Introduction to advertising: blog tasks

Introduction to advertising:

 Answer the following questions on your blog:

1) How does the Marmite Gene Project advert use narrative? Apply some narrative theories here.

Enigma and Action Codes - Roland Barthes

The product that was to become Marmite was invented in the late 19th century when German scientist Justus von Liebig discovered that brewer’s yeast could be concentrated,bottled and eaten. The Marmite Food Extract Company was formed in Burton-upon-Trent, Staffordshire in 1902 with the by-product yeast needed for the paste supplied by Bass Brewery. Marmite takes its name from the clay French stock-pot used for reducing foods into stews. It was originally supplied in small earthenware pots, but was made available in the characteristically-shaped black glass jars from the 1920s. The stockpot remains on the label, however, with the connotations of traditional cookery and ‘boiled-down goodness’ that were a feature of early advertisements.

2) What persuasive techniques are used by the Marmite advert?

 

It has a strong emotional appeal since it is narrating its history, therefore the constant referring to its historical context it gives out a view to the audience that it;s not just a  product but much more than that. It has true meaning and can hold memories.

3) Focusing specifically on the Media Magazine article, what does John Berger suggest about advertising in ‘Ways of Seeing’?

Makes us dissatisfied with our present selves and promotes the idea that we can buy our way to a better life. ‘All publicity works on anxiety’.

4) What is it psychologists refer to as referencing? Which persuasive techniques could you link this idea to?

Psychologists refer to referencing as when we create a vision of ourselves living an idealised lifestyle, and then behave in ways that help us to realise this vision.

5) How has Marmite marketing used intertextuality? Which of the persuasive techniques we’ve learned can this be linked to?

In 2007 an 18-month, £3m campaign featured the 1970s cartoon character Paddington Bear. The adverts used the ‘love it or hate it’ slogan, whilst using a nostalgic environment that appealed to the family member responsible food shopping. Paddington Bear is shown trading his well-known marmalade sandwiches for Marmite sandwiches and enjoying them, despite others being repelled by it.

6) What is the difference between popular culture and high culture? How does Marmite play on this?

Popular culture is culture based on the tastes of ordinary people rather than an educated elite. Whereas, high culture identifies the culture of an upper class (an aristocracy) or of a status class. Royal Warrants of Appointment are acknowledgements to those companies that provide goods or services to the British royal family, allowing them to use the phrase. By appointment to Her Majesty the Queen’ alongside the royal crest. Marmite used their product slogan ‘One either loves it or hates it’, to create a comedic tone by combining it with the Queen’s idiosyncratic speech.

7) Why does Marmite position the audience as ‘enlightened, superior, knowing insiders’?

Postmodern audiences arguably understand that they are being manipulated by marketing. They understand the conventions that are being deployed and satirised. Postmodern consumers are simultaneously aware that they are being exploited, yet also prepared to play the game – if it brings them a sense of superiority and social cache. Postmodern consumers get the joke and, in doing so, they themselves may become promotional agents of the product through word-of mouth.

8) What examples does the writer provide of why Marmite advertising is a good example of postmodernism?

Well, I’m being thoroughly postmodern by playing with your expectations and making a knowing, intertextual wink to anyone who’s seen the spoof rock documentary Spinal Tap and knows that it’s better because it goes up to eleven! It’s essential to get your campaign, and therefore your product talked about – the only thing worse than being talked about in contemporary advertising is not being talked-about. Thus, Unilever has promoted Marmite as a term that implies polarised responses. Note the by-line in the Daily Mirror for Robbie Savage: ‘Football’s Mr. Marmite. Love him or hate him; you can’t ignore him’. Since the 1990s, Unilever’s campaigns admit that not everyone will want to buy their product. Companies normally try to maximise their potential consumer-audiences, so to admit that this is a targeted niche product might seem to be against conventional advertising wisdom. Ultimately, the evidence for the success of these postmodern ads remains sales of the product. Sales figures and market research suggests that Marmite can now be found in a quarter of all British

homes. 

Postmodern audiences arguably understand that they are being manipulated by marketing. They understand the conventions that are being deployed and satirised. Postmodern consumers are simultaneously aware that they are being exploited, yet also prepared to play

the game – if it brings them a sense of superiority and social cache. Postmodern consumers get the joke and, in doing so, they themselves may become promotional agents of the product through word-of mouth.

Royal Warrants of Appointment are acknowledgements to those companies that provide goods or services to the British royal family; since 1840, this approval has been used to promote products, with a warrant entitling them to use the strapline ‘By appointment to Her Majesty the Queen’ alongside the royal crest. Unilever has spoofed this approach, with the Ma’amite series of advertisements, typifying the irreverent nature of their product – breadsticks form a crown and the Queen’s corgi dogs replace the lion and unicorn. The motto ‘One either loves it or hates it’ is a delightful comic conjoining of the familiar product slogan and the Queen’s idiosyncratic speech.