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POPULAR CULTURE AND POPSTARS
Uncontrollable parameters
multiplicity is the biggest enemy of advertising.
The most basic and unpredictable method of brand positioning is to take advantage of popular cultural elements. In addition to the fast forwarding of the message, it is revealed how effective it is when creating and creating a campaign. The flow rate of the journal and the flow rate of the ad are identical. This is the case when we look at this relationship in terms of the sociology of advertising. Social change, while creating its own fields of action, of course does not forget the everyday. In this context, it is not a necessity that advertising is constructed on the contrary and popular. Simulated social codes create inseparable, continuous and live bonds between the target group and the brand. This flow of continuity depends on the speed of fashion and popular culture icons. These images and messages, which are constantly flowing through the communication channels, are collected in the perception pool of the person and become social behavior and attitude. This transformation is reflected in the buying behavior of the person acting with what is known. As a message bearer, the star is not the source itself but the message bearer. The brands are similar to people, their lives are voices and tones. The sound colors that distinguish him from others determine his growth or downsizing curve.
There is an endless road ahead of brands that build their corporate identity on this. These brands know that there are more ways to go; When they find a body (message bearer) on their journey, new horizons open in front of them. The use of star in advertising is a result of this philosophy, not a daily, temporary and practical necessity. Although this field often has definite results in marketing communications, it also involves many dangers. Star and spirit of the brand with the spirit of this body, considering the uncontrolled choice of this choice has to do very carefully. The star, which is the carrier and producer of popular culture, inherits a lot of dangers due to its nature.
In terms of semiology, the concepts of star are analyzed and shown in terms of form and content. This is a flat counter that is not exactly the opposite. The things that show are things, whereas the form is invisible; they are thoughts, content based. We know that form and content are often separable, and their conceptual unity is the unity of opposites (content against form); they cannot be separated financially. Because their unity is interconnected within the indicator. Displayed as a whole is neither before nor after. In this context, when we look at the star phenomenon, we come across a resolution.
SHOWING + SHOWED = INDICATOR (Attitude, Behavior) + (Emulation + Imitation) = Star
In the use of the star in advertising, the following relationship occurs.
SHOWING + SHOWED = INDICATOR (Known Face) + (Popularity) = Star
Advertising is a problem of perception, the ad-entered relationship flows from known indicators to unknown indicators. Star is the bearer of the message here as a whole. All in all, because the reality of perception and image shaped in itself is not a point to be discussed; on the contrary, it is the ability to transmit the popular culture codes. It is not a coincidence that a child faces a child's face in the marketing of children's products.
When we look at the history of advertising, the Unique Selling Proposition approach in the seventies was replaced by star marketing in the eighties. This new approach, which will increase the sales that will mobilize the target audience, has taken its place among the discourses of globalization. The dissemination of communication channels also supported this period when Hollywood films and anglo-saxon pop singers stormed like a storm. The cheapening of television technology and the relative increase in the purchasing power of the people have resulted in a TV and telephone in every home in the world. The next generation, the children of this cultural environment, were now listening to Madonna and Michael Jackson with the walkman and spending time with the arcade. Pepsi Cola (Pepsi Republican Coke Cola Democrat) who has a growing trend in the world with Reaganism (the republican US president) has also made the biggest advertising campaign with Michael Jackson. The best example of the relationship between brand and star was born here. This event has been an example of the uncontrollable star and the brand. He was already a popular singer when Michael Jackson first released his first solo album ”Of the Wall ıcı in 1979. In 1982, he became a pop idol with the album pop Thriller 1982. Michael Jackson, who influenced his youth all over the world, signed a contract in 1984 as the most appropriate candidate for Pepsi. A series of commercials were shot with the concept of i New Generation New Choice ‘. In 1987, Pepsi signed a sponsorship agreement with Michael Jackson, which has turned up the global music charts in 1987 with a eler Bad luk album. After the concert, he made commercials. Pepsi deyi happy campaigns on the expected results, although the process did not last long. Because a bad clip of an 18-minute short film was filmed by Martin Scorsese. However, the new Michael Jackson image in the clip has become more widely spoken. Because the famous singer had very remarkable and surprising changes in both his face and skin color. The media claimed that the artist had undergone many surgeries, such as nasal aesthetics, forehead removal and lip thinning, because he was embarrassed to be black, trying to whiten his skin. While these debates lasted for many years, rumors of child abuse began to spread. In all these processes, Pepsi had to constantly explain himself and his star about laundering and star. Naturally, all of this controversy worked for his rival Coca-Cola. Today, while the brand value of Coca Cola is 200 billion dollars, it is only about 5 billion dollars of Pepsi Cola. This result led to long-term star discussion in advertising. The multiplicity of uncontrollable parameters is the biggest enemy of the ad. The result is that you need to have a sustainable marketing strategy instead of selling in the short term.
It is possible to give examples to the Star period. NBA basketball player Michael Jordan, who was considered to be the greatest athlete of the twentieth century, attracted Nike's attention with his brilliant career which envied many teams and his Olympic medal in 1984 when he was a high school student. In the same year, Jordan became the advertising side of Nike. He began to spread around the world by decorating the covers of commercials and magazine magazines, in which he played very well with Jordan and his style. Jordan's NBA achievements and special communications with cameras turned him into a marketing giant. Tarih Air Jordan pazarlama sneakers made its name as a complete marketing wonder.
Jordan had to pay a penalty for the NBA commission in every match until the law changed because of the iyle Air Jordan maç shoe he wore for every match. But Jordan's failure to give up his shoes and Nike's willingness to pay for these punishments was the greatest help in the birth of Air Jordan. Jordan was also found in the same squares as "Looney Tunes" cartoon characters. In an Nike commercial, Jordan was playing basketball with gs Bugs Bunny N. This ad inspired the film "Space Jam" (1996). Jordan and Bugs Bunny were seen together in this film. In addition, this binary has also played in many other commercials. All these successful marketing communication events have been a sign of a star's consistent and stable stance. In the case of Jordan, the brand life of the star chosen as the face of the brand appeared to be important for both the brand and the target audience. For brands, such a relationship should be either very long-term (although it contains many dangers) or seasonal. For seasonal campaigns, the star should not be contracted with other brands for at least 3 years.
We're more verbal than written.
We care about what's so funny than the tragic.
When we look at the last decade of Turkish advertising history, Cem Yılmaz, Haluk Bilginer, Gülse Birsel, Mehmet Ali Erbil, Seda Sayan, Şafak Sezer, Acun Ilıca, Sibel Can, Özgü Namal, Uğur Yücel, Şahan Gökbakar, Tarkan, Gülben Ergen, Nil Karaibrahimgil , İbrahim Tatlıses, Ata Demirel, Beyazıt Öztürk, Şener Şen, Ferhan Şensoy and Okan Bayülgen are mostly seen as the face of our brands. Ali Poyrazoğlu, who is the back voice of Turkcell, is the most important subject in this star. The multiplicity of humorists in the list is also an indication of our social structure. We give importance to what is more comical than a verbal one rather than a written one. Although the limitation of the above list often leads to a confusion of perception, it has important contributions to our brands. The Turkish consumer, who is exposed to less visual presentation than the comparable Western type consumer, shows the expected change in attitude in relation to the star. The main reason for this is that the Turkish market reacts more quickly to visual communication.
As a result, the use of the star in advertising increases the attractiveness and ensures that the product remains in mind. However, the sales ratio of the product is increasing as a result of the identification of the target group with the famous person who participated in the promotion of the product.
Kemal ÇİFÇİ
Sociologist / Advertising and Brand Consultant
December 2009
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