The advertising for the super bowl is almost as important as the game itself. And that game involves only eleven minutes on average of actual playing. Which means a pretty thin slice of meat around a very big marketing bun.All of which means the Super Bowl is now less a standalone advertising event than a maypole of marketing around which North American pop culture enjoys a lengthy dance. In fact the ads are such a big part of the game that there is a whole culture that talks about the ads for the ads. The price for a thirty second spot is $3-million, which is small compared to the cost of a broader and far more expensive project that can go on for months before the broadcast and after as well.
This generally involves all the participatory elements of social media such as users must “like” a sponsoring product or company before getting access to a sneak preview or backstage video of a commercial, thus sharing it with their Facebook friends. The Super bowl is the linchpin of a campaign, a general trend where they appropriate larger chunks of social media, YouTube and the internet in general.The irony is that the internet was funded extensively by public money which now serves as a subsidy for corporate interests. By hitting those “like” buttons our internet presence is shadowed by advertising that supposedly reflects our purchasing interests.
Still, some companies are wary of connecting Super Bowl promotions to social media, judging the risk of giving up control of the message outweighs the benefits. Some non-Super Bowl promotions involving user-generated content have gone awry when culture jammers and others posted unsavory and critical material.Doritos’ current promotion is highly controlled, and to them is the sweet-spot ,a balance that marketers have been trying to strike; to forge a dialogue, but they need to control that dialogue, without criticism, parodies and memes. Its hard to be indifferent to the sheer violence in which the commercials partake as a reflection of the game, which is contentious to the counter-culture:
Holly Shaw: “The End,” an ad from BBDO that will air during this Sunday’s Super Bowl XLV, asks viewers to choose between two chip flavours and indicate their loyalty by killing one off, both creatively and literally. The commercial features an evil Flavour Master who tells two henchman, one bearing the flavour Onion Rings N’ Ketchup and the other Buffalo Wings N’ Ranch, that only one flavour will survive. …
The spot cuts out after 40 seconds and asks viewers to write the ending — at the website writetheend.ca — in 400 characters or less. The winning entry will receive $25,000 and 1% of future sales. Fourteen finalists will be announced March 27, and the surviving flavour will be revealed May 5 when the ad airs nationally and online. “The biggest difference [between this campaign and past ones] is how much more democratic this is,” said Tony Matta, vice-president of marketing for PepsiCo Foods Canada. “You are removing all of the production barriers. User generation is taken to a level where all you have to have is a great idea, and we are going to turn over the resources of the organization to you.” Read More: http://www.nationalpost.com/todays-paper/people+decide/4221726/story.html
Simon Houpt: And this year, more than ever before, marketers are treating their 30- or 60-second TV spots as something akin to feature films, using teaser trailers to instill a sense of anticipation for the ads’ broadcast debuts.
Leading up to the game, Snickers posted a 14-second trailer of its TV spot with comedians Richard Lewis and Roseanne Barr, in which it touted the stars’ names in m
-like credits, and concluded by directing viewers to watch the ad in the game’s third quarter. GoDaddy.com, the Internet registrar that has built a brand on the backs of curvaceous models and deliberately provocative ads, has been showing a pair of commercials on its website that promote the unveiling of a new spokesmodel during Sunday’s broadcast….
Last week E*Trade (whose ad stayed in the headlines for months after last year’s broadcast because of a $100-million defamation lawsuit launched by rehab veteran Lindsay Lohan) put up an entertaining series of clips of talking babies that supposedly “didn’t make it past the censors” for this year’s ad. Read More: http://www.theglobeandmail.com/report-on-business/industry-news/marketing/adhocracy/now-playing-ads-for-super-bowl-ads/article1893660/ a
Houpt: Last Monday, Coca-Cola unveiled CokeCheers.com, a site that enables fans of the Green Bay Packers and Pittsburgh Steelers to send a virtual “cheers” to their teams. Each cheer will trigger a $1 donation by Coke to the Boys and Girls Clubs of America. Participants will receive a sneak peek to one of the two Coke spots airing Sunday; after the game, they’ll receive both spots – which they can then pass along to their Facebook friends.
All the activity on social media has some wondering whether dropping $3-million for 30 seconds is a waste of money. The chief marketing officer of Ford Motor Co. suggested in a recent published interview that the auto maker wanted to engage customers where they lived, by which he meant: social media rather than broadcast TV.
It may have been a way to justify staying out of the broadcast, which was reportedly sold out three months ago: Even businesses built on the power of social media recognize the occasional need for a smart broadcast buy. Groupon, the daily deal site which has grown from a mere idea to a globe-straddling business in less than 30 months, bought time in the game this week. And Pepsi, which famously kept its flagship brand out of the Super Bowl last year for the first time in almost a quarter of a century (in favour of launching its social media cause marketing initiative Pepsi Refresh), is back in the game this year. Read More: http://www.theglobeandmail.com/report-on-business/industry-news/marketing/adhocracy/now-playing-ads-for-super-bowl-ads/article1893660/page2/
There were fewer half-naked women and dick jokes this year. Instead, the 2010 Superbowl Ad Mantra seemed to have one common theme: “Feeling castrated? . . . by women? Man up.”
Dodge Charger: Man’s Last Stand
A male voice-over starts with a first person monologue of the mundane life of the American male (“I will walk the dog, I will have fruit for breakfast”), as the ad cuts to shots of men staring blankly, blinking at the camera…. Read More: http://www.feministe.us/blog/archives/2010/02/08/the-super-bowl-and-madison-avenue-misogyny/
“Yeah, life is boring,” you think, “a car could fix that.” But then there’s an eerie crescendo, and it becomes clear that this voice isn’t just listing his gripes with the world, he’s listing his gripes with a person — and not just any person, a woman: “I will say yes, when you want me to say yes . . .I will take your call, I will listen to your opinion of my friends. . . I will be civil to your mother.” Simultaneously the voice-over seems to be getting angrier as the shots get tighter, finally focusing on the twitching eyes of a man in a suit. “Because I do these things, I will drive the car I want to drive.”
…The ad is actually frightening. Not only because the voice-over gets more incensed as the tasks get more mundane (putting your underwear in a hamper? you mean being an adult? you think you deserve a car for that?), but because it’s maybe the most explicit misogyny I’ve ever seen in a Superbowl ad. “Feeling emasculated by your wife?” the ad seems to be saying. “Reaching your boiling point? We know you probably want to hit her, but buy a car instead.” Oh, and did I mention that a television serial-killer (Michael Hall who plays Dexter) does the voice-over? That’s not creepy or violence promoting at all.Read More: http://www.feministe.us/blog/archives/2010/02/08/the-super-bowl-and-madison-avenue-misogyny/
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