Media Essay Essay, Research Paper

I am traveling to analyze closely the manner advertizers aim their

Merchandises at certain audiences. The audiences chiefly targeted are:

vLittle kids

vTeenagers

vAmbitious work forces

vAdult adult females

vCouples

vProsperous older adult females. Ads are used to increase the sale of a merchandise and so taking the right clip to demo a commercial is critical. A company won & # 180 ; T show an advert aimed at kids tardily at dark, when they know their mark audience won & # 180 ; T be watching. Children & # 180 ; s merchandises are normally shown in the forenoon and in the early afternoon and merchandises for grownups are shown subsequently on. Advertisers will pay tonss of money for possibly a 30 2nd slot, in between a popular telecasting programme, because they know that a big figure of their mark audience will be watching. The two adverts I have chosen to analyse are the M & A ; M advert aimed at children/teenagers and the Virgin Mobile phone advert aimed at grownups. I have chosen two adverts, which were shown at different times of the twenty-four hours and in between different programmes.

The M & A ; M advert was shown in between the Simpsons in the early eventide. Now this is a good advantage to the advertizers because the Simpson & # 180 ; s is a really popular sketch programme watched and loved by many including their mark audience, kids and adolescents. The advertizement is really cagey in providing for the two different mark audiences. The advert contains both sketch characters ( aimed at the immature kids ) and a popular telecasting presenter ( aimed at the adolescents ) . Straight off the spectator is introduced to the merchandise.

The advert starts with a broad shooting of the animated M & A ; Ms, being treated like people and the histrion sitting down, with the studio doors behind them. They are in the green room with a batch of people traveling about in the background. All through the advert there are people invariably traveling about, given the viewer an feeling of what it takes to interview a individual. Besides it makes the viewer feel more involved in the advert, because it feels like you are really at that place watching these people rehearse for the interview.

The spectator hears the ruddy M & A ; M speech production. Zoom in on the ruddy M & A ; M. The camera rapid climb from character to histrion, rather a batch. The camera uses slow moves combined with crisp direct moves making effectual shootings. & # 8220 ; This baby was all over me & # 8221 ; .

Rapid climb in on the histrion, who looks really uninterested and bored.

& # 8220 ; Fascinating & # 8221 ; .

Next the camera zooms out and we see the door gap and a Green M & A ; M looking glamourous, walking in with an cortege of people. Zoom in on Green M & A ; M.

& # 8220 ; Hi Green, thanks for coming and making the show & # 8221 ; .

We now find out that this is an interview and the histrion is questioning her, and Green is the large star.

Rapid climb in on Green M & A ; M.

& # 8220 ; Anything for you gorgeous & # 8221 ; .

The Green M & A ; M negotiations in rather a beefy voice giving the feeling of a film star.

Rapid climb in on interviewer.

& # 8220 ; I thought we & # 180 ; 500 talk about your new autobiography & # 8221 ; .

We see the soundman fixing in the background. So this is non the existent interview, they are merely fixing.

All through the advert people are traveling.

Rapid climbs to book.

& # 8220 ; Sweet on the interior & # 8221 ;

This really stating the spectator what the M & A ; M is like in the interior. The Sweet, mentioning to the cocoa filling.

Rapid climb in. Green answers, & # 8221 ; I & # 180 ; ll state you about the critics, they love it. & # 8221 ;

There & # 180 ; s a concealed message in that line, because she is really mentioning to the consumers of M & A ; Ms, stating that they love M & A ; Ms.

Cut to the interviewer who goes on to state & # 8220 ; and so we & # 180 ; ll talk about your new film & # 8221 ; . This is adding a plot line to the commercial and so maintaining the spectator entertained.

The commercial besides has some temper added in.

Cuts to Red M & A ; M ( moving like a Hollywood agent ) & # 8220 ; Hey babe I & # 180 ; ve got a portion for you & # 8221 ;

Cuts to Green & # 8220 ; In commercials-I Don & # 180 ; t think so & # 8221 ;

That & # 180 ; s an dry statement, seeing that this is a commercial!

Cut to Interviewer who looks depressed, with manus on mentum, and says, & # 8220 ; Yeah that & # 180 ; ll kill your calling! & # 8221 ;

Implying that his moving calling has gone that manner, because of his old engagement with commercials.

The camera zooms out and we see the stars sitting on the couch and the histrion looking down. We so see the two different types of merchandises i.e. Chocolate M & A ; Ms and Peanut M & A ; Ms that appear at the underside of the screen. So our last impressi

on of the commercial is the merchandise they are selling.

The advertizement entreaties to its mark audience by utilizing sketchs, doing it gratifying and appealing to younger kids. It keeps their attending to the sketch and so leaves a memorable feeling of the merchandise.

The Virgin Mobile Commercial, is aimed like the M & A ; M advert, at grownups.

The advert is set in a life room, and has a really warm, relaxed and cozy feeling to it. They use soft lighting, slow camera actions and do the histrions looked relaxed by seting them in dressing gowns to accomplish this. Unlike the M & A ; M advert, there are no other histrions around. There is merely the immature hubby and married woman on screen.

This involves the spectator in the commercial because the spectator is drawn to them. There are no other distractions such as music in the background, other histrions, or a voice over advertisement the merchandise. Sometimes if there is music in the background, the spectator gets distracted and they so lose the secret plan of the advert and so lose all involvement in it. The commercial starts with a adult female lounging on a couch flicking through a magazine. Her hubby is sitting in a chair following to her playing with a phone. They are both in dressing gowns, bespeaking that it is nighttime. The camera is in the same place all the clip.

The adult female looks up and asks her hubby & # 8220 ; Feeling better now you & # 180 ; ve got your Virgin mobile? & # 8221 ;

Again like the first commercial we are immediately told what this commercial is publicizing.

& # 8220 ; Cheap calls and no line lease & # 8230 ; I rule! & # 8221 ;

In this line, alternatively of doing the commercial drilling and holding a voice over stating us why a Virgin Mobile is better than any other, they include it into the normal duologue between hubby and married woman, which is rather cagey. Listening to a merchandise being sold is deadening and consecutive to the point, a storyline keeps the spectator interested and willing to happen out what this merchandise is all about.

The adult female smiles and goes back to reading.

Then we hear a phone tintinnabulation in the background. The adult female looks up and so carries on reading, anticipating her hubby to travel and reply it. She looks at her hubby as if to state why aren & # 180 ; T you replying it, but he looks off innocently and starts looking around the room.

She puts the magazine down and the camera cuts to a out of focal point shooting of the side of the adult male, but we get a clear shooting of he adult female standing up.

& # 8220 ; I & # 180 ; ll acquire it shall I? & # 8221 ;

We see the adult female walking in he way of the phone.

We cut to the adult male who is express joying. We hear the adult female answer the phone. & # 8221 ; Hi it & # 180 ; s me mike & # 8221 ; , still express joying.

Shot of adult female looking at her hubby non amused.

& # 8220 ; As you up, do us a cup of tea & # 8221 ;

The adult female laughs sardonically and puts the phone down.

The infantile behavior adds temper and a blithe feel to the advert.

At the terminal of the advert the voice over comes in and says. & # 8220 ; Spoil yourself rotten & # 8221 ; .

This commercial entreaties to grownups because they can place with this mean twosome, because most of the population comprises of mean twosomes. The advert gives the spectator the feeling that if the twosome on the telecasting advert can afford this phone, so so can we. The advert doesn & # 180 ; T use a man of affairs in a suit to advance the merchandise because this would appeal to merely a little per centum of the population. The & # 8220 ; Virgin Mobile & # 8221 ; is shown as the ideal phone, holding no line lease and inexpensive calls, and by demoing the adult male blowing these calls on playing gags on his married woman, it is stating that he can afford to blow calls, because the calls are inexpensive. At the terminal of the advert the spectator is left with a figure to name, to acquire a free booklet. The figure is left to the terminal, in the hope in what the spectator has heard in advert will do them desire to peal up and happen out how they could acquire a phone or booklet.

If a figure is shown at the beginning of a advert, the spectator doesn & # 180 ; T know what the company is publicizing and so is more likely to exchange off.

The figure at the terminal of the commercial leaves a permanent feeling on the spectator.

The two adverts are aimed at different audiences, but use similar tactics to lure the viewing audiences into purchasing their merchandises.

We are a state of telecasting viewing audiences and so hence a confined audience for advertizers. If we like an advert, and we need to purchase such artifact, so we are most likely to purchase the merchandise advertised because it has left a good feeling on us.

Equally long as commercials are consecutive frontward, diverting and put over the merchandise in an interesting manner, they are a powerful beginning of informing the populace and potentially selling the merchandise.