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REEXAMININGADVERTISINGCREATIVITY:
AQUALITATIVEEXAMINATIONOFCOPYWRITERS'PERCEPTIONSOFCREATIVITYINADVERTISING
AThesis
presentedto
theFacultyoftheGraduateSchoolat
theUniversityofMissouri-Columbia
InPartialFulfillment
oftheRequirementsfortheDegree
MasterofArts
byBENJAMINOWENS
Dr.MargaretDuffy,ThesisSupervisor
DECEMBER2014
Theundersigned,appointedbythedeanoftheGraduateSchool,haveexamined
thethesisentitled
REEXAMININGADVERTISING
CREATIVITY:
AQUALITATIVEEXAMINATIONOFCOPYWRITERS'PERCEPTIONSOFCREATIVITYINADVERTISING
presentedbyBenjaminOwens,
acandidateforthedegreeofMasteroftheArts
andherebycertifythat,intheiropinion,itisworthyofacceptance.
ProfessorMargaretDuffy
ProfessorKeithGreenwood
ProfessorMitchellMcKinney
ProfessorMarkSwanson
DEDICATION
Thankstomyfiancee,Caroline,forputtingupwithmy"philosophizing"and
occasionallyesotericbehavior,andforsupportingmewhileIfollowedmyprofessional
andeducationalpassions.
Thankstomymomanddad,whohavepushedmesinceIwasinelementary
schoolrewritingspellingwordsmorethananyoneelse,whohavehelpedfundandinspiremyeducation,andtowhomI'vealwayskindofsortoftoldthewholetruthregardingmy
thesisprogress.
Thankstomyfriends,specificallythosethattookthetimetoeditmypapers,
formatmymargins,ortellmemyideaswereutterhorseshit.
Thankstomyadvisor,MargaretDuffy,withoutwhomIneverwouldhavebeen
abletodescribewhatIwantedtoresearch.
ii
ACKNOWLEDGEMENTS
I'dliketothankthecopywriterswhotookthetimetorantandraveabouttheir
favoritesubjectsformewhileItooknotesonmyfutureprofessionalpeers.Withoutyour
helpandexperience,thisthesiswouldnothavebeenpossible.Ihopethatyoufindthe
resultsinterestingenoughtosharewithatleastoneadvertisingcynic.I'dalsoliketo
taketheopportunitytosaythatI'mactuallymorefriendlyandtalkativethanIwas
duringtheinterviews,butI'mreallybadaboutinjectingmyopinionsintothe
conversation,andthiswassupposedtobeaboutyourthoughts.Sothankyouforsharing
andIhopethisprovidessomefodderfordiscussionsatthelocalwateringhole.
Thankyoutotheoriginalresearchers,Dr.Ried,Dr.King,andDr.DeLorme,
withoutwhomtherewouldbenobasisforcomparativestudies,norinspirationfor
aspiringcopywritersingraduateschool.
Thanksalsototheentirejournalismfaculty,withoutwhomI'dnevereven
consideredgraduatestudies,norresearch.
ThankstoStrategicResearchforbeingat8:00am,makingthegraduatelearning
curvemuchmoreinteresting.
ThankstoRiskAstleyforassuringmehewouldnevergivemeup.
iii
TABLEOFCONTENTS
ACKNOWLEDGEMENTS ii
ABSTRACT v
Chapter
1.INTRODUCTION
1
2.LITERATUREREVIEW
3
3.QUESTIONS
14
4.METHODS
15
5.ANALYSIS
20
PersonFactors
ProcessFactors
PlaceFactors
6.CONCLUSION…………45
PrimaryFindings
Future
REFERENCES…………………0
APPENDIX
A.RECRUITMENTLETTER
53
B.IRBAPPROVAL
54
C.ANONYMIZEDINTERVIEWEEMONIKERS
55
D.INTERVIEWQUESTIONBANK
56
iv
REEXAMININGADVERTISINGCREATIVITY:
AQUALITATIVEEXAMINATIONOFCOPYWRITERS'PERCEPTIONSOFCREATIVITYINADVERTISING
BenjaminOwens
Dr.MargaretDuffy,ThesisSupervisor
ABSTRACT
Creativityisanintangibleconceptthatisinaperceivedconstantstateof
change,astatethatnecessitatestheoccasionalreexaminationofpreviousfindingsinan
efforttofurtherunderstandtherolesandperceptionsheldbyadvertisingpractitioners.
Thisqualitativestudyoffersinsightsandexpandsonpreviousquantitativestudiesof
agencycreatives'viewsonadvertisingcreativity(Reid,King,&DeLorme,1998).
Throughtensemi-structuredinterviewsofsenioragencycopywriters,theauthor
comparedpastandpresentperceptionsofcreativityinadvertising.Thestudy'sfindings
helptoclarifywhatfactorsintosuchperceptionsandwhatimpacttechnological
advancementshavehaduponsaidperceivedlevelsofcreativity.Thestudyfoundthat
copywritersdonotunanimouslyagreethatcreativityhasincreased,thoughamajority
believesithasremainedconstantorslightlyincreased.Copywritersdoperceivecreativity
tohavechangedsincetheyenteredtheprofession,andtheyassertthatchangesin
approach,businessmodels,andtechnologicaladvancementsaretheprimaryfactors
contributingtochange.Thisstudyprovidespracticalandtheoreticalvalueby
contributingtorole-basedmodelsofadvertisingandbyinformingcurrentcopywritersof
theopinionsoftheirpeers.
V
EPIGRAPH
"You'reinthedesert,thedesertisadvertising.Andyouhavealittleplotoflandandacowwalksanddiesinit...Afewpeoplecouldliveoffthatcow
andyoucoulddevelopthecowandyoucouldbuildabrandor
whatever...[nowthey]throwasmallboneinfrontofthosedogs,justapieceofmeat,andtheygonuts,they'llkilleachotherforthatlittlebit.Andthat's
whatyoukindofsee,agencieswillingtodomoreandmoretokeepa
client...whichmeansmoreandmorestressjustputonthecreativesmaking
themlessandlesscreative."
—Interview#9
1
Introduction
Advertisingpractitionershaveneverunanimouslyagreeduponthemostimportant
aspectoftheirindustry,butthesignificantamountofresearchintoadvertisers'creative
processessuggeststhatcreativityis,attheveryleast,oneofthemostimportantfacetsofadvertisingasawhole(Sasser&Koslow,2008;Sasser&Koslow,2012).Thisisfurtherclarifiedintheoft-citedsayingofJefRichards,"Creativewithoutstrategyiscalled'art.'
Creativewithstrategyiscalled'advertising'(MSUAdvertisingAssociation,n.d.).A
well-roundedunderstandingofcreativityinadvertisingcanproveusefulin
accomplishingagencyobjectives.Itisalsoimportanttonotetherangeofperceptionsof
creativity'sroleswithinanagency(Hirschman,1989).
Inexaminingperceptionsofcreativityinadvertising,ithasbeenproposedthata
morefocused,qualitativetakeonexistingdatafromtop-levelagencycreativeswould
helptofurtherexplainchangingtrendsinindustry-basedperceptionsofadvertising
creativity(Reid,King&Delorme,1998).Assuggestedbytheseresearchers,advertising
researchcanbebrokendownintofivecategories:creativedecisionprocessstudies
(Hirschman,1989;Kover,1995;Johar,Holbrook,&Stern,2001),studiesof
practitioners'individualcharacteristics(Auer,1976;Reid&Rotfeld,1976;West,1993;
Young,2000;Hackley&Kover,2007),studiesonorganizationalinfluences(Kover&
Goldberg,1995;Kilgour&Koslow,2009;Reid&Karambayya,2009;Oliver&Ashley,
2012;Sasser&Koslow,2012),advertisingeducationstudies(McGann,1986),and
studiesontrendsintheindustry(Reid,King,&DeLorme,1998;White&Smith,2001;
Koslow,Sasser,&Riordan,2003;Sasser&Koslow,2008;Sasser&Koslow,2012).
2
Thesecategoriesarereinforcedbythe3PModelofCreativity(Sasser&Koslow,2008),
whichdesignatesperson,place,andprocessasappropriateresearchcategories.
Thepresentstudyissituatedinthefifthcategoryproposedbytheresearchersas
itsfocusisontrendsinperceptionsofcreativitybythoseincreativejobs.Thegoalofthis
studywastoexaminethequestionofwhetheragencycreativesbelievecreativityin
advertisingisincreasing,unchanged,ordecreasing(Reid,King&DeLorme,1998).This
studyissignificantbecauseitnotonlyprovidesfurtherevidenceoftheimportanceof
role-basedperceptions,butalsoinformscopywritersasawholethatcommonlyheld
beliefssurroundingtheadvertisingindustryinthepastarenotasunanimousastheyonce
were.Thisstudy'squalitativeexaminationdigsdeeperintothesuggestionsofprevious
quantitativeresults,allowingforabetterunderstandingofthefactorsandreasonsthatare
perceivedtohaveaffectedsuchtrendsincreativity.
3
LiteratureReview
TheoreticalFramework
ThefoundationforthisreviewisrootedinthetheoreticalframeworksofSasser&
Koslow's3PModelofCreativity(Sasser&Koslow,2008;Sasser&Koslow,2012).
Usingthismodeltoorganizeexistingresearchoncreativityinadvertisingfacilitates
discussionandunderstandingofwhathasbeenfoundbycategorizingresearchaccording
toitsprimaryinvestigation(Sasser&Koslow,2008).
Theliteratureincludedinthisreviewwillbeorganizedintosectionsderivedfrom
Reid,King,andDeLorme's(1998)categories:creativedecisionprocessstudies,
individualcharacteristics,organizationalinfluences,advertisingeducation,andindustry
trends.Thereisconsiderableoverlapofthefirstthreecategorieswiththoseofthe3P
Model,process,person,andplace(Sasser&Koslow,2008).Combiningthesetwo
organizationalsystemsresultsinatotaloffourcategoriesasfollows:Person,Place,
ProcessandTrends.Usingthesecategories,eachaspectofadvertisingcreativityresearchcanbeunderstoodwithinthecontextofrelevantliterature.Theauthorhaseliminatedthe
categoryofadvertisingeducationfromthisreview,asitisnotinlinewiththisstudy's
primaryfocusonadvertisingpractitioners.
Forthepresentstudy,creativityisdefinedbasedonresearchbyReid,King,&
DeLorme,(1998,p.3):“originalandimaginativethoughtdesignedtoproducegoal-
directedandproblem-solvingadvertisementsandcommercials."Theoriginalstudyputthisdefinitionthroughexhaustivescreeningandpre-testprocessesbeforetheresearchers
feltcomfortableusingit.Thisdefinitionwillserveasthepresentstudy'sbasisfor
4
comparison(Reid,King,&DeLorme,1998).CreativeProfessionals,referredtohereafterascreativesunlessotherwiseindicated,canbedefinedasprofessionalswithvarioustitlesincludingCopywriter,ArtDirector,GraphicDesignerand/orCreativeDirector.Account-SideProfessionals,alsoreferredtoasaccountexecutives,includethosein"management,
media[and]strategy"positions(Sasser&Koslow,2003).
Creativityinadvertising
Asmentionedabove,advertisingcreativityresearchmaybeeffectively
categorizedusingperson,processand/orplace(Sasser&Koslow,2012).Inaddition,
Reid,King&DeLorme'strend-monitoringcategoryseparatesindustrytrendresearch
fromtheformerthreecategories.Whilesomestudiescouldbeincludedwithinmorethanonecategory,Ihavenarrowedthefocusofthereviewtohighlightthemostprominentofthecategorieswithineachofthearticlesreviewed.Whiletheproposedresearchdoesnot
takeintoaccountalloftheexistinginformationoncreativityinadvertising,itis
imperativetoapproachastudyofperceptionwithasolidfoundationandunderstandingofwhathasalreadybeenresearched.ThisliteratureisthebasisforRQ1andRQ2:Docopywritersperceiveanincreaseincreativityinadvertisingandwhatfactorscontribute
tothisperceivedchange?
PersonStudies
PersonStudiesisthefirstofthefourcategoriesandincludespractitionersin
account-andcreative-sideroles(Sasser&Koslow,2008).Researchershavespenta
considerableamountoftimestudyingthiselementofthecreativeprocess(Auer,1976;
West,1993;Young,2000;Koslow,Sasser,Riordan,2003;Hackley&Kover,2007;
Sasser&Koslow,2012).
5
OneofthefirststudiescitedbySasserandKoslow(2012)andReid,Kingand
DeLorme(1998)isthatofAuer(1976)whoexaminedhowcreativestudentsdifferfromtheirpeerswithregardtoempathy.Interpersonalempathyandgeneralizedempathywerethemainfocusinthispilotstudy.Thisexperimentwasthenreplicatedusingpractitioners
asthesubjects.Thestudyconsistedof515studentparticipantsfromthreeuniversities.
Eachgroupofcreativestudentswasfoundtobemoreempatheticthanagency
counterpartswithregardtogeneralizedothers,butlessempathetictointerpersonal
situations(Auer,1976).
Inthecategoryofindividualcharacteristicresearch,Hirschman's(1989)role-
basedexplorationisanimportantstudy.Hirschmaninvestigatedsiximplicitrole-based
modelssubmittedbyparticipants.Sheexaminedhowthecreativeprocessisseenfrom
differentperspectiveswithinanagency,havingparticipantslayoutmodelsoftheprocess
whosecollectiveconclusionsofferupjustificationforresearchintothesocialand
personalaspectsofthecreationprocesswithintherealmofadvertising.Thearticle
assumesthatanexaminationofthecollaborationthatoccursduringthecreativeprocess,
andthesocialprocessthatresultsinacreativeexecution,arenotagiven,generalized
phenomena.Underthisassumption,Hirschmanconductsherstudyfromtheproduction
ofcultureperspective.Fromsuchaperspective,Hirschmanwasabletolookintothe
subjectivityoffinalproductownership.Shealsoexaminedtheextenttowhichpersonal
conflictsduringtheprocessareconveyedinthefinalproduct.Thestudyusedin-depth
interviewswithsixagencyprofessionalswhoeachplaydifferentrolesintheprocess.The
authorsfoundoverarchingpersonalandprofessionalgoalsbeyondthestatedgoalof
satisfyingtheclient(Hirschman,1989).
6
Thenotionofunderstandinghowqualitiessuchasempathyfactorintopersonal
creativeprocessesisalsovaluable,especiallyinthecontextofbroader,cross-cultural
consideration.West(1993)exploredthepersonalities,processesandphilosophiesof
advertisingagenciesinthreecountries,theUnitedStatesofAmerica,Englandand
Canada,andsoughttoexaminesuchdifferencesbasedonnationality.Thestudygave
preferencetogeneralizabilityoverdepth.Asurveyof900creativesat300agenciesfound
thatpersonalitiesacrosscountryborderswereverysimilar,rankingintelligenceand
originalityasdesirableskills.Philosophiesamongagencieswerefoundtobequite
similaraswell.Themaindifferenceobservedwasthatofthecreatives'involvementwiththecreationandimplementationofacampaign.WhileNorthAmericancreativestendto
believethattheyhavelessautonomyandcontroloverthefinalproductionprocessthan
theirU.K.counterparts,resultsindicatedthattheformerweremorecloselyinvolvedandhadmorestrategicrelationshipswithclientsthanU.K.creatives(West,1993).Thisbelief
wasfoundtoberelativelyconsistentamongallcreatives,regardlessofnationality,
indicatingabroadapplicationofcreativetheory.
Young(2000)outlinedthedifferencesbetweencopywriters'andartdirectors'
opinionsoftelevisionadvertising.Conducting100phoneinterviewsanddrawingfromarandomlyselectedpoolofcreativesfromadvertisingagenciesatamaximumoftwoper
agency,Youngsoughttounderstandhowcopywritersandartdirectorsworkinteams,
usingtheirrespectivedifferencescollaborativelytogeneratecreativebreakthroughs.It
wasfoundthatthemajorityofcreativesagreedthatinteractive,clear-cutandoriginal
messagesinadswereindicatorsofgoodadvertising.Two-thirdsalsoagreedthat
differencesexistbetweencopywritersandartdirectors(Young,2000).Thisdisconnect
7
amongadvertisingprofessionalsisreiteratedinHackleyandKover(2007)regarding
professionalidentityandcreatives.Itwasfoundthattheadvertisingworkplaceisa
constantsourceofconflictandfeelingsofinsecurityforcreatives,buttheyalsoseeitasa
worthwhilebattle.Creativesseekamoredefinedidentifyandfindpotentialfulfillmentin
survivingday-to-dayconflicts.Theseconflictsstemfromideologicaldifferencesonthepurposesofacampaign.Accountexecutivestendtopreferamorepragmaticapproach,
onedeemedappropriatetosatisfyclientneedsandnothingmore.Creatives'needfor
frequentidentityassurancepresentsitselfasanadditionalmotivebeyondclientgoals.Creativeswanttheworktobeoriginalandartisticinnature,adisplayofcreativeskill
andachievement,notjustafulfilledcontract.
Creativesfindconflictandinsecurityonapersonalandprofessionallevelwithinagencysettings,yetperceivethesesamesettingsasopportunitiesforpersonalsatisfactionandgrowth.Hackley&Kover(2007)focusonthepersonandprocessthroughwhichthe
creativefindshisorheridentitywithinacertainphysicalplace.Theresearchersfound
thatcreativesbelievethatworkplaceandprofessionalconflictsactuallybenefitthe
creative(Hackley&Kover,2007).Thisservesasastrongfoundationforexistingworkonthetopicofagencypractitioners,andasanacknowledgementofstrainswithinagency
dynamicsbasedondifferencesinpersonalperception.
ProcessStudies
Thiselementofthe3Pcreativemodelinvolvesthestudyof"theprocess
[practitioners]followindevelopingcreativeideas”(Sasser&Koslow,2008,p.6).Studiesincludedtheroleofmythinadvertisingcreation(Johar,Holbrook&Stern,
2001),howoriginalityandappropriatenessarevaluedasmeasuresofcreativityby
8
practitionersindifferentroles(Kilgour&Koslow,2009)andhaveeveninvestigatedtheoriesheldbycreatives,despitelackofacknowledgementthatsuchtheoriesexist
(Kover,1995).
Theprocessesthatadvertisingprofessionalsfollowinthecreationofcampaignsandadsarewellstudied(Reid&Rotfield,1976;Kover,1995;Johar,Holbrook&Stern,2001;Kilgour&Koslow,2009;Oliver&Ashley,2012).Understandinghowcreativity
occursandfunctionsisanimportantareaofresearch,aclaimthatcontinuestobe
supportedintheever-growinglistofresearchwithinthe3PModel(Sasser&Koslow,
2012).
Kover(1995)foundthatcopywritershaveasetofinternaltheoriesthattheyholdtobetrueandthattheyactonthem(Kover,1995).Thestudyfoundthatcopywriterspay
littleheedtoacademicandformaltheories,butoperateonwhattheyrefertoas
"commonsense."Thestudyusedasampleof20copywritersfromsixagencies,five
locatedinNewYorkCityandonelocatedinDetroit(Kover,1995).
Whilethese"commonsense"theoriesoperatewithouttheindividuals'
acknowledgingthem,researchintosuchtheories'alignmentwithotherdisciplineshasbeenapproached,suchasinJoharetal.(2001),whereresearchersexploredhowmythscouldbeidentifiedinadvertising.Theresearchersdesignedanexperimentthatdirectedartdirector-copywriterpairstoworkinaconvergentordivergentmanner,dependingon
theactivity.Atdifferentintervals,pairswouldbeinstructedtoeitherworkalone
(divergent)onanassignedtaskorcometogetherwithanartdirectorandworktogether(convergent)onasolution.Thegoalwastoexaminetherolesthatfourspecificmyths,
comedy,romance,tragedyandirony,playinthecreativeprocess.Individualsidentified
9
asexpertjudgesconsistingofacreativeperson,anadvertisingresearchperson,andanaccountplanner,thenratedanadcontainingacombined,multi-mythfocusasthemost
creative(Joharetal.,2001).
ThoughnotultimatelystudiedinJoharet.Al(2001),theconvergent-divergent
experimentstructurethatwasusedpresentsanopportunityforfurtherresearchthatsomehavealreadybeguntoexplore.Oneoftheauthorsofthe3Pmodelco-wroteastudythat
examinedhowconvergentanddivergentmodelsdifferintheireffectuponthecreative
processdependingontheindividual(Kilgour&Koslow,2009).Thestudyaddressestwomainwaysofenhancingcreativity,throughcreativelearningorthroughenhancingsocial
aspects.Theresearchersfoundthatdivergent-thinkingtechniquesarenotuniversally
applicable,and,morespecifically,thosewithalargerunderstandingofthedomainat
handwouldrespondbettertosuchtechniques(Kilgour&Koslow,2009).Whileaccount
sidepractitionerswereabletoworkwellinaconvergentmanner,lookingforthemost
appropriatemethodofsolvingaproblem,creativespreferredtoworkalone,valuingoriginalityasthebestmeasureofwhetheracampaignwascreative(Koslow,Sasser,
Riordan,2003;Kilgour&Koslow,2009).
Inanefforttounderstandhowtoimproveandenhancethecreativeprocess,OliverandAshley(2012)focusonimprovingthesystemthroughwhichcreativityismanagedwithinanagency.Insteadofconductingthequalitativeinterviewson-site,researchersanalyzedtheWallStreetJournal'sCreativeLeaderseriesovera30-yearperiodusingagroundedtheoryapproachtoaccountforcontextualinformationnotobtainedintheinterviews.Thisqualitativeanalysissoughttoanswerhowtocreatea
trulyeffectivemanagementsystemtooverseethecreativeprocess.Theyfoundthat
10
politicalgamesandeffortstocontrolthesituationendupharmingtheadvertising
process.Theyalsofoundthatcreativesthoughtthattheworkstructure,orhierarchy,
shouldnotbecomplicatedandshouldbeopentonaturaltalent(Oliver&Ashley,2012).Thestudy'sfocusonmodifyingandimprovingtheprocessofcreativitythroughchangesinmanagementandworkplacesrevealshowcontext,includingperceptionofcreativityin
advertising,perceptionofmanagement,canaffectcreativity.
PlaceStudies
Therolethattheenvironmentandcreativesettingplayinadvertisingcreativityisthe
subjectoftheplacecategory.Thiselementhasbeeninvestigatedinagencysettings,
seekingtounderstandphenomenasuchascontrolgamesthatadvertisingprofessionals
playwithoneanotherinanattempttoretainasenseofcontrolovertheworksetting
(Kover,1995).Kover,followingHirschman'srole-basedperspectivism,exploredhow
thedynamicinvolvingcopywritersandaccountexecutivesplaysoutinanagencysetting,examiningtheaspectsofcontrolwithinthiscontext.Theauthorfoundthatmanygamesareresultsofunwantedconfrontationbetweentwoopposingparties,accountexecutivesandcreatives.Theauthorsusedtwentysemi-structuredinterviews,ranginginlengthfrom
45-180+minutesinlength,onsubjectsfromNewYorkandDetroitanddidnotinclude
smalleragencies(Kover,1995).Understandingwhatoccursinanagencysettingfroma
varietyofroleshelpstoclarifytheimportanceofperceptioninadvertising.
Withinagencysettings,theleadershipprocesshasadistinctimpactupon
creativity(Kover,1995;Reid&Karambayya,2009).ReidandKarambayya(2009)
investigatedvariouselementsofthecreativeprocess.Theyquestionedtheconflict
resolutionthatoccursinadual-leaderenvironmentandhowthataffectsthosewithinthat
11
environmenttorealizetheircreativepotential.AresearchinitiativeexaminedeightcasestudiesinCanadawithestablisheddual-leadershipsettingswhereconflictwasknownto
bepresentandfoundthatwouldovershadowaworkplaceandinterferewithcreative
organizations(Reid&Karambayya,2009).Thestudyofthecreativeleadershipprocessisafertilegroundforresearchandisonethathasnotbeenfullyexplored.Insightsintoareasoffurtherresearchmaybefoundthroughtheproposedstudybyutilizingpotential
participantresponsesregardingperceptionsofwhatfactorsintocreativity.
Trend-MonitoringStudies
Studieswithafocusonexaminingtrendsandvarianceswithintheadvertising
industryarethesubjectofthissection.Reid,King,andDeLorme(1998)investigatedthe
beliefthatcreativityinadvertisingisindecline,abeliefthatwaschampionedby
researchersandhistorianssuchasStephenFox,JohnPhilipJones,andWilliam
Weilbacherinthe1990s(Reid,King,&DeLorme,1998).Theauthorsdevelopedthree
centralresearchquestionsthataskedwhethertop-levelcreativesbelievethereismoreorlesscreativity,whetherthefactorsforjudgingcreativityhavechanged,andhowdiffering
perceptionsofthesefactorshasevolvedsinceeachcreativehadenteredthefield.They
developedaquestionnairedirectedattop-levelagencycreativesthatfocusedon
originality,imagination,goal-direction,andproblemsolving.Theseweremailedto195
respondents,and83werereturned.Thefindingssuggestedthattherewasanalmost
unanimouslyperceivedupswingincreativity,withonlyonedissentingcase.Thiswas
seendespitedifferencesinage,practicingyears,etc.Thesecreativesfeltthatfactorsthat
affectedcreativityhadevolvedsomewhatfromwhattheyoriginallywere.Thisarticle
wasusedasthebasisforcomparisonforthepresentstudyanditsconclusionregardingan
12
upswingincreativitywascomparativelyanalyzed.
WhiteandSmith(2001)lookedintowhetherdemographicvariablesaffected
individualandcollectiveperceptionsofcreativityinadvertising.Researcherscomparedtheviewsofthosewithintheadvertisingindustrywiththoseofstudentsandthegeneral
public.AsamplewascomprisedofparticipantsfromSouthDakotaandGeorgia.
ParticipantsevaluatedfifteenprintadvertisementsusingtheCreativeProductSemanticScale.Thefindingssuggestthatstudents'perceptionsofcreativityweremorefavorablethanpubliclyheldstandards.Conversely,advertisers'viewstendedtobemorecynical
thanthoseofthegeneralpublic(White&Smith,2001).
Researchintoperceptionsofcreativityhasshownariftbetweencreativesand
accountexecutives.Underlyingassumptionsastowhetherartisticandoriginal
motivationsweighheavierthanappropriatenessofmethodhavebeenspecificallytakenintoconsideration(Koslow,Sasser,&Riordan,2003).Thestudylooksatdifferencesinperceptionofcreativity.Thearticleseekstoprovideamodeltoexplainwhydifferencesinperceptionoccurbetweenagencyroles.Theirfindingsprovidevaluableinsightintowhyperceptionsofcreativitydifferbasedontheroleoftheadvertiser.Itwasfoundthat
creativeswithinanagencyaremorepronetouseoriginalityasaprimarymeasureof
creativity,whereastheiraccountexecutivecounterpartsfavoredclient-appropriate,
potentiallylessoriginaloptions(Koslow,Sasser,&Riordan,2003).
Lastly,SasserandKoslowanalyzedexistingadvertisingresearch,lookingto
clarifyandexpanduponthemonitoringandresearchprocessesinvolvedinthe
advertisingcreativeprocess.(Sasser&Koslow,2008;Sasser&Koslow,2012).The
researchersaggregatedandexaminedmorethanthirtyyearsofresearchregardingthe
13
creativeprocess.(Sasser&Koslow,2008)Thearticleisprimarilyaliteraturereviewbut
suggestsfutureareasofstudy.Theresearchersselectedsamplesbeginningin1972andextensivelysearchedtheEBSCOandJournalofAdvertisingresourcestoensurecurrent
literaturewasincluded.Theauthorsexplicateareasthathavebeenwellstudied,and
identifywheregapsexist.TheauthorsalsobringupthatstudiesofProcesstendtouse
studentsubjectsinsteadofworkingpractitioners,alimitationthathasnotevolvedto
allowgeneralizabilityoffindingtothe
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