Advertising - Persuasive techniques

Persuasive techniques

Advertisements are generally trying to persuade their target audience to:

-Buy a product or service
-Believe something or act in a certain way
-Agree with a point of view

There are many persuasive techniques used in advertising. A selection include:

Slogan – a catchy phrase or statement
Repetition – constant reference to product name
Bandwagon – everyone is buying it
Testimonial/association – e.g. celebrity endorsement
Emotional appeal – designed to create strong feelings
Expert opinion – ‘4 out of 5 dentists…’

Examples:
Slogan – Just Do It
Repetition – Go Compare
Bandwagon – Maybelline ‘America’s favourite mascara’
Testimonial/association – FIFA18 ‘El Tornado’ / Ronaldo
Emotional appeal – WaterAid ‘Dig toilets not graves’
Expert opinion – Max Factor ‘The make-up of make-up artists

Case study: Marmite
Advertising: Persuasive techniques blog task

Create a new blog post called 'Advertising: Persuasive techniques'. Read ‘Marketing Marmite in the Postmodern age’ in MM54  (p62). You'll find our Media Magazine archive here.

Answer the following questions on your blog:

1) What does John Berger suggest about advertising in ‘Ways of Seeing’?

Advertising seeks to make us dissatisfied with our present selves and promotes the idea that we can buy our way to a better life. ‘All publicity works on anxiety’ suggested John Berger in his seminal book Ways of Seeing (1972). Advertising offers us an improved version of ourselves, whether we are male or female: Publicity is always about the future buyer. It offers him an image of himself made glamorous by the product or opportunity it is trying to sell.

2) What is it psychologists refer to as referencing? Which persuasive techniques could you link this idea to?

Psychologists refer to the ways that brands offer images about people as referencing. We create a vision of ourselves living this idealised lifestyle, and then behave in ways that help us to realise this vision. This is because it creates strong feelings of dissatisfaction and the advert uses the anxiety of the consumer to make their brands appear more attractive.

3) How was Marmite discovered?

The product that was to become Marmite was invented in the late 19th century when German scientist Justus von Liebig discovered that brewer’s yeast could be concentrated, bottled and eaten.

4) Who owns the Marmite brand now?

Unilever now owns the Marmite brand. Unilever is a British-Dutch transnational consumer goods company. Is products include food, beverages, cleaning agents and personal care products. Unilever's other brands include- Magnum, Dove, Sure, Persil, Ben & Jerry's and many more.

5) How has Marmite marketing used intertextuality? Which of the persuasive techniques we’ve learned can this be linked to?

Marmite has many adverts that feature characters from cartoons. One example is Marmite’s 2003 ad featuring Zippy from the children’s television programme Rainbow. Another example is a 2007 £3m campaign featuring the 1970s cartoon character Paddington Bear (watch below). This type of marketing technique links to association/celebrity endorsement.

6) What is the difference between popular culture and high culture? How does Marmite play on this?

High culture relates to the cultural value of different products, whereas popular culture also relates to the same thing, but it is for the masses rather than a select audience. Marmite plays on the idea of popular culture and high culture through their creation of "Ma'mite". This series of advert plays on the iconography associated with the royal family (e.g. the crown and the motto) , which makes their product more memorable, as audiences would remember the comical aspect of the adverts.

7) Why does Marmite position the audience as ‘enlightened, superior, knowing insiders’?

Postmodern audiences arguably understand that they are being manipulated by marketing. They
understand the conventions that are being deployed and satirised. Postmodern consumers are simultaneously aware that they are being exploited, yet also prepared to play the game – if it brings them a sense of superiority and social cache.

8) What examples does the writer provide of why Marmite advertising is a good example of postmodernism?

Due to the view of people in the post-modern world thinking that they do not get manipulated by adverts and the media due to so many different views being publicized through social media. But Marmite uses this idea of making the audiences get the aspect of 'love it or hate it' and see the knowledge of the joke for audiences to publicize their view on their love or hate of the product.

Narrative theory - example questions (catch up)

How do the representations in Figure 1 position the audience to desire the Patek Phillipe watch?

-idea it makes you the ideal family man

-lasts for generations - worth the investment

-something to hand down to his son - has significant value

Four theorists we can call on when exploring narrative in media products:

-Todorov – Equilibrium

-Propp – Familiar character types

-Barthes – Enigma and action codes

-Levi-Strauss – Binary opposition

How are representations of masculinity shaped by cultural and historical contexts?

Your answers should refer to the Patek Phillipe advert (Figure 1 – published 2014) and your Close Study Product, the Score hair cream advert (Figure 2 – published 1967).

-The representation of men in these adverts are a basic stereotype of them - men are meant to be seen as a good looking, attractive and strong.
-In Patek Philips watch advert it shows how a man is meant to look after the son and make him look like he is the dominant want
-shows a man providing the family with something while the women isn't not even represented in the advert - idea that if you purchase the product all problems are solved - dont even need wife/mother figure
-Score hair cream advert it shows that the man is over looking the women showing his dominance. -The low angle shot shows that the women are below that men.
The advert is there to attract men into buy something that degrades women

Narrative in advertising: Jonah Sachs

American writer Jonah Sachs has highlighted the importance of storytelling in advertising and marketing: 

“The story wars are all around us. They are the struggle to be heard in a world of media noise and clamour. Today, most brand messages and mass appeals for causes are drowned out before they even reach us. But a few consistently break through the din, using the only tool that has ever moved minds and changed behaviour – great stories.”

Women in advertising catch up (Kilbourne and Van Zoonen)

In contemporary 21st century western media, are women still conforming to the ‘media-created woman’ for a man’s pleasure?

-in many cases yes, as one of the first things you will notice when you look at this advert is a number of women dressed in barely any clothing which would appeal to men

-on the other hand, the women go against the typical representation of women/what is expected of them as they are of a slightly older age and body types that are usually under-represented are being shown in a positive light.

How were women represented in advertising in the 1950s? The 1970s? The 1990s?

1950's - a womans purpose is to cater to and please men, men are the breadwinner - goes to work while woman is a caring housewife. 'its a mans world' - sense of ownership, women have no freedom and must do as they're told.

1970's - aimed at housewives by suggesting that buying that tin of coffee would keep their husbands pleased and if they dont keep men satisfied they will be punished.

1990's - adverts link to mulveys male gaze - idea that women are there to be sexually attractive to men, purpose is to satisfy and meet their desires.


Jean Kilbourne: Killing us softly

She has been studying the image of women in advertising for over 40 years. Her series 'killing us softly' highlighted the negative representation of women in advertising.

She went on further to make documentaries studying this issue and whether it was changing over time.

Van Zoonen

She was one of the first theorists to explicitly link gender, feminism and media studies. She is a key figure in third wave feminism alongside theorists such as Butler and McRobbie.

Looking specifically at the representation of women from 70s/80s advertisements, she questioned how much things had really changed - although women in adverts were being shown to now have jobs, their appearance was usually still the vital element.

Like McRobbie, van Zoonen was particularly interested in the pleasures female audiences took from the womens magazines that were heavily criticised by more radical 70s style feminists.

Similarly to Butler, Zoonen sees gender as negotiated and dependent on social and historical context. She suggested that the meaning of gender is a 'discursive struggle and negotiation, the outcome having far-reaching socio-cultural implications' - 1994

Advertising and Marketing: Score Catch Up Work

Notes:

Hypermasculinity is defined as: a psychological term for the exaggeration of male stereotypical behaviour, such as an emphasis on physical strength, aggression, and sexuality.

Advertising in the 1950s-1980s often featured a hypermasculine representation of men – and some representations in the media today still continue this.

Joseph Gelfer, a director of masculinity research, suggests that the way masculinity is represented in advertising is changing. Looking at advertising over the last 20 years:

“Previously, masculinity was mostly presented in one of two ways: either a glamorous James Bond-style masculinity that attracted ‘the ladies’, or a buffoon-style masculinity that was firmly under the wifely thumb. 

Thankfully, and somewhat belatedly, things are beginning to change.” (Gelfer, 2017)

Gelfer suggests there are five stages of masculinity – how people perceive and understand what it means to be a man.

Stage 1: “unconscious masculinity” – traditional view of men

Stage 2: “conscious masculinity” – as above but deliberate

Stage 3: “critical masculinities” – feminist; socially constructed

Stage 4: “multiple masculinities” – anyone can be anything

Stage 5: “beyond masculinities” – it doesn’t exist 

Gelfer says advertisers need to think about how their target audience views men and masculinity when creating campaigns.

Score Advert

The Score hair cream advert is an historical artefact from 1967. It should be examined by considering its historical, social and cultural contexts, particularly as it relates to gender roles, sexuality and the historical context of advertising techniques. 

Context: 1967 can be seen as a period of change in the UK with legislation on (and changing attitudes to) the role of women – and men – in society. Produced in the year of decriminalisation of homosexuality and three years before the 1970 Equal Pay Act, the representation of gender could be read as signalling more anxiety than might first appear. The reference to colonialist values can also be linked to social and cultural contexts of the ending of Empire.

-women surrounding him, reaching out as if he is superior to them

-man holding weapon - has power over the women

-women wearing revealing clothing - mulvey's male gaze - idea women are there to be appealing to men

-text reinforces idea of masculinity, repetition to suggest that the product isnt for women and is not feminine in any way

-male physically placed higher up - suggests dominance/superiority.

Score advert and wider reading

Score hair cream advert

Answer the following questions to ensure you have a comprehensive textual analysis of the Score hair cream advert:

1) What year was the advert produced and why is the historical context important?

1967 - its important because during this period, views in society about women were starting to change, partly due to this be the period of third wave feminism.

2) Analyse the mise-en-scene in the advert (CLAMPS): how is costume, make-up and placement of models constructed to show male dominance?

-women dressed in sexualised hunting costume: short skirts, tied-up shirts and ammunition belts - links to Mulveys 'male gaze', suggesting a woman's purpose is to appeal to men
-women positioned reaching out to him suggests he is a significant figure and has dominance as he is also placed higher up
-the man is holding a a gun suggesting he is the dominant as he has power over their lives

3) The main slogan is: 'Get what you've always wanted'. What does this suggest to the audience and how does it reflect the social and cultural context of 1967?

-it suggests that the consumer can have anything they want if they use the hair product
-suggests that what men wanted in that time period was for women to want and desire them and chase after them.

4) Why is it significant that the advert text says it is "made by men" and that it also contains "Score's famous masculine scent"?

-it reinforces that it is targeted at men as well as reinforcing expectations and gender stereotypes in society at the time

5) What representation of sexuality can be found in the advert?

-the typical gender roles in society at the time are being portrayed by making the man a figure who is positioned as dominant and superior to the women who as submissive and chase after male attention.

6) How does the advert reflect representations of masculinity in advertising 50 years ago?

-it reflects how masculinity was something important to men at the time and they had to be the dominant figure. The advert shows this by having the man hold a gun - a phallic symbol to reinforce his masculinity.

7) How much do you think things have changed with regards to representations of masculinity in advertising?

-representations of masculinity are gradually beginning to change in advertising and is much less extreme than it used to be, as some brands are starting to use public figures to go against the 'norms', such as Covergirl, who recruited James Charles as one of their brand ambassadors. However, the way masculinity in advertising is represented is in some ways the same as it was 50 years ago as some advertisements still reinforce Mulvey's 'male gaze'. For example, perfume adverts often feature a woman who is dressed to look attractive and appeal to the male, who is typically in little clothing and has abs and big muscles.

The Drum: This Boy Can article

Read this article from The Drum magazine on gender and the new masculinity. If the Drum website is blocked, you can find the text of the article here. Think about how the issues raised in this article link to our Score hair cream advert CSP and then answer the following questions:

1) Why does the writer suggest that we may face a "growing 'boy crisis'"?

-we focus on girls more and the issues that effect them but dont usually look at the issues that could effect boys as it has become normal to brush it off and tell them to man up or just deal with it.

2) How has the Axe/Lynx brand changed its marketing to present a different representation of masculinity?

3) How does campaigner David Brockway, quoted in the article, suggest advertisers "totally reinvent gender constructs"?

4) How have changes in family and society altered how brands are targeting their products?

5) Why does Fernando Desouches, Axe/Lynx global brand development director, say you've got to "set the platform" before you explode the myth of masculinity?


Campaign: Why brands need to change

Read this Campaign article on Why brands need to change their approach to marketing masculinity. If the Campaign website is blocked, you can find the text of the article here. Think about how the article relates to our work on gender and advertising then answer the following questions:

1) What are two ways advertising traditionally presented masculinity?

- A glamorous James Bond-style masculinity that attracted ‘the ladies'
- A buffoon-style masculinity that was firmly under the wifely thumb.


2) What are the two reasons the writer Joseph Gelfer suggests for why this needs to change?

-The altruistic reason is that traditional masculinity causes problems, whether it be its impact on men’s wellbeing or on women and their equal representation in society. All brands need to do their part in making the world a better place, so looking at masculinity can really be seen as part of corporate social responsibility efforts.


-The self-serving reason is that masculinity is constantly shifting and brands need an equally agile response in order to engage with consumers and remain relevant and competitive. By repeating tired clichés or offering alternatives of only limited imagination, brands are in danger of failing on both these fronts

3) What are the five stages of masculinity?

Stage 1 is defined as "unconscious masculinity", which means that traditional masculinity has been adopted by someone without them even thinking about it.

Stage 2 is defined as "conscious masculinity", which means that traditional masculinity has been consciously adopted by someone.

Stage 3 is defined as "critical masculinities" and is largely aligned with feminist thought. People at Stage 3 are aware that society is often patriarchal and homophobic and want to counter these problems. They also tend to believe that masculinity is not biologically determined, rather socially constructed.

Stage 4 is defined as "multiple masculinities" and suggests that masculinity can mean anything to anyone.

Stage 5 is defined as "beyond masculinities" and proposes the simple truth that masculinity does not exist. People at Stage 5 understand how masculinity operates at the other stages, but ultimately believe it to be an illusion that society has created to keep people in line

4) What stage of masculinity was the Score advert aiming at in 1967?


Stage 2

5) Why are the stages of masculinity important for companies and advertisers when targeting an audience?

It is important as it will kelp them know what products appeal to men and different types of men. It helps the advertisers keep up with the changing views of men and how masculine their products should be in order to appeal to consumers.

Advertising: Maybelline case study and wider reading

'That Boss Life' close textual analysis

1) Narrative & genre: narrative theory and sub-genre
-Propp - hero type role when they 'save' girl with mascara - gets her into the club
-makeover transformation
-Barthes action and enigma codes (eg: what is in the case? what are they going to do when they get in the car? action codes of applying the make up and sharing it)
-suitcase is important in storyline - glowing / gold

2) Cinematography: camera shots and movement
-extreme close ups of the eyes - fetishisation
-medium close ups of outfits showing before and after - allows you to see the change (makes us perceive product as transforming)
-repeated shots of product - strategy to make product stay in consumers mind and make the brand/product easily recognisable
-tracking shots of bag - adds to pace and build up
-establishing shot of setting - see hotel room and new york skyline - linking back to the brand where they are based - inspirational/desirable quality

3) Mise-en-scene: costume & props
-suitcase/trolly - idea of luxury - done to make product be seen the same way
-'ordinary' clothes first then switches to more glam costumes to show transformation/highlight the difference

4) Mise-en-scene: actors, setting, lighting and colour
-gold colour - idea of treasure/valuable
-bell boy - luxury lifestyle
-purple colour - regal/royalty, more gender neutral

5) Editing: pace, transitions and visual effects
-slow motion - throws mascara in air, mimicks throwing money - rich from having the product - suggests how much its worth
-when product is applied, editing is slowed down - more intense, get to see product and how it works in more detail

6) Graphics: text/graphics on screen
-logo on screen
-hashtag (that boss life) - social media promotion, allows awareness to be spread quicker
-repetition of slogan
-colloquial language - targets at younger audience, shows its more modern/relatable

7) Sound: dialogue, music and sound effects
-upbeat music, seem more modern
-background sounds of a club - suggests product is ideal when going to an event/need to be more dressed up

Maybelline 'That Boss Life': wider reading

1) Why was this campaign such a landmark for beauty product advertising?

Because 'not only has it teamed up with beauty influencers for the first time, this also marks Maybelline's first-ever partnership with a man as the star of a campaign.' This shows how Maybelline is breaking typical norms and expectations and showing their support to different movements and ideas.

2) What do the articles suggest regarding the changing representation of sexuality and masculinity?

They have made the act of male glamming feel somehow both revolutionary and a little more normal … because we still live in a culture where makeup is mostly associated with women. After decades of limiting makeup ads to women, beauty brands are finally getting the hint that makeup isn't just for girls; it's for guys too. Back in October CoverGirl named James Charles its first CoverGuy, and brands like Milk Makeup and Anastasia Beverly Hills have been featuring men in advertising campaigns and on social media for a more universal and inclusive approach to beauty.

3) Read this WWD article: Maybelline Taps Digital Makeup Influencers for New Mascara Campaign. Why might 'digital influencers' be so attractive to companies?

'Gutierrez and Mitchell share a combined Instagram following of 5.1 million followers and a YouTube subscribership of 2.5 million.' This means that their product can be recognised on a larger scale and people who support them are more likely to follow the brand and purchase their products, as when a product is associated with something you like, it encourages you to buy it.

4) Why do you think Maybelline chose to use MannyMua and MakeUpShayla in particular?

Because it shows that they are representing different groups in society, such as black people, gay people and those who have similar values as they do, who often go under-represented or are not always shown in a positive light when they deserve to. I think they also chose them as strategic business decision as they are of a similar age group that they are targeting with their products.

5) What does the WWD article suggest is the crucial factor for brands regardless of whether they use influencers or more traditional celebrities?

Some mass-market brands are eschewing the influencer route. Just this week, Revlon announced it was adding Gwen Stefani, a more traditionally established celebrity, to its ambassador lineup.

“It tends to be a younger brand attracting younger consumers for which the power of the influencers is really strong,” noted Liebmann.

In today’s consumer climate, said Liebmann, celebrities aren’t totally out — but it helps if they have a social media following.

“The real power today is if you have somebody recognizable who is also socially effective, a celebrity that has credibility [on social media]. Celebrities who live in this new world can become hugely powerful.”

Media Magazine: The Changing Face of Masculinity

Now go to our Media Magazine archive and read the feature 'The Changing Face of Masculinity' in MM63 (page 15). This will allow us to compare our two advertising CSPs - the Score hair cream advert and the Maybelline digital campaign. Answer the following questions:

1) What message does the article suggest the Score hair cream advert is trying to communicate to the 1967 audience?

The advert is using female sexuality to show men they can have power: you can conquer, you will be desired.

2) How does the article suggest the Score hair cream advert uses narrative to sell the product?

In the 1960s, print advertisements tended to rely more on photography reassuring the target audience that it’s ‘made by men’. This might address any hesitation the average male might have about purchasing grooming products: no women were involved in the creation of this product, it is solely for men, it smells manly and using it will not feminise you in any way.

3) What 1967 stereotypes does the article suggest the Score hair cream advert reinforces?

It reinforces the stereotype that men are superior and have the power to dominate women - who are there to please men and appeal to their needs, which would also support Mulvey's idea of the 'male gaze'.

4) Applying Stuart Hall's reception theory, what does the article suggest the preferred and oppositional readings could be for the Score hair cream advert?

Preferred reading - using this hair cream will give you everything a man would want, admiration and good looks. It will also make you more masculine and successful.

Oppositional reading - some people might believe that the advert is generalising masculinity and portrays masculinity as something as simple as being the breadwinner and having dominance over women. In 1967 homosexuality was decriminalised, - people still did not agree with this so it can be seen that the ad is trying to promote the traditional depiction of masculinity and what it is to be a man.

5) Moving on to the Maybelline advert, why is the background of Manny Gutierrez and Shayla Mitchell significant?

You can see the New York skyline which links specifically to the brand as it represents the city in which they are based. New York also ties into the idea of following your dreams and is known as being a place full of opportunities and the fact that Maybelline uses two social influencers from minority groups in the city suggests the product they are advertising can be life changing and will allow you yo access new opportunities.

6) What is the narrative of the Maybelline advert?

That the product is transforming and something that is luxurious and can instantly make you look more glamorous. The advert also shows that they are an inclusive brand and their products are designed and suited to a range of consumers and their needs.

7) What does the article suggest the Maybelline advert's message is?

The article suggests that the Maybelline advert message is to empower the youth, make them feel special and glamorised. Also, the slogan of this advert is to "lash like a boss", so no matter if you are male or female you can still have the power to "lash like a boss" if you use their product.

8) The final section of the article focuses on masculinity. What do the Score advert and the Maybelline advert suggest regarding the changes in society and media between 1967 and 2017?

There has been a significant change in views and attitudes towards masculinity as advertisements now are starting to become more inclusive by representing minority groups. In the 60s the views in society were much more traditional and suggested that masculinity equals superiority whereas the Maybelline advert is empowering hyper-masculinity and the youth.

Representation of women in advertising

1) How does Mistry suggest advertising has changed since the mid-1990s?

Since the mid-1990s, advertising has increasingly employed images in which the gender and sexual
orientation of the subject(s) are markedly (and purposefully) ambiguous.

2) What kinds of female stereotypes were found in advertising in the 1940s and 1950s?

Looking at women's magazines in the 1950s, Betty Friedan (1963) claims this led
to the creation of the 'feminine mystique': 'the highest value and the only real commitment for
women lies in the fulfilment of their own femininity. The highest good is keeping house and raising
children' (Millum, 1975:74).

3) How did the increasing influence of clothes and make-up change representations of women in advertising?

There was also a second major area of expansion in production/consumption - clothes and make-up
- which led to women being increasingly portrayed as decorative (empty) objects (Winship, 1980:8;
Busby & Leichty, 1993:258). A poignant example of where this occurs is in perfume advertisements;
according to Diane Barthel, one of the most common images here is that of the 'fair maiden'. Taking
Figure 1 as an example, the innocent female is equated with flowers and nature: 'what is
communicated is the sense that any rude contact with reality might spoil the maiden's perfection.

4) Which theorist came up with the idea of the 'male gaze' and what does it refer to?

Laura Mulvey came up with the male gaze and suggested that scopophilia (the basic human sexual drive to look at other human beings) has been 'organised' by society's patriarchal definition of
looking as a male activity, and being looked at as a female 'passivity'.

5) How did the representation of women change in the 1970s?

From the mid-1970s there was a proliferation of distinct images that became labelled as the 'New
Woman', and that were seen as representative of the 'changing reality of women's social position
and of the influence of the women's movement' (van Zoonen, 1994:72). The New Woman was
supposed to be 'independent, confident and assertive, finding satisfaction in the world of work and
recreation, seeking excitement, adventure and fulfillment' (Cagan, 1978:8).

6) Why does van Zoonen suggest the 'new' representations of women in the 1970s and 1980s were only marginally different from the sexist representations of earlier years?

van Zoonen asserts that the New Woman 'only departs marginally from her older, more
traditional sisters.' Deconstructing an advertisement promoting the 'Jenni Barnes Working Style'
range of clothing, van Zoonen points to its claim that: 'A woman should look forward to dressing for
the office.' Having a job is seen merely to provide 'another happy occasion for women to dress up
and present themselves.' Indeed, a woman 'is portrayed stepping confidently towards the camera in
an office environment observed by a male colleague from behind; but she is not portrayed actually
working' (1994:73).

7) What does Barthel suggest regarding advertising and male power?

Barthel notes that 'today's young women can successfully storm the bastions of
male power... without threatening their male counterparts' providing we can reassure them that,
underneath the suit, we are still 'all woman', that 'no serious gender defection has occurred'
(Barthel, 1988:124-125; Davis, 1992:50). In other words, that there is no real threat to male power.

8) What does Richard Dyer suggest about the 'femme fatale' representation of women in adverts such as Christian Dior make-up?

Another dubious image of the New Woman is the 'dark lady': on the other side of innocence and romance, is the knowledge and sexuality of the daring femme fatale (Barthel, 1988:76). The message in Figure 5 is that women can use Christian Dior make-up to make themselves sexually attractive - and that her sexuality is for her own enjoyment. Richard Dyer however, claims that such images are
something of a misrepresentation of women's liberation.