Task 1
1) Compare and contrast different advertisements from different periods of
time.
Tesco adverts
http://www.youtube.com/watch?v=hcx-7fgiD18
Length: 1:01
The beginning of this advert opens up with food on a plate, with an old
lady in a nursing home. Straight away it gives it an older fashioned
look to it from the flowered curtains, and the nightgown that the lady is
wearing. Then she starts shouting at who appears to be her daughter!
With a funny line of ‘I’ve got an ingrowing toe nail not ingrowing
taste buds’. This humours the audience and makes them watch on. The
daughter of the lady is trying to keep to a budget, so the old lady takes
a trip on her wheelchair to Tesco. Along the way ‘Mr Taylor’ pushes
her along in her wheelchair, this makes you laugh because Mr Taylor
has a blindfold on and a dressing gown. So the stereotypical elderly in a
hospital is bringing out the humour, as they are being a little bit crazy
when shopping!
As they enter Tesco she picks up fruit and bread for a cheap
price. This makes Tesco look like it attracts many folks for all kinds of
foods. The intended message of the advert is to shop at Tesco along
with the intention of having food for a reasonable price, for those on a
budget! The humour to the advert makes the audience laugh with the
stereotypical humour that it comes along with. By creating humour in
the advert, it makes the audience watch on and remember the advert in
the back of ones mind.
Carrying on from this, the advert has a slight side to it that
almost makes some older generations now; remember what the Tesco
adverts were like! The style of the advert is completely camera driven,
with no effects of animations. This makes the advert even better,
because it is more realistic and has less animation or effects, which
could make the advert, look stupid or silly, when looking at the subject
that the advert is about. If you looked at an advert for a children’s
cartoon, compared to a Tesco advert, you wouldn’t have it as camera
driven for the cartoon, because the target audience wouldn’t agree or
match with it. The target audience for this Tesco advert is obviously 13
years old, onwards. Many parents will find this funny because they can
even relate it to their own parents who are loosing the plot slightly!
Some people may see the advert as mocking older people and not
respecting that they are in care homes! However it is clearly shown
that Tesco have pulled this trick off by using crude humour within their
advert. This style of advert makes it enjoyable to watch and relate to
other things in peoples everyday life!
Using a voiceover, the older lady and blindfolded man are
looking at different cheeses within the meat selection. The voice over is
a deep voice, which will stay in the back of your mind because of how
distinct it may be. “At Tesco, we believe in real value for money, so
you’ll always make savings without skipping on quality” This
phrased voiceover, gives the advert more of a exciting twist to it which
tries to encourage the audience that they WILL save money. It makes
the audience sucked in because that’s what everyone looks for when
shopping- saving money! So Tesco have explained that this is the better
option of saving money!
http://www.youtube.com/watch?v=LqGbnR5o3f8
Length: 0:30
After watching the Tesco advert in 1995, to the Tesco advert in 2013,
there is a difference in the style of the advert that they want the
audience to look at. It is still sending across the same message, however
it is improved from the low value of money in the 1995 advertisement.
The 2013 advert has the same identity and the same message is trying
to get delivered to the audience.
The advert again is meant to be humorous to the audience. The
emotional state of the audience will be felt the same way as it may in
the 1995 Tesco advert. Except they have improved their ways of
advertising! They have used food objects that have personalities within
them. This is definitely a great tactic because as soon as you see the
pineapple and the courgette talking to one another (as it seems) it
makes the audience laugh again with the thought of this being real.
The state of illusion has grabbed the audience’s attention even more
now.
Along with this, the pineapple and the courgette are talking
about the ‘Tesco Price Promise’. This is then explained in a normal
voice over, what they both mean.
 “Buy 10 or more different items at Tesco and if your
comparable grocery shopping cost more than at Asda, Sainsbury’s
or Morrison’s, we’ll give you a voucher for the difference at the
checkout.”
By comparing 3 different most popular supermarkets in Britain,
this advert has juxtaposed itself with them. By promising that if you
pay more for items at any other supermarket then they’ll give you the
voucher worth that amount for Tesco! This is a brilliant way to bring
more customers in and let people know what is going on.
Within the older Tesco advert (1995), it doesn’t have any deals or
price promises on it, it also doesn’t compare to other supermarkets.
This means a number of things; it means that the supermarkets are in a
big competition to bring customers into their supermarket, not the
other. It also makes the audience think that Tesco has a lot more to
offer than any other supermarket.
The style and content of each advert I’ve compared, contains the
same information but differences within the sales and offers that they
have on. This entirely means is that they are in a much bigger
competition and gamble with all other supermarkets. Due to the
economic situation from 1995 to 2013, a lot has changed! This brings
in even more comparison between how Tesco advertise. The humour
and characteristics is one thing, but now you need to convince the
audience that they are the supermarkets to choose! This couldn’t be
more of an attention grabber from the audience, when creating an
advert for a supermarket.
Moving onwards, the social position that the advert is set in, is
again for parents, teens, etc to look at and think that they need to visit
Tesco! Society are always looking for a bargain and the way that the
supermarket is advertised, makes everything different within the
perspective view of the audience.
Overall, both of these adverts are different and similar! Their
differences involve the quality of camera used, the deals that they have
and the modern aspect to it. Their similarities are the same in the way
that they are both humorous, they have jokes involved, they have a
voice over, and they are both located inside the supermarket.
http://www.youtube.com/watch?v=b61LfQL8hp
Length: 0:29
Cadburys are forever growing and improving their adverts. Even from
1970. In 1970, the Cadbury’s Dairy Milk advert is shown just as it would
be back in them days. It is showing road signs outside, vehicles and oneway streets. The imaging on the screen match along with the song that
is being played in the background.
Along with watching and listening to this video, the song brings
along the characteristics and the meaningful characters that they are
aiming to achieve. There is a young girl and boy who are bonding with
each other over chocolate. This makes the audience want the same sort
of comfort and likelihood for themselves. The characteristics of the
video have everything happening on a busy street, with traffic and
congestion happening! Whereas the Cadbury chocolate chills out the
girl and boy, which gives them both a sense of difference and
individuality to everything going on around them. It’s almost like a
dream world that they allow themselves to come into when they start
eating the chocolate.
The style of the video brings along the thought of street life and
an urban culture. Dairy Milk can simply relate to this by just eating
chocolate in this type of scene and allowing the atmosphere and
environment around them to indulge them within the chocolate. This
could be also known as a stereotypical method to drag audiences into
the feel of the advert.
Within the theme of the advert, it is shown as it would of in 1970.
It has a retro and older fashioned theme added to it. This makes the
viewer look at it now and instantly see the changes that the advert has
against the world today. An emotional response of loving and sharing is
given off for the feel of the advert overall. There are vintage cars,
vintage fashions and even a vintage filter that has an effect on the
advert. If you listen carefully, even the sound of the advert has an
impact on the viewing of it. There is a crackly background noise and
the country folk style music makes all of it come together.
Another great effect that the song has on the advert is the impact
of catching on to it. The song is memorable and has an upbeat
tempo/rhythm to it that will make the viewer remember it and maybe
even sing along to it. It rhymes and has a faster rhythm, which makes
the audience maybe even tap there leg to it. By doing so, it creates a
great effect of the audience remembering the advert and then allowing
them to want to consume the chocolate.
http://www.youtube.com/watch?v=TVblWq3tDwY
Length: 1:00
In comparison with the advert of Cadbury’s in the 1970’s, this advert is
completely different. It has a different type of happiness than the other
advert in which is humour. The 1970’s advert is a lot more of loving
someone, caring and sharing. Whereas the more modern type of advert
will humour the audience.
At the beginning of this advert, the children are both sat on the
chairs waiting to get a photograph taken. This seems like a normal
school photograph or a brother and sister. Continuing on from this, the
characters are introduced and you can see that the main emphasis is
already placed on the children.
Within 9 seconds of the advert, the young boy looked at his watch
and presses the bleep button on the side of the watch. After he does this,
the music begins. From silence to the melodramatic music in the scene,
the advert lifts itself up to begin. As the advert begins, the beginning of
the song matches to what the children are doing. They are raising their
eyebrows to the beat of the music. This makes the audience laugh and
want to watch on.
Also, colours that the young girl is a wearing match with the
colour of Cadbury’s coloured theme. This gives off an effect of
everything being noticeable for the audience’s eye. The advert is
completely random which makes it so weird and humorous. The
audience wont understand what the advert makers were thinking
when they came up with this idea, which is what makes it so noticeable.
The Cadburys advert stands out because of the randomness that it
feeds the audience in with.
From looking at the clothes that they are wearing, the advert
makers have made them both look smart, well dressed and polite. The
silence of the both of them at the beginning makes the advert come to
life as soon as they start making facial expressions and making noises
out of a balloon! After this is introduced, the advert is pleasurable to
watch. A cute effect was given off when they are just sitting waiting for
the next thing to happen.
Juxtaposing the 1970’s Cadbury’s advert with the more modern
advert that has recently been shown, the difference in the music is
completely different, the clothes they’re wearing is different, and even
the setting. There are differences mainly throughout the fact that one is
vintage and one is modern. You can tell this straight away from looking
at one to the other! This brings in unique selling points within both of
the adverts put together.
2 ) Define and explain the purpose of the following regulatory bodies:
a) ASA b)OFCOM
A regulatory body is like a professional body but it is not a membership
organization and its primary activity is to protect the public. Unlike professional
bodies, it is established on the basis of legal mandate.
http://regulatorylaw.co.uk/List_of_regulatory_bodies.html
Advertising
Standards
Authority
The ASA is the independent body set up by the advertising industry to police the rules laid down
in the advertising codes. Its web site includes annual reports 1997 onwards; research reports; the
current editions of the British Code of Advertising, Sales Promotion and Direct and the various
other codes relating to radio and television advertising; and a searchable database of recent
adjudications.
Bar Standards
Board
The Bar Standards Board was established in January 2006 to take over and run separately the
regulatory function, which had hitherto been carried out by the Bar Council alongside its
representative work. Content includes the Bar Code of Conduct and the Equality and Diversity
Code for the Bar, information on the complaint procedure, consultation papers and press releases.
Care and Social
Services
Inspectorate
Wales
CSSIW is the body responsible for regulating and inspecting establishments and agencies, which
provide social care services in Wales. Links to legislation are provided in the "Regulations &
Standards" section. Other sections have inspectorate reports, annual reports, newsletters,
information leaflets, and details of the complaint procedure.
Ofcom
Ofcom (the Office of Communications) is the regulator for the media and communications
industries, having replaced from 29 December 2003 the Broadcasting Standards Commission, the
Independent Television Commission, Oftel, the Radio Authority and the Radio Communications
Agency. Its web site contains information and documents, including policy guidelines, and
selected material from the former sites of the five defunct "legacy regulators"
The above companies/bodies are based on disciplinarily and regulatory bodies in
which are used in various sectors of the media. This means that they help when
creating a production that everything produced and edited can be looked at and
reviewed if need be.
This research has been submitted in a previous project, found on my Weebly site:
http://emilysmediawork.weebly.com/pre-production-unit-1.html 
 ‘Task 1_b.docx’
2) Present information on audience classification.
With going back to a previous project on my Weebly site, I can overall
show the different ways that commercial and private advertisers
release their financial and structured sides to different organisations
(BBC, ITV, CHANNEL 4, LIME PICTURES, ETC).
The following links are purely work that I have previously submitted
and that explain the rates and viewings on digital forums. With various
media regulators to TV programmes. All are in competition.
http://emilysmediawork.weebly.com/understanding-tv--filmindustries-theoretical-unit-8.html
http://staffnet.kingston.ac.uk/~ku32101/tvownership.pdf
http://www.bbc.co.uk/aboutthebbc/insidethebbc/managementstructure/biograp
hies/patel_zarin.html
Www.bbcworldwide.com
http://www.bbcworldwide.com/global-brands.aspx
http://forums.digitalspy.co.uk
http://www.how-do.co.uk/node/11285
http://www.bbc.co.uk/aboutthebbc/insidethebbc/managementstructure/bbcstru
cture/
When searching for audience classification, a main authority that I am
focussing on is ASA. I will also look at how different audiences are
advertised in different ways.
Book sources used:
Audience Standards Authority (ASA):
‘Studying The Media – 3rd edition’ Tim O’Sullivan, Brian Dutton, Philip Rayner
Pages: 48, 86, 125, 154
From reading a source from ‘Studying The Media’, I found a short article explaining
about a campaign for lost dogs that was being advertised. The image shows a dog
with a stick and a main heading saying ‘WHERES LUCKY?’, this shows that the
poster is genuine and is trying to create a campaign to help those with the loss of
pets.
Page 48 of ‘Studying The Media’
‘However, during the summer of 2001, the missing dog notice appeared for several
days in national newspapers, on billboards and eventually as a series of radio and
television adverts. It quickly became apparent that this wasn’t a notice about a
missing dog; it was some kind of advertising campaign. People who called the
number or accessed the website featured in the notice were given details of
Battersea Dogs’ Home in London. Eventually, it was revealed that the campaign
was a form of ‘teaser’ advertising for a new Internet pet insurance service’
‘It was criticised by the Advertising Standards Authority. Members of the public had
complained that they thought the campaign would undermine genuine attempts to
find lost dogs (You can access a copy of the ASA’s adjudication as its website
www.asa.org.uk/index).’
Within the short article above, it explains how the ASA have stood against false
advertisements and how audiences have complained that they thought a missing
dog was being advertised, when it was really an advertisement for a dogs home in
London! This is a clear example of an audience classification example and why a
consumer can get mixed up and disappointed if some adverts aren’t giving off the
correct message that is really intended. It is almost like a white lie towards the
consumer.
Another example of where the ASA have jumped in is magazines and
advertisements of men/women. Physical attacks in movies and cinemas have been
progressing throughout the years, within young attractive women and ‘psycho’
killers. Films such as Halloween, Psycho, Peeping Tom (90’s) all create women to
play leading roles of having mysterious projected power as well as being sexual.
Page 86 of Studying The Media’
‘In a pop video by Madonna for her song ‘Open Your Heart’ (1986), she performs in
a ‘peep-show’ for a variety of male voyeurs, but the gaze is reversed so that the men
are seen through Madonna’s eyes – as pathetic and frustrated. Madonna is an
example of a growing self-consciousness among female performers who are able to
exercise greater control over their look and image.
In December 2000, there was a lively controversy concerning the image of the
naked Sophie Dahl in an advert for Opium perfume, which attracted a number of
complaints when it was appeared on public billboards. Reactions to the advert
tended to polarize between those who interpreted the image as ‘porn chic’ and
those who thought it celebrated female sexual self-confidence and desire. The
advert can be viewed on the Advertising Standards Authority website
(www.asa.org.uk; go to the Annual Report 2001:40 years of effective regulation).
Above basically explains the different issues that rose from billboards showing
naked photos of Sophie Dahl. The ASA’s website has reports on the issue in 2000
from the complaints arising on a timeline that can be viewed on the website. The
section under ‘2000’s’ states the following:
“2000s
2000
Yves St. Laurent’s Opium ad featuring model Sophie Dahl attracts
more complaints than any other ad for five years.”
You can view the history of ASA’s consumer protection services. Everything is
reliable and officially certified. ASA’s history begins:
- 1961 onwards – Protecting consumers, testing claims
When commercial TV started broadcasting in 1955, the advertisements were
controlled by legislation. This was the first time that advertisements – and the
claims they made - were subject to any form of formal regulation
- 1974 onwards – Introduction of the levy
In response, the industry set up the Advertising Standards Board of Finance
(Asbof) in 1974 to provide sufficient and secure funding for the system
through a levy of 0.1% on advertising space costs.
- 1988 onwards – Legal backstop
In 1988, the introduction of the Control of Misleading Advertisements
Regulations provided the ASA with legal backing from the Office of Fair
Trading (OFT). These regulations enabled the ASA, for the first time, to refer
advertisers who made persistent misleading claims and refused to co-operate
with the self-regulatory system to the OFT for legal action.
- 2004 onwards – Becoming the one-stop shop
In 2004, after more than forty years of successful self-regulation of nonbroadcast ads, the ASA/CAP system assumed responsibility for TV and radio
ads.
- 2010 onwards – New digital advertising formats
Over the years, the advertising self-regulatory system has responded to
changes in society and media. The system is continuing to develop based on
the enduring principles that ads should not mislead, harm or offend.
Video-on-demand
Online Advertising
- Regulation today – Advertising under control
50 years on and advertising in the UK overwhelmingly complies with the
Codes. Our compliance surveys regularly reveal that more than 97% of ads
are in line with the Advertising Codes
http://www.asa.org.uk/About-ASA/Our-history.aspx
The timeline above is events
that happened when the ASA
came on board. To ban or
support the complaints about
advertisements which is
caused from ethical issues
prior to the foreseen
audience.
Marketing – Principles and Practice –
Dennis Adcock, Ray Bradfeld, Al Halborg and Caroline Ross
Within the textbook ‘Marketing’, on page 271, it thoroughly describes
and covers the majority of topics related to advertising and direct
marketing; communication methods that are controlled by the sender
to an audience. The chapter covers topics and issues that may
overcome the advertising and marketing industry. Including; The scope
of advertising, Advertising considerations, Advertising campaigns,
Advertising messages, The selection of media and Advertising agencies.
For each of these topics, gives you detailed thorough information that
benefits and discusses the different considerations when marketing
through advertising.
P.271
In a recent interview, Philip Kotler suggested that ‘the death knell for mass
advertising is growing louder’. However, he sees a rapid growth in Europe of direct
marketing as companies look for more precision in building their customer
dialogue.
Such a prognosis is too radical. There will always be a role for mass-media
advertising for mass-media products. There are also excellent ‘one-way’ media such
as specialist magazines, and targeted television, which uses media, schedules
chosen to maximise coverage of specific segments. Nevertheless, directly targeted
messages are now very possible and so no organisation should ignore the full scope
of communication techniques available.
The scope of advertising
P.272-273
Advertising has a very wide scope. When someone places a card in the local
newsagents window with an item for sale it is an advertisement. This can be
contrasted with a major company’s commercial shown on television. Each of these
examples may be successful if they achieve their abjectives, namely moving
potential customers closer to the point of purchase for a particular product or
service.
It should be realised by now that advertising covers more than persuading
of a consumer to buy something. It is also a meand of trying to influence behaviour
and beliefs. This is the case with the following types of organisations:
 Political parties;
 Local authorities;
 Charities;
 Churches; and
 Pressure groups, such as Greenpeace.
Each of these organisations have a ‘product’ that they want to ‘sell. The advertising
of their ‘products’, which could be their policies and beliefs, is how these
organisations hope to influence and gain the support of the general public. Actually
changing behaviour is very difficult, as discussed earlier in Chapter 17 regarding
the Government Health Education programme. You will remember that the
objectives of communication fall into three categories:
 Informing;
 Persuading; and
 Reinforcing.
Advertising considerations
P.273-274
There are many factors, which should be considered before advertising is
undertaken. Advertisements should first be considered as part of the total
communication process discussed in Chapter 17. The objectives, message, and likely
budget could well have been determined. Decisions now have to be taken on the
role of advertising and promotional mix, Primarily it revolves around the balance
between advertising and personal selling, as these are usually the elements where
most money is committed.
Because sales force costs are less directly variable than expenditure on
advertising and other direct promotion, there tends to be more unplanned
fluctuations in advertising and other direct promotion, there tends to be more
unplanned fluctuations in advertising budgets. Keith Crozier suggested that 65 per
cent of promotional budgets are based on methods are subject to fluctuations, and
so when cuts come they fall on advertising rather than sales costs. This makes the
effect even more pronounces. To plan advertising campaign the following must be
considered.
1. The type of product or service offered.
2. The key benefit offered (why that product should be bought ahead of its
competitors).
3. Who the target market consists of.
4. The advertising message and how it relates to other communication
messages.
5. The amounts to be spent on advertising within the context of the total
communication spend.
6. The prevailing marketing environment.
Advertising campaigns
P.275-276
The campaign planners will already know the answer to who the target market is?
And what message is required? They need to decide when, and how they can reach
the target in media terms. When because timing is a key variable and advertising
must be co-ordinated with other communication plans. Also, other marketing plans
need integration, as there is no point in advertising heavily if there are not
sufficient extra stocks available with distributors. Where and how is the media
choice linked to the message? If the organisation is using a major advertising
agency, they will have access to a wealth of statistics linking media to target
groups, as defined by segmentation variables.
Advertising messages
P.276-277
You cannot select word-of-mouth as a communication medium, although it is a
very effective medium, and a supplier can hope everything else in the offer is
sufficiently attractive to ensure good personal recommendation, the media that
can be used are discussed in Chapter 16.
Advertising revenue forms a large proportion of the income for most media
owners, so they have to ‘market’ their ‘product’ to potential customers, agencies
and advertisers. The benefit offered by the media is access to relevant target
customers, that is, the one supply very detailed profiles of their readers/viewers.
The matching of these groups with the target audience has been greatly increased
by the use of computers, and media planning is a very professional business.
Lead times are also important. Newspaper advertisements are quick to
produce and can be very topical. Such advertisements appeared for Renault the day
following Nigel Mansell winning the world drivers’ championship. There are other
examples that you could find. Lead times for monthly magazines tend to be very
long. Also in this category is space in the weekly Sunday newspaper colour
magazines. Television also cannot be rushed, although the use of modern video
rather than film means there are opportunities here. Although all these aspects are
relevant, the key decision still is the one concerning ‘the right media for the
message’. This is an extension of the one liner, ‘TV to sell, Press to tell’.
Advertising agencies
P.278-280
An advertising agency should be an extension of an organisation’s marketing
department. It can bring specific skills to the partnership, and these should
enhance the ability if a company to get the most from its advertising. Agencies can
be large, London-based, high profile operations with international connections, or
small, local but equally professional set-ups. The skills they have related to
communication in media. Since no two advertising problems are alike, each needs
to be considered separately and in detail. As in any rewarding relationship, honesty
and trust are needed to work towards the best solution. The agency skills are in
projecting messages either visually or in words. The main functions in a full-service
agency consist of the following:
1. A selection of creative terms compromising an art director and a
copywriter, each team specialising in particular media. Agency reputations
are often built on their creativity. These groups work closely with the
production messages either visually or in words. The creative ideas into
finished commercials.
2. The account supervisor/director function, really a key account manager
who builds and maintains the relationship in the same war as a sales
manager might in another organisation. They also get involved with
specialist areas such as advertising research, and other services directly
relevant to the client relationship.
3. The media planning and buying function, which contributes in this vital
area.
All of the explanations and information above purely explains the
considerations and the meanings in advertising. Without using all techniques
mentioned above, advertising wouldn’t be as powerful and strong as it is
shown to be today. By reading into this, it helps the reader understand the
constraints and liable uses for audience classification. Although it doesn’t
explain ‘audience classification’ specifically, it shows the realities and the basic
knowledge that is behind it. There are many more important factors to this. To
read more in depth information of this research, read the book mentioned
above (page 12 of this word document).
http://www.asa.org.uk/News-resources/Reports-andresearch/Archived-reports-and-research.aspx
^^ The URL above is from the ASA website. It shows reports and
research that have been carried out in the past via the ASA
organisation. The archive contains research that is five or more years
old. You can see current reports and research via 
http://www.asa.org.uk/News-resources/Reports-and-research.aspx.
With examples of older research and new research;
Moet Hennessy UK Ltd
Date: 17 December 2008 Media: National Press Number of complaints: 1
Ad
A national press ad, for Belvedere vodka, showed a man sitting on a couch with a
woman on either side of him. Both women were looking at the man's face and the
woman on his left had her arm around his neck. On a table in front of them were
plates of food, glasses of drink and a half full bottle of Belvedere vodka. Text stated
"LUXURY REBORN".
Issue
The complainant objected that the ad was irresponsible, because it linked alcohol
with sexual success.
Response
Moet Hennessy UK (MHUK) said the ad depicted a group of three people enjoying
an informal social occasion in a lounge bar in 'Downtown' New York. They argued
that, while the people were glamorous in appearance, they were also relaxed and
comfortable; they believed the informality of the occasion was indicated by the
casual nature of the pose and the food on the table. They believed the occasion
could be any time of day, such as a weekend lunch, a meeting before going out, a
casual dinner, or food after a club. MHUK argued that there was no suggestion that
there was any relationship other than friendship between any of the three people,
apart from the mildly flirtatious gesture of the girl who had reached upwards with
her arm to put it around the man's neck.
Assessment Upheld
The ASA noted MHUK's comments but also noted one of the women had her arm
around the man's neck and was staring up at him. We noted all three of the people
were sitting in very close proximity and that the man's shirt and bow tie were
undone.
We considered that the expressions of the women and the close physical contact of
all three people, particularly the woman with her arm around the man's neck,
implied that both women were sexually attracted to the man. We noted the bottle
of Belvedere on the table in front of them and considered that the image implied
that Belvedere had enhanced the man's attractiveness; we concluded that the ad
linked Belvedere with sexual success and therefore breached the Code. The ad
breached CAP Code clause 56.9 (Alcoholic drinks).
Action
The ad must not appear again in its current form.
Wm Magners Ltd
Date: 25 February 2009 Media: Television Number of complaints: 1
Ad
A TV ad, for Magners cider, showed a man walking into a pub and a pint of
Magners being poured. The voiceover stated "Magners Draught Cider. It's the
perfect ice breaker. Making sure the conversation flows, in the time it takes to
create a cool, crisp pint. No ice, just pure, premium taste. Magners Draught Cider,
time dedicated to you". At the end of the ad, the man picked up the pint and turned
to talk to a group of friends.
Issue
A viewer objected that the ad breached the Code by suggesting Magners would
boost confidence and lead to the success of a social occasion.
Response
Wm Magners (Magners) believed the ad did not portray Magners as boosting a
person's confidence or leading to any success in a social situation. They believed the
scene portrayed was typical of any ad where the product was used in a social
setting. They said there was no sexual innuendo and there were no changes in
behaviour. They believed the setting was relaxed, consistently slowly paced, and not
excitable in any way.
Magners asserted that the words "It's the perfect ice breaker" were a play on words
used to reference the fact that the draught variant of Magners had no ice, unlike
the normal pint bottle serving of Magners. They said the 'no ice' proposition was
something that was important for them to communicate in order to address any
confusion about it for their consumers. They argued that the line "Making sure the
conversation flows" was a visual pun on the word 'flows' as the apples were shown
flowing. They said the viewer would hear the voice and see the picture as working
together. They argued that, in most alcohol ads, as with any bar in real life, it was
natural to see conversation between friends in a social setting. They believed that
did not contravene the Code provided there was no sexual innuendo or reward.
Magners pointed out that they had included the text "Enjoy Magners sensibly"
which they always included to encourage responsible drinking. Clearcast also
believed the ad was compliant with the Code. They considered that both the
reference to Magners being a "perfect ice breaker" and "making sure the
conversation flows" were respective metaphors for communicating that the draft
cider was served without ice, unlike the bottled variant, and the visual reference to
the apples flowing. They also considered that the visuals did not imply that the
character was either lacking confidence or needed to succeed at the featured social
occasion. They said the man was shown as a confident individual and the social
setting was neither created, nor improved, by the cider. They said the atmosphere
remained constant and was not improved either by the central character or by him
consuming the alcohol.
Assessment
Upheld
The ASA noted Magners' comments that the claims were a play on words. We
considered, however, that although the visual images did not show excessive
drinking, the claims "It's the perfect ice breaker" and "Making sure the
conversation flows" in the voiceover, at the moment the man entered the room and
moved to join the group, were likely to be understood by viewers to carry the clear
implication that drinking Magners could help start a conversation in a social
setting and help the conversation flow, thereby leading to the success of a social
occasion. We concluded that the ad breached the Code by suggesting alcohol would
boost confidence and lead to the success of a social occasion.
The ad breached CAP (Broadcast) TV Advertising Standards Code rules 11.8.1(a)
and 11.8.1(e) (Alcoholic drinks).
Action
The ad must not be broadcast again in its current form.
The ASA is the UK self-regulatory body for maintaining standards in
advertising. It does this by administering the mandatory
advertising Codes and by actively monitoring compliance.
(Compliance  the action or fact of complying with a wish or command).
To see more on the different codes and which means which within the
research of action taken against advertisements, see
http://www.asa.org.uk/News-resources/Reports-andresearch/~/media/Files/ASA/Reports/AlcoholSurveyReport2008.ashx
PAGES 14, 15, 16 ,17, 18, 19, 20 & 21.
“The ASA’s Compliance reports help ensure that rulings with sector-wide implications
are adhered to by advertisers. This research is usually targeted towards sensitive
areas or those that have a history of problems, and allows us to anticipate trends and
identify potential problems.”
“2013 Children and advertising on social media websites - A new ASA survey
commissioned to find out what ads young people see and engage with online, and
whether those ads stick to the UK advertising rules, suggests that the majority of young
people are registering on sites using false ages.”
To start off with, the article/report explains itself by opening it with
a question. This makes the reader want to know more within the
report because obviously it will be discussing it in general terms
and important notice. Then they will explain more into why it is
important that children using social media know what they are
doing and the consequences of what social media can do to the
brain, and that person as a character!
“This report provides a fascinating, and in some respects disconcerting, glimpse into the
media consumption habits of children. It reveals that ten participants (42% of all children
in our study) falsely registered themselves as aged 18 or over. As a result, they were
presented with ads for age-restricted products including for gambling, alcohol, slimming
aids and overtly sexual dating services – all categories that are subject to strict rules
designed to prevent them from being directly targeted at children and young people.”
“Working out a suitable solution for protecting children from inappropriately targeted ads
for gambling or alcohol products, for example, is likely to warrant a bespoke solution. The
level of protection must proportionate and take into account:
• The evidence of the type and level of harm to children
• The benefits of social media that enable and enhance the free-exchange of
Communication between different parties, including children and young people
• The economic benefits and interests of social media companies
• The privacy concerns of those who champion for less and not more information being
made available to social media platforms
** CAP  Committee of Advertising Practice  UK Advertising
Codes lay down rules for advertisers, agencies and media owners
to follow.