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.