Discuss the phenomenon of
digital media convergence in relation to advertising and new media
- By Kristen Gillies [42458110]
T. Dwyer states
that digital media convergence is the “process wherby new technologies are
accommodated by existing media and communication industries and cultures.”
[Dwyer, 2010]. The innovation of convergence media and emergence of alternative
media methods has governed society to adopt new forms of advertising,
abandoning all traditional advertising mediums. Product placement within film
and music video has led to the creation of a commercial culture through the
overemphasis of brand awareness and equity, creating an aggressive and invasive
advertising form. Similarly, the hybridization of entertainment and new media
has enabled advertisers to harness the medium of convergence through the
Internet, allowing digital recordings to be spread virally, positioning social
media as a testing platform for marketing success.
Thus, convergence
is characterizing the technological, industrial, cultural and social changes of
the late 20th century [Jenkins, 2006].
Convergence can
be understood as “the technological process of bringing together multiple media
functions within the same devices” [Jenkins, 2006]. In this instance,
commercial culture has converged elements from entertainment with elements of
advertising to create a mediated culture that is designed to sell a product.
The introduction
of personal digital recording devices such as VCRs, TiVo and Foxtel IQ have
enabled consumers to mute, pause and fast forward through advertisements when
they want. Thus, creating consumer sovereignty, positioning the consumer as
‘king’. Advertisers have been forced to adopt a cutting-through-the-clutter
method in that advertisements now target the subconscious mind of the consumer making
the brand and message of the product noticeable at point of sale. Advertisers
discovered that selling their products through consumer’s favourite television
shows and films is an excellent way of creating brand awareness. Paradoxically,
consumer’s believed this tactic was a forced, desperate and subtle way of
integrating a product invasively through advertising.
Blockbuster film,
Risky Business (1983), is a quintessential example of using product placement
to gain awareness and recognition from consumers. For example, Tom Cruise’s
character wore Ray Ban Wayfarer sunglasses throughout the film. That year, more
than
360, 000 pairs were sold, highlighting the success of the inclusion of
products within film.
Alike film, music
video is another modern medium advertisers have been forced to adopt, due to
the innovation of TiVo technology, in order showcase their brands to build
awareness and recognition.
Avril Lavigne’s
music video for song ‘What The Hell’, embeds perfume, clothing and electronics to
expose her own products in a cost-effective manner whilst aiming to influence
and persuade what her consumer’s purchase.
Advertisers are now integrating their products into the actual script of
music video and film in a very subtle way and use a cutting-through-the-clutter
approach to become noticed in the minds of the consumer at point of sale. If
done successfully, specific messages and songs become associated with
particular brands, creating a linkage between the audio and the visual.
Whilst marketers
are able to heighten brand awareness and create word association, some scholars
believe that the creation of a commercial culture through product placement is
generating a destructive trend, leading to a devalued culture through raising
issues of commercial intrusion and pervasive stereotyping [McAllister, 2003],
in the hope of making a profit. New ways of understanding commercial discourse
have arisen and the competition for audiences and opening of new global
markets, has led to corporate media promoting themselves more aggressively than
ever before [McAllister, 2003].
Although film and
music video are popular innovative mediums used by advertiser’s to incorporate
brands and messages through product placement, Hale states “the Internet is
proving to be an outstanding marketing tool in the advertising arsenal…[and] is
this generation’s greatest promotional tool.” [Hale, 1997]. The introduction of
technologies such a picture sharing, email and wall postings sparked the
creation of media sites such as blogs (Twitter), content communities (YouTube)
and social networking sites (MySpace, Facebook).
Advertisers have
successfully harnessed the medium of convergence through the Internet, allowing
digital recordings of their advertisements to exist on the Internet. T. Dwyer
explains, “audiences will be accessing the full spectrum of content genres, no
matter where the provider is located.” [Dwyer, 2010] This ideology demonstrates
that advertisements can be spread virally through applications and devices such
as the iPhone and desktop computer, that can be saved, sent to friends and
super-imposed on content community websites such as Youtube.
Advertisers found
that converging advertising through the Internet is a cheaper alternative to
broadcasting commercials through television as the audience is fragmented,
enabling the exposure of the product to a global market, with advertisers being
less confined by broadcast restrictions and government regulations.
New social media
has created a confined culture in that advertisers are beginning to broadcast
their commercials online first, leading to viral spreading through content
community websites, heightening brand awareness and knowledge, illustrating
their popularity through how many Facebook likes they receive.
Evian’s ‘Roller
Babies’ campaign demonstrates the epitomy of social media success, breaking the
world record of most views online (61.4million) and attracting over 440, 000
fans on Twitter where the video was re-tweeted 16, 000 times [Freeman, 2007], even before it had
been broadcasted on television, illustrating how advertisers are using social
media technology as a testing platform for marketing success.
Comparably,
Youtube has evolved into a popular “entertainment destination” [Chapman, 2006]
converging elements of Facebook, including the ability to embed and share the
video’s links to other social networking websites, as well as the ability to
‘Like’, ‘Dislike’ and comment on particular videos. This demonstrates the speed
at which a commercial can be spread virally, spawning an online buzz, yet
encouraging illegal downloading and piracy through the convenience of
peer-to-peer file sharing software [P2P]. The introduction of Web 2.0
technology has enabled criticism within blogging, tweeting and liking through
social network websites to become a lot easier. Although negative comments are bad
publicity and do tarnish brands, they are interesting, sharable, and can lead
to publicity in the mainstream media.
Although this
exhibits the viewer’s personal attachment and involvement to the video,
advertising is beginning to bombard the website. In particular, every time a
viewer watches a video, they are forced to sit through a 30 second commercial,
similarly when they are watching the video of their choice at least two generic advertisements appear in the sidebar, disabling viewers to
eliminate them.
Similarly, Youtube enables
consumers to appropriate successful advertisements and develop parodies for
other’s enjoyment, such as the ‘Old Spice’ commercial featuring Isaiah Mustafa.
Although some managers may not be able to utilize the power of parody memes, it
works to the advertiser’s advantage through creating brand awareness, though
pre-supposes the viewer’s familiarity with the advertisement.
 |
| Original Old Spice Advertisement |
 |
| Old Spice 'Parody' Version |
Ultimately, digital
media convergence in relation to advertising is demonstrated through product
placement within film and music video enabling brands to build recognition and
awareness. Comparably, the ability of advertisers to successfully harness the
medium of convergence through the Internet, has enabled digital recordings of
advertisements to be spread virally through social media, thus exposing the
product to a global market.
Reference List:
MAS110 Reader:
Jenkins, H. (2006) 'Convergence Culture: Where Old and New Media Collide', NY University Press
Dwyer, T. (2010)
‘Media Convergence’, McGraw Hill, Berkshire, pp 1-23
Spurgeon. C.
(2008) ‘From the ‘Long Tail’ to
Madison and Vine’, Advertising and New
Media, Ozon Routledge, pp 24-45
Recommended Reading List:
Sheehan, Kim and
Morrison, Deborah (2009) Beyond convergence: Confluence culture and the role of
the advertising agency in a changing world in First Monday vol 14 no 3 - http://firstmonday.org/htbin/cgiwrap/bin/ojs/index.php/fm/article/view/2239/2121
[Accessed 20 August 2012]
Sinclair, John
and Wilken, Rowan (2009) 'Waiting for the kiss of life : mobile media and
advertising' Convergence: the journal of research into new media, vol 15
no 5 pp 427 - 445 http://con.sagepub.com.simsrad.net.ocs.mq.edu.au/content/15/4/427.full.pdf+html
[Accessed 23 August 2012]
Academic Readings Through Independent Research:
Sutherland, M.
(1981) ‘Role Of Advertising: Persuasion Or Agenda Setting?’, The Journal of Advertising Research, V
21, No 5, pp 25-29
Waller, D. (1999)
‘Attitude Towards Offensive Advertising: An Australian Study’, The Journal of Consumer Marketing’, Vol
16, No 3, pp 288-294
Herbig, P., Hale,
B. (1997) ‘Internet: The Marketing Challenge Of The Twentieth Century’, Internet Research, Vol 7, No 2, pp
95-100,
McAllister, M.
(2003) ‘Is Commercial Culture Popular Culture?: A Question For Popular Communication
Scholars’, Virginia Tech: Department Of
Communication Studies, pp 41-49, http://www.personal.psu.edu/mpm15/CommercialCulture.pdf
[Accessed 21 August 2012]
Erdelyi, M., Zizak,
D., (2004) ‘Beyond Gizmo Subliminality’, Psychology
of Entertainment Media, pp13-45, http://www.scribd.com/doc/4078582/The-Psychology-of-Entertainment-Media-Blurring-the-Lines-Between-Entertainment-and-Persuasion-
[Accessed: 20 August 2012]
Freeman, B., Chapman,
S. (2007) ‘Is “YouTube” Telling or Selling You Something? Tobacco Content on
the YouTube Video-sharing Website’, Consumer Perspectives, http://tobaccocontrol.bmj.com/content/16/3/207.full
[Accessed 24 August]
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