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The 20 best commercial ads of all time, ever.

• 12 Jul 2018

We also included a few tips and tricks for  making a video ad  of your own.

But that’s not all. As a bonus, we threw in two editable commercial video templates at the end of this article. Use them as a starting point for your own. (Or better yet, start your  free trial of Biteable  for access to hundreds of brandable templates and scenes, plus over 24 million video clips, pictures, and animations.)

What makes a good TV commercial or video ad?

Since the very  first television commercial  ran — for $9 — more than 75 years ago, TV advertising has grown into a  $75 billion/year  industry. Though TV’s market share has dropped as many viewers cut the cord, internet advertising has ensured video ads are more popular than ever.

So what does it take to make a good ad? As you’ll see in the commercial examples below, there are a few common traits the best commercials all share:

A good commercial is memorable.

From  “Wassup!”  to  “Where’s the Beef?”  the most successful commercial ads have a way of ingraining themselves in your memory (whether you want them to or not!) Today’s average urbanite sees some 5,000 commercial messages in a single day. Your job, as an advertiser, is to cut through the noise and stand out with a message that’s relevant, different, and effectively represents your brand.

A good commercial is shareworthy.

For maximum exposure, your ad should make people want to talk about it with other people, both in real life and on social media. Usually, the ads that inspire that kind of dialogue have elicited some kind of emotional reaction: they’re funny, shocking, weird, or emotionally touching.

It communicates the brand’s values.

The  best ads  capture a brand’s voice and identity, and communicate the ethos behind the company. Your audience should watch your ad and think, “this brand is for people like me.”

It includes a call-to-action.

Lastly, an effective commercial ad makes clear what it wants viewers to do next, whether it’s visit a website, lease a car, or buy some candy. While some advertisers skip this step, incorporating the brand more subtly or focusing on awareness, you can really only get away with this if you’re already a household name like Nike or Apple.

And now, without further ado, here are our top 20 all-time favorite commercial examples:

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Funniest commercial examples

Let’s get this out of the way: humor is hard. What’s hilarious to one person might be downright annoying to another. When it’s effective, a funny ad grabs attention and inspires positive feelings for a brand. But a joke that falls flat can do the opposite, or even inspire a negative backlash.

Moreover,  experts are split  on whether even a hilarious, popular commercial ad will actually translate to increased revenue and awareness. In some cases, a funny ad causes a so-called  “vampire effect”  in which viewers remember the ad, but not the product or company it’s associated with.

The key, it seems, is to strike just the  right balance  between being funny, relevant, and informative.

Here are some of the most effective, and funniest, examples of commercials we’ve seen yet:

1. Old Spice: “The Man Your Man Could Smell Like” (2010)

When  Old Spice realized  women made the majority of purchasing decisions when it came to men’s body wash products, they took a different approach with their next ad campaign. While the tagline “don’t let your man smell like a woman,” might not fly these days, the genuinely funny non-sequitur dialogue and Isaiah Mustafa’s perfect delivery made it a massive hit back in 2010.

Old Spice’s commercial was perhaps the pinnacle of the absurdist, unpredictable, meme-able humor many advertisers have embraced in hopes of creating a viral hit. And it worked. The ad took home nearly every major industry award that year and currently stands at over 55 million views on YouTube. Old Spice, meanwhile, has continued to hone their off-beat brand voice with a hugely popular follow-up campaign starring actor  Terry Crews .

2. Reebok: “Terry Tate, Office Linebacker” (2003)

Slapstick violence: since the earliest days of comedy it’s been a foolproof way to make ‘em laugh. Reebok’s Super Bowl XXXVII commercial had plenty, along with an amusing premise (boosting office productivity), an element of surprise, and solid one-liners.

The spot was roundly praised by critics and viewers alike that year, though whether it actually succeeded in boosting Reebok’s brand is questionable. According to  one poll  after it aired, just 55% of viewers recalled that the ad was affiliated with Reebok. Even though Reebok itself considered it a success, citing a 4-fold increase in online sales, it’s still a good reminder to consider whether misaligned subject matter may cause your ad to become a victim of the vampire effect.

3. John West Salmon: “Bear” (2000)

UK seafood company John West’s circa 2000 commercial begins with a serene, nature documentary-style shot of bears fishing, as a narrator describes the scene in his best David Attenborough impression. Then things takes an unexpected turn.

The ad’s effective use of three time-honored comedy traditions — the abrupt shift in tone, animals, and, yes, the well-timed groin kick — quickly made it a viral sensation in those early internet days. The ad shot to the top of every “best commercial list” and by 2006 it had more than 300 million views, making it the sixth most viewed online video at the time. It also won a number of awards and was voted “funniest ad of all time” in  Campaign Live’s  2008 poll.

4. Snickers: “Hungry Betty White” (2010)

When Snickers launched their “You’re Not You When You’re Hungry” campaign with Betty White (and Abe Vigoda) during the 2010 Super Bowl, it was a turning point for the brand and the 88-year-old Golden Girl.

That ad won the night, going viral and topping every best commercials list that year. It also kicked off a massively successful campaign that increased sales for the company by $376 million in two years. It’s also credited with revitalizing White’s career, who followed up the spot with an appearance hosting Saturday Night Live and quickly landed other roles.

The success of the  long-running campaign  overall was largely thanks to the global approach Snickers and ad agency BBDO took, featuring celebrities famed in each global market (you can see  regional versions here .) But it all started with a beloved octogenarian getting crash-tackled into some mud.

Animated commercials

Next up on our list of fave commercial examples: animation.

Animated television commercials are nothing new. They’ve been a  mainstay of advertising  since at least 1941, when the first animated commercial aired, and they’ve grown in popularity in the decades that followed.

At first, animated ads relied on hand-drawn cel animation which made them far more expensive than the live-action ads that dominated. Thanks to advancements in technology, high-end animated adverts eventually became cheaper to produce than their live action counterparts. But that’s not the only reason advertisers like them.

As you’ll see in our picks for the best animated commercials, animated characters are endearing and relatable, appealing to people of all ages, and they’re capable of performing actions that would be impossible to film with real-life actors (human or animal).

5. Metro Trains: “Dumb Ways to Die” (2012)

The goal of public service announcements is to change people’s behavior, or inspire action, usually through a shocking or impactful message. While there have been some memorable  awareness campaigns  over the years, few are as funny — or as popular — as Metro Trains Melbourne’s “Dumb Ways to Die.”

The video ad features a catchy song and cute animated characters being killed in a variety of absurd ways. The message is simple: Be safe around trains. The campaign was a  massive hit , becoming the  most awarded campaign  in the history of Cannes and racking up more than 164 million views on YouTube to date. Popular spin-off content like a mobile game, toys, and a children’s book soon followed, extending the reach of the campaign.

Best of all, it seems to have been successful in its main goal of improving safety around trains — Metro  credited  the campaign with reducing the number of “near-miss” accidents by more than 30%.

6. Chipotle: “Back to the Start” (2011)

Set to Willie Nelson’s cover of Coldplay’s “The Scientist,” Chipotle’s first national TV commercial follows a farmer’s journey from industrialized farming to adopting more sustainable practices.

Though the award-winning two-minute ad was released online and played in movie theaters months earlier, it wasn’t until it aired during the Grammy Awards in early 2012 that it picked up steam. Impressively, many  critics and viewers  agree that the stop-motion commercial upstaged Coldplay’s actual performance at the Grammys that night.

7. Honda: “Paper” (2015)

Honda’s commercial ad “Paper” takes us through the automaker’s 60-year history, beginning with founder Soichiro Honda’s idea for using a radio generator to power his wife’s bicycle. The  idea behind the ad  was to demonstrate “Honda thinking” and “all the people that touch our wide range of products along the way.”

Directed by PES, the Emmy Award-winning ad was created over four months, incorporating thousands of hand-drawn illustrations by dozens of illustrators and animators. The paper flipping was captured using stop-motion techniques, with real people carefully manipulating each image, one frame at a time.

8. John Lewis: “The Bear and the Hare” (2013)

UK retailer John Lewis’ annual Christmas campaign has become something of a tradition, signaling the start of the holiday season in Britain. Set to Lily Allen’s cover of Keane’s 2004 hit “Somewhere Only We Know”, this two-minute advert from 2013 combines stop motion and traditional hand-drawn animation by Disney veterans.

The result is a heartwarming story of two unlikely animal friends sharing Christmas. The ad campaign won a number of  awards , racked up millions of views, and was credited with  boosting sales of alarm clocks by 55%  in the week following its launch.

You don’t need to be an animator to create your own animated commercials and videos. Biteable makes it easy with hundreds of professionally-designed, animated video templates.  Get started here.

Weird commercials

There are ads that make you laugh, ads that make you cry, and then there are those ads that make you say “Wait, what?” These next examples of weird commercials fall squarely in the last category.

While there are  vintage examples  of  bizarre ads , many experts agree that we largely have the Super Bowl — and advertisers’ never-ending quest for online virality — to thank for the relatively recent rise of  “oddvertising.”

9. E-Trade: “Monkey” (2000)

A chimpanzee in an E-Trade t-shirt stands on a bucket in a suburban garage, lip-syncing “La Cucaracha” as two off-rhythm, flannel-clad seniors clap along. Then it ends with a hilariously meta tagline.

A favorite of experts over at  Ad Week , this subversive 30-second spot originally aired during the 2000 Super Bowl. At the time,  Ad Age  praised it as “Impossibly stupid, impossibly brilliant.” We’d have to agree.

10. Calvin Klein: “Obsession” (1986)

Perfume commercials are  widely known  for being bizarre — and they’re regularly the subject of parody as a result. This next commercial example, Calvin Klein’s “Obsession” series of ads from the 1980s, is no exception. Channeling art house cinema and the films of Ingmar Bergman, these ads were dreamlike, highly stylized, and, yes, somewhat incomprehensible.

And, true to form, the ad was famously lampooned by  Saturday Night Live , in the show’s pitch-perfect “Compulsion” sketch.

11. Mountain Dew: “Puppy Monkey Baby” (2016)

Finally, we’d be remiss to leave out this somewhat nightmare-inducing Super Bowl ad from Mountain Dew. The soda company’s 2016 ad for its Kickstarter drink generated a  massive response  when it aired, earning 2.2 million online views and 300,000 social media interactions in one night.

Viewers were split. Some found the ad and its CGI mascot to be hilarious, while others thought it was creepy, annoying, or stupid. But the overall consensus? It definitely grabbed your attention.

Heartfelt Commercials

There’s no shame in crying at commercials, and in some cases you’d need a heart of stone to avoid it. No, we won’t make you watch Sarah McLachlan’s  heart wrenching ASPCA ads , but you may still want to have some tissues handy for the emotional commercials below.

12. Extra: “Origami” (2013)

A parent-child relationship, a “time flies” theme — it’s a tried and true formula for tearjerker commercials. While there are more than a few heartwarming examples out there, this one-minute spot for Wrigley’s Extra gum is a sweet standout.

Starring a father, a daughter, and some gum-wrapper cranes, it’s a touching, nearly wordless commercial that’s about much more than gum.

13. WATERisLIFE: “Kenya Bucket List” (2013)

Due to unsafe drinking water, 1 in 5 children in Kenya won’t reach the age of 5. That’s the premise behind this moving awareness video from clean water nonprofit WATERisLIFE.

We follow an adorable 4-year-old Maasai boy named Nkaitole who’s never left his village, as he goes “on an adventure to do all the things he’s always wanted to do before he dies.”

It’s a beautiful and heartbreaking way to drive home the message that Nkaitole, and thousands of children like him, are in dire need of safe water.

14. IAMS: “A Boy and His Dog Duck” (2015)

Here’s another that falls squarely into the coming of age, life is short category — this time for the dog lovers. Starring a cute little boy and a dog named Duck, we watch as the two grow older, side by side, and eventually learn how the pup got his unusual name.

No, IAMS isn’t exactly breaking new ground here. Yes, it’s a bit emotionally manipulative. And yes, you might just cry anyway.

15. Thai Life Insurance: “Unsung Hero” (2014)

In parts of Asia, Thailand in particular, advertisers seem to be all about making viewers cry. One company, Thai Life Insurance, is  especially well-known  for producing massively popular, touching commercials.

“Unsung Hero,” created by Ogilvy & Mather Bangkok, is just one example, and it’s one of the  less depressing  ads the brand has put out. The agency says that making people cry isn’t their “main objective.” The purpose is to inspire people to “appreciate the value of life, which is a core value of the brand.” Tears, it seems, are just a common side effect.

16. Best Super Bowl commercials

For millions of Americans, the Super Bowl is really about the commercials. While older viewers tend to still be interested in the game,  one poll  found that the majority of viewers under 30 prefer the ads to the halftime show or the action on the field.

Advertisers are well aware of this fact. Every year, the ads get more over the top — more celebrity cameos, more elaborate special effects — and every year the cost to reach that ad-loving audience increases. In 2018, the cost for a 30-second spot during Super Bowl LII  topped $5 million.

We could go on and on with examples of great Super Bowl commercials, but here are a few of the very best.

17. Apple “1984” (1984)

Directed by Ridley Scott, Apple’s ad references George Orwell’s novel, Nineteen Eighty-Four, positioning the company’s soon-to-launch personal computer as the hero that would free us from “Big Brother” (possibly a jab at Apple’s rival, IBM.)

The full 60-second spot aired just once, during Super Bowl XVIII in January 1984, but its influence has extended far beyond. It’s been credited with being the ad that made Super Bowl commercials “a thing” in the first place. The  Clio Awards  (kind of like the Oscars of advertising) put it to their Hall of Fame while Ad Age named it the  #1 Super Bowl commercial of all time.

18. Coca-Cola: “Hey Kid, Catch!” (1979)

A cute kid, a sports legend, a sweet moment — Coca-Cola’s “Hey Kid, Catch!” commercial is perhaps the quintessential Super Bowl ad. Debuting in 1979, it most notably aired during Super Bowl XIV in 1980.

Starring NFL legend ‘Mean’ Joe Greene, the ad won a Clio award and was so popular it was later the inspiration for the 1981 made-for-tv movie “The Steeler and the Pittsburgh Kid.”

But its impact was even more profound for some viewers.  According to the copywriter  responsible for the script, “Joe was perhaps the first black male to appear in a national brand commercial, and it had a profound effect at the time. The letters we got were full of gratitude and excitement.”

19. Monster.com: “When I Grow Up…” (1999)

According to  Ad Age , prior to this commercial airing, Monster.com was getting around 1.5 unique visitors each month. In the months that followed, they averaged 2.5 million visitors.

Filmed in stark black and white, the commercial parodied the aspirational ads companies like Nike are known for, with kids matter-of-factly stating they wanted to “be replaced on a whim” and “claw my way up to middle management.” A dead-on send-up of corporate America, it is at once wry, unconventional, funny, and motivating. And overnight, it transformed Monster’s brand and won a number of industry awards along the way.

20. Volkswagen: “The Force” (2011)

7 years after it originally aired, Volkswagen’s commercial for its 2012 Passat remains the  most watched  Super Bowl ad of all time. The ad struck a perfect balance — a beloved movie franchise, a tiny kid dressed up as an iconic villain, a cute family moment, a humorous payoff.

And it benefited even more from the approach the car company and their agency, Deutsch, took in releasing it. The conventional advertising wisdom at the time was to keep Super Bowl ads under wraps until the big game. Volkswagen opted to put the spot on YouTube four days ahead of time. The ad got 1 million views overnight, and 16 million more before the game had even started.  According to Deutsch , it had “paid for itself before it ever ran” and went on to pick up multiple Cannes and Clio awards.

Bonus: Editable commercial templates

Now that we’ve sparked your creativity with all these juicy commercial examples, we can’t just leave you hanging! (That’s not our style.) Here are two editable commercial templates you can use to make your own commercial ads.

You’ll find plenty more choices in Biteable’s marketing video templates library .

Real estate commercial ad template

Use Biteable’s intuitive editing tools to make this real estate commercial video your own in minutes.

Funny dog commercial

Those puppy dog eyes get us every time. No matter what you’re selling, this commercial template does the trick.

Go beyond commercial examples: make your own ad with Biteable

We hope this roundup of the best commercial examples up has been inspiring — or at least entertaining. Remember that you don’t have to have a Super Bowl budget to make an effective ad.

All you need is  Biteable .

Biteable’s easy-to-use video maker comes stocked full of brandable video templates, ready-to-edit scenes, and over 24 million stock clips, images, and animations. Upload your own footage in minutes, auto-brand your commercial ad with a single click, and get ready to make some noise.

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Advertisement Analysis Essay: Steps, Tips, Insights, & Example

Conventional selling methods that entail rational thoughts are no longer effective.

Today, advertisements that motivate the viewer or reader to take deliberate action stimulate emotion.

Therefore, knowing how to write an advertisement analysis essay correctly is an essential skill that all marketing or business students should master before graduation.

Advertisement analysis essays, also known as ad analysis essays, are quite popular among students.

Such essays are more about ad reviewing and have a specific format that should be adhered to.

What is an advertisement analysis essay, and how do you correctly write one? Keep on reading to find out more.

What is an Advertisement Analysis Essay?

An advertisement analysis essay is an academic essay that needs the student or writer to study an advert properly.

The essay is typically written about a television or print commercial, and it aims to disclose any hidden messages featured in the advertisement which might be misleading or false.

This can be achieved through studying different aspects like gender, used color schemes, age of the target market, and even the genre of music featured, among other things.

For instance, you can highlight how advertising primarily gives males dominant positions over women through virtually all details displayed in the advert.

A counterpart will then have to examine the same advert from the standpoint that it treats both genders equally, thus eliminating any preconceived thoughts about gender discrimination.

Nonetheless, even though ad analysis essays focus on specific works, whether visual or print, the analysis can be stretched to cover how media is used in audience manipulation.

You can, for instance, have an ad analysis essay that compares and contrasts gender roles across different ads or TV programs like soap operas and commercials.

And one great advantage that this kind of essay has over other essays written on the same topic is its ability to use several sources in backing and supporting an argument, and this not only shows that you have conducted thorough research on the topic but also proves your point.

Steps for Writing a Critical Analysis Essay for an Advertisement

Writing an advertisement essay is as simple as keenly reading or observing the advert and then interpreting its meaning to the target audience or exploring how well a brand or a company uses the Ad to achieve its marketing functions.

Today, there are many ways to run adverts apart from print media. Online platforms such as Facebook, TikTok, Instagram, and YouTube allow influencers, companies/brands, and marketing agencies to run different ads. Besides, there is also a choice of running ads on commercial TV or radio.

Like a standard academic essay , specific steps should be followed when writing an ad analysis essay.

Below are the steps involved in writing an ad analysis essay like a pro!

Step One: Analyze The Chosen Ad

You can look through magazines or newspapers to find one to discuss if not already provided. Pick an advertisement you understand and have sufficient background information on. Knowing the different parts of an ad and a few advertising methods will help you develop a comprehensive analysis and informative essay.

What five parts of an ad should you look out for? They are;

• A captivating headline
• Relatable color schemes, images, as well as packaging that capture the consumer's interest
• Marketing the benefits
• A call to action
• A memorable tagline

When assessing the advertisement, observe specific factors like the language, graphics, target audience, message, and cultural significance. In addition, the utilized advertising techniques should also be examined.

Step Two: Use Your Introduction to Introduce the Ad

The first sentence of your introduction should be an attention-grabber/hook that attracts your readers. It can be a statement, observation, statistic, or fact.

After selecting and analyzing the specific advertisement, utilize your essay's introduction to offer background details on the service or product presented in the ad.

Next, give a short analysis of the ad's history, mention why the advert seems better than others, and discuss the target audience.

Step Three: Add Your Thesis Statement

Utilize your thesis to mention what the essay will highlight and what the selected advert is doing about achieving its goal. The thesis statement should include the ad's message, whether it is implicit or explicit.

Make sure that the thesis statement is the last sentence in your introduction. A good thesis statement lets the reader know your standpoint before reading the entire essay.

Step Four: Discuss One Point Per Paragraph

Each body paragraph featured in the body of your essay should discuss one central point. For example, you can discuss the ad's creativity in one paragraph and then discuss the methods used to capture attention in another paragraph. This should be elaborate right from your topic sentence to the concluding sentence.

Generally, the body paragraphs should examine the ad and utilize statistics, facts, research, and examples to demonstrate how the advert leads to a specific outcome.

You can, for instance, quote any sensitive language used. Moreover, the body of your essay should explain how the advertising strategies used work and why they were chosen for that particular audience.

You can also compare and contrast the models used in the advert compared to adverts used by competitors to bring in the critical aspect that encouraged a good scholarly discussion.

You should also identify the loopholes in the market that need to be addressed or if there are needs of the target audience that the advert failed to meet.

Every suggestion you make on the advert should be objective and generalized so that the readers can themselves make a subjective opinion.

Do not forget to include examples as well. Besides, you should cite any information you borrow from scholarly sources to avoid plagiarism.

Step Five: Conclude Your Essay

In the essay's conclusion paragraph , summarize your essay, mentioning some of the main points you discussed earlier. You will also need to restate your thesis statement. Remember that the conclusion is one of the most critical parts of your essay. You, therefore, should make sure that it is memorable.

Take advantage of conclusion paragraph starters to write a perfect conclusion that resonates with your readers.

• How to write an outstanding compare and contrast essay . 
• How to write an analytical essay.
• Case study writing process (guide) for college/university students.

Structure of an Ad Analysis Essay

Introduction

The introduction should mention what the advertisement is for. You should summarize the ad's context, name the product or company, and give your thesis statement. The introduction can be written in any of these techniques; an interrogative introduction, narrative introduction, inverted triangle introduction, minding the gap introduction, or a paradoxical introduction.

Your thesis statement should also clarify what the ad is about and who the intended target audience is. Note that the thesis statement should be placed at the end of the introduction. A good thesis statement includes the following:

• Explicit messages ; the obvious and clear messages
• Implicit messages ; the hidden messages. They include the promises made by the ad to the consumer.

Your essay's body paragraphs should utilize evidence from the advertisement to prove the thesis statement. Make sure to include the following in your body paragraphs:

• A short description of the advertisement. You should present an impartial description of the ad's features. You can explain the ad's appearance, what or who is featured, and the different colors used. Remember that this segment should only describe what the reader or reviewer would see, not how the advert works.
• Discuss the target audience and the publication where the ad appeared. Explain what particular group of people the advert is targeting. You should include the race, education, age, sex, class, and marital status of the intended audience.
• Logical appeals/logos. Clearly explain how the advertisement applies logos to appeal to its target audience. Include a few paragraphs to communicate the advert's use of logos.
• Emotional appeal/ pathos. Elaborate on how the advertisement applies emotional appeals to charm its target audience. Include a few paragraphs to communicate the advert's use of pathos.
• Ethical appeals/ ethos. Clearly explain how the advertisement applies ethos to appeal to its target audience. Include a few paragraphs to communicate the advert's use of ethos.

You should provide a brief summary of your essay, mentioning some of the points you discussed earlier. You will need to restate your thesis statement and remember that the conclusion is one of the most critical parts of your essay.

The conclusion should also explain the ad's cultural significance. Mention the attitudes, beliefs, and values the advertisement seeks to meet.

Ad Analysis Essay Outline

It is vital to develop an essay outline before you start writing your paper, and the outline will serve as a plan for how you intend to approach it. Below is an advertisement analysis essay outline template you can use for your assignment.

• The name and purpose of the ad. Include the brand and authors.
• Summary of ad's context.
• Relevant background information about the company or organization featured in the ad.
• The thesis statement.
• The ad's impact on the target audience.

Body paragraphs

• Proof of the ad's effectiveness on the intended audience.
• Mention a few examples (only where applicable).
• Discuss the components of the ad.
• Discuss the approach used by the advertisers.
• Discuss the impact of the advertisement on its audience.
• Logos, pathos, and ethos of the advert.
• Visual and textual strategies used in the ad.
• In case it is a comparison, discuss the similarities and differences.
• Restate the thesis statement.
• Mention what makes the ad stand out.
• Discuss the intention of the ad.
• Give a general reflection on the advertisement and wrap things up with your opinion.

Follow our guidelines, and you can rest assured of having a perfect ad analysis essay!

Sample Advertisement Analysis Essay

Garnier Fructis Shampoo Advertisement Analysis Essay Introduction Fructis Shampoo is one of the major products manufactured by Garnier, an American company. During one of its promotions to market the product, Garnier posted an advertisement for the shampoo in an issue of Cosmopolitan magazine. The ad focuses on a woman's beauty and how important her hair is to her general appearance in society. Like all other ads, the aim of this ad is to convince consumers to buy the product. Per se, the Fructis Shampoo by Garnier ad seeks to appeal to the target market via implicit messages, audience targeting, cultural significance, language, and graphics. Advertisement Analysis (The Body) Women between the ages of 18 to 40 comprise the bulk of Cosmopolitan magazine's target audience. Most of the magazine's readers are enthusiastic about beauty, fashion, and love. The magazine also features different articles on romance, weight loss, and famous personalities. Grownup females mainly read the magazine to be enlightened about current events and to discover solutions to their relationship and physical appearance problems. Through addressing beauty issues, particularly those that involve a woman's hair, this advertisement strongly appeals to women in this target group via implicit messaging. Most American women place great significance on the appearance of their hair and are constantly searching for services or products that will allow them to align their hair to the latest trends in fashion (Zahra et al., 2022). This ad attempts to capitalize on women's worries about their hair by promising them a "great" solution that will enhance their beauty and boost their self-esteem. Therefore, the implicit messages of this ad promise a woman beauty, strength, and confidence. The language employed in the ad expresses ideas about confidence and strength and boosts the promotion of beauty principles. The advert reads "sleek and shine" written in bold. Ladies often link these phrases with good things since American society highly values sleek and shiny hair. The ad is, however, vague regarding how much shine someone's hair will get following the use of the shampoo. In addition, the ad doesn't also define the term "sleek." And even though these two adjectives are appealing, they are useless as the ad does not mention the "shine" and "sleek" levels that the customer should anticipate. So, even though the ad's phrasing has logical appeal or logos (Elfhariyanti et al., 2021), it seems to convey unsupported information about the shampoo. Unfortunately, most readers don't take a moment to consider the significance of these two terms. The graphics utilized in the advert use pathos by emotionally appealing to the intended group. The gorgeous long-haired model featured on the page is the ad's main subject. The model seems to display qualities that most ladies wish to possess. She has long, shining hair, an oval, blemish-free face, and a slim, tiny body. She also appears to be giving the reader an enigmatic, seductive gaze. The model is a woman the magazine readers imagine is sought-after by men and venerated by women, given that she resembles several other women in TV commercials, movies, and shows (Johnson, 2012). As a result, this ad tends to leave the reader with specific ideas about how a woman should physically look to be deemed desirable and beautiful as per the American Culture. With regard to cultural significance, the ad tends to emphasize the importance of physical beauty in American culture, just like other TV programs and adverts do. The ad seems to imply that a lady may only be considered beautiful if she bears similar physical features as the woman featured in the advert. This ad implies that women can only feel secure about their bodies if they have a specific external appearance. Whereas some individuals think a woman ought to be strong, this Garnier ad insinuates that a woman's strength lies in her beauty as per societal standards. And just like other beauty ads, this particular one uses women's insecurities about themselves to get them to purchase cheap products. Ultimately, such advertising highlights a woman's outward beauty while completely overlooking her internal traits like compassion and intelligence. Conclusion The discussed Garnier Fructis shampoo advertisement uses particular appeal elements to draw the target audience's interest hopefully. These elements include implicit messaging, audience targeting, cultural significance, and language and graphics. Even though the use of these particular elements creates considerable appeal to potential buyers, some of these elements depict an exaggerated value of external beauty at the expense of internal beauty. The ad also seems to convey unsubstantiated facts about the product being sold. Therefore, even though the advertisement does a great job of appealing to the target audience, it can be improved to consider women's inner beauty and provide more factual information. References Elfhariyanti*, A. A., Ariyanti, L., & Harti, L. M. (2021). A multimodal analysis: Construing beauty standard in shampoo advertisement.� Pioneer Journal of Language and Literature ,� 13 (1), 134-147. Johnson, F. L. (2012).� Imaging in advertising: Verbal and visual codes of commerce . Routledge. Zahra, G. E., Rehan, M., Hayat, R., & Batool, A. (2022). Construction of beauty concept by beauty product advertisements: A critical discourse analysis.� Journal of Archaeology of Egypt/Egyptology, � 19 (3), 789-804.

How to Start an Advertisement Analysis Essay

Begin by introducing your thesis by explaining the product you picked as your essay's sample. Thoroughly analyze the product and ask your reader or reviewer if they are familiar with the development of the advertised work.

Note that you do not have to agree with the advertisement's implicit message. Discuss your claims in the essay, as there are no wrong or correct answers about the ad's implicit message. However, you will have to support your claims with reasonable arguments.

Next, inform your reader why the advertising company opted to adopt that approach of advertisement for the product you just discussed, given that there are several other modes of advertising. You should aim to detail why and how the company uses that advertisement mode.

Proceed to compare the organization's present ad model with the previous one(s) and its influence on the product's market, loss, or growth. An ad analysis will bring to light the loopholes and gaps in the market. It is vital always to generalize your remarks in the essay so that the reader can form their judgments personally, without your personal views affecting their decision.

Keep in mind that there are different target markets based on the product. Therefore, you must utilize the appropriate methods to communicate your message.

How to Conclude an Ad Analysis Essay

The essay conclusion should include the product's summary, the advertising mode, and how it has affected market changes. To properly conclude your ad analysis essay, summarize the most critical points of your essay. And most important is to restate your thesis statement without using the exact words in the introduction.

You should also rephrase the thesis statement as part of your concluding paragraph to complete the information loop and offer your readers closure.

In addition, mention whether or not the ad achieved its goal of informing, entertaining, or persuading its target audience. And without adding any new information, including one last sentence to leave the reader with something to ponder.

Tips to Write the Best Essay on an Advertisement

• Introduce the subject that you will be advertising. The readers of your analysis might be unfamiliar with the product or service you are discussing. Therefore, introducing it early enough in your essay will make it much simpler to understand. Regardless of the popularity or content of the advertisement, it would help if you gave a brief description of the ad so that everyone has a clear idea of what will be discussed in the essay.
• Establish what audience you'll be addressing. It is vital to know who you are writing to as this will allow you to focus your essay's content appropriately and permit you to draw special attention to those aspects your readers will be most interested in.
• Understand the purpose of the advert and your main reason for writing an analysis essay about that specific advert. Correctly understanding the ad's intent goes a long way in producing a well-structured paper.
• Take time to create an essay outline before you start writing your essay. Note that the contents of your essay need to be presented in a specific order, so you should plan this sequence before you begin writing the essay itself.
• Keep things simple when writing your essay. Avoid the use of complicated jargon. This will make reading more enjoyable and also meaningful.

Summing Up!

Writing an advertisement analysis essay does not have to be as troublesome as you suppose. Rather, it is an interactive process that enables you to get into the creators' minds, explore how well they did their craft, and suggest areas for improvement if needed.

When analyzing an advert, you need to identify the advertisement's rhetorical appeals (ethos, logos, and pathos). You must also analyze the target audience to determine its values, preferences, attitudes, intentions, and beliefs.

Think about the effects or potential purpose of the advertisement using diction, tone, language, and presentation.

You should be critical enough to determine the rhetoric behind the symbols and non-verbal cues and relate them to the specific brand and the target audience.

Now that you have the facts and access to tips, steps, and a written sample advert analysis essay, you are on the right track. However, sometimes many things come our way, limiting our chances to complete writing essays.

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16 Drafting Your Ad Analysis

Dr. Karen Palmer

Now that you have a solid outline, it’s time to start writing your ad analysis paper! Here we will work through fleshing out each part of your outline–turning your outline into a full draft.

Introduction

The first part of your paper is your introduction. You may remember from the Writing Formula chapter that an introduction consists of three main parts: the hook, the introduction to the topic, and the thesis. Let’s begin with the hook. A hook does two jobs–it connects the topic of your paper to your readers, and it attempts to capture their attention.

This video highlights some of the most common techniques for writing a good hook:

Now that you have a general idea of what a hook does, let’s focus in on the kind of hook that would be most useful for your ad analysis essay. Let’s say you are doing an analysis on that milk ad we discussed earlier in the text.

Strategy 1: Connect to the topic of the ad: milk. You could say something like, “Do you drink milk?” But…would that really draw in readers? Surely, there is a better way to grab the attention of our audience.

Strategy 2: Connect to the broader topic of advertising. Here you might say something like, “Advertisers are always trying to get our attention.” Sure, this is a broad opening to the paper, but is it really going to make anyone interested in the topic?

A good idea is to brainstorm some current events or topics that link to your ad. A brainstorming list for this milk ad could include lactose intolerance, the concept of looking at TV sitcom characters as role models, the changing role of mothers, and even the pressure placed on moms (and women in general)  to be perfect. Choose something that appeals to you and that illustrates a theme that runs through the ad. When brainstorming with my classes, we often land on the idea of perfection with this particular milk ad. It makes a compelling frame for the paper.

Introducing the topic is just that–letting readers know what the paper will be about. ie An ad for ________ located in _________ magazine illustrates this concept. Note that you need to include the specific product advertised in the ad, the name of the magazine in which the ad is located, and include a connection/transition to your hook.

Finally, the last sentence of your introduction is your thesis. Here you make your argument. While you already wrote a thesis for your outline, you want to double check that the thesis connects in some way to your hook. Our example thesis is: “The advertisers successfully persuade the consumer that milk will make them a great mom by using nostalgia, milk branding, and the image of ideal motherhood.” We might make a slight adjustment here to make the connection a bit more explicit: “The advertisers play on the desire of moms to fulfill an image of perfection by using nostalgia, milk branding, and the image of ideal motherhood.”

In the ad analysis, our background consists of two different sections: the description and the discussion of context.

Description

Remember that your audience cannot see the ad you are discussing. If you were in a room presenting to your audience, you might project an image of the ad up on a screen. Since we can’t do that in an essay, we need to describe the ad for our readers. Essentially, you want your readers to be able to draw a basic picture of your ad–or at least visualize it accurately in their minds.

This video from James Rath discussing how people with visual impairments see images on social media gives an important life reason for learning how to write solid image descriptions:

Here are some good tips for writing a description of an image:

1. Start by giving readers a one sentence overview of the ad. For our milk ad, that might be, “In this ad, three mothers from iconic sitcoms sit side by side in a beauty parlor under old-fashioned hair dryers.”

2. Determine in advance how you want readers to see the image–do you want them to look at the image left to right? Foreground to background? Clockwise? Bottom line here–don’t make readers minds jump around from place to place as they try to visualize the image.

3. Choose the key elements. You don’t have to describe every single thing in this paragraph. Tell readers who the three moms are and what show they are from. Give enough basic details so that readers know the setting is old-fashioned. Remember, you’ll be able to bring forward more detail as you analyze the ad in the body of your paper. Readers don’t need to know what color a person’s eyes are unless it’s a key part of the ad.

4. Don’t forget the text! While you should not write every word in the ad in your description, especially if there are lengthy paragraphs, you should include a brief overview of the text. ie placement, basic overview Again, you’ll be able to give specific quotes that are relevant to your analysis in the body of your paper.

5. Write in present tense!

The context of an ad really focuses on the audience of the ad. Remember that advertisers very carefully consider the audience for their product and create their advertisements to best reach that target audience. Let’s look at this from the perspective of a company looking to place an ad:

So, if an advertiser goes to this much trouble to determine the demographics of their target audience, it’s obviously important! The ad (unless perhaps it was published by an inexperienced advertiser) is not “for everyone.” An ad in Newsweek , no matter how childlike it appears, was not created for children. It was created for the audience who will purchase and read this magazine. When we do an ad analysis, we want to share similar information with our readers. What magazine is the ad placed in? What is the general focus of that publication? What kinds of articles appear in the publication? What general types of ads appear? In short, who is the audience? Of course, you can look at a magazine and get some of this information. You can also do a quick online search for the demographics of the magazine or for their media kit, which is what advertisers look at prior to purchasing advertising space to ensure the magazine is a good fit for their ad.

Now that you have the background out of the way and your audiences thoroughly understand the topic, it’s time to begin your analysis. Your thesis should have given at least three advertising strategies used in the ad. Your paper should include a paragraph for each one of those strategies.

Topic Sentence

The topic sentence should echo the wording of the thesis and clearly introduce the topic. For example, “One way the advertisers use the concept of the perfect mother to convince readers to purchase milk is by using iconic mothers from television shows.” For your next paragraph, you’d want to be sure to include a transition. For example, “Another way” or “In addition to” are both phrases that can be used to show that you are building onto your previous paragraph.

In this part of the paragraph, you want to give specific examples from the ad to support your point.

First, you should introduce the example. “The three moms from iconic tv shows are the focus of this ad.”

Next, you should give specific examples from the ad–this could be pointing out particular details about the images in the ad or quoting from the text–or both! For example, for the milk ad, you might give the specific names of the characters and the shows they are from. You might point out that every detail of their outfits are perfect. That they are wearing makeup and jewelry. That they have their wedding rings prominently focused in the image. You might also quote text, like the line from the ad that says, “Another all-time great mom line.”

Finally, wrap up your examples with a clear explanation of how the example proves your point. For example, you might say that, especially in modern times, it is very difficult for mothers to live up to the standard of perfection set by these three television moms. You might explain how causing readers to feel “less than” sets the stage for them to accept the premise that giving their children milk will make them more like these TV moms.

The wrap up for your paragraph is similar to the wrap up for the evidence provided. Here you want to reiterate your thesis in a simple sentence. For example, you might say, “Using the images of these iconic moms convinces moms that, in order to be a good mom, they must buy milk for their children.”

The conclusion of your paper is essentially a mirror image of your introduction. Think of your paper as an Oreo cookie. The introduction and the conclusion are the cookies that surround the best part–the body of the paper. Like the cookie outsides of the Oreo, the introduction and conclusion should be mirror images of each other.

1. Start with re-stating the thesis.

2. Reiterate the topic.

3. Return to your hook and elaborate.

Unlike an Oreo, the conclusion should not simply copy your introduction word for word in a different order. Try to restate your sentences in a different way. Elaborate on your hook so that you leave readers with something to think about!

 Content written by Dr. Karen Palmer and is licensed CC BY NC.

The Worry Free Writer Copyright © 2020 by Dr. Karen Palmer is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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The Price Is Right

Ever since the finale of “Mad Men,” I’ve been meditating on its audacious last image. Don Draper, sitting cross-legged and purring “Ommmm,” is achieving inner peace at an Esalen-like retreat. He’s as handsome as ever, in khakis and a crisp white shirt. A bell rings, and a grin widens across his face. Then, as if cutting to a sponsor, we move to the iconic Coke ad from 1971—a green hillside covered with a racially diverse chorus of young people, trilling, in harmony, “I’d like to teach the world to sing.” Don Draper, recently suicidal, has invented the world’s greatest ad. He’s back , baby.

The scene triggered a debate online. From one perspective, the image looked cynical: the viewer is tricked into thinking that Draper has achieved Nirvana, only to be slapped with the source of his smile. It’s the grin of an adman who has figured out how to use enlightenment to peddle sugar water, co-opting the counterculture as a brand. Yet, from another angle, the scene looked idealistic. Draper has indeed had a spiritual revelation, one that he’s expressing in a beautiful way—through advertising, his great gift. The night the episode aired, it struck me as a dark joke. But, at a discussion a couple of days later, at the New York Public Library, Matthew Weiner, the show’s creator, told the novelist A. M. Homes that viewers should see the hilltop ad as “very pure,” the product of “an enlightened state.” To regard it otherwise, he warned, was itself the symptom of a poisonous mind-set.

The question of how television fits together with advertising—and whether we should resist that relationship or embrace it—has haunted the medium since its origins. Advertising is TV’s original sin. When people called TV shows garbage, which they did all the time, until recently, commercialism was at the heart of the complaint. Even great TV could never be good art, because it was tainted by definition. It was there to sell.

That was the argument made by George W. S. Trow in this magazine, in a feverish manifesto called “Within the Context of No Context.” * That essay, which ran in 1980, became a sensation, as coruscating denunciations of modernity so often do. In television, “the trivial is raised up to power,” Trow wrote. “The powerful is lowered toward the trivial.” Driven by “demography”—that is, by the corrupting force of money and ratings—television treats those who consume it like sales targets, encouraging them to view themselves that way. In one of several sections titled “Celebrities,” he writes, “The most successful celebrities are products. Consider the real role in American life of Coca-Cola. Is any man as well-loved as this soft drink is?”

Much of Trow’s essay, which runs to more than a hundred pages, makes little sense. It is written in the style of oracular poetry, full of elegant repetitions, elegant repetitions that induce a hypnotic effect, elegant repetitions that suggest authority through their wonderful numbing rhythms, but which contain few facts. It’s élitism in the guise of hipness. It is more nostalgic than “Mad Men” ever was for the era when Wasp men in hats ran New York. It’s a screed against TV written at the medium’s low point—after the energy of the sitcoms of the seventies had faded but before the innovations of the nineties—and it paints TV fans as brainwashed dummies.

And yet there’s something in Trow’s manifesto that I find myself craving these days: that rude resistance to being sold to, the insistence that there is, after all, such a thing as selling out. Those of us who love TV have won the war. The best scripted shows are regarded as significant art—debated, revered, denounced. TV showrunners are embraced as heroes and role models, even philosophers. At the same time, television’s business model is in chaos, splintered and re-forming itself, struggling with its own history. Making television has always meant bending to the money—and TV history has taught us to be cool with any compromise. But sometimes we’re knowing about things that we don’t know much about at all.

Once upon a time, TV made sense, economically and structurally: a few dominant network shows ran weekly, with ads breaking them up, like choruses between verses. Then came pay cable, the VCR, the DVD, the DVR, and the Internet. At this point, the model seems to morph every six months. Oceanic flat screens give way to palm-size iPhones. A cheap writer-dominated medium absorbs pricey Hollywood directors. You can steal TV; you can buy TV; you can get it free. Netflix, a distributor, becomes a producer. On Amazon, customers vote for which pilots will survive. Shows cancelled by NBC jump to Yahoo, which used to be a failing search engine. The two most ambitious and original début series this summer came not from HBO or AMC but from a pair of lightweight cable networks whose slogans might as well be “Please underestimate us”: Lifetime, with “Un REAL ,” and USA Network, with “Mr. Robot.” That there is a summer season at all is a new phenomenon. This fall, as the networks launch a bland slate of pilots, we know there are better options.

A couple of months ago, at a meeting of the Television Critics Association, the C.E.O. of FX, John Landgraf, delivered a speech about “peak TV,” in which he lamented the exponential rise in production: three hundred and seventy-one scripted shows last year, more than four hundred expected this year—a bubble, Landgraf said, that would surely deflate. He got some pushback: Why now, when the door had cracked open to more than white-guy antiheroes, was it “too much” for viewers? But just as worrisome was the second part of Landgraf’s speech, in which he wondered how the industry could fund so much TV. What was the model, now that the pie had been sliced into slivers? When Landgraf took his job, in 2005, ad buys made up more than fifty per cent of FX’s revenue, he said. Now that figure was thirty-two per cent. When ratings drop, ad rates drop, too, and when people fast-forward producers look for new forms of access: through apps, through data mining, through deals that shape the shows we see, both visibly and invisibly. Some of this involves the ancient art of product integration, by which sponsors buy the right to be part of the story: these are the ads that can’t be fast-forwarded.

This is both a new crisis and an old one. When television began, it was a live medium. Replicating radio, it was not merely supported by admen; it was run by them. In TV’s early years, there were no showrunners: the person with ultimate authority was the product representative, the guy from Lysol or Lucky Strike. Beneath that man (always a man) was a network exec. A layer down were writers, who were fungible, nameless figures, with the exception of people like Paddy Chayefsky, machers who often retreated when they grew frustrated by the industry’s censorious limits. The result was that TV writers developed a complex mix of pride and shame, a sense that they were hired hands, not artists. It was a working-class model of creativity. The shows might be funny or beautiful, but their creators would never own them.

Advertisements shaped everything about early television programs, including their length and structure, with clear acts to provide logical inlets for ads to appear. Initially, there were rules governing how many ads could run: the industry standard was six minutes per hour. (Today, on network, it’s about fourteen minutes.) But this didn’t include the vast amounts of product integration that were folded into the scripts. (Product placement, which involves props, was a given.) Viewers take for granted that this is native to the medium, but it’s unique to the U.S.; in the United Kingdom, such deals were prohibited until 2011. Even then, they were barred from the BBC, banned for alcohol and junk food, and required to be visibly declared—a “P” must appear onscreen.

In “Brought to You By: Postwar Television Advertising and the American Dream,” Lawrence R. Samuel describes early shows like NBC’s “Coke Time,” in which Eddie Fisher sipped the soda. On an episode of “I Love Lucy” called “The Diet,” Lucy and Desi smoked Philip Morris cigarettes. On “The Flintstones,” the sponsor Alka-Seltzer ruled that no character get a stomach ache, and that there be no derogatory presentations of doctors, dentists, or druggists. On “My Little Margie,” Philip Morris reps struck the phrase “I’m real cool!,” lest it be associated with their competitors Kool cigarettes. If you were a big name—like Jack Benny, whom Samuel calls “the king of integrated advertising”—“plugola” was par for the course. (Benny once mentioned Schwinn bikes, then looked directly into the camera and deadpanned, “Send three.”) There were only a few exceptions, including Sid Caesar, who refused to tout brands on “Your Show of Shows.”

Sponsors were a conservative force. They helped blacklist writers suspected of being Communists, and, for decades, banned plots about homosexuality and “miscegenation.” In Jeff Kisseloff’s oral history “The Box,” from 1995, Bob Lewine, of ABC, describes pitching Sammy Davis, Jr., in an all-black variety show: Young & Rubicam execs walked out, so the idea was dropped. This tight leash affected even that era’s version of prestige TV. In “Brought to You By,” Samuel lists topics deemed off limits as “politics, sex, adultery, unemployment, poverty, successful criminality and alcohol”—now the basic food groups of cable. In one notorious incident, the American Gas Association sponsored CBS’s anthology series “Playhouse 90.” When an episode called “Portrait of a Murderer” ended, it created an unfortunate juxtaposition: after the killer was executed, the show cut to an ad with the slogan “Nothing but gas does so many jobs so well.” Spooked, American Gas took a closer look at an upcoming project, George Roy Hill’s “Judgment at Nuremberg.” The company objected to any mention of the gas chambers—and though the writers resisted, the admen won.

This sponsor-down model held until the late fifties, around the time that the quiz-show scandals traumatized viewers: producers, in their quest to please ad reps, had cheated. Both economic pressures and the public mood contributed to increased creative control by networks, as the old one-sponsor model dissolved. But the precedent had been established: when people talked about TV, ratings and quality were existentially linked, the business and the art covered by critics as one thing. Or, as Trow put it, “What is loved is a hit. What is a hit is loved.”

Kenya Barris’s original concept for the ABC series “Black-ish,” last year’s smartest network-sitcom début, was about a black writer in a TV writers’ room. But then he made the lead role a copywriter at an ad agency, which allowed the network to cut a deal with Buick, so that the show’s hero, Dre, is seen brainstorming ads for its car. In Automotive News , Buick’s marketing manager, Molly Peck, said that the company worked closely with Barris. “We get the benefit of being part of the program, so people are actually watching it as opposed to advertising where viewers often don’t watch it.”

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Product integration is a small slice of the advertising budget, but it can take on outsized symbolic importance, as the watermark of a sponsor’s power to alter the story—and it is often impossible to tell whether the mention is paid or not. “The Mindy Project” celebrates Tinder. An episode of “Modern Family” takes place on iPods and iPhones. On the ABC Family drama “The Fosters,” one of the main characters, a vice-principal, talks eagerly about the tablets her school is buying. “Wow, it’s so light!” she says, calling the product by its full name, the “Kindle Paperwhite e-reader,” and listing its useful features. On last year’s most charming début drama, the CW’s “Jane the Virgin,” characters make trips to Target, carry Target bags, and prominently display the logo.

Those are shows on channels that are explicitly commercialized. But similar deals ripple through cable television and the new streaming producers. FX cut a deal with MillerCoors, so that every character who drinks or discusses a beer is drinking its brands. (MillerCoors designs retro bottles for “The Americans.”) According to Ad Age , Anheuser-Busch struck a deal with “House of Cards,” trading supplies of booze for onscreen appearances; purportedly, Samsung struck another, to be the show’s “tech of choice.” Unilever’s Choco Taco paid for integration on Comedy Central’s “Workaholics,” aiming to be “the dessert for millennials.” On NBC, Dan Harmon’s avant-garde comedy, “Community,” featured an anti-corporate plot about Subway paid for by Subway. When the show jumped to Yahoo, the episode “Advanced Safety Features” was about Honda. “It’s not there were just a couple of guys driving the car; it was the whole episode about Honda,” Tom Peyton, an assistant V.P. of marketing at Honda, told Ad Week . “You hold your breath as an advertiser, and I’m sure they did too—did you go too far and commercialize the whole thing and take it away from it?—but I think the opposite happened. . . . Huge positives.”

Whether that bothers you or impresses you may depend on whether you laughed and whether you noticed. There’s a common notion that there’s good and bad integration. The “bad” stuff is bumptious—unfunny and in your face. “Good” integration is either invisible or ironic, and it’s done by people we trust, like Stephen Colbert or Tina Fey. But it brings out my inner George Trow. To my mind, the cleverer the integration, the more harmful it is. It’s a sedative designed to make viewers feel that there’s nothing to be angry about, to admire the ad inside the story, to train us to shrug off every compromise as necessary and normal.

Self-mocking integration used to seem modern to me—the irony of a post-“Simpsons” generation—until I realized that it was actually nostalgic: Jack Benny did sketches in which he playfully “resisted” sponsors like Lucky Strike and Lipton tea. Alfred Hitchcock, on “Alfred Hitchcock Presents,” made snide remarks about Bristol-Myers. The audience had no idea that those wisecracks were scripted by a copywriter who had submitted them to Bristol-Myers for approval.

A few weeks ago, Stephen Colbert began hosting CBS’s “Late Show.” In his first show, he pointed to a “cursed” amulet. He was under the amulet’s control, Colbert moaned, and thus had been forced to “make certain”—he paused—“regrettable compromises.” Then he did a bit in which he slavered over Sabra hummus and Rold Gold pretzels. Some critics described the act as satire, but that’s a distinction without a difference. Colbert embraced “sponsortunities” when he was on Comedy Central, too, behind the mask of an ironic persona; it’s likely one factor that made him a desirable replacement for Letterman, the worst salesman on late-night TV.

During this summer of industry chaos, one TV show did make a pungent case against consumerism: “Mr. Robot,” on USA Network. A dystopian thriller with Occupy-inflected politics, the series was refreshing, both for its melancholy beauty and for its unusually direct attack on corporate manipulation. “Mr. Robot” was the creation of a TV newcomer, Sam Esmail, who found himself in an odd position: his anti-branding show was itself rebranding an aggressively corporate network, known for its “blue sky” procedurals—a division of NBCUniversal, a subsidiary of Comcast.

“Mr. Robot” tells the story of Elliott Alderson, corporate cog by day, hacker by night, a mentally unstable junkie who is part of an Anonymous-like collective that conspires to delete global debt. In one scene, Elliott fantasizes about being conventional enough for a girlfriend: “I’ll go see those stupid Marvel movies with her. I’ll join a gym. I’ll heart things on Instagram.” He walks into his boss’s office with a Starbucks vanilla latte, the most basic of beverages. This sort of straightforwardly hostile namecheck is generally taboo, both to avoid offending potential sponsors and to leave doors open for their competitors. Esmail says he fought to get real brands in the story, citing “Mad Men” as precedent, as his phone calls with the network’s lawyers went from “weekly to daily.”

Were any of these mentions paid for? Not in the first season—although Esmail says that he did pursue integrations with brands, some of which turned him down and some of which he turned down (including tech companies that demanded “awkward language” about their features). He’s open to these deals in Season 2. “If the idea is to inspire an interesting debate over capitalism, I actually think (depending on how we use it) it can help provoke that conversation even more,” he said. As long as such arrangements are “organic and not forced,” they’re fine with him—what’s crucial is not the money but the verisimilitude that brands provide. Only one major conflict came up, Esmail said, in the finale, when Elliott’s mysterious alter ego screams in the middle of Times Square, “I’m no less real than the fucking meat patty in your Big Mac.” Esmail and USA agreed to bleep “Big Mac”—“to be sensitive to ad sales,” Esmail told me—but they left it in for online airings. Esmail said he’s confident that the network fought for him. “Maybe Comcast has a relationship with McDonald’s?” he mused. (USA told me that the reason was “standards and practices.”)

“Are you asking me how I feel about product integration?” Matt Weiner said. “I’m for it.” Everything on TV is an ad for something, he pointed out, down to Jon Hamm’s beautifully pomaded hair—and he argued that a paid integration is far less harmful than other propaganda embedded in television, such as how cop shows celebrate the virtues of the state. We all have our sponsors. Michelangelo painted for the Pope! What’s dangerous about modern TV isn’t advertisers, Weiner told me; it’s creatives not getting enough of a cut of the proceeds.

Weiner used to work in network television, in a more restrictive creative environment, until he got his break, on “The Sopranos.” Stepping into HBO’s subscription-only chamber meant being part of a prestige brand: no ads, that gorgeous hissing logo, critical bennies. The move to AMC, then a minor cable station, was a challenge. Weiner longed for the most elegant model, with one sponsor—the approach of “Playhouse 90.” But getting ads took hustle, even in a show about them. Weiner’s description of the experience of writing integrations is full of cognitive dissonance. On the one hand, he said, wistfully, he didn’t realize at first that he could say no to integrations. Yet he was frustrated by the ones he couldn’t get, like attaching Revlon to Peggy’s “Basket of Kisses” plot about lipstick. Such deals were valuable—“money you don’t leave on the floor”—but it was crucial that the audience not know about them, and that there be few.

The first integration on “Mad Men,” for Jack Daniel’s, was procured before Weiner got involved; writing it into the script made him feel “icky.” (Draper wouldn’t drink Jack Daniel’s, Weiner told me.) Pond’s cold cream was a more successful fit. But he tried to impose rules: the sponsor could see only the pages its brand was on; dialogue would mention competitors; and, most important, the company couldn’t run ads the night its episode was on the air. Unilever cheated, Weiner claimed—and AMC allowed it. The company filmed ads mimicking the “Mad Men” aesthetic, making the tie with the show visible. If viewers knew that Pond’s was integrated, they wouldn’t lose themselves in the story, Weiner worried.

In the end, he says, he did only three—Heineken was the third (an integration procured after Michelob backed out). I naïvely remarked that Jaguar couldn’t have paid: who would want to be the brand of sexual coercion? “You’d be surprised,” he said. Jaguar didn’t buy a plug, but the company loved the plot—and hired Christina Hendricks to flack the car, wearing a bright-red pantsuit.

Weiner had spent the Television Critics Association convention talking up “Mr. Robot” and he told me that he was “stunned” by Esmail’s show, which he called American TV’s “first truly contemporary anti-corporate message.” Then again, he said, “show business in general has been very good at co-opting the people that bite the hands that feed them.” NBCUniversal was wise to buy into Esmail’s radical themes, he said, because these are ideas that the audience is ready for—“even the Tea Party knows we don’t want to give the country over to corporations.”

Weiner made clear that Coke hadn’t paid for any integration; he mentioned it a few times. Finally, I asked, Why not? “Mad Men” ended in a way that both Coke and viewers could admire. Why not take the money? Two reasons, he said. First, Coca-Cola could “get excited and start making demands.” But, really, he didn’t want to “disturb the purity of treating that ad as what it was.” Weiner is proud that “Mad Men” had a lasting legacy, influencing how viewers saw television’s potential, how they thought about money and power, creativity and the nature of work. He didn’t want them to think that Coke had bought his finale.

There is no art form that doesn’t run a three-legged race with the sponsors that support its production, and the weaker an industry gets (journalism, this means you; music, too) the more ethical resistance flags. But readers would be grossed out to hear that Karl Ove Knausgaard had accepted a bribe to put the Talking Heads into his childhood memories. They’d be angry if Stephen Sondheim slipped a Dewar’s jingle into “Company.” That’s not priggishness or élitism. It’s a belief that art is powerful, that storytelling is real, that when we immerse ourselves in that way it’s a vulnerable act of trust. Why wouldn’t this be true for television, too?

Viewers have little control over how any show gets made; TV writers and directors have only a bit more—their roles mingle creativity and management in a way that’s designed to create confusion. Even the experts lack expertise, these days. But I wonder if there’s a way for us to be less comfortable as consumers, to imagine ourselves as the partners not of the advertisers but of the artists—to crave purity, naïve as that may sound. I miss “Mad Men,” that nostalgic meditation on nostalgia. But embedded in its vision was the notion that television writing and copywriting are and should be mirrors, twins. Our comfort with being sold to may look like savvy, but it feels like innocence. There’s something to be said for the emotions that Trow tapped into, disgust and outrage and betrayal—emotions that can be embarrassing but are useful when we’re faced with something ugly.

Perhaps this makes me sound like a drunken twenty-two-year-old waving a battered copy of Naomi Klein’s “No Logo.” But that’s what happens when you love an art form. In my imagination, television would be capable of anything. It could offend anyone; it could violate any rule. For it to get there, we might have to expect of it what we expect of any art. ♦

* An earlier version of this article misstated the title of Trow’s essay.

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Rhetorical Analysis of AD

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Analysis of the advertisement, identification of the rhetorical situation, examination of rhetorical strategies, discussion of visual and verbal elements, evaluation of the effectiveness and ethical considerations.

• https://www.apa.org/news/press/releases/2019/08/youth-drinking
• https://www.bbvaopenmind.com/en/are-advertisements-ethically-neutral/
• https://www.researchgate.net/publication/313756541_The_Role_of_Rhetorical_Appeals_in_Advertising_in_Creating_Effective_Messages
• https://search.proquest.com/openview/5f707cbd504cc29e6c63f4e622cd399e/1?pq-origsite=gscholar&cbl=27840

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• Essay on Apple

TV Commercial Essay Example

Type of paper: Essay

Topic: Apple , Advertising , Elections , Business , Competition , Media , Steve Jobs , Marketing

Words: 2750

Published: 03/01/2020

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Analysis of An Ad Campaign: Apple Ipad Advertising

Getting ideas for Advertising Campaign is the most difficult part. In the beginning, one looks at their own reaction to some new technology with some interest. However, beyond a certain age, it gets difficult to garner the same interest for a new change. The insecure advertising agencies particularly practice a mini-version of crowd sourcing all the time. They are threatened with a creative review or are up against a tight deadline. Getting ideas is not only difficult, but it difficult to sell them too (Jeremy, 2012). They need to package by the creative directors and promoted by someone professional. Moreover, the personal authority must have the trust to shoulder the risk. TV remains the most cost-effective and popular vehicle reaches out to masses. Faced with slow economic recovery and higher competition from other players, Apple needs to put more efforts in its ads to deliver the message and break through the clutter. The customers should feel motivated to learn about the products. The future marketing efforts will rely on some Key Strategic Initiatives that should work to increase product relevancy, increase consumption frequency and optimize resources (Ken, 2010). It should also work on improving the price and value relationship of the product. The advertising campaign needs to incorporate all strategic initiatives to ensure successful marketing programs. The tablet market is ultra-competitive and the tablet ad wars are always on (Matthew, 2012). Apple faces real competition, what with the arrival some serious rivals that seem to be growing in numbers all the time. Each of these companies’ are seen to spend huge amounts on advertising. Amazon's Kindle Fire and the Nexus 7 manufacturer Asus claim to have sold millions of devices. The global media spend of Microsoft is already pushing the £1 billion mark. Apple’s mini tablet computer was announced in 2012. It competes with the equally sized Kindle Fire and iPad mini. The Nexus ad branding is heavily male that shows a father and son on a camping trip. Apple's latest, miniaturized iteration of the iPad, iPad mini, is twice the price of the Kindle Fire, its main rival. The iPad mini is smaller and cheaper version of the iPad and is certainly more portable. It is well-matched with all 275,000 apps in the App Store, as its screen resolution is the same as the iPad and iPad 2. Apple has been its worst enemy itself, as per the advertising experts. It has launched the iPad mini, a fourth large iPad, new iPod touch range and a new iPhone. Despite a high-profile TV campaign the difficult economic times and tougher competition could affect sales. It was Apple's desire to offer a more portable iPad for people and thus the iPad Mini was born. The tablet is more portable for people, especially when we find that the full-size iPad can really get in the way. In the ad campaigns, we find Apple making it seem as though the Mini is the same in every way to its larger iPad. However, things are different. For instance, its dual-core processor is not as strong as the iPad (Goyer, 2013). The Mini Wi-Fi-only models do not have built-in GPS and you need to pay $100 for the upgrade. You will not get the amazing colors that you see on the Apple's full-size tablet, as the retina display is missing in the Mini. However, the display on the Mini is really nice and an upgrade from the first-generation iPad. Apple’s mini tablet computer (7.9 inches) was announced on Oct 23, 2012 with a starting price of $329 (16GB). The internal specifications are similar to the iPad 2. The new billboard ad campaign flaunts not just the iPad mini, but also the shared library of 300,000 apps (Apple Insider, 2013). The new ads depict a series of creative applications with simple headline and highlights a specific category of apps. The new ad also draws attention to Apple's strong software lead way ahead of its competitors like Windows Phone, Android, BlackBerry and other mobile platforms. We see that Apple's iPhone and iPad ads are more focused on the functionality. iPad Air The new commercial from Apple entitled “Your Verse Anthem,’ was aired on January 2014 and it shows how people from different strata of life rely on iPad for various needs (Think Marketing Magazine, 2014). The voiceover from the film “Dead Poets Society” in the ad carries a very serious tone, arguing the need for poetry and love over business and engineering. Back in October 2013, Apple ran a ’Pencil’ television spot that flaunted the use of in expeditions, Boardrooms, classrooms and in space. The ad campaign for the iPad Air shows extraordinary use of the tablet in a number of different situations. The groundbreaking nature of the iPad as a digital life companion is portrayed in the ad as we see mountaineers, biologists, choreographers, athletic trainers, filmmakers, making good use of the iPad. "The power of lightness” phrase was use by Apple to promote iPad Air, for its new, thinner and light weight design. The ad focuses on 20 per cent thinner size than the previous generation iPad 4. A product of crash diet, it is just 7.5mm with a ground-breaking design and feels very different, yet comfortable in hands.The Earlier iPad Ad Campaigns1 . iPad The ad for iPad were released on Apr 3, 2010.

“Meet the iPad” was created by the Advertising Agency: TBWA/Media Arts Lab, USA and released under the category of Computers & Computer Accessories, Home appliances. The TV commercial with Apple have always been a great hit.The words on Apple's iPad ad were brilliantly used like - Read it, Tweet it, Be Productive, Make A Sale, Make It Movie Night, Play A Game, Or An Old Favorite, Make Some Lunch, Do It All More Beautifully, etc.Print ads: We saw print ads for iPad in The New York Times, The Economist, Time, Sports Illustrated, The New Yorker, etc. Advertisers showed great interest in iPad introduction and FedEx bought advertising space on the iPad applications from Newsweek, The Wall Street Journal, Reuters, etc. The inevitable buzz around the iPad has always managed to live long. Advertisers such as Korean Air, Toyota Motor Fidelity and Unilever booked space on Time’s iPad.

Outdoor ads:

2. iPad 2The ad for iPad2 was released on Mar 11, 2011. TV commercials: The iPad2 enjoyed 4 TV spots - “We’ll Always” ”We believe” ”If You Asked” ”Now”. The TV ad released by Apple three weeks after the iPad 2 hit stores, takes issue with technology. The message was simple and the customers got the message that the faster, thinner, lighter ipad2 becomes even more delightful with a simple to use technology. The ad got close to 1.5 million views. TBWA\Media Arts Lab is the long-time Apple ad agency that is known for its consistence style. The new ad is quite similar to Apple’s first iPad ad that featured a close-up of a finger. The demand for the new product from Apple soon grew strong and Apple sold out the product on the weekend it was released.

The new iPad 2 commercial shows how the device is changing people’s lives and is improving with every version.

Outdoor ads: The phrase -Thinner. Lighter. Faster was used by apple.com to introduce the iPad 2 and promote it. 3. iPad 3 iPad 3 was released on Mar 16, 2012 and was marketed as “The new iPad”. The Retina display was the ads. The new iPad 3 looks very impressive with new features, although we see that not much has changed in terms of designing, but the iPad 3looks impressive in the ad with its new features. There is an upgrade on speed, power, graphics, etc. The ad focuses solely on the retina display, something that sets the iPad apart from the other tablets in market.

4. Apple iPad mini Apple iPad mini was launched in a number of countries. In order to stimulate the lukewarm response the new Apple iPad mini got, Apple released a television advertisement titled Piano. The ad iPad mini ad targeted middle to upper class masses and particularly the students and business people, aged 18-35, that were technological savvy. The ads were targeting existing iPad customers who want to upgrade their device and are price-sensitive too. In the advertisement, we find the 4th generation iPad running Garage Band and then later, together with the iPad mini, we find both being used to play a two-hand duet. The song that is played in the ad is a classic called Heart and Soul. “Two of a Kind” Apple places the iPad mini side by side with the full-size iPad in the new ads and thus highlighting that the mini tablet is every inch an iPad. The two new ads are titled “Photos” and “Books,” after the two forms of media that are used in the ads to highlight the sameness of function concurrent with the difference in size between the iPad and the iPad mini. “I’ll Be Home” One can always be home, no matter where they are with Face Time on the iPad Mini.

Print ads for Apple’s iPad Mini appeared on the back covers of five different national magazines like the New Yorker, Wallpaper, Surfer, Time, and Wired. The ad campaign by TBWA Media Arts Lab won the Grand Prix in press.

Apple’s great iPad mini print ad campaign won the Grand Prix in the press category.

Outdoor ads: Apple's ad agency TBWA\Media Arts Lab placed outdoor ads around the country that highlighted several suites of artistic and niche apps, including Pinterest, iTunes and national magazines like Rolling Stone.

Overview of the Ad Campaigns

We find Apple has introducing a new billboard ad campaign flaunting not just the iPad and iPad mini, but also pulling attention to their shared library of 300,000 apps. The headline differs on each billboard and uses different words and images for the apps. Apple's top marketing person, Phil Schiller emphasizes on the difference between an app optimized for the Apple iPad and the same app on an Android tablet. As per Magazine Radar, Apple has not run a single advertisement in magazine for the iPad since July 2011. However, Apple has aggressively insisted magazine publishers to use the iPad as a publishing platform. We find many winning campaigns of iPad surfacing in the magazines, print media, TV and billboard. Responsive design is great and many advertisers identify iPad owners as an exclusive segment of population now, with different spending habits. Enhanced Campaigns only lead the iPad user segment to be romanced. If we look at the recent head to head ad campaigns between Apple and its competitors, we find that the ads carries their strengths and weaknesses. Their ability to influence to varies. We find these ad campaigns certainly grabbing the interest of their customers and worth remembering. You have to show your superiority over your competitors and redefine your positioning. Apple certainly knows its competitors and its lacks the value proposition advantages. This is the reason why we find the ads talking about comparison to the original Apple iPad, thus targeting the original customers. An excellent and smart move! Apple ad campaigns are relevant to its target market that is connected technology users. This is an advantage it has over the other competitors like Kindle market. Apple ads have always managed to hold viewer interest, be it in TV, print or out on the Bill boards. People like to watch Apple ads as it interests them. In terms of innovation and legacy experience, Apple certainly has advantages over its competitors in those areas. This helps it to create a unique selling position that truly discriminates its products from the competition. Apple ads are also known for their simple, short messages that makes it easier for the people to understand. The simplicity of messages and great visuals do a great job here. Apple has the advantage with the market of users that already own an Apple product, but may fail to inspire yet to get an experience with Apple. These commercials do appeal to the emotional to a degree and this is one of the key secrets of Apple’s commercial success. One should remember that it is not what advertising does with the consumer; rather, what the consumer does after seeing the advertisement. We find that Apple ads and commercials have been very effective for different target audiences.

Apple is facing tough competition from its competitors and is likely to expand its marketing efforts to take on the growing competition. With the addition of four new ad agencies, the new groups will focus on digital strategy and user experience. However, TBWA/Media Arts Lab still works for Apple. The creative staff will try to strengthen its internal marketing team as Apple tries to catch up to Samsung, its main rival that dominates it in media strategy with those edgy ads as well as in ad spending (iPhone Hacks, 2014). The television commercial and billboards and the print media have always been a favorite with Apple. The latest episode in this rivalry is the Samsung’s Grad Pool Party ad another dig at Apple; to promote their latest smartphone in May 2013. Apple has not been quick to respond with an ad campaign and was probably hinting that they were not too bothered with Samsung’s tactics. Apple began its stint with advertising way back with the most successful campaigns- Think different. It has many notable advertisements and have maintained a certain contemporary style of focusing on the art of telling the customers about its products. Other well-known ad campaigns include the 2000s "iPod People", etc. Apple's advertising though did come under criticism for supposedly copying creative works or making inaccurate depictions of product. For example, 2005 iPod campaign -"Detroit" was condemned for its similarity to Lugz boots. In July 2007, Louie Psihoyos, the Colorado-based photographer filed suit against Apple for using his videos" imagery to advertise Apple TV. More recently, the techno giant has been criticized for depicting its iPhone ads for much faster network speeds than us realistically possible on current network infrastructure. In 2012 Apple risked paying millions of dollars in fine in Australia, for branding its 2012 iPad to be 4G capable, when ti wasn’t with Australia's 4G network. Apple still carries the most important metric and that is its market share. There are 41.3 percent of Apple users in U.S. as compared to 27 percent for Samsung. The Holy Grail for advertising today is to become part of culture and meaningful. The best brands like Apple sure get that right and try to aim even higher.

Reference List:

Think Marketing Magazine. “Apple Airs New iPad Air Commercial”. 2014. Available at: http://thinkmarketingmagazine.com/index.php/apple-airs-new-ipad-air-commercial-your-verse-anthem/ Apple Insider. “Apple's new iPad ad campaign promotes 300,000 apps "for everything you love"”. 2013. Available at: http://appleinsider.com/articles/13/02/16/new-apple-ad-campaign-promotes-300000-apps-for-everything-you-love. iPhone Hacks. “Apple hiring new ad agencies to battle Samsung’s marketing campaigns”.Available at: http://appleinsider.com/articles/13/02/16/new-apple-ad-campaign-promotes-300000-apps-for-everything-you-love. GOYER, R. 2013. We Fly the iPad Mini. New York: Bonnier Corporation. JEREMY, B. 2012. On the Campaign couch with Jeremy Bullmore. Campaign Asia - Pacific, p.Newspaper Article. KEN, K. 2010. Anatomy Of An Ad Campaign. Willoughby: Meister Media Worldwide. MATTHEW, C. 2012. Who will win the tablet ad wars this Christmas? Teddington: Haymarket Business Publications Ltd.

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Gender Roles in TV Commercials and Values in the Society Research Paper

Introduction, data analysis, discussion and questions.

Women have long fought for their rights and freedoms in the society. Since the day when they have obtained suffrage, another fight, the one for their role in the society has started. In all the times, the society has used media to reflect its attitude towards such issues as these. Among all the media, television influences the gender role values in the society most of all this is why it is most often used for stereotyped and discriminative representations of women. TV commercials often serve as a strong indicator of gender roles in the society this is why a number of gender studies use namely TV commercials to explore gender issues. One of the gender studies carried out by Dominick and Rauch in 1972 revealed that around 70% of television commercials presented stereotyped image of women and their limited life options. The intent of this paper is to analyze current television commercials and compare the results with those reported by Dominick and Rauch to find out whether any changes in the portrayal of women in television have taken place since the 1970s. Considering how fast society is evolving, I predict that the role of the women in television commercial has progressed, and that therefore there will be more voiceovers of women and fewer ads showing women in subservient positions.

The material for the analysis will be provided by a popular network (www.visit4info.com) that gives access to a number of current television commercials. 20 of such commercials will be randomly selected and analyzed. The data will then be presented in Commercial Coding Sheets and summarized in the Summary Data Sheet.

Two experimenters of opposite genders are going to be involved into the research. Each of them will watch, code, and analyze the TV commercials separately; at the end of the procedure, their results will be compared in order to ensure the inter-observer reliability of the chosen research method. The researchers will start with agreeing on the TV commercials that will be analyzed. In the course of watching the commercials, each of them will be coded according to 8 categories: product (body, home, food, auto, sports, other), central figure (male or female), credibility (user, authority, other), mode (visual, voice over), role (spouse, parent, home-maker, worker, professional, celebrity, narrator, boy/girl friend, sex object, other), location (home, store, occupational, other), arguments (scientific, non-scientific, none), and reward (social enhancement, self enhancement, practical, other, none). The results of each of the experimenters will then be compared and corresponding conclusions will be made.

After coding the commercials, the results have been transferred to the Summary Data Sheet. This allowed calculating the percentage of observations within each category, as well as easily comparing the results obtained by two experimenters. Thus, ranking of the commercials in terms of the products presented, it has been discovered that food and body products have been the most numerous (each of them constituted 45% from the total number of commercials), followed by home products (10%). At this, auto, sports, and other types of products have not been found in the commercials analyzed. At this, it is remarkable that 70% of all the advertisements had females as central figures with, correspondingly, 30% presenting males. In terms of credibility, 70% of the commercials presented central figures as users, 25% as authority, and 5% as other (in Tesco commercial young girls were represented as models, so they are neither users nor authorities). In terms of mode, the results were almost equal, 55% for visual mode and 45% for the voice over mode.

The most interesting situation was with ‘role’ category. This is the only category where the experimenters disagreed when ranking the observations; the difference within this category was 40%, which means that the experimenters did not agree in 4 of 10 sub-categories within this category; this makes it less than 2% in all the observations (two experimenters have given 320 replies in total (20 advertisements and 8 categories) and there are only 4 different replies, which makes it 4×100/320 = 1, 25%). According to the observations of the first experimenter, 35% of all the commercials presented their central figure (70% of these were women) as a sex object; in 10% this was a spouse, in another 10% a worker, 10% as boy/girl friend, and in other 10% as other (in case with Burger King and E45). The remaining 25% of instances are equally distributed among such categories as parent, home-worker, professional, celebrity, and narrator (5% per each category). With the second experimenter, the results differed only slightly; the experimenter identified 10% of commercials as depicting central figure in the role of a parent, 10% in a role of a professional, 5% as other, and 0% in the role of a narrator.

In terms of location, 70% of all the commercials presented other location that home (20%), occupational (10%), and store (0%). Most of such locations included streets, beaches, studios, trade centers, and a mixture of locations. The observations within the ‘argument’ category have shown that 65% presented a scientific argument and 35% none (they simply displayed the products); none of the commercials presented non-scientific arguments. Finally, with respect to reward, 45% promoted social enhancement, 40% other reward, 10% practical, and only 5% self enhancement.

These data reveal that still 70% of the TV commercials portray women. The fact that 35% of all the advertisements present their central figure as a sex object shows the attitude of the society towards women. This, however, is not the issue to research here. What is important for namely this research is that only 10% of the commercials presented their female central figures as spouses, 5-10% (different results obtained by two experiments) as parents, and only 5% as home-makers.

The results that have been obtained in the course of the experiment are almost opposite to those obtained by Dominick and Rauch in 1972. This research has revealed that, on the average, 10% (as compared to 70% obtained by these researchers) of the television commercials that have females as central figures present them in a role of a spouse, parent, or home-maker. This presupposes that, for the past four decades, a shift in the role of a woman in the society has taken place. Taking into consideration the fact that 35% of all the commercials presented their central figures as sex objects (at this, 90% of all the commercials had namely women as central figures), it can be seen in which direction exactly this role has shifted.

My partner and I have obtained slightly different results, but only in the category considering the role of a central figure. This might be related to our difference in gender and, consequently, in our views on which role a female plays in the advertisement. Since the percentage of agreement was almost 98%, the difference hardly influenced the overall results of the experiment; this shows that the best means of addressing the issue of inter-observer reliability has been used.

There was one problem faced in the course of the experiment. The matter is that once or twice a situation with repeated commercials was encountered. The repeated commercials were skipped because coding them would significantly distort the real picture of how women are represented in commercials. Not coding them, in its turn, did not affect the results of the experiment in any way.

Lastly, it is hard to state whether observing the commercials on a different type of program would give different results. I think that, in order to conduct a proper study, a larger sample of advertisement should be analyzed. I would select at least three network channels dividing the advertisements in 3 groups: daytime, weekend, and primetime. I would present the advertisements to the coders without informing of the time of broadcast and network channel. In this study, I would expect that women during primetime would be more likely to be shown in positions of authority and in settings away from the home than they were during daytime. Men, in contrast, would be more likely to be portrayed as a parent or spouse and in home settings during primetime than they were at weekends.

This experiment consisted in coding and analyzing 20 randomly selected television commercials in order to identify whether the modern commercials have undergone any changes with regards to the portrayal of women. The hypothesis was supported by the fact that fewer ads showed women in roles defined solely in terms of their relationship with men: around 10% accordingly to this study versus the 70% reported in 1972 by Dominick and Rauch. In regards of the other prediction in the hypothesis, that there will be more voiceovers of women today versus the data reported in 1972, it has been found that women constituted 45% (in contrast to the 1970s’ 6%) of the authority figures of voice over announcers, and 10% versus Dominick and Rauch’s 70% depicted women in the subservient positions. This means that the role of a woman in the society has changed much since 1972 and the modern society views women as confident and independent individuals.

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IvyPanda. (2022, March 13). Gender Roles in TV Commercials and Values in the Society. https://ivypanda.com/essays/gender-roles-in-tv-commercials/

"Gender Roles in TV Commercials and Values in the Society." IvyPanda , 13 Mar. 2022, ivypanda.com/essays/gender-roles-in-tv-commercials/.

IvyPanda . (2022) 'Gender Roles in TV Commercials and Values in the Society'. 13 March.

IvyPanda . 2022. "Gender Roles in TV Commercials and Values in the Society." March 13, 2022. https://ivypanda.com/essays/gender-roles-in-tv-commercials/.

1. IvyPanda . "Gender Roles in TV Commercials and Values in the Society." March 13, 2022. https://ivypanda.com/essays/gender-roles-in-tv-commercials/.

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IvyPanda . "Gender Roles in TV Commercials and Values in the Society." March 13, 2022. https://ivypanda.com/essays/gender-roles-in-tv-commercials/.

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Describe a TV commercial you like very much

December 1, 2018 admin Academic Speaking , General Speaking 0

Describe a Tv Commercial you like very much

You should talk about:, why tv commercials are important to us, what factory sponsors that, what it is about, why you like it very much..

You Know Some people who watch TV quite often believe that TV commercials are better than the programs. There are several advertisements that we see on the TV daily and some of them are very boring and others are average while some are very interesting and creative. I think TV commercials add the variety to the programs because sometimes the program becomes very monotonous. One such advertisement that I really liked was regarding the unmatched contributions of mothers for their kids which I saw a few months back. The advertisement was broadcasted for the ‘Mother’s Day’ and it was not for any product. The ministry of child & mother care of health department was the sponsor of this ad and I saw it 3-4 days before the last ‘Mother’s Day’.

This advertisement was a very creative one and it was not like the most other advertisements that publicize or advertise their products. Rather it was an advertisement dedicated to the mothers and it reminded us that the toughest job in the world is the job done by mothers. They take care of their kids with the utmost care and dedication. They sacrifice their own wished and will to properly bring up the kids. I like very much this advertisement. 

 This was a creative and that effectively delivered the message it intended to. It has shown some successful person in the history at the end and before that, it showed how mothers are taking care and inspiring their kids to do good things and in the end, it shows the tribute to the mothers of the world for their valuable and second to none contribution. 

 I like it very much. Generally, I like it the ads and commercials.

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Media makes people similar and people in different countries watch the same movies, read the same books and have the same fashion. To what extent do you agree with it?

It is generally acknowledged that families are now not as close as they used to be. Give possible reasons and your recommendations.

Describe a TV commercial you like very much Describe a TV commercial you like very much Describe a TV commercial you like very much Describe a TV commercial you like very much

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