WVU COM 105 - Chapter 10 (Advertising)

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West Virginia University - Department of Communication Studies

This document discusses the history and evolution of advertising. It traces advertising back to ancient Greece and describes how it grew with improvements in production and distribution. Newspapers helped advertising become popular by increasing audiences and potential markets. Online advertising struggled early on but adapted to focus on customized content and big data-driven targeting. The document examines how media formats and user behaviors have challenged traditional advertising models.

Educação

ADVERTISING
ND Bowman
COM105
Fall 2014
Media and
Interaction Lab

FOR YOUR
CONSIDERATION
• Where do our norms come from in
advertising? How did the industry
evolve to where it is now?
• What historical events have been
critical in the development of
advertising?
• What did advertisers not grasp during
the early days of the Internet?
• Where does most online ad revenue
now come from?
#MediaAsTools

ADVERTISING
• Advertising can be
traced back to ancient
Greece, using handbills
• As production and
distribution became
easier, so did
information spread
One of the first known public advertisements,
this is for a brothel in Ephesus, Turkey

ADVERTISING
Written
Handbills
Printed
Handbills
THINK: What are some reasons
why eHandbills spread faster?
Electronic
Handbills

ADVERTISING
• Part of the popularity of
advertising is due to the
increased popularity of
newspapers
• WHY?

ADVERTISING
• Larger audience + more
income meant that
goods have new
markets
• …but audiences don’t
want to pay for content,
so who does?
As advertisers purchase content in advance of the news, stories
are filled in around the different ads in the newshole

CMC IN ACTION:
QUIZ SHOW SCANDAL
“The entire affair was found so unsavory by
the American public that it led to a
congressional hearing held by the House
Committee on Legislative Oversight.
Contestants from several game shows testified
to having been coached, and while no one
went to jail over the hoax, it was seen by many
as an act of betrayal toward the public.”
#MediaAsTools

ADVERTISING
• Why can’t one
advertiser have all of a
program? (remember
Agenda-Setting)
• Today, programs are
broken up into smaller
ad opportunities

ADVERTISING
• Mass communication
broke audiences into
market segments…
• …but newer media
have challenged these

CMC IN ACTION:
THEY DON’T MELT,
BUT HOW DO THEY TASTE?
What is the USP for M&Ms, and how does
it relate to the taste of the candy itself?
#MediaAsTools

ADVERTISING
• Online advertising
took time to adjust
– Original model:
Broad Banners
– Newer model:
Customized
Content

SOCIAL MEDIA AND BIG DATA
• An increasing concern regarding social media
and advertising is the volume of personal data
created by users that is used by advertisers to
target users with ads (big data)
– Volume (how much is there?)
– Velocity (how fast can it be collected and
#MediaAsTools
analyzed?)
– Variety (how broad is it?)
– Veracity (can we trust it?

CHAPTER
SUMMARY
• Advertising has been around
for centuries
• Models of advertiser-funded
media models began with the
dawn of the penny press
• Today’s media consumer is
more active, using more
channels simultaneously to
find more information
#MediaAsTools

QUESTIONS FOR
THE CROWD
• Think back to an incredibly memorable
commercial. What was it’s unique
selling proposition?
• Have you ever purchased a good or
signed up for a service based on a
Facebook ad? What was that experience
like?
Share your answers to these questions on Twitter using the
#MediaAsTool hashtag, or in our official Facebook group
(https://www.facebook.com/groups/234255823447372/).
You might even get an answer from the authors directly!
#MediaAsTools

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The current study explores variance in perceptions of age-appropriateness and overall evaluations of a video game manipulated to contain sexually or violently explicit content as a function of national culture and moral foundations. Purity/Sanctity concerns were the strongest predictor of higher age-appropriateness ratings for sexually explicit (expected) and violent (unexpected) games. US players evaluated the violent game more favorably than Germans. Both evaluated the sexually explicit game similarly, although Germans preferred it to the violent game; US audiences preferred the violent game.

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Advances in realistic graphics and artificial intelligence are hallmarks of evolved video games, as environments and characters are made to seem more real. Little is known, however, about whether or not character model changes may impact players’ relationships with familiar avatars, especially since anthropomorphism – the perception of nonhuman objects as being human or human-like – is understood as central to player-avatar interaction (PAX). This study leveraged a naturally occurring change to one MMO’s avatars to conduct a field quasi-experiment to investigate whether enhanced avatar anthropomorphism influences PAX dimensions: emotional investment, anthropomorphic autonomy, suspension of disbelief, and sense of control. Longitudinal analysis showed that enhanced anthropomorphism had no significant impact on any PAX dimension immediately or over time, when controlling for demographic and gameplay variables. Player comments suggest the change was experienced not as a change in humanness, but as a shift in perceptual realism – believability, lifelikeness, depth – that impacted the experience of the avatar-mediated gameworld more broadly. Presented at the 2015 convention of the National Communication Association Now in press at Psychology of Popular Media Culture; pre-press version can be accessed here: https://www.academia.edu/15606926/Of_Beard_Physics_and_Worldness_The_non-_Effect_of_Enhanced_Anthropomorphism_on_Player-Avatar_Relations

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An avatar is “an interactive, social representation of a user” (Meadows, 2008, p. 23) in a digital environment. Although avatars broadly include textual screen names or social network profiles, we specifically discuss here the two- or three-dimensional graphic bodies representing players in online games. These bodies are at least partially controlled by players as they engage a game – in movement, gesturing, communicating, and acting in/on the world – and these interactions constitute a multimodal gaming literacy that is central to play (Gee, 2004).

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This paper proposes a validated 15-item scale that merges theoretically divergent perspectives on player-avatar relations in extant literature (parasociality as psychological merging and sociality as psychological divergence) into a single instrument that measures player-avatar interaction (PAX). PAX is defined as the perceived social and functional association between an MMO player and game avatar, inclusive of four factors: emotional investment, anthropomorphic autonomy, suspension of disbelief, and sense of player control. These four factors were stable across two large multi-game (N = 494) and game-specific player samples (N = 458), in both exploratory and confirmatory factor analyses. Construct validity tests show scale dimensions have expected significant relationships with a sense of human-like relatedness and player-avatar relationship features, and predictive validity tests indicate theoretically likely and relevant factor associations with gameplay motivations and MMO genres.

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West Virginia University - Department of Communication Studies

Taking an initial step to empirically investigate cultural conjecture about stay-at-home mothers' (SAHMs') and working mothers’ (WMs') rivalry, the purpose of this study was to identify the content of stereotypes held for these subgroups of mothers. Through open-ended responses from SAHMs, WMs, and a broad non-parent sample, 5,523 traits of SAHMs and WMs emerged. Following coding procedures used in previous stereotype research (Hummert, Garstka, Shaner, & Strahm, 1994; Ruble & Zhang, 2013), the authors grouped the traits into 28 SAHM and 21 WM stereotype categories. The SAHM stereotype categories align with traditional views of womanhood, feminism, and family structure and reveal positive evaluations of mothering ability. Examples of the SAHM stereotype categories include: “domestic,” “caregiver,” “family-oriented,” and “ideal mom.” The WM stereotype categories align with non-traditional views of womanhood, motherhood, and family structure and reveal negative evaluations of mothering ability. Examples of the WM stereotype categories include: “determined,” “independent,” “work-focused,” and “substandard mom”. SAHM and WM stereotypes provide evidence for both stagnant and progressing ideals of women such that SAHMs are perceived as feminine, heterosexual housewives who are solely competent at mothering and WMs are perceived as independent, strong women who lack maternal instincts. Building on social identity (Tajfel & Turner, 1986) and subsequent theorizing (Cuddy, Fiske, & Glick, 2007), these results lay groundwork for further assessment of these stereotypes, particularly their prevalence, valence, and links to specific family and intergroup communication practices.

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West Virginia University - Department of Communication Studies

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West Virginia University - Department of Communication Studies

Paper presented at Meaningful Play 2014, East Lansing, MI, 16 October 2014 Popular opinion of digital games tends to classify them as toys, diversions and distractions, however this focus on games solely as sources of hedonic pleasure is theoretically, empirically, and phenomenologically myopic – it obscures the full range of affective, emotional, and cognitive experiences that one can have when playing digital games. In this vein, this study explores the phenomenal experience of enjoyment and appreciation in massively multiplayer online games, addressed through players’ descriptions of favorite gameplay memories. Through emergent thematic analysis of these descriptions and statistical analysis of individual differences, we demonstrate that elements of online game content can be both enjoyed as ego-driven reward and achievement and appreciated relationally with respect to other players, characters, and the gameworld. However, memorable game experiences are not necessarily experienced as having entertainment value, such that games scholars should be more inclusive of what is considered as important to players – potentially the win, the worth, and the work of play.

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West Virginia University - Department of Communication Studies

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West Virginia University - Department of Communication Studies

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West Virginia University - Department of Communication Studies

Early in graduate school, scholars are introduced to the foundational epistemologies and ontologies of their fields. Similar to the way in which children tend to adopt the world-views of their parents, young scholars tend to acclimatize to the theoretical and methodological assumptions of their advisors. In this process, scholars learn to harness the tools of their chosen focus of study, often at once mastering one tool-set and becoming blind to the potential utility of others. In this presentation, we present the results of a line of research on player-avatar relationships (PARs) that has successfully leveraged the seemingly-inherent friction of two very divergent approaches to research: interpretative scholarship aimed at generating rich data from conspicuous participants (in which the data analyzed are subjective accounts of human experiences gathered using quasi-ethnographic methods) and post-positive scholarship aimed at gathering broad data from anonymous participants (in which the data analyzed are observed cognitions, attitudes or behaviors produced through survey and experimentation). Initial solutions from both camps produced competing explanations regarding PARs – the former suggesting them to be best framed as authentic social relationships, the latter suggesting them to be best framed as para-social affinities. Subsequent studies theoretically and methodologically blended both approaches, resulting in a broader and deeper conceptualization of PARs that accounts for counterintuitive patterns in the qualitative data and substantially improves variance explained by data models designed to understand uses and effects. Talk delivered at the University of Muenster, Thursday July 24. Images contained are not property of authors, with exception of data tables and figures.

You say dāta, I say däta: Harnessing the friction of competing epistemologie...

West Virginia University - Department of Communication Studies

Draft slides of Dr. Nick Bowman's talk at #UTSMW, the University of Tennessee's Social Media Week 2014. Dr. Bowman represents WVU on the panel "Using Social Media to Engage Students In and Out of the College Classroom" on Wednesday, April 2 at 9:05am. More information at: http://www.cci.utk.edu/social-media-week NOTE: All images in this presentation are attributed to their original source, in the "notes" section of the PPT file; images without attribution are the creation of Dr. Bowman.

Social Media for the Social Classroom

West Virginia University - Department of Communication Studies

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WVU COM 105 - Chapter 10 (Advertising)

1. ADVERTISING ND Bowman COM105 Fall 2014 Media and Interaction Lab

2. FOR YOUR CONSIDERATION • Where do our norms come from in advertising? How did the industry evolve to where it is now? • What historical events have been critical in the development of advertising? • What did advertisers not grasp during the early days of the Internet? • Where does most online ad revenue now come from? #MediaAsTools

3. ADVERTISING • Advertising can be traced back to ancient Greece, using handbills • As production and distribution became easier, so did information spread One of the first known public advertisements, this is for a brothel in Ephesus, Turkey

4. ADVERTISING Written Handbills Printed Handbills THINK: What are some reasons why eHandbills spread faster? Electronic Handbills

5. ADVERTISING • Part of the popularity of advertising is due to the increased popularity of newspapers • WHY?

6. ADVERTISING • Larger audience + more income meant that goods have new markets • …but audiences don’t want to pay for content, so who does? As advertisers purchase content in advance of the news, stories are filled in around the different ads in the newshole

7. CMC IN ACTION: QUIZ SHOW SCANDAL “The entire affair was found so unsavory by the American public that it led to a congressional hearing held by the House Committee on Legislative Oversight. Contestants from several game shows testified to having been coached, and while no one went to jail over the hoax, it was seen by many as an act of betrayal toward the public.” #MediaAsTools

8. ADVERTISING • Why can’t one advertiser have all of a program? (remember Agenda-Setting) • Today, programs are broken up into smaller ad opportunities

9. ADVERTISING • Mass communication broke audiences into market segments… • …but newer media have challenged these

10. ADVERTISING What is our USP?

11. CMC IN ACTION: THEY DON’T MELT, BUT HOW DO THEY TASTE? What is the USP for M&Ms, and how does it relate to the taste of the candy itself? #MediaAsTools

12. ADVERTISING • Online advertising took time to adjust – Original model: Broad Banners – Newer model: Customized Content

13. ADVERTISING

14. ADVERTISING

15. ADVERTISING • What is Big Data?

16. SOCIAL MEDIA AND BIG DATA • An increasing concern regarding social media and advertising is the volume of personal data created by users that is used by advertisers to target users with ads (big data) – Volume (how much is there?) – Velocity (how fast can it be collected and #MediaAsTools analyzed?) – Variety (how broad is it?) – Veracity (can we trust it?

17. ADVERTISING • Multimedia selves!

18. SOCIAL MEDIA AND BIG DATA • An increasing concern regarding social media and advertising is the volume of personal data created by users that is used by advertisers to target users with ads (big data) – Volume (how much is there?) – Velocity (how fast can it be collected and #MediaAsTools analyzed?) – Variety (how broad is it?) – Veracity (can we trust it?

19.

20. CHAPTER SUMMARY • Advertising has been around for centuries • Models of advertiser-funded media models began with the dawn of the penny press • Today’s media consumer is more active, using more channels simultaneously to find more information #MediaAsTools

21. QUESTIONS FOR THE CROWD • Think back to an incredibly memorable commercial. What was it’s unique selling proposition? • Have you ever purchased a good or signed up for a service based on a Facebook ad? What was that experience like? Share your answers to these questions on Twitter using the #MediaAsTool hashtag, or in our official Facebook group (https://www.facebook.com/groups/234255823447372/). You might even get an answer from the authors directly! #MediaAsTools

WVU COM 105 - Chapter 10 (Advertising)

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WVU COM 105 - Chapter 10 (Advertising)