Advertising Creativity Matters

Advertising Creativity Matters MICAEL DAHLEN Stockholm School of Could â€Å"wasteful† advertising creativity that does not add to the functionaiity of the advertisement (i. e. , it neither enhances recaii and iiking of the advertising, nor Economics micael,[email  protected] se increases comprehension and persuasiveness of the communicated message) be useful? An experimentai study shows that it can. By signaling greater effort on behaif SARA ROSENGREN Stockholm School of Economics sara. [email  protected],se of the advertiser and a greater ability of the brand, advertising creativity enhances both brand interest and perceived brand quaiity.The effects are mediated by consumer-perceived creativity, suggesting that consumers are important Judges of FREDRIK TORN creativity. Bringing advertising creativity into new iight, the resuits provide impiications Stockholm School of for the development, measurement, and positioning of creative advertising. Economics fredrik,[email   protected] se INTRODUCTION There is no guarantee that creativity in an advertisement makes it more memorable or appealing to consumers (Kover, Goldberg, and James, 1995). In fact, research by, for example, Kover, James, and Sonner (1997) suggests that many creative advertising efforts may be wasted, in the sense hat they do not add to the functionality of the advertisement (i. e. , they neither enhance consumer recall and liking of the advertising, nor increase comprehension and persuasiveness of the communicated message). However, this article argues that such wasteful advertising creativity may have other positive effects. Previous research on advertising spending has found that, when bypassing functional aspects of high spending, for example, that bigger advertisements increase attention or that repeated exposures facilitate comprehension and breed liking, wasteful expenses have positive effects on brand perceptions (e. g..Ambler and HoUier, 2004; Kirmani and Rao, 2000). The pres ent research investigates whether or not the same conclusion follows with respect to advertising creativity. A common view is that creativity is a mission of the entire advertising industry, its raison d'etre (Koslow, Sasser, and Riordan, 2003). The fact that 3 9 2 JDUBOIIL OF (IDUERTISinG BESEflRCH September 2 0 0 8 advertising agencies spend a great deal of time and energy competing for creative awards, even though they are not sure that these efforts actually increase the functionality of their work, suggests that creativity is perceived to be important in its own right (e. g. Helgesen, 1994; Kover, James, and Sonner, 1997). In a frequently cited study. Gross (1972) showed that wasteful advertising creativity in advertising agencies, in the form of an abundance of creative ideas, yield more effective advertisements in the long run. This article takes the notion of wasteful advertising creativity to the level of the individual advertisement to see whether an abundance of creativit y (that does not enhance functionality) in a single advertisement yields positive effects. Building on the research on marketing signals, we suggest it does. Studies show that the very employment of various marketing elements, such s warranties (long-lasting) or price (correlates with quality), sends signals about the brand that guide consumer evaluations and choice (e. g. , Kirmani and Rao, 2000). Advertising expense has been found to be a signal that consumers interpret as the marketers' efforts due to their belief in the brand (Kirmani, 1990; Kirmani and Wright, 1989) or as proof of the brand's superiority or â€Å"brand DOI: 10. 2501/S002184990808046X ADVERTISING CREATIVITY MAHERS fitness† (Amhler and Hollier, 2004): The greater the expense, the more confident the marketer and the more fit the brand. Categorizing advertising creativity as a arketing signal, we expect that greater creativity signals more effort (as creative advertising is harder to produce than â€Å"nofr ills† advertising) and greater fitness (as the sender must have the knowledge resources to take the extra communicative leap and communicate in a nontraditional marmer) and thus produces more favorable brand perceptions. By investigating the signaling effects of advertising creativity on brand perceptions, we bypass the functional aspects that have previously been in focus in creativity research. Previous research focuses on intermediate effects such as advertising recall, liking, and comprehension (e. . , Kover, James, and Sonner, 1997; Stone, Besser, and Lewis, 2000; Till and Baack, 2005), or different facets of creativity, such as originality, meaningfulness, and emotions (e. g. , Ang and Low, 2000; Kover, Goldberg, and James, 1995; White and Smith, 2001). As advertising (and creativity) can take many shapes and forms, it is not very surprising that most authors seem to agree that the research on advertising creativity to date is troubled by contradictory and inconclusive f indings (e. g. , ElMurad and West, 2004; Koslow, Sasser, and Riordan, 2003: Stone, Besser, and Lewis, 2000).For instance, some (awardwinning, which is often the criterion in these studies) creative advertising may be very original and yield high recall, but low liking, whereas other advertising could produce strong emotions and liking, but be harder to recall. Avoiding such obstacles may be achievable by focusing on creativity as a signal in itself, rather than its facets and intermediate effects. The present study includes a number of elements that are novel to advertising creativity research. First, rather than using real advertisements as representatives of more versus less creative advertising, the tudy manipulates advertising creativity in the same manner as Ambler and Hollier (2004) manipulate advertising expense. Thus, we are able to compare advertising for the same brands with the same messages and control for the functionality of the tested advertisements. Most research to date has employed real advertisements, which makes it harder to discern the effects of the creativity in itself, as it also becomes a matter of different brands with different messages. Second, our manipulation does not produce creative advertising that is â€Å"outstanding,† but rather moderately creative. As noted by Haberland and Dacin (1992), the focus n awards creates a dichotomous view of advertising as creative yes/no. It is more likely that advertising varies in its degree of creativity. Not all advertisements win prizes for creativity, but that does not mean that those advertisements are not creative. Third, in addition to manipulating advertising creativity, we also measure consumer-perceived creativity. Previous research has usually kept the degree of creativity â€Å"hidden† from consumers, utilizing awards and expert judgments as assessments of creativity. Whereas advertising effects materialize to a considerable degree without consumer awareness (e. g..He ath and Nairn, 2005), the present study tests the notion that consumer explicit thoughts about advertising creativity matter. ADVERTISING CREATIVITY AS A MARKETING SIGNAL Most markets are flooded with products for consumers to choose between. As consumers are unable to sample all products that are available to them, or even assess the quality of all the products they have actually consumed, they rely on marketing signals (Kirmani and Rao, 2000). Ad- vertising expense is the marketing signal that has gained most attention in advertising research. According to Kirmani and Wright (1989), advertising expense is an ndicator of marketing effort: The more money spent on advertising, the greater the effort—meaning that the advertiser must really believe in the product. Spending a great deal of money on advertising is a more powerful signal to consumers about the quality of the product than the content of the advertising, as the advertiser â€Å"put their money where their mouth is. † More money means greater risk, and thus consumers feel safe that the advertiser will deliver on her promise (Kirmani, 1997). In tests of advertising expense, Kirmani (1990,1997) manipulates advertising sizes, colors, endorsers, and repetition and finds hat they may all increase perceived marketing effort. Interestingly, Kirmani (1990) notes that it is possible that perceived advertising quality (â€Å"includes the care and creativity used to design the ad†) could also have an effect on perceptions of marketing effort. However, Kirmani (1990) does not manipulate advertising quality (and more specifically, advertising creativity). Such a manipulation would result in perceptions of greater marketing effort. Coming up with a creative concept is more demanding for the advertiser than simply applying a standard solution based one's own or others' previous efforts.Consumers are â€Å"advertising literate† enough today to infer that creative advertising is probably the result of a development process that is both longer and more costly (they may even refer this to the employment of a â€Å"fancy advertising agency†). HI: Advertising creativity increases perceived marketing effort. Ambler and Hollier (2004) suggest that advertising expense may not only serve September 2 0 0 8 JDUIIOIIL OF HDUERTISIOG RESEHRCH 3 9 3 ADVERTISING CREATIVITY IVIATTERS An extra degree of creativity may send signais about tiie advertiser tiiat rub off on consumer perceptions of tiie brand. as a signal of effort, but also as a more irect signal of â€Å"brand fitness. † Referring to the biological theory of handicapping, they argue that advertising expense may be a signal of wealth—arguably, the advertiser can afford such wastefully expensive advertising. The wealth, in tum, could be interpreted as proof of previous success due to the brand's great ability to serve the market. Extending the reasoning to advertising creativity, wasteful creativity (i. e. , the surplus creativity that does not add to the functionality of the advertisement) could work as a signal of wealth as well, wealth in the form of knowledge and smartness. For example, the literature n rhetorical figures (which are a form of wasteful creativity as they convey nessages in unnecessarily clever ways) suggests that they may signal smartness on behalf of the sender (e. g. , Toncar and Munch, 2001, 2003). However, this notion has not been tested. Ambler and Hollier's (2004) concept of â€Å"brand fitness† is especially interesting in light of the growing body of research on perceived corporate ability. Perceived corporate ability refers to consumers' beliefs that the company is able to improve the quality of existing products and to generate new products innovatively (Luo and Bhattacharya, 2006).Studies show that perceived corporate ability influences the success of new-product introductions and marketing activities, as well as the market value of the entire company. In fact, perceived corporate ability may be the most powerful source of sustainable competitive advantage (Brown and Dacin, 1997; Luo and Bhattacharya, 2006). Advertising creativity could be a signal of brand ability (the equivalent of corporate ability on the individual, advertised, brand level). Coming up with a creative advertising concept signals the ability and desire to â€Å"think outside the box† and think in new and different ways compared to he competition and compared to the brand's history. Thus, advertising creativity says less about the brand's historical success and more about what could be expected from it in the future. H2: Advertising creativity increases customers' perceived abuity in the brand. ADVERTISING CREATIVITY'S EFFECTS ON BRAND PERCEPTIONS Recent advertising literature argues that the most important and reliable measures of advertising effectiveness are consumers' perceptions and experiences of the brand rather than of the advertising its elf. This influence is due to the facts that consumers are not able to remember r discern all the advertising they encounter (e. g.. Heath and Nairn, 2005; Weilbacher, 2003). Powerful advertising affects consumers' perceptions of the brand immediately (Hall, 2002). As creativity is supposed to make powerful advertising, the expectation is that more versus less powerful advertising results in immediate effects on brand perceptions. The main brand perception that has been uncovered in previous studies of marketing signals is perceived quality. As mentioned previously, perceived marketing effort signals confidence on behalf of 3 9 4 JOUIIIlflL DfflDUERTISinGRESEflRCH September 2 0 0 8 he advertiser (e. g. , Kirmani and Rao, 2000). Perceived brand ability would also signal high quality, as corsumers expect the brand to improve quality over the competition. Therefore, the hypothesis is that advertising creativity enhances perceived brand quality. H3: Advertising creativity enhances custo mers' perceptions of brand quality. Conventional wisdom holds that creative advertising pushes the message into consumers' minds (e. g. , El-Murad and West, 2004; Kover, James, and Sonner, 1997). However, recent literature argues that the individual brand does not really have much to say (e. g. Ehrenberg, Barnard, Kennedy, and Bloom, 2002; Heath and Nairn, 2005). In the massive marketspace and mindspace competition, it is increasingly difficult to be unique and virtually impossible to persuade consumers to buy your product (Weilbacher, 2003). In line with this notion, a survey among top-level agency creatives ranked the sameness among brands as the number one reason for improved creativity; rather than communicating a specific message (which is likely to resemble competitors'), advertising creativity must make the brand interesting and exciting (Reid, Whitehill King, and DeLorme, 1998).This goal is particularly relevant to established brands, which make up the majority of the market place. The greatest enemies to these brands are predictability and consumer disinterest (Machleit, Allen, and Madden, 1993). Brands must continuously reinvent themselves and challenge expectations to stay in touch with consumers. This touch could be achievable with creative advertising. Creative advertising in itself suggests that the brand has something interesting to offer, as it signals effort and confidence, and ability to deliver ADVERTISING CREATIVITY MAHERS something different from the competition. Therefore, the study expects a positive elationship between advertising creativity and brand interest. H4: Advertising creativity enhances brand interest. CONSUMERS AS JUDGES OF ADVERTISING CREATIVITY Most research on advertising creativity conceptualizes it as a â€Å"hidden tool† for advertising professionals to create powerful advertising. That is, it is important that the professionals perceive the advertising to be creative for it to be effective, but consumers are not supposed to think in such terms, rather just to like the advertising, remember it, and select the brand (e. g. , Koslow, Sasser, and Riordan, 2003; Stone, Besser, and Lewis, 2000; Till and Baack, 2005).However, a professional judgment of advertising creativity is no guarantee that the advertising will be successful (e. g. , Kover, James, and Sonner, 1997). For instance. Stone, Besser, and Lewis (2000) found that while 70 percent of the advertising that consumers remembered and liked was categorized as creative by trained judges, 47 percent of strongly disliked advertising was also categorized as creative by the judges. White and Smith (2001) compare creativity ratings between advertising professionals and the general public and found that the two groups differed in their ratings. The question is, who is the better judge?Kover, James, and Sonner (1997) argue that less professionalism is needed in the judgments of creativity, as at the end of the day, consumers' perceptions are what m atter. The present study puts this argument to the test by testing whether manipulated advertising creativity (pretested on advertising professionals) has a direct effect on our hypothesized variables, without consumers being aware of this â€Å"hidden tool,† or if consumer perceptions of advertising creativity are necessary and mediate the effects. The hypothesis is that consumer perception of the advertising creativity is the first step n the process that leads to all the hypothesized effects in H1-H4: H5: The effects of advertising creativity are mediated by consumerperceived creativity. METHOD To test the hypotheses, we must be able to compare responses between consumers who have been exposed to a more creative versus a less creative advertisement for the same brand with the same message. Furthermore, to test with certainty whether consumer-perceived advertising creativity is an intervening, mediating step between manipulated creativity and our hypothesized effects, we mu st measure creativity perception before versus after he other variables (for H5 to hold, creativity perception should have a greater effect when measured before the other variables, cf. Kenny, 1975). To this end, we chose a 2 (more creative/less creative advertisement) X 2 (perceived creativity before/after) experimental design where informants were randomly assigned to one of the four cells. To avoid stimulus specific effects, four different brands and accompanying messages were used for a total of 16 experiment cells. All four brands are established and well known in their respective product categories (pain relief, coffee, vodka, and condoms). We chose well-known rands for two reasons. First, the majority of advertising in major media are for established brands (e. g. , Kent, 2002). Second, as consumer perceptions of wellknown brands are harder to influence than those of unfamiliar brands, the test brands make a more robust test of our hypotheses. Research instrument development Similar to Ambler and Hollier (2004), we wanted to ensure that only the wastefulness of creativity would differ between advertisements, not their functionality with respect to what was communicated. Therefore, we needed to develop advertising stimuli differing only with respect to the creative execution.To this end, a method similar to that of Toncar and Munch (2003) was used. Four pairs of print advertisements were developed, one pair for each brand. Print advertisements usually have three main elements: the brand, text, and pictorial. In our manipulation, the brand and the pictorial was kept constant, while the text was varied to communicate the same message in a more (employing rhetorical figures, cf. Tom and Eves, 1999) or less (without rhetorical figures) creative way. The number of words was kept constant. The advertisements were pretested to make sure that the pairs communicated the same message, and equally strongly.Twenty plus twenty consumers from the target population (be low) were asked â€Å"how well do you agree that the advertisement's main message is. .. † and rated one of the advertisements from each pair on a scale of 1 = totally disagree/ 7 = totally agree. There were no significant differences within the pairs (A^more creative = 5. 4 verSUS Mjess creative = 5. 5). Next, 12 plus 12 advertising professionals from eight major agencies rated one of the advertisements from each pair on creativity (scale: 1 = not at all creative/ 7 = very creative). The more creative advertisements rated significantly higher than the less creative advertisements Mmore creative = 4. 0 verSUS Mjess creative = 2. 7, p < 0. 01). Notably, although significantly different from each other, neither of the two groups of advertisements was seen as particularly creative. However, September 2 0 0 8 JOURIIIIL OF HDUERTISIOG RESERRCH 3 9 5 ADVERTISING CREATIVITY MAHERS By focusing too much on award-winning advertising and treating creativity as a yes/no variabie, one mis ses out on ail the improvements that can be made and effects that can be attained at more moderate leveis. â€Å"How much do you think development of the advertisement cost? † (1 = very cheap/7 = very expensive), and â€Å"How uch time do you think has been devoted to the development of the advertisement? † (1 = very little/7 = very much). We included the variables both separately and as an index (r = 0. 52) in the analyses. Perceived brand ability ( H2) was mea- we are not interested in the absolute levels of creativity; the goal is to compare differences in degree of creativity. This approach differs from most previous research, which often employs â€Å"outstanding† (award-winning) creative advertisements. The fact that the degree of creativity is fairly low in our more creative advertisements makes our test of the effects of advertising creativity more robust.It also makes the results more applicable in practice, as most advertisements do not win awards, but may still be creative (e. g. , Haberland and Dacin, 1992; Kover, James, and Sonner, 1997). Procedure We employed a procedure similar to Ambler and Hollier (2004). The participants were part of an internet panel of a professional market research firm and recruited to represent a cross section of the working population (56/44 female-male breakdown, age range 18-65 years, average 39 years). In total, 1,284 consumers participated in the study, making a cell size of approximately 80 respondents. Asked to participate in an advertising retest, consumers were randomly exposed to one of the stimulus print advertisements online and then directly filled out a questionnaire. Measures A number of measures were employed to test the advertisement's functionality (which is supposed to be the same across conditions): Brand identification w as measured as an open-ended question, where respondents typed in the brand name they believed was featured in the advertisement. Key message identification w as measured by asking respondents to tick the correct message out of four alternatives (the alternatives were the same across all cells and were designed to be plausible for all four rands). Furthermore, we measured difficulty of comprehension (1 = very easy to comprehend/7 = very difficult to comprehend), advertising attitude (â€Å"What is your opinion about the advertisement you just saw? â€Å"), and brand attitude [â€Å"What is your opinion of (brand)? ,† both on a scale from 1 (very bad) to 7 (very good)]. We also measured brand familiarity and price estimates to rule out confounding effects of consumer knowledge or competing signals (cf. Kirmani and Rao, 2000). Similar to Till and Baack (2005) familiarity with the brand was measured before exposure (1 = never heard of it/7 = know t very well). Price estimates were measured after exposure with an open-ended question where respondents were asked to type in how much they estimated that the advertised product cost (employ ing familiar brands and products in the study, we expected no differences between conditions). We calculated differences in price estimates within the advertising pairs and compared them by product category. The following measures were used for the hypothesis tests: Perceived marketing effort ( HI) was mea- sured with two items on a 7-point scale. 3 9 6 JOUBflflL OFflDUERTISlOGflESEflRCHS eptember 2 0 0 8 ured with three items (1 = do not agree/ 7 = agree completely): â€Å"(Brand) is smart,† â€Å"(Brand) is likely to develop valuable products in the future,† and â€Å"(Brand) is good at solving consumers' problems. † We included the items both separately and as an index (Cronbach's alpha = 0. 83) in the analyses. Perceived brand quality (H3) was as- sessed by asking: â€Å"What is the general quality level of the brand? † with answers given on a scale from 1 (very low quality) to 7 (very high quality). Brand interest (H4) was measured with two items on a 7-point scale: â€Å"I find (brand) interesting,† and â€Å"I want to buy the brand† 1 = do not agree/7 = agree completely). We included the variables both separately and as an index (r = 0. 68) in the analyses. Perceived advertising creativity (H5) was measured by asking: â€Å"To what extent do you think that the advertisement you just saw is creative? † (1 – not at all creative/ 7 = very creative). The question was placed before the measures of perceived effort (HI) and brand ability (H2) in one-half of the questionnaires and after the same measures in the other half. This design enables us to test the direction of causalities between the variables (Kenny, 1975). It has been used in previous research on, for xample, the causal effects between slogan evaluations and brand perceptions (Dahlen and Rosengren, 2005). RESULTS Manipulation and confound checks Comparing the groups of more creative versus less creative advertisements. ADVERTISING CREATIVITY M AHERS perceived creativity rated significantly TABLE 1 higher for the group of more creative ad- Effects of Advertising Creativity vertisements (M = 3. 94 versus M = 3. 37, p ; 0. 01), suggesting that our manipulation of advertising creativity was successful. See Table 1. Furthermore, the analyses include testing for differences in function- More Creative Less CreativeAdvertisements, Advertisements, Planned M {SD) M (SD) Comparisons ,. . ,. Manipulation check ality between the groups with respect to †¢ ^ 5 iF brand identification, message identification, comprehension, and advertising and brand attitudes. Only comprehension and advertising attitude differed between conditions, suggesting that the more creative advertisements were more difficult to com, , . , ,. , , , , prehend and were better liked than the less creative advertisements. To rule out competing effects from these variables. they were included as covariates in the subsequent analyses, meaning that these ^ †¢;  ° ifferences were accounted for in the re- r, †¢ ^ †¢Ã¢â‚¬ ¢ Perceived creativity 3,94 (1. 51) 3. 37 (1. 64) p ; 0 . 01 ^^'^^  °^ advertising functionality †¦. ^rapd identification 0. 99(0. 26) iVIessage identification 0. 99(0. 18) Comprehension 4. 96 (1. 71) 0,98(0. 28) 0,99(0,11) 4. 64 (1. 79) n . s. n,s, p < 0 . 01 Advertising attitude  ° †¦.. ^. ‘[^uf?.. ^. ^^. ‘! ^. ‘^. ^.? Confounding variables Brand familiarity ^ ^. ^ . . ,. „ Estimated pnce, difference ,. ^ by product category 4. 08(1. 47) †¢ f^. :^l. ‘ih^^). 3. 81(1. 28) p < 0 . 01 †¢ †¢ †¢ †¢ †¢ ^. ^^.. {hf! ‘^). â€Å". :! ; 4-,58 (2,23) „„^ +0. 04 4. 44 (2. 23) :28. (1:45) 3. 14 (1. 54) 3,41 (1,75) 2. 96 (1. 58) 2. 78 (1,50) 3. 16 (1. 71) p < 0 . 01 p < 0 . 01 p < 0 . 01 3 . 67(1,71) †¢ †¢ 3. 22 (;i. 26) 4. 25 (1. 19) ^ . . ,^ ,-^^ 3. 44 (1. 51) 3,42(1. 40) †¢ †¢ †¢ 3. -. 04. (1. 37) 4. 00 (1 ,70) ^ ^ , r-^ 3. 12 (1,50) p < 0 . 01 †¢ †¢ P†¦ ; p < 0. 01 † r†¦ 7. Smart 4. 02 (1. 53) 2. 37 (1. 40) p ; 0. 01 significantly greater when consumer- Develop valuable products 5. 02 (1. 25) 3. 35 (1. 55) p ; 0. 01 perceived creativity precedes the other vari- Good problem solver 4. 20 (2. 44) 2. 29 (1. 67) p ; 0. 01 Perceived brand quaiity 5. 48 (1. 16) 4. 02 (1. 0) p ; 0 . 01 DiSCUSSION Waste in advertising creativity matters. Brand interest 4. 62 (1. 51) 2. 56 (1. 41) p ; 0. 01 The results of the present study show that Interesting 4. 50 (1. 62) 2. 39 (1. 43) p ; 0. 01 Purchase intention 4. 73 (1. 71) ;. ! 2. 73 (1. 78) . ; p ; 0. 01 † r:.. 7. ^^^ † â€Å"^^ ^†Ã¢â‚¬Ëœ^^^^ ^ ^ * ^ ^^^^- ^^^^^' * ^^† improving the functionality of the adver.. ^ j u .. u tisement and push the message into †¢^ †¦. P^. ‘P^. ‘y^. l^^O':* H2 consumer-perceived creativity and the mar, .. . , j /o^ ^u i†¢ ketmg signals, and (2) the correlations are ables, implying a causal direction from he former onto the latter. H3 H4 Note: F(4, 729) = 80. 40, p < 0. 01, Wilkes' lambda, 0. 53. Consumers' minds, which conventional September 2 0 0 8 JDUROHL OF RDUERTISIIIG RESEHRCH 3 9 9 ADVERTISING CREATIVITY MAHERS lished brands that consumers were familiar Regression Coefficients, Test of Mediation by Perceived _ .. Advertismg Creativity s ? Coefficient t-Statistic p< Dependent variable Perceived marketing effort Independent variables .^, ,^ .. v ertising creativity is a p owerful signal when communicating familiar brands a s ,, well. The signaling power of Advertising creativity 0. 18 2. 31 0. 1 Advertising creativity (after inclusion of 0. 02 0. 16 n. s. perceived advertising creativity) Perceived advertising creativity , v ant mamly when communicating with c onsumers that a re u nfamiliar with t he b rand (e. g. , Kirmani a nd R ao, 2000), a d- Standardized gg^g Variables k eting signals argues that they a re r ele- 0 . 33 7. 69 0. 01 advertising creativity Recent research suggests that it is b ecom†^g i ncreasingly harder t o p osition a nd differentiate brands with advertising (e. g.. Ehrenberg, Barnard, Kennedy, a nd Bloom, Dependent variable 2002; Heath a nd N airn, 2005). A s m arkets †¦ ^. ^. ‘[^^}}'. ^^.. ^. ^^! ^^.. ^'! ^'! }]^y.. a re c rowded with similar products, c om- Independent variables m unicating a u nique message or m aking Advertising creativity 0 . 29 2. 56 0. 01 a dvertising that sticks is v irtually impos- Advertising creativity (after inclusion of perceived advertising creativity) 0. 16 0. 99 n. s. 0. 38 5. 76 0. 01 ^^^^^ â„ ¢ ^ ^^^ ‘ ^^ ^ °Ã¢â‚¬ ^^ * ° ‘^†Ã¢â‚¬Ëœ^'^^^'^^ ‘ ^^^ † ‘^ â€Å"†Ã¢â‚¬ Ã¢â‚¬ Ã¢â‚¬Ëœ^ important than ever to use creativity that really pushes the message ,, . / I T-,  » , , j , . , r,r,r,A^ t hrough (cf. E l-Murad a nd West, 2004). A nother Conclusion would b e t hat creativ-P erceived advertising creativity ^ Note: n. s. = noi significant. ity becomes less a m atter of m essage a nd content generation, a nd m ore a m atter of y/^BLE 5 form a nd s ignaling power. Crowded m ar- Correlation Coefficients, Test of Causality ^^*' ^†'^ ^^†^  °^ differentiation are the very reasons provided for the use of m ar- Perceived Creativity Perceived Creativity k eting signals such a s a dvertising e x-  »Ã¢â‚¬ ¢perceived creativity x „.. „ Perceived effort iVIeasured First -„_ 0 . 35 iVIeasured Last ^„, 0. 24 Difference „„^ p ; 0 . 05 P^-^ived ability Perceived quality 0 . 42 0 . 43 0. 32 0. 4 p ; 0 . 01 p ; 0 . 01 Brand interest 0 . 49 0. 40 p ; 0 . 01 p ense (Kirmani a nd R ao, 2000). Focusing on the execution in itself, rather than the actual message, t he a dvertiser could u se c reativity a s a p owerful marketing signal a s w ell. O † ‘ a nalysis reveals that more versus less advertising creativity pr oduces a s ignal of m arketing effort that is s imilar t o advertising expense. This is g ood news, wisdom holds t o be the major benefit of t aken a s proof of the b rand's smartness, a s t his revelation implies that t he a dver- creativity, a n e xtra degree of c reativity nd ability t o s olve problems a nd de- t iser does n ot n eed t o s pend excessive may send signals about t he a dvertiser that velop valuable products. A s a r esult, con- a mounts of m oney t o s ignal confidence i n rub off on c onsumer perceptions of the s umers became more interested i n the her p roduct. Instead of s pending money brand. I n our e xperiment, more versus brand a nd p erceived it to be of h igher o n b igger advertising spaces or l onger less creative advertising signaled greater quality. T he l atter is a p articularly inter- a nd m ore frequent campaigns (e. g. , Kir- ffort o n the a dvertiser's behalf a nd was e sting result, a s t he s tudy featured estab- mani, 1990, 1997), t he s ame effects m ay 4 0 0 JDUBnflL OF eOUERTISIIlG BESEIIIICH September 2 0 0 8 ADVERTISING CREATIVITY MAHERS be attainable by increasing creativity instead. Thus, the present study provides compelling evidence that creativity could be a way to produce greater results per advertising dollar. Creativity seems to have the greater effect through signaling brand ability than through effort. One reason for this is that creativity may fit more logically with what the brand, and advertising in general, is erceived to be about: displaying great solutions in the advertised product category. While high versus low creativity also has a signaling effect through perceived effort, most consumers would probably agree that trying hard is not the true purpose of any advertising or brand. Advertising is not primarily about spending money; advertising is about cleverly presenting the brand, and a desirable goal for any brand should be to deliver a more sophisticated product than the competition (cf. Brown a nd Dacin, 1997). The very (creative) form of the advertising could be a powerful clue to consumers about the brand.Creativity Is not a yes/no The presented numbers reveal that the advertising creativity in our study was not very high (ratings were not above the midpoint of the scale for either the more or the less creative advertisements). Thus, the study does not test the effects of outstandingly creative advertisements. Neither of the advertisements in the study would likely win an award. Still, at these (relative to previous research and to awardcompeting advertisements) low levels of creativity, increases did matter. This result provides evidence that creativity is not only important at an award-winning level, t is important at any level. By focusing too much on award-winning advertising and treating creativity as a yes/no variable, one misses out on all the improvements that can be made and effects that Consumer perceptions of the creativity in an advertisement mediate the adve rtisement's effects on the brand and malee the impact of the manipulated (â€Å"hidden†) creativity much greater. can be attained at more moderate levels. Considering the high risk that is associated with high levels of creativity (e. g. , El-Murad and West, 2003; West, 1999), taking baby steps is both easier and safer han quantum leaps—viewing creativity as a spectrum rather than a high absolute level encourages increases in advertising creativity across all advertising campaigns. Creativity is not a iiidden tool Given the signaling power of advertising creativity, viewing creativity as a hidden tool for advertising professionals is a mistake. Consumer perceptions of the creativity in an advertisement mediate the advertisement's effects on the brand and make the impact of the manipulated (â€Å"hidden†) creativity much greater. This is a powerful case for Kover, James, and Sonner's (1997) call to bring consumers nto the agencies' processes and invite them to pa rtake in the development—and definition—of creative advertising. Whereas copy testing is becoming more common in practice, advertising professionals still interpret the results on behalf of the consumer, deciding whether her responses indicate that the advertisement is creative or not. Not surprisingly, Koslow, Sasser, and Riordan (2006) find that formal testing had no effect on agencies' self-assessed creative output. If advertising professionals both ask the questions and interpret consumers' answers to them, what need is there to actuaUy ask consumers?If agencies had included consumer perceptions of the advertisements' creativity in the testing, Koslow, Sasser, and Riordan's findings would probably have been different. As Kover, James, and Sonner (1997) suggest, taking a consumer perspective offers new ideas and nuances in the creative process and provides more concrete feedback on the creative level of the advertising that would facilitate benchmarking and enhancem ent of the creative output. In enhancing perceived brand ability, the very creative form of advertising could be a way of branding. As suggested in the corporate ability literature, ability could e a powerful positioning in itself (Biehal and Sheinin, 2007; Brown and Dacin, 1997). For brands that have no particular unique feature, becoming increasingly common with the overwhelming number of alternatives available in most markets, ability in itself could be a sustainable source of advantage leveraging consumer expectations and trust in any product the brand introduces. This view is particularly interesting considering the trend toward continuously releasing new products under the same brand (Biehal and Sheinin, 2007). The research on marketing signals focuses mainly on unfamiliar brands (Kirmani and Rao, 2000).Whereas it still needs to be tested, creativity should have important effects on unfamiliar brands as well, as they may benefit more from marketing signals in general. However, the present study shows that high versus low creativity works as a signal for familiar and September 2 0 0 8 JDURHIIL OF BDOERTISIIIG RESEflRCH 4 0 1 ADVERTISING CREATIVITY MAHERS Creative advertising does increase consumer interest in ations and Consumer Product Responses. † Journal of Marketing 6 1, 1 (1997): 68-84. the brands, not by communicating a new message, but by COHEN, JACOB, a nd P ATRICI COHEN. Applied ommunicating the same message in another way. Multiple Regression/Correlation Analysis for the Behavioral Sciences. H iilsdale, NJ: Erlbaum, 1983. established brands. Such brands make up the bulk of advertising in major media (Kent, 2002), They need to stay interesting to consumers even when they have nothing new to say (Machleit, Allen, and Madden, 1993), Creative advertising does increase consumer interest in the brands, not by communicating a new message, but by communicating the same message in another way. The present study focuses on a small number of advertis ements for consumer products.We employed only one exposure that was forced on consumers. Our experimental design was a way to test previously uncovered effects of creativity in a controlled setting. This way, we show that advertising creativity may work in different ways than in previous literature and have powerful effects. Whether these effects materialize in a real setting (with noise, less motivated consumers), and for different kinds of products, must be subject to further research, within advertising, PR, and brand communications DAHLEN, MICAEL, a nd SARA ROSENGREN, † Brands have been published in, for example, the Journal ofAffect Slogans Affect Brands? Brand Equity, Com- Advertising Research, the Journal of Advertising, the petitive Interference, and the Brand-Slogan Link. † Journal of Current Issues and Research in Advertising, Journal of Brand Management 1 2,3 (2005): 151-64, and the Journal of Brand Management. EHRENBERG, ANDREW S . C , N E I L BARNARD, FREDRI K TORN is a Ph. D. candidate at the Stockholm RACHEL KENNEDY, a nd H ELEN BLOOM, † Brand School of Economics, focusing on incongruent brand Advertising a s C reative Publicity. † Journal of communications. His studies have been published in, Advertising Research 42, 4 (2002): 7-18. or example, the Journal of Advertising, the Journal of Current Issues and Research in Advertising, and the Journal of Consumer Behavior. EL-MURAD, JAAEAR, a nd D OUGLAS C . W EST, â€Å"Risk and Creativity in A dvertising,† Journal of Marketing Management 19, 4 (2003): 657-73, REFERENCES and â€Å"The Definition a nd Mea- surement of C reativity: What D o We K now? † AMBLER, T IM, a nd E. A N N H OLLIER † The Waste Journal of Advertising in Advertising Is the P art That Works. † Journal 188-201. Research 44, 2 (2004): of Advertising Research 44, 4 (2004): 375-89, GROSS, IRWIN, † The Creative Aspects of AdverANG, SWEE HOON, a nd S HARON Y.M , LOW. â€Å"Explorin g t he D imensions of Ad C reativity,† tising. † Sloan Management Review, 14, 1 (1972): 83-109. Psychology & Marketing 17, 10 (2000): 835-54, MICAEL DAHLEN is a professor of marketing at the BARON, REUBEN M , , a nd D AVID A. K ENNY, † The Stockholm School of Economics, His research fo- Moderator-Mediator Variable Distinction in So- cuses on innovative advertising and brand strategies, cial Psychological Research: Conceptual, Stra- with the ambition to join creativity, business, and con- tegic, a nd Statistical Considerations,† Journal of sumer value. Having been published in, for example,Personality and Social Psychology 5 1, 6 (1986): the Journal of Advertising Research, the Journal of HABERLAND, GABRIELE S. , and P ETER A, D A – 1173-82. 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Journal of Advertising Research 2 9,1 (1999): 39-50. uct Quality. † Journal of Consumer Research 16, 3 1989): 3 44-53. REID, L EONARD N . , K AREN WHITEHILL KING, KOSLOW, SCOTT, SHEILA L . SASSER, a nd E D – Creatives Look a t A dvertising Creativity Then ing Advertising Creativity Using t he C reative WARD A. R IORDAN. † What is C reative t o W hom and N ow. † Journal of Advertising 27, 2 (1998): Product Semantic Scale. † Journal of Advertising and Why? Perceptions o n A dvertising Agen- 1-16. Research 4 1, 6 (2001): 27-34. and D ENISE E . D ELORME. â€Å"Top-Level Agency WHITE, ALISA, a nd BRUGE L . S MITH. † Assess- September 2 0 0 8 JDURDHL OF HDUEIITISIOG RESEflRCH 4 0 3

World view paper Essay Example | Topics and Well Written Essays - 1500 words

World view paper - Essay Example The work groups may have a local set of values that significantly differ from the dominant culture. Many organizations related to health care, engineering, artists, and researchers have adopted the heterogeneity assumptions. The distinctive work paradigms and the demands of the occupations can easily marginalize the employees from the central organization. As a result, the workers try to cope with everyday frustrations and preserve their distinctive identity. They do so by working intensively together under a subculture (Bratton et al., 2010). The cultural heterogeneity affected my behavior as a doctor with a certain health organization. For example, we could collectively interpret the dominant value of providing the best possible care service to patients. However, the various professional groups frequently delivered care in a way different from the espoused value. Each group had a different interpretation from others of what best care means. For doctors, for instance, we interpreted it as eradicating the cause of the disease. On the other hand, occupational workers believed that it delivering care is helping patients to achieve improved life quality and greater mobility. These differing subcultures frequently clashed with one another and the central culture. Another theory, the symbolic- interactionist perspective, views organizational world as the all its members’ interactions put together. It assumes that culture is a vehicle that carries shared meaning (hence symbolic). It is brought about by the face-to-face encounters (hence inter-actionist) of workers and managers as they engage in daily workplace activities (Bratton et al., 2010). Thus, the organizational actors construct the culture, and then the networks of symbols and meanings among workers and managers reproduce it. Studying language, space, action, observable artifacts, beliefs, and values of the organization can thus help in

Sukuk and Screening of Stocks Essay Example | Topics and Well Written Essays - 750 words

Sukuk and Screening of Stocks - Essay Example The challenge lies in adapting instruments such a Sukuk in these mediums without compromising on the dictates of the Shariah. Of all the financial certificates transacted in banks outside the Islamic world, bonds are most amenable to the requisites of Shariah. Already many Islamic banks are issuing a variety of Sukuk (not all of which are Shariah compliant); but the best option of satisfying Islamic principles while also being able to integrate into global markets is through Sukuks issued as bonds. Presently Islamic banks employ three mechanisms to showcase the compatibility of their Sukuks with conventional bonds. Firstly, the bond holders' ownership of Enterprise Assets clearly distinguish these Sukuks from interest-based bonds. The second mechanism is the distribution of profits generated by these enterprises at fixed percentages as per prevailing interest rates. The third mechanism is the assurance of capital protection, meaning that at least the principal will be returned to the investor. In order for these Sukuk's to be Shariah compliant they have to answer some key questions. First, is the stipulated amount â€Å"in excess of the price of interest for the manager of the enterprise under the pretense that this is an incentive for good management?† Also, will the manager purchase the assets that is nominated in the Sukuk at its face value and not at its going-rate in the markets at the time of its redemption? If the answer to any such question is in the negative then the Sukuk is considered to have breached the Shariah rules. In this respect the guidelines and deliberations given by the Shariah committee is a useful resource. Author Muhammad Taqi Usmani goes on to talk about how many banks in the Islamic world have failed in upkeeping the tradition of Shariah in order to attract investors. Presently there are loopholes in the system, exploiting which bank managers project a Sukuk as genuinely Shariah compliant, whereas in reality they are only nomin ally so. It is imperative that managers do not indulge in such practices. The paper prepared by Nizam Yaquby titled 'Participation and Trading in Equities of Companies whose Main Business is Primarily Lawful But Fraught With Some Prohibited Transaction' highlights some of the tendencies on part of Islamic banks to neglect Shariah mandates in their pursuit for greater revenues. The ubiquitousness of Joint Stock Companies and the dealing of their stocks by banks throws open several dilemmas. With the Internet making purchase, holding and selling of such stocks quite easy, many banks in the Islamic world are indirectly trading in financial instruments that do not conform to the Shariah code. Trading in stocks of Joint Stock Companies, also called Public Limited Companies, has elicited mixed reactions among Islamic scholars. One group views this practice as permissible provided â€Å"that the profits earned should be purged from unlawful gains†; while the other group finds it obj ectionable. Citing several legal maxims, scholars have either supported or opposed this practice. Some of these maxims are â€Å"The General need Takes the rule of specific Necessity; Mixture of Negligible Unlawful Part with Lawful Major Part; Majority Has the Ruling of the Whole, or the Majority Counts ; and What is Inescapable is tolerable†

Film analysis Essay Example | Topics and Well Written Essays - 1750 words - 1

Film analysis - Essay Example s, it has the Old Testament’s ten commandments as its theme, but the history is all modern, based in a housing estate which consists of a set of tower blocks around a bleak garden area. The moral and social themes of the ten commandments are played out in the ordinary lives of ordinary citizens. The films of thee Decalogue are filled with atmospheric shots of the interiors of individual flats, and of bleak cityscapes in which the humans are dwarfed by multi-story buildings. A Western European or American audience is immediately struck by the relatively primitive furnishings of the living arrangements and the worn-down and worried population who live there. Characters are presented with all their faults on show, and there is a deliberate focus on illness and physical imperfections. Clothing is grubby, hands are arthritic and disfigured, as if to emphasize the harshness of the human condition. Minutes can go by, with nothing much happening, no dialogue, and just a series of domestic interiors being captured frame by frame. The characters reveal their natures in simple actions like walking down an empty road or drinking tea in a neighbour’s kitchen. If ever there was a film series to exemplify Durkheim’s theories of social conditioning, then this is it. The films are not pretty, in the sense that Hollywood films are, but what makes the films interesting, is to see the way that these downtrodden human beings exercise their free will to interact with others and resolve moral conflicts in a way that transcends their drab surroundings. While the communist day to reality insists on a purely materialist perspective, without any divine intervention, or any hope of heaven or fear of hell, the people who feature in these films, for example the doctor in Decalogue 2, find themselves in situations where a purely rational process does not bring any clarity to moral dilemmas. The doctor is asked by Dorota to make a decision which rightly belongs to God: a decision on the

Knowledge Management for Competitive Advantage Essay

Knowledge Management for Competitive Advantage - Essay Example In this regard, I will place myself as a report writing expert who will submit a report to the CEO of the firm as regards the analysis of their existing policies and how these should be structured and revamped to form an effective knowledge management system and culture within the organization. This is a fictitious company that has been built for structuring a competent knowledge management system. To start with, it has been assumed that this company has a poor knowledge management system. This information has been gathered from brief interviews with the CEO and other officials within the company. Based in the UK since 1998, this firm operates in the following two areas. -Business Transformation: this includes a class of services aimed at carrying out relevant research and applying the interpretation of the data emanating from the same in order to transform the company and render exponential growth to its operational effectiveness. -Systems and technology consultancy: this includes w orking with private as well as public companies and corporations to source and provide information regarding financial services, energy, government and public services, manufacturing and telecommunications, among many others, so as to promote the scope for strategic partnerships between the public and private corporations. IMC has grown from strength to strength in order to show sustainability. It now operates in countries like US, Middle East, Asia Pacific and Europe with an employee scale of over 1800 people.... ource and provide information regarding financial services, energy, government and public services, manufacturing and telecommunications, among many others, so as to promote the scope for strategic partnerships between the public and private corporations. Chapter 1.2: Knowledge Base - Operational Context IMC has grown from strength to strength in order to show sustainability. It now operates in countries like US, Middle East, Asia Pacific and Europe with an employee scale of over 1800 people. As far as the scope of knowledge management goes, this information has various dimensions in terms of factors that influence the scope and process of knowledge management. These factors are as follows: Source: Skyrme (1999)3 This diagram helps us focus on the contextual elements of knowledge management that may be applied to the case of IMC. These elements further help in codifying information through a focus on knowledge centres which helps in garnering intelligence throughout the organisation. Chapter 2: Role of Technology: Codifying Information According to the elements demonstrated in the above diagram, the operational context for knowledge management is one that follows a strategic approach. The guidelines for following the same within this particular organisation are as follows: (Payne, 1996) Converting localised efforts into more integrated efforts on the global front: for this, the company requires to coordinate the flow and transmission of information in a more fluid way so as to transform the local efforts into global one. Departmentalisation of efforts: there must be a series of departments that coordinate the knowledge management process and transmit the relevant knowledge to relevant parties. Categorisation of parties: this refers to the process of

Physiological principle for health and social care Essay

Physiological principle for health and social care - Essay Example ysis, deamination, fatty acid oxidations which enters the Tricarboxylic acid cycle or TCA cycle where it combines with oxaloacetic acid to form citrate and this is recycled back to oxaloacetate which continues the cycle again. There can be other intermediates of the TCA cycle which is derived from the breakdown products of carbohydrate , fats and proteins and thus it is not necessarily be acetyl CoA. In the TCA cycle, dehydrogenation takes place in the various molecules and carbon dioxide is liberated(which we finally breathe out). The removed hydrogen is taken up by NAD or FAD to form NADH and FADH2 . These molecules transfer the hydrogen atoms and the respected electrons through the electron transport chain which comprises of enzymatic complexes, that helps to transfer the electrons to the oxygen molecule ( which is inhaled and thus utilized un this fashion) with the formation of water. The hydrogen ions are pumped out of the inner mitochondrial matrix to the external space. This causes the hydrogen ion concentration to be more in external matrix than in the inner matrix. The hydrogen ions are pulled into the inner matrix due to passive diffusion through the half channels in the ATP synthase molecule that has a rotor-stator function. This means when the outside hydrogen atoms are pulled inside the ATP synthase causes a conformational change that puts the free ADP and Pi to its catalytic domain and thus ATP synthesis takes place.(Ganong, 2005)(Das,2009) 2. Whenever metabolism occurs in the body, there can be a change in the pH of the body which can hamper the action of various enzymes needed for completing other metabolic reactions therefore it is necessary to maintain an optimum pH or the acid base balance of the body to maintain homeostasis (keeping the internal environment of the body constant). This can be achieved by the compensatory mechanism which corrects alkalosis or acidosis under the changed conditions. The lungs help to correct acidosis by

Group effectiveness Essay Example | Topics and Well Written Essays - 250 words

Group effectiveness - Essay Example If the new approaches were adapted, then the group would have worked harmoniously. Respect for each other’s opinions should have been present. The work load should have been assigned fairly and not randomly decided by the self-appointed leader, who wanted to get all the credit, although all he did was to assign the jobs that have to be completed. 2) There were several factors that contributed to one’s satisfaction in being a member of a group. First of all, from the very start the goal of the group was established. Although each one has a goal of his own, a common objective was arrived at by the group. The roles of each member were very clear from the beginning. Each one was assigned a role which best fits his qualifications. There were rules that served as guidelines for the group. There were differences of opinions during the meetings but everyone was ready to listen to what one has to say. Respect was always present. Even if there were some disagreements, it was resolved politely, without any violent reactions from the group members. The decision was a group decision and not a decision made by only one person. 3) To further improve one’s communication skills, one has to learn to listen to other people’s opinions without having to be judgmental. One should realize that there is a time to speak and a time to listen. To be more effective in working with a group, one must know what he can contribute to the group by knowing his qualifications and capabilities. A win-win solution should always be the focus of decision-making. An evaluation of how one contributed to the group goals and how the group achieved its goals must be in place. Another way of improving one’s communication skills is to learn how to get the right message in the proper manner. One’s ideas must be clear and simple to be better understood by the other