12/12/11

COMPRA E SERVIÇOS AGREGADOS

 

Faz parte das estratégias de marketing organizar o Marketing Mix, ou composto mercadológico, ou ainda os 4 P’s, isto é, o preço, produto, ponto de venda e a promoção/comunicação. De maneira estendida, o marketing contemporâneo se preocupa ainda com o que pode ser agregado de valor ao conjunto de elementos, que levam e constituem o ato da compra e o pós-venda.

O mais interessante é que mesmo em um mercado competitivo, como o de São Paulo, muitas organizações menores e maiores ainda não profissionalizaram sua visão estratégica sobre o marketing. Lidam com o marketing apenas em uma de suas ferramentas, que é a comunicação e não compreendem, que para se destacarem é necessário lidar com todos os instrumentais oferecidos pela área.

Um exemplo clássico, que presenciei na semana passada, no dia 09/12/2011, foi a falta de estratégia de distribuição eficiente da loja de colchões. Entrei na loja e o vendedor gentilmente abriu a porta e me recepcionou com um “boa tarde” – começamos bem a relação, de maneira extremamente educada. Informei que gostaria de ver uma cama no tamanho de viúvo, para um segundo quarto no meu apartamento. Novamente, com bastante gentileza ele me conduziu até o espaço onde os produtos estavam expostos e comentou as vantagens e desvantagens de dois ou três e seus preços. Eu me interessei por um e fomos à mesa para fechar o negócio. Qual não foi minha surpresa ao informar, que precisaria fechar a data e horário, ao menos período, da entrega, pois eu mesmo receberia o produto, portanto, sem muito espaço na agenda para pensar em outras datas e, principalmente, em período que não fosse aquele.

O vendedor foi categórico “não há esta opção”. A entrega pode ser feita entre os dias 16 à 19/12, mas sem data ou período definido.

Obviamente, a loja e, principalmente, o vendedor perderam a venda, pois como consumidor não sou eu que tenho que me dobrar às possibilidades da empresa, mas sim eles que devem atender minhas necessidades. Na outra loja em Moema, a KingStar, o atendimento foi rápido com dia e horário marcado, conforme eu precisava.

Essa miopia de marketing atrapalha a estratégia de venda de qualquer organização. Não se adequar às necessidades do consumidor é o mesmo que instituir um prazo de validade para o funcionamento do empreendimento.

Pensando como consultor em comunicação e marketing, a organização não está preparada para atender um segmento específico de mercado, que é o single, que tem exigências e demandas diferenciadas. Obviamente, ao focar apenas no consumidor padrão, a loja de colchões perde uma parcela significativa de consumidores, com outros perfis.

 

 

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01/12/11

VOCABULÁRIO TÉCNICO DE BRANDING EM INGLÊS

 

FONTE – BRAND CHANNEL www.brandchannel.com.br

 

Awareness The percentage of population or target market who are aware of the existence of a given brand or company. There are two types of awareness: spontaneous, which measures the percentage of people who spontaneously mention a particular brand when asked to name brands in a certain category; and prompted, which measures the percentage of people who recognise a brand from a particular category when shown a list.       

                                                                                                                                                             

           
Brand A brand is a mixture of attributes, tangible and intangible, symbolised in a trademark, which, if managed properly, creates value and influence.

"Value" has different interpretations: from a marketing or consumer perspective it is "the promise and delivery of an experience"; from a business perspective it is "the security of future earnings"; from a legal perspective it is "a separable piece of intellectual property." Brands offer customers a means to choose and enable recognition within cluttered markets.

Brand Architecture How an organization structures and names the brands within its portfolio. There are three main types of brand architecture system: monolithic, where the corporate name is used on all products and services offered by the company; endorsed, where all sub-brands are linked to the corporate brand by means of either a verbal or visual endorsement; and freestanding, where the corporate brand operates merely as a holding company, and each product or service is individually branded for its target market.

Brand Associations The feelings, beliefs and knowledge that consumers (customers) have about brands. These associations are derived as a result of experiences and must be consistent with the brand positioning and the basis of differentiation.

Brand Commitment The degree to which a customer is committed to a given brand in that they are likely to re-purchase/re-use in the future. The level of commitment indicates the degree to which a brand's customer franchise is protected form competitors.

Brand Earnings The share of a brand-owning business's cashflow that can be attributed to the brand alone.

Brand Equity The sum of all distinguishing qualities of a brand, drawn from all relevant stakeholders, that results in personal commitment to and demand for the brand; these differentiating thoughts and feelings make the brand valued and valuable.

Brand Equity Protection Is the implementation of strategies to reduce risk and liability from the effects attributable to counterfeiting, diversion, tampering and theft so that the differentiating thoughts and feelings about the brand are maintained and remain valued and valuable.

Brand Essence The brand's promise expressed in the simplest, most single-minded terms. For example, Volvo = safety; AA = Fourth Emergency Service. The most powerful brand essences are rooted in a fundamental customer need.

Brand Experience The means by which a brand is created in the mind of a stakeholder. Some experiences are controlled such as retail environments, advertising, products/services, websites, etc. Some are uncontrolled like journalistic comment and word of mouth. Strong brands arise from consistent experiences which combine to form a clear, differentiated overall brand experience.

Brand Extension Leveraging the values of the brand to take the brand into new markets/sectors.

Brand Harmonisation Ensuring that all products in a particular brand range have a consistent name, visual identity and, ideally, positioning across a number of geographic or product/service markets.

Brand Identity The outward expression of the brand, including its name and visual appearance. The brand's identity is its fundamental means of consumer recognition and symbolizes the brand's differentiation from competitors.

Brand Image The customer's net "out-take" from the brand. For users this is based on practical experience of the product or service concerned (informed impressions) and how well this meets expectations; for non-users it is based almost entirely upon uninformed impressions, attitudes and beliefs.

Brand Licensing The leasing by a brand owner of the use of a brand to another company. Usually a licensing fee or royalty rate will be agreed for the use of the brand.

Brand Management Practically this involves managing the tangible and intangible aspects of the brand. For product brands the tangibles are the product itself, the packaging, the price, etc. For service brands (see Service Brands), the tangibles are to do with the customer experience - the retail environment, interface with salespeople, overall satisfaction, etc. For product, service and corporate brands, the intangibles are the same and refer to the emotional connections derived as a result of experience, identity, communication and people. Intangibles are therefore managed via the manipulation of identity, communication and people skills.

Brand Mission See Brand Platform.

Brand Parity A measure of how similar, or different, different brands in the same category are perceived to be. Brand parity varies widely from one category to another. It is high for petrol, for example: about 80% of respondents (BBDO survey) see no real difference between brands. By contrast, brand parity for cars is low: only about 25% of respondents say that one make is much the same as another.

Brand Personality The attribution of human personality traits (seriousness, warmth, imagination, etc.) to a brand as a way to achieve differentiation. Usually done through long-term above-the-line advertising and appropriate packaging and graphics. These traits inform brand behavior through both prepared communication/packaging, etc., and through the people who represent the brand - its employees.

Brand Platform The Brand Platform consists of the following elements:

  • Brand Vision The brand's guiding insight into its world.
  • Brand Mission How the brand will act on its insight.
  • Brand Values The code by which the brand lives. The brand values act as a benchmark to measure behaviors and performance.
  • Brand Personality The brand's personality traits (See also definition for Brand Personality).
  • Brand Tone of Voice How the brand speaks to its audiences.

Brand Positioning The distinctive position that a brand adopts in its competitive environment to ensure that individuals in its target market can tell the brand apart from others. Positioning involves the careful manipulation of every element of the marketing mix.

Brand Strategy A plan for the systematic development of a brand to enable it to meet its agreed objectives. The strategy should be rooted in the brand's vision and driven by the principles of differentiation and sustained consumer appeal. The brand strategy should influence the total operation of a business to ensure consistent brand behaviors and brand experiences.

Brand Tone of Voice See Brand Platform.

Brand Valuation The process of identifying and measuring the economic benefit - brand value - that derives from brand ownership.

Brand Values The code by which the brand lives. The brand values act as a benchmark to measure behaviors and performance. (See also Brand Platform.)

Brand Vision See Brand Platform.

Branding Selecting and blending tangible and intangible attributes to differentiate the product, service or corporation in an attractive, meaningful and compelling way.                                                         

                                                                                                                                                             

           
Co-branding The use of two or more brand names in support of a new product, service or venture.

Consumer Product Goods (consumer goods) or services (consumer services) purchased for private use or for other members of the household.

Core Competencies Relates to a company's particular areas of skill and competence that best contribute to its ability to compete.

Corporate Identity At a minimum, is used to refer to the visual identity of a corporation (its logo, signage, etc.), but usually taken to mean an organization's presentation to its stakeholders and the means by which it differentiates itself from other organizations.

Counterfeiting When an organization or individual produces a product that looks like a branded product and is packaged and presented in a manner to deceive the purchaser.

Country of Origin The country from which a given product comes. Customers' attitudes to a product and their willingness to buy it tend to be heavily influenced by what they associate with the place where it was designed and manufactured.

Customer Characteristics All distinguishing, distinctive, typical or peculiar characteristics and circumstances or customers that can be used in market segmentation to tell one group of customers from another.

Customer Relationship Management (CRM) Tracking customer behavior for the purpose of developing marketing and relationship-building processes that bond the consumer to the brand. Developing software or systems to provide one-to-one customer service and personal contact between the company and the customer.

Customer Service The way in which the brand meets its customers' needs via its various different channels (for example, over the telephone or Internet in the case of remote banking, or in person in the case of retail or entertainment).                                                   

                                                                                                                                                             

           
Demographics The description of outward traits that characterize a group of people, such as age, sex, nationality, marital status, education, occupation or income. Decisions on market segmentation are often based on demographic data.

Differential Product Advantage A feature of a product that is valuable to customers and is not found in other products of the same category.

Differentiation Creation or demonstration of unique characteristics in a company's products or brands compared to those of its competitors.

Differentiator Any tangible or intangible characteristic that can be used to distinguish a product or a company from other products and companies.

Diversion When genuine product is sold to a buyer in one market/channel and then resold by the same buyer into another market/channel, without the consent or authority of the brand owner, to take advantage of a price arbitrage situation. Definition also applies to parallel trade, gray market or gray market activities.      

                                                                                                                                                             

                                                                           
Endorsed brand (See
Brand Architecture.) Generally a product or service brand name that is supported by a masterbrand - either dominantly e.g. Tesco Metro or lightly e.g. Nestle Kit-Kat.                             

                                                                                                                                                             

           
FMCG Fast moving consumer goods. An expression used to describe frequently purchased consumer items, such as foods, cleaning products and toiletries.

Focus Group A qualitative research technique in which a group of about eight people is invited to a neutral venue to discuss a given subject, for example hand-held power tools. The principle is the same as an in-depth interview, except that group dynamics help to make the discussion livelier and more wide-ranging. Qualitative groups enable the researcher to probe deeper into specific areas of interest (for example, the nature of commitment to a brand). The result adds richer texture to the understanding of broader data (for example, quantitative), which may paint general trends or observations. Also known as a group discussion.

Freestanding Brand (See Brand Architecture.) A brand name and identity used for a single product or service in a portfolio, which is unrelated to the names and identities of other products in the company's portfolio.

Functionality What a product does for the buyer and user; the utility it offers the user; what he or she can do with it.                                                                          

                                                                                                                                                             

           
Goods A product consisting predominantly of tangible values. Almost all goods, however, have intangible values to a greater or lesser extent.

Group Discussion See Focus Group.                   

                                                                                                                                                             

                                                                           
High Technology (high tech) A term with vague and far-reaching meaning. This covers electronics, data technology, telecommunications, medical technology and bio-chemistry. In order to be classed as a high tech company, one definition is that at least 35 percent of staff should have a technical qualification, and at least 15 percent of sales should be used for R&D. Another definition states that the company must employ twice as many scientists and engineers and invest twice as much in R&D as the average of all manufacturing companies in the country.                                                                

                                                                                                                                                             

                                                                           
Intangibles "Intangible" - incapable of being touched. (1) Intangible assets - trademarks, copyrights, patents, design rights, proprietary expertise, databases, etc. (2) Intangible brand attributes - brand names, logos, graphics, colors, shapes and smells.
(See Service Brand.)                                                                                 

                                                                                                                                                             

                                                                           
Launch The initial marketing of a new product in a particular market. The way in which the launch is carried out greatly affects the product's profitability throughout its lifecycle.                                                    

                                                                                                                                                             

           
Market Leader A company that has achieved a dominant position - either in scale (e.g., British Airways) or influence (e.g., Virgin) - within its field. This leading position often comes about because the company was the first to market a certain type of product and, with the protection of a patent, has managed to consolidate its position before direct competition was possible. Alternatively, a company may overtake a previous market leader through greater efficiency and skilful positioning.

Market Position A measure of the position of a company or product on a market. Defined as market share multiplied by share of mind.

Market Segment A group of customers who (a) share the same needs and values, (b) can be expected to respond in much the same way to a company's offering, and (c) command enough purchasing power to be of strategic importance to the company.

Market Share A company's share of total sales of a given category of product on a given market. Can be expressed either in terms of volume (how many units sold) or value (the worth of units sold).

Mass Marketing Simultaneous standardized marketing to a very large target market through mass media. Other names for this are market aggregation and undifferentiated marketing.

Masterbrand A brand name that dominates all products or services in a range or across a business. Sometimes used with sub-brands, sometimes used with alpha or numeric signifiers. (See also Monolithic Brand.) Audi, Durex, Nescafe and Lego, for example, are all used as masterbrands.

Monolithic Brand A single brand name that is used to "masterbrand" all products or services in a range. Individual products are nearly always identified by alpha or numeric signifiers. Companies like Mercedes and BMW favor such systems.

Multibrand Strategy /Multiple Branding Marketing of two or more mutually competing products under different brand names by the same company. The motive may be that the company wishes to create internal competition to promote efficiency, or to differentiate its offering to different market segments, or to get maximum mileage out of established brands that it has acquired. When a company has achieved a dominant market share, multibrand strategy may be its only option for increasing sales still further without sacrificing profitability. For example, Lever Brothers sells washing powders under the Persil, Omo and Surf names; Cadbury sells chocolates under the Dairy Milk, Bournville and Fruit & Nut names; Heinz sells canned convenience foods under the Baked Beans, Spaghetti Hoops and Alphabetti Spaghetti names.             

                                                                                                                                                             

           
Names There are three basic categories of brand (or corporate) name:

  • Descriptive name A name which describes the product or service for which it is intended, e.g., TALKING PAGES.
  • Associative name A name which alludes to an aspect or benefit of the product or service, often by means of an original or striking image or idea, e.g., VISA.
  • Freestanding name A name which has no link to the product or service but which might have meaning of its own, e.g., PENGUIN.

The following are also helpful:

  • Abstract name A name which is entirely invented and has no meaning of its own, e.g., ZENECA. Abstract names are a sub-set of freestanding names because they also have no link to the product of service.
  • Coined name Any name which is in some way invented. Coined names can be descriptive (CO-CREATE), associative (IMATION) and freestanding/abstract (ZENECA).

Niche Marketing Marketing adapted to the needs, wishes and expectations of small, precisely defined groups of individuals. A form of market segmentation, but aimed at very small segments. Niche marketing characteristically uses selective media.                                          

                                                                                                                                                             

           
OEM market OEM stands for Original Equipment Manufacturers. The OEM market consists of companies that use another company's product as a component in their own production. A manufacturer of ball bearings, for example, sells both to OEM customers who build the bearings into machines, and to end users who need the bearings as spare parts for machines that they have bought from the OEMs. Most manufacturing companies thus have an OEM market and a replacement market. The latter is usually called the MRO market or aftermarket.

Offering What a company offers for sale to customers. An offering includes the product and its design, features, quality, packaging, distribution, etc., together with associated services such as financing, warranties and installation. The name and brand of the product are also part of the offering.                                

                                                                             

           
Packaging Design The design of the pack format and graphics for a product brand.

Parent Brand A brand that acts as an endorsement to one or more sub-brands within a range.

Passing Off The name given to a legal action brought to protect the "reputation" of a particular trademark/brand/get up. In essence, the action is designed to prevent others from trading on the reputation/goodwill of an existing trademark/brand/get up. The action is only available in those countries that recognize unregistered trademark rights (for example the UK and US). In some countries, it is called "unfair competition action."

Perceptual Mapping Graphic Analysis and presentation of where actual and potential customers place a product or supplier in relation to other products and suppliers. Most perceptual maps show only two dimensions at a time, for example price on one axis and quality on the other. There also are methods of graphically analyzing and presenting measurement data in three or more dimensions.

Positioning Statement A written description of the position that a company wishes itself, its product or its brand to occupy in the minds of a defined target audience.

Power Branding A strategy in which every product in a company's range has its own brand name which functions independently, unsupported by either the company's corporate brand or its other product brands. Power branding is a resource-intensive strategy, since each brand must be commercially promoted and legally protected. This strategy is used mainly by manufacturers of consumer goods. Lever's and Procter & Gamble's detergents are good examples of power brands.

Product Brand A brand which is synonymous with a particular product offering, for example, Cheerios.         

                                                                                                                                                             

           
Rebrand When a brand owner revisits the brand with the purpose of updating or revising based on internal or external circumstances. Rebranding is often necessary after an M&A or if the brand has outgrown its identity/marketplace.

Relative Market Share Your own company's market share compared to those of your competitors. A large share confers advantages of scale in product development, manufacturing and marketing. It also puts you in a stronger position in the minds of customers, which has a positive influence on pricing.

Relaunch Reintroducing a product into a specific market. The term implies that the company has previously marketed the product but stopped marketing it. A relaunched product has usually undergone one or more changes. It may, for example, be technically modified, rebranded, distributed through different channels or repositioned.

Repositioning Communications activities to give an existing product a new position in customers' minds and so expanding or otherwise altering its potential market. Many potentially valuable products lead an obscure existence because they were launched or positioned in an inadequate manner. It is almost always possible to enhance the value of such products by repositioning them.

Rollout The process by which a company introduces a new product or service to different geographical markets or consumer segments.                                           

                                                                                                                                                             

           
Selective Media Media that, unlike mass media, reach only small and identifiable groups of people, for example, members of a particular profession or industry or other groups defined by geographic, demographic or psychographic data (otherwise known as targeted media).

Service Brand A product consisting predominantly of intangible values. "A service is something that you can buy and sell, but not drop on your foot" (The Economist). In this sense, a service is something that you do for somebody, or a promise that you make to them.

Share of Mind There are many definitions of share of mind. At its most precise, share of mind measures how often consumers think about a particular brand as a percentage of all the times they think about all the brands in its category. More loosely, share of mind can be defined simply as positive perceptions of the brand obtained by market research. Whereas market share measures the width of a company's market position, share of mind can be said to measure its depth.

Share of Voice The media spending of a particular brand when compared to others in its category.

Sub-brand A product or service brand that had its own name and visual identity to differentiate it from the parent brand.                                                                  

                                                                                                                                                             

           
Tangibles "Tangible" - capable of being touched. (1) Tangible assets - manufacturing plant, bricks and mortar, cash, investments, etc. (2) Tangible brand attributes - the product and its packaging. (3) Tangible brand values - useful qualities of the brand known to exist through experience and knowledge.

Target Market The market segment or group of customers that a company has decided to serve, and at which it consequently aims its marketing activities.

Top-of-Mind What is present in the uppermost level of consciousness; the manufacturer or brand that people in market surveys name first when asked to list products in a specific category. Top-of-mind is the highest degree of share of mind. To attain that position, a company normally needs to have a large share of voice in its category.

Trademark "Any sign capable of being represented graphically which is capable of distinguishing goods or services of one undertaking from those of another undertaking" (UK Trade Marks Act 1994).

Trademark Infringement A trademark registration is infringed by the unauthorized use of the registered trademark, or of one that is confusingly similar to it, on the registered goods or services, or in certain circumstances on similar or dissimilar goods and services.

Trendsetter Someone or thing that breaks a traditional mold or routine and gains a following because of it. iMac is an example of trendsetting in design as now office supplies come in the familiar colors and translucent packaging of an iMac.                                         

                                                                                                                                                             

                                                                           
User Segmentation Division of potential customers into market segments according to how and for what purpose they use a product. Do they use it for cleaning their teeth or for making cakes (baking powder)? For oiling their hair or for frying food? (True story concerning use of Brylcreem in Nigeria). As a decongestant chest rub or as an aphrodisiac? (True story concerning Ribby Rub in Caribbean).                                                         

                                                                                                                                                             

                                                                           
Visual Identity What a brand looks like - including, among other things, its logo, typography, packaging and literature systems                                              

 

 

 

 

 

 

www.semioticadapublicidade.blogspot.com

 

27/11/11

LANÇAMENTO DO LIVRO - SINGULARIDADES DO MASCULINO NA PUBLICIDADE IMPRESSA: SEMIÓTICA E PSICANÁLISE

No dia 26/11, na Intermeios Cultural, foi o lançamento do meu livro – Singularidades do Masculino na Publicidade Impressa: semiótica e psicanálise.
Muita gente querida apareceu para me dar os parabéns e pegar um autógrafo em seu exemplar. O clima estava bem descontraído, também, o espaço da Intermeios Cultural contribuiu bastante para deixar todos à vontade e, ainda, bebendo um bom vinho.
Grandes amigos passaram por lá e confraternizaram entre si. Pude ainda apresentar aos colegas de trabalho minha família, para que pudessem conhecer um pouco mais sobre mim.
Espero que a leitura do livro seja bastante proveitosa para todos e que eu possa receber os retornos e opiniões.




Prof. Dr. Fábio Caim

13/11/11

MUDANÇA NO LOGO DA STARBUCKS



 

Achei o artigo abaixo bastante interessante a respeito da mudança de logo da Starbucks, que na verdade é apenas uma limpeza. A marca retira do logo o seu nome e a palavra "coffee" e deixa apenas a imagem da sereia. Que "cá entre nós" tem cara de Iemanjá!
O artigo apresenta o argumento de que o logo sem esses dois elementos perde sua força de reconhecimento, principalmente, em novos mercados. Além disso, atesta que a simplicidade (como o visto da Nike e outros exemplos) não é uma característica desse logo, portanto, optar por retirar suas âncoras é uma estratégia que a longo prazo deve dar problema.
O artigo é do blog – Branding Strategy Insider.

 


 

Yes. The new Starbucks logo, which drops the company name is a bad idea.
Dropping the "Starbucks" and the "Coffee" from their logo, and turning their symbolic mermaid into their well-known green coloring is not a strong enough change to create a usable "symbol only" corporate identity.
Chief executive Howard Schultz has the right idea about evolving the logo. His solution however shows some of the hubris that got the company into trouble a few years ago. If they want to evolve the name so the company can broaden its product line, they could have done so by dropping the word "coffee" from the Starbucks name.
Dropping the Starbucks name from their logo will only serve to confuse consumers who are not as familiar with the company and thus the target of a company trying to broaden its product line.
A corporate identity should follow a brand strategy, which should follow a business strategy. In this regard, Starbucks approached the identity change appropriately. Unfortunately, as many generals learn, the best strategy can go to hell quickly in battle. I think that is what happened here. Those who created the new corporate identity internally live and breathe the female siren symbol on a daily basis. So, in my opinion, there was no objectivity, no outside perspective on the decision to drop the name.
This symbol is not the Apple logo, which is an apple. It is not the golden arches of McDonalds. It is not the Nike, swoosh. All of these are very simple and clean symbols that evolved over time. The mermaid is a complex design and while most loyal customers will recognize this symbol as the coffee formerly known as Starbucks, it bucks the very strategy of why they needed to evolve the logo in the first place.
The only good thing coming out of this for Starbucks is the huge number of blogs and articles on the subject.

07/11/11

COMERCIAIS ENGRAÇADOS

Site norte-americano tem uma lista dos 10 comerciais mais engraçados, mais estranhos e mais sexistas. Bem interessante reparar na linguagem e no tom do humor na língua inglesa.

06/11/11

COMERCIAIS CLÁSSICOS DA PROPAGANDA BRASILEIRA

COFAP

A Cofap iniciou na década de 80 uma campanha, que fazia relação entre um cachorro dauchshund standard e os amortecedores de carro. Foi uma inovação bastante interessante, pois trouxe um produto técnico, normalmente, trabalhado apenas no PDV e somente conhecido por mecânicos e profissionais afins, para uma mídia de massa, tornando-se assim conhecido também pelo usuário final.
Aproveite e assista aos vídeos.






04/11/11


Singularidades do masculino na publicidade impressa - semiótica e psicanálise


Fábio Caim


Sobre o livro


De que forma as singularidades do masculino são produzidas? Eis a pergunta que guiou a trajetória escolhida por Fábio Caim. Para isso, não bastava ir direto às imagens publicitárias com olhos desavisados. Era preciso radiografar a trama que se esconde por trás das aparências. Antes de tudo, era preciso entender o que é o masculino para além da simplória explicação que nos é dada pelos dicionários. Afinal, existe um campo do conhecimento que há mais de um século vem desvendando os mistérios da sexualidade humana. Para aqueles que não se contentam com as frases feitas e as conversas a esmo, não há como escapar. É a psicanálise que tem se debruçado sobre os enigmas do masculino e feminino, sem cair na esparrela da mera oposição de gênero. (...) À luz da psicanálise, o autor levantou para a decifração semiótica dessas imagens uma hipótese bastante ousada, qual seja, a da presença das características psíquicas da histeria nas encenações imagéticas do masculino na publicidade. (Lucia Santaella)


ISBN: 978-85-64586-03-1


156 páginas - formato 14x21cm


Valor: R$ 25,00


Editora Intermeios – www.intermeioscultural.com.br

25/08/11

A publicidade e sua relevância



A publicidade como atividade econômica movimenta valores na ordem de milhões, seja por investimento nos meios de comunicação, seja no fomento de atividades relacionadas, como produção de brindes, material impresso, fornecedores na área etc. Por exemplo, nos meses de janeiro a junho de 2011, somente São Paulo, movimentou algo em torno de 30% do montante investido em Publicidade e Propaganda, conforme especificado na tabela.
Inacreditavelmente, o investimento publicitário nacional consegue ser menor que o que é investido em São Paulo. Isto demonstra a grandeza e a capacidade de consumo desta megalópole.
Rio de Janeiro, comparativamente por estados, é o segundo em investimento, com apenas 12% do share, apesar de ter aproximadamente metade dos domicílios, que São Paulo tem.
No período medido pelo Ibope Monitor, conforme a tabela, o investimento publicitário foi na ordem de aproximadamente 30 milhões de reais. Sendo assim, por ser uma atividade que movimenta altas somas, a publicidade tem lugar de destaque em nossa sociedade capitalista.
A publicidade, em termos sociais, encarrega-se de disseminar valores, comportamentos e estilos. Suas imagens poderosas invadem os espaços públicos e privados, com sínteses de ações esperadas de seus consumidores, fornecem dados preciosos a respeito de produtos e onde encontrá-los. Movimentam conteúdos superficiais, voláteis e fáceis de serem consumidos, contribuindo para a dinâmica da sociedade atual, ou seja, colocando em movimento a cultura existente.
Politicamente a publicidade, na sua vertente como propaganda, dissemina ideologias, com perspectivas de apreciação de mundo diferenciadas; contrariamente, nossa sociedade pós-moderna desvaloriza visões sérias e comportamentos ideológicos radicais, transformando a propaganda política em mera publicidade.
Como lógica, a publicidade, manifesta-se em quase todas as linguagens existentes em nossa sociedade, afinal ela prima pela visibilidade, estetização, agradabilidade e incentivo ao consumo de bens simbólicos. Por isso mesmo, as linguagens atuais absorvem sua lógica e técnicas, pois elas, também, produzem bens simbólicos e querem vê-los consumidos.
Por exemplo, um shopping center planejado por um arquiteto já contém em sua estrutura básica espaços para a publicidade. O programador visual deste mesmo empreendimento desenvolverá um layout interno pensando nas possibilidades de divulgação das lojas, produtos, para isso criará espaços nas paredes, escadas rolantes, praças de alimentação e assim por diante. A arquitetura como linguagem absorve a lógica publicitária da visibilidade e do consumo, assim como outras linguagens contemporâneas.

14/08/11

A Virtude do Politicamente Correto e a História dos Pôneis Malditos: quando a publicidade fere a louca decência dos extremistas.



 
A matéria da Revista Exame http://exame.abril.com.br/marketing/noticias/antes-de-poneis-malditos-quatro-videos-da-nissan-foram-parar-no-conar - discute a estratégia da Nissan de trabalhar com vídeos, que causem polêmica.

 
A opção por vídeos de "risco" é clara no planejamento de comunicação da empresa. "A marca começou com uma estratégia comparativa clara e direta, com peças publicitárias que citavam explicitamente os nomes dos concorrentes", lembra Márcio Oliveira, vice-presidente de operações da agência de publicidade Lew'Lata\TBWA, que fez os vídeos. (Revista Exame – "Antes de Pôneis Malditos – quatro vídeos da Nissan foram parar no Conar".)

 
O brasileiro tem um jeito estranho de lidar com a publicidade. Ele a adora, mas não a atura em suas várias possibilidades. Ela é adorada quando faz rir, quando desperta o lado engraçado, ou seja, quando de fato é superficial. Agora, ao apelar para estratégias comparativas, que não são usuais no Brasil, torna-se motivo de contestação. Claro que a contestação é produtiva, engrandece a profissão e o profissional, mas por vezes parece apenas um jogo de disfarçada moral.
O uso de vídeos de "risco", pela Nissan, é inteligente e segue um caminho bastante comum na publicidade estrangeira, especialmente, norte-americana. Esse tipo de estratégia lida diretamente com os atributos dos produtos, indiretamente, também aborda a questão dos benefícios.
A comparação, portanto, estabelece-se com base naquilo que o produto oferece de melhor, ou seja, na sua vantagem competitiva, no seu diferencial ou em termos publicitários, na sua USP (Unique Selling Preposition – Proposta Única de Vendas).
O foco no atributo é uma estratégia complicada, pois tecnologicamente é muito fácil, que seja igualada pelos concorrentes. Sendo assim, a comparação agressiva, clara e objetiva é arriscado, porque não trabalha o branding, que é uma estratégia de valor em longo prazo; enquanto que o atributo é imediato, afinal os produtos mudam com muita rapidez.
O mais interessante é que a estratégia de comunicação da Nissan, deixa de lado o aspecto comparativo claro e explícito migrando para uma estratégia de criação mais lúdica, com o filme "Pôneis Malditos", que também recebeu reclamações no CONAR.

As reclamações dizem respeito ao fato de associar um elemento do universo infantil à palavra "maldito", como se a palavra estivesse carregada de um sentido religiosamente negativo. O comercial, sabidamente ficcional (segundo contrato comunicacional estabelecido entre o emissor e o receptor, como uma convenção onde as partes aceitam o fato, como ele é expressado/divulgado), trabalha ironicamente uma metáfora de potência, normalmente, associada à capacidade de performance dos motores de carros.
Escolhe ridicularizar os carros, que aparentemente têm potentes cavalos em seus motores, mas que em situações de dificuldade demonstram, que são pôneis. Nitidamente, há uma valorização do atributo do produto, da marca Nissan, em oposição ao dos concorrentes.
A ridicularização, na verdade, é uma infantilização dos demais produtos, que prometem atributos, que serão transformados em benefícios. Obviamente, segundo o comercial isso não acontece, então o que o consumidor recebe é um pônei, ou seja, um atributo menor e com benefícios pífios, perto da expectativa que tinha.
Usar o pônei é um recurso de eufemismo, diminui o valor da diferença, mas ao mesmo tempo por ser um personagem do universo infantil, ele também serve para ridicularizar a situação exposta no comercial. Desta forma, o comercial não é para criança, sua leitura não passa pela recepção do público infantil. Portanto, é muito senso comum considerar o comercial, como afetando o universo infantil.