vodafone thesis[1]

A Thesis Report

On

MEDIA PLANNING AND ADVERTISEMNT EFFECTIVENESS OF VODAFONE

INDIAN INSTITUTE OF PLANNING AND MANAGEMENT

NEW DELHI

(2010 -2012)

Submitted by-

Durgesh Bagga

SM2 ISBE-B (SS 10- 12)

Submitted to-

Mr. Angshuman PAUL

(Faculty of IIPM)

ISBE –B (SS 10-12 ) 1 TS12-M-081.

ACKNOWLEGEMENT

I, Durgesh Bagga have taken efforts in this project. However, it would not have been possible without the kind support and help of many individuals and organizations. I would like to extend my sincere thanks to all of them.

I am highly indebted to Mr. Angshuman Paul (faculty of IIPM) for their guidance and constant supervision as well as for providing necessary information regarding the project & also for their support in completing the project.

I would like to express my gratitude towards my parents & member of Mr. Manish Tripathy (Manager, Advertisement of Vodafone) for their kind co-operation and encouragement which help me in completion of this project.

I would like to express my special gratitude and thanks to industry persons for giving me such attention and time.

My thanks and appreciations also go to my colleague in developing the project and people who have willingly helped me out with their abilities.

ISBE –B (SS 10-12 ) 2 TS12-M-081.

ABSTRACT

In today’s media landscape advertisers find it ever more challenging to break

through the clutter of competing ads in order to shape consumers attitudes

and intentions and move them to purchase. An alternative strategy to

greater advertising spending may be more creative advertising, which has

been proposed to promote advertising effectiveness. However, researchers

have neither agreed on a model of advertising creativity nor conclusively

linked Zoozoo ad campaign to key measures of effectiveness. Based on a

sample of twenty real life campaigns from Vodafone’s ZooZoo Campaigns,

and a panel of consumer responses, this thesis provides strong support for a

of ZooZoo characters based on novelty, meaningfulness, humor,

positiveness, and well-craftiness. It concludes that these particular ads were

more effective in promoting ad and brand attitudes, brand interest, purchase

intentions, ad and brand WOM intentions, as well as perceived ad

expenditure and effort. Results hold even among consumers with a negative

general attitude towards advertising. A test of the relative effect of Zoozoo

ad campaign and media expenditure on sales value produces inconclusive

results, however. Finally, the study shows that the ZooZoo campaigns were

considered more creative among consumers and were more effective in their

communication.

ISBE –B (SS 10-12 ) 3 TS12-M-081.

ISBE –B (SS 10-12 )

PROJECT THESIS TOPIC APPROVAL

Dear DURGESH NANDAN BAGGA,

This is to inform you that the approved topic for project thesis is - “MEDIA PLANNING AND

ADVERTISING EFFECTIVENESS OF VODAPHONE”.

This email is an official confirmation that you would be doing your project thesis work

genuinely and shall try to achieve the said objectives mentioned in the synopsis.

You must always use the thesis title as approved and registered with us.

Your project thesis id Number is TS12-M-081.

You are required to correspond with your Internal Guide MR.ANGSHUMAN

PAUL ([email protected]) at regular intervals before sending the thesis final draft

to him.

Regards,

Dipti Sharma

The Indian Institute of Planning and Management

ISBE –B (SS 10-12 ) 4 TS12-M-081.

mailto:[email protected]

INDEX

Serial No TOPIC Page NO

1 INTRODUCTION 6

2 OBJECTIVE 35

3 LITERATURE OVERVIEW 36

4 RESEARCH METHODALOGY 57

5 FINDINGS 66

6 CONCLUSION 77

7 RECOMMENDATION 80

8 QUESTIONNAIRE 81

9 BIBLOGRAPHY 85

ISBE –B (SS 10-12 ) 5 TS12-M-081.

INTRODUCTION

There is always a need to find a sustainable differentiation in a highly

competitive telecom market. Search is always on for a perfect platform to

showcase the array of products and services, building emotional connect

with the customers and yet be positioned as a market leader.

With millions of Indian television viewers expected to tune in, for the Season

2 to season 5 of the Indian Premier League cricket extravaganza, a perfect

media opportunity was upon the brand owners of Vodafone as this was set to

become the biggest mainstream entertainment option for viewers from the

summer of 2009,2010,2011 and 2012 –a chance to talk to over 40 million

consumers. Over 58 days.

O& M created a unique world of lovable and funny egg shaped characters to

tell the brand stories of Vodafone in. The Zoozoos represented a much

simpler and more uninhibited world than our own – a world we could easily

relate to. And the communication for the individual products and services

was set amidst stories of their lives. The Zoozoo commercials were viewed in

rapt attention by over 41 million people across the country. In accordance

with an independent survey conducted by TNS Synnovate, Vodafone was by

far the most recognized brand in IPL – much more than even the presenting

sponsor. But massive as they are, numbers alone don’t really do justice to a

campaign that actually touched the hearts of Indian consumers. The ways in

which the Vodafone Zoozoos have affected consumers is what makes it a

truly iconic campaign. A substantiate evaluation study undertaken by

Dragonfly Research indicated that the Vodafone Zoozoos had had a life

ISBE –B (SS 10-12 ) 6 TS12-M-081.

impact on consumers. And the author believes that. Because of the wedding

cards with a Zoozoo theme that surprised everyone; the Zoozoo cakes that

were baked; Zoozoo cookies were not far behind; Birthday parties with

Zoozoo themes fast became the norm; Zoozoo merchandise did brisk

business! Zoozoo rakhis sold in hoards. Cityscapes were painted with

Vodafone Zoozoo murals. Most recently, India’s leading retail chain,

Shoppers Stop approached Vodafone to create and retail exclusive Vodafone

Zoozoo merchandise – a first for any commercial brand in the country. The

Zoozoos even caught the attention of leading butter brand Amul – who paid

homage to the Vodafone Zoozoo campaign on its advertising.

Vodafone showcased 50 different products and services through the period of the IPL, each

communicated in a simple, refreshing manner.

From an idea to a character

ISBE –B (SS 10-12 ) 7 TS12-M-081.

ISBE –B (SS 10-12 ) 8 TS12-M-081.

Challenge in Strategic Communications

Differentiation. The manna drew every brand desired in a mad rush for

acquisitions in the world’s most competitive telecom market. All other things

being equal, a brand seen as leading innovations in the category was

definitely more likely to gain traction from new users. But given the near

parity in prices and access to technology amongst existing players, this was

never going to be an easy game. It was not a matter of coming up with

innovations that would add value to consumers’ lives, but sustaining them as

differentiators for the brand because even the most ground-breaking

ISBE –B (SS 10-12 ) 9 TS12-M-081.

Television

Interest 29 different offerings Zoozoos on ground TV interviews

Outdoor, Print and POS

Engagement Cricket related offerings IPL Contest

Online and Direct

Conversations with the brand Facebook Youtube Bill messages

On ground

Salience Ground mats Merchandise perimeter boards

Mobile and merchandise

Experience Games MMS Ringtones Greeting cards T shirts Mugs DVD

PR

Spread the cheer Making of Zoozoo capsule for TV channels DVD Merchandise for employees

innovations would be copied by competition in a matter of days. Vodafone

too was straddled with this industry problem in the summer of 2009. While

the brand had a wide array of never-talked about products and services in

the pipeline, not many out of that long tail seemed sustainable as

differentiators for an extended period of time. The challenge was in finding a

way to make that differentiation sustainable, so as to stay in the consumers’

consideration set. Parallely, a perfect media opportunity was upon the brand

owners of Vodafone. Naturally, every brand worth its salt wanted a piece of

the IPL action. A number of these brands had allocated disproportionate

spends and were even saving their best campaigns for the occasion.

The communication challenge then was for Vodafone to use a highly

crowded property like IPL to differentiate itself and establish an emotional

connect with customers. Add to that the challenge of a not-so-happy public

spending sentiment during the period and the huge financial outlay the IPL

demanded and the makers had a brand under tremendous pressure to

deliver from all quarters. The objectives set for the campaign were:

- To position the brand as an innovation leader in the mobile services

category, thereby gaining traction for the brand

- And to do so, leverage the Indian Premier League in a manner that the

brand would be the most salient and engaging through the extended

period of the tournament

The big idea: With the Vodafone Zoozoos, discover something new

every day!

The big idea actually came from the format of the medium available to

Vodafone – the IPL, and the way viewers interacted with the medium. With

59 matches across 37 days, the IPL viewing audience was characterized by a

high level of duplication across the tournament – the same people seemed to

ISBE –B (SS 10-12 ) 10 TS12-M-081.

be watching the matches every day. When it came to the cricketing action,

they had something new to look forward to every day. But brand

communication on the other hand, was subject to very high levels of fatigue.

So Vodafone turned the characteristics of a media property into a strategic

initiative for the brand. Vodafone decided to do the unthinkable - surprise the

viewers/customers by introducing a new product/service message from the

Vodafone repertoire every day. To bring the idea to life, it was necessary for

Vodafone to first string these brand messages together with a device that

would melt its way into the hearts of a billion strong nation and the now

iconic Vodafone Zoozoos were born.

For the campaign to be successful, Vodafone needed for the world of the

Vodafone Zoozoos and their stories to be all permeating. And every piece of

the communication mix needed to work to the teeth, for the sum of the parts

to be greater than the whole.

Driving Interest through television

Central to the communication package was the Vodafone Zoozoo television

campaign, where 50 simple stories told through 50 films – a film almost

every day of the IPL. The initiative was a first in Indian media history, busting

conventional media planning rules and engaging with the customer

according to the rules of the medium. Ashton bands and pushbacks were

also developed featuring the Zoozoos to promote individual products and

services during the IPL matches. During the semi-finals of the IPL, the

Vodafone Zoozoos were ‘inadvertently captured’ by television cameras

enjoying the matches with spectators at the grounds.The Vodafone Zoozoos

also found their way as special guests onto television interviews on the

presenting channel, with commentators seeking their expert (gibberish)

opinion, and the nation watched in rapt attention. The Zoozoo interview on

Set Max during IPL was viewed approximately by about more than 11 million

ISBE –B (SS 10-12 ) 11 TS12-M-081.

people. The Interview was uploaded on Youtube by multiple people and had

over 50000 views in less than a week.

Building Engagement with Print And Out Of Home

Print, outdoor and retail level POS used the Zoozoos to drive relevant

cricket related offerings like Score Alerts, Match schedules and Live

Commentary on your mobile phone. For consumers, Vodafone extended the

benefit of being the telecom partner of the IPL by launching the “Star of

the Match” contest for its subscribers. A SMS based contest, the Star of

the Match contest gave 20 lucky Vodafone customers to not just experience

the IPL in South Africa, but also be part of the felicitation ceremony, shaking

hands with and receiving an autographed cricket ball from the winning

captain. This contest was also driven aggressively using print, out of home

and retail level executions. Zoozoo Chhota Recharges were also released.

Customers who bought a Chhota Recharge worth Rs 50 or Rs 100 could get a

Vodafone Zoozoo sticker free.

For its 9 lakh trade partners, Vodafone launched the “Score Kya Hai (what’s

your score)” contest. A sales driven trade contest that gave retailers a

chance to watch the IPL matches live in South Africa and also win a host of

Vodafone goodies

Engaging In Conversations with the Brand Online and One-On-One

Next, Vodafone harnessed the power of the youth, using the new and ever

expanding platforms of social networking and video sharing – to create a

Vodafone Zoozoo Facebook page and a dedicated Youtube channel. Both

channels were used to build conversations with consumers on a daily basis

and were instrumental in generating tremendous word of mouth for the

ISBE –B (SS 10-12 ) 12 TS12-M-081.

campaign, as well as its viral popularity. Some of the key activities the

makers undertook on the Facebook page to fuel conversations were:

- Naming the characters Zoozoos online

- Distribute viral Tag-me applications

- Preview the television commercials online 3 hours in advance

- Sparking the debate of whether the Zoozoos were real or animated. And

then resolving the debate

- A host of Vodafone Zoozoo goodies distributed periodically

A dedicated microsite and targeted banners on the official IPLT20 website

not only helped specific product message, they also let consumers

experience with world of the Vodafone Zoozoos. Bill envelope backs were

also used to share targeted Value Added Service messages with customers

based on their past usage patterns.

Building Salience on Ground

The on ground visibility of the brand was approached with building salience

through innovative branding opportunities. Regular perimeter boards were

animated, pitch mats were used and free merchandise was distributed at the

grounds to garner maximum visibility amongst ground spectators as well as

television cameras.

Driving consumer experience with mobile

In a bid to bring the world of the Vodafone Zoozoos at a more personal level,

Vodafone created mobile specific content like MMS clips, Zoozoo Callertunes,

E greetings, wallpapers and Games for Vodafone customers to download on

their phones from Vodafone live! Eventually, they were seen, heard and

experienced on non Vodafone customers’ phones as well.

ISBE –B (SS 10-12 ) 13 TS12-M-081.

Seeding Media Conversations with PR

A capsule on the making of Zoozoos was created and that became the most

sought after content for almost all GEC and News channels and all leading

publications. This helped in seeding the right messages with media, because

after the initial coverage, the popularity of the Vodafone Zoozoos took on a

life of its own. A special commemorative DVD was later released to media

from Vodafone with all 29 films, mobile downloads and PC downloads. This

created such a large demand that the makers had to distribute 85000 of

them to customers at Vodafone Stores and Mini stores as well.

Set amidst the canvas of two of India’s greatest entertainment options – the

general elections and cricket – the Vodafone Zoozoos not only managed to

overshadow them both; they also managed to lodge themselves firmly in the

hearts of the Indian consumer.

Impact on the brand

The campaign had a very visible impact on brand health scores as well.

Immediate traction was seen on appeal scores. And since the brand was

being positively talked about, recommendations from friends and family also

grew.

Pre

campaign

Post campaign

Brand becoming more

popular

48 54

Appeals more 42 47

ISBE –B (SS 10-12 ) 14 TS12-M-081.

Recommended by family and friends 38 44

The slew of products and services showcased helped position the brand as a

leader, who developed the market and had differentiated offerings from the

competition

Pre

campaign

Post campaign

Offers something different 42 45

Best quality products and

services

44 49

Leads development of mobile

category

41 45

In category strife with cut throat competition, the most significant impact

though, was the sharp rise in brand consideration scores for Vodafone

amongst category intenders - from a stagnant 20 pre-campaign to 25 post-

campaign – clearly indicating that communication had impacted intention to

purchase.

Incidentally, the post campaign scores also reflected a dramatically reduced

gap between Vodafone and the market leader, bringing Vodafone within

striking distance across all parameters (and even ahead on a few) –

something that had not been last achieved by the brand only during launch.

Though not even a listed objective, sales of the individual services advertised

also saw a significant increase. An average 60% growth in usage was

registered for the individual services advertised, post airing of the respective

commercials. The cricket alerts and commentary services specifically drew in

ISBE –B (SS 10-12 ) 15 TS12-M-081.

over 200,000 new user subscriptions during the period of the campaign.

Over 600,000 consumers downloaded Vodafone Zoozoo mobile content onto

their phones

What started off as a cricketing extravaganza in South Africa will now also be

remembered as the year of the Zoozoos. The Zoozoo commercials were

viewed in rapt attention by over 41 million people across the country.

According to an independent survey conducted by TNS Synnovate, Vodafone

was by far the most recognized brand in IPL – much more than even the

presenting sponsor. The same study also declared Vodafone as the top brand

to have advertised on IPL 2 to IPL 5 on all parameters measured - recall,

message comprehension and likeability of message. The Zoozoos on ground

during the semi-finals of the IPL was another coup the makers pulled off, with

the brand garnering over 8 million views from the television coverage the

makers achieved.

Advertising Age crowned the Vodafone Zoozoo campaign the ‘Top viral

campaign in the World’ - the first time a campaign had debuted at no. 1 spot

ever! The Vodafone Zoozoo Facebook fan page gathered over 600,000 fans

and over 10 million page views, in under 4 years time- the largest for any

Indian brand or personality. This fan base is also larger than iconic

characters like Mickey Mouse, Archie, Donald Duck, Popeye, Asterix and

Superman! With over 3 million views in a month, the Vodafone Zoozoo

channel on Youtube became the highest subscribed Youtube channel in the

country for the month. Online, the Vodafone Zoozoos overshadowed the

cricket with the Facebook and Youtube pages receiving more hits than the

official IPL T20 website itself. Every major online news website in the country

covered the Vodafone Zoozoos. The Zoozoos also found their way into online

conversations on over 8000 consumer blogs across the country.

ISBE –B (SS 10-12 ) 16 TS12-M-081.

What’s more important is that the Facebook page did not remain just a short

lived part of the campaign mix. It has evolved to become a channel for

continuous dialogue with the brand’s consumers. And the subject of a hot

case on community building and leveraging brands on social media, in the

Indian advertising and marketing fraternity

Dozens of TV stations carried specials on the making of the Zoozoos. Some

channels even made hour long programmes on the Zoozoos and sold it as

content to other advertisers. Surprises popped up everywhere. The Economic

Times carried their masthead with Zoozoos and Times Life had a front page

article on Zoozoos. Every national and regional newspaper of repute carried

multiple reports on the Vodafone Zoozoos. Peers from across the industry,

elicited responses of awe, admiration and jealousy all at the same time. In

fact, the free media coverage generated for the campaign in television and

print was estimated at over Rs. 6 crore! But massive as they are, numbers

alone don’t really do justice to a campaign that actually touched the hearts

of Indian consumers. The ways in which the Vodafone Zoozoos have affected

consumers is what makes it a truly iconic campaign. Surprises popped up

everywhere. In fact, the free media coverage generated for the campaign in

television and print was estimated at over Rs. 6 crore!

ISBE –B (SS 10-12 ) 17 TS12-M-081.

Cube dangler

Bunting

Shelf strip

ISBE –B (SS 10-12 ) 18 TS12-M-081.

Mobile manners campaign

Special projects

Star of the match competition:

• A SMS based contest

• Total no of hits on the keyword STAR : 74,652

• Total no of participants: 15,440

• 20 Vodafone customers won a trip to IPL matches in South Africa and also

got a lifetime opportunity to meet and receive an autographed match ball

at the match felicitation ceremony live on TV!

• 39 winners had their names announced on Television and received the

autographed match balls

• Promoted using television, radio and outdoor

ISBE –B (SS 10-12 ) 19 TS12-M-081.

Zoozoo Recharge Card with stickers:

• A limited edition of Zoozoo Recharge (Chhota recharge) for Rs 50 and 100

- Each recharge card with a Zoozoo sticker and 7 different stickers across

the Recharge sheet

• A total of XXX Recharge cards ordered from across circles

Zoozoo Recharge Card & sticker

Zoozoo DVD

A compilation of all Zoozoo films from season 1 along with a special feature

on the ‘making of the Zoozoos’ and many Zoozoo downloads for your mobile

phone and PC. More than 80,000 + DVD were produced and given to

customers under a Vodafone Store led promotion on recharging, VAS

activations and direct debit enrollments across circles.

ISBE –B (SS 10-12 ) 20 TS12-M-081.

Zoozoo merchandise

Zoozoo campaign evaluation

1. Beauty Alerts - on air 20th April

ISBE –B (SS 10-12 ) 21 TS12-M-081.

0

500

1000

1500

2000

2500

3000

3500

4000

4500

12-Apr 17-Apr 22-Apr 27-Apr 2-May 7-May

Date

Subscription

2. Dating - on air 3rd May

0

500

1000

1500

2000

2500

3000

3500

4000

4500

27-Apr 28-Apr 29-Apr 30-Apr 1-May 2-May 3-May 4-May 5-May 6-May 7-May

Dates

Subscription

3. Stock Alerts - on air 28th April

ISBE –B (SS 10-12 ) 22 TS12-M-081.

0

500

1000

1500

2000

2500

3000

21-Apr 23-Apr 25-Apr 27-Apr 29-Apr 1-May 3-May 5-May 7-May

Dates

Subscription

4. Call filter - on air 26th April

0

200

400

600

800

1000

1200

19-Apr 21-Apr 23-Apr 25-Apr 27-Apr 29-Apr 1-May 3-May 5-May 7-May

Dates

Subscription

5. Cricket Services

ISBE –B (SS 10-12 ) 23 TS12-M-081.

0

100,000

200,000

300,000

400,000

500,000

600,000

700,000

800,000

Precontest

Day 5 Day 10 Day 15 Day 20 Day 25

Cricket Subscriber base

200,000 incremental subscribers for Cricket Alerts & Commentary services

for the contest run during IPL

Vodafone Zoozoo Facebook page

Facebook is a relatively new social networking platform available in India,

but already has over 12 million fans, fast gaining popularity amongst the

youth and the influencers in society. But Indian brands (for that matter a

large proportion of the brands around the world) had not tapped this medium

effectively, yet. As a first step, the unique Vodafone characters were

christened Zoozoos on a dedicated Facebook fan page, giving the online

consumers a sense of discovery when they found out about it. To rapidly

spread awareness of the fan page online, special Facebook Tag-me

applications with different types of Zoozoos were created and distributed

virally. As youth signed on as fans in droves, they were rewarded with videos

of the much loved commercials there. A few days later, the makers started

previewing the commercials for fans on Facebook, two hours before they

ISBE –B (SS 10-12 ) 24 TS12-M-081.

went on air. Fans were then invited to share the advertisements with their

friends and get some serious bragging rights. In the second week, the

makers sparked a conversation of how the Vodafone Zoozoos were made –

were they real or animated?

As the discussions gathered fervor, the makers revealed the ‘making of’

videos on Facebook. These were released periodically a day after the

respective film was released on air. By this time, fans had started begging

for more and a large amount of user generated material started appearing

on the Facebook page. So the makers introduced goodies like e-cards,

games, Facebook

applications like

‘What Zoozoo are

you?’ wallpapers

and Zoozoo tones

for them

Zoozoos on

facebook

ISBE –B (SS 10-12 ) 25 TS12-M-081.

Zoo Zoos on You Tube

ISBE –B (SS 10-12 ) 26 TS12-M-081.

Zoozoo game - Spot the difference

Zoozoo MMS clips

ISBE –B (SS 10-12 ) 27 TS12-M-081.

Zoozoos on the web

‘Most viewed viral campaign in the world’ in May 2011 and’ Top viral

campaign in the World’ for the week’ by Advertising Age (14th May 2011).

The Zoozoo Facebook fan page has over 3, 15,000 fans the largest in India

across brands & personalities. Over 6000 Indian blogs reviews online!

A channel on Youtube with over 4

mn views. Two viral videos on

Diwali and Independence Day with

2 mn views

ISBE –B (SS 10-12 ) 28 TS12-M-081.

The Zoozoo commercials were viewed by over 41 million people across the

country. 75% of this population viewed this campaign at least 5 times. Media

pundits hailed it as an ideal case study of how to approach and leverage a

media property. The campaign captured the imagination of viewers and for

once, a cricket-crazy country waited and looked forward to the commercial

break in the games. It was the highest subscribed YouTube channel in the

country for the month, with over 4 million views on Youtube alone. And the

amount of buzz created on the site and the resultant spillover on Youtube

didn’t go unnoticed as Advertising Age crowned the campaign the ‘Top

viral in the World for the week’ - the first time that a campaign had

debuted at no. 1 spot ever! The campaign remained in Ad Age top 10 viral

lists for 5 weeks, making it the most viewed viral in the world in May 2009.

Every national and regional newspaper of repute carried multiple reports on

the Vodafone Zoozoos. In fact the free media coverage generated was

estimated at a staggering 1.25 million USD. The Facebook page did not

remain just a short lived part of the campaign mix. It has evolved to become

a channel for continuous dialogue with the brand’s consumers.

The Star of the Match contest was a unique prize, which gave the brand

television visibility to approximately 4 million viewers per match. The

hallmark of an iconic campaign is the level it permeates to in public

consciousness and the Vodafone Zoozoo campaign emerged with flying

colours. Zoozoo merchandise did brisk business!

In the recent summer of 2012, three things captured the imagination of India

– Vodafone Zoozoos, IPL and the General Elections – in that order

Campaign evaluation

Night Talk: On air 27th Nov

Circle

Nov (in lacs)

Dec (in lacs)

ISBE –B (SS 10-12 ) 29 TS12-M-081.

UPE 37.6 33.9

Mah 2.1 2.1

Mum 0.53 0.51

Guj 6.9 6.6

http://www.vodafone.in/vodafone/misc/night_talk30sec_eng_261109.zip

Pay Bills online: On air 3rd march

• Rs. 22.35 Cr in march

Increase in payment @average of 70 Lakh/day

Busy message: On air 27th No

• Number of selections made in Jan’10: 514

• Number of selections made in april’11: 1536

• Number of selections made in april 12’: 1934

Job Alerts: on air march 2012

April subscriptions were 102,747 as compared to 70,000

of .March

April

Date Subscriptions

1 - 7 11,378

8 - 14 20,905

15 - 21 26,369

22 - 28 29,039

ISBE –B (SS 10-12 ) 30 TS12-M-081.

http://www.vodafone.in/vodafone/misc/night_talk30sec_eng_261109.zip

28 - 31 15,056

Total 102,747

Live counseling: On air 4th April 2012

• Incremental revenue of Rs. 35,624 daily In April as compared to the

month of March

SiteImpressions

deliveredClicks CTR’s

Orkut 12152524 43504 0.36

Yahoo Msgr 5457413 68221 1.25

YouTube 5493102 33143 0.60

Google 42419558 131101 0.27

Facebook 13190 -

Jivox 1560763 6153 0.39

Sify EDM 3562082 57605 1.62

Sify iWays 648522 5116 0.79

Rediff 100000 9397 9.39

Clinck 2993182 42134 1.41

Site Entries

Vodafone.in 33458

Facebook 7551

Orkut 1549

Jivox 82

Total 42640

Site Views

ISBE –B (SS 10-12 ) 31 TS12-M-081.

YouTube Video 191049

Hungama Prerolls 743398

Jivox Video 536329

Vdopia Prerolls 448664

Youtube Channel 450000

Total 2369440

Analysis

The total entries of Complete the Zoozoo Story were 42640. The total Video

Views during the Campaign 2369440. The increase in Facebook fans: 9121.

The increase in Orkut fans: 540. The avg. CPC for this campaign Rs.7.25/-

and the avg. cost per video view 50paise

Learning

Facebook & Orkut still is a question mark with respect to the regular users.

Cyber cafes were one of the best options for targeting youth. Google content

network (Targeted) one of the best options for online promotions. Interactive

banners will still take some time to capture market in India.

Zoozoo ID day viral

ISBE –B (SS 10-12 ) 32 TS12-M-081.

This viral became the most favorite and one of the most viewed videos

within just 24 hours being uploaded.

• YouTube Channel: 57470 views

• Youtube Video Banner: 33888 views

• Facebook: 15000 views

• Vdopia Video Network: 816788 views

• Vuclip : 2080 views

• Rediff.com : 10000 views

• Many blog sites picked it up spontaneously and featured it

• Google, Rediff.com etc

• All top searches showed third party sites streaming the video

ISBE –B (SS 10-12 ) 33 TS12-M-081.

Diwali viral

ISBE –B (SS 10-12 ) 34 TS12-M-081.

This viral became the “Top Viewed” and “Top Favourited” videos within just

48 hours being uploaded

• Youtube Channel: 58,660 views

• Youtube Video Banner: 67,176 views

• Facebook: 10,402 views

• Vdopia Video Network: 9,50,876 views

• Other Zoozoo videos during this period on Youtube: 36,102 views

• Total 10, 87,114 views of the Diwali video!

• 13,766 customer subscriptions

ISBE –B (SS 10-12 ) 35 TS12-M-081.

PROBLEM AREA

Ad agency professionals have long supported creativity as one of the most

significant elements in advertising, maybe even important in its own right.

The vital figure in the making of advertising is titled a “creative” and the

main advertising awards center on creativity. On the other hand, many of

these have been condemned as “beauty contests, focusing on industry

specific criteria more willingly than on the actual effectiveness of ads. Yet,

some view creativity as essential for advertising effectiveness or even that

creativity is effectiveness.

Even though creativity is extensively acknowledged as significant to

advertising, researchers differ on what chief factors of ad implementation

add to ad creativity. Chief reviews of the theoretical space of creativity are

short of any major reference to advertising and in advertising research only a

few studies deal openly with creativity. Amongst these, few have formed

results that are together significant and clear-cut. Some findings are open to

doubt. Time and again cited Kover, Goldberg, and James (1995) found that

ads classified as creative by consumers also made the strongest fondness

and purchase interest—yet the authors confessed that they could only

“examine trends and indications rather than look for statistically significant

differences.” Other findings are at odds with one another. For instance, while

some authors find a positive outcome of Zoozoo ad campaign on brand

attitude and purchase intentions. Lastly, there is a total lack of research in

many areas of advertising effectiveness. No study has tried to associate

Zoozoo ad campaign to brand interest, perceived ad expenditure, perceived

ad effort, and the influence of universal advertising attitude on the

effectiveness of Zoozoo Ad campaigns is unknown.

ISBE –B (SS 10-12 ) 36 TS12-M-081.

In sum, researchers are undecided on the nature and effects of the Zoozoo

campaign on consumers. The Zoozoo commercials were one of the most

successful campaigns of all times. Over 41 million people viewed it across

the country. 75% of this population viewed this campaign at least 5 times.

OBJECTIVE

This thesis has the primary purpose to determine the main dimensions of

advertising creativity of ZooZoo ad campaigns and to establish whether

these dimensions had significantly improved several key measures of

advertisement’s effectiveness. Secondary purposes are to decide to what

extent each dimension ZooZoo ad campaign impacted each effect measure,

to conclude if the campaign retains effectiveness among consumers with a

negative general ad attitude. The research is on the Vodafone Zoozoo iconic

campaign. Also the research would show the effect of this campaign on the

consumer behavior towards the brand.

LIMITATION

The author has focused on Zoozoo Ad campaigns execution and not, e.g. the

media choice. Most studies of advertising have depended on experimental

research designs, using alternatives of mocked-up ads as stimuli. To keep

away from repeating this, the author based the advertisement selection on

real-time campaigns. The author limited the study to the Vodafone ZooZoo

advertising, which he believed is a representative one. The focus has been

on consumer advertising and the author decided to test Vodafone Zoozoo

ads from television, print, or outdoor media.

ISBE –B (SS 10-12 ) 37 TS12-M-081.

The campaign collection spans from March 2009 till date, to create a

representative sufficient sample size at the same time as keeping material

as up to date as possible. While the age disparity of campaigns might danger

skewing perceived creativity, affirmation checks determined that this was

not the case. Most preceding creativity studies have tested ads from one

product or service category.

Literature Review

The thesis is separated into five main chapters. Subsequent to this

introductory chapter, the second chapter looks at the present state of

theory. It evaluates the likely dimensions for case in point the Zoozoo ad

campaign and proposes some advertising effects to which it may have a say:

ad and brand attitude, brand interest, intentions, perceived ad expenditure

and effort. Also discussed is the function of general advertising attitude, the

comparative effectiveness of Zoozoo ad campaign. Hypotheses are

developed all through the chapter on theory.

The third chapter outlines the method used, evaluating the initial work,

research design, survey design (the scales and measures, questionnaire, and

sample), external data, reliability and validity, and instruments and methods

of analysis. The fourth chapter is devoted to the analysis and results from

hypothesis testing. This chiefly aims to institute the important dimensions of

Zoozoo Ad campaigns and the effect measures to which it actually

contributes. Lastly, the fifth chapter discusses the results, suggests ways for

recommendations, and draws conclusions for advertising theory and

practice.

ISBE –B (SS 10-12 ) 38 TS12-M-081.

BACKGROUND

In 1758, Dr. Samuel Johnson affirmed: “Advertisements are now so numerous

that they are very negligently perused”. Since then it has turned out to be

ever more taxing for advertisements to break through the clutter of rival ads

so as to gain consumers’ attention, shape their attitudes, and let alone shift

them to purchase. Nowadays, consumers are open to thousands of

commercial messages each week, making it hard for every advertiser to

stick out as only one of its kind and influence consumers to support their

offer.

The broad trend is reflected in a steady growth of advertising expenditure.

One approach of breaking through the clutter is to outspend the rivalry by

making more and bigger campaigns than other brands. Leaders in

advertising media spending, as calculated by share of voice, are awarded

greater brand salience and experience less from brand confusion. Certainly,

Schroer (1990) sustains that superior and more steady advertising spending

than competitors is a key factor at the back of larger market share of leading

firms. This game is not for the faint heart, on the other hand: to move market

share forward and ahead of comparable competitors, the majority of firms

would require as a minimum doubling-up their chief rival’s advertising

expenditure and sustaining this rank for years.

While one path towards attaining advertising objectives is to make the most

of the share of voice, a small number of firms have the capability to

outspend competition to this degree. It has been probable that 70–85% of

new product introductions fall short and empirical proof points to marketing

as a chief factor behind the phenomenon. Senior managers in the U.S.

believe that close to 90% of all advertising fail to meet its objectives. Many

markets are affected by advanced costs, bigger competition, and pulling

ISBE –B (SS 10-12 ) 39 TS12-M-081.

down demand, promoting the need to get better the effectiveness of

marketing expenses (Keller 1993).

There may be an additional cost-effective way to share market. As ad

spending is the way to share of voice, Zoozoo ad campaign may lead

straightforwardly to “share of heart”. Eastlack and Rao (1986) encourage the

creative element of advertising, maintaining it has been established to be far

more significant than real spending rates or patterns. Some say it is

creativity that “pushes the message into viewers’ minds”. A small number of

studies have tried to bond advertising creativity to changeable measures of

advertising effectiveness. On the other hand, though known as imperative,

the connection between advertising creativity and advertising effectiveness

is far from researched at length and amongst the studies so far, researchers

have the same opinion that findings are open to doubt or even contradictory.

Creativity in Advertising

Earlier than developing the hypotheses connected to the dimensions and

effects of advertisement, the reader will be given support of a short

introduction to the idea of creativity; its function on the whole, in strategy,

marketing, and advertising; and the a variety of definitions of the word.

The implication of creativity is recommended by the scope of research

activity carried out to know its nature and appliance in assorted fields. These

comprise art, music, science, education, management, and advertising. Near

the beginning, work on creativity is characterized by the “aha” meaning in

Parnes (1975). Opening in the late 1980s this inclination was made out of

order and more refined definitions of creativity were launched. Creativity can

be conceptualized as personal attribute, environment, process, and product

ISBE –B (SS 10-12 ) 40 TS12-M-081.

(e.g. advertising). Zinkhan (1993) maintains that creativity is very important

to the business strategy as strategic planning deals with the allotment of

resources amongst the possibilities of what’s to be done, creativity plays an

imperative role in creating or recognizing what could be done—i.e. to do the

right thing rather than just doing things right.

Marketing researchers have asserted the importance of creativity in

marketing programs, of which advertising is a central element, to build

meaningful differentiation from competing alternatives. This in turn

stimulates customer satisfaction and loyalty, and reduces the risk of price

wars. For new products, marketing program novelty is at least as important

as product novelty "to add enough value to the strange service to

counterbalance the pain of the new idea" (Wasson 1960). Indeed, products

can rise from anonymity to market-leader status without offering

groundbreaking product innovation. Advertising may be the only profession

where the central figure in the business process is titled a “creative,”

illustrating the focus placed on creativity within the field (Till and Baack

2005).

Definitions of Creativity

The Oxford American Dictionary defines creativity as “the use of the

imagination or original ideas, esp. in the production of an artistic work.”

Creativity in advertising varies from this common idea, and unluckily the

understanding of it differs a great deal. Though Taylor, Hoy, and Haley

(1996) put forward that definitions of advertising creativity differ

transversely through cultures, certain key elements seem universal. Not

contrasting from definitions in psychology, creativity in advertising is

regarded as a way of problem solving. To make this path, the majority of

ISBE –B (SS 10-12 ) 41 TS12-M-081.

definitions propose that creativity depends on two central aspects: novelty

and meaningfulness. For instance, Amabile (1996) argues that a “product or

response will be judged creative to the extent that it is a novel and

appropriate, useful, correct, or valuable response to the task at hand.” The

“task at hand” in advertising is the advertising objective, i.e. the

psychological and behavioral reaction of target consumers. Amabile argues

that together novelty and meaningfulness must be incorporated in the

definition of creativity, for the reason that the target audience may make out

ideas as weird or bizarre if they are novel or unique but carry no meaning for

the audience. More definitions bring into line with and elaborate on this

notion. Zoozoo Ad campaigns communicate the message in a “playful but

relevant way”. Likewise, Marra (1990) defines creativity in advertising as

“being new and relevant with your ideas” and Smith and Yang (2004)

consider that creative ads are those that are perceived to be different and

relevant.

Leo Burnett defined advertising creativity as “the art of establishing new and

meaningful relationships between previously unrelated things in a manner

that is relevant, believable, and in good taste, but which somehow presents

the product in a fresh new light”.

As said by Parnes (1975), the core of creativity is the notion of “aha,” which

is “the fresh and relevant association of thoughts, facts, and ideas, into a

new configuration which pleases, which has meaning beyond the sum of the

parts, which provides a synergistic effect”. Tellis (1998) defines creativity as

“productive divergence.” Holtzman (1984) offers a comparable explanation

of creativity: "divergent thinking that yields some kind of highly valued

product or idea." These definitions put forward that creativity must provide

value ads.

ISBE –B (SS 10-12 ) 42 TS12-M-081.

Many other dimensions have been suggested as element of advertising

creativity, and thus implicitly or explicitly incorporated in the definition:

particularly humor, positiveness, and well-craftiness. As a purpose of this

thesis is to determine the effectiveness of ZooZoo ad campaigns, the author

will not set out to choose or construct any one definition beforehand.

Dimensions for Zoozoo Ad Campaign

Even though creativity is important subject matter for advertising, it is not

apparent how to operationalize it. Gordon White (1972) distinguished that

creativity “is the X factor in advertising theory, it escapes the scientific probe

of the researcher and the decision-maker.” While there has been a great

deal of research in the field, and some agreement, numerous facets of

creativity are construed in different ways, and results from comparable

interpretations may be vague.

The simplest way to gauge creativity is on a single-item scale. For instance,

Amabile (1982) circumvented the problems of both the definition and the

measurement of creativity by letting experts evaluate the “creativity” of

creative products using their own individual standards and definitions of

creativity. Amabile suggests that if suitable judges separately concur that a

given product is creative, it can and must be established as such. On the

other hand, even experts may differ in their definition of creativity.

In addition, to completely know creativity, one would require exposing what

factors are usually held to include it. Such a requirement would also make

measures more similar and dependable. So, what factors might be

positioned behind the concept of creativity in advertising?

Novelty

ISBE –B (SS 10-12 ) 43 TS12-M-081.

Researchers in the field usually have the same opinion that as a minimum,

one facet must be “novelty” (also referred to as “originality,” “divergence,”

“unexpectancy,” and “newness”). This relates in countless of disciplines,

from art to business. For instance, in the fine arts creative artists have been

said to display disequilibrium in their private lives and to mirror such

deviations in their works. In business literature, a creative product is thought

to be original and the result of imaginative thinking that needs a theoretical

formation of objects that are not real. In actual fact, as said by some

researchers novelty should be the main criterion measured when making a

decision on a product’s creativeness, in spite of other possible positive

attributes.

In the field of advertising, the majority of definitions of creativity entail a

feature of newness, unexpectedness, or originality. This idea of creativity

matches to a deviation from the standard—a stimulus that is not anticipated

from preceding information. Such novelty is similar to expectancy in

advertising projected by Heckler and Childers (1992), which concerns how

well information obeys the rules to a prearranged structure suggested by the

ad theme. Novelty matches to unexpectedness in the sense that ads not in

agreement with other ads of the same product category or scheme are novel

(Ang and Low 2000). The author therefore expects the following:

H1a: Novelty of Zoozoo Campaigns promoted its ad creativity

Meaningfulness

Novelty is usually looked upon as a need but not enough criterions for an

advertisement to be measured creative. Consumers have particular

expectations for ads in a particular category, e.g. what visuals a detergent

ad ought to have. The more an ad diverges from expectations, the more

consumers will assess the ad as novel.

ISBE –B (SS 10-12 ) 44 TS12-M-081.

Simultaneously, unless the creative part expresses some meaning about the

advertised product, unexpectedness does not essentially mean creativity.

Consistent with many researchers of advertising creativity, the novel ad

element must also be meaningful for the ad to be eligible as creative. The

mixture of novelty and meaningfulness (also referred to as “relevancy,”

“appropriateness,” “usefulness,” and “the strategic component” to

creativity) makes sense also from the viewpoint of advertising professionals

and marketing strategy. The course of creativity in advertising has one

central oddity from the process of creativity in the traditional arts and

sciences. The creativity desirable in advertising is problem-solving creativity,

forced by marketing objectives, competition, the organizational support

hierarchy, etc. It is practical creativity: on demand, on a deadline, and inside

strict parameters. From this viewpoint, meaningfulness complements

novelty, spinning creativity into an instrument of problem solving and goal

attainment, in the framework of marketing strategy. In addition, Holtzman’s

(1984) definition of creativity, “divergent thinking that yields some kind of

highly valued product or idea,” suggests that creativity must give value ads.

Meaningfulness should be vital for advertising to add value. Based on the

preceding discussion the author hypothesizes:

H1b: Meaningfulness in Zoozoo Campaigns promoted its ad creativity

Humor

At the same time as the majority of common elements in previous research,

novelty and meaningfulness are by no means the just factors commendable

of consideration for advertisement creativity. Lee and Mason (1999) did test

expectancy and relevancy as variables in print ads, but tested humor also.

The authors hold the three factors to be connected, all functioning as

variables of “information inconguency” in advertising (p. 156). Findings

propose humor can lift the assessment of unexpected–irrelevant ads (but not

ISBE –B (SS 10-12 ) 45 TS12-M-081.

unexpected–relevant ads). Smith and Yang also suggest humor as a facet of

creativity, connected to the different qualities of ads. Lastly, Weinberger and

Spotts (1989) maintain humor to be “one aspect of […] advertising

creativity” (p. 39). The author expects that:

H1c: Humor in Zoozoo Campaigns promoted its ad creativity

Positiveness

Ang and Low (2001) also talk about novelty and meaningfulness as parts of

advertising creativity. As an added factor they take account of valence of

feelings, i.e. the “emotional direction of the ad content”—to what degree the

advertisement expresses positive feelings. Why positiveness might be

measured? As preceding research proposes, novelty ought to be a core

factor of creativity. Ang and Low compete that the unanticipated stimulus of

novelty will draw out emotional consequences, which in sequence color the

assessments of novelty. This would powerfully persuade whether consumers

will acknowledge the novel ad. Consequently, positiveness should play a

function very much parallel to meaningfulness, as a lubricant to the

acceptance a of novel ad implementation. Smith and Yang (2004) suggest a

comparable relationship, in which an ad’s “expression of emotion” adds to its

creativity. Make a note that in this way positiveness is not conceptualized as

a measure of effectiveness for the Zoozoo ad campaign, but rather as a

factor corresponding to, e.g. novelty. The author hypothesizes that:

H1d: Positiveness in Zoozoo Campaigns promoted its ad creativity

Well-Craftiness

Besemer and O’Quinn (1986) aimed to build up a semantic scale of

creativity, and integrated the factors novelty, resolution (meaningfulness),

and “elaboration/ synthesis.” The concluding variables stand for the stylistic

ISBE –B (SS 10-12 ) 46 TS12-M-081.

details of ad execution; how well-crafted it is. The study built on Besemer

and Treffinger (1981), which instituted novelty, resolution, and

“attractiveness” to be criteria to clarify creativity. White and Smith (2001)

have built on this custom, and included “well-craftiness” next to measures of

novelty and meaningfulness in their study of differences in creativity

judgments among advertising professionals, the common public, and

students. Koslow, Sasser, and Riordan (2003) include “artistry” along with

innovation and meaningfulness in their study of advertising creativity. To

review this line of creativity research, the author proposes:

H1e: Well-craftiness in Zoozoo Campaigns promoted its ad creativity

Finally, Figure 1 outlines the proposed dimensions of to check the

effectiveness of the Zoozoo Ad campaigns

Advertising Effectiveness

ISBE –B (SS 10-12 ) 47 TS12-M-081.

Effectiveness of Zoozoo Ad campaigns

Novelty H1aNovelty H1a

Meaningfulness H1b

Meaningfulness H1b

HumorH1cHumorH1c Positive –

nessH1d

Positive –nessH1d

Well-craftinessH1e

Well-craftinessH1e

Advertising effectiveness mirrors the extent to which advertising achieves its

objectives. Many such effects are linked in a sequential chain of steps—e.g.

brand awareness, knowledge, favorable attitude, preference, and intentions

— which ultimately lead to purchase or repurchase. However, not all

advertising has the main objective to stimulate overt action. For example,

products in different markets or at different points in the life cycle may differ

markedly in what advertising effects are prioritized, whether direct action or

long-term behavioral attitudes. Eastlack and Rao (1986) affirm that creativity

in advertising is far more important than actual spending rates or patterns.

They argue that “effective advertising creative” can move a brand into a new

competitive structure, possibly permitting significantly higher prices. Others

maintain that creativity “pushes the message into viewers’ minds”.

Researchers generally hold advertising creativity to be very important, and

certain studies have indeed examined the relationship between creativity

and effectiveness.

However, these studies are in relatively short supply and in some cases

present findings that are inconclusive or that contradict other studies. The

author will now propose several possible effects of Zoozoo ad campaigns,

and develop hypotheses as to how the campaigns may affect each.

Ad and Brand Attitude

In consumer behavior literature attitude is defined as “a person’s

consistently favorable or unfavorable evaluations, feelings, and tendencies

toward an object or idea” (Kotler 2007). As obliqued by this definition,

attitudes are usually considered steady over time. Holding a positive attitude

toward a good or service is one chief requirement for consumers to hold a

positive purchase or consumption intention toward it. Brand attitude (Ab) is

the consumer’s assessment of a brand on the whole, and time and again

forms the base of consumer behavior. Attitude toward the advertisement

ISBE –B (SS 10-12 ) 48 TS12-M-081.

(a.k.a. ad attitude) (Aad) is the consumer’s evaluative reaction to an ad

through a particular exposure occasion. Notably, ad attitude has been shown

to act as a go-between the advertisement’s upshot on brand attitude, such

that AadAb. The upshot of ad attitude on brand attitude has been established

to function both directly and indirectly through its effect on brand cognitions.

Additionally, it holds for in cooperation central and peripheral processing and

is pertinent for both low and high involvement product categories as well as

high knowledge/importance and low knowledge/importance consumer

segments (Gardner 1985).

MacKenzie and Lutz (1989) present many antecedents to ad attitude,

amongst them ad execution. A creative ad execution thus holds the

prospective to optimistically affect attitudes (ibid.). To maintain this, Smith

and Yang (2004) dispute that creative ads may create considerably more

positive cognitive and affective responses based on the value of different

stimuli. In addition, research has shown that consumers have internal

dispositions concerned with creativity. For instance, novelty seeking, variety

seeking, incongruity seeking, exploratory drive, innovative proneness, and

exploration “erg” are all examples of consumers seeking divergent. There is

also well-built proof from social psychology that consumers can be expected

to appreciate creative ideas (Guilford 1967).

In addition, under the lower levels of involvement characteristic of most

advertising exposure (Krugman 1965), ad creativity may work as a

peripheral cue with significant effect on ad and brand attitude (Petty and

Cacioppo 1986). Some studies have tried to institute the connection between

advertisement creativity and attitude. A lot of these, though, have significant

caveats or produce conflicting results. Additionally, their research designs

have always been experimental, and thus debatably have sacrificed

practicality. Kover, Goldberg, and James (1995) found that ads classified as

ISBE –B (SS 10-12 ) 49 TS12-M-081.

creative by consumers also produced the strongest liking and purchase

interest. Unfortunately, their test had limited statistical significance. Lee and

Mason (1999) showed that unexpected advertisements, if also relevant, are

more favorably evaluated than expected ones. However, the authors provide

no explicit reference to creativity. Ang and Low (2000) found that the novelty

dimension of creative ads contributed to higher ad attitude and brand

attitude, with the strongest effect for unexpected, relevant, and positive-

feeling ads. This study relied solely on a student sample for measuring

creativity, a method that has raised significant concerns. Stone, Besser, and

Lewis (2000) linked advertisement creativity to likeability, but in relatively

simple terms. Finally, Till and Baack (2005) studied television commercials,

equating creative to award winning, but found no significant effect of

creativity on brand attitude. Research and intuition suggest that the

unexpectedness of novel ad execution would cause greater arousal, more

elaborate processing, and in the end more favorable evaluations, i.e. ad and

brand attitude. Additionally, meaningful, humorous, positive, and well-

crafted elements of ads should all work to promote favorable attitudes

toward the ad, with certain effects spilling over to the brand. In spite of this,

the mixed findings above call for a more comprehensive study of the effects

of Zoozoo ad campaign on attitudes. Based on the theoretical foundation laid

out, the author hypothesize the following:

H2a: Ad attitude will be greater for Zoozoo Ad campaigns which are creative

ads than for non-creative ads

H2b: Brand attitude will be greater for Zoozoo Ad campaigns which are

creative ads than for non-creative ads

ISBE –B (SS 10-12 ) 50 TS12-M-081.

Brand Interest

Machleit, Allen, and Madden (1993) contend that research on attitudinal

constructs generally has had an understanding focus on unfamiliar brands.

For familiar brands, such as Coca-Cola, McDonald’s, and Vodafone, when

brand attitude by now is well recognized, a boredom factor can occur even

when the attitude is positive and the brand is providing sufficient

contentment. For that reason, advertising that merely reinforces this attitude

cannot be anticipated to give as strong a motivational “push” to action as

advertising that revives interest in the brand. This is especially relevant

when fostering repeat purchasing as opposed to trial behavior.

Brand interest is defined as “the base level of approachability,

inquisitiveness, openness, or curiosity an individual has about a brand”.

Machleit, Allen, and Madden (1993) maintain that their conceptualization of

brand interest is consistent with approach, exploration, and “creative

encounter”. Advertising should strive for more than to increase brand

awareness, and humorous advertising may not be sufficient. Novel and

atypical methods are needed to create an ample affective reaction and

thereby revive interest, especially for familiar brands. Indeed, one study of

agency creatives indicated that sameness among brands has been a key

reason for improving creativity in recent years. Zoozoo Ad campaigns are

novel by definition and so should be expected to enhance brand interest to a

greater extent than noncreative advertising. And the meaningfulness

dimension seems reasonably important when promoting repeat purchasing.

The author therefore hypothesizes:

H2c: Brand interest will be greater for Zoozoo Ad campaigns which are


ISBE –B (SS 10-12 ) 51 TS12-M-081.

Purchase and WOM Intentions

One of the most important skills of a successful company is the ability to

predict the behavior of its customers. One way of forecasting, e.g. future

sales, is by looking at past behavior. However, due to the fact that

behavioral patterns change over time, the prevalent theoretical model of

predicting behavior is to look at. Intentions are “the subjective judgments

about how we will behave in the future”. A number of studies have

demonstrated that intentions have an explanatory effect on actual behavior.

But the intentions–behavior model has been shown to have some

imperfections. Belk (1985) refers to several studies that show certain

degrees of discrepancy between consumers’ intentions and their true

behavior. However, much can be done to improve the result (ibid.) and

despite these limitations the intention–behavior model is generally regarded

as the best method of predicting actual behavior.

In a previous discussion the author hypothesized that the creativity of the

Zoozoo Ad campaigns should lead to more favorable ad and brand attitudes.

As brand attitude promotes purchase intentions, this means Zoozoo Ad

campaigns should result in greater purchase intentions. There might be

direct effects of Zoozoo ad campaign on purchase intentions as well. For

example, ad meaningfulness might illuminate the brand’s link to consumer

needs. And ad novelty might bring the offering into new light, moving

previously neutral consumers to “want” the product. Ang and Low (2000) in

fact found that unexpected, relevant, and positive advertisements (i.e.

creative ads by their definition) have the highest positive impact on

purchase intentions. The authors relied on a student sample and used an

experimental research design with a mock-up ad as stimuli. The author aims

to extend the general applicability of theory in this regard—backed by a set

ISBE –B (SS 10-12 ) 52 TS12-M-081.

of real-life ad campaigns and a large panel of consumer respondents, the

author set up the following hypothesis:

H2d: Purchase intentions will be greater for Zoozoo Ad campaigns which are


Beside the prediction of purchase behavior, much attention has been drawn

to the measurement of word-of-mouth (WOM) intentions.

Research shows that WOM, “the informal transmission of ideas, comments,

opinions, and information between two people”, has an indirect positive

effect on the performance of the firm. One might expect a creative ad to

offer more talk fodder than a non-creative one, as people should be more

prone to talk about divergent or humorous experiences. In addition, it should

be easier to convey meaningful elements. Last but not least, both

positiveness and well-craftiness ought to vouch for a more pleasant

message, or at least reduce the effort needed to process and pass it on. In

the case of creative advertising, as opposed to creative product

development, the effect should be largest on ad WOM intentions, yet also

affect brand WOM intentions. Also, it is not unlikely that a strong enough ad

attitude would increase word-of-mouth intentions. If Zoozoo Ad campaigns

results in greater ad attitude, as reasoned above, then WOM intentions

should be promoted by an indirect effect as well. In sum, the author presents

the following hypothesis:

H2e: Ad WOM intentions will be greater for Zoozoo Ad campaigns which are


H2f: Brand WOM intentions will be greater for Zoozoo Ad campaigns which

are creative ads than for non-creative ads

ISBE –B (SS 10-12 ) 53 TS12-M-081.

The effects discussed so far all stem from the classic advertising hierarchy-

of- effects. In an effort to further extend the knowledge of the effectiveness

of Zoozoo Ad campaign, the author will factor in also the perceived ad

expenditure and effort, the role of general advertising attitude and the sales

value impact of ad creativity in relation to media expenditure

Perceived Ad Expenditure and Effort

Ambler and Hollier (2004) find that perceived advertising expenditure

enhances the consumer's perception of the brand. The portion of advertising

expenditure that may be perceived by the target market, but which adds

nothing to the functionality of the advertisement—that is, understanding the

message or its persuasiveness—is referred to as “waste.” This perceived

extravagance of an ad contributes to its effectiveness by increasing

credibility. This theory draws especially on the “Handicap Principle” in

biology: animals use wasteful characteristics to signal their exceptional

biological fitness.

The authors maintain that excesses in advertising work in a similar way by

signaling “brand fitness.” They find that perceived ad expenditure is a strong

indirect predictor of brand choice, through its influence on perceptions of

brand quality. Interestingly, consumers tend to overestimate the amounts of

advertising expenditures.

The conclusions of Ambler and Hollier agree with those of Kirmani and Wright

(1989) as well as Homer (1995). In addition, the latter tested perceived

advertising effort, i.e. perceptions of “the amount of advertising effort

ISBE –B (SS 10-12 ) 54 TS12-M-081.

expended by an advertiser,” and found that it too positively influenced

perceived brand quality.

A lower actual level of ad expenditures might very well be compensated for

by creative ad execution, adding to its perceived expenditure. As described

above, creativity “has meaning beyond the sum of the parts”—it “provides a

synergistic effect” which may well boost the ad’s perceived expenditure and

effort. Such a relationship would implicate that the Zoozoo Ad campaigns

indirectly promoted the advertised brand's perceived quality. It’s worth

noting that while the author does not measure perceived brand quality in

this study, it should be a direct predictor of brand attitude and purchase

intentions, which is measured. In summary, the author hypothesizes:

H2g: Perceived ad expenditure will be greater for Zoozoo Ad campaigns

which are creative ads than for non-creative ads

H2h: Perceived ad effort will be greater for Zoozoo Ad campaigns which are


General Advertising Attitude

Obermiller, Spangenberg, and MacLachlan (2005) note how the increase of

ad skepticism makes it harder to inform and influence consumers through

advertising. As one would expect, consumers with a generally negative

attitude towards advertising would tend to evaluate any given ad less

favorably than would the general public.

However, the authors find that people with a negative general advertising

attitude tend to be more positive towards advertising with emotional

appeals, and less influenced by their general adverting attitude for products

that are of interest to them. Some contrary conclusions have surfaced, e.g.

MacKenzie and Lutz (1989) who found that advertising attitude had very

ISBE –B (SS 10-12 ) 55 TS12-M-081.

little or no effect on ad attitude, since the specific ad or situation tends to

dominate ad evaluation. Also, Friberg and Nilsson (2006) established that for

ads in traditional media there is no significant difference in ad attitude

between consumers with a negative general advertising attitude and the

total population.

But they did show that choosing a Zoozoo Ad campaigns medium

significantly raises ad attitude compared to using traditional media— and the

increase is lesser for consumers with a more negative general advertising

attitude. Clearly, more research about the role of general advertising attitude

is needed. It’s conceivable that advertisement creativity would work to

mitigate the negative effect of higher skepticism, as does emotional appeal

and product involvement. For this reason the author hypothesize that

although consumers with a general advertising attitude will evaluate ad

attitude and the like lesser, Zoozoo Ad campaigns will be more effective

among this group as well.

H2i: Consumers with a negative general advertising attitude will evaluate

objectives lesser, but among them Zoozoo ad campaigns’ creative ads will

achieve greater objectives than non-creative ads

Media Expenditure and Sales Value

To break through the clutter of competing ads, many businesses resort to

larger or longer-running ad campaigns. Leaders in advertising spending

suffer less from consumers confusing their brand with those of competitors.

Media expenditures may also strengthen sales and market share by

increasing brand salience in a particular category. Schroer (1990) believes

advertising spending to be a key factor behind the larger market share of

leading firms. As a case in point, Wilcox (2001) found a positive relationship

ISBE –B (SS 10-12 ) 56 TS12-M-081.

between total brand advertising expenditures and brand market share from

1977 to 1998 for eight U.S. brands of beer.

However, this strategy is expensive: to successfully raise market share

ahead of similar competitors, most firms would need to at least double its

main rival’s outlay and maintain this level for years (Schroer 1990). Few

firms have the ability to outspend competition to this extent. And most

businesses face challenges in achieving cost-effectiveness at any level of

spending. Indeed, most advertising is believed to fail meeting its. In the case

of new product introductions, an estimate 70–85% fall short; empirical

evidence points to marketing as a key factor behind this. Some researchers

have therefore shifted focus from ad spending to ad execution, from share of

voice to “share of heart”. For instance, Eastlack and Rao (1986) promote the

creative component of advertising, claiming it to be far more important than

actual spending rates or patterns. Kover, Goldberg, and James (1995) believe

creativity “pushes the message into viewers’ minds.”

Pitched against well-funded campaigns, which are promoted by frequency

and breadth of ad exposures, the author proposes that Zoozoo Ad campaigns

have three main advantages. First, the author has demonstrated that Zoozoo

Ad campaigns which are creative ads are more effective in promoting brand

attitude, brand interest, and purchase intentions in each exposure to an ad.

Second, because Zoozoo Ad campaigns are more novel and meaningful, and

perhaps more humorous, positive, and well-crafted, they should have more

“staying power” with consumers. Indeed, creative ads have been shown to

be more memorable.

To compete, non-creative campaigns need to be exposed more frequently,

and well-funded campaigns certainly are. They would therefore tend to

induce more negative wear-out over time. Third, because Zoozoo Ad

campaigns generated stronger ad and brand WOM intentions, they should

ISBE –B (SS 10-12 ) 57 TS12-M-081.

have greater “sharing power” with consumers. Even though greater

expenditure buys exposure in more media channels and thus potentially

among more consumers, a Zoozoo Ad campaigns may compete by more

productively spreading its message through WOM, a source of demonstrated

effectiveness and credibility. The question is which advantage—

effectiveness, staying power, and sharing power, or greater scale and scope

of ad exposure—are dominant in the aggregate.

The notion of an idea overpowering might is a classic one, echoing

throughout art and history. In the words of Victor Hugo, an “invasion of

armies can be resisted, but not an idea whose time has come.” One finds a

body of research on Vodafone’s Zoozoo campaigns; a central aim of this

thesis is to ascertain its effectiveness. However, no study has empirically

tested the effect of creativity in relation to media expenditures. Media

expenditure is an absolute measure, which is dependent on product

category. It will therefore be tested within each of the three largest

categories. The author proposes that in each category:

Up until now the author has reviewed a number of psychological advertising

objectives, all prevalent in research and business practice. One effect

measure remains, however, as it deserves special attention. While several

studies have linked advertising creativity to the psychological hierarchy-of-

effects, there is currently no research relating Zoozoo Ad campaigns to

actual sales value. Assuming that Zoozoo Ad campaigns positively influenced

the hierarchy-of-effects, as hypothesized—strengthening notably ad and

brand attitude, brand interest, and purchase intentions, which in turn have

been shown to predict consumer behavior and thus sales value—then

advertising creativity should, to some degree, positively influence sales

value. Such a link would prove to be a novel and quite valuable discovery.

Like media expenditure, sales value is an absolute measure, dependent on

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product category. It will be tested together with media expenditure within

each of the largest categories. The author hypothesizes that in each

category:

RESEARCH METHODOLOGY

Initial Work

The author got underway discussions with experienced advertising agency

professionals and marketing researchers. This led the author to focus on the

time and again problematic and questioned connection between Zoozoo Ad

campaigns and its objectives, such as attitudes, intentions, and sales.

The surprised author found that definitions of creativity differed

substantially, especially within the field of advertising. Also, research was

usually restricted to experimental research designs, which the author wanted

to move beyond in the interest of general applicability and to be able to

introduce data on media expenditure and sales.

Data Collection Methods

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There are so many ways in which data shall be collected. The methods that

have been used for collecting the data are:

Primary Research

Questionnaire Method

Direct Interview Method

Secondary Research

Books

Internet

Articles

Newspapers

Magazines

Both of these methods have been used for collecting the data. Questionnaire

method was used for collecting the primary data. This has been done by

firstly preparing an appropriate structured questionnaire. Then this

questionnaire was given to 50 customers who belong to different age groups

at the various shopping malls in Ernakulam. This data has been used for data

analysis.

Secondary data for the purpose of research has been mainly taken from

internet and various magazines. Various journals have been used for the

purpose of reference.

Research Design

Since this study built on previous research and the aim was to test specific

hypotheses and examine relationships between Zoozoo Ad campaigns and

its effectiveness variables the author chose a conclusive research design.

This choice was also supported by the clear definition of sought-after

information and the large and representative sample in the experiment. The

author aimed to test both established and, from literature, proposed theories

with quantitative research, and draw conclusions and discuss the conclusions

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and recommendations. This also called for a conclusive research design. To

be able to test how Zoozoo Ad campaigns ratings correlate with quantifiable

effect measures, and compare different groups’ ratings, the author chose to

conduct a quantitative study. A quantitative study gave the opportunity to

answer the proposed hypotheses and draw significant conclusions. The first

question to address was how many and which advertisings campaigns to

include in the study.

Campaign Period

The first thing was to decide on was from which period of time the

campaigns were to be selected from. In addressing a relevant time period for

advertisement campaigns, there is some trade-off between using up-to-date

material on the one hand, and obtaining a large and representative

campaign sample on the other. There is also the issue of natural time lag in

the production and collection of relevant sales data. Too recent campaign

would not have had a measurable effect on the market and therefore

analysis of the market impact would have been impossible.

Campaigns

The author needed to find real campaigns where one could get access to

representative advertising material along with data on media expenditure

and sales value growth. In the first phase the author amassed a set of 30

advertising campaigns, mostly based on Vodafone’s Zoozoo campaigns.

Further, campaigns deemed to target a market too local were not included.

Lastly, a few campaigns exhibited special external circumstances and were

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thus excluded. From this phase remained the following material: 30

campaigns from campaigns all based on Vodafone’s Zoozoo campaigns 2009

and 2010. To be able to draw general conclusions and to minimize stimulus-

specific effects the author chooses to include 20 campaigns in the study.

This was also the quantity that balanced the wish of including a high number

of campaigns and a high number of responses per campaign, as the limit of

the study initially were set to 200 respondents. In the third phase the author

started to search the internet to get campaigns along with sales and media

expenditure data. To make sure that respondents would be presented with a

representative media sample of each selected campaign, the author focused

on campaigns that were dominated by one single media choice. The author

also delimited the selection to Vodafone, and excluded entirely new

launches. This was important both because the author wanted to measure

sales in percentage increase and since the novelty rating should focus on the

advertising, not new product launches. This also led to the choice of focusing

on brands that are at least somewhat familiar to respondents.

In the final selection of 20 campaigns are represented. Yet awards are no

definite, end-all proof of creativity or lack thereof. The author used a scale of

1–7 and, when choosing which additional campaigns, aimed to arrive at a

final selection of ads with a wide apparent range of Zoozoo Ad campaigns.

The mean of all Zoozoo Ad campaigns ratings were in fact 4.33, ranging from

3.40 to 5.66, on a scale of 1–7. This indicates a good distribution between

Zoozoo Ad campaigns which are creative ads and non-creative ads (out of

200 responses, 6% were 1-ratings and 10% were 7-ratings).

Advertisement Media

Advertisement campaigns in the initial set were either focused on one ad

medium, such as television or print, or built on a mix of media. The latter

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was the predominant case. The survey panels at the disposal did not

technically limit to only, say, print ads; the author had the ability to test

executions of television, print, and outdoor advertising. This freedom had

important methodological gains. It promoted the aim to execute a realistic,

non-experimental research design. The ability to test the hypotheses across

a real-life spectrum of media contributes to the external validity of findings.

Furthermore, it minimizes distortion from the potential idiosyncrasies of any

one medium. Of course, from campaigns using a mix of media the author

selected only one element for inclusion in the panel surveys, to avoid

respondent fatigue. Out of the 20 campaigns finally chosen, 7 were

represented with a movie and 13 with images.

Survey Design

After deciding on research design, which included twenty campaigns the

author needed to find a survey design that could be implemented in practice.

The author decided to conduct two surveys that complement each other.

First survey targeted consumers, testing both Zoozoo advertising creativity

and measures of its effectiveness and therefore constituted the main study,

used to answer the hypothesis. To decrease respondent fatigue each person

rated only four campaigns. The second survey targeted ad industry

professionals. This study was aimed at obtaining specific Zoozoo Ad

campaigns ratings from creatives, strategists and advertisers.

These ratings worked as a complement to the consumer study and are

reported in the analysis only where specific ratings differ from consumers.

The author chose to delimit the number of campaigns per respondent to

four, and respondents were exposed for the same eleven creativity questions

used in the consumer survey.

Since the sample of respondents in this survey is not representative of

consumers in general, the effectiveness questions were wholly excluded

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from this survey. This also worked to reduce respondent fatigue. To be able

to separate the different judges of Zoozoo Ad campaigns within the industry

survey the author included a question where the respondents had to pick

one of the four following positions: creative, strategist, advertiser or other.

The author also included a question of how many years the respondent had

worked in the industry. The respondents were also offered to get access to

survey results.

Scales and Measures

The author only used structured questions in the survey, mainly because

unstructured questions are not suitable for web based surveys but also to

decrease interviewer bias and coding time and cost. For the questions

regarding respondents’ position and years of experience in the industry, the

author chose to use multi-choice questions when there were several

possible, mutually exclusive alternatives, and dichotomous questions for two

response alternatives. For all Zoozoo Ad campaigns and effect questions the

author used the interval scale, ranging from 1 to 7 with numerically equal

distances. Interval scale, or in this case a semantic differential scale, is a

well-established measurement technique in the field of marketing research,

which permits many key statistical analyses.

Questionnaire

The author started with an extensive review of previous research and made

a list of questions or propositions relevant for measuring the variables. The

author rounded up those formulations most proven in the literature, and took

care to make them easy to understand. Wherever possible, the author chose

to limit the number of questions to minimize respondent fatigue and the risk

of response bias.

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Creativity: The questionnaire starts off with a single-item scale to measure

creativity with the pair creative vs. non-creative. This is the simplest way to

measure.

Novelty: This concept is probably the most acknowledged dimension of

creativity. The author chose a multi-item scale with three frequently used

pairs: predictable vs. novel, expected vs. unexpected and conventional vs.

original.

Meaningfulness: Meaningfulness has long been an accepted dimension of

creativity and as such has been included in many studies. The author chose

a multi-item scale with three pairs- relevant vs. irrelevant, appropriate vs.

inappropriate, and adequate vs. inadequate.

Humor: Another potential dimension of creativity is humor. The author used

the proposition “The ad is humorous” from Lee and Mason (1999).

Positiveness: Ang and Low (2001) presented valence of feeling or

positiveness as a possible dimension of creativity. The author followed their

formulation and asked consumers whether the ad conveyed feelings that

were positive vs. negative.

Well-Craftiness : the author used a multi-item scale with two propositions to

measure well-craftiness: well-made vs. botched and skillful vs. bungling

Ad and Brand Attitude: For both ad and brand attitude the author used a

well established multi-item scale with three questions: like vs. dislike, good

vs. bad and positive vs. negative impression.

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Brand Interest: Three propositions were used: “I am curious about

[brand]”, “I would like to know more about [brand]”, and “I am intrigued by

[brand]”. Machleit, Allen, and Madden (1993) recommend these questions for

measuring brand interest.

Intentions: There are three different intention constructs: intentions-as-

expectations (“How likely is it…”), intentions-as-plans (“Do you plan…”), and

intentions-as-wants (“Do you want…”). Earlier research has shown that

intentions-as-expectations are finest in forecasting behavior. On the other

hand, the priority with this measure was not to come as close to predicting

behavior as probable, but to a certain extent to inspect the psychological

outcome of the campaigns. Most campaigns have the reason to build positive

attitudes and create loyal costumers over time, and intentions-as-wants are

more connected with consumer variables such as positive affect and

motivation. In addition, the author included actual sales data to represent

behavior. Therefore the author has chosen the following three questions “I

want to buy [brand]” to measure buying intentions, “I want to recommend

[brand]” to measure the will to recommend a brand and “I want to talk about

[ad]” to measure word-of-mouth intentions.

Perceived Ad Expenditure and Effort: the author chose two propositions,

corresponding with previous research, “I perceive the cost behind this ad

campaign as — high vs. low” and “I perceive the effort behind this ad

campaign as — high vs. low”.

General Attitude towards Advertising: To measure the general attitude

towards advertising the author used the proposition “I like advertising” from

MacKenzie and Lutz (1989).

Sample

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In a final entry to the survey design, the author discusses how he went about

collecting large and representative enough samples for the two surveys, and

how response rates were managed.

Consumer Survey

The author needed to determine an appropriate sample size, large enough to

give us a valid representation of the original population of consumers in

India. Malhotra (2004, p. 318) recommends a sample of 150 responses

minimum when examining TV or print advertising. After discussions the

author agreed on a target sample size of 200 responses per campaign. The

survey resulted in 500 valid responses with at least 25 for each campaign.

Industry Survey

The total population for this survey is defined as professionals in the

advertising industry. Due to the risk of respondent fatigue the author divided

the total sample into five subgroups with four campaigns each. The data

collection was active for two weeks and resulted in 278 valid responses for a

completion rate of 18.1%. Since the investigated population is highly

delimited and the author was not able to get in touch with non-respondents,

the author cannot perform non-response adjustments such as sub-sampling,

replacement or substitution. To inspect whether non-response bias has

prejudiced results, the author instead performed a trend analysis and

compared early respondents to late ones. Respondents during the first week

(173 hours) were placed in the first group (n=161) and respondents during

the following week (173 hours) in the second (n=39). Comparisons of the

responses revealed no significant difference between the groups.

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External Material and Data

To build the industry and consumer surveys the author drew material from

several external sources. Firstly, high quality print and television ads were

collected directly from advertising agencies, various magazines and the

internet. Secondly, sales data was collected mainly from the advertiser or

the ad agency that produced the campaign (O&M).

Instruments and Methods of Analysis

All survey data was collected through surveys and electronically plotted in

Microsoft Excel documents, which then were altered into SPSS files.

Participation figures were coded into SPSS by the author. The author used

SPSS for all analysis, which includes factor analysis, independent t-test,

linear regression and MANOVA (multivariate analysis of variance). When a

measure needed to be split in high vs. low values the author used a cut-off

point to compute two groups. If nothing else is written, the main analysis is

based on the consumer sample of 200 respondents. The author has chosen

to accept results only sat the 0.1% level of significance.

FINDINGS

Hypothesis Testing

As discussed earlier, the main motive for studying the Zoozoo ad campaigns

is to check the effects it has on consumer behavior, and consumers, rather

than experts, “may have the last word” in the matter. As a result, the author

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will report results from hypothesis testing based on the consumer study, and

add industry results only in cases they significantly differ.

Dimensions of measuring the effectiveness of Zoozoo ad campaigns

Hypotheses 1a addresses the issue of defining which dimensions influencing

Zoozoo campaigns. These were tested using linear regressions, where the

five independent variables novelty, meaningfulness, humor, positiveness and

well-craftiness were run towards the dependent variable creativity, across all

consumer responses. Results confirm novelty (0.298), meaningfulness

(0.108), humor (0.220), positiveness (0.154), and well-craftiness (0.187) to

be significant in explaining the effectiveness of the Zoozoo campaigns. All

five hypotheses are accepted at a high level of significance. See Table 1 for

details.

Hypothesis:

Dimension

Beta

(β)

Decisio

n

H1a: Novelty 0.298 Accepte

d

H1b: Meaningfulness 0.108 Accepte

d

H1c: Humor 0.220 Accepte

d

H1d: Positiveness 0.154 Accepte

d

H1e: Well-Craftiness 0.187 Accepte

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d

Table 1: Dimensions of Zoozoo Ad Campaigns: linear regressions for H1a–e

Results confirm that these five dimensions are able of explaining Zoozoo

campaigns as judged by consumers. Each hypothesis is accepted as

significant at the 0.1% level. The five dimensions together account for 68.8%

of the variation in the measure. In addition, removing any dimension from

the model results in a reduced the industry research R2, suggesting that the

dimensions complement one another in influencing creativity.

The regression model based on the industry study has an even greater R2

(0.819). In other words, unknown variables or natural variability explain less

of the variation in creativity. One reason for this may be that the general

public has a lesser-defined notion of the effectiveness of Zoozoo campaigns.

Also of note, for industry respondents, positiveness does not significantly

influence Zoozoo ad campaign and is thus removed from the regression

model. This proves to be valid, as R2 stays constant upon running the test

with the four remaining factors. R2 is reduced when removing any other

dimension from the model. Lastly, a t-test revealed no significant differences

between creatives and strategists in judging any dimension of the Zoozoo

campaigns.

Novelty: Novelty seems the most well accepted dimension of Zoozoo

campaigns. The regression analysis lends further support to this argument.

In line with H1a, Zoozoo campaigns were considered more novel are indeed

associated with greater creativity. As evident in Table 1, novelty’s β (0.298)

is the highest among the proposed dimensions of Zoozoo campaigns. In fact,

the effect of novelty is almost triple that of meaningfulness. Striking is that in

the industry study novelty has a considerably greater β than in the consumer

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study (0.613 vs. 0.298), while the other dimensions differ to a lesser extent.

This implies that to advertising agency professionals, the novelty dimension

plays an even larger part in the extent to which the campaign was deemed

creative, both in relation to consumer judgment and to the four remaining

dimensions.

Meaningfulness: While most researchers consider novelty to be essential

to advertising creativity, many agree that ad elements must also be

meaningful for an ad to qualify as creative. The more unexpected an ad

element, the more meaningfulness is needed for consumers to retain the

connection to product category needs.

H1b predicted that greater meaningfulness should strengthen ad creativity,

and testing supported this at a high level of significance. Notably, however, β

is the lowest among these dimensions (0.108).

Humor: Research has proposed humor as a facet of creativity, related to the

divergent qualities of ads. In accordance with H1d, the humor level in the

Zoozoo campaign should positively influence its creativity. This relationship

is supported by regression as in fact humor has the second highest impact

on creativity (β = 0.220).

Positiveness: Similarly to the role of meaningfulness, the emotional

direction of the ad content—positiveness—could help lubricate the

acceptance of novel elements. H1c proposed that higher positiveness should

raise perceptions of the Zoozoo campaign. This was supported by the

consumer study (β = 0.154). For ad professionals, however, no significant

relationship was found between the variables. This might suggest that

professionals, experienced by the craft behind the scenes, are not swayed by

the conveyance of “mere” positive feelings. To them it is, first and foremost,

ad novelty that counts.

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Well-Craftiness: Quite a few researchers contend that the Zoozoo

campaign’s well-craftiness is also brought to bear on perceived creativity.

Indeed, whatever idea lies behind the campaign, intuition suggests that one

part of the creative element should spring from the ad’s attractiveness. H1e

proposed that Zoozoo campaign’s well-crafted ads should garner greater

creativity. This was supported by testing as wellcraftiness demonstrates high

impact on creativity (β = 0.187).

The author started testing the effects of the Zoozoo campaign by running a

MANOVA—with ad creativity as a fixed factor and ad attitude, brand attitude,

brand interest, purchase intentions, ad WOM intentions and brand WOM

intentions as dependent variables—to test hypotheses 2a–f simultaneously.

The overall multivariate test demonstrates that the Zoozoo campaign has a

significant effect on all dependent variables, which confirms all of these

hypotheses as working independently.

To answer hypotheses 2a–f the author split the consumer sample in two

groups, noncreative versus creative ads. The author wanted to examine

Zoozoo Ad campaigns that stand out and therefore the author chose a cut off

point that place ratings 1–4 in the non-creative and 5–7 in the creative

group. the author tested the hypotheses with a t-test for the mean difference

between the two groups on the dependent variables ad attitude, brand

attitude, brand interest, purchase intentions, ad WOM intentions and brand

WOM intentions. See Table 2 for details. Hypotheses 2a–f are all accepted,

the conclusions of which is discussed for each effect measure further below.

Hypothesis: Effect Beta

(β)

Decision

H2a: Ad Attitude 2.09 Accepte

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d

H2b: Brand Attitude 1.17 Accepte

d

H2c: Brand Interest 0.77 Accepte

d

H2d: Purchase Intentions 0.75 Accepte

d

H2e: Ad WOM Intentions 0.91 Accepte

d

H2f: Brand WOM

Intentions

0.78 Accepte

d

Table 2: Effects of Zoozoo Ad Campaigns: t-tests of H2a–g

To get further insights and likelihood to understand the results on all five

dimensions of the Zoozoo Ad campaigns the author also ran linear

regressions, where the five independent variables novelty, meaningfulness,

humor, positiveness and well-craftiness were run towards a single dependent

effect variable across all consumer responses. This was performed for all six

effects variables ad attitude, brand attitude, brand interest, purchase

intentions, ad WOM intentions and brand WOM intentions, which resulted in a

total of six linear regressions that are horizontally summarized in Table 3.

Effect \

Factor

Novelty Meanin

gfulnes

Humor Positiv Wellcra R2

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s eness ftiness

Ad Attitude 0.065 0.170 0.289 0.252 0.284 0.84

Brand

Attitude

0.110 0.194 0.041 0.218 0.157 0.38

Brand

Interest

0.048 0.262 0.128 0.101 –0.018 0.21

Purchase

Intent.

0.068 0.205 0.050 0.105 –0.025 0.13

Ad WOM Int. 0.104 0.169 0.254 0.021 0.010 0.24

Brand WOM

Int.

0.060 0.195 0.080 0.107 –0.006 0.14

Table 3: Effects of Zoozoo Ad Campaign dimensions: linear regressions

Ad and Brand Attitude

In accordance with theory, creativity in advertising is expected to cause

arousal, more elaborate processing, and in the end more positive evaluations

(Ang and Low 2000). Nevertheless, earlier studies have created ambiguous

results in trying to ascertain this relationship. The author therefore used

sample of actual advertisements to test the effect on both ad and brand

attitudes. The results, displayed in Table 2, are unambiguous: since the

Vodafone ads were more creative, more creative ads generated considerably

greater consumer ad and brand attitudes (mean difference = 2.09 and 1.17,

respectively, at p < 0.1%). Ad attitude is evidently affected to a greater

extent, which is intuitive as the creativity judged is that of the advertisement

and not the brand. The linear regressions of Table 3 confirm this: the

hypothesized creativity dimensions explain an impressive 84% of the

variance in ad attitude (R2). Still, their effect carries over to explain 38% of

the variance in brand attitude. Among the creativity dimensions of Zoozoo

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Ad campaign, the author believed the different ones to be dominant in

promoting favorable responses among consumers. The results are mixed in

this respect. For ad attitude of Zoozoo Ad campaign, the divergent quality of

humor does have the greatest impact (β = 0.289).

On the other hand, novelty has the least effect on ad attitude (0.065).

Wellcraftiness (0.284) has an influence comparable to humor, followed by

positiveness (0.252) and meaningfulness (0.170). For brand attitude,

however, positiveness (0.218) is the predominant dimension, followed by

meaningfulness (0.194), well-craftiness (0.157), and novelty (0.110). The

modest effect of humor on brand attitude (0.041) is significant only at the

5% level. It seems that, any entertainment value of the campaigns promoted

attitudes towards the ad but not towards the brand advertised. This is

intuitive; much like the melody of a national anthem might move one to

better like the anthem, but not the nation. In sum, in Zoozoo Ad campaign,

the perceived ad creativity significantly affected both ad and brand attitude;

humor raised ad attitude but hardly affected brand attitude; and novelty has

limited effect on either.

Brand Interest

When advertising familiar brands, a boredom factor can arise even when the

brand attitude is positive. Advertising that simply reinforces this attitude

cannot be expected to provide as strong a motivational “push” to purchase

as advertising that revives interest in the brand. Even though one might

anticipate the deviation of Zoozoo Ad campaigns to help revive interest in

the brand, no currently published study has investigated this relationship.

The author therefore tested whether Zoozoo Ad campaigns would enhance

brand interest to a greater extent than non-creative advertising.

The test confirms this relationship at a high level of significance (mean

difference = 0.77 at p < 0.1%). The results lend further support to the

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effectiveness of Zoozoo ad campaign. Interestingly though, ad novelty has

no significant effect by itself when compared to the other dimensions (Table

3). The same is true of well-craftiness. Instead, it is meaningfulness (0.262),

humor (0.128), and positiveness (0.101) that impact brand interest.

In sum, in Zoozoo ad campaigns has a significant effect on brand interest,

with ad meaningfulness as the primary driver and humor and positiveness as

supporters. This finding is instrumental to the objective of promoting repeat

purchasing of established brands.

Purchase and WOM Intentions

Purchase intention is a well-established predictive measure of actual

consumer behavior, e.g. purchase. Theory has shown purchase intentions to

be promoted by brand attitude, which in turn is affected by ad creativity.

Also, one previous study, based on experimental ad execution, has hinted at

a direct Zoozoo ad campaign effect on purchase intentions. The author thus

hypothesized that in the case of Zoozoo ad campaign positively influences

purchase intentions, and the result is clearly in agreement (mean difference

= 0.75 at p < 0.1%). Besides purchase intentions, advertisement execution

may also spark intentions to talk about the ad or brand. Results confirmed

the hypotheses that Zoozoo ad execution promotes both ad and brand word-

of-mouth intentions (mean difference = 0.91 and 0.78, respectively, at p <

0.1%). The linear regressions confirm this: dimensions of creativity explain

24% of the variance of ad WOM intentions, 14% of brand WOM intentions,

and 13% of purchase intentions (Table 3). This is a consequence liable to

testing Zoozoo Ad campaigns as opposed to creative product development.

Meaningfulness surfaces as the only dimension to exert both significant and

substantial influence on all three types of intentions. This strengthens the

problem-solving role of ad meaningfulness, which should illuminate the

ISBE –B (SS 10-12 ) 76 TS12-M-081.

Vodafone’s link to the needs of consumers and thus propel their purchase

intentions. As for the effect on WOM intentions, meaningfulness might work

to simplify relaying the message. Humor is a great factor for ad WOM

intentions, but lesser so for brand WOM intentions and both lesser and less

significantly so for purchase intentions. This seems reasonable— a humorous

ad is interesting enough to become the topic of conversation, but the effect

doesn’t extend as well to the brand and in itself drives few consumers to

purchase. Similarly, novelty most significantly affects ad WOM intentions, but

lesser so than does humor. Interestingly, ad positiveness is significant in

affecting brand WOM and purchase intentions, but not ad WOM intentions.

Conceivably, while positiveness offers nothing tangible to talk about, it may

work as a peripheral cue to spark conversation and action vis-à-vis the

brand. Lastly, well-craftiness is at most a hygiene factor, with no significant

effect on any measure of intentions.

Perceived Ad Expenditure and Effort

Excesses in advertising expenditure, which adds nothing to the message or

its persuasiveness, may still promote perceived brand quality in the case of

Zoozoo Ad campaigns. The perceived amount of advertising effort expended

by the advertiser may have an analogous effect. No currently published

study has attempted to link the creativity of ad execution to perceived ad

expenditure or effort. The author hypothesized that Zoozoo Ad campaigns

promoted both, and results are positive (mean difference = 0.69 and 1.34,

respectively, at p < 0.1%). Whether Zoozoo Ad campaigns was less or more

costly, consumers apparently perceive it to be backed by greater

expenditure. And whether Zoozoo Ad campaigns took less or more effort to

produce, consumers perceive the effort to be greater. Linear regressions

unveil that, between perceived ad expenditure and effort, the dimensions of

ISBE –B (SS 10-12 ) 77 TS12-M-081.

Zoozoo Ad campaigns explain a greater deal of the latter’s variance. Well-

craftiness dominates the other dimensions in influencing these two effects,

which is highly intuitive. Perceived ad effort is also affected by ad novelty

and humor. This is reasonable, since crafting novel or humorous ads would

tend to demand more effort. Perceived ad expenditure is actually (slightly)

negatively affected by positiveness. Beyond the workings of each dimension,

perceived ad expenditure and effort are clearly promoted by Zoozoo Ad

campaigns. In this way, Zoozoo Ad campaigns should signal “brand fitness”

and promote perceived brand quality, which in turn is a demonstrated

precursor to brand attitude.

General Ad Attitude

Increasing ad skepticism among the general public compounds the challenge

of influencing consumers through advertising. A more negative general

advertising attitude tends to dampen attitude toward specific Zoozoo Ad

campaigns. However, the author hypothesized that Zoozoo ad campaign has

the power to elevate ad attitude among those negatively inclined towards

advertising in general, and to the same extent as for those with a positive

general ad attitude.

Summary of Main Results

Based on hypothesis testing at the 0.1% level, the main conclusions can be

summarized in the following:

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HYPOTHESES H1A–E: ACCEPTED

Zoozoo ad campaigns were positively influenced by ad novelty,

meaningfulness, humor, positiveness, and well-craftiness.

HYPOTHESES H2A–H: ACCEPTED

Zoozoo ad campaigns were effective in strengthening central measures of

advertising effectiveness: ad and brand attitude, brand interest, ad and

brand WOM intentions, purchase intentions, as well as perceived ad

expenditure and effort.

Conclusions

This management thesis has been done for the company Vodafone Essar for

understanding the effectiveness of their advertisements for the people of

Kochi. The study proved that the advertisement has got relevant

effectiveness to the people of Kochi while they try for a new mobile

connection.

The customers of Vodafone are happy with the services of the company and

they suggest the advertisements of Vodafone should be more interactive and

funny like the one that has been done by them during the IPL Session – 2 to

IPL Session- 5. The customers say that the people who are not usually

watching television came to know about the advertisement and they say that

this was the effectiveness of that advertisement.

ISBE –B (SS 10-12 ) 79 TS12-M-081.

Leaking Buckets

The hypothesized effects of Zoozoo Ad campaigns may be ordered into a

hierarchical chain, e.g. from ad attitude to brand attitude to purchase

intentions. Such a chain may be conceptualized as a set of “leaking buckets”

in the course of which the effect of its ad exposure dissipates through each

step: for instance, a subset of consumers positive towards the ad is positive

towards the brand, and a subset of the latter has positive purchase

intentions.

The model here has straightforward conclusions for how pliant each

dimension to check the effectiveness of Zoozoo Campaigns. First and

foremost, it sheds new light on the two most prevalent dimensions in this

research, ad novelty and meaningfulness, the workings of which are

apparently more complex than previously understood. The author turns to

explain this below, along with what remains to uncover.

Novelty and Meaningfulness

Amongst the dimensions hypothesized, novelty was shown to have the

greatest impact on perceived creativity of the Zoozoo campaign. These

findings reinforce the key role of novelty as suggested by prior publications.

Not to the author’s surprise, novelty was shown to have doubled the impact

on creativity perceptions among creative professionals. Regardless of this,

novelty was one of the weaker dimensions in following through the chain of

psychological measures. This is an interesting finding, which shades the role

of novelty suggested in earlier works: even though novelty is dominant in

Zoozoo Ad campaigns, it translates into a more modest impact on the

hypothesized measures of effectiveness of those ads. Although novelty does

ISBE –B (SS 10-12 ) 80 TS12-M-081.

affect other psychological measures, e.g. attention and memory, more

research is needed to extend the knowledge of the precise mechanism of ad

novelty.

Meaningfulness is another factor emphasized in previous research. Although

significant, its impact was shown to be lesser than the other hypothesized

dimensions. Theory suggests that meaningfulness works as a hygiene factor

for creativity, which may still be the case even though it does not elevate it

as much. To further clarify the role of meaningfulness, future studies should

attempt to establish interaction effects between this and other dimensions of

creativity such as novelty.

In addition, even though meaningfulness was not the greatest factor in

Zoozoo ad campaigns per se, it had the greatest stamina in the flow of

“leaking buckets” from ad attitude through brand attitude and purchase and

WOM intentions. Also recall that meaningfulness dominated the other

dimensions in affecting brand interest, important for well-established brands.

This resilience is perhaps testament to the proposed status of

meaningfulness as a hygiene factor. Again, the link between meaningfulness

and creativity deserves further probing, as does its interplay with effect

measures.

Well-craftiness, Humor, and Positiveness

Earlier studies have principally missed the significant role of well-craftiness

in explaining THE dimensions for effectiveness of Zoozoo ad campaigns, as

demonstrated by this study. It significantly affects both ad and brand

attitude, while being the main influence on perceived ad expenditure and

effort. It seems well-craftiness is entitled to more room in coming studies.

While humor is instrumental in improving ad attitude, positiveness is the

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same to brand attitude. As concluded, any entertainment value of Zoozoo ad

campaigns promoted attitudes towards the ad but not towards the brand

advertised. Brand attitude is arguably the main objective in most practical

cases—however; humor may have positive side effects on other variables,

such as memory. The explanatory power of the multi-dimensional model

makes for interesting potential application to complementary variables like

attention and memory. This would deepen the understanding of the effects

of Zoozoo ad campaigns. Furthermore, the author concluded that humorous

ads are interesting enough to spark ad WOM intentions, but the effect

doesn’t extend as well to brand WOM intentions or purchase intentions. Also,

the ad positiveness is significant in affecting brand WOM and purchase

intentions, but not ad WOM intentions. The author suggested that while

positiveness, unlike humor, offers no incentive to tell friends of the ad, it may

work as a peripheral cue to influence talk and even purchase of the Vodafone

brand. Further study is needed to determine if this is the case.

Conceivably most notably, against a backdrop of questionable or even

contradictory studies on the effectiveness of creativity this model provides

conclusions of much-needed clarity and certainty—Zoozoo Ad campaigns are

effective, significantly strengthening ad and brand attitude, brand interest,

purchase intentions, ad and brand WOM intentions, as well as perceived ad

expenditure and effort.

In sum, the author advocates the continued use of the dimensional model

based on its great explanatory power. A natural next step is to apply the

model to a single brand at a time, to establish which dimensions play larger

or smaller roles in different ones—both in explaining creativity and affecting

attitudes and intentions. The model can also be applied to ascertain the

impact of creativity on additional measures of advertising effectiveness.

ISBE –B (SS 10-12 ) 82 TS12-M-081.

RECOMMENDATIONS

The author recommends others to build on this study of media expenditure

and sales value, and perhaps include other actual market performance

measures, such as market share. The next methodological step is to deploy a

creativity study with sole focus on actual market performance measures, in

one particular category: ridding the survey of psychological measures will

shorten the amount of questions, so the number of questionnaires per

respondent can be raised; and focusing on one category will aggregate more

comparable data. Furthermore, the author’s advice is to work even more

closely directly with advertisers, ad agencies, market research agencies,

tracking agencies, or ad effectiveness award shows, to capture market

performance data as standardized as possible, or transparent enough to

allow for standardization with other, equally transparent sources for case in

point the Zoozoo ads. Beyond the conclusions based directly on the findings,

the author would like to propose a number of related avenues of research:

applying the multi-dimensional model to other advertising media, e.g. radio,

web, or integrated marketing communications; introducing the theoretical

implications in studies of creative product development, creative marketing

strategies, creative market segment choice, and creative media choice;

examining any interaction effects among or non-linear effects of Zoozoo ad

campaign dimensions; looking into the interaction effects between creative

media choice and creative ad execution; investigating the moderating roles

of context, knowledge, brand-congruence, and involvement on the

effectiveness of creativity (i.e. maybe humor loses some effectiveness if

brand-incongruent; perhaps product benefits take over ad characteristics in

high-involvement categories); determining the effect of Zoozoo ad campaign

on certain emotions or brand values, and on brand equity; combining it with

informational/ transformational or central/peripheral processing frameworks

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(i.e. perhaps positiveness acts as peripheral cue on brand WOM and

purchase intentions); studying different effects of creativity among various

demographics (i.e. age, educational level, or income); testing the effect of

Zoozoo ad campaign on evaluation of the product/service itself; ascertaining

whether, e.g. meaningfulness and well-craftiness work as hygiene factors

and novelty as a motivator; determining the endurance of Zoozoo ad

campaign effects in terms of wear-out and memory; testing which ad

elements (message, visual, etc.)

QUESTIONNAIRE

1. Thinking about brands of telephone connection, what brands have you

seen of heard of?

2. If you were to buy a telephone connection, which brands would you

seriously consider?

3. If all the brands shown below were available to you at the same price

and quality, which one would you be most likely to choose?

4. Please select the statement that best describes the likelihood of you

buying the brand listed below the next time you get a new telephone

connection

o Definitely will buyo Probably will buyo Might or might not buyo Probably will not buyo Definitely will not buy

5. Please think about all the different places you have seen, heard or read

about Vodafone’s Zoozoo ad campaign

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6. Please tell me everything you saw the Zoozoo ad campaign that was

just shown to you

7. Have you seen this TV commercial before?

o Yeso Noo I don’t know

8. Have you seen a commercial similar to this one?

o Yeso Noo I don’t know

9. What specific product was being advertised?

10. What is your overall satisfaction, having seen the Zoozoo

characters

Not satisfied at all Extremely satisfied

1 2 3 4 5 6 7

11. What did this commercial make you feel it was?

o Creativeo Non-creativeo Expectedo Unexpectedo Conventionalo Originalo Relevanto Irrelevanto Appropriateo Inappropriateo Adequateo Inadequateo Humorouso Positive

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o Negativeo Well-madeo Botchedo Skillfulo You liked it?o You disliked it?o I am curious about Vodafone nowo I would like to know more about ito I’m intrigued by Vodafone brand

12. Thinking about the ad you just saw, please evaluate the following

statements:

Yes

No I don’t know

I enjoyed watching it a lotIt made me want to buy the productIt contained new information about the brandThe points made in the commercial were believableIt was like any other ad for a tee phone connectionI like the characters in the commercialI thought it was irritatingIt made me feel differently about the brand

13. Having seen the advertisement, how likely would you be to

o Speak to friends and family about Zoozoo’so Visit Vodafone.como Search the internet to find out more information about Zoozooo Go to a telephone Shoppe to see the Zoozoo merchandiseo Purchase a Vodafone connection

14. There are some commercials that people remember but never

know which brand they are for. Which of these phrases applies best to

this commercial?

o You couldn’t help but remember it was for

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o It was pretty good at making you remember it is foro It is just okay at making you remember what it is foro It could have been for any telephone companyo It could have been for almost anything

15. You perceive the cost behind this ad campaign aso Higho Low

16. You perceive this effort behind this ad campaign iso Higho Low

17. What is the highest level of education you have completed?

o Some high school or lesso Graduateo Post college graduate schoolo Prefer not to answer

18. What is your gender?

o Maleo Female

BIBLIOGRAPHY

Ambler, T. and Hollier E. A. (2004),”The Waste in Advertising Is the Part

That Works”

ISBE –B (SS 10-12 ) 87 TS12-M-081.

Andrews, J. and Smith, D. C. (1996), “In Search of the Marketing

Imagination:

Factors Affecting the Creativity of Marketing Programs for Mature

Products”

Ang, S. H. and Low, Y. M. (2000), “Exploring the Dimensions of Ad

Creativity”.

Blackwell, R. D., Miniard, P. W. and Engel, J. F. (2005), Consumer

behaviour

Gonten M. F. and Donius, J. F. (1997), “Advertising Exposure and

Advertising Effects: New Panel-based Findings”. Journal of Advertising

Research

www.vodafone.in

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http://www.vodafone.in/existingusers/pages/aboutus.aspx

http://www.vodafone.in/

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