact, coverage and cost effectiveness, captivity and attention, and selectivity and flexibility |
| television | some problems include high costs, the lack of selectivity, the fleeting nature of the message, commercial clutter, limited viewer attention, and distrust |
| zipping | occurs when viewers fast-forward through commercials as they play back a perviously recorded program |
| zapping | refers to changing channels to avoid commercials |
| television network | the provider of news and programming to a series of affiliated local television stations |
| affiliates | local television stations that are associated with a major network; these agree to preempt time during specified hours for programming provided by the network and carry the advertising contained in the program |
| up-front market | a buying period that occurs before the TV season begins |
| scatter market | this runs through the TV season; TV time can be purchased during this time as well |
| spot advertising | refers to commercials shown on local TV stations, with time negotiated and purchased directly from the individual stations |
| national spot advertising | all nonnetwork advertising done by a national advertiser is known as this |
| local advertising | airtime sold to local firms such as retailers, restaurants, banks, and auto dealers |
| station reps | individuals who act as sales representatives for a number of local stations in dealings with national advertisers |
| syndicated programs | shows that are sold or distributed on a station-by-station, market-by-market basis |
| off-network syndication | refers to reruns on network shows that are bought by individual stations |
| first-run syndication | refers to shows produced specifically for the syndication market |
| advertiser-supported or barter syndication | the practice of selling shows to stations in return for a portion of the commercial time in the show, rather than (or in addition to) cash |
| sponsorship | under this arrangement, an advertiser assumes responsibility for the production and usually the content of the program as well as the advertising that appears within it |
| participations | the situation where several advertisers buy commercial time or spots on network television |
| adjacencies | commercial spots purchased from local television stations that generally appear during the time periods adjacent to network programs |
| dayparts | TV time periods are divided into these which are specific segments of a broadcast day |
| cable television | delivers TV signals through fiber or coaxial wire rather than the airways, was developed to provide reception to remote areas that couldn't receive broadcast signals |
| superstations | independent local stations that send their signals nationally via satellite to cable operators to make their programs available to subscribers |
| interconnects | where a number of cable systems and networks in a geographic area are joined for advertising purposes |
| narrowcasting | reaching very specialized markets |
| multiplexing | transmitting multiple channels from one network |
| television households | generally correspond to the number of households in a given market |
| program rating | the percentage of TV households in an area that are tuned to a specific program during a specific time period |
| program rating | = households tuned to show / total US households |
| ratings point | represents 1 percent of all the television households in a particular area tuned to a specific program |
| households using television (HUT) | the precentage of homes in a given area where TV is being watched during a specific time period |
| share of audience | the percentage of households using TV in a specified time period that are tuned to a specific program |
| share of audience | = households tuned to show / US households using TV |
| total audience | the total number of homes viewing any five-minute part of a telecast |
| Nielsen Television Index | provides daily and weekly estimates of the size and composition of the national viewing audiences for programs aired on the broadcast and major cable networks |
| people meter | an electronic measuring device that incorporates the technology of the old-style audimeter in a system that records not only what is being watched but also by whom in 10,000 households |
| designated market areas (DMAs) | these are nonoverlapping areas used for planning, buying, and evaluating TV audiences and are generally a group of counties in which stations located in a metropolitan or central area achieve the largest audience share |
| commercial ratings | these include measures of the average viewership of the commercials both live and up to three days after the ads are played back on DVR |
| engagement | defined as the focused mental and emotional connection between a consumer, a media vehicle, and a brand's message |
| audience connectedness | some television viewers build relationships, loyalty, and connections with certain TV shows, with the characters portrayed in these programs, and with fellow audience members |
| radio | advantages of this over other media include cost and efficiency, selectivity, flexibility, mental imagery, and integrated marketing opportunities |
| image transfer | a technique where the images of a TV commercial are implanted into a radio spot |
| radio | these are limitations of this media that include creative limitations, fragmentation, chaotic buying procedures, limited research data, limited listener attention, and clutter |
| average quarter-hour (AQH) figure | expresses the average number of people estimated to have listened to a station for a minimum of five minutes during any quarter-hour in a time period |
| cume | stands for "cumulative audience"; the estimated total number of different people who listened to a station for at least five minutes in a quarter-hour period within a reported daypart |
| average quarter-hour rating (AQH RTG) | expresses the estimated number of listeners as a percentage of the survey area population |
| average quarter-hour share (AQH SHR) | the percentage of the total listening audience tuned to each station |
| Portable People Meter | is a wearable pager-sized device that electronically tracks what consumers listen to on the radio by detecting inaudible identification codes that are embedded in the programming |
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