Changing behaviour report by lynne bools-roberts
l/b-r
Changing Changing THE THE CONCEPTS CONCEPTS OF OF BODY BODY IMAGE IMAGE WITHIN WITHIN ADVERTISING ADVERTISING
lynne bools-Roberts
FASH20031
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CO CO foreword . . . p.3 focus group methodology . . . p.5 coca-cola’s strategy . . . p.7 dove’s strategy . . . p.11
EN EN bibliography . . . p.26 list of illustrations . . . p.27 appendix . . . p.29 transcript . . . p.30 visualisation of findings . . . p.31 consent forms . . . p.33
NT NT consumer profile . . . p.19 The proposal . . . p.20 conclusion . . . p.23 refernces . . . p.25
TS TS
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foreword foreword
The role of a fashion communicator and promoter is to translate fashion brands, products and services successfully to the consumer. It involves creative skills and an
insight into the industry’s perspective. They understand the relationship between fashion brands and the creative process and media that promote them. It is also their responsibility to communicate lifestyle messages which are healthy and realistic – the promotion of diversity and equality. One of the main, global issues within this sector is women’s obsession with aesthetic behaviour – our reactions to beauty and our desire to be the epitome of a media-induced opinion of what is beautiful. ‘Virtually every human culture expresses itself aesthetically in some way or other, so the need to experience the beauty reaction has a global importance’ (Morris, 1978, pg.278). The main contributor to unrealistic perceptions of body image is advertising, and so this report will discuss how advertising affects our concepts of body image and address what a fashion communicator is able to do to transform some of these notions in the future.
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FOCUS FOCUS GROUP GROUP METHODOLOMETHODOLOGY GY FOCUS FOCUS GROUP GROUP METHODMETHODOLOGY OLOGY FOCUS FOCUS GROUP GROUP METHMETHODOLOGY ODOLOGY FOCUS FOCUS GROUP GROUP METHODOLOGY METHODOLOGY FOCUS FOCUS GROUP GROUP METHODOLOGY METHODOLOGY FOFOCUS CUS GROUP GROUP METHODOLOGY METHODOLOGY To aid reinforcement of secondary research into brands and behavioural change techniques, it was compulsory to conduct primary research. 12 participants were invited to take part in
a focus group of which 10 were able to attend (the girls were selected according to location – they all lived in High Wycombe and so were able to meet at the public library in the town’s centre). Participants selected were women from the ages 18 to 21 because the subject chosen was how the fashion industry represent body image and how this affects behaviours of those most impressionable. The age range was decided after conducting research into body image statistics. Researchers for O Magazine asked the question ‘How do women really feel about how they look?’. They asked women in their early 60’s and in their late teens so that they could also compare results. Their findings were shocking, with 59.1% of teenagers using photo-altering software to change photos of themselves compared to 8.5% in their 60’s. When asked to choose a word to best describe the way they looked 50% of teenagers chose ‘self-conscious’ while 52.2% of women in their 60’s chose ‘grateful’ (O, The Oprah Magazine, 2011). It is clear that with today’s growing technologies as well as the bombardment of unhealthy body images which are portrayed as ‘ideal’ (from the catwalk to store mannequins), young girls are especially impressionable and in need of behavioural change and so their opinion would be most valuable when researching into this field. The focus group was conducted on the 16th of December 2013, in a room hired out in the public library in High Wycombe. Consent forms and the transcript for the focus group can be found in the appendix, pg.29-33.
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Fig. 1, Participants’ favourite adverts, 2013
Fig. 2, Participants’ concepts of their own body image, 2013
To make the findings from the focus group more reliable, the research would have to be a more successful representative of a wider population. This could be achieved by asking focus groups of the same size and age category in different cities across the UK, or even across the world to achieve a global representative. The participants were also invited to the focus group via the social networking site Facebook and so were not a random sample - randomly selected participants would also deliver more valid results. However; focus groups do provide reliable feedback (Carwell, Clark and Meldrum, 2008, pg.25) as data is usually easily analysed – the researcher is able to comprehend answers wholly by using follow-up questions (as a focus group acts as more of a conversation than questionnaires). The focus group began with some of warm up questions, the findings of which can be seen in graphic form in Fig.1 and Fig.2. This was to ease the participants into speaking about the concepts which were going to be discussed in the focus group. This was followed by three questions about Coca-Cola and Dove which would be used in the content of this report to support claims and notions made, and also help to understand and evaluate the effectiveness of the brands techniques in advertising. Finally the focus group ended with two closing questions which would summarise the ideas discussed during the half an hour.
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COCA-COLA’ COCA-COLA To understand successful methods of behavioural change within advertising we must look to thriving brands. A hugely influential brand which is leading the way in changing behaviour through digital technologies and social media is Coca-Cola, which has over 3,500 different products and owns over half of all soft drinks sold (Coca-Cola, 2012). The brand released a 20 minute long animated video in 2012 via the channel of social media explaining their vision for the future named ‘Content 2020’, which was in the form of a ten-step manifesto. They intended to ‘more than double their system revenue and servings and be number one in the nonalcoholic ready-to-drink market’ (Mildenhall, 2012). A case study on Coca-Cola by Katrina Dodd for Contagious helps to understand the brand’s strategy and diagnose its effectiveness.
One step in their manifesto was to have a greater distribution of technology – superior connectivity and consumer empowerment than ever before. This began with their ‘sharing is caring’ campaign (Fig.5). The purpose of this was for Coke to be a reason to connect and reconnect with friends and family. They then collaborated with Google and came up with the project ‘I’d like to buy the whole world a coke’ which allowed web and mobile users to ‘send’ a can of coke virtually to one of a network of custom built vending machines around the world (Dodd, 2012, pg.5). The purpose of these two campaigns was to put ‘social at the heart’ of the brand and it also ‘put the brand in the hands of our consumers’ (Mildenhall, 2012). Technology allowed this concept to reach even the remotest parts of the globe and this is the reason it drove sales for that market up by 5% rising to 7% amongst the target audience of young consumers (Dodd, 2012, pg.5).
Fig. 4, Coca-Cola Art Caps, 2008
Another campaign Coca-Cola focused on was ‘Where will happiness strike next?’ (Fig.6 and Fig.7), which followed the philosophy of ‘going beyond film into social media’ (Dodd, 2012, pg.6). The use of social media enabled the concept of the campaign to begin to shape global creative work -the concept was random acts of kindness being caught on film from all over the world. One example was Filipino workers who were reunited with their families back home in time to celebrate Christmas together for the first time in years, the purpose being to spread the feeling of happiness to all those who viewed it. This struck a huge emotional chord throughout the region and drew over 1 million YouTube hits in 3 weeks (Dodd, 2012, pg.6). The VP of global advertising strategy and creative excellence for Coca-Cola commented on the campaign; ‘We are spending as much as ever on advertising, it’s just now we are conscious of the proportion we are spending on consumer facing and the proportion we are spending on agency fees’ (Mildenhall, 2012). This demonstrates that the company are investing in changing the behaviour and attitudes of their consumer as this is where they are investing most of their advertising funds, and the viewing statistics of the advertisements prove the successfulness of this strategy.
Pg.7 Fig. 3, Coca-Cola Art Bottles, 2008
A’S ’S STRATEGY STRATEGY
Fig. 5, Coca-Cola personalised bottles, 2013
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Fig.6, Open a little happiness, 2009
There is no doubt that Coca-Cola are striving to become a ubiquitous brand, they are launching multiple campaigns to prove that their consumers are empowered, and also which display their conscience of making the world a better place. They are doing this through innovative methods involving new, emerging technologies with never-ending possibilities which engage consumers more than ever before. For example, their 16 metre digital Coke waterfall which responded to people’s movement; the more one interacted, the more colourful and animated it became (Dodd, 2012, pg6). This excites and engages consumers and reminds them that Coca-Cola remains a playful, modern brand. On the opposite end of the scale, by launching campaigns which spread joy and happiness around the world is a heart-warming concept which leads to permanent positive attitudes and behaviours towards the brand. Primary research in the form of a focus group was conducted to find out how a certain consumer felt about the advertising methods of certain brands (see app. pg.30 for the transcript). Participants watched ‘Coca-Cola Happiness machine’ during the focus group which was an advertisement within their ‘Where will Happiness Strike Next’ campaign. One participant said ‘It makes me feel like the brand really cares about us as consumers and want to please us’ (Dudley-Smith, 2013: see app. pg.30). Another said that ‘I definitely think the advert worked effectively because they used social media – that way friends will share it with their friends and they joy you get from the advert will spread’ (Shabka, 2013: see app. pg.30). After relaying Coca-Cola’s plans for 2020 to the participants of the focus group however, one participant said that ‘(she) think(s) that Coca-Cola is trying to launch too many different projects. It doesn’t allow you to associate the brand with just one concept, for example happiness or becoming more sociable – it doesn’t allow you to make that emotional connection’ (Scott, 2013: see app. pg.30). This is a huge flaw in the brand’s strategy – making an emotional connection with your consumer is hugely imperative if you want to successfully change behaviour.
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Fig.7, Open happiness, 2009
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dove’S dove’S ST S Fig.8, Wrinkled or Wonderful?, 2004
Although this is the decade of the rise of social media, brands should not underestimate the power of advertising within television it is one of the most powerful communicators in our daily lives. ‘The average daily TV viewing figures over the
last quarter of 2008 were at their highest level since 2004, standing at 3.9 hours per individual’ (IPA,2009). With viewing statistics which are continuously growing, we can almost certainly assume that the role of advertising plays an important part in the shaping of our attitudes, beliefs, and ultimately our behaviours. One brand which makes use of the power of advertising in this way is Dove. They launched their project which focused on boosting the self-esteem of women around the world (Fig.8, Fig.9 and Fig.10). ‘Dove research into self-esteem, body image, and body confidence uncovers the difficulty women and girls have in recognising their real beauty’ (Dove, 2010). According to the primary research, a flaw of Coca-Cola was not tailoring all of their campaigns to one ultimate goal, although their use of digital technologies and social media are successful in engaging the consumer. ‘Dove has become an archetype for social branding because it has gained passionate commitment and engagement for its ethos of raising women’s self-esteem’ (Hackley, 2005, pg.280), this association with one ethos has successfully helped change behaviour of their consumers. Dove is a brand which leads the way in focusing on projects not campaigns – a sure way to show the consumer that the brand doesn’t only care about sales but the welfare of their customer. The future for all brands should be corporate social responsibility – the concern of giving back to society and Dove are already prosperous in this field. They conducted a report in September, 2004 which discussed the findings of the global study on women, beauty and wellbeing. The brand managed to detect a global issue and dedicated their brand into resolving it through a series of campaigns. The report found that ‘women around the world would like to see the media change in the way it represents beauty’ with 75% of women strongly agreeing that they wished that ‘the media did a better job of portraying women of diverse physical attractiveness – age, shape and size’ (Scott and D’Agostino, 2004). A comparison between a Dove campaign and a Victoria secret campaign (which is how body image is mostly portrayed in the media) can be see on pg.15 in Fig.11 and Fig.12). Dove is the first brand to attempt to both deconstruct and reconstruct women’s perceptions of female beauty using applied research across ten countries. This is because they found that ‘just as women lay some of the blame for the perpetuation of inauthentic beauty on popular culture and the mass media, they also believe that it can be a force for reconfiguring the former so that true beauty becomes the new standard – with unprecedented power to open minds and move emotions’. - Scott and D’Agostino, 2004 Pg.11
F O R
STRATEGY TRATEGY C A M P A I G N
REAL BEAUTY
Fig.9, Ugly spots or Beauty spots?, 2004 Pg.12
Fig.10, Fat or Fit?, 2004
Fig.11, Victoria Secret: Love your body, 2010
CVICTORIA SECRET CAMP O M COMPA P CONT A R DOVE’S CAMPAIGN E Pg.15
C PAIGN: LOVE YOUR BODY O N PARE & T TRAST R A N FOR REAL BEAUTY S T Fig.12, Dove’s campaign for real beauty, 2008
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Fig.13, Real Beauty Sketch of Kela, 2013
Y O U
To gain an understanding into the effectiveness of Dove’s selfesteem project participants of a focus group were shown a few of the campaigns Dove released such as ‘Dove real beauty sketches’ (Fig.13 and Fig.14) and ‘When did you stop thinking you were beautiful?’. When asked ‘how did the campaign make you feel?’, one participant answered ‘it really made
me question why I am so hard on myself when it comes to my appearance, and a lot more confident seeing as so many women are in the same boat’ (Kolesnik, 2013: see app. pg.30) Another participant added ‘they are such feel-good ads; it made me want to appreciate my looks more than I do’ (White, 2013: see app. pg.30). This proves that the Dove self-esteem project is having a positive effect on young women and making a step towards changing behaviour.
A R E
Fig.14, Real Beauty Sketch of Florence, 2013
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M O R E B E A U T I F U L
THAN YOU THINK
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Fig.15, Zoe and her puppy, 2013
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Fig.16, Portrait of Zoe, 2013
CONCERNED ABOUT APPEARANCE
FOLLOWER OFCELEBRITIES
CONSUMER CONSUMER PROFILE PROFILE Pg.19
THE THE PROPOSAL PROPOSAL
Dove are trying to address a global problem; recent analysis of data from the Pittsburgh Youth Study found that even at young ages, 35% of 9-year-old and 38% of 10-year-old girls were already dissatisfied with their bodies (2010). Notions of beauty need to be communicated in an alternative method in the future so that healthy and diverse body images are portrayed to consumers so that positive behaviour occurs. The consumer for my proposal would be a young woman, and this was decided because of the extensive research into the variance in concepts of body ideals different ages possess. It shows that young women are especially impressionable when it comes to the mass media of today. In particular research by Maltby et al. in Cardwell and Flanagan (2005, pg.231) ‘found evidence of a relationship between attitudes to celebrities and body image among female adolescents and this was ‘strongest in girls between the ages 14 and 16’. Furthermore ‘parasocial relationships with celebrities who are perceived as being slim may lead to poor body image in female adolescents’, this may consequently predispose them to eating disorders such as anorexia nervosa or bulimia nervosa. The consumer therefore would be from the age of 14 to 18, she would be a follower of celebrity culture and someone who has low self-esteem about their body image.
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Fig.18, Gisele Bundchen Vogue Paris, 2012
Fig.17, Emily Ratajkowski surfline bikini, 2013
Fig.19, Lea Michele schoolgirl for GQ, 2010
When researching behavioural change techniques in advertising it was found that effective persuasion (leading to behavioural change) could be achieved by focusing on who says what to whom (Hovalnd et al., 1953). For example, credible experts or the use of popular, attractive sources for the message of the advertisement would be more influential. Therefore for the communication strategy for the proposed advertisement, the perfect source to communicate the message to the chosen consumer would be popular celebrities (who would influence my consumer because of their interest in celebrity culture), all of different body shapes and sizes. This would battle the mass media’s concept of body image (Fig.17, Fig.18 and Fig.19) and remind consumers that most celebrities do not have a media induced ideal body image. Using a celebrity to communicate the message is further reinforced by research by Derrick et al. (2008). ‘The relationship between self-esteem, identification with a parasocial relationship and the perceived discrepancies between
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the ideal and the actual self’ (Cardwell and Flanagan, 2009, pg.230) were examined and it was found that those with low self-esteem saw their favourite celebrity as very similar to their ideal selves. After the participants wrote an essay about their favourite celebrity they reported feeling closer to their ideal selves and experienced a boost in self-esteem. This experience was also proven to be unique to parasocial relationships and so this connection with a celebrity on the proposed advert should aid increasing the consumer’s self-esteem also. By using celebrities it could also aid in making the advertisement global – the message will be received by young women all over the world to ensure positive behavioural change about body ideals across all cultures and countries.
The content of the message is also important for successful attitude (and in the long-term) behavioural change; ‘messages are more effective if we think they are not intended to persuade’ (Hovland et al., 1953, pg. 224). Therefore the strategy would be a chosen beauty brand like Unilever’s Dove or Simple and an advertisement would be made which would not promote the brands products, but diverse celebrity ambassadors communicating simple messages and facts on body ideals such as ‘only 4% of women around the world consider themselves beautiful’ (Dove, 2010). These facts would be followed by personal stories about the celebrities own anxieties about their body image, and then a closing message such as ‘whether we move across space and time, there are dramatic variations in the female body ideals, and all hope of finding an intrinsically perfect feminine beauty must be abandoned’ (Morris, 1978, pg.282). This technique would be a mixture of ‘hard-sell’ and ‘soft-sell’ advertising; facts and also more creative methods of advertising (which will be the individual stories of the different celebrities in each advertisement). As hard-sell and soft-sell have different success rates on different types of consumer (Snyder and Bono, 1985 in Carducci p.474) by using both techniques in one advertisement it can be confidently stated that it will appeal to most consumers. According to Scherwin and Newell (1981, pg.293) ‘behavioural change cannot occur without attitude change having taken place’. According to the research on attitude change and persuasion techniques, the proposed advertisement ought to be successful in changing the behaviour of the chosen consumer.
The campaign would include celebrities of all shapes and sizes
Fig.20, Dressing all body shapes, 2011
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CONCLUSION CONCLUSIONCONCLUSION CONCLUSION SION SIONCONCLUSION CONCLUSIONCONCLU CONCL CLUSION CLUSIONCONCLUSION CONCLUSIONCON CO CONCLUSION CONCLUSIONCONCLUSION CONCLUSION SION SIONCONCLUSION CONCLUSIONCONCLU CONCL CLUSION CLUSIONCONCLUSION CONCLUSIONCON CO
To conclude, by looking to leading brands it was found that the most successful outcomes for changing behaviour were strategies which made an emotional engagement with their consumer; so that they felt like their welfare was being put at the heart of the brand. Using this information which was gained by regarding
case studies and primary research, and also extensively researching psychological behavioural change theories, a proposal for a communication strategy to be released in the future was nurtured. A project which would include a series of campaigns featuring different celebrities (all of different body sizes and shapes) who would emotionally engage with the consumer by confirming women of all shapes experience the same anxieties about body image. This should theoretically changing the consumer’s behaviour about body image because of research into how a certain type of consumer (young women who are influenced by celebrity culture) are inclined to change their behaviour through their parasocial relationships with a celebrity. Of course this project alone would not be able to change behaviour on a global scale, for this to occur all media would have to begin to advertise with more diverse body ideal messages. This would lead to an abandonment of trying to achieve the perfect image, and the acceptance of all body shapes and sizes (Fig.21) – this would be a much happier, healthier future for women.
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NNCONCLUSION CONCLUSIONCONCLUCONCLULUSION USION CONCLUSION CONCLUSIONCONCONONCLUSION NCLUSION CONCLUSION CONCLUSION NNCONCLUSION CONCLUSIONCONCLUCONCLULUSION USION CONCLUSION CONCLUSIONCONCONONCLUSION NCLUSION CONCLUSION CONCLUSION Fig.21, Body Silhouettes, 2003
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LIST OF ILLUSTRATIONS Fig.1 Participants’ favourite adverts, December 2013 [own image] Fig.2 Participants’ concepts of their own body image, December 2013 [own image] Fig.3 Coca-Cola Art Bottles (graphic) RockandRoll Agency, online (2008) Available at: http://coca-cola-art.com/2008/10/08/free-coca-cola-vectors/ [Accessed 13 January 2014] Fig.4 Coca-Cola Art Caps (graphic) RockandRoll Agency, online (2008) Available at: http://coca-cola-art.com/2008/10/08/free-coca-cola-vectors/ [Accessed 13 January 2014] Fig.5 Coca-Cola personalised bottles (digital photograph) Liz Gyekye, online (2013) Available at: http://www.packagingnews.co.uk/xx/coca-colapersonalises-coke-packs/ [Accessed 13 January 2014] Fig. 6 Open a little happiness (still from animation) Movie Interactive, online (2009) Available at: http://upthink.tv/projects/coca-cola-mini-sleek-openhappiness/ [Accessed 13 January 2014] Fig.7 Open happiness (graphic) Emma Bedsor, online (2009) Available at: http://www.twocentsgroup.com.au/coca-cola-creative-to-content-excellence/ [Accessed 13 January 2014] Fig. 8 Wrinkled or Wonderful? (campaign) Duncan Macleod, online (2004) Available at: http://theinspirationroom.com/daily/2004/dove-campaign-for-realbeauty/ [Accessed 13 January 2014] Fig.9 Ugly spots or Beauty spots? (campaign) Duncan Macleod, online (2004) Available at: http://theinspirationroom.com/daily/2004/dove-campaign-for-realbeauty/ [Accessed 13 January 2014] Fig.10 Fat or Fit? (campaign) Duncan Macleod, online (2004) Available at: http://theinspirationroom.com/daily/2004/dove-campaign-for-real-beauty/ [Accessed 13 January 2014] Fig.11 Victoria Secret: Love your body (campaign) Katie Hintz-Zambrano, online (2010) Available at: http://main.stylelist.com/2010/03/01/victorias-secretlaunches-love-your-body-campaign-with-three-new-body-by-victoria-bras/ [Accessed 13 January 2014] Pg.27
Fig.12 Dove’s campaign for real beauty (campaign) Dove, online (2008) Available at: http://peopleslab.mslgroup.com/peoplesinsights/wp-content/ uploads/2013/08/Dove-Real-Beauty-Campaign.jpg [Accessed 13 January 2014] Fig.13 Real beauty sketch of Kela (artists sketch) Dove, online (2013) Available at: http://realbeautysketches.dove.com/ [Accessed 13 January 2014] Fig.14 Real beauty sketch of Florence (artist sketch) Dove, online (2013) Available at: http://realbeautysketches.dove.com/ [Accessed 13 January 2014] Fig.15 Zoe and Maisy, December 2013 [own image] Fig.16 Portrait of Zoe, December 2013 [own image] Fig.17 Emily Ratajkowski surfline bikini (digital photograph) Saw First, online (2013) Available at: http://www.sawfirst.com/emily-ratajkowski-in-surfline-bikiniphotoshoot-2013-05-19.html [Accessed January 2014] Fig.18 Gisele Bundchen Vogue Paris (magaizine cover) Marianna Leftheri, online (2012) Available at: http://incredibilefashion.blogspot.co.uk/ [Accessed 13 January 2014] Fig.19 Lea Michele schoolgirl GQ (magazine cover) Mark Marino, online (2013) Available at: http://main.stylelist.com/2010/10/19/glee-gq-november-2010/ [Accessed 13 January 2014] Fig.20 Dressing all body shapes (illustration) Briella, online (2011) Available at: http://fashionisabitch.wordpress.com/2011/12/23/holiday-dresses-for-all-bodyshapes/ [Accessed 13 January 2014] Fig. 21 Body Silhouettes (illustrations) Bhuiyan, online (2003) Available at: http://edbites.com/2013/03/understanding-the-quest-for-the-perfect-bodythe-links-between-perfectionism-body-dissatisfaction-and-eds/ [Accessed 13 January 2014] Fig. 22 Participants’ opinions on Coca-Cola, December 2013 [own image] Fig. 23 Participants’ opinions on Dove, Decemeber 2013 [own image]
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APPENDIX APPENDIX Transcript for introduction to focus group: I am Lynne Bools-Roberts, a student from Nottingham Trent University. As part of my programme of study I am undertaking research into how advertising affects our concept of body image, and themes of changing behaviour. To enable me to answer my research questions I wish to talk to you about your opinions on advertisements, brands strategies on changing behaviour and your own views on body image in the media and on a personal level. The focus group will be a focused discussion and will last approximately half an hour. We will concentrate on the brands Coca-Cola and Dove and also how you think body image is portrayed in advertising. The focus group will be recorded and transcribed, and should you want q copy of the transcription then please ask me and I will arrange one to be sent to you. The information you provide today will be used in support of my work and will be written up in my report. Anything you say will be treated with strictest confidence and your contribution to the dicsussion won’t be attributed to you as an individual if you so wish. However if you consent, second names will be used in my report to show discussion or themes of viewpoints. What you say will be used for illustration only; to reinforce a point that I am making. The recordings will be kept securely and the transcripts on a password portected computer. Both will be destroyed once I have completed my degree and graduated.
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Transcript:
Pre-prepared schedule of questions:
Warm up/introductory questions 1) What are your favourite adverts? Why? (Ask one by one) Follow up – How did it make you feel? (Conversation, encourage participants to exchange opinions with one another. Ask ‘do you agree’ and ‘what do you think about that’) 2) How do you feel about your body image? Follow up – is it your ideal body? Would you change something? (Discuss)
*SHOW’ COCA-COLA HAPPINESS’ MACHINE ADVERT AND BRIEFLY EXPLAIN CONTENT 2020*
Questions about the brands 3) What did you think about the advert? (Discussion) [Example of an answer which appeared in report] ‘It makes me feel like the brand really cares about us as consumers and want to please us’ (Eliane Dudley-Smith) ‘yeah, I agree, I’d love to be at that campus!’ (Daisy Blake) ‘it would cooler if it was to help homeless people or those who really need it, great idea though’ (Lara Sherwood). I thought this was brilliant, I smiled and laughed just like those students in it!’ (Georgia Scott). ‘I think that it is good that they used the money to give happiness to others, not like other brands who would just give the profits for themselves’ (Lucy Twine). ‘I definitely think the advert worked effectively because they used social media – that way friends will share it with their friends and they joy you get from the advert will spread’ (Kiah Shabka). 4) What did you think of Coca-Cola’s vision? [Example of an answer which appeared in report] ‘I thought that it was extremely ambitious – it’s like they want to take over the world’ (Daisy Blake). ‘Yeah, and I really like how they have made the advert for it so creative, just shows how creative the brand is!’ (Samantha Picken). ‘I like how they’ve release the advert to explain their vision; it gives you a deeper understanding of the brand’ (Lara Sherwood). ‘I think it’s great that they are so ambitious – it makes me want to work for Coke!’ (Eliane Dudley-Smith). ‘I think that Coca-Cola is trying to launch too many different projects. It doesn’t allow you to associate the brand with just one concept, for example happiness or becoming more sociable – it doesn’t allow you to make that emotional connection’.
*SHOW DOVE ‘REAL BEAUTY SKETCHES’ AND ‘WHEN DID YOU STOP THINKING YOU WERE BEAUTIFUL’ CAMPAIGNS?
5) What did you think of the campaigns? ‘In the beauty sketches advert I think that they still used women who were too beautiful to represent all body images!’ (Lara Sherwood). ‘I disagree, this is the best advert I’ve seen in ages, made me kind of emotional!’ (Sarah Chatten). ‘Yeah, it really made me question why I am so hard on myself when it comes to my appearance, and a lot more confident seeing as so many women are in the same boat’ (Anna Kolesnik). ‘I think that they are such feel-good ads; it made me want to appreciate my looks more than I do’ (Sasha white). ‘These are perfect examples to show that women are their own worst critic – they are actually quite shocking adverts!’ (Sarah Chatten).
Closing questions 6) What is the most effective method an advert has used which really engaged you? 7) How do you feel about body images portrayed in advertising? Follow up – What, if anything, would you change about it?
*THANK YOU FOR ATTENDING*
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visualising visualising tt
As seen in Fig.1. ‘What are your favourite adverts and why?’
As seen in Fig.2. ‘How do you feel about your body image? Is it your ideal body or would you hcnage something?’
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the the findings findings
Fig.22, Participants’ opinions on Coca-Cola, 2013
Fig.23, Participants’ opinions on Dove, 2013
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consent consent forms forms
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consent consent forms forms
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consent consent forms forms
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