Tuesday, 17 May 2016

Industry Issues 6 Dove

Learning Objectives: To study The Chanel ad campaign with consideration given to Industry issues, regulation, marketing, promotion.

Key words: Unilever - Dove. Ogilvy and Mather. L'Oreal - Lancome, Maybelline.

Marketing/ Promotion

Since its launch in the 1940s, Dove by Unilever has evolved from a mediocre company to one of the most trusted beauty product makers in the industry. 
In a time when soaps were simple and known to dry out the skin, Dove was marketed as a more gentle option that was actually not soap at all but a product of careful military research
The company was slow to take off with a lack of global identity and a decentralized product. 
A lack of corporate strategy also played a part, and the small amount of products the company released did not rank high among competitors. 
However, by the 1970s, Dove’s popularity as a gentle beauty bar had risen. 
It was marketed as a skincare bar containing 25 percent cleansing cream. 



By 1980, it was the leading brand recommended by physicians. 

Eventually, the company launched body washes, shampoos and other beauty products. 
But how did their marketing change to make this a success as more and more companies released gentle soaps and hygiene products? 
Dove’s unique strategy focused on revealing the natural beauty in every woman instead of spotlighting famous celebrities or models.  
By using ads and campaigns to focus on everyday women and how each one has a different look or body shape, the company was able to successfully increase consumer awareness and sales. 

Dove launched ads celebrating curvy women and older women. 
While most brands focus on the importance of the product itself, Dove’s key message was the importance of every woman feeling good about herself. (Compare to Coco Mademoiselle with a different key message about luxury helping women to feel empowered).


A strong emotional touch was one of Dove’s main goals. 

Dove product displays showed pictures of women who did not fit the tall, white and thin society stereotype showing just as much self-esteem. 
This is the idea that makes the product appeal to the majority of women. 
The company also has evolved to use social media for feedback and sharing innovative ideas. 
One of the company’s most successful ads was a video that went viral called, Dove Real Beauty Sketches with over 55 million views on YouTube.   
Dove continues evolving to keep up with the changing world. 
By using advertisements with women from all age groups, the brand has a broad enough reach that all ages have developed trust and loyalty to its products. 
Two of the main ideas that keep Dove going strong are developing adaptive ways to market the brand while also keeping a smaller product base. 
By lowering their original amount of 1,600 brands to just 400, they were able to select master brands and categorize the remaining products under those to avoid confusion. 


Dove’s story of marketing changes that eventually led to great success is a good example of how changing strategies can lead to increased sales and customer loyalty. Some companies make the mistake of narrowing the appeal of their brands to a small group of people without intending to do so. Some ideas may work for a while, but technology and your target audience are constantly changing, so companies must also adapt their marketing strategies to embrace these changes.



When you look at an advertisement of Dove it doesn't seem as if they are selling lotion, soap or a product.
It seems as if they are selling hope. When a woman goes to buy the product she is inspired by all these things. And when she sees the Dove container she makes an association to the advertisement and its signs. 

Quote you could use:
An advert“should do more than just label or identify the product; it should also bring flattering associations to mind, associations which will help to sell it” (Dyer 1982: 141). 

Dove encodes a message in their adverts, a message that their desired audience can decode, because the advertiser's message can only make sense if both encoder and decoder are speaking the same code “Our messages and texts become meaningful or signifying because they are constructed with the semiotic substances of codes”(Danesi 1994: 18);

*****************************************************

Dove has launched its next campaign aimed squarely at young girls and teenagers. According to Dove's research six out of 10 teenage girls think they would be happier if they were thinner and while 30% of eight- to 12-year-old girls want to be slimmer.
Rather than promoting a product, Dove's new campaign promotes a fund set up to donate money to charities that promote wellbeing and raise self-esteem. 
It has also produced a schools teaching resource which aims to help pupils understand and cope with how they feel about their physical appearance.
This raises the question: Are the methods Dove is using to sell soap, lotions and potions less insidious (seemingly harmless) than those used by brands that perpetuate the myth of female physical perfection and persist in peddling the sexualisation of women (Like Coco Mademoiselle)?
Dove can surely be commended for making an effort to change perceptions of beauty in advertising, however you need to discuss another point of view in the exam.

Take the first campaign, the six real women in white underwear. The unusualness use of women in the ad glosses over the fact that the product it is pushing is a skin firming lotion. If the women shown were that happy with your bodies they wouldn't need a skin-firming lotion. 
L'Oreal was criticised by the Advertising Standards Authority for making "misleading" claims about a similar kind of cellulite cream.

The new campaign, says Dove, aims to encourage adult women to help girls and teenagers feel better about themselves. But if girls as young as eight are concerned about their appearance, they are also ideal targets as the new generation of beauty product consumers, ripe to get hooked on a particular brand.

(Homework Task 1: Answer the following past exam question:
How global is the appeal of your three main texts?
Some chosen texts may not have global appeal – you  can argue that they are essentially British in theme, tone, distribution etc like the Paddy Power 'mischief campaign'– this is wholly acceptable. 

Many texts, however, do have global appeal and points covered may include:
• Type of product
• Theme, narrative, genre
• Use of stars, celebrities (or not in the case of DRW)
• Distribution and marketing
• Internet
• Audience factors – links to theory (e.g. Uses and Gratifications, audience pleasures).

E-mail your answers to Mr Ealey when complete.

Industry Issues 5 Dove

  • Learning objective: To study The Dove ad campaign with consideration given to Industry issues, regulation, marketing, promotion.
Key words: Market research, regional, Superbowl, Global.

Background/Context 
The Dove Campaign for Real Beauty was conceived in 2004 after market research indicated that only 2% of women consider themselves beautiful. The campaign's mission is to "to create a world where beauty is a source of confidence and not anxiety." It was created by Ogilvy & Mather Brazil.
The ads invited passers-by to vote on whether a particular model was, for example, "Fat or Fab" or "Wrinkled or Wonderful", with the results of the votes dynamically updated and displayed on the billboard itself.
Accompanying the billboard advertisements was the publication of the "Dove Report", a corporate study which Unilever intended to "[create] a new definition of beauty [which] will free women from self-doubt and encourage them to embrace their real beauty."

It may be beneficial if in your introduction you defined beautiful women.
Task 1: Research and write a definition of beauty as we know from stereotypes
Following this success, the campaign expanded into other media, with a series of television spots (Flip Your Wigs and the Pro-Age series, among others) and print advertisements ("Tested on Real Curves"), culminating in the 2006 Little Girls global campaign, which featured regional versions of the same advertisement in both print and screen, for which Unilever purchased a 30-second spot in the commercial break during Super Bowl XL at an estimated cost of US$2.5M.

Here is yesterday's lesson in another format:
Global Implications

Here is a sample WJEC question on global implications:
With reference to your selected industry, explore how far your chosen texts are 
global. 
Here is the examiner's response to the answers submitted:

This was quite a broad question but it was not a popular one. Some candidates responded
extremely well and were able to write about the content of their texts (e.g. setting, themes,
actors/stars/celebrities) as well as the global ownership, distribution and audiences for their
selected texts. However it was disappointing to see how few candidates knew anything
about the context of their selected texts and too many made quite bland statements claiming
their texts to be global without really understanding the term itself.
This is what you need to consider for an answer on global implications:

 ADVERTISING: 
• Product, brand, identity and status
• Promotional strategies
• Use of international celebrities
• On-line adverts
• Facebook, Youtube

Task 2: Answer this with reference to the Coco Mademoiselle, Paddy Power and Dove campaigns.

B4. To what extent are your three main texts global? [30]

Industry Issues 4 Dove


  • Learning objective: To study the Dove advertising campaign with consideration given to Industry issues, Production, Distribution/ Exhibition

     These are the key areas we need to consider:
  • Production
  • Distribution and exhibition (where relevant)
  • Marketing and promotion
  • Regulation issues
  • Global implications
  • Relevant historical background and context - you should keep this part brief.

Advertising definition:
Advertising is a paid form of communication, delivered through media from an identifiable source, about an organization, product, service, or idea, designed to persuade the receiver to take some action, now or in the future.
________________________________________________________________


Production

The Dove Campaign for Real Beauty was started after Dove conducted a global study on beauty. The study called, The Real Truth About Beauty: A World Report confirmed that the definition for beauty had narrowed and was impossible to attain. Dove found that:
  • Just 12 % of women are very satisfied with their physical attractiveness
  • Only 2 % of women describe themselves as beautiful
  • 68 % strongly agree that the media sets an unrealistic standard of beauty
  • 75 % wish the media did a better job in portraying the diversity of women's physical attractiveness, including size and shape, across all ages
The Dove Campaign for Real Beauty is a worldwide marketing campaign launched by Unilever in 2004 that includes advertisements, video, workshops, sleepover events, the publication of a book and the production of a play. 

Consumers were asked to make judgment about a series of photos of women who didn't fit the glossy mag mould. 
Was a plus-sized woman oversized or outstanding? 
Was a woman with small breasts half empty or half full?





The aim of the campaign is to celebrate the natural, physical variation embodied by all women and inspire them to have the confidence to be comfortable with themselves. 
Dove's partners in the effort include such marketing and communications agencies as Ogilvy & Mather, Edelman Public Relations, and Harbinger Communications (in Canada). 
Part of the overall project was the "Evolution" campaign.


By buying this product, the consumer is as if "buying herself" as well as reminding herself who she is, in this case a "real woman".
If a consumer buys a product she also buys the meaning behind it and thus buying the product the meaning then transfers onto her. 

In the process of reading and understanding an advertisement– the audience works with the messages in agreement with different perspectives,values, interests, things they stand for, lifestyle or social background. 

Task 1: 
Discuss this statement with reference to the Dove Real Women campaign and Coco Chanel.
'Dove are almost not selling a product, but a lifestyle behind it and the woman herself'.
Consider:
Aspiration
Personal identity
Decoding messages
Denotations
Connotations

Distribution/ Exhibition

The first stage of the campaign centred around a series of billboard advertisements, initially put up in the United Kingdom, and later worldwide. The spots showcased photographs of regular women (in place of professional models), taken by noted portrait photographer Annie Leibovitz.

The series received significant media coverage from talk showswomen's magazines, and mainstream news broadcasts and publications, generating media exposure which Unilever has estimated to be worth more than 30 times the paid-for media space.

In 2006, Ogilvy & Mather were seeking to extend the campaign further, by creating one or more viral videos to host on the Campaign for Real Beauty website. The first of these, Daughters, was an interview-style piece intended to show how mothers and daughters related to issues surrounding the modern perception of beauty and the beauty industry. It was during the production of Daughters that a series of short films entitled "Beauty Crackdown" was pitched to Unilever as an "activation idea." 
The concept was one that art director Tim Piper, who proposed to create Evolution with the budget left over from Daughters (C$135,000), pushed. It was originally intended to get people to visit the Campaign for Real Beauty website to see Daughters, and to participate in the workshops featured on the site.

In April 2013, a video titled Dove Real Beauty Sketches was released as part of the campaign. It went viral attracting strong reactions from the public and media. In the video, several women describe themselves to a forensic sketch artist who cannot see his subjects. The same women are then described by strangers whom they met the previous day. The sketches are compared, with the stranger's image invariably being both more flattering and more accurate. The differences create strong reactions when shown to the women.


Consider the following when discussing distribution:
Distribution for the advertising industry can be discussed in terms of placement. 
Other factors may include content, narrative, celebrity versus use of real people, psychological appeals.

It is acceptable to use the marketing of the texts as part of a discussion on how they have been distributed. 
You can discuss other factors which are key to the success of the texts but try to stay focused on what the question has asked. 

Task 2: 
With reference to your three main texts, discuss the key features of their distribution.

You should select key features to discuss, prioritise the features that you know you can write about with reference to the three campaigns.
make links in to
marketing/promotion; for others key points may be more industry/ownership based.
Some key points may include reference to:
• Financial – ownership, budget, etc
• Industry – size, scope
• Placement, marketing strategies

• Internet.

Give yourself about 30 - 40 minutes to answer.

  • Learning objective: To study the Dove advertising campaign with consideration given to Industry issues, Production, Distribution/ Exhibition

     These are the key areas we need to consider:
  • Production
  • Distribution and exhibition (where relevant)
  • Marketing and promotion
  • Regulation issues
  • Global implications
  • Relevant historical background and context - you should keep this part brief.

Advertising definition:
Advertising is a paid form of communication, delivered through media from an identifiable source, about an organization, product, service, or idea, designed to persuade the receiver to take some action, now or in the future.
________________________________________________________________


Production

The Dove Campaign for Real Beauty was started after Dove conducted a global study on beauty. The study called, The Real Truth About Beauty: A World Report confirmed that the definition for beauty had narrowed and was impossible to attain. Dove found that:
  • Just 12 % of women are very satisfied with their physical attractiveness
  • Only 2 % of women describe themselves as beautiful
  • 68 % strongly agree that the media sets an unrealistic standard of beauty
  • 75 % wish the media did a better job in portraying the diversity of women's physical attractiveness, including size and shape, across all ages
The Dove Campaign for Real Beauty is a worldwide marketing campaign launched by Unilever in 2004 that includes advertisements, video, workshops, sleepover events, the publication of a book and the production of a play. 

Consumers were asked to make judgment about a series of photos of women who didn't fit the glossy mag mould. 
Was a plus-sized woman oversized or outstanding? 
Was a woman with small breasts half empty or half full?





The aim of the campaign is to celebrate the natural, physical variation embodied by all women and inspire them to have the confidence to be comfortable with themselves. 
Dove's partners in the effort include such marketing and communications agencies as Ogilvy & Mather, Edelman Public Relations, and Harbinger Communications (in Canada). 
Part of the overall project was the "Evolution" campaign.


By buying this product, the consumer is as if "buying herself" as well as reminding herself who she is, in this case a "real woman".
If a consumer buys a product she also buys the meaning behind it and thus buying the product the meaning then transfers onto her. 

In the process of reading and understanding an advertisement– the audience works with the messages in agreement with different perspectives,values, interests, things they stand for, lifestyle or social background. 

Task 1: 
Discuss this statement with reference to the Dove Real Women campaign and Coco Chanel.
'Dove are almost not selling a product, but a lifestyle behind it and the woman herself'.
Consider:
Aspiration
Personal identity
Decoding messages
Denotations
Connotations


Distribution/ Exhibition

The first stage of the campaign centred around a series of billboard advertisements, initially put up in the United Kingdom, and later worldwide. The spots showcased photographs of regular women (in place of professional models), taken by noted portrait photographer Annie Leibovitz.

The series received significant media coverage from talk showswomen's magazines, and mainstream news broadcasts and publications, generating media exposure which Unilever has estimated to be worth more than 30 times the paid-for media space.

In 2006, Ogilvy & Mather were seeking to extend the campaign further, by creating one or more viral videos to host on the Campaign for Real Beauty website. The first of these, Daughters, was an interview-style piece intended to show how mothers and daughters related to issues surrounding the modern perception of beauty and the beauty industry. It was during the production of Daughters that a series of short films entitled "Beauty Crackdown" was pitched to Unilever as an "activation idea." 
The concept was one that art director Tim Piper, who proposed to create Evolution with the budget left over from Daughters (C$135,000), pushed. It was originally intended to get people to visit the Campaign for Real Beauty website to see Daughters, and to participate in the workshops featured on the site.

In April 2013, a video titled Dove Real Beauty Sketches was released as part of the campaign. It went viral attracting strong reactions from the public and media. In the video, several women describe themselves to a forensic sketch artist who cannot see his subjects. The same women are then described by strangers whom they met the previous day. The sketches are compared, with the stranger's image invariably being both more flattering and more accurate. The differences create strong reactions when shown to the women.


Consider the following when discussing distribution:
Distribution for the advertising industry can be discussed in terms of placement. 
Other factors may include content, narrative, celebrity versus use of real people, psychological appeals.

It is acceptable to use the marketing of the texts as part of a discussion on how they have been distributed. 
You can discuss other factors which are key to the success of the texts but try to stay focused on what the question has asked. 

Task 2: 
With reference to your three main texts, discuss the key features of their distribution.

You should select key features to discuss, prioritise the features that you know you can write about with reference to the three campaigns.
make links in to
marketing/promotion; for others key points may be more industry/ownership based.
Some key points may include reference to:
• Financial – ownership, budget, etc
• Industry – size, scope
• Placement, marketing strategies

• Internet.

Give yourself about 30 - 40 minutes to answer.

Wednesday, 11 May 2016

Industry Issues 3 Paddy Power

  • Learning Objective: To study The Paddy Power ad campaign with consideration given to Industry issues 

  • Key words: ASA, Internet, Buzz, Mischief.

PROFESSOR STEPHEN HAWKING SOLVES HOW ENGLAND CAN WIN THE WORLD CUP

Paddy Power Brazil 2014

Winner: Guardian MAA Awards 2015


Results
Over 1000 credited news items within the first 24 hours of launch.
The story was covered by every national newspaper and major news site  in the UK. All coverage was credited and the majority included an insert of the video.
Highlights included The Times, Daily Telegraph, Guardian, Independent, Metro, Daily Mail, The Sun, Daily Mirror, Express, Evening Standard, Daily Star, MSN, Yahoo!, AOL and ITV News, Digital Spy and key trendsetters such as Mashable and Vice
__________________________________________________
Oscar Pistoriuos

On august 19th 2013 Oscar pistoriuos was officially charged with the murder of his girlfriend Reeva Steenkamp as the trial started Paddy Power placed an advert in the national papers offering odds on whether Oscar pistoriuos was innocent or guilty within days there were millions of complaints over the advert and it’s insensitivity and in due course was removed from circulation paddy power did issue an apology for the advert and were fined.


Paddy Power’s Oscar Pistorius ad has been named the most complained-about UK campaign of last year.
Advertising watchdog the ASA received a record 5,525 complaints about Paddy Power’s campaign, which offered “money back if he walks” for punters betting on the outcome of the murder trial. It took the unusual step of ordering the campaign to be pulled immediately, saying it was it was likely to cause widespread offence.

Paddy Power is no stranger to controversy in its advertising campaigns. In 2010, it launched an ad showing a cat being kicked into a tree by a blind footballer. Despite being the most complained-about ad of the year, it was cleared by the ASA and did not face a ban. 



Result:

1. Upheld
We acknowledged that, while the bet offered was likely to be seen as distasteful by some readers, the ad was for a product we understood was offered legitimately. We also acknowledged that the ad made no explicit reference to death or violence.
However, we considered that by making reference to a high profile murder trial, the ad would be interpreted by readers as being inextricably related to the sensitive issues surrounding the trial, and to be making an implied reference to the person who had died. The CAP Code stated that references to anyone who was dead must be handled with particular care. We considered the ad, in particular the text “IT’S OSCAR TIME” and “MONEY BACK IF HE WALKS”, was likely to be interpreted as making light of the issues surrounding the trial, which included the death of a woman who had been shot by her boyfriend. We also considered the text “MONEY BACK IF HE WALKS” and “WE WILL REFUND ALL LOSING BETS ON THE OSCAR PISTORIUS TRIAL IF HE IS FOUND NOT GUILTY” was likely to be seen as making light of the serious decision making process involved in that trial. We therefore considered the ad went further than simply being in poor taste and that it was likely to cause serious or widespread offence by trivialising the sensitive issues surrounding the murder trial.
We acknowledged that the ad made no visual reference to Oscar Pistorius’s disability and that the reference “IF HE WALKS” would be understood to be related to the outcome of a criminal trial. However, we considered that text would also be understood by readers as a clear reference to Oscar Pistorius’s disability. We again considered the ad went further than simply being in poor taste and we were concerned that using the pun “IF HE WALKS” made light of disability. The CAP Code stated that particular care must be taken to avoid causing offence on the grounds of disability and we considered that the ad was likely to cause serious or widespread offence.
For the reasons given, we concluded that the ad breached the Code.

Task 1: 

Answer the question with reference to the ASA and the the Paddy Power 'Mischief' campaigns.
Blind football, Hawking talking, Pistoriuos - It's Oscar Time.

How effectively were your three main texts marketed?

Tuesday, 10 May 2016

Industry Issues 2 Paddy Power

  • L.O: To study The Paddy Power ad campaign with consideration given to Industry issues, Global implications

  • Key words: Industry Issues
In the written paper, you will need to show good knowledge of advertising regulation 
When you discuss the three main texts/campaigns we have studied you should also be able to show that you are aware of some of the major issues surrounding advertising regulation.
This pages contains links to some short case studies.

The ASA 
History

In 1961 the Advertising Association established the Committee of Advertising Practice (CAP) to draft the British Code of Advertising Practice (the CAP Code). In 1962 the industry set up the Advertising Standards Authority (so named even though it is not a public authority in the usual sense) to adjudicate on complaints that advertisements had breached the new Code. The ASA operated under an independent chairman who was to have no vested interest within the industry.

The Advertising Standards Authority ensures that adverts are legal, decent, honest and truthful and that they do not mislead, harm or offend and are socially responsible.

Why wouldn't these ads be allowed today?

Pre-regulation 

1965 advertising of cigarettes is banned on TV. 2003 the ‘Tobacco Advertising and Promotion Act’ came into force, prohibiting the advertising and promotion of tobacco products. 
___




(Misleading)

What makes people complain about ads? 
• In 2011 the ASA handled 31,458 complaints about 22,397 ads. 
• They ruled 4,591 had to be changed or withdrawn. 
• What do you think people complain about?


The importance of Context

Context: Youtube What was the complaint made to the ASA?


 The Advertising Codes require that ads should not be likely to be of particular appeal to children or young persons, especially by reflecting, or being associated with youth culture...

Context – A pop-up ad on a website in paid-for ad space. 
Advert for a ring tone featuring the American ventriloquist, Jeff Dunham, with his dummy, “Achmed, the Dead Terrorist”. 
The ringtones used some of the phrases from Mr Dunham’s act, including, “Silence! I kill you!”, “Stop touching me” and “Knock, knock. Who’s there? Me. I kill you.” 
What was the complaint?

A viewer challenged whether the ad was offensive because it was racist towards Muslims. The ASA noted that at no time did the ad make any reference to terrorism or the Islamic faith, and therefore concluded the ad was unlikely to cause serious or widespread offence.
Not upheld.

Print based ads; What was the complaint made to the ASA?



If advertisers go too far in using airbrushing and other post-production techniques to alter the appearance of models and it’s likely to mislead people, then that’s wrong and we’ll stop the ads. Advertisers must be able to provide appropriate material to us to demonstrate what retouching they’ve done in the event we question them, and they mustn’t mislead,” - Guy Parker (Head of the ASA)
The companies involved gave these responses.
However, the beauty firm said it believed the image accurately illustrated the results the product could achieve.”

 Basically: you're product doesn't work but computers do. 

They admit that they reduced the dark shadows in the ad that sells a product claiming it reduces dark circles but still maintain that the picture is accurate. 


The company, which provided the ASA with pictures of both women “on the red carpet” to show that they were naturally beautiful, admitted that digital post-production techniques had been used on Roberts but maintained that the changes were not “directly relevant” and that the ad was an “aspirational picture”.
even more

Harmful/irresponsible ads




The media watchdog said the ads might be sending the clothing company's young audience the wrong idea about body image






The ASA received 774 complaints about this anti-smoking TV and poster campaign. The ASA ruled that the adverts were suitable to be seen by adults, but not by children. The advertiser had to take steps to ensure the adverts would not be seen by children.

Moving Image 
  • This is one of the most complained about ads in recent history! 
  • 1,089 viewers complained. 
  • Why?
 

  • 220 people complained it was offensive to blind people. 
  • 1070 complained that it might encourage cruelty to animals. 
  • The ASA decided the complaints were not upheld. No breach of rules regarding likelihood of causing harm or offence, did not encourage or condone violence or cruelty, would not cause serious distress, didn’t show harmful or negative stereotypes.

  • Paddy Power plc – July 2010 Not upheld The ASA said it was not offensive in itself to create an advert referring to people with a disability. Paddy Power said it featured an action “so unlikely that it was absurd”. Paddy Power said the advert did not show the cat being kicked or suffering any violence or cruelty. It was clearly and deliberately shown to be unharmed at the end of the item. Paddy Power had chosen a blind football match to promote a lesser-known sport – the World Blind Football Championships were going to take place in 2010. Paddy Power produced a letter of support from the manager of the England Blind Football Team. All the players in the ad were actual blind football players, many of whom had represented the national side.

  • The ASA’s final decision was: 
  • 1. The action in the ad would be interpreted by most viewers as a humorous depiction of a fictional situation, with the humour derived from surreal and improbable circumstances, when an unforeseeable and accidental action occurred. 
  • 2. It was unlikely to be seen by most viewers as malicious or implying that blind people were likely to cause harm to animals whilst playing football. 
  • 3. The ad was unlikely to be seen as humiliating, stigmatising or undermining to blind people and was unlikely to cause serious or widespread offence.

  • So, regulation... 
  • • What is the ASA? 
  • • What is CAP? 
  • • What is Admark? 
  • • What’s Ofcom’s role? 
  • • What’s Clearcast? 
  • • How effective is the ASA?

  • General regulation info: 
  • • Formed in 1962, the ASA is the watchdog. 
  • • CAP draws up the codes. 
  • • The ASA decides if adverts breach the codes. 
  • • Admark was set up in 2000 (as part of the ASA) to monitor advertising on the internet. 
  • • Ofcom is still ultimately responsible for TV/Radio ads.

  • Complaints 
  • • The ASA investigate. 
  • • If the complaint is ‘upheld’ then the advertiser is required to remove/amend the ad. They are prohibited from using similar approaches in future marketing. 
  • • The ASA promotes itself as highly effective, however sanctions are weak and compliance variable.

  • Sanctions 
  • • Possible sanctions are trading restrictions, withdrawal of financial benefits and derecognition. 
  • The ASA have no powers to fine or take legal action. 
  • • Advertisers risk having expensive campaigns pulled, but the campaigns have usually finished before adverse adjudications are made. 
  • • One of the ASA’s principal tools is negative publicity in the media or on its website, however some marketers use this to generate publicity for shock ads; to amplify campaigns or to promote their defiance (eg fcuk flouting the ASA’s ruling from 1997 to 2004).

  • Legal stuff 
  • • On the other hand, the system is underpinned by ‘backstop’ legal powers: advertisers can be referred to the Office of Fair Trading and broadcasters can be referred to Ofcom. Failure to comply can result in fines or imprisonment. 
  • • In 2007, there were 24,192 complaints about 14, 080 ads. Only 2, 458 were changed or withdrawn.

  • Pre-clearance 
  • • ‘Clearcast’ checks ads on behalf of TV broadcasters (before they are aired). 
  • • ‘Radio Advertising Clearance Centre’ checks radio ads. 
  • • There is no pre-clearance for internet ads. 
  • • The CAP code applies to internet adverts in paid- for space (eg banners, pop-ups, on-line sales promotions). This means the ASA rejects the majority of complaints as they are outside its remit. 
Task 1:
  • • Using specific examples, discuss how effectively the advertising industry is regulated. 
  • Use the examples we have looked at including Paddy Power and Coco Mademoiselle.
  • • Have a look at www.cap.org.uk and www.asa.org.uk 
  • • Make sure you are familiar with the work of these 2 organisations. 
  • • Look at the ‘rulings’ tab on the ASA website.