Monday, 5 February 2018

8. The Planning I Intend To Complete In Order To Ensure A successful Outcome For My Production



In order to create a successful campaign, it is always pragmatic to put in place many different planning methods.

Below is a list of the different planning methods I intend to use.

  • Rough flatplan- important as it is a good way to indicate some rough idea of what the final product will look like (8/1/18)
  • location recce- important for me to be able to scout out specific locations, Brick Lane is a big place (3/2/18)
  • Risk assessment- to ensure shooting goes as seamlessly and risk-free as possible  (8/2/18)
  • Cast/costumes/prop list- helpful when indicating what you want your adverts to look like plus good for organisation (10/2/18)
  • Shoot schedule- important in terms or keeping organised (13/2/18)
  • Logo and/or pack shot edit- Useful to do now as it will help me visualise my final advert (5/2/18)
  • Rough edit- useful when receiving audience feedback as if any changes need to be made it is not too late, but the edit is accurate enough to be indicative to the TA  (24/2/18)

In combination, these should all help me create an effective and practical advert.

Friday, 2 February 2018

Monday, 29 January 2018

5. What I have learnt about the representation of events, issues, individuals and social groups in television, radio or print adverts and how I intend to demonstrate this knowledge and understanding in my production in order to communicate meaning successfully.



From my research it has become apparent that a successful deodorant advert will appeal to people in a plethora of ways, one such way is through positive representations of events, issues, individuals and social groups.

One way in which adverts can use representation to sell a product is by reinforcing existing beliefs and stereotypes in order to give their advert certain aspirational qualities. An example of this is the Axe advert below.


This advert reinforces certain gender stereotypes in order to appeal to its target audience by being aspirational to them. The male model above is quite muscular and refined and also owns a blue, retro fifties-style car. These features are all things that the male half of the target audience would all want to be/have. Therefore, this connotes to the target audience that if they buy the male Axe deodorant they too can be all these things. Furthermore, the female model in this ad is made to appear attractive, especially to the male in the advert. this is done by giving her flawless skin, a very tight skirt and strapless top. This is effective as the females in the target audience would wish to appear attractive and desirable to members of the opposite gender. This implies that if they buy Axe deodorant, they will be exactly that.


However, it is also possible to appeal to the target audience by challenging representations and stereotypes. This is important as stereotypes are very sweeping and many feel that they are wrong and so challenging them appeals to that mindset.



This advert features two different homosexual couples, one gay couple in the bottom left and one lesbian couple in the bottom right. This will appeal to the youthful and open minded 16-25 year old target audience, especially if they themselves are gay or lesbian, as this advert represents their sexuality in a positive way and thus relates to them in a good way. Furthermore, the fact that youth is presented in a much more diverse way in general as opposed to only being objects to stand there and be attractive makes the CK2 brand seem much more down to earth and relatable, due to the less surreal representation of their age group.

I hope to use representation in my own campaign in order to make the TA feel included  by featuring models doing things that the target audience relate to and thus relate to the brand. I will do this by having 4 different adverts where the models are all doing things that the TA not only want to do/are doing, but are also not completely unrealistic- therefore capturing them.



















6. What I have learnt about the ASA rules in relation to television, print or radio advertising and how I intend to use this knowledge and understanding, to ensure my production is appropriate to the media industry context of the set brief I have chosen.





When creating a print advert to go on show in the public domain (in this case a film magazine) one must bear in mind the fact that any advert must not cause any offence as this will not only damage any message you're trying to put across, but also risk the removal of your advert altogether. The body in charge of ensuring no offensive advert is allowed to be displayed is the Advertising Standards Authority (ASA).


The ASA has an extensive list of rules and regulations regarding advertisements, with some of the key ones below:

Advertisements should not:
- Mislead viewers with false information
- Cause serious or widespread offence or harm
- Use shock tactics to promote their product
- Promote lotteries, gambling, betting, alcohol or smoking – disclaimers must be included in adult advertisements, for example “Please drink responsibly” at the end of alcohol adverts
- Be seen to favour particular political issues or parties

Advertisements should:
- Be appropriate for all ages before the UK's 9pm watershed
- Have clear and reliable evidence for claims made
- Show acceptance of diversity and promote equality
- Promote safety in all vehicle adverts eg. not using vocabulary such as 'fast' on a car advert and encourage the use of safety equipment on motorbikes
- Use royalty free or original music


Firstly, here is an example of a print advert that didn't meet the guidelines of the ASA and was removed after over five and a half thousand complaints.




The above advert was released by Paddy Power in 2014 and is based around the Pistorius/Steenkamp trial. It was removed due to the fact that it was making a mockery out of a serious murder trial with serious poor taste. It first of all encourages punters to bet on whether Pistorius would be found guilty and therefore trivialises the murder and turns it into something much less serious. It also puns on the fact that Pistorius cannot walk to not only insult him but also make a joke that he is/was guilty, something that is highly unprofessional for such a big company. 





On the other hand, an advert that is very blunt and down to the wire whilst still remaining on the good side of the ASA's codes can prove very effective in communicating a message. For example, the above advert for the Pancreatic Cancer Action charity did receive a fair few complaints from the public, but the complaints were not upheld by the ASA as they were deemed irrelevant. This advert connotes how serious pancreatic cancer is by controversially saying that testicular cancer is much better. This received complaints as it could be seen that it is taking away from the severity of testicular cancer, however the statement really hits home (its desired outcome) as it makes any reader aware of how serious pancreatic cancer is, as a patient is shown to be 'wishing' to have testicular cancer. This oxymoron is very effective in creating a large impact, whilst remaining within the ASA guidelines.


To conclude, it is critical to remain within the guidelines of the ASA, as without doing so can lead to the removal of your advert from its platform, however it is possible to come very close to being unacceptable but not actually breaking the ASA guidelines in order to convey a powerful and potent message. When creating my own advert, it will be very important to always have the ASA in mind to ensure that my adverts will not cause offence in any way.


























Wednesday, 24 January 2018

4. What I have learnt about the content and appeal of television, radio and print adverts and how I intend to demonstrate this knowledge and understanding in my production in order to communicate successfully with the target audience.


When creating a print deodorant advert, I have learnt that it is highly effective to include imagery or text which gratifies various needs/wants of the target audience. This ensures that the advert(s) are relevant to their ideology/views and therefore is going to be effective.


For example, the above Axe advert is from a campaign where a male sprays the deodorant on and causes angels to fall from heaven. The reason Axe chose to use this specific male model is as he is quite similar to the target audience. He is similar enough to be relatable, whilst still featuring some aspirational elements. For example he has a tattoo on his upper right arm- something the TA may find aspirational and 'trendy'. this therefore implies that if the TA use this deodorant, they too will be aspirational. It is this aspirational element that I hope to encapsulate within my own print ads. I intend to do this by featuring a wide range of models, all doing different things and doing them well. This means that chances are, at least one of my adverts will feature a model who is aspirational to my 16-25 year-old TA- meaning they are more likely to connect with the advert.


This Vodafone advert, which isn't actually about deodorant but is still relevant, is an effective example of Intertextuality. Intertextuality is when one media text utilizes something from another in order to further or deepen its own meaning. for example, the advert above plays on the infamous grammar of the Star Wars character, Yoda. This engages the target audience as it is something that they are familiar with and they find amusing, thus associating Vodafone with the same positive characteristics. I hope to effectively include intertextuality in my own campaign to not only associate my own brand, Wave, with another text's positive connotations but to also tie in with the magazine that my adverts will appear in- Total Film. This is why I will be referencing popular film titles in each of my 4 adverts. For example in the advert set in Brick Lane, the caption will be "The devil wears Prada, but I wear Wave". This will appeal to the audience of Total Film magazine as it is a pun on a famous film title, whilst also tying in to the messages conveyed in the advert itself and thus reinforcing my brand.


















3. What I have learnt about the codes and conventions of television adverts and how I intend to demonstrate this knowledge and understanding in my production in order to communicate successfully



In order to produce an effective and appealing campaign it is essential to refer to previous adverts as a starting point. This is to ensure that the adverts we produce will be engaging, as pre-existing ads have been.

Below are a few examples of classic conventions within personal hygiene adverts that would be useful to contain within my own.


Pictured above is an advert for Old Spice body wash/moisturiser. It features a packshot in the bottom right corner of the product. It is important to feature an image of the product as this is not only crucial in telling the target audience what the product looks like, but it also can be a useful tool in creating a strong and unmistakable brand identity. I hope to emulate this in my own campaign as it is a great way to create synergy between adverts, especially when the content of the advert will vary so much aesthetically, like my own.



The above advert for a dove canned deodorant effectively uses bold text in order to ground the image, in this instance, in the form of a caption. This is effective as it not only catches the eye, but also uses imperative verbs in order to engage with the target audience by almost having a conversation with them. I hope to emulate this capturing aspect in my own campaign, although via the slogan as opposed to the caption.





This Sure advert uses the convention of having a focal image featuring a person using direct address. This is an effective convention as the use of direct address engages not only the desired target audience but also any passer-by/reader etc. by appearing to connect with them personally. I am attempting to use this direct in most if not all of my 4 adverts as, for the reasons above, I believe it will be very effective in attracting the gaze of and readers flipping through Total Film Magazine.