COMMUNICATION CHANNEL: Television
INTENDED AUDIENCE: This advertisement aired during the Super Bowl so it was seen by people of all ages. However, the target audience is adults twenty-one or older.
Well, isn't this commercial the life of the party?
Okay, that was a lame cliche, but it is exactly what this commercial is about: being the life of the party, even in the worst of circumstances.
Let's analyze the persuasiveness of this commerciail. First of all, the slogan: Here we go. This phrase is sometimes used sarcastically to indicate that "the same old thing" is happening again. But this phrase is also used when something really exciting is going to happen. For example, when someone is at the very edge of a dip while he/she is riding a roller coaster, he/she might say, "Here we go!" The slogan is repeated twice in this commercial, once by an excited captain and once by "the voice." Slogans are "catchphrases that express a brand name, its benefits, and its 'personality'" (Larson, 2010, p. 380). Obviously, Bud Light's "personality" is that of fun, parties, and good times.
This advertisement also uses one tactic of Hugh Rank's intensify/downplay model. According to this model, persuaders use strategies to either intensify certain aspects of their product or strategies to downplay aspects of their product. The four strategies of action are (1) intensify good points, (2), intensify opposition's weak points, (3) downplay weak points, and (4) downplay opposition's weak points. There are six tactics used with the strategies: repetition, association, and composition (for intensification) and omission, diversion, and confusion (for downplaying).
Here, the tactic of association is used. Association "links a cause, brand, candidate, and son to something already liked or disliked by the audience" (Larson, 2010, p. 32). Even those who have only seen promos for the popular television show Lost can connect the commercial's visuals with the show's visuals. There is even an Evangeline Lilly look alike. Thos who are living under a rock and don't know anything about Lost are familiar with other stories of being stranded on a deserted island after trusted means of transportation fail like Robinson Crusoe or Gilligan's Island. Associating this commercial with exciting stories of survival ensures that audiences are going to pay attention to the story because they immediately want to know what happens next. Since most survival stories have a happy ending, audiences want to know how the happy ending will come about.
Finally, this commercial uses the AIDA model. This model is is related to the organization by motivated sequence method of organizing persuasive messages. AIDA stands for attention, interest, desire, and action. These appear in the advertisement this way:
Attention: The first few seconds in which the survivors seem to be waiting for some news. This catches the consumer's attention because it presents the question: "Why are these people here?"
Interest: The Evangeline Lilly look alike says her lines and the consumer is know interested in the plight of these people. Attention can only be held for so long and can last for only a moment, but interest is harder to turn from.
Desire: The moment everyone starts partying, the consumer wants to party too. The benefit of the product is shown: good times.
Action: When "the voice" announces that Bud Light is "the sure sign of a good time." What consumer does not want to have a good time? "The voice" might as well have said, "If you want to have a good time, get some Bud Light."
Item #2: My Dad's Advice
COMMUNICATION CHANNEL: Speech
INTENDED AUDIENCE: Me
For about a year and a half, I've been going to bed really late and messing up my circadian rhythms. My family has begged me to stop, but my dad has been the most persistent in his pleas. Here's what he usually tells me.
"Keren, you have to stop going to bed so late. It's foolish to do so. You're going to mess up the natural rhythm of your body and that's bad for your brain. You're brain can't function when you haven't slept at the right times. I know because it's happened to me. You're young and you probably don't feel it, but if you develop this habit, it's going to mess you up for the rest of your life. You have to go to sleep and wake up at the same time everyday. Please, please, please don't do it again."
The Greek philosopher Aristotle said that persuasion "consists of artistic and inartistic proofs" (Larson, 2010, p. 20). Artistic proof is elements that the persuader controls and inartistic proof is elements that are not controlled by the persuader (Larson, 2010). "Inartistic proof includes . . . the occasion, the time allotted to the speaker, and the speaker's physical appearance" (Larson, 2010, p. 20). Some examples of artistic proof are "the choice of the evidence, the organization of the persuasion, style of delivery, and language choices" (Larson, 2010, p. 20). My dad's advice can be broken down simply into Aristotle's three types of artistic and inartistic proof: ethos, logos, and pathos.
Ethos is the credibility of the persuader. Ethos is paramount in this case because I place a high value on my dad's opinions and advice. If some random stranger walked up to me in the supermarket and gave me the same advice, I wouldn't listen to him/her the way I listen to my dad. His word holds more weight because I trust him, and because I know that he has more experience than I do.
Logos is the use of rational reasons to appeal to the audience's intellect. In my dad's message to me, logos is found in the way my Dad convinces me that it's not wise to go to sleep late. He uses reasons such as "it will mess up your brain" and "you won't be able to concentrate." He also uses real-life examples like the terrible sleeping habits of some of my family members. These reasons are processed by the logical side of my brain. His words condense into the logical, "Form a regular sleeping pattern. It just makes sense because it makes your life so much better. Why not do it?"
Pathos is an emotional appeal. My dad gives me this advice because he loves me and he wants me to do my best. To do my best, I should get a full night's sleep at the right time and not at two or three in the morning as I've become accustomed to in the past year. He sometimes says that he cannot rest peacefully knowing that I'm awake, and he also says that he doesn't want me to end up like the family members I mentioned above.
These elements make a well-rounded persuasive appeal . . . one that I have yet to be persuaded by.
INTENDED AUDIENCE: Me
For about a year and a half, I've been going to bed really late and messing up my circadian rhythms. My family has begged me to stop, but my dad has been the most persistent in his pleas. Here's what he usually tells me.
"Keren, you have to stop going to bed so late. It's foolish to do so. You're going to mess up the natural rhythm of your body and that's bad for your brain. You're brain can't function when you haven't slept at the right times. I know because it's happened to me. You're young and you probably don't feel it, but if you develop this habit, it's going to mess you up for the rest of your life. You have to go to sleep and wake up at the same time everyday. Please, please, please don't do it again."
The Greek philosopher Aristotle said that persuasion "consists of artistic and inartistic proofs" (Larson, 2010, p. 20). Artistic proof is elements that the persuader controls and inartistic proof is elements that are not controlled by the persuader (Larson, 2010). "Inartistic proof includes . . . the occasion, the time allotted to the speaker, and the speaker's physical appearance" (Larson, 2010, p. 20). Some examples of artistic proof are "the choice of the evidence, the organization of the persuasion, style of delivery, and language choices" (Larson, 2010, p. 20). My dad's advice can be broken down simply into Aristotle's three types of artistic and inartistic proof: ethos, logos, and pathos.
Ethos is the credibility of the persuader. Ethos is paramount in this case because I place a high value on my dad's opinions and advice. If some random stranger walked up to me in the supermarket and gave me the same advice, I wouldn't listen to him/her the way I listen to my dad. His word holds more weight because I trust him, and because I know that he has more experience than I do.
Logos is the use of rational reasons to appeal to the audience's intellect. In my dad's message to me, logos is found in the way my Dad convinces me that it's not wise to go to sleep late. He uses reasons such as "it will mess up your brain" and "you won't be able to concentrate." He also uses real-life examples like the terrible sleeping habits of some of my family members. These reasons are processed by the logical side of my brain. His words condense into the logical, "Form a regular sleeping pattern. It just makes sense because it makes your life so much better. Why not do it?"
Pathos is an emotional appeal. My dad gives me this advice because he loves me and he wants me to do my best. To do my best, I should get a full night's sleep at the right time and not at two or three in the morning as I've become accustomed to in the past year. He sometimes says that he cannot rest peacefully knowing that I'm awake, and he also says that he doesn't want me to end up like the family members I mentioned above.
These elements make a well-rounded persuasive appeal . . . one that I have yet to be persuaded by.
Item #3: More Magazine Advertisement
COMMUNICATION CHANNEL: March 2010 edition of More magazine
INTENDED AUDIENCE: This magazine states it is "for women of style and substance," mainly middle-upper to upper-class women in their late 30s and 40s and early 50s.
Note: The first photo was taken without flash to show the foam (the whole point of the advertisement). The second photo was taken with flash to show the advertisement's true color.
The Elaboration Likelihood Model best describes this advertisement. This model uses elaboration to mean "the conscious scrutiny we use in making an evaluative judgment and requires both the motivation and the ability to process information" (Larson, 2010, p. 93). The model places elaboration on a continuum with the central route on the high end and the peripheral route on the low end (Larson, 2010). People use the central route when they think critically, more slowly, and with higher effort (Larson, 2010). The peripheral route requires "much less cognitive effort and sometimes surveying less information than in the central route" (Larson, 2010, p. 93).
The central route is the play on words in the copy: "Get lost in the foam-ent." Reading the words requires conscious effort as does thinking through the fact that one would usually say "Get lost in the moment." The hyphen is an excellent way of setting the word "foam" apart, and it allows the mind has to concentrate as well to reach the moment of "Oh, I get it." The central route is also in play in the copy at the bottom which tells you the name of the product and what it's price would mean to you: "20 cents a cup." The consumer has to think hard to remember the name of the product. The fact that this coffee is only twenty cents a cup will also cause the consumer to think about how much he/she currently spends on coffee.
The peripheral route is shown in the emotion in the advertisement. This is seen in the strong visual. The woman's happy and peaceful face shows her sheer joy in the foam. The consumer subconsciously imagines that maybe she has just dipped her nose near the cup to get a whiff of the coffee and is enjoying the scent in the moment the photograph depicts. Perhaps, she hasn't even noticed that some foam has gotten at the end of her nose. Also in the peripheral would be the feeling of the foam on her nose and the particular scent of the coffee. Other peripheral cues would be the woman's hair, in a way representing the heat of the coffee since it is red and since it is around her and not tucked behind her ears or pulled back. Also peripheral is the smile on her face and the fact that the coffee is in glass so that the consumer can clearly see the delicious coffee. These cues are picked up subconsciously by the consumer, who perhaps likes coffee and loves savoring all the little things that go with drinking coffee such as its foam, its scent, and its worth.
Item #4: Barclaycard Advertisement
COMMUNICATION CHANNEL: Television
INTENDED AUDIENCE: People who live the UK and want a credit card that's easy to use.
Let's move on to something fun.
Barclaycard is a UK-based credit card and loan provider. This commercial advertises Barclaycard's contactless technology. Of course, credit card companies have to work extra hard to convince persuade people since the recent global economic meltdown has made people fear credit cards.
As comical as it sounds, this advertisement actually uses reasoning to get its point across. Reasoning is a type of proof, which is "enough evidence connected through reasoning to lead the majority of typical receivers to take or believe the persuader's adivce" (Larson, 2010, p. 216). It is made up of evidence and reasoning (Larson, 2010). The kind of reasoning used in this advertisment is reasoning from analogy (Larson, 2010). This type of reasoning uses "figurative or real analogies as [a] logical reason for some conclusion" (Larson, 2010, p. 216).
Barclaycard is comparing using one of their cards to going down a water slide. The contactless technology is so easy and so fast that the man can continue going down the water slide without worrying about whether the card scanned or not. Anyone who knows what a hassle it is to physically swipe a card only to find out it was swiped incorrectly or has experieced the frustrating of having to show ID or sign a sign a receipt knows that even "fast and easy" credit cards can take up valuable time.
The song used is "Let Your Love Flow" by the Bellamy Brothers which was a huge hit in 1975 in the United States and Europe. No doubt people who listen to this easy-going song remember when it was popular and the song contributed a feeling of happiness and well-being. The song itself gives feelings of ease, contentment, and happiness. Like the water slide, the song is used as an analogy for the ease with which payments can be made with Barclaycard's contactless technology. The lyrics "let your love flow like a mountain stream" are used with the image of flowing water in a refreshing water slide, which creates an even stronger analogy than would have been created if either the song of the slide were used alone.
The fact that the water slide covers the entire city shows by figurative analogy that a Barclaycard can be used anywhere (except perhaps the library where a credit card would be useless anyway). The city is literally this man's playground because he is able to buy with no hassle. This analogy is emphasized by "the voice" in the end which announces that Barclaycard is "making payments simpler." By creating figurative analogies, Barclaycard succeeds in making their slogan sound like an understatment since the consumer is now convinced that payments made with Barclacard payments are not just simple but effortless.
Item #5: Coca-Cola Advertisement
COMMUNICATION CHANNEL: Television
INTENDED AUDIENCE: Any soft drink consumer, but in this case, mainly men and boys
As is most obvious, this advertisement uses a jingle and a slogan to get its message across. Larson (2010) describes a jingle as "a musical version of the slogan combined with lyrics that tell the 'story' of the brand" (p. 380). As mentioned in Item #1, slogans are "catchphrases that express a brand name, its benefits, and its 'personality'" (Larson, 2010, p. 380). The jingle in this commercial puts the Coca-Cola slogan into music: Have a Coke and a smile. There is also a mini-slogan: Coke adds life.
This commercial also uses the emotional premise of happiness and joy. Emotional premises work through the peripheral channel of the Elaboration Likelihood Model. This model is states that persuasion goes through two routes: the central information processing route (conscious) and the peripheral information processing route (subconscious).
The emotion used (or abused depending on how cynical the consumer is about advertising) is happiness. The little boy has happiness because he has Coca-Cola. He offers it to the football player, in essence, offering happiness in a bottle. Then the grumpy and tired football player becomes happy. Meanwhile, the kid becomes unhappy because not only does he not have his Coke, but the football player was not very nice to him. The football player then gives another source of happiness to the kid. Now they are both happy and it all started because of a bottle of Coca-Cola.
Body language describing the alternate states of "happiness" and "no happiness" is also shown to emphasize the difference. Notice how the football player is slouching and slumping when he comes in, how the kid slumps away with a frown, and how the football player stands straighter as he drinks the Coke. Lastly and most notably is the football player's big smile at the end.
The message is clear: Want to be happy? Drink Coca-Cola.
INTENDED AUDIENCE: Any soft drink consumer, but in this case, mainly men and boys
As is most obvious, this advertisement uses a jingle and a slogan to get its message across. Larson (2010) describes a jingle as "a musical version of the slogan combined with lyrics that tell the 'story' of the brand" (p. 380). As mentioned in Item #1, slogans are "catchphrases that express a brand name, its benefits, and its 'personality'" (Larson, 2010, p. 380). The jingle in this commercial puts the Coca-Cola slogan into music: Have a Coke and a smile. There is also a mini-slogan: Coke adds life.
This commercial also uses the emotional premise of happiness and joy. Emotional premises work through the peripheral channel of the Elaboration Likelihood Model. This model is states that persuasion goes through two routes: the central information processing route (conscious) and the peripheral information processing route (subconscious).
The emotion used (or abused depending on how cynical the consumer is about advertising) is happiness. The little boy has happiness because he has Coca-Cola. He offers it to the football player, in essence, offering happiness in a bottle. Then the grumpy and tired football player becomes happy. Meanwhile, the kid becomes unhappy because not only does he not have his Coke, but the football player was not very nice to him. The football player then gives another source of happiness to the kid. Now they are both happy and it all started because of a bottle of Coca-Cola.
Body language describing the alternate states of "happiness" and "no happiness" is also shown to emphasize the difference. Notice how the football player is slouching and slumping when he comes in, how the kid slumps away with a frown, and how the football player stands straighter as he drinks the Coke. Lastly and most notably is the football player's big smile at the end.
The message is clear: Want to be happy? Drink Coca-Cola.
Item #6: The Current Advertisment
COMMUNICATION CHANNEL: The Current, the student-run newspaper at NSU, Volume 20, Issue 21 edition, dated February 9, 2010.
I find it interesting that Barry University buys advertising space in NSU's newspaper. Since NSU also has a law school, it's obvious that Barry isn't a silent competitor.
This advertisement fits perfectly with Stephen Toulmin's model about the basic parts of logical arguments that we encounter in everyday life (Larson, 2010). In this model, there are three basic parts: the claim, the data (also evidence), and the warrant (Larson, 2010). The three secondary elements are qualifiers, reservation (also rebuttal), and the backing (Larson, 2010).
"The claim is the proposition or premise that the persuader hopes will be believed, adopted, or followed by the audience" (Larson, 2010, p. 225). The Claim is that the faculty of Barry's law school is student-focused.
The evidence supports the claim (Larson, 2010). The Evidence is that Patrick E. Tolan, Jr. is a law professor at Barry. Evidence is also found in his quotation.
The warrant is the reasoning behind the evidence (Larson, 2010). The Warrant is that Tolan encourages his students to get involved in their communities.
The backing "is the information that establishes the credibility of the reasoning ro connection between data and claim" (Larson, 2010, p. 227). The Backing is that Tolan is a founder and faculty advisor to Barry Law's Volunteer Income Tax Assitance program besides being a law professor at Barry.
The rebuttal "specifies the conditions under which the warrant is valid" (Larson, 2010, p. 226). The Rebuttal is the fact that only one professor is shown. The reader is not told how the other faculty members are student-focused, so we can argue that not all of them are student-focused.
"Qualifiers limit the claim, thus allowing for the possibility that this is not a simple case of the either/or argument" (Larson, 2010, p. 226). The Qualifiers in this advertisement are found at the bottom. The phrases "inimate learning environment" and "dynamic, accessible faculty." Although the phrases "real world experience" and "ABA accredited" can also be called qualifiers, they are not qualifying the central claim.
Item #7: New York Times Advertisement
COMMUNICATION CHANNEL: Newspaper: the business section of the March 4, 2010 edition of the New York Times
INTENDED AUDIENCE: Readers of the business section of the New York Times readers, mainly middle to upper class businesspeople
Note: These are photos of the photocopy of the orginal advertisement. Since the whole advertisement was too long to fit onto one page, I had to distribute it over two pages. The first photo shows the top of the advertisement, and the second photo shows the bottom half.
INTENDED AUDIENCE: Readers of the business section of the New York Times readers, mainly middle to upper class businesspeople
Note: These are photos of the photocopy of the orginal advertisement. Since the whole advertisement was too long to fit onto one page, I had to distribute it over two pages. The first photo shows the top of the advertisement, and the second photo shows the bottom half.
It persuades readers to open a Chase checking account by using cultural myths, cultural parables, and cultural images.
Larson (2010) states that cultural images and myths are "real or imagined narratives that illustrate a society's values" (p. 254). The cultural myth that this advertisment uses is The Possibility of Success. This myth reflects our hope in the American dream of success. This advertisement promises that opening a Chase account helps you "effectively manage your business."
Robert Reich developed culural parables which teach lessons through "metaphor, (that) may be a basic human trait, a universal characteristic of our intermittently rational, deeply emotional, and meaning-seeking species" (Larson, 2010, p. 241). This advertisement reflects the cultural parable of The Triumphant Individual. The business-owning woman in the advertisement is smart and confident and has most likely overcome great obstacles to get where she is today.
This advertisement uses image to persuade its audience. The two images in this advertisement are expertise and dyanamism. Chase is a well-known bank and therefore has expertise in the area of banking. The woman in the advertisement (who is representing Chase as well as consumers) exhibits dynamism, "the degree to which the audience admires and identifies with the source's attractiveness, power, forcefulness, and energy" (Larson, 2010, p. 248). The consumer is attracted to the woman's power as she stands next to her business's sign.
Item #8: Pandora Advertisement
COMMUNICATION CHANNEL: Internet
INTENDED AUDIENCE: Pandora listener. Pandora asks for age and gender to better target audiences for advertisments, and according to the information I gave them, they feel that this advertisement is targeted to me.
I often listen to Pandora Internet Radio. The free version uses advertisements to pay their bills, and pictures above is one of the advertisements used in the background while my music is playing.This advertisement plays on the consumer's psychological need for coffee, especially delicious coffee. Subtly, it also plays on the need for security, specifically financial security.
Everyone has needs that are either necessary for our survival or not. For example, our need to eat is necessary to our survival, but our need to be accepted by others isn't. Larson (2010) notes that although a need may not be necessary to persuadee's survival, the persuadee will not feel happy without the need. Such needs are psychological, not critical or physical (Larson, 2010).
Most people don't need coffee to survive. Even those who drink several cups a day will survive if they are forced to be without it. Therefore, coffee is a psychological need and this advertisement tell the viewer how to fulfill it. The attractive appearance of the product also persuades. What coffee lover doesn't want a frappe with whipped cream and caramel? It looks too delicious to pass up.
Abraham Maslow's Heirarchy of Needs includes Security Needs. The need for security is the second level of Maslow's heirarchy so according to Maslow, feeling safe is the greatest need besides the needs for food, water, and other things we need to survive. The need for security includes the nedd for financial security. By stating that a small frappe is "just $2.29" McDonald's is saying, "You can enjoy a delicious frappe and still save money."
Item #9: Cartoon Network Promos
COMMUNICATION CHANNEL: Television
INTENDED AUDIENCE: Anyone who enjoys watching cartoons, mainly children.
These promos for Cartoon Network aired during the station in the late '90s. Quite obviously, they use humor and mix live action and animation to capture the audience's attention. Most importantly, however, these promos use the common ground to persuade audiences to continue watching Cartoon Network, thereby forming brand loyalty.
The Greek philosopher Aristotle believed that persuasion was most effective when it had common ground. Common ground is "the shared beliefs, values, and interests between persuaders and persuadees" (Larson, 2010, p. 20). Both Cartoon Network and its audience are interested in cartoons. Therefore, the promos use popular cartoon characters in one-minute long cartoons to remind audiences that Cartoon Network is where these cartoons can be watched and where audiences can continue to enjoy the stories that cartoons tell. The network was trying to tell its audience, "You love cartoons, and we love cartoons. Therefore, keep watching us and we'll give you the cartoons you want."
These promos can also be said to use a conditional syllogism. Larson (2010) defines syllogisms as "forms or reasoning with three parts: a major premise, a minor premise, and a conclusion" (p. 222). Conditional syllogisms use if/then reasoning. In this kind of syllogism, the major premise gives a "logical relationship that is presumed to exist in the world and that receivers are to accept. The minor premise states the existense of one element in the relationship, and the conclusion is then drawn between the relationship and the existence of one element in it" (Larson, 2010, p. 222).
In the case of these promos, these three elements are as follows.
Major premise: "If you love cartoons, then you are looking for a network that will satisfy your want to see them."
Minor premise: "Cartoon Network airs cartoons 24/7, from classics to original series."
Conclusion: "You should watch Cartoon Network."
Of course, this was the 90s. Cartoon Network isn't anything like this anymore, and in my opnion, it's changed for the worse.
INTENDED AUDIENCE: Anyone who enjoys watching cartoons, mainly children.
These promos for Cartoon Network aired during the station in the late '90s. Quite obviously, they use humor and mix live action and animation to capture the audience's attention. Most importantly, however, these promos use the common ground to persuade audiences to continue watching Cartoon Network, thereby forming brand loyalty.
The Greek philosopher Aristotle believed that persuasion was most effective when it had common ground. Common ground is "the shared beliefs, values, and interests between persuaders and persuadees" (Larson, 2010, p. 20). Both Cartoon Network and its audience are interested in cartoons. Therefore, the promos use popular cartoon characters in one-minute long cartoons to remind audiences that Cartoon Network is where these cartoons can be watched and where audiences can continue to enjoy the stories that cartoons tell. The network was trying to tell its audience, "You love cartoons, and we love cartoons. Therefore, keep watching us and we'll give you the cartoons you want."
These promos can also be said to use a conditional syllogism. Larson (2010) defines syllogisms as "forms or reasoning with three parts: a major premise, a minor premise, and a conclusion" (p. 222). Conditional syllogisms use if/then reasoning. In this kind of syllogism, the major premise gives a "logical relationship that is presumed to exist in the world and that receivers are to accept. The minor premise states the existense of one element in the relationship, and the conclusion is then drawn between the relationship and the existence of one element in it" (Larson, 2010, p. 222).
In the case of these promos, these three elements are as follows.
Major premise: "If you love cartoons, then you are looking for a network that will satisfy your want to see them."
Minor premise: "Cartoon Network airs cartoons 24/7, from classics to original series."
Conclusion: "You should watch Cartoon Network."
Of course, this was the 90s. Cartoon Network isn't anything like this anymore, and in my opnion, it's changed for the worse.
Item #10: Head On Advertisement
COMMUNICATION CHANNEL: Television
INTENDED AUDIENCE: Anyone who suffers from headaches, mainly adults
This commercial uses Hugh Rank's intensify/downplay model. According to this model, persuaders use strategies to either intensify certain aspects of their product or strategies to downplay aspects of their product. The four strategies of action are (1) intensify good points, (2), intensify opposition's weak points, (3) downplay weak points, and (4) downplay opposition's weak points. There are six tactics used with the strategies: repetition, association, and composition (for intensification) and omission, diversion, and confusion (for downplaying).
This commercial uses the strategy of intensifying the product's good points using the tactic of repetition.
These commercials parody the repetition in the original. See, it worked! Obviously, the first thing these people did when they had a headache was think about the product!
INTENDED AUDIENCE: Anyone who suffers from headaches, mainly adults
This commercial uses Hugh Rank's intensify/downplay model. According to this model, persuaders use strategies to either intensify certain aspects of their product or strategies to downplay aspects of their product. The four strategies of action are (1) intensify good points, (2), intensify opposition's weak points, (3) downplay weak points, and (4) downplay opposition's weak points. There are six tactics used with the strategies: repetition, association, and composition (for intensification) and omission, diversion, and confusion (for downplaying).
This commercial uses the strategy of intensifying the product's good points using the tactic of repetition.
These commercials parody the repetition in the original. See, it worked! Obviously, the first thing these people did when they had a headache was think about the product!
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