Strongbow Bittersweet ad analysis

Strongbow Bittersweet Advert

 

 

 

 

 

 

 

 

 

 

 

In this stand - alone advert, Strongbow advertises it’s cider through showing the audience the farmers growing cider apples in both rain and sunshine. The cast is a group, but focuses on one farmer who appears to be the chief one. Every cast member looks like a seasoned farmer and the settingis Herefordshire; this creates an air of trust and quality in the apple, which goes onto be made into the cider. Like most cider ads, they focus on the apple part to make the cider seem healthier and more appealing.

 

 

Brand Identity

 

 

. Masculinity                                              .Outdoor activity (sponsor of Team GB)             . Nature  

 

. Work and Accomplishment                   . Apples

 

. Social                                                        . Bows and arrows                                

 

 

 

Strongbow’s typical TA

 

. Male 24-35 – males substantially more featured in the advert. Cheap price cans and apparent good quality appeals (quality especially important when at a pub where all pints cost £4-5)

. Social, outgoing, worker

.Working class/ middle class

.Ad could also appeal to middle aged category 36-55 who like their quality cider

 

 

 

Structure

 

The advert follows a chronological, realist and simple narrative- the cider apples being grown in all conditions. What separates it from other adverts is the split screen used to show both the sun and rain environments. The majority of shots used are close ups, to show the quality of the apples, as emphasising the quality and therefore taste is vital when competing against other ciders.

 

 

 

 

 

 

 

Persuasive Techniques

 

The first persuasive technique used is the showing of the apples and how they are grown in the orchard. This gives connotations of health, quality and lets the audience think they know what is in the cider so they trust it. All these things are key as Strongbow is an alcohol and not healthy, so by contrasting this it means the audience don’t focus on this fact. Also the use of apples as a tasty, sweet fruit give the audience a subconscious feeling of the appealing taste it should taste like.

 

Another persuasive technique used is the group of farmers. This creates two things: a social element, as in one of the shots the farmers are shown smiling together; the other thing is an element of trust in local farmers, as those shown are white and appear to be British or French (Strongbow apples are grown in Britain and France). The social element is key, as Strongbow is predominantly bought in social situations such as a pub or for social situations in packs of cans. Finally the trust element is key for the customer buying Strongbow over another cider, as trust and quality implies better taste. At the end of the advert the chief farmer/ taster is seen tasting a glass and smiling in approval.

 

 

 

The final persuasive technique used is the arrows crashing into the bottom of the Strongbow. This is the iconic image of Strongbow, which the audience can identify with. This also makes the brand more memorable, which means when customers go to buy a cider they will look for or buy Strongbow.

 

ASA Rulings

 

There were no issues with this ad.

Chanel 'The Film' ad analysis

Coco Mademoiselle

 

                                                                                                                                                                           

1. Love
2. The Film
3. She’s not There

 

 

 

This is a three part ad campaign made by the Chanel company, promoting their new Coco Mademoiselle perfume and released before the holiday season, in time for an influx of sales. It focuses on promoting Coco Mademoiselle as a classy, romantic but fiercely independent brand. It stars Kiera Knightly -  a British actress known for her beauty and upper class British accent – having starred in films such as ‘Pirates of the Carribean’ whereby she was an incredibly strong female character; all these things combine to make her the figure head for what this brand wants to represent.

 

Brand Identity

 

‘COCO MADEMOISELLE is anything but conventional. It is an elusive fragrance with a strong character, with a free and independent spirit. A bold fragrance available in 4 olfactory accessories: the Eau de Parfum, the Touche de Parfum, the Twist and Spray and the Hair Mist. As many ways to apply as there are private moments to enjoy fragrance. ANYTIME, ANYWHERE.’ (www.Chanel.com)

 

Coco Mademoiselle promotes itself as a classy, romantic but fiercely independent brand. Throughout the ad it promotes many values or objects which add up to the brands desired identity. Coco Mademoiselle herself never married so the independence is a prevalent theme.

 

. A skin coloured pink connoting class        . Class                                          . Kiera Knightley

 

. Romance                                                         . Wealth                                      . Timelessness

 

. Independence                                                . Feminine strength interlaced with masculinity

 

. Recognisable Chanel perfume bottle     . Chanel body suit

 

 

Chanel’s typical TA

 

. Females – young adult to middle aged – 20 – 49

. Middle – upper class

. A female who cares about luxury and self – image and is into classy fashion and lifestyle

. Although ethnicity not specified, star image has always been a white woman, in a rich Parisian setting

. Target Audience for this ad may lean towards the younger generation ,as the ad features typically younger energy and Coco Mademoiselle perfume ($75- $100) is a cheaper alternative to the world renowned No.5 perfume (£230).

 

 

 

 

 

 

Structure

 

In this mini – film/ ad Kiera Knightley is depicted as a strong, attractive model. The narrative is realist and chronological – Knightley rides up to her shoot, on a motorbike, in a Parisian setting, captivates the attractive male photographer and leaves mysteriously. The ad creates an aspiration image of a woman with beauty, class, skill and independence, which is exactly the image the brand promotes itself as.

 

. Sexual shots throughout (eg when Kiera gets on the bike there is a close up shot of her bum)

. Close ups/ extreme close ups of her eyes and lips in a sexual manner

. Mix of shots used when outside, but shots become closer when inside to create a more intimate sexual feel, enhanced by action such as the closing of the door and curtains

 

 

 

 

 

Persuasive Techniques

 

The ad uses sex as a persuasive technique. In a world where ‘sex sells’, a product like Coco Mademoiselle perfume utilises this. In the ad Knightley uses her sexuality to make the world ‘hers’ by seducing the man and leading him on, with the soundtrack ‘this is a man’s world’ used to convince female viewers they need this perfume. Immediately at the start, the procduct is displayed alongside a naked Kiera Knightley with her spraying it on herself which sexualises it. To portray strength and independence the ad has Knightley ride a motor bike and have short hair which portrays a masculine strength, juxtaposed with her increasing sexuality and feminine colours.

 

Another persuasive technique is the location. Throughout the three ads, the setting is that of a picturesque Parisian rich suburb. This place is and represents the dream for many and by linking it with the brand, women subconsciously buy it to get closer to the scene shown in ‘The Film’. Also Paris has connotations of romance  and class which are linked to the perfume.

 

The final persuasive technique is the celebrity factor. By focusing the perfume around a well known celebrity it helps the brand become; memorable and stand out; create desire based off the celebrity; bases off an aspirational figure

 

 

 

ASA Rulings

Complaint Ref: A12-210167

 

Issue

The ad was deemed acceptable for older children and upwards but the issue came when it was screened before Ice Age 2, therefore exposing it to younger children. This was complained about as some of the scenes had sexual connotations such as when Knightley undresses seductively on the bed infront of the male photographer.

 

BCAP code

32.3

 

Assessment

Upheld

 

Upheld

 

‘The ASA acknowledged that the undressing in the ad took place in the context of a photo shoot but nevertheless considered those scenes involved sexually suggestive content. We noted that the photographer was directly involved in unzipping the actress's garments and that there was a suggestion that she was naked aside from a bed sheet. We also noted that there was clear sexual tension between the pair and that they appeared about to kiss on the bed. We noted that Ice Age 2 was of particular appeal to children. We considered the ad was suitable for older children, but that the sexually suggestive material was unsuitable for young children. We therefore concluded that the ad was inappropriately scheduled and an ex-kids restriction should have been applied to prevent the ad from being broadcast in or around children's programming.’ (ASA)

 

Action

 

‘The ad must not be broadcast again in its current form in or around programmes of particular appeal to children.’ (ASA