We have already presented a few examples of campaigns which use a fear arousing appeal or irony to prevent dangerous and unhealthy behaviours, but this New Zealander advert will let us think more about what we do when we drink and drive, naturally after a laugh.
The latest Miami Ad School‘s institutional campaign aims to challenge the creatives to abandon references used exhaustively by the advertising market and to stimulate the search for new ones. Each one of three print works shows a composition with dozens of ads, products and services completely different, but starred by the same cultural icons: Albert Einstein, Marilyn Monroe and Che Guevara.
What would have they said knowing that their faces would have finished on coffees, t-shirts and birthday cards?
FIAT is trying hard in the US market.
What can distinguish the automotive brand from Turin from the others? How do they want to be recognised by american customers?
Probably it is not through technology nor design nor quality (there is still the funny joke about the acronym FIAT, which should mean Fix It Again Tony). They are looking for a stronger characterisation, based on more solid beliefs, and few things are more solid for a motor brand than its origins.
Let’s see one of the latest ads by FIAT for the american market:
Have you ever seen those creepy images on tobacco packagings? And the advertising on the bus to prevent car accidents?
Which emotions have you felt looking at them? Were you disgusted, scared and impressed?
Great! That was the purpose!
In the 1936, the critic and philosopher Walter Benjamin wrote the essay “The work of art in the age of mechanical reproduction” about the consequences on our culture and perception caused by new media and technologies of his times.
How can an essay wrote almost 80 years ago help us understanding a contemporary and successful brand as Lomography?