By Paul Springer
The second one variation of advertisements to Icons examines present and destiny tendencies in ads. via 50 foreign case reviews of latest and iconic ads campaigns, writer Paul Springer identifies why those campaigns have been profitable and analyzes their contribution to the continuing improvement of ads.
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Extra info for Ads to Icons: How Advertising Succeeds in a Multimedia Age
Internationally, industry and government regulators are being tested to adjudicate the wave of new media. In France and Norway, for example, bans have been imposed on SMS messages, but they are allowed in China, the United States and the UK. Laws have been introduced in China to regulate e-messaging, while operator licence sales for telecommunications have been more tightly regulated in France, Italy and the UK. Part of the dilemma that self-regulation has created is that contentious cases tend to be newsworthy, which in itself makes being censored a viable ‘medium’: within capitalist societies, all aspects of the everyday are understood to ‘communicate’, so potentially anything could work as a commercial.
Media holding groups such as Omnicrom, Publicis, WPP and Havas acquired successful below-the-line advertising firms. 16 Ads to icons Digital £620m Direct Mail £2,345m TV £4,502m 2004 £17,460m Press £8,301m Outdoor £936m Radio £574m Cinema £182m Advertisers’ media options in 2005. Media advertising agencies such as Grey Worldwide and M&C Saatchi (UK) also bought below-the-line firms and re-branded them as satellite partners. This is when the distinction between the roles of advertising and marketing started to blur.
In some countries advertising breaks usually involve brands competing with one another in an effort to grab viewers’ attention (having competing brands in the same commercial break is relatively recent in the UK). Beerka’s launch strategy challenged the assumption that all brands during commercial breaks are in competition. Preceding beer commercials served to set the context for Beerka. In return, Beerka’s ‘add-ons’ helped make commercial breaks memorable for beer commercials. Beerka’s scheme of looping in beer brands raised the profile of the genre on Russian television.