Introductory note

Good day Mr. Taylor,

The caclmbs.blogspot.com blog has been created by Fanny Marmorat (ID Number: 11009234) in order to present the piece of work part of her final year portfolio from the Creative Advertising & Copywriting module (MC6052) at London Metropolitan Business School.

The portfolio aims to compare and contrast the advertising artefacts employing viral communication strategy and their use of social word-of-mouth. Considering the fact that the following portfolio focuses on a specific topic, a deep analysis of the subject is achieved by the investigation on three core elements:      

                           I) History and evolution of Viral Advertising
                           II) Viral Advertising within the United-Kingdom
                           III) Viral Advertising outside the United-Kingdom

Each artefact is analysed following the same structure:

                           a- Presentation of the artefact
                           b- Rationale for advertisement selection 
                           c- Advertisement's goals
                           d- Campaign results

Indeed, to avoid a superficial and succinct analysis of viral advertising, the focus is made on few amount of brilliant artefacts but which have been deeply analysed following the above description. 

The blog organisation is depicted in the following post 'Table of Contents'.

Table of Contents


  • Post 1 : Introductory note 
  • Post 2 : Table of contents 
  • Post 3 : History and evolution of Viral Advertising 
  • Post 4 : Viral Advertising within the United-Kingdom
             - Artefact 1: The Guardian 'Three Little Pigs'
             - Artefact 2: Dollar Shave Club 'Our Blades are F**king Great'
             - Artefact 3: LG 'Smart Thief caught on cam'
             - Artefact 4: Dove 'Real Beauty Sketches'
  • Post 5 : Viral Advertising outside the United-Kingdom
            - Artefact 5: Volkswagen 'The Force'
            - Artefact 6: Canal + 'The Bear'
            - Artefact 7: Berlitz 'German Coastguard'
            - Artefact 8: Agent Provocateur 'Kylie Minogue'
  • Post 6 : References

History and evolution of Viral Advertising

Following the Hotmail link revolution, Juvertson and Draper were the first ones to define viral marketing as "a network enhanced word of mouth" phenomenon (1997). Sixteen years later, more precised definitions have been formulated. According to Dictionary.com, Viral Advertising represents "a marketing strategy that focuses on spreading information and opinions about a product or service from person to person, especially by using unconventional means such as the Internet or e-mail" (2013).

Looking at the history, the first notion of Viral Advertising was created in 1996 by Hotmail.com with the implementation of a 'Join Now for Free' link to their page on every single email sent by existing Hotmail users. The viral tool allowed Hotmail to promptly increase its customer database as the number of users expanded from few hundreds to 12 million in 1998. (Internet Marketing Dictionary, 2013) (Grainger, 2009)

Focusing on its component, the most important element of viral advertising is the key role played by the target audience which ensures the spreading and 'buzz effect' allowing the advertisement to be seen by a larger public. (Definitions Marketing, 2013) 
However the target audience will only share the advertisement content assuming the presence of certain kinds of values such as comedy or emotions. (Pickton and Broderick, 2005) 
Indeed in the case of a successful viral advertising campaign, the core of the advertisement's exposition is due to social word-of-mouth and not traditional advertising space purchases. Therefore all efforts in the viral advertising campaign creation are concentrated in the creative and innovative aspects.

Viral marketing provides many advantages, some of the most important ones are its "cost-effectiveness, exponential reponse rate with time" and the fact that the message conveyed will not be perceived as a spam because it was send by a known individual, which has more impact as customers shift their reliance and trust from formal marketing representatives to comrade users. (Internet Marketing Dictionary, 2013) (Acker et al, 2011)

Viral advertising evolved from an email-based campaign targeting few million of users to varied social networking platforms reaching billion of people (AdAge, 2013).

Viral Advertising within the United-Kingdom

The Guardian "Three Little Pigs"



Advertisement presentation
Agency: Bartle Bogle Hegarty (BBH) London
Creative team: David Kolbusz, Matt Fitch, Mark Lewis
Production: Rattling Stick
Director: Ringan Ledwidge
Date of first release: 19th February 2012
Country of creation: United Kingdom
Support: Video
Platform: YouTube, Television


Rationale for advert selection
The complexity of the Guardian advertisement lies in its creativity. Indeed using a worldwide known fairy tale such as the Three Little Pigs to demonstrate the multiple political, economical, social, technological and legal aspects generated by social media interactions nowadays is genius.
The multidimensional proportion and magnitude are greatly depicted by the pace of advertisement as well as the tremendous amount of informations provided on each sequence, suggesting multiple views for the audience to deeply understand the purpose of the advertisement.
Indeed throughout the scenes, many additional online publications are added to the original sequence to highlight the importance and value of gathering as many insights as possible in the management of public affairs in the digital area we live in.


Advertisement's goals
Alan Rusbridger, editor-in-chief of Guardian and Media Guardian publisher describes the advertisement's philosophy's "as a way of doing things that is based on a belief in the open exchange of information, ideas and opinions and its power to bring about change" while Andrew Miller, chief executive of the Guardian Media Group explains "the aim is to reach progressive audiences and show them why they should spend time with us." (2012)
"The Britain's Guardian newspaper wants readers (and potential readers) to know that it excels at covering the day's news stories from a multitude of angles and on a variety of platforms." (Sanburn, 2012)
The advertisement aims to promote the Guardian's 'open-journalism approach' (Burgoyne, 2012) and demonstrate the relevance and efficiency of its coverage throughout the platforms via its news level of engagement in accordance with the public's participation.


Campaign effectiveness
Apart from the tremendous amount of awards and prizes received -listed below- the advertisement efficiency is measured by the word-of-mouth created, the number of views (1.697.447 on YouTube) and Richard Furness' (head of sales and marketing management at The Guardian) pride to "deliver a film people enjoyed, debated and shared." (ThinkBox)

The advertisement's creativity is rewared by many prestigious communication and advertising competitions such as the Cannes Lions International Festival of Creativity in 2012, the TED Ads Worth Spreading list for 2013, AdWeek's best commercial of 2012, the British Arrow Craft Awards of 2012, the Grand CLIO Awards 2012, The Eurobest Awards, Business Insider's 10 Best Ads of 2012, Grand Prix of the 2012 European Festival of Creativity and Time Business & Money's Top 10 Commercials of 2012. In addition, Burgoyne (2012) describe it as "the [Guardian]'s first major TV spot for 25 years." (Creative Review)
The Three Little Pigs is considered by many professionals as 2012's greatest piece of work, all communication area included.



  

Dollar Shave Club "Our Blades are F***ing Great"



Advertisement presentation
Agency: In house
Date of first release: 6th March 2012
Country of creation: United States of America
Support: Video
Platform: YouTube


Rationale for advert selection
Excellence of Dollar Shave Club advertisement lies in its simplicity, comedy and originality as the advert entertains the audience while communicating on the product's and service's benefits. 
Dollar Shave Club's founder and CEO, Michael Dubin defines its business not as "a razor blade company but as a lifestyle company" therefore it is not surprising that the video is considered as a serious "YouTube sensation" and "masterpiece of video viral marketing" which business can compete against worldwide known brands such as Gillette. (Scott, 2013) The specificity of this artefact is the ability to reach customers without spending more than $4,500 on its realisation and spreading through social media word-of-mouth. (Dahl, 2013) Indeed the filming took place in Dollar Shave Club's authentic warehouse in Gardena and was shot by friends. 
Moreover the funny and unrefined aspects of the video (i.e. global irrationality, company's unofficial tagline being 'Our blades are f**king great') are the main reasons why it went viral. Indeed humour helps social media to fight against traditional advertising, as viewers were entertained and amused, they decided to share the video and wanted to test the product with small financial risks.


Advertisement's goals
To get the business started, Dubin spent hours connecting with influential bloggers and creating the advertising internally. The goal was to reach customers "without spending anything on marketing." (Dubin, 2013) Dollar Shave Club's advertisement brings to light absurdity of expensive marketing operated by its competitors.
Moreover, the focus is not made to the product (indeed we only see a razor once in the advert) but to the company's identity and personality behind the spot.


Campaign effectiveness
The advertisement success lies in the digital marketing background of its founder and CEO which implemented his knowledges into a brand new business idea, communicated through silly and light video.
"The traffic attracted by the video, which has now been watched almost 10 million times, crashed the company's server in the first hour" and 12.000 online payments were made within the first 48 hours. Following the concept's success spread through the advertisement, Michael Dubin (CEO of Dollar Shave Club) needed to increase its staff to 24 full-time employees.
The campaign effectiveness went beyond any expectations as Dollar Shave Club is now running radio advertisements and is working on television and online campaigns with a second advertisement. (Dahl, 2013)





LG "Smart thief caught on cam"



Advertisement presentation
Agency: Y&R
Date of first release: 28 December 2011
Country of creation: The Netherlands
Copywriter: Andrew Maaldrink
Creative directors: Lionell Schuring, Sheldon Bont
Art directors: Theo Korf, Nick Plomp
Director: Hans Knaapen
Production company: Electric Zoo
Support: Video
Platform: YouTube


Rationale for advert selection
Cleverness of LG's advertisement lies in its simplicity and creativity. Viewers must undergo a 1 minute silent wait with "no background music, no overstated special effects, nearly no logo. Just a creepy looking guy walking backwards in an electronics store, and one minute of silent CCTV feed." (LG blog UK, 2012) The suspense generated by the lack of information and therefore lack of understanding from the audience, is clarified by the use of humour and surprise in the video's last seconds. The key product's message delivered i.e. the new LG TV is really thin, light and portable, has therefore more impact and will be remembered easily has it has been communicated using humour and suspense. (9Bytz, 2013)
Moreover, important social media sharing of LG's advertisement is due to the surprise (as most viewers do not notice the TV in the first time) and "a very high rewatch factor making the view count of the video even higher and making you want to share it with other people." (Ricardo, 2012)
As for Dollar Shave Club's advert, social media sharing operated quickly and did not need marvelous investment in the realisation's costs. (Nudd, 2012)


Advertisement's goals
LG's brief could not be simpler: demonstrate the new TV's features i.e. world's slimmest TV screen, through a short and clear video surfing on the online popularity of intelligent and stupid thieves CCTV videos, meeting great successes on social media platforms. (Most Watched Today, 2013)


Campaign effectiveness
LG gathered 1.5 million views in the first three days of its advertisement's release and currently concentrates over 50.000 online social media sharing via various networks. (Digital Strategy Consulting, 2012) Viewers were engaged to the advertisement, indeed they were intrigued and reacted as if it was a real camera recording and some asked "what happened to the thief?"
Few awards received such as SpinAwards Inspiration days and Creative pick of the day by AdAge. 






Dove "Real Beauty Sketches"



Advertisement presentation
Agency: Ogilvy & Mather Toronto
Date of first release: 14th April 2013
Country of creation: United States of America
Support: Video
Platform: Television / YouTube


Rationale for advert selection
Dove's 'Real Beauty Sketches' interest belongs to sensibility and reality implemented to its script, which mission focuses on revealing consequences of women's negative perceptions of themselves. Regardless of the many positive and negative reactions generated by the viral advertisement -described in Campaign effectiveness section- the power of its content could not let viewers impassive: they either are touched and emotionally moved or annoyed and furious by the elements of the advert. The difference in feedbacks and opinions led to tremendous social media sharing figures with more than 2 million views in less than one month for the long version.


Advertisement's goals
The Dove Campaign for Real Beauty is a worldwide campaing launched in 2004 which goals are to celebrate people's natural beauty regardless of stereotypes and therefore encourage them to feel confident and comfortable with their bodies.
The brief stated "Make women feel better about themselves" (Ramos, 2013) Dove provided "a significant change in redifining the standards of advertising and the unrealistic ideals for the way women look." (Brinded, 2013)


Campaign effectiveness
The short video version instantly went viral with 51 157 898 views in less than a month and strong reactions from the audience and the media. Young described Dove's advertisement as the "most thought provoking film yet [...] moving, eye opening and in some ways saddening, this is one campaign that will make you think, and hopefully, feel more beautiful" (2013) in addition, AdWeek describes it as "one of the most original and touching experiments to come from the Campaign for Real Beauty in ages." (2013)
However reactions were not always positive, as some articles denounce the lack of diversity with mostly "Caucasian, blonde with blue eyes, thin and young" women, indeed "out of 6:36 minutes of footage, people of color are onscreen for less than 10 seconds." (Brice, 2013)
Furthermore, the advertisement is contradictory considering the fact that "when it comes to evaluating ourselves and other women, beauty is paramount" while the evaluation should be based on other, more meaningful aspects such as "intelligence, wit and ethical sensibility, not just our faces and bodies." (Friedman, 2013)
Other reactions generated by the viral advertisement are reproaches made to the message itself, as the advert blames women's reprensentation of themselves rather than society for judging every small physical imperfection which is due to "growing up in society that enforces rigid beauty standards" explains Keane (2013). Finally Kilbourne denounces hypocritical strategy of Dove's communication which is owned by Unilver "a company that makes a business of marginalizing women in Axe campaigns." (Stampler, 2013)
However, focusing on the direct reactions Machado explains the Dove's YouTube channel's reactions are "overwhelmingly positive, with 90.000 likes and just 2000 dislikes. Which is a 45-to-1 ratio as well as 'uplifting' and 'inspiring' comments on Dove's Facebook page and 40.000 share." (2013)
To conclude, Grose states that many positive as well as negative articles and parodys created around the Dove's advertisement "is a real mark of Internet success when even your backlash gets press." (2013)

Viral Advertising outside the United-Kingdom

As explained previously, the use and impacts of Viral advertising reach a tremendous amount of markets and countries. In order to analyse the most powerful and fascinating campaigns, the student decides not only to focus on the analysis of UK artefacts but also on a wider international area.

 Indeed during the student's research stage of the portfolio development, outstanding pieces of work from foreign countries attracted her attention and were worth focusing on. In fact, prices and awards allocated to some of the following viral advertisements support the student's decision to include foreign artefacts in her final year portfolio. However it is important to remember that although these advertisements did not target the UK market, they were still available to the UK audience as they were digitally broadcasted and using a viral communication strategy, therefore accessible from any social media platform everywhere in the world eg. Facebook, Twitter, YouTube, Blogs.






Volkswagen "The Force"


Advertisement presentation
Agency: Donny Deutsch Advertising Inc.
Date of first release: 2nd February 2011
Country of creation: United States of America
Creative director: Eric Springer
Director: Lance Accord
Production: Lucasfilm
Support: Video
Platform: Television / YouTube
Rationale for advert selection
Volkswagen definitely incorporated a viral strategy to the broadcasting of The Force, as the advert was firstly available on YouTube website, three days before its official diffusion on TV during the 2011 American Superbowl evening.
The Force represents the only advertisement which strictly contains visual elements nonetheless managed to become a social institution and a viral advertisement phenomena.
Advertisement's goals
"We wanted to be loud by being quiet, so we created a spot that was simple, human and cool, the exact same qualitites that the Volkswagen (i.e. German's for 'people's car') brands stand for." (Kadin, 2011) According to Rainey the advertisement "will get inside people's head and stay there because it combines the iconic 'Star Wars' character and a classic sentiment - a child's desire to be larger than life." (2011) Indeed the elements of the advert combine myth (car operating by itself) as well as reality (actual characters and setting the audience can identify herself to) which enable viewers to easily remember the artefact therefore the product.


Campaign effectiveness
According to Advertising Age, The Force is the "most-watched viral ads [...] and is also the most shared of all-time." Indeed the day after its online release, the advert had already gathered one million views and currently gathers more than 57 million YouTube views which balance the money spent on advertising space for the SuperBowl diffusion.
The Force received numerous prestigious prizes such as: 34 Lions from Cannes International Festival of Creativity, Best advert from the Clash of the Commercials: USA vs. the World (2011) and Best Fubiz Awards 2012.



 Canal + "The Bear"


Advertisement presentation
Agency: BETC Paris
Date of first release: October 2011
Country of creation: France
Creative director: Stéphane Xiberras
Realisator: Matthijs Van Heijningen Jr. 
Production: 75 Prod
Support: Video
Platform: Television / YouTube
Rationale for advert selection
Canal + is well known for its really creative artefacts (eg. 'Le Placard' released in 2009) and The Bear confirms its originality and ingenuity. Canal +'s advert creates awareness towards the brand by using differenciation strategy from banal TV channel advertisements. Indeed fun, attachment and surprise are core elements helping the audience to recall the advert and share it with their sphere.


Advertisement's goals
The advert conveys the product's features (i.e. variety of Canal +'s TV offerings) through the pace of the advert, the heterogeneity of shots and various emotions raised in the audience. The aspect of quantity (quantity of channels provided by Canal + and quantity of feelings generated) is depicted as well with Canal +'s tagline 'The more you watch Canal + the more you love cinema', which states that quantity induces quality time. The audience understands that by spending time watching Canal +'s channels they will develop a passion for cinema and might be able to generate outcomes, like the bear did. 


Campaign effectiveness
The advertisement's effectiveness is measurable thanks to the many notable recompenses received: Gold Lions from Cannes International Festival of Creativity in 2012, Gold Swan at Festival de Cabourg, Grand Prix Strategies de la Publicité 2012, Golden Palm of visual effects from Cannes International Film Festival 2012, Gold Pencil One Show Awards from New-York 2012, New-York Festival Awards, Gold World Media category Acting, Direction, Humour, TV & Cinema, Gold CLIO Award 2012 (Mikrosimage, 2013)



Berlitz "German Coast Guard"

 Advertisement presentation
Agency: BTS United
Date of first release: September 2006
Country of creation: Norway
Director: Nic & Sune
Producer: Espen Horn
Editor: Christian Hvatun
Creative director: ThorbjØn Naug
Copywriter: Pal Sparre-Enger
Support: Video
Platform: Television / YouTube
Rationale for advert selection
Particularity of Berlitz's advertisement comes from hilarity aroused to viewers and their immediate will to share the funny artefacts with their fellow social media entourage. Paradoxically, the sophistication of Berlitz's advertisement, lies in its simplicity and the ability to describe banal event i.e. misunderstanding due to language barrier, but with more serious impacts and consequences.
Advertisement's goals
Berlitz Corp. played on the numerous misunderstanding due to language differences amongst nations to convey their service's features: language miscommunication can be harmful and have severe consequences. The advertisement had a $100.000 budget and decided to target Norway's TV2 channel before meeting success, becoming viral and landing on YouTube. (One Club, 2013)
Campaign effectiveness
The advertisement won Gold and Silver Lions from Cannes International Festival of Creativity in 2008, gathers more than 3 million YouTube views and displays "more than 1.7 million link" when 'German Coastguard' key words are searched on Google. (One Club, 2013) Moreover "tracking shows that more than 40 million people have seen the ad."
Focusing on the company, searches for 'Berlitz' on Google have increased by 52% (Adworldgems, 2012)




Agent Provocateur "Kylie Minogue"


Advertisement presentation
Agency: CDP - Travissully
Date of first release: December 2001
Director: Steve Reeves
Creatives: Mick Mahoney & Andy Amadeo
Support: Video
Platform: Cinema / YouTube (banned from TV)


Rationale for advert selection
The uniqueness of Agent Provocateur's advert is the controversial aspect generated by the use of sex and sensuality.
Unlike Dollar Shave Club, Volkswagen, Canal + and Berlitz who plays on humour and comedy to transmit their messages to the audience, Agent Provocateur uses sensuality -nearly erotism- to convey its messages: their underwear are sexy and have effects on men. Indeed the brand's name and identiy is represented throughout the advertisement with symbols of luxury, glamour, seduction and sexiness.
The outstanding element of this viral artefact is the way in which the brand (embodied by the sexy Kylie Minogue, Australian singer and actress) communicate with the audience. Indeed the viewers are engaged to the video but not in similar ways of conventional viral advertisements, in Agent Provocateur's the audience acts as witnesses and attestants of the product's features: erotism and sensuality. Viewers become actors of the advertisement and living evidences of Agent Provocateur's sexiness.


Advertisement's goals
As Kylie Minogue states in the advertisement "Agent Provocateur [position itself as] the most erotic lingerie in the world and with your help we can prove it."
Campaign effectiveness
Apart from the ban of the advertisement from television channels because viewers complained about its over raunchiness, and its unique release on cinemas, the advert has been "crowned the best cinema advertisement in a public vote" (Telegraph, 2009) and "the sexiest cinema advert of all times" (Ferguson, 2012). Rispo claims the video gathers over 360 million views. (2013)
Unlike many viral advertisements, Agent Provocateur advert managed to go viral not with the use of social networking sites but thanks to the 'shocking' content and controversial nature of the video.

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9 BYTZ (2013) LG Smart Thief Ad [Online] Available at : <http://9bytz.com/lg-smart-thief-ad/> (Last accessed April 18th 2013)
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