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Sports Marketing & Sponsorship - FIFA/CIES International University ...

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Drivers to divasRESEARCH PAPERSidwell, 1998; Cuneen & Spencer, 2003) and wasthe method chosen by Cuneen et al (2007) to assessadvertisements that depicted female drivers in theofficial Indianapolis (Indy) 500 programme. Theresearchers examined souvenir programmes from1977 to 2006 and found that female drivers appearedin only six issues of the official programme over that29-year period. There were three advertisements withJanet Guthrie, three with Lyn St. James, two withSarah Fisher and 10 with Danica Patrick. The units ofanalysis included pose, connotation, role portrayal andcamera angle.For this study, the same advertisements examined inCuneen et al (2007) were assessed for sourcecredibility in terms of expertise and attractiveness.Expertise was determined by a combination of factors:an active pose, a strong connotation or undertone ofthe ad photo (suggesting competence), a role portrayalwith an athletic component, and whether the productbeing endorsed was racing-related. Attractivenessbased on traditional femininity was also determined byseveral factors including a passive pose, a weakconnotation and a role portrayal consisting of a nonsportstraditional gender role and/or sexualsuggestiveness.Resulting application of source credibilityThe three advertisements in the official Indy programmethat featured Janet Guthrie, two in 1979 and one in1980, all indicated expertise by containing an athleticcomponent in the role portrayal and promoting racingrelatedproducts (Indy Hall of Fame and Texaco Oil).One of the advertisements also included an active poseand strong connotation suggesting a strong emphasis onexpertise. The other two Guthrie advertisements werepassive poses and neutral connotations which suggestsome interest in attractiveness, but overall, the Guthrieadvertisements were more focused on expertise as thesource of credibility.Lyn St. James, who was an endorser in two Indyprogramme advertisements in 1993 and one in 1996,was portrayed as athletic in all three advertisements.Two of the advertisements had non-sports companiessponsoring racing-related products (Bank One Rookieof-the-YearAward and the JC Penney & Nike RacingTeam) while the other advertisement was for LifetimeTV. Two of the advertisements included active posesand strong connotations of competence. Theadvertisers who featured St. James were primarilyfocused on gaining credibility via expertise.In 2003 Sarah Fisher was a spokesperson in twoadvertisements in the official Indy programme, one forTag Heuer Watches and the other for RaybestosBrakes. Both advertisements depicted Fisher in apassive pose with a neutral connotation wearing herracing gear, but in one of the advertisements, therewas some sexual suggestiveness through an alluringfacial expression and body position. Thus there wasless emphasis on expertise and more on attractivenessin comparison to advertisements featuring earlierracers, Guthrie and St. James.The 10 advertisements featuring Danica Patrick inthe 2006 Indy programme included a mix ofadvertisers, half of them endorsing racing-relatedproducts. She was in an active pose in only oneadvertisement, but displayed a strong connotation ofcompetence in four of the advertisements and aneutral connotation in all of the others. She waswearing her racing gear in eight of the advertisements.She was wearing a formal length dress and stilettoheels in an advertisement for Secret deodorant andjeans and a tank top in a promotion for Peakantifreeze. An advertisement for Tissot Watchesincluded three head-and-shoulder shots of Patrick, onein her racing suit and the other two in a tank top.Sexual suggestiveness was evident in four of theadvertisements featuring Patrick. Some advertisersemphasised Patrick’s expertise while others zeroed inon her attractiveness or highlighted both expertise andattractiveness as sources of credibility.208 <strong>International</strong> Journal of <strong>Sports</strong> <strong>Marketing</strong> & <strong>Sponsorship</strong> ● APRIL 2009 ●

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