America’s Most Influential Movie Star: Ford Motor Company’s Product Placement on the Big Screen

by Kathleen Ward

Every time we go to the movies name brands subtly try to influence our purchasing habits. They do this with a method called product placement. This method appears in plays, movies, television shows, video games and even books. When a brand’s logo is included in a scene or sentence we are victims of product placement. The goal of these major companies is to raise brand awareness in a way that seems authentic to the environments and characters shown. It is obvious that movies are a prime place for advertising companies to show their brands. Movies are a “highly cost effective way to gain huge exposure and visibility at a fraction of the traditional advertising costs” (Pick, 2007). Because we live in an age where advertisements and marketing are so common sometimes we do not realize when we are being exploited as an audience. If we actually pay attention, it is apparent that many movies have sold-out to big companies and sacrificed much of their creative integrity and the integrity of their audiences. People go to the movies because they want to relax and watch a film. They do not go to find out about a new car or discover the most refreshing soda. Unfortunately, companies do not realize how annoying and distracting their product placement can be. Ford Motor Company is a prime example of large corporations using the movies to sell their products in a pushy and apparent way. Ford has blatantly advertised in the movies I am Legend and The X-Flies Movie: I Want to Believe.
Ford Motor Company was once the world’s number two automaker after General Motors. This is somewhat hard to believe considering Ford does not have the best track record for reliable cars. However, these negative feelings about Ford have only recently developed. In 2000, Ford owned Volvo, Aston Martin and Jaguar and bought Land Rover. Thus, forming the Premier Automotive Group. It looked like they were on the road to success. It was only after the Firestone tires on the Ford Explorer, the country’s most popular sports utility vehicle, started exploding that people gave up on American made cars. Today, foreign cars are much more popular and are responsible for the lower sales and declining margins within the Ford Company. In fact, in 2006, Toyota passed Ford in United States sales. Then, later that year Ford reported losing a staggering 12.6 billion dollars (“Ford Motor Company”). These substantial losses are forcing Ford to consider selling Jaguar, Land Rover and perhaps even Volvo. In order to avoid the worst, Ford has started using movies to sell their product and in July of 2007 the company announced it had earned a profit of 750 million dollars, which was their first quarterly profit in more then two years (“Ford Motor Company”). Perhaps all their advertising is paying off but what exactly are they doing to get new customers?
Ford tries to reel in new customers in the movie I am Legend starring Will Smith by strategically placing their car models throughout the film. In the movie Robert Neville is a scientist unable to stop the spread of an incurable man-made virus. This virus is so dangerous because it turns its victims into flesh hunting zombies. Immune and all alone as the last human survivor in New York City, Neville desperately tries to find the cure for this horrible virus. However, when he’s not down in the lab trying to create a vaccine, he’s out scouting the empty streets in a candy apple red Ford Shelby Mustang GT500 with white racing stripes across the hood. In the decaying city covered with dirt, wild plant life, and old broken down cars this bright red vehicle sticks out like a sore thumb. By putting a car like that in I am Legend, Ford is trying to communicate the message that their cars can withstand the test of time. It shows that the entire world is a mess but Ford cars are still reliable and in good condition. Ford realizes that we have a need to feel safe therefore; they portray the car as something that will satisfy this need (Fowels, p. 85). Also, Because Will Smith is driving this car as a “superhero” trying to save the human race; it taps into people’s need for prominence (Fowels, p. 83). The ad is trying to depict that if you buy this car you will be admired and respected. Neville also drives a Ford Explorer throughout the film mostly during scenes when he is trying to catch a zombie for experimentation. During these scenes the Ford Explorer keeps him safe and even the incredibility strong supernatural zombies cannot break into the vehicle. This is once again reinforcing the reliability of Ford products.
This product placement has the potential to be highly effective but it all depends on who is watching the movie. I believe in I am Legend Ford is appealing to both their current customers and a different set of customers. First of all, it is obvious that this is not a chick flick therefore the old “Ford Tough” motto still applies in this film and is reaching out to all the rugged men in the audience. These men will also probably like that Neville is trying to save America from this terrible virus and they will identify with his all-American image. But most of all the male audience members will enjoy the first scene with the bright red Ford Mustang. It taps into their need for speed and makes them want to buy a new Ford car. However, Ford is reaching a wider audience that includes more then just rugged all-American males. Appearing in a science fiction movie, they are reaching a totally new fan base as well. The film’s main message about the human race and preserving the earth allows Ford to reach an environmentalist crowd. In the past, Ford has not really been known for environmentally friendly products but now they have a chance to show off their new hybrid cars to the perfect audience. When I see the Ford Mustang in I am Legend I think it is a shameless example of product placement. This makes for a less effective ad because the situation is so unrealistic. Why would Robert Neville drive such an ostentation car is such decrepit times? If Ford toned down their product placement by only using the Ford Explorer in I am Legend, the ads would be even more effective. However, the main point is that Ford used this movie as a way to target customers.
In addition to I am Legend Ford decided to market their cars in another science fiction thriller movie entitled The X-Files Movie: I Want to Believe. This movie’s plot begins when women are abducted in the hills of Virginia during a harsh winter. The only clues connected to their disappearance are grotesque human remains that are discovered in snow banks along the highway. An old priest’s questionable psychic visions send the police to a secret medical lab that may or may not be connected to the women’s disappearances. Ex-FBI agents of the X-Files, Fox Mulder and Dr. Dana Scully, must reunite to solve the mystery. In order to commute from crime scene to crime scene, Dr. Dana Scully drives a new hybrid Ford Taurus. She is a doctor in a community hospital so a Taurus was a sensible choice for her to drive. The other government officials throughout the movie drive Ford Expeditions. This was another sensible choice because in reality, the government and FBI do run Expeditions in their fleets. Ford is relating their vehicles to the strength and professionalism that the government represents. Many people feel the need for prominence (Fowles, p. 83). Therefore, because the government is driving these cars, the audience will believe that Expeditions will give them the high social status they deserve. Also, throughout the movie many of the crime scenes that Dr. Scully has to drive through are surrounded by snow and ice. This shows the sustainability of Ford vehicles in the snow and other harsh weather conditions. Representing that Fords can once again satisfy your need to feel safe (Fowles, p. 85).
I found the product placement within The X-Files Movie: I Want to Believe to be quite realistic thus creating a more effective advertisement. However, it was still apparent and somewhat distracting that Ford vehicles were in to movie solely to persuade and influence the audience. By appearing in this movie, Ford is advertising to a new and old audience. First, Ford cars in The X-Files Movie appeal to smart and sensible women who want to be like Dr. Dana Scully. She is not necessarily rich but people want to be like her because she is an intelligent, successful, independent career woman. This strays away from Ford’s original “Built Ford Tough” audience and appeals to middle-aged women, like the working mothers and businesswomen. But Ford has not totally abandoned their core audience. By making the government officials drive Expeditions, Ford once again identifies with the rugged men in the audience. However, the most apparent new audience they are trying to reach is the environmentalists. Recently, around the country everyone has become obsessed with the idea of “going green.” In turn, it has become an effective marketing slogan to say that your product is “green.” Naturally, Ford has jumped on the bandwagon and now markets their cars as hybrids in the X-Files Movie. Just like in I am Legend, Ford is trying to appeal to an environmentalist audience by putting their products in a Science Fiction film.
Overall, it is apparent that Ford has mercilessly used films to endorse their new products. This company is one of the worst offenders of exploiting the audience during feature films. Throughout movies like I am Legend and The X-Files Movie the directors constantly include beautiful shots of Ford vehicles to influence the audience. The worst part is, as an audience we cannot control what production studios are putting in their films. Therefore, we could walk into a theatre thinking we are going to have a relaxing experience and walk out with the urge to buy a new Ford Mustang. This is ultimately the goal of product placement. If placed naturally within the film and directed at the right audience, there is no stopping big corporations like Ford Motors from taking over the movie industry.

Works Cited

Ford Motor Company [Online Exclusive]. The New York Times Business. Retrieved from
http://topics.nytimes.com/top/news/business/companies/ford_motor_company/index.html
Fowles, Jim. Advertisings Fifteen Basic Appeals. In M. Petracca & M. Sorapure (Eds.),
Common Culture: Reading and Writing About American Pop Culture (pp. 73-91). Upper
Saddle River, NJ: Pearson.
Pick, Michael (2007, January 9). Product Placement And Hypercommercialism Pervade
Hollywood Film Industry: But No-One Seems To Notice [Online Exclusive]. Master New
Media. Retrieved from http://www.masternewmedia.org/news/2007/01/09/product _
placement_and_hypercommercialism_pervade.htm
Press Release (2008, August 27). Ford Vehicles Star in Feature Films. Ford Motor Company.
Retrieved from http://media.ford.com/NEWSROOM/release_display.cfm?release=28951

Appeals to the need to nurture in advertising

by Melissa Abourashad

From baby dolls to real babies, from caring for your puppy to caring for your family, from lip-gloss to lipstick, from dressing up Barbie to closets packed with designer clothes, females have the need for attention and the need to nurture from a very young age. Advertising understands the needs that females have and uses it to their advantage throughout a female’s life. From ads about taking care of your baby doll and the best new doll that actually drinks a bottle, to ads for the best formula that will keep your baby healthy, advertising knows how to read women and these needs are reflected in their ads. Due to the strong urge women are born with to receive attention and to nurture their friends and family advertising is able to sell products that fulfill these women’s needs from a very young age.

From a young age, advertisers try to implement the needs of girls into their advertisements. Beginning with the need to nurture, advertising uses commercials like ones for baby dolls to show little girls that they should play with babies and take care of them. From looking at the Toys R Us website, in just the first 2 years girls are introduced to baby Elmos, baby dolls and books entitled Guess How Much I Love You. In the range from 5-7 they are introduced to things like Barbie, and subsequently the color pink floods the screen. Although boys from the 5 to 7 age range are introduced immediately to Tonka trucks and action figures. The divide is so evident and it makes sense for advertisers to promote pink, dolls, and babies to girls. Due to this early upbringing of Barbie and baby dolls girls immediately begin to form the needs to nurture and the need for attention.

The need for attention is much more prominent on the Barbie website. Immediately in seeing the website the words “Fashion, Fun, and more” pop up. Little girls look up to Barbie and therefore find fashion and fun to be two important things because that is what “Barbie” thinks. From this early stage in their life they are introduced to the many different kinds of clothing and the attention Barbie receives from them. Then these girls turn into women and are controlled by the need for attention. Women want to impress not only men but their peers and look just as good as if not better in order to attract their attention.

Women especially have the need for attention from men or the object of their desire. Ad’s like “Gentlemen prefer Hanes” (Fowles, 83), make women believe that if they wear Hanes they will attract men. This is the problem, just because women are wearing Hanes, Dolce and Gabanna or any other type of clothing does not make them attract men. Although, when women see these types of things in advertising with commercials, where an attractive man is swooning over the woman wearing the product they are convinced it might work for them. The strength of the need for attention grows throughout a woman’s life and peaks at their early 20’s but is something advertisers instill in them from a very young age.

Barbie is something that little girls from every walk of life in America look up to. She is pretty, talented, has friends, and has a boyfriend. She can accomplish anything and is almost a great role model for girls, what they don’t know is the fact that her life is completely unreal. Little girls look up to Barbie and believe if they dress like her they will have all she has, but again her life is only in Barbie World. Advertisers use Barbie as a way of getting little girls to recognize if they buy Barbie and be like Barbie they will get attention which is something that all little girls want. Therefore as they grow up they will retain the same needs but their product range will expand into clothing companies that take advantage of this instilled need. Girls go from thinking if they buy Barbie they will have a great life to saying, “If I buy Calvin Klein jeans…I’ll be the object of fascination” (Fowles, 83). Therefore I think that many clothing companies actually have Barbie to thank for their wide range of customers and their high product sales because the brainwashing done by Barbie’s creators had made these customers into the materialistic people who confide in advertising to show them what they should like.

Females are also taught from a young age to fit in and have the attention of their friends. Clothing companies and cosmetic companies also start at a young age introducing these things to girls. From when girls are young they have things like fake eye shadow and lip gloss which makes them feel girly and feel like they are one of the clan. Also clothing stores like Limited Too and Kids Gap allow girls to be in style just like their friends. This need for attention from their peers only grows rampantly as they get older. When women get older they get influenced completely by clothing and cosmetics. The advertisements they see tend to alter their thoughts and feelings and make them desire these items.

Being a “Cover Girl” or being part or wearing American Eagle clothing takes over their minds. Companies like American Eagle, Hollister, and Abercrombie promote an image of attention and being in a group of cool people who get attention in all of their ads. Girls see these ads and will spend unreasonable prices to get the look that will get them attention. Even when women get older they feel certain products can enable them to be more confident and successful therefore be noticed much more. “Peggy Fleming flutters her legs for L’eggs, encouraging other females who want to be the star in their own lives to purchase this product” (Fowles, 83). This advertisement makes it possible for women to star in their own lives, insinuating they will get attention like a “star” or other famous person. Women feel the need to look just as good if not better than their friends because each woman subconciously wants to receive the attention in their group.

When it comes to the need to nurture, little girls and women alike have an instinct about it. They are prone to caring for others and that is why advertisers also use this need to lure in consumers. They naturally feel the need “to feed, help, support, console, protext, comfort, nurse, heal” (Fowles, 80). This overbearing need translates into promotions for products and advertisers benefit. From a young age girls are introduced to things like baby dolls and and toy kitchen sets. These things suggest to girls that they should be the caretakers from early on in their lives. Advertising shows girls through commercials that they should take care of their companions and friends. It is ironic how from a young age these stereotypes are already shown, in a typical little girl’s room you see a play kitchen and baby dolls where as boy’s rooms there is Tonka trucks and action figures. “A strong need it is, woven deep into our “genetic fabric”, for if it did not exist we could not successfully raise up our replacements” (Fowles, 80). From the beginning of a girl’s life they are taught to nurture while all along advertising helps to enforce this characteristic.

As women grow up they are told by society they should nurture and become mothers so advertising takes full advantage. The number of commercials with Mothers cooking the family dinner or taking the kids to a cool water park illustrates that a good mom and a nurturing mom should do these. Therefore they buy the certain product to care for their children. “The pitch is often directed at women, as Mother Nature’s chief nurturers. “Make me some Kraft macaroni and cheese, please,” says the elfin preschooler just in from the snowstorm, and mothers’ hearts go out, and Kraft’s sales go up” (Fowles, 80). This is only one of the many examples of ads in which advertisers show women how to be a good caretaker. This value is instilled in the minds of young girls and grows as they grow; advertisers see this and use it to their benefit.

Attention and nurturing are two needs that females will forever possess and be attracted to for years to come. Women are just prone to these things and from a young age females are taught what to think. It is in fact a world of advertising and the two aspects of advertising that appeal to women the most are nurture and attention. Both the need for attention and the need to nurture are clearly exposed throughout the years of a woman’s life and in fact are pretty convincing. Advertisers use this need in order to sell their products and allow women to feel like they are both getting the attention they need and fulfill their need to nurture and in turn are incredibly successful.

Humor in advertising

by Bobby Melloy

“So easy, a caveman can do it!”
[Enter caveman] Hey man, not cool! Not cool! ”
“I’m so sorry; we didn’t think you guys were still around.”
[Laughter ensues]

Humor is becoming an ever-growing facet of advertising used to capture an audience’s attention to sell a product. Although the use of humor in advertising has its origins in the early days of the business, its widespread use as an advertising strategy is a more recent phenomenon (Gulas and Weinberger, 2006). If used effectively, it can be an incredible asset and the potential for profit is exponential. Humor however, if used improperly or too frequently, can work against a company and be quite a turn-off to the audience. The best way to use humor would be when selling an inexpensive, consumable, simple product. The simpler the product, the less facts needed to explain it. This allows the company to not have to waste time explaining the product per se, but allow it to be explained through the humor they are trying to pull off.

Warning: Using Humor May Induce Laughter
The great things about the concept of humor in advertising are the rewards in correctly using it. It can help to increase product recognition. A [study] by the San Francisco-based Center on Alcohol Advertising tested commercial and character recall among 9 to 11 year-old children. The result: the children demonstrated higher recall (73%) of the Budweiser frogs' slogan than of the slogans associated with other television animal characters, including Tony the Tiger (57%), Smokey Bear (43%), and the Mighty Morphin’ Power Rangers (39%) (Hacker, 1996). The humor of the characters leaves the children with a positive lasting impression of the commercial and in the future they may associate those impressions with the company and can develop brand-faithful buying habits. Jingles are also means by which companies can keep themselves rooted in the minds of the consumers. Slogans like, “Head-on! Apply directly to the forehead,” or “Call 800-588-2300 EMPIRE TODAY,” really can be catchy and annoying at the same time, but the public is thinking of them so they are doing their job.
Aside from product recognition, another positive aspect of humor is that it is rare. Everyone is used to seeing commercials that state facts, safety ratings, or directions. When they see a commercial that is funny, consumers are more likely to pay attention because it is a break from the routine.
Also scientifically speaking, humor is said to be able to “block stress hormones, stimulate endorphins or other chemical reactions, and produce euphoric effects akin to mood-altering drugs” (Stroh). Some research suggests that laughter may also reduce the risk of heart disease. Historically, research has shown that distressing emotions (depression, anger, anxiety, and stress) are all related to heart disease. A study done at the University of Maryland Medical Center suggests that a good sense of humor and the ability to laugh at stressful situations helps mitigate the damaging physical effects of distressing emotions. Simply put, humor can help make people feel good (Kemp, Segal, 2007).
Picture this: A crowd walks into an auditorium and seats themselves. It appears as though it is a college class, getting ready for a large, lackluster lecture. Ironically the professor stands up to the microphone and chokes slightly – he’s nervous. Coming to his rescue, a modest-looking student stands up and shouts, “Excuse me sir. I know public speakers use tricks sometimes to help them relax. If you need to picture me naked, that’s cool.” Just then words appear onscreen reading: CLEARASIL MAY CAUSE CONFIDENCE. He then looks to a girl on his left and says suavely, “You too.” She smiles and blushes.
This was an example of an effective use of humor. Perhaps the best thing going for it is its element of surprise; it starts out as fairly humdrum and routine, but this young man acts on an impulse most of us would not (actually another good technique: seeing someone do something we could never imagine doing for fear of embarrassment, approval, etc.). They had an average looking young man portrayed as the “hero,” having the confidence to help this teacher who obviously did not have any, and yet still having time to pick up a girl. This television commercial was seen on MTV and was conducive to exposing their product to their target demographic – young adults ages 17-23 who may see acne as a nuisance and/or confidence killer, as well as men who may lack the confidence to talk to girls. The unique thing about this commercial is that it is not gender specific; the fact that it is a boy that jumps up and later talks to a girl can easily be imagined as a girl who does the same thing then talks to a boy. This helps to prevent audience alienation and allow the commercial to attract a diverse population.

A Joke Not Funny Makes You Lose Money
Misused advertising can be the downfall of an ad campaign, especially if it was the humor that was attempted but fell short. If the product is not placed well enough, or if the audience does not experience the “get it” moment, they may forget about the product and concentrate solely on the joke. On the other hand, the jokes may be so funny or extraordinary that the audience does not take the product seriously. In either case these situations can undermine the credibility of the sponsoring company. In “Advertising’s Fifteen Basic Appeals”, Jib Fowles says of Alka-Seltzer’s 1960’s failed comic commercial, “...humor can be treacherous, because it can get out of hand and smother the product information. [In this case] the audience cackled [at the joke] so much it forgot the antacid. Or, did not take it seriously.”
Just as humor can leave positive lasting impressions with viewers, it can also leave negative ones too. Humor is subjective: what may be funny to one group of people may turn off another. This can alienate specific audiences and limit a business’ consumer base. For example, the Axe© Body Spray campaign has taken criticism from women due to the company’s portrayal of them. In an article titled, “Body spray ads amuse, but do they offend, too?”, Sam McManis says, “Just last month, the consumer watchdog group Campaign for a Commercial-Free Childhood began a letter-writing push to Axe's parent company, Unilever, accusing it of sexism and hypocrisy.”

Cute and Funny Wins the Race
The Super Bowl is the prime time for advertising. In 2008, companies spent $2.6 million for 30 seconds of on-air advertising (La Monica, 2007)! With that much money invested, the businesses must make sure that their ads are the best of the best. USA Today newspaper sponsors “Ad Meter” which ranks the advertisements of the Super Bowl each year based on how they scored with a sample of viewers on a 1-10 scale. In the list of the top ads, 73% used humor as a concept to bait consumers. Ninety percent of the top 10 advertisements were based on humor, and 75% of the top 10 were made by Budweiser, including the number one ad of the Super Bowl: the Budweiser Clydesdales, which pulled in a rating of 8.73/10. However, there were still Budweiser ads throughout the list, including one ad in particular that ranked at #37 of 55, which only pulled in a ranking of 4.5/10. How could two ads both using humor and both from the same company experience two completely different results when tested with the same audience?
The Clydesdale advertisement was a play on the movie Rocky, and involved a horse that was the only one not to be picked to publicly represent the Budweiser Company, seemingly because he was inferior to the others. A local Dalmatian trains the horse day and night, rain and snow, to get fit and ultimately win over the affections and respect of his owners. The ad evoked many positive feelings: pride, work-ethic, overcoming odds, the will to succeed, etc. It showed nostalgia for the “American Dream,” that you could do anything once you put your mind to it. Plus, it had the “cute-factor” in the animals, which appealed to children and adults alike. Kinsey55 says in a comment on the video on Spike.com that “it was [a commercial] that could be understood by all age groups. Well done!”
Then there was the other commercial featuring Will Ferrell as “Jackie Moon” from his then up-coming movie. In the commercial, he says different lines advertising Bud Light™, but each time is “cut” by the director because of his suggestive language and inappropriate innuendos. Since women are more likely to watch the Super Bowl for the ads, this content may be inappropriate for its audience, which is most likely not women and children. They may not find its humor funny, and may be turned off by its vulgarity. MAVELTO on Spike.com’s video comment board says that “there is something I just do not care for [in this commercial]. [Will Ferrell] to me, just tries too hard at being funny.” This is an example of how the humor used does not work, in essence because it “works ‘too’ hard” and causes viewers like MAVELTO to shy away.
I find that when watching television, reading a billboard, or listening to the radio, I enjoy it when the advertisements are funny. As stated before, it brings a sort of unexpectedness to my daily routine. I also find that when I see an ad that is funny, I am more likely to buy the product not because the ad “hooked” me, but because (as ridiculous as this sounds) I consciously appreciate the fact that they made the ad funny to appeal to me. In other words, my thought process is: If presented with two of the same ad, one straightforward and to the point and the other funny and original, I want to give my money to the one more creative and eager to get my business. When I see an ad that I just do not understand, I am more apprehensive about buying their product less likely to remember what product it was in the first place.

The Path to Poke-Power: Matching the dominance of the Pokemon Franchise

by Anthony Judilla

“Gotta Catch’em All!”, “I Choose You!”, and “What kind of Pokemon are you?” are all trademark phrases of one of the most successful franchises to arise over the past ten years. Since Pokemon’s creation in 1995 by Nintendo’s Satoshi Tajiri, it has grown and evolved from its premise as a game boy role-playing game. The original Pokemon game had its player travel around the world catching different kinds of Pokemon each with different appearances and abilities, leading to the catch phrase “Gotta Catch’em All!”, which would prove to win its audience over. The games addicting yet playful nature spread throughout Japan and eventually to America, where if solidify itself as a part of pop culture years nearly a decade after its introduction. There are successful toy lines, trading cards, books, clothes, and just about anything you can think of with the “Pokemon” stamp on it. Pokemon the animated series even holds the record for the longest running TV series of all time in terms of number of episodes aired. Pokemon’s success is attributed to its television series and the ability to draw in and retain its target demographic through its enticing and engaging nature. (Howard Chua-Eoan and Tim Larimer, 1999).
Young Ones, Ages 4-6
Children often have affinities to monsters or animals at very young ages. Children also require ways in which to deal with fantasy by re-enacting what they see and making their dreams seem as real as possible. (Weiten, 284) Pokemon is able to use this childhood necessity to draw kids in. The television show depicts several methods of Pokemon interaction that range from running through large grassy fields, playing with one’s Pokemon, battling others, and evening caring for Pokemon for the sake of company. “Oh you’re my best friend” (John Siegler, 1996), lyrics from the show’s opening theme song, makes viewers actually care for all the Pokemon they see on the show, the game, or their stuffed Pikachu doll. The known first 150 Pokemon were so diverse and individual that all children were able to find a favorite, and thus feel an obligation to care for that cute Squirtle or tough Tauros. Kids would tune into the show just to see if the main character “Ash Ketchum” encountered their favorite Pokemon that day, and ending theme song’s often ended with catchy “poke-raps”. If one tuned into these raps 5 days a week then all 150 the Pokemon could be recited. Along with these raps short songs and catchy tunes about Pokemon were also added to keep viewers watching until the very end of each show. “What kind of Pokemon are you?” would often play at the end, appealing to an advertisement’s basic need for affiliation. By choosing a Pokemon to associate with, each child could feed their hunger for belonging and live off the feeling of having a Pokemon to relate to. (Fowles 76).
As they get older, 7-12 year olds
The cute appeal of the 150 lovable Pokemon doesn’t always cut it when it comes to grabbing the attention of slightly older children. Action, explosions, and flashes of light draw this demographic into the Poke-fray. Besides the viewing these visual stimulants, kids can also be in control of them in the Pokemon game, or use their imaginations in the trading card game. The original game on the handheld systems couldn’t quite competed with the animated shows graphics, so the same game was created for TV consoles and “Pokemon Stadium” was born. The ad showed a large arena stadium filled to capacity with a roaring crowd, as the announcer claimed “There’s a battle raging on, a battle for destiny”. This epic description of the game allowed older audiences to not only see these Pokemon in newer more vibrant ways, but it put them more in control over these monsters then ever before, by rewarding commands with stunning graphic elements and the feeling that they are real Pokemon trainers.
The game play of the game boy games requires players to trade with other people with different versions of the game. Each generation comes out with two different versions of the game, with some Pokemon exclusive to a version. Trading is the only way to complete one’s “pokedex” which logs all of the Pokemon seen or caught. The interaction with others and the need to fulfill this pokedex stresses the advertisement’s appeal for achievement. Kids have to “Catch’em” all, and want to be able to tell their friends that they have accomplished the feet, as well as completely beat every element of the game.
Pokemon controversy
The very action and appeal that lured kids into Pokemon also had its controversy. On December 16, 1997, an episode of Pokemon caused almost 700 children in Japan to go into shock and suffer seizures, due to a segment in the episode where a Pokemon was flashing and red and blue light for an extended period of time. (Takeo Takahashi 1997). This led to the episode’s banning from America, and the temporary ban on Pokemon episodes in Japan for four months. Although this was an isolated event, many used it to lash out against the Pokemon franchise, with claims that the way become change and evolve disrupts the theory of evolution (Thomas A. Carder, 1999) and that it causes increased tendencies towards animal violence (Salley Gurney, 2000). All these claims however have had little effect on the sales of Pokemon merchandise, game sales, or program ratings. Toys are still being manufactured, new games are still being developed, and the TV show is still on the air with about 600 episodes and counting. If these controversies had any negative effect on the franchise, they aren’t significant enough to slow down the unstoppable force that is Pokemon.
Retention of followers
It is clear that Pokemon has several different venues in which to attract happy kids, but what is as equally as important as attention, is the retention of the kids who love Pokemon. Pokemon started with just 150 species, but is now up to a whopping 493, not including the next generation, which is predicted to be released late next year. When the game ad’s are shown, the emphasis on “brand new” “never before seen Pokemon” are ways to put a new spin on the series, and is effective in creating new sales of the video game, not to mention new characters to appear on paraphernalia and friends to join the main character of the show. Ash also starts his journey’s over after he reaches the end of one region, so the feeling of adventure is reborn as the new season airs. The card game also produces different versions of the same Pokemon, giving them ways to resell packs of cards and new stronger versions of what one already has. They market them as “Pokemon EX” or “Dark Series” to give the new cards more appeal and attention.
Conclusion
Pokemon, a word derived from beginning of the words “pocket” and “monster”, has grown from a simple video game, to a franchise with venues all over the world, and major footholds in the US and Japan. It has cemented its place in the homes of almost everyone, whether they are trading cards and stuffed dolls, or the games and the DVD collection of Ash’s first journey. Its ability to reach out and attract virtually kids of all ages, and its proficiency at keeping those kids buying Pokemon merchandise is the reason Pokemon is so successful. The television show is still interesting enough to keep old and young entertained, and with new Pokemon being discovered and new adventures with Ash, it’s hard to imagine an end to the Pokemon world.


References
Chua-Eoan, H (1999). Beware of Pokemania. Retrieved September 17, 2008, from http://www.time.com/time/magazine/article/0,9171,34342-4,00.htm

Fowles, J (1996). Advertising and Pop Culture. Thousand Oaks, CA: Sage.

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Gender effects of advertising

by Katherine Huff

Have you ever caught yourself flipping through a magazine and browsing through the advertisements? While to a reader the advertisements may seem random the advertisers and magazine companies have a strategy in mind. That is, knowing who their audience is. Most of the time you will not see a group of men reading Glamour and inversely you will not see many women reading Esquire. Therefore advertisers stick to the stereotypes that they know will sell their products to a certain demographic. A stereotypical woman has a perfect body, is young, and is a care taker. A stereotypical man is physically fit, masculine, and mentally tough. Unfortunately these are the things that sell products to our society today even though we do not want to admit it. We, as a society, attempt to ignore the fact that women are now only looked at as sex objects and homemakers. In reality they are intelligent leaders both inside and outside the home. Advertising companies employ stereotypes that men need to be manly and women need to look young to sell their products to a society that claims they are trying to erase such concrete and unyielding gender roles.
While flipping through the latest issue of Glamour magazine one will come across an ad for Aveeno Positively Ageless night cream that says “Natural Beauty is Ageless” in bold capital letters. Another ad for an Avon eye cream reads “Younger Eyes in just 24 hours,” (Aveeno, 2008). Research shows that 50% of advertisements in teen magazines that are geared towards female readers use beauty as an appeal for their product (Body Image and Advertising, 2000). Advertisers do not just target teens though. In fact, they are targeting women of all ages with ads like these. The ads suggest to women that they should look like they are twenty when they are really forty. Advertisements like these are putting the message out that old is ugly and young is beautiful. How many ads do we see today with women over age 40? There are so many different beauty products advertised now a days that reduce wrinkles or bags under your eyes, that younger women are getting the idea that getting older means becoming ugly and unwanted. The effects of the messages advertisers send out trickle down into the younger ages and influence the way they think about their own body images.
Women everywhere are getting the idea that looking young is beautiful. Neutrogena suggests that looking young and having a ‘perfectly natural look’ (Neutrogena, 2008) is also beautiful. Ads like this reinforce the idea that women must have a natural appearance in order to be considered beautiful because if they do not then they are ugly. Neutrogena even goes as far to say in an ad for anti-wrinkle intensive cream that “You’ll look younger than you do today. That’s what we call beautiful” (Neutrogena, 2008). In this case Neutrogena makes it clear that looking younger is what is beautiful. Neutrogena knows that if they tell women then they will go out and buy it. These two ideas of what is considered beautiful embody our society’s stereotype that a woman is only considered beautiful if she is flawless. Unfortunately as a consumer society this is what sells to us. If the average person was to see an advertisement for something that says it makes your skin look average or normal then no one would purchase it. Our society strives to be perfect and advertising in the media puts out the image that perfect is being flawless and therefore means true beauty. Normal and average are not perfect therefore are considered ugly and people will not buy a product that promises them this.
Similar stereotyping applies to men’s magazines as well. When a men’s magazine is deciding what celebrity to put on their cover, they are most likely to choose an ‘ideal’ man who looks sexy and muscular with his shirt off. While this may seem like an appeal to the ladies it is also an appeal to the magazine’s male audience. For example, Esquire has featured men such as David Beckham, Derek Jeter, Mathew McConaghey, Matthew Fox, and Lebron James on their covers (Featured Men, 2008). From a man’s perspective these are all men who embody masculinity and fitness. These are the kind of men who get the sexy women. The portrayal of men in this way puts the idea in the heads of all men that being toned and muscular will bring you female attention.
One of the most popular products advertised throughout most men’s magazines is cars. A Mercedes-Benz ad reads “It’s lower, longer, wider, and just plain mean,” and in the small text on the bottom reads, “We gave it a 6 speed […] and a road loving, racetrack-tuned sport suspension. Then we engineered in a mean streak,” (Mercedes, 2008). In this ad they do not mention any of the car’s safety features or how much it costs, they strictly say how the car is mean and tuned for the race track. The company does not bother with the technical details a woman might want, they simply assume that most men want a fast, tough looking car. This car ad is designed to make men think that this is the car that will get them to be the envy of all their friends because it is the toughest and most masculine car around.
This theme is also evident in other car advertisements in men’s magazines. The advertisement for the Honda S2000cr shows a royal blue sports car driving at the speed of light. The top of the ad reads, “ Tricked. Tweaked. Tuned. The new s2000 club racer,” and in the small print on the bottom it reads, “two goals in mind: Maximizing the s2000’s potential on the racetrack, and making sure you look good while you’re crossing the finish line,”(Honda, 2008). Honda knows that this is what every guy wants to hear. When guys think of cars they do not wonder what kind of air bags there are or how expensive or how much storage there is, all they do is picture themselves cruising around and how cool they look while doing it. Advertisers have given this image to their male readers. Advertisers try to tell them that every guy should own a fast and tough car.
Within our society today we claim to be focusing on erasing stereotypes and accepting people for who they are. Dove created a campaign using ‘real’ women of all body types and age. Dove states that their mission is “to serve as a starting point for societal change and act as a catalyst for widening the definition and discussion of beauty,” (“Campaign for Real Beauty”, 2008). They began this campaign in 2004. Almost five years later we still have yet to see another company follow in their footsteps. There are still a plethora of ads advertising that young and flawless is what makes a woman beautiful. Dove’s campaign for real beauty is an attempt to abolish the stereotypes in advertising but we can see after almost five years that nothing has changed. Today, most magazines still contain a handful of ads for anti aging products and cars. It is ironic that while Dove is trying to make girls feel better about their bodies and demolish the stereotypes of beauty, the same company that owns Dove, Unilever, sells AXE deodorant sprays to men. In the axe advertisements there are always sexy and toned shirtless men being chased by half naked skinny bikini wearing models. This contradiction really underscores our society’s problem with eliminating stereotypes and shows that despite our best efforts our society is consumed with strict gender definitions.
Our society may be able to talk about changing the stereotypes in the media but obviously nothing is being done. Unfortunately young beauty and muscular men are the ideas and images that appeal to the consumers of our nation. When we see someone who is deemed to be ideal or perfect use a product we instantly feel the need to buy it to be just like them. Young boys and girls grow up with the ideas that what they see in the magazines is what is expected of them in the world. These messages are not given to them by their parents but from advertisers. People blame themselves or those close to them for their body and image issues when really the blame should be put on the advertising world. Advertisers will never let the stereotypes of beautiful women and manly men be erased from our perfection obsessed world.


Sources
(2000, April 25). Body Image and Advertising. Retrieved September 17, 2008, from Healthyplace.com Web site:
http://www.healthyplace.com/Communities/eating_Disorders/body_image_advertising.asp
(2008). Campaign for Real Beauty Mission. Retrieved September 18, 2008, from Dove Web site:
http://www.dove.us/#/CFRB/arti_cfrb.aspx[cp-documentid=7049726]/
(2008). Featured Men. Retrieved September 16, 2008, from Men's Health Web site:
http://www.menshealth.com/cda/homepage.do?site=MensHealth
Aveeno, Glamour, September, 2008.
Honda. Men’s Health. September, 2008.
Mercedes Benz, Esquire, September, 2008.
Neutrogena, Glamour, September 2008.

Advertisements: The spell we're under

by Abigail Nanquil

As consumers think about buying clothes, not many think about the influence of advertisements over their decisions. We have been exposed to so many advertisements over the course of our lives that remembering each individual one is impossible (Petracca 74). However, these simple schemes to get us to buy a product can actually work; “attention is caught, communication occurs between producers and consumers, and sales result” (Petracca 89). The people in advertisements are beautiful and stylish, stimulating our senses and making us want to be like them. There are other times where an advertisement tries to convince the consumer that life will be a lot better if their product is bought, which wins us over in a heartbeat. But one thing that we don’t think about is exactly how these products are made, clothes especially. Sweatshops have been a monumental issue in the clothing industry ever since two huge factory exposures in 1995 and companies have been working hard to disassociate themselves from this type of labor (Modern Sweatshops). Still, there were recent discoveries within the last year involving popular clothing brands such as The Gap and sweatshops, and despite this, The Gap continues to bring in money with an estimated $15.943 billion in sales in 2007 (“The Gap”). Are consumers keeping their morals out of line when it comes to buying clothes? Or are the advertisements really affecting consumers more than they think?
In a 14-page ad campaign in the 2008 September issue of Vogue, The Gap revealed their new fall line. Each page contains a person modeling the clothes, The Gap logo, the name of the clothes featured, the name of the model, the price of the clothes feature, and a fill in the blank sentence. As I interpret the ad, it seems like each individual model on the page is free to fill in the blank however they want. To demonstrate this fact, each fill in the blank is written in a different style of handwriting, as if to assume that the model wrote that in the blank as they went through the photo shoot. Phrases such as “Make up your own _philosophy_”, “Trust your own _intuition_” and “See your own _inner beauty_” seem to create this ideal persona of a confident and carefree personality. In a way, the consumer can either accept the terms in the blank, or even fill in the blank however he or she wants if the clothes are bought. Therefore, through a consumer’s eyes, wearing these Gap clothes will allow you to be free and look good at the same time. This is a prime example of one of Fowles’ basic appeals of advertising: need to escape. By definition, the need to escape is where freedom is the key; “the freedom that every individual yearns for whenever life becomes too oppressive” (Petracca 84). According to Fowles, “many advertisers like appealing to the need for escape because the sensation of pleasure often accompanies escape” (Petracca 84). Consumers would be able to escape their stressful lives with the simple purchase of The Flannel Jacket (worn by Lily Donaldson, model) for just $148.00 or The Cord Blazer (worn by Hugh Dancy, actor) for just $88.00. To be free is to be stylish and to be confident is to be refined.
One of the aspects of The Gap advertisement campaign is the fact that the pictures themselves are black and white. However, although there is nothing “eye-popping” about the color scheme, the fill in the blank sentences are strategically placed over a portion of the model’s body drawing attention to the clothes. As a consumer, I first read the fill in the blank sentence and then shift my attention to who is wearing the clothes and lastly the clothes themselves. I reacted very positively to the advertisement. Each of the models looks comfortable in the clothes that they are wearing, and they looked good in the position that they were in. This advertisement campaign appealed to my favorite kind of style: not too bold, but still managing to stay sophisticated and fashionable, which leads up to another of the fifteen basic appeals: need for aesthetic sensations. Fowles states that “advertisers know there is little chance of good communication occurring if an ad is not visually pleasing” (Petracca 85). The Gap was extremely clever with including very famous and attractive people such as Hugh Dancy and Liv Tyler. Consumers want to know what they are wearing because they look very good. When asking my friends what they thought of the advertisements, one of the first reactions was “Hugh Dancy is so gorgeous!” and that triggered their need to look at the rest of the campaign. Consequently, the need for aesthetic sensation leads right back to the need to escape. By demonstrating that these clothes really do look good, the consumer can transform themselves into a stylish new person and place themselves into this whole world with celebrities and upper class people. But as we immerse ourselves in the world of beautiful people with stylish clothes, do consumers remember the world in which these clothes were actually made?
In October of 2007, a British newspaper, The Observer, found children in a very dirt sweatshop “working on piles of beaded children’s blouses marked with serial numbers that Gap admitted corresponded with its own inventory” (McDougall). These children were “as young as 10 years old working 16 hour days in conditions close to slavery in India” (Claeson). In response to all of this madness and in order to clear their name, The Gap retracted all of the shirts made in the sweatshops and planned what would be the “biggest commitment to ending child labor ever” (McDougall). Random inspections will be given in each factory, and there is talk that there could be a relabeling of garments “to allow the customer to directly track online exactly where they are made” (McDougall). Gap spokesman Bill Chandler stated, “Gap Inc. has had many conversations with experts in the field before and obviously since The Observer investigation. The company is open to new ideas. … Under no circumstances is it acceptable for children to produce or work on garments” and president of Gap North America stated that the firm’s prohibition of child labor was non-negotiable (McDougall).
Even though The Gap has taken these extraordinary measures to separate themselves from this scandal, there continues to be child labor scandals throughout the clothing industry. The Levi’s company has workers in Saipan to create jeans together for just over $3 an hour while the CEO makes over $25 million a year (Glaister). In 2005 alone, “Nike admitted that up to 50% of its Asian factories restricted access to toilets and drinking water; up to 50% of factories deny workers even one day off every week; and in 25% of factories workers are paid below even inadequate legal minimum wages” (SweatFree).
As a consumer of the aforementioned brands of clothing, as much as I would not like to admit it, I would still buy their products. I had also asked two other people the same question: if their favorite store made their clothes in sweatshops with horrible working conditions, would they still buy the product? Both of the answers were yes. They said that they would feel bad buying something at the cash register for one day, but every time after that they would just forget about the sweatshops and buy the clothes. In this case, the advertisements have engrained themselves into our senses. Advertisements keep us coming back for more, regardless of who is making the clothes, where they are making them, and the environment in which they are making them. Unless we are directly affected by the horrors of sweatshops, we will continue to buy these products because of our wanting to look and feel good.


Works Cited
Claeson, Bjorn. "Gap Child Labor Revelations - Wake Up Call for the Industry." Common Dreams News Center. 1 Nov. 2007. 14 Sept. 2008 .
"The Gap." Co-Op America: Economic Action for a Just Planet. 12 June 2008. 14 Sept. 2008 .
Glaister, Tom. "New World Order: Sweatshops R Us." ConsumerAffairs.com. 15 July 2007. 15 Sept. 2008 .
McDougall, Dan. "Indian 'slave' children found making low-cost clothes destined for Gap." The Observer 28 Oct. 2007. Guardian.co.uk. 28 Oct. 2007. 14 Sept. 2008 .
"Modern Sweatshops." SweatShop Watch. 14 Sept. 2008 .
Petracca, Michael. Common Culture : Reading and Writing about American Popular Culture. Upper Saddle River: Prentice Hall, 2006.
"SweatFree Communities: The Decent Working Conditions and Fair Competition Act." SweatFree Communities. Feb. 2007. 14 Sept. 2008 .

The perception of women in advertising

by Quinn Whalen

Advertisements have been using women to portray different emotional appeals for the entire duration that advertisements have been available to society. Whether in magazines, television, radio, billboards, or Internet, advertisements are constantly flooding the public and influencing society’s opinion on the person or item being advertised. Women represent one of the largest areas of concentration in the world of advertising. Not only are women present in many advertisements, but women are targeted through many advertisements as well. Women are commonly used in all areas of emotional appeal, however, the need for sex, affiliation, and attention are most commonly demonstrated through women in the world of advertisement. While each category of emotional appeal has its own characteristics, each appeal differs in the environment in which it is present. Although many advertisements portray women in a positive manner, many feminist may argue that “media distortion contributes to a general climate of discrimination against, and the abuse of women.” (Sister Namibia)
The need for sex is one of the most misunderstood emotional appeals of advertisement. Although most ads can be viewed as having a sexual appeal, it does not imply that each advertisement encourages intercourse. In fact, advertisers use the need for sex sparingly, and instead, use the idea of sex as a way to keep viewers interested in the advertisement. Advertisements that use the need for sex most often create sex appeal only to catch the readers attention, and create an underlying emotional appeal, such as the need for attention, to keep the attention of the viewer. Women are used in two contradicting aspects of sexual appeal when comparing advertisements targeting males and advertisements targeting females. In a recent Axe Body Spray advertisement, targeting men, women were presented as savages wearing provocative bathing suits. The females in the ad chase the male through the forest and onto the beach where flocks of women, all in promiscuous outfits, are zoning in the male because of his body spray. The commercial represents women as primitive creatures who have one interest, attraction and sex. However, an advertisement for Candies clothing line recently displays Hayden Panettiere as a sexual young female in a club. Although Panettiere is used as a sexual symbol in the advertisement, she is displayed as admired, flirtacious, and independent. The Candies advertisement targets women while utilizing the need for sex by illustrating the advantages to purchasing Candies clothing and the admiration that will come out of the purchase. The need for sex can use women to target both sexes by approaching the ad from two sides of the spectrum. The need for sex is also greatly advertised in magazines. The two most prominent magazines that display the need for sex are Cosmopolitan, for women, and Maxim, for men. While both of these magazines discuss sex, the advertisements within them are extremely different. In the September edition of Cosmopolitan, sixty-three of seventy-eight advertisements were of only women. Although both magazines have a majority of female advertisements, the message of the need for sex is represented as sensual and beautiful versus seductive and explicit. The difference in magazines and other forms of advertisements is a direct example of the different ways in which sexuality in terms of women is viewed by society.
Henry Murray stated the need for affiliation is “to draw near and enjoyably cooperate or reciprocate with another; to please and win affection of another; to adhere and remain loyal to a friend.” Murray also explains that affiliation is not only associated with friendship, but can also be portrayed through romance or chemistry between two people. Often time’s women are used with men to portray romance in advertisement. The pair frequently will be presented engrossed in each other or positioned with the male’s head above the female’s head to show prominence. (Common Culture) Although romance is a common way to advertise affiliation, affiliation can also, and often is, advertised through friendship. Two brands that choose the need for affiliation to advertise their products are Clean and Clear and Maxwell House Coffee. Clean and Clear advertisements display young women with “soft, healthy, and protected skin.” The young women in Clean and Clear commercials and ads illustrate that with the use of the product, the consumer will have beautiful friends and beautiful skin. Maxwell House Coffee’s commercial presents two women sharing smiles and a cup of coffee. The coffee commercial is subconsciously convincing the viewer that with the cup of coffee you receive good company, companionship, and a good morning. Advertisers present affiliation to imply that with the product, the consumer will experience the emotions the models, actors, and actresses in the ad are feeling. Advertisers convince consumers to believe, “make a few purchases and we are back in the bosom of human contact.” (book p.80)
“To make others look at us is a primitive, insuppressible instinct.” (Common Culuture) The want for attention comes natural to every human being. Because of this instinctive nature, advertisers create ways to convince consumers that with products, they will receive attention. Women are known to desire attention in every aspect of life. Whether it is in advertisements targeting men or targeting women, women are presented with a flawless persona, immaculate make-up, and glossy hair. This beauty that is portrayed through females in advertisement is an example of females constant need for attention. Women strive to be “admired and respected, to enjoy prestige and high social status.” (Common Culture) Clothing, perfume, and cosmetic companies take advantage of the women’s goal to be viewed by flaunting their products on gorgeous models. Victoria’s Secret exemplifies that the exposing of a females body leads to being desired, and the desire of women increases sales. Women not only feel the desire to attract men, but also yearn for attention from peers. Women experience the constant pressure to look as good, if not better, than their peers. Viewing advertisements in which women are radiating with beauty leads the women of today’s society to believe with the product, beauty will come to them. The yearning for attention will never cease, and therefore, advertisers will seize each and every opportunity to capture the attention hungry female from pre-teens to adults.
Advertising plays a huge role on today’s society and how society views people. Although both men and women are affected by advertising, the image conscience female is constantly attracted to the latest and greatest clothes, make-up, hair products, lotions, and music. Because of the advertisers target of women, many feminists may believe that advertisers are taking advantage of the female sex. Advocates of female rights, such a Sister Namibia, argue that because of the way females are portrayed in advertisement, “we become puppets in the hands of advertising agencies, and subsequently the capitalist system.” (Sister Namibia) Disregarding the negative aspects of females in advertising, women are used daily to promote product lines and consumer goods. Women can be used in several different emotional appeals, yet the three most prominent areas of appeal are the need for sex, affiliation, and attention. Emotional appeals differ greatly in meaning; however, women in today’s society are able to portray each appeal in a way that makes each advertisement unlike any other.