Browsing by Subject "Television advertising"
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Item A study of the relationship between cable television and advertising over the following five years(Texas Tech University, 1979-08) Dea, David DNot availableItem Fast food television advertisement formats: communicating with the customer effectively(Texas Tech University, 2000-05) Lin, Fang-YiFast food hamburger restaurants spend millions of dollars on television advertisements each year. Whether an advertisement's message is effectively communicated to a target market and whether or not the message is acted upon by the viewer are of interest. The purpose of this study is to examine customers' favorite formats in hamburger television advertisements in order to assist companies in effectively communicating whh theu- target audiences and in motivating those audiences to purchase products. The research was conducted with college students in a laboratory setting. The subjects viewed hamburger television advertisements and responded to a questionnaire. The major findings of the study are as follows: (1) the college students most preferred the special-effects format in advertisement for hamburgers; (2) the testimonial format in television advertisement for hamburgers appears to motivate the college students' hamburger purchase intentions; and (3) brand and advertising format both appear to influence the college students' hamburger purchase decision making.Item On humor and humor in advertising(Texas Tech University, 1987-12) Speck, Paul SurgiThe generalizability of previous research on humor in advertising is challenged because of conceptual and operational problems involving HUMOR and HUMOROUS MESSAGES. To remedy this, the author proposes (1) a multidimensional model of humor response, (2) an elaboration likelihood model of humor's communication effects, and (3) a semiotic taxonomy of humorous message forms. An application of this taxonomy to previous research and to primetime advertising demonstrates that the type of humorous message that is generally studied by researchers (message-dominant) differs significantly from the type of humorous message typically used by television advertisers (humor-dominant). An experiment was designed (1) to study these humor-dominant message forms, (2) to determine the incidence of general humor effects (G-effects), effects related to particular humor types (HT-effects) and effects related to underlying humor dimensions (D-effects), and (3) to demonstrate the value of the humorous message taxonomy. Each of 182 subjects viewed ten ads in an incomplete but balanced factorial design. The design included five humor-dominant message forms (HTs) and a nonhumorous control (NHC). Five examples of each message type were included (one from each of five product categories). Thirty 30-second ads were used to operationalize the 6 x 5 design. In all, 1424 observations were analyzed. Dependent measures included attention, comprehension, attitude to the source, attitude to the ad, attitude to the product, and attitude toward product purchase. ANOVA and ANCOVA results suggest (1) that humor significantly affects all measures of communication effectiveness, (2) that humor effects are generally but not universally positive, (3) that the five HTs exhibit five distinct patterns of communication effects, (4) that they evidence a combination of G- and HT-effects, and (5) that results based on an analysis of humor-dominant ads differ in several ways from research that was based on message-dominant ads. These findings suggest that it is very important for researchers and practitioners to distinguish among humorous message types. Apparently, different humor types are more likely to enhance (or diminish) specific effects. If an advertiser desires to make one communication effect paramount, he should use the humorous message type that is most likely to produce that effect. In short, specific advertising objectives should dictate the kind of humor employed. This research provides some initial understanding of the differential benefits (and risks) associated with the five humorous message types most frequently used on television.Item Item Selling the beat, visualizing the rhythm : MTV, propaganda films, and convergent media in the 1980s(2015-05) Montes, Christopher Daniel; Schatz, Thomas, 1948-; Scott, SuzanneIn the early 1980s, American media industries were changing at a rapid pace. New technologies and corporate structures influenced a new crop of media content indicative of an ever-diversifying mediascape. Influenced by this continuing evolution, the Warner-Amex corporation developed a platform to showcase a new kind of content form, music videos, that sought to mix the flow of radio broadcast with filmed popular music entertainment: MTV, music television. MTV stood as the go-to source for music videos in the United States and became a cultural touchstone in itself. The cable, recording, and advertising industries all had a hand in the channel's development and had to overcome the industrial tensions such an initiative would bring. How would profits be earned? Who produces what? And where will the money come from? Despite its successful premiere on August 1 1981, MTV still underwent a number of transformations, both industrially and culturally, to become the media giant it still is today. One result of this platform's rise in prominence was a need to produce content that would fit well on this new-look channel. Seeing this opportunity, a group of filmmakers formed Propaganda Films in 1986 in order to produce music videos and television advertisements for MTV and other broadcast platforms. These filmmakers, including Hollywood auteurs Steve Golin, Nigel Dick, Dominic Sena, and David Fincher, would have a profound influence on music videos and television advertisements, bringing a distinctive style and authorial vision to non-feature film Hollywood productions. My research details the formation of MTV, the founding of Propaganda Films, and the formal components of Propaganda’s music videos and television advertisements as a means to engage the convergent trends of American media industries during this period. Propaganda Films, a prolific and repeatedly well-regarded organization in the entertainment industry, has yet to have a comprehensive scholarly analysis of its involvement in American media history. My aim is to simultaneously detail a previously underrepresented historical case while providing an interdisciplinary means in which to engage various content forms that are an important component of our media-making cultures and traditions.Item The use of humor in television advertising: a content analysis of humorous ads across humor types versus product types(Texas Tech University, 1995-05) Li, Su-YingThe effectiveness of using humor in ads may be influenced by several factors such as humor types, media, audience, or product types. However, Weinberger and Gulas also suggest that it is a difficult task to study from every perspective. Based upon the limitation, this study only measured two factors: product types and humor types. In addition. Madden and Weinberger (1984) found U.S. advertising executives generally believed that radio and TV were the media best suited to the use of humor. Therefore, this study focused on the ads presented on TV. This way, the factor of placement might be controlled. The purpose of the present study is to investigate the use of different types of humor in television advertising across different product types. Two goals are present to probe this issue. The first is to reexamine the incidence of humor in TV ads and examine the incidence of these ads across product types. Second, the main goal of this study is to compare the use of different humor types across product types.