The Incomplete Menorah: Instinct versus Enlightenment in Pandora’s Box

Louise Brooks is a sunbeam in the 1928 film Pandora’s Box. The film itself is a reflection of the decay of Weimar Germany and was directed by George Pabst. Pandora’s Box is based on a series of plays by Frank Wedekind concerning a character Lulu in a regressive struggle between the instinctive and the enlightened.

Lulu is a courtesan and would-be stage performer. Her relationships with the cultured Dr. Schon and his son Alwa form the basis for the two parts of the film. In the first, Dr. Schon destroys himself. In the second, the other characters ruin themselves. Two metaphorical associations early in Pandora’s Box make it clear that Lulu is a character driven by instinct, devoid of enlightenment.

Pabst uses a menorah in the set decor. It is prominently displayed in Lulu’s modern apartment and our attention focused on it several times. It eventually becomes apparent that it is missing the 9^th, center branch. This is the branch for the candle that lights all the other candles. The implication is that Lulu is a character without enlightenment and one incapable of obtaining enlightenment like the Lilitu.

Pabst goes on, though, to reinforce this point. We also see in background during Lulu’s dance for Schigolch and in several closeups, a painting of Lulu as Pierrot, the trusting fool in mime and the comedy of artists. Pierrot is the object of other’s machinations, and is fully unaware of reality. Lulu is driven by instinct, and like Pierrot driven to calamity.

Pabst additionally asserts that enlightenment is fragile, in school with Adorno and Horkheimer. The old German culture, manifest in the main characters other than Lulu, rapidly disintegrates in the face of Dionysian instinct. High culture breaks down without a personal commitment to the processes of enactment, selection and retention.

Schon’s fiancé, in contrast to Lulu, personifies this commitment. Yet, she is abruptly rejected in a series of rebuffs during Lulu’s theater revue, which is financed by Schon. The fiancé is bewildered by Schon’s embrace of the instinctive Lulu, rudely brushed aside by the backstage manager, and her ostracization complete, she leaves the backstage world in two movements.

The die is cast at that point for the eventual ruin of the other characters, all of whom profited in their own way within the enlightened framework. A transition (a ship) over a season (3 months) takes place to a world governed by instinct. Pabst’s final act in this film postulates that this world is populated by sociopaths and those who administer to broken souls. Pandora’s Box in 1928 foreshadowed what would happen a decade after its release. During that intervening decade, three of the main actors in this film had to escape the new Germany for America because they were Jewish: Fritz Kortner, Franz Lederer, and Siegfried Arno.

This is a great film, carried by Amazon at Pandora's Box

Fractal Art in Mobile Marketing

Fractals provide useful video art for mobile marketing. Large and amorphous patterns crystallize into smaller, distinct shapes. Or the logistic equation can be graphed in reverse from chaos to tipping point to order. The advantage of these as dynamic logos is that a small code module can be downloaded to create them rather than the download of a large video. The downside would be security concerns.

An example is the Focusing Triangles Fractal with code included in this post.




'******************************************************************************************
' This program creates a diffuse pattern and focuses it to a crisp, smaller triangle.
' Author: George Ray
'******************************************************************************************Option Explicit
Dim iGMR, RandNum As Integer
Dim gmrDenom As DoubleDim gmrAx, gmrAy, gmrBx, gmrBy, gmrCx, gmrCy, gmrPx, gmrPy As DoubleSub Main()
gmrDisplay.BackColor = QBColor(0)
gmrDisplay.Show
Call gmrLogo
End Sub
Sub gmrLogo()
gmrAx = 5000 / 4
gmrAy = 3000 / 4
gmrBx = 4000 / 4
gmrBy = 5000 / 4
gmrCx = 6000 / 4
gmrCy = 5000 / 4
gmrPx = 5000 / 4
gmrPy = 4000 / 4

gmrDisplay.PSet (gmrAx, gmrAy), RGB(255, 0, 0)
gmrDisplay.PSet (gmrBx, gmrBy), RGB(255, 0, 0)
gmrDisplay.PSet (gmrCx, gmrCy), RGB(255, 0, 0)

gmrDenom = 1.5
Randomize
For gmrDenom = 1.2 To 2.2 Step 0.4
For iGMR = 1 To 10000
RandNum = Int(3 * Rnd + 1)
If RandNum = 1 ThengmrPx = (gmrAx + gmrPx) / gmrDenom
gmrPy = (gmrAy + gmrPy) / gmrDenom
gmrDisplay.PSet (gmrPx, gmrPy), RGB(255, 0, 0)
ElseIf RandNum = 2 ThengmrPx = (gmrBx + gmrPx) / gmrDenom
gmrPy = (gmrBy + gmrPy) / gmrDenom
gmrDisplay.PSet (gmrPx, gmrPy), RGB(0, 255, 0)
ElseIf RandNum = 3 ThengmrPx = (gmrCx + gmrPx) / gmrDenom
gmrPy = (gmrCy + gmrPy) / gmrDenom
gmrDisplay.PSet (gmrPx, gmrPy), RGB(0, 0, 255)
End IfNext iGMR
Next gmrDenom
End Sub
If you have difficulty with the code, please post a comment and I will try to help.

Visual Rhetoric and Operant Conditioning

My Grandmother used to tell me that there’s no such thing as bad booze. I feel the same way about chocolate. There hardly seems a need to use advertising and conditioning for an obsession and so fetching a delight. Nevertheless, the major chocolate manufacturers and retailers use a combination of both classical conditioning and operant conditioning, but mostly classical.

Classical
Classical conditioning is the association of chocolate with an appealing stimulus. Hawkins, et al (2007, p 331) inform us that music, holidays and popular personalities are often paired in commercials with chocolate as part of classical conditioning. With chocolate, there is usually an undertone of romance.

Here is a Nestle’s :30 second spot on Youtube with many elements of classical conditioning. An ecstatic cellist. A woman, melting and open. How beautiful she is too. Enchanting music. Nestle's Alpine TV Spot
Latent romance in the popular commercial touched our need for objectification (see Hawkins, 2007, p 367) by having us view the behaviors of “others and [draw] inferences as to what one feels and thinks.” Showing affection in interpersonal relationships can also help satisfy our need for affiliation (p 371).

There is a dark side to chocolate too, an unstated sexual desire. Unstated motives are often driving forces in our culture but unlike manifest motives, are not directly presented (p 375). Instead, indirect appeals through artwork are made.

Hawkins, et al (2007, p 386) further report that “repeated exposure to positive-emotion-eliciting ads may increase brand preference through classical conditioning.” What is an example of such an emotion – they tell us: love. The 1989 commercial above was actually the apex of a multi-year campaign that started in 1986. Here is the first ad, notice the Maxfield Parrish theme; Parrish was noted for his sexually suggestive art: 1986 Nestle's TV Spot

Nestlé’s does not have a lock on chocolate advertising though. For their part Hershey’s follows suit with a more recent and similar Special Dark :15 spot (much louder): Hershey's :15 Spot

Here Hershey’s employs gold and copper colors to convey richness in the affective interpretation by the consumer, to supplement the same unconditioned stimuli we saw in Nestlé’s. Hawkins, et al (2007 , p 299) give a print ad example with a similar gold and copper color combination for a Godiva chocolate ad, but Hershey’s even gives us the words to associate with the product.

Hershey’s Kisses added a popular personality to the music, Thalia as she covered the Shirelle’s hit It’s in His Kiss: Thalia TV Spot

They also changed colors for the Christmas season and bell-rang a popular carol: Hershey's for the Holidays . Hawkins et al (p 332) use Christmas music as an example of eliciting the emotional responses characteristic of classical conditioning.

Hawkins and crew give other interesting examples of classical conditioning for chocolate candy (p 286): Reese’s Pieces product placement in the movie E.T. It was E.T.’s favorite food and its cinematic use in a natural way resulted in positive transfer to the product and sales jumped 6%.

In their Darwinian competition for attention, the chocolate makers are now exploring non-traditional venues. The response rate for advergames is between 16% and 45%. Additionally, customers spend an average of 25 minutes with our message. Blank (2001, ¶ 1) reports that Hershey’s Chocolate also experienced a phenomenal response rate with advergaming.

According to Ron (2002, ¶ 1), advergaming is a marketing device where the brand elements are an integral part of an online or computer game. Two academic studies have found that classical conditioning in advergaming produces most the most positive attitude (see Bailey, 2008, pp20-1 and Huang, 2005, p 1).

Operant Conditioning
Chocolate candy is a low involvement purchase. Duncan (2005, p 158) notes that conditioned learning is especially active in low involvement purchases. Gum and candy are the examples Duncan uses for low involvement products (p 140).

Operant conditioning works from the consequences of a purchase rather than through forming a positive stimulus for purchase. It rewards purchase “with positive outcomes,” according to Hawkins, et all (p 332) who also give an example of operant conditioning for chocolate candy. A free sample of chocolate in a candy shop resulted in a 25% higher purchase of chocolate. Tools of operant conditioning are free samples, discount coupons and sweepstakes (p 332). All are oriented to “secure an initial trial.”

Hershey’s used sweepstakes. Blank (2001, p 1) observes that the effective campaign used prizes ranging from Sony Play Stations, a one years supply of candy, a trip to Hershey’s Park, and daily prizes earned using the advergames – Reese’s Treasure Hunt and Reese’s Table Tennis. The sweepstakes was part of the advergame reported in classical conditioning.

Huang (2005, p 1) notes there is a secondary operant conditioning effect in advergaming, although the prime effect is from classical conditioning. Stokes, et al explain further (2008, p 9) “where reinforcement or punishment is used to promote specific behaviors,” advergames use operant conditioning to achieve desired behaviors.

Coupons and gift cards are standard fare also. See’s uses coupons as do the others, (See
See's Deals). Sweepstakes too (see See's Sweepstakes ).

ReferencesBailey, R (Summer 2008). TRAINED TO EAT: CHILDREN’S COGNITIVE AND
EMOTIONAL PROCESSING OF SNACK FOOD
ADVERGAMES. Univ. of Missouri. Retrieved on March 17, 2009 from http://edt.missouri.edu/Summer2008/Thesis/BaileyR-072308-T11745/research.pdf

Blank, C (August 6, 2001). Hershey's Online Push for Reese's Gets Sweet Response. Direct Marketing News. Retrieved on March 16, 2009
http://www.dmnews.com/Hershey39s-Online-Push-for-Reese39s-Gets-Sweet-Response/article/74093/

Hawkins, Del, David Mothersbaugh and Roger Best (2007). Consumer Behavior. McGraw-Hill/Irwin.

Huang, Y (August 7, 2005). The Application of Learning Theory to The Study of Advergaming. Retrieved on March 17, 2009 from http://etdncku.lib.ncku.edu.tw/ETD-db/ETD-search/view_etd?URN=etd-0807105-020544

Ron, S (June 27, 2002). Inject Some Fun and Games Into Advertising. Direct Marketing News. Retrieved on March 16, 2009at http://www.dmnews.com/Inject-Some-Fun-and-Games-Into-Advertising/article/77963/

Stokes, B, S Seggerman, and D Rejeski (9/28/2008). Digital Games and the Social Change Sector (For a Better World). Retrieved on March 18, 2009 from

Three Media Acceptance Models

There are several models for analyzing the diffusion of new ideas in a culture. Fishbein and Azjen proposed the Theory of Reasoned Action (TRA) to explain the phenomenon. This model has been widely adapted and discussed but its essence is that someone performs a behavior because of his or her own attitude toward performing the behavior and his or her subjective norm regarding the behavior. The attitude for performing a behavior is an expected value assessment done by the individual (Fishbein, 1976, p 492) based on the returns they see in the behavior. On the other hand, the subjective norm is the influence that significant others have on an individual. Fishbein (p 493) notes

"most people who are important to me think I should (or should not) engage in the behavior would influence intentions…”

Their endorsements of a behavior, or criticism, would affect an individual’s intent to perform. The fusion of both factors, individual attitude and subjective norm determines if the behavior is enacted.

Another widely used model is the Technology Acceptance Model (TAM) proposed by Davis. This is an instantiation of the TRA model. The behavior is specifically technology adoption and the beliefs and norms are perceived usefulness and perceived ease of use. If both these beliefs are positive then the likelihood of accepting new technology is positive.

Peters, Amato and Hollenbeck (p 130) review these two models in a study to understand acceptance of wireless advertising messages. However, they opted to apply a third model, the venerable Media Uses and Gratifications Theory developed by Katz in the 1950s. Katz hypothesized that people use media to satisfy certain needs or gratifications. The audience actively exposes itself to new media contents based on these needs or gratifications.

Peters, Amato and Hollenbeck (pp 143-5) include a useful questionnaire they prepared to understand the acceptability of wireless advertising messages by consumers with mobile form factors. These questions were used in a participatory inquiry with a selected group of “informants” who represent their audience at large. The questions are categorized along functional use or technology feature. They are general and open-ended so that interviewers can conduct “conversational probing to elicit greater elaboration from the informants.”

Their approach (p 131) is based on Clark Moustakas’ protocol for phenomenology. Hiles (2008, p1) notes the “pivotal role” Michael Polanyi’s Personal Knowledge had in Moustakas form of participatory inquiry. Polanyi (1974, p 18) criticized the naïve objectivism of most scientific inquiry as “a delusion and in fact a false ideal.” To Polanyi, the test of knowledge is not complete objectivity, which cannot be obtained, but the presence of a commitment to share the knowledge for review by peers. This commitment tempers the subjectivity opposed by objectivism. It’s refreshing to see Peters, Amato and Hollenbeck use a post-critical approach that incorporates personal knowledge into the process.

References

Fishbein, Martin (1976). Extending the Extended Model: Some Comments. Advances in Consumer Research.

Hiles, David (May 16, 2008). Putting Heidegger Polanyi Popper in the same frame. Missouri Western University. Retrieved on September 21, 2008 from http://www.missouriwestern.edu/orgs/polanyi/Loyola08/Loy08Abst/Hiles-abs.pdf

Peters, Cara and Christie Amato and Candice Hollenbeck (Winter 2007). An Exploratory Investigation of Consumers’ Perceptions of Wireless Advertising. Journal of Advertising.

Polanyi, M. (1974). Personal knowledge: towards a post-critical philosophy. University Of Chicago Press

Brand Palimpsests

I am loyal to Coca Cola in the soft drink product category. Coke communicates vitality and always has an appeal to modernity. As Neumeier and Keller postulate, successful products are experiential and Coke is that but further, it’s a part of my life. With its campaigns throughout history, The Pause that Refreshes, The Real Thing, and Max Headroom, Coke positions itself as something that fits into my lifestyle. It’s a cultural touchstone.

To me Coke communicates style and energy while Pepsi, in contrast, seems base and impoverished. This is not a result of what Pepsi is doing today, because I find them to be adequately following Coke’s initiatives. For example, Coke is leading the beverage industry in environmentally friendly containers (see Business Wire). Everyone else, including Pepsi is now following suit. No, my perception of Pepsi has to do with its history. Past communications were low cost in comparison to Coke, no art and clumsy.


The Pepsi Generation. Yipes! They improved over time but my consciousness of them is a palimpsest and the earlier writing they did on my psyche won’t ever go away completely.
They have never had anything like the Hilltop commercial: Hilltop Ad. This is how I still view Coca Cola.

On the other hand, in the computer hardware category, I am completely agnostic. I do not differentiate between Dell, HP, Compaq, eMachines, Sony, or any of them. Microsoft Windows has commoditized computer hardware. Price is the overriding determinant in my purchase decision. I am not loyal because I am really buying Windows, which sits between the computer and myself. Microsoft is the middleman controlling my access to what I want.

I have a growing interest in Apple, and now have two Macs. Apple is a completely different product and does not try to compete on hardware features but has given me a different middleman, a Linux based operating system - OS X, to the Microsoft applications I like, especially Office. Perhaps the others could try the same thing, although if they do they may commoditize operating systems, and drag Apple and even Microsoft into the same bad place they now occupy as undifferentiated products in a losing race to the lowest price.


References

Keller, Kevin (2008). Strategic Brand Management 3rd Ed. Pearson/Prentice-Hall.

Neumeier, Marty (2006). The Brand Gap. New Riders

Anthropologie Visuality

Anthropologie understands its customer’s lifestyle and its stores provide a journey of self-discovery. Duncan (2005, p. 289) defines Lifestyle marketing as an association strategy, which uses situations and symbols of lifestyles that are relevant to the target audience. Relevant because it is their present lifestyle or one they aspire to. Aspiration might explain why upscale MSL surprised the skeptics.

Anthropologie is extremely effective at using visual wit to communicate with its customers. In our readings, Pink (1998, p. 3) talks with Gerald Zaltman who observes that “Cognitive scientists have learned that human beings think in images, not in words.” The visual artistry of Anthropologie has propelled them to unprecedented growth. Labarre (2002, p. 2) reports that sales have grown 40% annually.
Anthropologie Technique
Labarre (p. 1) likens visiting Anthropologie to her “open-ended sense of discovery” in France as a teen. She catalogues some of the Anthropologie technique. Foremost in my mind is that the store has a mission to be a journey, not only for customers, but for all the employees as well. Keith Johnson, a buyer, spends 50-75% of his time journeying around the world (p. 5). The entire staff (p. 6) is admonished to travel, shop, soak in culture.
In his book, Zaltman (2008, p. 98) describes the powerful Journey metaphor and notes it is rooted in our biological need for growth, progress and maturation. Labarre (p. 4) relates how Anthropologie wants to help its customers grow, similar to MSL. She quotes them:

"We wanted to create an experience that would set up the possibility of change…”

This is a powerful mission.
Other practices:

• Be customer experts (p. 2). Women, 30-45, educated, in committed relationship….
• An earthier sensibility (p. 3). Texture is important.
• Imperfection, eclecticism, and quirkiness (p. 4). The nature of Journeys.
• Merchandizing to set a mood, not highlight a product (p. 4).
• Storytelling (p. 3). Their voice is friendly and worldly with good stories to tell.

Similar StoresPier 1 and Wegman’s come to mind. Pier 1 was the Anthropologie of its day, when I was in my thirties. Labarre (p. 4) discusses the creation of vignettes and stalls that reminds me of Wegman’s. Wegman’s is designed to look like a NYC street of bygone days, with each department looking like a street vendor you might find then.
Duncan says (p. 289) that lifestyle selling is especially effective in highly competitive categories. WVU School of Journalism (2009, p. 2) says that products are not the purpose of a business executing a lifestyle strategy. Products are the vehicles for delivering a message that resonates with the community that relates to your business.
ReferencesDuncan, T. (2005). Principles of Advertising & IMC. McGraw-Hill.Irwin.
Labarre, P. (Decmeber 2002). Sophisticated Selling. Fast Company. Retrieved on November 1, 2009 from WVU IMC 625 Week 2 Readings.
Pink, D. (April 1998). Metaphor Marketing. Fast Compnay. Retrieved on November 1, 2009 from WVU IMC 625 Week 2 Readings.
Isaac Reed School of Journalism, West Virginia University (2009). IMC 625 Lesson 2: Your Client: Intro to a Shelter Title Launch for Time, Inc. Mission, Voice, Lifestyle Message, Target Audience, Strategy. Retrieved from WVU IMC 625 Lesson 2 on November 1, 2009.
Zaltman, G and L Zaltman (2008). Marketing Metaphoria. Harvard Business Press.

Economic Darwinism and the Marketing Struggle for Attention

Economic Darwinism manifests itself in a marketing struggle for attention. One of the enemies of attention is the development of immunity to habituated stimuli, and email advertising may be on the verge. This may explain the marketing interest in social media – the hope that people are not yet immune to it as they are to email. This would be consistent with adaptation level theory (see Hawkins, 2007, p 293), “over time we adapt or habituate to it [in our case frequent email from a vendor] and begin to notice it less.”

Poulos (2009, p. 1) contends that the deciding factor in email success or failure is the strategic planning that goes into the entire campaign: segmentation, objectives, tactics and so on. He cites research about the value of a list that is both opt-in and highly targeted. He finally advises us to implement the Sender Policy Framework in our email directory technology (see Sender Policy Framework). This is designed to prevent spam.

For habituated stimuli in other media, look at Rosser Reeves' Minute Maid or Anacin TV campaigns. Minute Maid complained about the deathly repetition in its orange juice campaign, to no good effect. Twitchell (1996, p 29) notes that such repetition "will no longer be tolerated" in TV advertising. Based on our readings this week, repetitious (too frequent email) may not be either.

An Attention Economy model has been presented to explain attention immunity in marketing with the utility theory of neo-classical economics. The unfinished argument in economics over the sui generis of the market now finds new application in the potential of Internet technologies. Is it natural for the market to be governed by a higher authority, the state, or is it a stand-alone, self-regulating entity? Likewise with email and social media. They are connected to brand planning but to what extent should they be governed by it?

The Cluetrain Manifesto sees the old marketing as a procession of charlatans who no longer have an audience. The new technology opens a free conversation to form markets directly between empowered members of a firm and the community they serve.

Most new parades, I think, start out solemnly and with dignity, buttressed by 95 theses or whatever, but end up in turmoil and rancor. Email is an example and so is blogging. Microsoft has employees talking directly to customers on blogs. In fact, Joe Cox reports (see Microsoft Watch) that Microsoft has over 5,000 employee blogs and quite often Microsoft makes major product announcements only on these blogs, not incorporating one or another of its marketing agencies.

John Cass is a marketer and a researcher at Forrester and has made a counterintuitive finding (see his blog ). Dell and Macromedia use a dedicated approach, and control communications that uses email and social media rather than take the wide-open approach of Microsoft. Dell and Macromedia are doing quite well with such an approach.

Cass concludes that anarchy does not work. While the Cluetrain Manifesto helped focus attention on change that is needed for marketing communications because of the Internet, "[it] did not provide a really effective road map for how to open up a company.”

Marketing communications is a discipline. By focusing their email and social media efforts in smaller groups capable of effective marketing communications (i.e. people trained in IMC), and providing them with support, Dell and Macromedia have been effective. More so than Microsoft. I think the lesson this week is that email is governed by a higher authority, the principles of marketing communications and marketing platform of the firm.

References
Hawkins, Del, David Mothersbaugh and Roger Best (2007). Consumer Behavior. McGraw-Hill/Irwin.

Newbusiness.co.uk. Retrieved on September, 25, 2009 from http://www.newbusiness.co.uk/articles/marketing-advice/how-grab-customers%E2%80%99-attention

Poulos, Alex (May 4, 2009). Email Marketing – Still Friend or Foe? (Part I). Retrieved on September 23, 2009 from http://www.covisio.com/blog/2009/05/04/email-marketing-still-friend-or-foe-part-i/

Twitchell, James (1996). Adcult USA. Columbia.

New Media Will Challenge Intellectual Property Claims

New media allows each of us to publish our own works, with the illusion that we have copyrighted the material published. However, only the legally proficient will be able to truely establish an enforceable copyright. They know how to properly register the idea and define its scope, and also to discover and contest unauthorized use. Although, there is talk of a poor man’s copyright, “the United States Copyright Office makes clear that the technique is no substitute for actual registration.” (see Wikipedia Copyright)

Powerful companies are preparing defenses against accusations of copyright violations of other’s intellectual property. They are buying and building huge copyright and patent portfolios, and using them in marketing communications. Because of their skillful legal council, they have been able to gain ownership of very fundamental processes. This is especially true in the computer field. For example, Microsoft has patented the understanding of music (The Day the Music Died)

Subtle marketing communications will scare corporate procurement away from weak patent defenders to the strong. For example, in its public relations Microsoft contends that Linux has stolen and violated 235 of its patents and copyrights (see Fortune ). Corporate procurement now faces future charges of knowing violation of intellectual property protections and the ISO 19770 standards on Intellectual Property if they switch from Windows to Linux.

The Open Source community is intransigent in its position. Richard Stallman says software should be free. The community deftly argues that ideas in the computer industry are communal mathematics and should be treated as such (like Folk Art).

Microsoft parries Stallman and says that open source has been reckless with intellectual property. Microsoft has additionally formed a relationship with SuSe Linux and as part of that relationship, SuSe Linux now pays Microsoft royalties on the 235 violations (see Money Mag ), establishing a precedent, and undermining the other Linux vendors and the Open Source Community in general.

The Open Source community has been outflanked by a combination of marketing communications and partnering relationships, which one could argue are also part of marketing communications.

In the end, Microsoft is now accused of stifling Open Source with “patent warfare” see (Patent Colonialism ) Folk culture is indefensible because it cannot hire the marketing communications expertise to lay out effective strategy and legal talent to execute winning tactics. Powerful multinationals will own all human ideas and moralize that we, the great unwashed are ethically violating their intellectual property rights when we try any innovation by our lonesome.

The New Media will accelerate this confrontation by enabling the masses to publish. Many will wonder how you can patent the concept of music. The Open Source community understands the legal intricacies the powerful companies are employing and work within that framework. Not the masses. I suspect they will want common sense.

Analysis of Rolex and Movado Watch Ads

Watches often do more than tell time. They can help a consumer define and project an image: sometimes for status and power, sometimes to convey style and cultivation.

High-end brands have such extraordinary demand these days; the wait list can be as long as two years to get a Jaeger-LeCoultre. Socha reports that Patek Philippe sold 28,000 watches and Jaeger-LeCoultre sold 50,000 in the Prestige category, while Rolex in the Luxury category sold 900,000 (Socha, 2007, 2008, p 1).

It is no longer rare for Prestige watches to sell in the high six figures. Business is booming and all Prestige manufacturers sell every watch they produce. Even the lower-tier Rolex line is benefiting from this trend. Murphy (2008, p 1) notes that sales were even better into 2008, and quotes that "A diamond watch doesn't sit in our shop more than a week."

The Prestige makers have established "heirloom quality."

Keller (2008, p 137) notes their mantra, "You never actually own a Patek Philippe. You merely take care of it for the next generation." So it is with Jaeger-LeCoultre. Here is their watch Queen Elizabeth received at her coronation. Not so with Rolex. Timex? A different kettle of fish altogether.

Rolex

Rolex watches have a divine heaviness. You would just not expect them to release a plastic Rolex. They reinforce this image of eminence with advertising and celebrity endorsements. Green (2004, p1) reports that Arnold Palmer was interviewed on playing his 50th Masters and, of course, endorsed Rolex. What’s more, Rolex is the 7th largest magazine advertiser in the world. Keller (p 137) notes that "Rolex watches retain their value better than almost any other type of good." However, they have not been able to establish the "heirloom quality" of the top brands.

Keller (pp 133-7) finds that Rolex is among the most "recognized luxury brands in the world." However, Rolex is positioned between the Prestige producers and the next-tier producers and so they have established the lower-priced Tudor line as a "fighter-brand" to keep Tag-Hauer, Movado and Citizen from encroaching into their niche.

I present for your consideration the following ad in the November 2008 issue of Vogue (see Illustration One). First attribute: it’s a two page ad for 30 words of text. This makes a statement; Rolex is an eminent player, worthy of your attention. The alluring model with classic features is the 77-year-old Carmen Dell'Orefice (see Rumbold, 2008 for a two page biography), according to Kathy (2008, p 1). Her ageless beauty underscores the timeless value of the Rolex she is wearing. The redundant headline reads, “Class is Forever”, but we have already gotten the message. Rolex wants to break into the heirloom niche so it can obtain high figures like the Prestige brands.

The body copy has important words – royal, diamond adorned, Stingray leather, and Black Sapphire. If there was reservation before, it is now dispelled: this is a watch like no other, made for royalty from only the rarest materials. It uniquely enhances your image. This professional ad will certainly appeal to the following VALS Segments: Innovators, Achievers and Strivers.

To Innovators, the beauty and class of Rolex is a valuable extension of their self. It reflects (see Hawkins, 2007, p 447), “a cultivated taste for the finer things in life.” To Achievers, the imminence of the Rolex brand appeals to their needs for (see Hawkins, p 448) “established, prestige products and services that demonstrate success to their peers.” Finally, Strivers can emulate the wealthy with a Rolex but they may end up with a Tudor model, the fighter-brand – cheap enough to compete with Citizens.

Illustration One (left page): Rolex, “Classic is Forever” Ad

Illustration One (right page): Rolex “Class is Forever” Ad
Movado and African Americans
Hawkins, et al (2007, p 167) say that “not all messages targeted at African Americans need to differ significantly from those targeted at other groups.” They qualify this rule with the caveat that incorporating black actors, models or spokespersons in the ad is important. A key segment in this audience is what Hawkins, et al call (p 164) “market leaders.” This group sees brands as communicating their unique self-image.
The Movado ad is also two pages, presenting prestige through this eminent use of space and disregard for cost. The two pages permit a flattering photograph of the attractive black actress Kerry Washington and the Movado watch as well. The body copy tells us about the acclaimed actress, and that the watch is available at fine jewelry stores. The impression is this watch is not a mass production pop-out that anyone can own. Noteworthy in the photo of the watch is the diamond studding, the gold accessorizing and the header “The Art of Design.”
The ad does not offer extensive body copy. Jérôme Lambert the CEO of Jaeger-LeCoultre sums up the advantage for this minimalism towards high-end audiences (see Lechevalier, 2009, p 1):

“The products are the real brand ambassadors; that’s our basic message. They have so much to say, and communication is a tool that loses so much of its efficiency when you overlay too many messages.”

The audience here, I think, is the VALS: Innovator segment. Image is important to them (see Hawkins, p 446-7). Brands act as an extension of self, and an expression of cultivated taste, and independence.
Many Innovators are emerging leaders. Kerry Washington is a good choice for the ad because she is an emerging film star (see Wikipedia, 2009, p1) with performances of note in Last King of Scotland and Ray Charles.
Zinkum and Hong (1991, p 352) conclude that advertising which fits with a person’s ideal self obtains a more favorable attitude toward the brand than if the had been more consistent with their actual self-concept. The Movado ad targets African-American women who are VALS Innovators and have affinity with Kerry Washington's attractive and successful image. One thing to help them establish their ideal is the Movado Esperanza watch, one that becomes an “extension of their personality” (see Hawkins, 2007, p 447).
Illustration Two (left page): Movado and African Americans

Illustration Two (right page): Movado and African Americans

References
Green, Barbara (6/16/2004). Rolex loyalist Arnold Palmer plays 50th Masters Tournament. National Jeweler;Vol. 98 Issue 12. Retrieved on March 30, 2009 from EBSCOHOST.

Hawkins, Del, David Mothersbaugh and Roger Best (2007). Consumer Behavior. McGraw-Hill/Irwin.

Kathy (November 11, 2008).Rolex "Class is Forever" attention-grabbing ad. Retrieved on March 30, 2009 from http://boomermarketingnews.blogspot.com/2008/11/rolex-class-is-forever-ad-mixed-reviews.html

Keller, K (2008), Strategic Brand Management. Pearson/Prentice-Hall.

Lechevalier, Brice (2009). GMT. Retrieved on April 1, 2009 from http://www.gmtmag.com/en/11_int_lambert_lecoultre.php

Murphy, Robert (4/14/2008) FAST TIMES IN WATCHES: FIRMS SEE BOOM FOR UBER-LUXURY STYLES. Women's Wear Daily. Retrieved on March 30, 2009 from EBSCOHOST.

Rumbold, Judy (3:54PM GMT 11 Jan 2008) Carmen Dell'Orefice: eternal grace. The Telegraph. Retrieved on April 1, 2009 from http://www.telegraph.co.uk/fashion/fashionpicturegalleries/3364006/Carmen-DellOrefice-eternal-grace.html

Socha, Miles, (7/30/2007). Demand Soars for Six-Figure Watches. Women's Wear Daily. Retrieved on March 30, 2009 from EBSCOHOST.

Univ. of S. Miss (Fall 2007). The VALS Segment Profiles. Retrieved on March 30, 2009 from http://ocean.otr.usm.edu/~w481504/kfj/mcj231vals.html

Wikipedia (2009). Kerry Washington. Retrieved on April 1, 2009 from http://en.wikipedia.org/wiki/Kerry_Washington

Zinkhan, George M. and Jae W. Hong (1991). Self Concept and Advertising Effectiveness: A Conceptual Mode! of Congruency,Conspicuousness, and Response Mode. Advances in Consumer Research. Retrieved on April 1, 2009 from WVU IMC 612 Week 3 readings

Visual Violations

I did not get this Fosters ad until someone explained it to me. I did not get the connection between the picture and the narrative. Alcohol advertising is directed to young men and the Addiction Letter (1994, p 3) says such advertising has an implicit and “dangerous promise”, that sex is an outcome to drinking.

The cantilevered breasts are an attempt at such an appeal, I guess. However, Sullivan says (2008, p. 55) that boobs are now a visual cliche in beer advertisements.
The idea here is that they provide shade to keep the beer cold. There is a risk, though, that young men seeing this ad could care less about Fosters, warm or cold, and take away the two attractive models from the ad.
At a brand level, IBM's Linux brand extension is a puzzle. Its Graffiti ads, for example, make no sense to me either. They are inconsistent with the entirety of IBM's umbrella brand that negotiates a meaning of stability, reliability and trustworthiness. Things you would want when entrusting them with corporate information systems. Instead, for the Linux brand extension, this is an ad campaign centered around a socially irresponsible act.
IBM actually defaced public properties in the campaign and they were prosecuted by Chicago and San Francisco (see Computer Weekly) . Shepard (2006, p. 3) advises that visual cues and brand dimensions should be consistent with the enterprise message architecture of a company. I view the IBM dimensions as trust, reliability, and stability. They are not a trendy clothing line where guerilla marketing might work.
For successful management of visual imagery and narrative, I present for your consideration Coca Cola. Coke communicates vitality and refreshment and always has an appeal to modernity. Coke is also part of my life. With its campaigns throughout history, The Pause that Refreshes, The Real Thing, and Max Headroom, Coke positions itself as something that fits into my lifestyle. It’s a cultural touchstone. To me Coke communicates style and energy.
Red is, after all, the color of vitality (McCarthy, 2005, p. 3)
ReferencesAddiction Letter (March 1994) `Dangerous promises' campaign successfully fights sexy alcohol ads. Retrieved on November 9, 2009 from EBSCOHOST.
McCarthy, Jared (2005). Logos: What Makes Them Work. MarketingProfs.com. Retrieved on November 9, 2009 from WVU IMC 625 Week 3 Readings.
Salter, C., (2001). Trendsetter. Fastcompany. ecampus.wvu.edu readings. Retrieved, November 6, 2009 from WVU IMC 625 Week 3 Readings.
Sullivan, L. (2008). Hey, Whipple, squeeze this: A guide to creating great advertising. (3rd Ed.). Hoboken, NJ: John Wiley & Sons.

The Cluetrain Manifesto: Should Anarchy Replace Structured Communications

First published online and then as a book, The Cluetrain Manifesto (see their website) was an apocalyptic warning. Things were unraveling. Systems were broken. The Internet unleashed long-term trends that would assert themselves.

“Networked markets are beginning to self-organize faster than the companies that have traditionally served them. Thanks to the web, markets are becoming better informed, smarter, and more demanding of qualities missing from most business organizations.”


Many acted. Microsoft and IBM both have employees talking directly to customers. In fact, Joe Cox reports (see Microsoft Watch) that Microsoft has over 5,000 employee blogs and quite often Microsoft makes major product announcements only on these blogs, not incorporating one or another of its marketing agencies.

How effective are the differnet implementations of the Cluetrain Manifesto?

John Cass is a marketer and a researcher at Forrester and has made a startling finding (see his blog ). Dell and Macromedia use a dedicated approach, and control communications that uses Social Media rather than take the wide-open approach of IBM or Microsoft. Dell and Macromedia are doing quite well with such an approach. Cass notes that

“Macromedia and Dell empowered employees with resources, while IBM and Microsoft give only verbal encouragement without the backing of cash and resources. There may not be a difference in strategy between the dedicated approach and the cluetrain manifesto, just in tactics.”

He highlights two of the manifesto theses, 48 and 51:

48. When corporate intranets are not constrained by fear and legalistic rules, the type of conversation they encourage sounds remarkably like the conversation of the networked marketplace.

51. Command-and-control management styles both derive from and reinforce bureaucracy, power tripping and an overall culture of paranoia.

But he concludes that anarchy does not work. While the Cluetrain Manifesto helped focus attention on change that is needed for marketing communications because of the Internet and Social Media tools, "[it] did not provide a really effective road map for how to open up a company.”

Marketing communications is a discipline. By focusing their Social Media efforts on smaller groups capable of effective marketing communications, and providing them with support, Dell and Macromedia have been effective. Microsoft succeeded when it provided the logistics to trained communications professionals like Robert Scoble. Cass says:

“Maybe in the process of encouraging open conversation, companies like Microsoft and IBM have failed to give the training, tools and tactics necessary for success. While, Macromedia and Dell’s focus on a smaller group of dedicated people has produced more results.”

John's book is:

A Pirelli Short Film

Pirelli has always had attractively pioneering marketing. It is characterized by facility and skill among tire companies, front running many with flamboyant calendars (see Pirelli Calendar ). Adopting short films is not such a leap for them and The Call is certainly more interesting than watching the Michelin Marshmallow Man try to get his Marshmallow Dog.

Pfanner (2006, pp1-2) gives some insight into this campaign. It was the first time Pirelli worked with Leo Burnett and behind it was concerns with the declining effectiveness of traditional media advertising. Traditional advertising seems to be dissolving before our eyes. It is no longer the altruistic industry that gives us free TV, but now has an appearance more like a monolithic parasite draining money from its corporate host.

Pirelli backed its bet on short film marketing with 60% of its marketing budget according to Pfanner (2006, p1). Why?

"Many advertisers are worried that traditional ways of reaching consumers, including the 30-second television spot, are losing their power to persuade."

Their tag-line “Power is nothing without control” is catchy. However, to build long-term relationships, the slogans should be consistent with the customer’s experience with the company. Duncan (2005, p 15) says that “ interactions with customers send some of the most impactful messages that customers receive about a brand.”

Curiously, Pirelli has had some scandal related to its level of concern for safety. Lawsuits allege that it had foreknowledge of safety problems but did not take action. Many complain, see AllAutoWorld .

All in all, though, the campaign was a hit. They even have a short film out now with Uma Thurman (see Pirelli on YouTube ). Same theme.



ReferencesDuncan, Tom (2005). Principles of Advertising & IMC. McGraw-Hill
Pfanner, Eric (January 29, 2006). On Advertising: Film or Ad? Ask Pirelli. International Herald Tribune. Retrived on August 23, 2008 from http://www.iht.com/articles/2006/01/29/business/ad30.php

Cherchez la Femme at the Ritz

Short films and streaming media are increasingly being incorporated into an integrated communications strategy. The promise of the Internet as an effective tool for many uses including business communications, marketing and branding, sales, training, and customer support is now being rapidly fulfilled.

I looked at how Ritz-Carlton Hotels has integrated short films into its Experience More marketing messages. The Heads or Tails movie can be viewed at Heads_or_Tails. This movie quickly got to the point, two men struggling for the attention of a women, and stayed with it without deviation to the end. I was caught off guard by the tempo. The two men are quickly drawn into Pushkin's doomed duel, and one even says to the other with bravado, "Let's do this thing", the modern venacular for "Let's begin, if you are willing" of Pushkin's Russia.



The plot was simple. A man and a woman meet another man and the competition between the men starts. The Herculean labors of mental one-upsmanship in the middle of the film end with a physical contest and a surprise finish. It is a short film noir. It even uses the lighting and music of classic film noir greats such as the Maltese Falcon, ChinaTown and The Great Gatsby.

I believe the film effectively and subtlety communicates the message of elegant experiences at the Ritz. The Experience More Campaign by Ritz is based on a marketing analysis of their customer public, according to a Hotel Motel Management article. Heather Gunther (see Hotel_Motel_Mgmt ) quotes Jerry Landeck who has developed seven Ritz properties, “Our clients are demanding more experiential elements in the resort.”

They have designed signature restaurants and bars with the able assistance of artisans such as Wolfgang Puck, Gordon Ramsey and Laurent Tourondel. The main action of Heads or Tails takes place in a restaurant bar. The bus boy wears a Baume & Mercier watch. The barkeep is a sommelier. The marketing short film integrates smoothly with the Experience More grand strategy that also guides construction.

Regarding the ethics of short films in marketing communications, Packard (see Hidden_Persuaders) asked the essential question that is still relevant today

"What is the morality of playing upon hidden weaknesses and frailties -- such as our anxieties, aggressive feelings, dread of nonconformity, and infantile hang-overs -- to sell products? Specifically, what are the ethics of businesses that shape campaigns designed to thrive on these weaknesses they have diagnosed?"

Packard quotes a Madison Avenue Industrial Complex insider, Nicholas Samstag with the industry reply:

"It may be said that to take advantage of a man's credulity, to exploit his misapprehensions, to capitalize on his ignorance is morally reprehensible -- and this may well be the case. . . . I do not quite know."

It would be blind denial of plain fact to say that Heads or Tails was not engineered to exploit the apeing frailty of those with airs above their station. Yet the customers are asking for the fantasy, and to some extent that is what a vacation is all about anyway. Unlike, Samstag I am going to say it is not unethical, at least in the case of Ritz Carlton. It is an unspoken intent of the resort vacationers Ritz serves to assume the stale pretense of "acquired taste" and "rich appointments."

Media Involvement

What makes print inherently more involving than radio or TV?
Drewniany and Jewler (2008, p 210) say that radio is less inherently involving than print media because it is transient, listeners cannot go back and reread something. An advertisier is relying on their memory to record and playback the marketing message. Likewise Duncan. He says (2005, p 360), “Broadcast messages are fleeting.” They have the staying power of dayflies and can be just as annoying. Duncan further notes that customers can be doing something else while listening to radio or watching TV, especially during commercials when they get restive or jerk themselves back to reality to get a soda or something. He notes these as weaknesses for TV and Radio (p 349).




When should a more involving medium be used?
The level of consumer involvement is an important consideration in media selection. Duncan (2005, p. 142) says that consumer involvement has two facets, relevance and perceived risk. He goes on to say (2005, p. 141), that relevance is key to determining the level of involvement, the extent to which a product or its message is pertinent and connects with a customer’s personal interests. Customers are more willing to invest pre-purchase energy in learning more about a relevant and more risky buy.

The Elaboration Likelihood Model by Cacioppo and Petty can provide a framework for analyzing the most effective balance in the media mix for marketing communications. Cacioppo and Petty define the primary relationships in persuasive communication as communication engagement and cognitive commitment.

According to the model, the greater our communication engagement with the other party the more likely that party is to use what the model calls central route processing, which is to say a great deal of message related thinking. Media appropriate for in-depth thinking and evaluation of the message should be used in such a case. On the other hand, if communication engagement is low, what the model calls peripheral cues are best. In this case, more attention getting media that do not necessarily lend themselves to protracted analysis would be a better choice.

Perceived Risk
Perceived risk may be difficult for advertisiers to identify. Perceived risk is related to unsatisfactory product performance and as noted above is related to consumer involvement. The level of risk may depend on context. Hawkins, et al (2007, p 550) give an example of buying wine. If you are buying for yourself, no big problem if it is unsatisfactory. The same decision, if you are buying for a dinner with a significant other, can be much riskier.

In some ways, a different context can make one product perform like a completely different product in response to IMC. Hawkins, et al (p 551) do give examples of products that generally have high perceived risk. They are classified by types of failure:

• Social costs (e.g. new suit not appreciated by peers)


• Financial cost (e.g. expensive vacation that had rain everyday)


• Time Cost (e.g. auto repairs are not just cash costs)


• Physical cost (e.g. interactions or side effects of prescription drugs)

It also seems intuitive that context may be ascertainable from the audience characteristics of the specific media companies employed. In these cases, advertisers should be able to make a good bet on risk level.
References
Cacioppo, John and Richard Petty (1986.) THE ELABORATION LIKELIHOOD MODEL OF PERSUASION. Retrieved on Feb 19, 2009 from the EBSCOHost database.

Drewniany, B and J Jewler (2008). Creative Strategy in Advertising. Wadsworth.

Hawkins, D., Mothersbaugh, D. and Best, R. (2007). Consumer behavior: building marketing strategy. New York: McGraw-Hill Irwin.

Measuring the Effectiveness of a Website

Chen and Wells (1999) have defined a measure to evaluate the effectiveness of a Website -Attitude Towards a Site (AST). To conduct the measurement, judges will evaluate a site based on three categories of characteristics: 1.) Entertainment, 2.) Informativeness and 3.) Organization. Chen and Wells selected the characteristics in each category from a literature search of prior studies and analysis on attitudes. They used willing MBA students as the site judges (p 29). Chen and Wells (p 33) qualify these results.

“It should be noted that this formula represents evaluation of this particular set of Websites by this particular set of raters.”

Different scores will come from different psychographic types. Lisa Sanders (2007, p 1) advises Website designers to use the concept of “personas” when creating a site. Personas are ”archetypical characters [who] represent specific consumer segments.”

So instead of doing the measurement with a handy group of available workers, use sample groups from the VALS, PRIZM, TR or other psychograpic segments making up the target audience and have them do the measurements.

The approach that Chen and Wells used by selecting available students is probably fine for a general packaged goods site like Coca Cola where there is an even distribution among psychograpic groups. However, some products will have more narrowly focused audience characteristics and so the AST measure of the site’s effectiveness would be more accurate if the judges doing the measurement have those characteristics themselves.

How should we measure a creative effort? Many methods exist for Websites. Chen and Wells (1999) have theirs. Jenamani, Mohapatra and Ghose (2002) have theirs. Green and Pearson have theirs. When we talk of such measuring, I like to keep in mind one of my favorite quotes, so although lengthy, I paraphrase it here (see Steinbeck, 1941, p 2-3):

"The Mexican Sierra (a game fish) has 17 plus 15 plus 9 spines in the dorsal fin. In the lab the way you count them is to open an evil smelling jar, remove a stiff colorless fish from formaldehyde, and count the spines and write the truth.

In open water, the Mexican Sierra is a rapid swimmer. If it strikes hard on the line so that our hands are burned, if the fish sounds and nearly escapes, and finally comes in over the rail, his colors are pulsing and his tail beating the air, a whole new relational reality has come into being.


It is good to know what you are doing. The man in the lab with his pickled fish has set down one truth about the spines and has recorded many lies. The fish is not that color he sees, not that texture, that dead, nor does he smell that way."

ReferencesChen, Qimei and William Wells (October 1999). Attitude toward the Site. Journal of Advertising Research. Retrieved from EBSCOHOST on July 8, 2008

Green, David and Michael Pearson (Fall 2006). DEVELOPMENT OF A WEB SITE USABILITY INSTRUMENT BASED ON ISO 9241-11. Journal of Computer Information Systems. Retrieved from EBSCOHOST on July 5, 2008.

Jenamani, M and P. Mohapatra and Ghose S (2002). Benchmarking for Design of Corporate Websites. Quarterly Journal of Electronic Commerce. Retrieved from EBSCOHOST on July 8, 2008.

Steinbeck, John (1941). The Log from the Sea of Cortez. New York: Viking.

Fear Appeal in Advertising

LaTour et al (1996, p 2) say a fear appeal is a “psychoactive” ad that highlights an aspect of our “suboptimal lifestyles.” Their study shows a positive correlation between fear appeal and audience attitude towards an ad, and also that there are no ethical issues (p 6). They use (p 8) “deodorant failure” advertisements as an example of how fear appelas can be helpful communication.

Hawkins, et al (p 416) say that fear appeals use the threat of unpleasant consequences if a behavior is not altered. They single out bad breath. I am going to Platonify and say plaque falls into the same category of unpleasantness. Fear reduction is an effective agent to change attitudes, according to Hawkins, et al (2007, p 386, 408).

Several theories are in play, including the Theory of Reasoned Action (see Hawkins, et al, 2007, p 404). According to TRA, normative social beliefs are a major determinant in an individual about the appropriateness of a behavior. Social beliefs about bad breath, germs and plaque are leveraged in the Listerine ads. According to Gire (2003, p 1), the man who created Listerine, Gerald Lambert also developed the word "halitosis" to provide an advertising basis for discouraging bad breath.

With Listerine a consistent fear attribute is germs. Below is a Listerine ad from 1969. (click on image to enlarge)

And the following from 2009.

In both decades it is in the body copy. The headline further informs us of the manifest consequence of following a suboptimal lifestyle: back then we would have bad breath, today plaque. In both decades, the ads are what LaTour, et al (p 3) would characterize as “mild.”

Another theory is the Elaboration Likelihood Model (see Hawkins, p 409-10). It lines-up two consumer approaches to processing advertisements. One, central route processing is very cognitive and involves extensive information exchange between consumer and marketer. The other, peripheral processing uses more emotional cues and little or no cognitive processing. In their paper "The Elaboration Likelihood Model of Persuasion", Cacioppo and Petty (1986, pp 1-2) clarify that they do not propose two mutually exclusive and exhaustive types but that central and peripheral represent positions on a continuous dimension ranging from high to low elaboration. I believe that along the elaboration continuum, the Listerine ads are on the peripheral side of the mean.

In the 1969 ad and also in the interesting TV commercial below, I think Listerine was trying a change belief tactic (see Hawkins, 2007, p 406) regarding the taste. They change the belief about the pungent taste of the product from bad to good, reasoning it would not be an effective germ fighter otherwise.

Here is an interesting look back to Morgan Freeman’s start in showbiz – he did TV commercials before movies. He is in a Listerine ad, explaining why the bad taste is good: Early Freeman Today, dealing with the taste is apparently not a need, or they don’t want to raise a red flag themselves about it.

Is it all ethical? Hawkins, et al (p 416) cite ethical concerns about "fear appeals based on social anxieties about bad breath...." LaTour, et al (1996, p 7) found no one in their studies considered fear appeals unethical. They even go so far to say such advertising can be helpful communications (p 8), and give as an example - deodorant failure, similar to bad breath. The Listerine ads, to me, fall on the LaTour side of the line and I do not think them unethical.

ReferencesCacioppo, John and Richard Petty (1986.) The Elaboration Likelihood Model of Persuasion. Retrieved on March 28, 2009 from the EBSCOHost database.

Gire, JT (2/10/2003). Attitudes & Attitude Change: Influencing Thoughts and Feelings. Retrieved on March 28, 2009 from http://academics.vmi.edu/psy/jg/chpt7-attitudes.htm

Hawkins, Del, David Mothersbaugh and Roger Best (2007). Consumer Behavior. McGraw-Hill/Irwin.

LaTour, M, R Snipes and S Bliss (03/01/1996). Don’t be afraid to use fear appeals: an experimental study. Journal of Advertising Research

Great Garbo Image Elements

Name
Keller gives naming guidelines (p 147) that include being easy to spell and pronounce, being familiar, different and distinctive. Greta Garbo as a name is all of these as well as an alliteration, has consonance, is a slant rhyme and is composed of the plosives b,g,t, which according to Keller (p 152) makes names more easily recognized. Finally, I contend that her name taps into “existing knowledge systems.” Keller believes (p 149) this makes them easier to recognize and remember.The word Garbo is what I call a compositional homonym. Greta Gustafson (her birth name) and Mimi Pollak (her college friend) derived the name Garbo based on first and last name elements they researched. I have no reference that they intentionally based it on Clara Bow, but the word Garbo would tap into knowledge already existing for Clara Bow. In Sweden, Clara would be pronounced KLAR-a. Garbo would be distinct from Clara Bow but is close enough phonetically to have a familiar ring to a world that already knew Clara Bow. Clara Bow was a talented and rising star in the film world in the early to mid-20s.

Style
Keller (p 143) lists four aspects of style. For Garbo, the complexity aspect of her style is minimal rather than ornamental. Her representation is realistic not abstract. Her acting is subtle, and understated when everyone else of that era used exaggeration in movement and gesture. She acted from inside out (see Paris, 1994, p 33), realistic but not the stark social realism that is as equally contrived as the vaudeville drama of the American studios and more pretentious. Her perceived movement was still, while her potency, to juxtapose Keller, was soft and strong.

Theme
Her theme was an application of her style to a formula and look. Her formula was the new woman in an love triangle. This woman was ahead of the other two in the triangle and ultimately drove its resolution. Greta Garbo refused helpless or dizzy female roles. Anymore, the interest in her today is the independence and acumen of her female characters. The theme has proved adaptable over time.

An additional thematic element is her look: languorous eyes, outdoorsy physique, graceful and athletic movement, and the Rembrandt lighting. Her wardrobe on set was done by top designers of her choice and created expressly for the film and the times, elegant in the 20s and plainer in the depression of the 30s. The Rembrandt lighting technique (see Guardian) was distinctive from the North-Lite approach used for her competition (see Cinematographers )

Slogans
A set of slogans, such as The Swedish Sphinx underscored her need for privacy, her avoidance of Hollywood parties, premiers and other events, and her mysterious power of attraction. According to Keller (pp 159-60), slogans reinforce brand positioning through descriptive or persuasive information about the star, and the desired points of difference. Unlike most of Hollywood, she was not a party animal who burned brightly then burned out.

References
Keller, K (2008). Strategic Brand Management. Pearson/Prentice-Hall.

Paris, Barry (1994). Garbo. University of Minnesota Press.

Analyzing Greta Garbo by Six Image Criteria

Keller uses six evaluation factors to study and define a brand image.

Memorability
The name Greta Garbo is easy to remember being easy to spell, pronounce, and having the linguistic characteristics of alliteration, consonance, slant rhyme and plosives to help with recognition and recall. Her style and theme is unforgettable, anyone who has seen her look in photographs or film finds out who she is and remembers. Louie B. Mayer did, writers did, leading actors did, critics and so did the general public (see Vieira or Paris throughout).

The slogan The Swedish Sphinx balances the plosives in her Name with sibilants. Sibilants start with s or soft c and are associated with the romantic, which is also the nature of her films. Again the slogan uses linguistic devices such as alliteration to aid recall. The fashion is classic so always contemporary, familiar and easy to remember.

Meaningfulness
The name Greta Garbo gave her initial meaning because it was familiar and discreetly associated with the existing knowledge system on Hollywood films. Clara Bow up through the mid-20s was a rising and charismatic star (see Noir Dame, 2008, p1 or Rhodes, 1994, p 191). Furthermore, Garbo’s theme advanced that meaningful start with a formula that is a primal, fundamental human relationship that can be applied to many situations. In her style, she was not the stereotypical female of the time, but rather now considered to be the first new woman. She expressed the spirit of freedom that pervaded the 20s. In retrospect, she was in the genesis of recognizing that freedom for women in the United States.

Likability
Keller (p 142) explains this as consumers finding the image aesthetically appealing, “Is it likable visually, verbally and in other ways.” Persuasive brand image elements reduce the burden on other marketing communications. In the film industry, the benefits of watching a particular film are less concrete than most other business transactions. Keller tells us (p 142) that in such cases “[all] the more important is the creative potential of the brand name and other brand elements to capture the intangible characteristics of the brand.”

Her look was attractively appealing so that movie goers would see her films three times instead of once (see Paris, 1994, p 119). Her Name and Slogan had drawing power from an association with pleasing films, and with a sense of mystery and romance. Her theme was a captivating expression of the balancing act between the traditional and the modern in those times.

Transferability
Transferability is the ability of the image elements to support line and category extensions (see Keller, 2008, p 142). For Garbo, line extensions would be new films, her brand image elements applied to different roles. Rhodes (1999, p 191) notes that by the 1920's many had realized that the stars rather than the stories were selling the movies. He says that "This change often took the form of storylines that thematized the relationship between the new stars to the publics upon whom they depended for their success." Garbo, more than anyone before or since, established a lasting brand.

The drawing power of her brand elements in terms of Keller’s progressive criteria (2008, p 140) have been detailed in the sections on Memorability, Meaningfulness, and Likability. They apply as well to one film or role as to another because they are related to the actress, and as Keller notes (p 142) the less specific the element to a line item or a category item the more transferable it is.

Adaptation
Keller defines adaptability (p 143) as the ability of brand elements to change over time as consumer opinions and beliefs change or just to remain contemporary. This happened to Garbo as silent film gave way to talkies and the roaring twenties gave way to the great depression. The brand name Greta Garbo did not change but with the introduction of Anna Christie, her first talkie, a slogan for the movie was able to play off the old slogan. “Garbo Talks” was a humorous extension to the “Swedish Sphinx” and its alluring silence.

Her unassuming and minimalist style was changed slightly as well as its application to a theme, adapted for the changing communication medium and economic milieu. In Ninotchka and Grand Hotel, her performance became more ornamental in complexity, less minimal. One of them was a comedy. Additionally, more of her films reflected the gritty existence of the times and made less use of elegant fashion and more of plain clothing. There was also adaptation to historical dramas such as Queen Christina. The formula was also adapted so that governments in several instances replaced the older man in her iron triangle. The Swedish crown in Queen Christina and the Soviet government in Ninotchka are examples.

The 30s Greta Garbo was substantially the 20s Greta Garbo but with some adaptation of the brand elements, which proved to be very successful at that.

Protectability
Keller categorizes two types of protection for brand elements: 1.) Legal; and 2.) Competitive. A personal name such as Greta Garbo can be trademarked especially when its unauthorized use is a bad faith attempt to mislead the public and misdirect trade and economic livelihood from a corporate body that has invested in that name for commercial purpose (see Trademarked and MirrorOfJustice).

Furthermore, all the brand elements have always, even today, proved competitively protectable. Her style and art have proven impossible to define precisely enough for anyone else to repeat her effect on screen. The iron triangle formula can be copied but her theme based on it cannot because that theme is the application of her style into the formula. The slogans applied to her would be empty today if applied to someone else, a cheap rip-off.

References
Gaines, Jane (1989). The Queen Christina Tie-Ups: Convergence of Show Window and Screen. Quar. Rev. of Film & Video. Retrieved on October 22, 2008 from EBSCOHOST.

Keller, K (2008). Strategic Brand Management. Pearson/Prentice-Hall.

Noir Dame (2008). Down to the Sea in Ships (1922) - Clara Bow, Marguerite Courtot. Retrieved on October 27, 2008 from http://www.noirdame.com/index.php?crn=206&rn=609&action=show_detail

Rhodes, Chip (1999). The Star System and Modernist Identity Formation in the Silent Film Era. Strategies, Vol 12, Number 2. Retrieved from EBSCOHOST on October 27, 2008.

Greta Garbo, an Enduring Image

Greta Garbo still sells, some 80 years on. By my calculations, her movies earn approximately $200,000 annually on Amazon, Borders and Barnes&Noble. What is more, her items have a high response rate showing resonance with the audience (see Signature Series ) In EBSCOHOST, there are 12,152 articles about her or that reference her, with 4,816 written in the past five years. The mystique is as much about her lifestyle as her films.

Greta Garbo had the resolute spirit that Ayn Rand, who admired Garbo, tried to capture in the fictional character John Galt. Unlike Galt, however, who ran away to work apart from the system, Garbo turned the system inside out and made it work for her. This is all the more remarkable when you consider that the other major stars of the era were overwhelmed by the system.

Three of the biggest were Clara Bow (the It girl), Rudolf Valentino and John Gilbert. Rhodes (1999, p 197) notes that both Valentino and Bow, stars of first rank, had no control whatsoever over their movies or the public presentation of their image. Garbo, on the other hand, ended up with complete control over all production – choice of director, writers, script, co-stars, schedule, all aspects of production, including release of image building communications (see for example, Vieira, 2005, pp 164,167, 173).

Hollywood was having difficulty establishing a continuing female role type that was attractive to women of that day. The virgins like Mary Pickford and Lillian Gish, the vamps like Gloria Swanson and the flappers like Clara Bow were losing traction at the box office (Paris,1994, p 112). Garbo did not play into stale role types but instead became the embodiment, as she is now characterized by feminists, of the “new woman” (See Fischer, 2001, p 90).

I have seen most of her movies and there is a triangle, a brand formula or theme in them all – she is married to an older, overbearing man and having an affair with a younger man (see for example Vieira,2005, p 8). When discovered in the act, she is neither embarrassed nor repentant but instead is contemptuous, weary or angry with her older husband. Conveniently for her character and to the relief of the audience, he is killed or dies off, leaving her to her virile suitor.

After her first films proved extremely popular and profitable, she challenged the MGM power structure. She ignored studio dictates, refused to participate in staged publicity and premiers, did not wear traditional foundational garments beneath her clothes, and was in general insubordinate, all of which created a growing tension. It reached the tipping point when she demanded seven times her salary to become the highest paid actress in the business and refused to do the film Women Love Diamonds because she thought it foolish (see Paris, 1994, pp127-8).

MGM finally detonated, finding her in breach of contract, and issued her a cease and desist letter. She went over their heads to Loews Inc., the parent company, and focused on the factual errors in the letter (see Vieira, 2005, pp 45-8). It was also observed that had MGM listened to her they would not have lost $30,000 with Women Love Diamonds (MGM went on with it using a different actress). Loews agreed, and MGM was forced to capitulate to the 21 year old girl. The humiliation of the best brains in a place like MGM rocked Hollywood (see Paris, 1994, pp 129-30). She was given the salary and creative license and for the next decade produced a series of extremely profitable films.

Eleanor Boardman who suffered the one-sided nature of Garbo's friendship, summed up the enduring interest: "You gave, Garbo took, she never said thanks, but she was fascinating."

References

Corbis (2008). Mysterious Woman Photo displayed under arrangement with http://www.corbis.com/ the copyright holder.

Fischer, Lucy (2001) . Greta Garbo and Silent Cinema: The Actress As Art Deco Icon. Camera Obscura 48, Volume 16, Number 3.

Fischer, Lucy, et al (2002). The Feminist Reader in Early Cinema. Duke University Press.

Gaines, Jane (1989). The Queen Christina Tie-Ups: Convergence of Show Window and Screen. Quar. Rev. of Film & Video. Retrieved on October 22, 2008 from EBSCOHOST.

Noir Dame (2008). Down to the Sea in Ships (1922) - Clara Bow, Marguerite Courtot. Retrieved on October 27, 2008 from http://www.noirdame.com/index.php?crn=206&rn=609&action=show_detail

Paris, Barry (1994). Garbo. University of Minnesota Press.

Rhodes, Chip (1999). The Star System and Modernist Identity Formation in the Silent Film Era. Strategies, Vol 12, Number 2. Retrieved from EBSCOHOST on October 27, 2008.

Vieira, Mark (2005). Greta Garbo: A Cinematic Legacy. Henry A. Abrams, Inc.

The Mass Ornament

Siegfried Kracauer’s book The Mass Ornament has essays with his observations and analysis of Weimar Germany in the 20s but it also seems relevant to America today. Kracauer is like an Amoriam sage in his narrative analysis, which is not the linear, sequential layout of an argument customary in the U.S. Instead, nuggets of information are dispersed throughout his exposition to be discovered, interpreted and formed together into a relational whole through reflection. In further observance of this tradition, he uses symbolism. The term mass ornament is an example. I apply my own definitions to these symbols in this interpretation of his essay The Mass Ornament from the book of essays by the same name.

In architecture, an ornament is a decorative detail that embellishes a space, and over time it becomes an archaeological marker for a culture. Kracauer extends the concept to embellished social spectacles or enactments and uses these to understand a culture as revealed in its current events. He holds that everyday social ornaments represent aspects of a culture without mediation and are better evidence for understanding its essence than its own pronouncements.

The mass ornament is the term he applies to such capitalist spectacles, capitalism derived as it is from mass industrial production, mass consumption, highly synchronized, interchangeable processes and parts. The outcome of its Ratio, the logic behind its processes, is efficient production, consumption, finance and war.Kracauer sees a regressive/progressive struggle between nature and reason. Myths represent past reason and the understanding of cultures that have failed, but their myths nevertheless offer insights into how real people should relate to nature. Capitalist Ratio is the logic of our current system of mass production and how it deals with nature.

Although it has been far more successful in some regards than earlier organized interaction with nature, Kracauer maintains it does not satisfy our humanity. Its consideration ends with production. Unlike the other liberal thought leaders of the 20s, Kracauer sees the failing of this Ratio as not enough analysis or reason rather than too much. It does not fully include the humanity of mankind into its reckoning, only efficiency of production and consumption.

According to Kracauer, the mass ornament in modern capitalist culture is “muted nature.” It has no foundation to build a true knowledge base (edification complex) about nature. As such, along with the basic inhumanity of its overwhelming focus on efficient operations, mankind is unfulfilled by capitalist Ratio. To compensate they turn to pop practices, rhythmic gymnastics in his day, yoga or martial arts in ours. These pop practices advance into the void, each with its own mythology.

Reason is not pursued as the true link between man and nature because of these retreats into pop mythologies. The result is “irreality.” Additionally, the cultures conjured by these mythologies have, by and large, already succumbed to Ratio thereby leaving the mute nature of mass ornamentation even more prominent and influential. These pop myths already discredited by Ratio only serve to highlight its pre-eminence.

Ratio is an iron beast that breaks all before it into pieces and grinds the residue into dust. Its only weakness is its feet of clay, its foundation based on an endless race to the bottom, the cheapest, the most exploitative and the most risky practices. Unseemly risk, whether credit default swaps today or some future scandal, and its inhuman foundation will prove its undoing.