<p>This paper sets out to investigate how companies can create advertisement that focus not only on selling but also on entertainment. The research is based on seven TV-commercials produced by the Swedish food chain ICA. The commercials were analyzed according to the methods of discourse analysis, semiotic analysis and rhetorical analysis. Furthermore, the research compares the analysis made with the thoughts and ideas of Tobias Karlsson, Head of marketing and communications development at ICA to find out how the comprehension of the commercials correlate with the original intentions made by the company.</p><p>The study shows that ICA creates a commercial that contains the perfect mix of rhetorical approaches, communication strategies and entertainment mixed with gravity. The study also shows that ICA fails with its primary goal which is to sell selected products; however, by producing the entertaining commercials, they manage to strengthen their brand. This is assumed to lead to increased loyalty and confidence among consumers which makes the consumers visit ICA more often.</p>

Every day people get in contact with thousands of messages. On the radio, on the train, on the street and through the television. Not too infrequently messages in the form of advertising for products and services from businesses companies. The need for product placement partnerships are increasing as the traditional advertising decreases in efficiency in parallel with the film productions that require increasingly large budgets. More products and services on the market is leading to bigger competition between companies about the consumers interest. It is increasingly important to be creative and to find modern strategies for successful marketing. A way to market a product or service is through product placement, a phenomenon in which a brand, service or product occurs in a context that is not really the intended. The main purpose of the study was to investegate the extent of product placements appearing in the swidish comedy series "My perfect family" and how product placements are used and what signification product placements have for both brands and identity. The analysis is based on scenes from the series' first episode where brand products appear (Samsung, Volkswagen, Tsarine, Porsche, Ferrari and Instagram). The selection is based on how eye-catching the products are. The clearer product placement the bigger opportunity to influence the film's character. To answer the first question a compilation of the clearest and most abundant investments during the first episode of "My perfect family" was made. The selected brands formed the basis for the semiotic analysis used to answer question nubmer two and three (how product placements are used and what significance they have for both brand and identity). One or two different scenes belonging to each brand were selected and analyzed. The analysis shows different types of product placement and product placement methods, based on Lehus (2007) and Russells (2002) different categorizations. The study of "My Perfect family" shows that both brands and brand identity are important for the character and identity. Characteristics that are associated with the brand strengthens the character's identity. Product placements provide the ability to define characters and enrich, clarify and illustrate the series based on a cultural context. Ill-conceived product placements can have an adverse effect if the placed brand product not fill a natural feature.

In the last couple of years, the amount of commercial messages in our society has increased steadily which in turn has made us humans very critical against all kinds of advertising. Brand researcher Douglas B. Holt even claims that this directly threatens brand's trustworthiness. As a backlash and result of this situation, a couple of companies has begun to change the way they communicate to the big audience through the TV or computer screen - so-called native advertising or narrativity. A Swedish company that has been specially noticed for its commercials is Telenor with its campaign “Telenorfamiljen” where we get to follow an ordinary family through life where different kinds of technical products are used to ease life.  The purpose of this essay is to take a closer look at how Telenor strategically have chosen to build up their commercial campaign by narrative perspectives with the help of semiotic tools. The material, consisting of three chosen commercials from the campaign, was analyzed with a combined narrative and semiotic method with a primary focus on the narrative.  The result did not only show an appliance of the narrative, but also how Telenor has taken advantage of the tools that the narrative offers. This has been done to credibly give the recipients a story that they can relate to. Furthermore, the narrative elements seem to have been selected with great care since each part is individually significant and influences the story as a whole if it was being replaced. Neither Telenors logotype, products and services were given much visual attention which in turn proves how Telenor wants to be seen as a brand that focuses on the individual and its everyday life rather than its own gain.

The purpose with this essay was to study the relationship between gambling companies marketing through a celebrity and the ways gambling is portrayed in commercials. We combined a multimodal analysis with semiotic elements and a group interview in order to explain and get an understanding of gambling companies ways to market their services. The theories used were McCracken’s Meaning transfer model which tells us about the importance of a good relationship between celebrities and gambling companies. The theory Brand identity by Lynn B. Uppshaw, which tells us about how companies brands can be seen from different perspectives. Stuart Hall’s communication model Encoding/Decoding were applied to increase the understanding of how recipients decode messages and these all three theories combined with the method helped to answer our focusing questions.   The empirical material is based on different gambling companies TV commercials where celebrities participate and the interview responses from the participants in the group interviews. The study started with a short overview of nine gambling commercials that together with the depth-analysis of three focus commercials gave us the result that gambling is mostly incoherent. The interviews showed us that recipients of gambling commercials do not see the message as appealing. These two findings led us to the conclusion that the message won’t be appreciated if celebrities do not have a strong connection to the companies products or services. Interestingly enough, the same results where seen when there was a strong connection between the company and the celebrity: the message still appeared false and intrusive. This is because the recipients are aware of what the backdrop is with the advertisements and how it can affect their consumption process and the fact that consumers are becoming increasingly critical of gambling advertising in a media landscape where advertising is constantly exposed.

This is a thesis in Media and Communication Studies at the Department of Informatics and Media, Uppsala University; “Systembolaget's marketing - a little clever like that” (Systembolagets marknadsföring - lite fiffig sådär) written by Hanna Bjurenborg and Emma Lundemo Dahlin. This is a qualitative study that examines consumers' experience of Systembolaget's marketing. We have been using two different methods in this thesis. These methods are two focus group discussions and a web survey. We chose to combine our two methods in order to achieve a more valid result. By combining these two we got both a more general result and also a deeper understanding on how our respondents experience Systembolaget’s marketing. The aim of this thesis is to elucidate what the messages are in Systembolaget’s marketing, how these messages are perceived by the consumer and whether consumers feel that Systembolaget's marketing affects their buying habits. We want to investigate whether consumers believe that the selected campaigns in our study contribute to a change in their consumption from their own perspective. Based on the results of the material we collected in this study we see that depending on whether the message in the ad is seen as good or bad can be a result, if the customers thought the message was clear and easy to encode. There is also a clear pattern seen in the study that if the ad generates an emotion it receives more attention than if it is simply informative.

Studiens syfte är att lyfta fram mottagarnas tolkningar om reklamens budskap inom fältet TV-reklam, och dess inkludering av regionala stereotyper. Genom tillämpning av receptionsstudie, där både en semiotisk analys och respondentintervjuer får rum, bidrar studien till fortsatt diskussion inom mottagarstudier. Materialet för den semiotiska analysen är två reklamfilmer från Elons reklamfilmsserie som publicerades 2012, de titulerades Elon Norrland och Elon Småland. Filmerna används även som material för intervjuerna för att kunna framställa det empiriska materialet från respondenterna. Olika teorier används för att styra uppsatsen i rätt riktning, däribland semiotiken med de relevanta begreppen denotation, konnotation och myt. Här återfinns också begreppet stereotyp som är en bärande del i uppsatsen. Bland teorierna finns även polysemin som också är av vikt för studiens resultat. Tillsammans med Halls koder dominant, förhandlande och oppositionell delas svaren från intervjuerna tematiskt in i kategorier. Den semiotiska analysen resulterade i en upptäckt av sammanlänkande kedjor som tillsammans bidrar till en föreställning om och ett skapande av regionala stereotyperna Norrland och Småland. I receptionsstudiens andra del, respondentintervjuerna, framkom resultatet att flertalet respondenter såg reklamerna som humoristiska och många har även uppfattat de regionala stereotyperna, vilket kan tolkas som den dominanta synen. Vidare framgick det att alla inte väljer att fullt ut acceptera de budskap som visas, utan förhandlar snarare med budskapet och det reklamen vill förmedla. Sedan framkom det även att några respondenter satt sig i opposition till dessa stereotyper och förkastade dem. Vi kan konstatera att det finns en polysemisk bild av publikens tolkning. / The purpose of this study is to highlight the recipients' interpretations of the advertising message in the field of TV advertising, and its inclusion of regional stereotypes. Through the application of a reception study, where both a semiotic analysis and respondent interviews are presented, contributes the study to continued discussion within recipient studies. The material for the semiotic analysis is two commercials from Elon's commercial series published in 2012, named Elon Norrland and Elon Småland. These are used as material for the interviews in order to be able to produce the empirical material from the respondents. Different theories were used to steer the essay in the right direction, including semiotics with the relevant concepts of denotation, connotation and myth. The concept of stereotype is also of great importance to the thesis. Polysemy is also included as a theory and together with Hall's three codes; dominant, negotiating and oppositional, the answers from the interviews are divided thematically into several categories. The semiotic analysis resulted in a discovery of interconnecting chains that together contribute to a notion of and the creation of the regional stereotypes Norrland and Småland. In the second part of the reception study, the respondent interviews, the result showed that most respondents saw the advertisements as humorous and many also recognized the regional stereotypes, this can be interpreted as the dominant view. Furthermore, it appeared that everyone does not choose to fully accept the messages that were displayed, but rather negotiate with the message and what the advertisement wants to convey. And lastly some respondents emerged to oppose to these stereotypes and rejected them. We can state that there is a polysemic picture of the audience's interpretation.

<p>Reklam försöker fånga intresset hos likgiltiga och stressade mottagare. Den försöker få oss att stanna till, men vill även bli ihågkommen efter att vi har lämnat den. I den här c-uppsatsen Are you smart enough to be stupid? är syftet att få ökad förståelse för hur Diesels - ett modeföretags - image framställs i dessa annonser. Vi besvarar frågor om vilket budskap annonserna förmedlar till dess mottagare och hur orden smart och stupid tolkas. Vårt material är ett urval på fyra annonser av kampanjens totalt 40 annonser samt fyra personer ur Diesels målgrupp – i detta fall mellan 20 och 25 år. Diesel säljer kläder och accessoarer och anses som ett väletablerat företag. För sådana företag räcker det ofta med att placera sin logotyp i annonsen tillsammans med en illustration för att nå sin målgrupp. Vi har i uppsatsen även använt oss av teorier om företags märkesbild, varumärkesbyggande, varumärkesidentitet, livsstil och kampanjer. I besvarandet av våra frågeställningar har vi använt oss av metoderna semiotik och retorik kombinerade i vår egen modell Retorsemiomodellen samt kvalitativa intervjuer och receptionsanalys. Efter att ha gjort analyser utifrån dessa metoder kom vi fram till att respondenterna överlag var mycket överrens i sin tolkning av annonserna. Utifrån vår modell ser vi att annonserna kan tolkas på ett sätt som får mottagare att reagera, dock inte särskilt kraftigt. På många frågor uttrycker våra respondenter en osäkerhet i förståelsen av annonserna. Men en sak är säker; samtliga vill vara stupid efter att ha tagit del av de fyra annonserna.</p>

<p>Forskning visar att 65 procent av konsumenternas köpbeslut av dagligvaror fattas i butikerna. Denna studie syftade till att studera konsumenters medvetenhet om tv-reklam i dagligvarubutik, hur deras köpbeteende påverkas, och i vilken grad kognitiva och perceptuella faktorer inverkar på om tv-reklam medvetet uppfattas av konsumenten eller inte. Endast fyra av 120 konsumenter upptäckte den tv-skärm som de stått intill och ingen mindes vad tv-skärmen visat, en stark indikation på att konsumentens uppmärksamhet kan vara mycket svårfångad. Huruvida visad reklamfilm var försedd med ljud och prisuppgift eller inte tycktes inte ha någon effekt på konsumenternas medvetenhet och ingen försäljningseffekt kunde påvisas men generella slutsatser kräver ytterligare forskning. Fortsatt forskning kan även undersöka konsumentens mottaglighet för tv-reklam på olika platser i butiken.</p>

No description available.

<p>In this thesis, high quality adverts are examined from the perspective of the advertisement contest Guldägget. The study discusses award-winning advertisement, both in terms of content and design, according to Guldägget’s jury members, industry experts and various theorists. Semiotics is used to analyse Guldägget’s winning adverts. These analyses, in combination with additional material and theories, are used to clarify what constitutes good communication. One of the conclusions drawn is that the essence of the theories is clearly visible in the winning adverts. Adverts should be narrative in form without being pushy or stating the obvious. Receivers should function as co-creators of the story/message. Adverts should contain only the most essential information or elements necessary to effectively deliver the message. Text and images should complement each other without being too obvious. Finally, pre-conceived ideas and contexts are commonly used to make receivers respond to the message in a particular way.</p> / <p>I denna uppsats undersöks reklam med god kvalitet sett utifrån reklamtävlingen Guldägget. Undersökningen behandlar den vinnande reklamen och huruvida den bör se ut och vad den bör innehålla enligt guldäggsjuryn, branschexperter och olika teoretiker. Semiotik används som redskap för att analysera de guldäggsbelönade annonserna. Dessa analyser, tillsammans med uppsatsens övriga material och teorier, används för att se vad som räknas som god visuell kommunikation. Jag kom bland annat fram till att de begrepp som lyfts fram i teorierna används i de belönade bidragen. Annonserna ska vara berättande i sin form utan att vara påtvingande eller peka på det uppenbara. Mottagaren bör fungera som en medskapare av berättelsen/budskapet. Annonserna bör enbart innehålla sådan information eller element som är mest nödvändig för att nå ut med ärendet. Text och bild ska komplettera varandra så att det inte blir för övertydligt. Det är även vanligt att invanda föreställningar och kontexter används för att få mottagarna att ta till sig budskapet på ett visst sätt.</p>