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White paper on creativity - ebla center

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Chapter 10The new media have in some waysencouraged the advent of a more fluidform of <strong>creativity</strong> and have given n<strong>on</strong>specialistsaccess to the world ofadvertising. A good example comes fromwhat happened during the 2007 editi<strong>on</strong>of the Super Bowl, the final of theAmerican football champi<strong>on</strong>ship whichhas the largest US televisi<strong>on</strong> audiences ofthe year and the most costly advertisingtime. At the football final, Doritos, thesnacks manufacturer, broadcast acommercial entirely made by c<strong>on</strong>sumers(who had been invited by the companywebsite to take part in a competiti<strong>on</strong>):“Doritos dem<strong>on</strong>strated <strong>on</strong> the SuperBowl stage simplicity, anti-rhetoric, avideo with a sp<strong>on</strong>taneous zero-costgarage technique in a parodying, absurd,minimalist language brazenly directed atthe product, typical of viral advertisingseen <strong>on</strong> YouTube” (Lombardi, 2007).From the perspective of Web 2.0 andc<strong>on</strong>sumer empowerment (Mortara,2007) the boundary between creator anduser of advertising has practicallydissolved.Trends in corporate communicati<strong>on</strong>sCorporate communicati<strong>on</strong>s, i.e. the setof all communicati<strong>on</strong> flows towardsinternal and external stakeholders,cannot forego the c<strong>on</strong>cept ofintegrati<strong>on</strong>. In fact integratedcommunicati<strong>on</strong>s (Collesei, Ravà, 2004)refer to the company’s capacity to coordinateall communicati<strong>on</strong> tools – fromadvertising to public relati<strong>on</strong>s, visualidentity (co-ordinated management oflogo, branding and lettering) Internetsites, sp<strong>on</strong>sorships and promoti<strong>on</strong>s –which must be orchestrated (Fabris,2003) to achieve a unique distinctiveimage of the company to be impressedindelibly in the mind of the variousstakeholders and customers. The mostcomm<strong>on</strong>ly used tools today are stilladvertising and public relati<strong>on</strong>s. Thisapplies to all fields from corporatecommunicati<strong>on</strong>s at the top of the systemof integrated communicati<strong>on</strong>s tocorporate advertising, down to brandand product advertising mainly aimed atthe end c<strong>on</strong>sumer. As has often beenstressed, advertising is still the mosteffective way of “establishing in themind of the c<strong>on</strong>sumer a distinctive andmemorable identity for a product or acompany” (Collesei, Ravà, 2003, p. 104),while public relati<strong>on</strong>s in recent yearshave evolved c<strong>on</strong>siderably and, from thepoint of view of the integratedmanagement of corporatecommunicati<strong>on</strong>s, they have taken <strong>on</strong> akey co-ordinati<strong>on</strong> and c<strong>on</strong>trolling role.WHITE PAPER ON CREATIVITY 242

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