chapter -vii data analysis and...

126

Chapter - VII

DATA ANALYSIS AND INTERPRETATION

The purpose of this chapter is to make inferences on the basis of the objectives

raised to carry out the present study that is, Role of Teaser Advertising in Product

Promotion : a Critical Analysis of leading Newspapers and Television Channels

which are as follows:

6.1 TO STUDY THE NATURE AND EXTENT OF TEASER

ADVERTISING IN INDIA RECENTLY

The objective was fulfilled by carrying out data analysis and interpretation of

the various variables like type of advertising agency involved, typology of teaser

campaign, teaser element, revealer ad format, stage of the product life cycle ,

conceptual continuity, situational executions etc.

It was clear from the findings that teaser campaigns are increasing being

executed in both newspapers and television. 57 teaser campaigns in the newspaper

and 30 teaser campaigns on television channel were found in three years’ period of

the study.

Teaser campaigns were present in both main newspaper and supplements and

during various programmes on television. The results show that more than ¾ th

(82.5%) campaigns were found in the main edition of the newspaper and only 17.5 %

were published in the supplements .HT estates, HT Homes carried out their teaser

campaigns in supplements. None of the campaign had advertisements in both main

NP and supplements that is ads did not cross over from main to supplements during

127

its run. On television, teaser campaigns were not found in all programmes. It was seen

that campaigns aired during prime time were also aired before and after any

programme. No specific programme reported more attachment with teaser

advertising. Daily soaps, reality, chat shows, awards and other event based shows all

displayed the occurrence of teaser campaigns. Children based programs however did

not register the presence of teaser campaigns on television. It is evident that unlike

print, television as a medium of advertising even for specialized creative execution

forms is not media vehicle option dependent but is independent of the television

show/content. It is rather more concerned with the advertising potential of the day

part.

Table1: Frequencies of teaser campaigns done by various advertisingagencies/departments

Newspaper Television

Teaser campaignmakers

Freq Percent Cummulative Freq Percent Cummulative

Full size agency 34 59.6 59.6 27 90.0 90.0

Ala-Carte agency 15 26.3 86.0 2 6.7 96.7

Government agency 8 14.0 100.0 1 3.3 100.0

Total 57 100.0 30 100.0

Most of the teaser campaigns in newspaper and television were created by

full-fledged large scale advertising agencies. 60% of the total campaigns in newspaper

and 90% in television were created by large agencies. In fact a large number of these

campaigns were created by Ogilvy & Mather, the top most ad agency in India.

Incidentally, O&M has also bagged most number of awards for the ‘big idea ‘and

128

other creative recognitions continuously over the last two decades. As the big

agencies led the way, specialized creative boutiques and design studios seemed to

follow suit. In the newspaper, Ala-Carte agencies (26.3%) advertising also did these

campaigns . Agencies like Orchard, Aksh created teasers for national, local brands

and shopping malls in Delhi /NCR. Even government agencies (14%) have done

teaser campaigns in the newspaper. It can be assumed that Directorate of Audio

Visual Publicity is also no longer reluctant to innovate. DAVP infamous for its

boring , run of the mill advertising, often direct and announcement like also created

teaser campaigns for its mega health communication project ‘AIDS Awareness’ . In

fact DAVP repeatedly created teaser campaigns for the same account. Significant to

note was that it created campaigns based on different objectives and elements each

time. If one campaign was more vocal and poked the audience with hard hitting

teasers like “Kya Aap Balbir Pasha Ko Jante Hai?” and “Balbir Pasha Ko Aids Hai

Kya? , the others were more focused on showing that anyone can get the disease yet

another series of teasers stressed on the modes of contracting the disease (KYS). All

types of agencies using teaser advertising shows the fondness of the ad creatives

towards the specialized form along with growing conviction amongst the advertisers.

It also shows the narrowing gap between various advertising setups in exploring the

use of innovations and creative executions in Indian advertising. On the face of it, full

size ad agencies like 0&M lead the creative revolution by being the innovators

towards any new creative message to be diffused , quickly leading to a ‘bandwagon

effect’ on other advertising units .

129

Teaser advertising on television remained majorly a creative job of the mega

full size advertising agencies. Only 7% and 3% campaigns were done by exclusive

media agencies or creative boutiques and departments agencies of the public sector

establishments.

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

mul

ativ

e

Freq

Perc

ent

Cum

mul

ativ

e


Place of creative execution

No.

of t

ease

r cam

paig

ns

Full size agency

Ala-Carte agency

Government agency

Total

Fig.12: Distribution of teaser campaigns done by different ad agencies/deptt.

It is clear from the results that 90% of the campaigns during the time studied

were done by the top three ad agencies in India (Fig12). Ala-Carte agencies and

government ad departments are not creating teaser campaigns for television to that

extent. It may be due to the reason that since television campaigns entail considerable

production cost and are creatively less flexible in comparison to print and outdoor

media therefore small agencies and conventional advertisers /agencies refrain from

innovative forms of advertising fearing a boomerang effect with heavy losses.

130

Table 2: Frequencies of teaser execution at the PLC stage in The HindustanTimes and Sony Entertainment Channel


Stage of plc Freq Percent Cumulative Freq Percent Cumulative

Introduction 22 38.6 38.6 10 33.3 33.3

Growth 12 21.1 59.6 5 16.7 50.0

Maturity 9 15.8 75.4 6 20.0 70.0

Revival 14 24.6 100.0 9 30.0 100.0

Total 57 100.0 30 100.0

PLC : Product Life Cycle

It shows that teasers on both the media were primarily used to introduce a new

product in the market or to revive an existing brand. These two stages together found

63.2% and 63.3% campaign in the newspaper and the television channel respectively

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

mul

ativ

e

Freq

Perc

ent

Cum

mul

ativ

e


Stage of PLC

No.

of t

ease

r cam

paig

ns

Introduction

Growth

Maturity

Revival

Total

Fig.13: Distribution of teaser campaigns done at various stages of product lifecycle

131

Around 39% of products used teaser campaigns to introduce the product in the

market or launch the product for the first time, whereas 25% campaigns were created

to revive a diminishing product by extending its product line through introduction of

new variant. For e.g. Dove , Pantene, Sach ka Samna, Airtel extended its line by

creating a teaser campaign for Airtel DTH , The Hindustan Times extended its life

cycle by a campaign for HT Mint , HT Brunch , HT Estates etc. Despite popular

belief that teaser campaigns are only used to either launch a product or a brand

extension, lot of campaigns like Dove, Pantene, Tata Sky were done when the product

was either on an incline i.e. the sales and the consumer base of the product are

growing (21%) or during maturity when the product was trying to establish itself by

branding through positioning and consolidating its market position (15%)(Fig.13).

Likewise on the television channel, 33% teaser campaigns were to introduce a

new product for the first time in the market, whereas around 30% campaigns were

intending to extend a product through a new line extension or by repositioning the

existing brand to elongate the product life cycle. Leapfrog product life cycle was quite

visible in the results to extend the product in the market. Some campaigns (nearly

20% each) were done by products in the prime of their life span, indicating a much

wider scope and expectations from teaser advertising campaigns in product promotion

than just buzz, hype and a differential presentation of a novel idea. Thus, we see that

products are using teasers for growing brands allocating far more serious and long

term objectives to innovative forms of advertising.

The following tables present the data presentation and analysis of various

elements, devices and types of teaser campaigns in print and television media

132

Table 3 .1: Frequencies of teaser element in The Hindustan Times

PrintAd Element Frequency Percent Valid Percent Cumulative Percent

Headline 22 38.6 38.6 38.6

Visual 5 8.8 8.8 47.4

Logo 4 7.0 7.0 54.4

Body copy 1 1.8 1.8 56.1

Combination of morethan one

25 43.9 43.9 100.0

Total 57 100.0 100.0

For critical analysis of teaser advertising in product promotion, it was vital to

understand the verbal and visual elements executing the teaser idea. The results show

that in newspapers, headlines was the predominant teaser element used to build the

series of teaser advertisements in the campaign .39% of the teaser campaigns had

headline as its teaser element. It was also evident from the results that more than one

copy element was used as the teaser element in the campaign .44% campaigns used a

combination of both verbal and visual elements in the teaser ads. In newspapers,

maximum number of teaser campaigns had both headline and a visual (picture) as the

teaser element. Therefore it was observed that campaigns had two element (one verbal

and one visual) as a teaser element to progress in continuation from one teaser ad to

another. In a few campaigns, three elements (headline, visual and body copy) came

(DDA. HT Mint, NACO, Hyper M) together to form a teaser element. Further

descriptive analysis shows a few types of headlines were used more. Curiosity

Headline, Question Headline, Declarative Headline were used in most ads. In some

cases a Blind Headline was used to heighten the arousal or to augment the mystery

133

quotient of the campaign. It was seen in campaigns where headlines are the teaser

element, no other copy element was generally used.

It was seen that logotype (7%) and body copy (2%) were not commonly used

as teaser elements. From the results it can be inferred that print teaser campaigns

relied on high attention nature of curiosity or intrigue headline, action intent of the

question and statement of declarative headlines in series of teaser ads aim to inform

about a new idea/object in bits and parts to fill in their knowledge gap by adding

information drop by drop. The objective of using question headline in teaser ads was

to engage the target audience /end user / final consumer in a conversation in order so

that the product can finally lead to the answer via problem solution format in the

revealer. Unlike other types of print advertising, pictures (visuals) alone were not the

first choice for teasers, though some campaigns relied on the recognition power of the

visuals in the series of teasers. Since, advertising today is more objective driven and

result oriented, teaser campaigns reflected the case by opting for both headline and a

visual in combination to create the teasing effect. Since body copy or the copy text is

not an attention grabbing ad element, teaser campaigns too do not like to use it as a

teaser element. Because of the comprehensive and lengthy nature, body copy may

have been considered weak in carrying forward the teaser ads. Hindustan UniLever

(HUL) with the sole aim of rebranding its visual identity used logo as teaser elements,

otherwise identity elements like brand name and logotype were not used to tease since

the campaign banks on not telling its identified sponsor. HUL used semi developed

logo at various stages in the teaser campaign to unveil its new corporate logotype. It is

clear that other elements like nameplate were not used because it tells the name and

134

address of the advertiser and the brand. Subheads too were not used as teaser elements

as their primary job is to provide information about the headline which is not required

in the case of such ads. These campaigns did not use taglines as teaser element.

Table 3.2: Frequencies of teaser element on Sony Entertainment Channel

TV Ad Element Frequency Percent Valid Percent Cumulative Percent

(Visual And Spoken)Tagline

7 23.3 23.3 23.3

Story/Scenes 13 43.3 43.3 66.7

Supers/Written Copy 1 3.3 3.3 70.0

Visual Memory Device 8 26.7 26.7 96.7

Logotype 1 3.3 3.3 100.0

Total 30 100.0 100.0

From the table above we can see that on television; most commonly found

teaser element was the scene (showing the story in bits and parts). 43% campaigns

used an entire scene as one teaser element to narrate the teaser story. The story

presented in a single scene acted as the teaser element in television commercials. Use

of scene as teaser element implies that the intent is to heighten the interest of the

audience in the story being slowing told through teasers. It aims to transform all the

ad viewers into active audiences, enticing them to seek the gratification they need

through media uses of the advertising campaign. Some campaigns (23%) executed

teaser ads through visual tagline or the spoken tagline.These campaigns intended to

not only engage the viewer bit also increase the recall and recognition of the tagline of

135

the brand. Since tagline is among the most permanent element of any brand, the teaser

campaigns used it to gain memorability for the ad and the brand in the long run.

Visual memory devices 23% and visual and spoken taglines 27% also act

asteaser elements in television ads. However, music in any form was not used as a

teaser element in any campaign. Jingles or signature tunes were not found as solo

elements of teaser ads. It was clear that unlike print, teaser advertising though

television is far more integrated. The teaser campaign theme is not carried forward

through an individual element of the television commercial but is embedded in the

entire scene or the audiovisual narrative of the advertisement. It is interesting to note

that while taglines are considered to be a high recall and recognition element, teaser

campaigns are not using them to a great extent.

Table 4: Frequencies of type of teaser campaign in The Hindustan Times andSony Entertainment Channel


Teaser Typology Freq Percent Cumulative Freq Percent Cumulative

Classic 46 80.7 80.7 23 76.7 76.7

Partial 10 17.5 98.2 7 23.3 100.0

1 1.8 100.0

Total 57 100.0 30 100.0

As many as 81% of the total campaigns were classic teaser campaigns in the

newspaper. The classic teaser campaigns were designed in which no cue (verbal or

visual) was given in the series of teaser advertisements. The element of suspense was

complete till the final revealer ad featured in the newspaper. They did not give any

hint on either the nature of the product, its category or brand identity. From the results

136

it can be argued that complete curiosity is the essence of teaser advertising in India.

The creative in the advertising agencies are working on the dual maxim of guess the

next ad and guess the brand in the same campaign. Unaided identity search is the

bottom-line of the classic campaigns. Classic teasers can have cues hidden in the copy

elements of the series of teaser advertisements. They are totally nameless campaigns

offering an absolutely new idea to the audience with a sequence or story progressing

into the final complete advertisement presenting both the climax of the story and the

identity of the brand.

Similar trends are visible on the television channel. 77% of the campaigns

were classic campaigns with no visual or verbal clue given in the series of teasers

used.

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

ulat

ive

Freq

Perc

ent

Cum

ulat

ive


Type of teaser campaign

No.

of te

aser

cam

paig

ns

Classic

Partial

Total

Fig. 14 : Distribution of types of teaser campaigns

Hence it is evident that regardless of the medium, the innovative nature of

teaser advertising is deeply embedded in creating a heightened sense of curiosity to be

satiated only in the end like a suspense thriller. The motive behind classic teaser

campaigns is largely to dilute the existing identity of the brand or to launch a new

137

brand in the market. Especially in the case of a new product or product line extension,

advertising professionals practice the magic bullet theory of communication which the

identity and the message of the brand is shot at the mass audience in one attempt to

manipulate their opinion in their favour. Here, in teaser advertising, the sender is

initiating a two way communication, right at the outset by inviting the receivers to

reach the identity of the brand on its own. The classic teaser campaigns can be visual

or copy based in nature. In fact, an adaptation of multi step hypothesis in

communication is the driving principle behind teasers. Since teasers are totally

cueless, the very first ad message may stimulate the opinion leaders and the audience

at large to find the identity. The role of opinion leaders becomes crucial as they rely

on their expertise and experience to solve the mystery.

Looking closely, it is seen that the classic teaser campaigns were carefully

created by basing the seeding idea on the Unique Selling Proposition, Extra Value

Proposition or the dominant advertising appeal of the product/brand in its introductory

or growth stage. It is prudent to weave a classic campaign on the product feature or

element rather than run the risk of inability of the people to find the link between the

teaser message and the product advertised.

While majority of the campaigns were classic teaser campaigns, some were

partial teaser campaigns in the sample studied. 18% and 23% campaigns were partial

teaser campaigns in print and television respectively(Fig.14). Here, the audience knew

either the corporate brand or the principle advertisers, but did not have a clue on what

is it all about . It happened in the cases where a corporate brand was diversifying into

a new sector or product category (HT Estates, Quantas, HUL, Go jivo etc.).

138

Table 5 : Frequencies of teaser device in The Hindustan Times and SonyEntertainment Channel


Teaser Device Freq Percent Cumulative Freq Percent Cumulative

Present 35 61.4 61.4 17 56.7 56.7

Absent 22 38.6 100.0 13 43.3 100.0

Total 57 100.0 30 100.0

Teasers campaigns used a common connector to link all the ads in the

campaign in print as well as television advertising .The data presented shows that

62% teaser campaigns in newspapers had a connecting device, generally a copy

element linking all the teasers in the campaign. Further analysis showed that the

device used were verbal elements like buzz words, action words and emotive words.

Commonly used teaser copy devices were action words e.g: turn to page no x to lead

the audience to the next teaser. Buzz words and phrases like coming soon, know more

wait and watch, watch this space, acted as the guiding posts to the reader. Emotive

words like only for you, were also used. In some ads, arrows and indicators were used

to enable the mass audience to go from one teaser ad to another in the same campaign.

It was seen that these devices were placed at the bottom of the each teaser

advertisement. It was found that throughout the teaser campaign the copy device used

in each separate teaser advertisement remained the same. This commonality of the

copy device created uniformity in the teaser campaign enabling the audience to move

from one teaser to the other without any confusion or misconstruction.

Use of copy devices suggest that even though teaser campaigns are enveloped

in the theory of systemic buildup of curiosity and mystery, some signposts are

necessary in creating a reader based campaign. It can be inferred that while creating a

139

teaser campaign, it is prudent to use a connecting device between the teasers so that

the reader gets a cue thereby actively seeking the next teaser, making it a truly

inclusive. Since these are unbranded campaigns, curiosity with signposts is effective

can be sustaining the audience involvement in the campaign. It also gives an idea to

the audience about the duration and the length of the campaign. Devices (Spire Edge,

BPTP, DDA) like turn to page no 3, more at page communicated to the audience that

the campaign is likely to conclude in the same edition of the newspaper where as copy

devices like coming soon or broken dots (…) (Airtel, Big TV, Pantene, IP TV etc.)

told the audience to keep looking every day for the next episode just like a daily serial

on their favorite channel.

Like newspapers, television teaser campaigns too, used the teaser device to

connect all the teasers in one campaign. Presence of connecting copy devices was

noted. Around 57% campaigns have used copy devices (words, phrases and symbols)

to communicate that there is more to come in the campaign(Fig.15).

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

ulat

ive

Freq

Perc

ent

Cum

ulat

ive


Teaser device

No.

of t

ease

r cam

paig

ns

Present

Absent

Total

Fig.15 : Distribution of teaser campaigns for teaser device

140

Commonly found copy devices are ‘to be continued, coming soon, wait and

watch’ in television teasers .Since television advertising is ephemeral, it might be

important to inform the viewing audience about the completeness or the

incompleteness of the campaign. Amongst the fleeting images, teasers run the risk of

losing themselves in the ad clutter. Use of teaser device also threw light on the

episodic nature of these campaigns.

While teaser advertising in print and television stand true to Leech‘s four basic

characteristics of copywriting in general, copy devices used in teaser campaigns were

predominantly used for compelling action vis-à-vis the creative message .If on one

hand brand names, promotion offers function to compel action towards the product

(trail or purchase), these copy devices compelled action towards the next segment of

the advertising campaign. They were primarily used to lend continuity to the

campaign to make the audience act towards the campaign. It must be noted that in all

forms of advertising, whether conventional or innovative like teaser advertising,

language and rhetorical devices play a crucial role in creating a campaign. Even when

the aim is to conceal more and reveal not till the end, some copy elements and devices

are vital to the existence of the campaign. It has also been seen in the data analyzed

that some teaser campaigns (39% and 43% in newspapers and television respectively)

were absolutely sans any copy device conforming to the creative view on teasers ,

whereby the striking similarity amongst the teasers in itself was the tying chord not

needing a copy connecting device to integrate the campaign . Since innovators in

advertising like to experiment with different ways of copywriting, absence of copy

device is also a prevalent form in teaser advertising, both in print and television. It is

possible that ads without copy devices focus on its primary teaser device generally a

141

headline or a visual, provoking the audience to actively seek gratification by a focused

search for the next teaser. In such cases, if we schedule the campaign in a more

periodical manner i.e. every teaser on a fixed interval it may create a facilitating effect

than an inhibiting effect on the target audience.

Table 6 : Frequencies of continuity of a story in teaser campaign in TheHindustan Times and Sony Entertainment Channel


Continuity Freq Percent Cumulative Freq Percent Cumulative

Present 20 35.1 35.1 13 43.3 43.3

Absent 37 64.9 100.0 17 56.7 100.0

Total 57 100.0 30 100.0

A higher number of campaigns were not in form of one long story. 65% were

based on one common idea in newspapers but presented through different incidents or

vignettes. 57% campaigns on television showed the teaser ads using different settings

and characters to convey the campaign idea. Use of multiple celebrities was done to

reinforce the same blind idea in the minds of the people. Different subjects and

characters reiterated the same in all the teasers hammering the same teaser element in

every ad. It can be inferred that continuing with a single story throughout the

campaign may divert the audience attention from the brand and merely absorb them in

the storyline itself taking the focus away from finding clues on brand identity left in

every teaser before the final ad. Similar arguments have been made for use of humour

and sex in advertising emphasizing on their ability to take the audience near the ad but

away from the brand.

142

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

ulat

ive

Freq

Perc

ent

Cum

ulat

ive


Continuity of a story

No .

of t

ease

r ca

mpa

igns

Present

Absent

Total

Fig. 16 : Distribution of teaser campaigns for continuity of story

On the other hand, newspaper analysis showed that 35% teaser campaigns

were telling one single story in all their ads. 43% campaigns on television were story

based teasers with same characters and same plot without clues on name or identity of

the brand till the final ad (Fig.16).Here, teaser campaign was created in three steps.

First step was conceptualization, meaning arriving at the final campaign idea after

germination, illumination and incubation. Second step : preparing a narrative story to

say and show the idea. The last step was to select and arrange creative elements like

copy and visual elements, devices to present the idea to the audience. One idea was

conveyed through one story in an episodic manner where teaser1 acts as (part 1)

leading to T2 as (part 2) and so on till the climax of the story in the final revealer. The

teasers carried forward the story through the same characters expanding on the

situation(s) bit by bit up to the final disclosure. The teaser campaign has a beginning,

middle and an end. Such teasers resembled a film trailer or a promo on many

occasions.

143

It may be said that teaser advertising is passing through the glorious phase of

creative innovation. It will be presumptuous to underline the superseding popularity

of either the episodic continuity of teasers or snapshots of embedded teaser elements

at present.

Table 7 : Frequencies of situational executions in teaser campaign in TheHindustan Times and Sony Entertainment Channel


SeparateSituations

Freq Percent Cumulative Freq Percent Cumulative

Present 25 43.9 43.9 12 40.0 40.0

Absent 32 56.1 100.0 18 60.0 100.0

Total 57 100.0 30 100.0

65% campaigns showed use of distinctive teaser ads in one campaign. Despite

same size and shape, teaser ads depicted different day to day situations, events,

happening and contexts. The situations were different even though the teaser element

was the same throughout the campaign. Otherwise teasers themselves were complete

autonomous display units. Such strategy may allow better response from the

consumer. Since the consumer does not have to study every ad before the revealer but

can notice and attend to few teasers and still relate to the revealer without any ado.

Creatives need not fret about missing links in the campaign. 35% campaigns projected

same situation that is a work life problem, family life, relationships etc. though not as

a story, the situations showed remarkable similarity to enable ad association.

144

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

ulat

ive

Freq

Perc

ent

Cum

ulat

ive


Situational execution

No .

of t

ease

r ca

mpa

igns

Present

Absent

Total

Fig. 17 : Distribution of teaser campaigns for the situational executions

Television advertising also reflects similar trends. 60% campaigns show

teasers not showing same situation, in fact different metaphors were used to tease the

audience. 40% consisted of teaser ads presenting the same situation in various slices

of life(Fig.17). The situations were crossroads, success, medical/financial problem,

matrimony and other incidents. Visual description of each situation varied with the

related incident to express resonance with the situation.

Table 8.1 : Frequencies of revealer format in teaser campaign inThe Hindustan Times

Revealer Ad Format Frequency Percent Valid Percent Cumulative Percent

Conventional/featurebased

34 60.7 60.7 60.7

Picture 11 19.6 19.6 80.4

Comic strip 3 5.4 5.4 85.7

Celebrity 8 14.3 14.3 100.0

Total 56 100.0 100.0

The data shows that majority of the campaigns used conventional ad format

for their final revealer advertisements in the newspaper. 61% of the revealer ads were

145

conventional in nature followed by the picture based message format (20%).

Celebrities were also used in the final ad, though to a limited degree (14.3%). Only

NACO used the comic strip format in its revealers. Other ad formats like the verse,

problem solution, reason why etc. were not found in these campaigns. From the

results, it can be assumed that revealers or the ‘tell all’ final ads are created to provide

not only the information about the identity of the product and the advertiser but also

give detailed information on its features, attributes and benefits. Not much of creative

experimentation is done at this stage to ensure that the reader is able to get the product

knowledge without any confusion or ambiguity. Though the display elements

continue on the line of the teaser ads, the text elements ( body copy) vividly exhorts

the sponsor and his claims .

Table 8.2 Frequencies of revealer format in teaser campaign teaser on SonyEntertainment Channel

Revealer Ad Format Frequency Percent Valid Percent Cumulative Percent

Slice of life 6 20.0 20.0 20.0

Vignettes 5 16.7 16.7 36.7

Product demo 5 16.7 16.7 53.3

Animation/ comic 1 3.3 3.3 56.7

Celebrity/testimonial 9 30.0 30.0 86.7

Announcement 2 6.7 6.7 93.3

Imagery 2 6.7 6.7 100.0

Total 30 100.0 100.0

It was observed that celebrity endorser and user testimonials (30%) are the

major execution formats used in television teasers. In some campaigns, other key

common formats like the slice of life (20%), vignettes (17%) and demonstration

146

format (17%) were also used. Since the difference in their use is less , it can be

concluded that on television , the concept of the teaser decides the last ad format and

there exists no specific rule or application of a particular message format in creating

the ‘tell all’ ad. Thus it can be inferred that that revealer format depends upon the

storyline and the characters in the campaign.

To know the extent of the practical application of teaser advertising, the

annual growth rate and average growth rate (AGR) for the selected period was

calculated using the following formulae:

Annual Growth Rate= [(Vpresent-Vpast)/Vpast] * 100

In this formula:

Vpresent = present or future value

Vpast = past or present value

Average Growth Rate = GY1+GY2/P

In this formula:

GY: Growth rate of one year

P : Time period

Results show that in the newspaper 12, 19 and 26 teaser campaigns were

found in 2007, 2008 and 2009 ( Ist January -31st December) respectively.

Annual Growth Rate (2007-2008) = 19-12/19* 100=37%

Annual Growth Rate(2008-2009)=26-19/26*100=27%

Average Growth rate (2007-2009) = 37+27/2=32%

On the television channel, 7, 11, 12 teaser campaigns were found in 2007,

2008 and 2009 ( Ist January -31st December) respectively.

Annual Growth Rate (2007-2008) = 11-7/11* 100=36%

Annual Growth Rate (2008-2009) =12-11/12*100=1%

Average Growth Rate (2007-2009) = 36+1/2= 16.5%

147

6.2 TO CRITICALLY EXAMINE THE BRANDING & COMMUNICATION

FUNCTIONS PERFORMED BY TEASER ADVERTISING

Teaser campaign began with the specific, measurable, achievable, reliable and

time specific objectives. Variables such as communication objectives, branding

functions and linkage with the overall ad plan have been analyzed.

Table 9 : Frequencies of teaser objectives in The Hindustan Times and SonyEntertainment Channel


AdvertisingObjectives

Freq Percent Freq Percent Freq Percent

Arousal 30 52.6 52.6 12 40.0 40.0

Interaction 4 7.0 59.6 7 23.3 63.3

Knowledge 6 10.5 70.2 - - -

AudienceEngagement

15 26.3 96.5 7 23.3 86.7

Entertainment 2 3.5 100.0 4 13.3 100.0

Total 57 100.0 30 100.0

Table 9 shows that 53% of the campaigns in the newspaper aroused the

audience’s need for mystery and suspense. Communication message was intended to

create a sensory feeling of thrill and excitement. Since teaser advertising works on the

power of curiosity, arousal of audience was a popular communication objective. 26%

campaigns engaged the audience into eitherthe concept, idea or story of the ad. It

stressed that you cannot make audience curious yet passive .These was done to

stimulate the audience into mass conversation. In this case, teasers aimed to poke the

audience into action i.e. becoming a part of the sequence of parts campaign creating

your answers raised by each teaser. It is similar to that of a brain teaser where the

148

activity attempts to test the audience via communication. Two way communication in

these campaigns created a scope for immediate or a delayed response. For e.g. look at

the picture, tell the difference in the red label teasers. 11% campaigns worked on a

conservative note, even in innovative creative type like teasers. Here, the objective

was to provide detailed information about the brand in an unbranded campaign. Here

the sender was cautious and aimed to spread knowledge about the brand leading to the

final revelation about its identity. Few teaser campaigns (7%) communicated with the

audience to interact or open conversation about either the brand advertised or generic

class of products. It was largely one way communication with messages shot as teaser

questions leading to all the answers in the revealer. The element of mystery was

superimposed by the attempt to tell the audience about the brand. Here, teasers

expected the audience to be involved but passively till the end. 3.5% campaigns were

solely to entertain the consumer. Entertainment is slowly moving from other mass

media like cinema to advertising as well. Use of humour, slice of life drama,

hyperbole is largely to entertain the audience.

0

20

40

60

80

100

120

Arousa

l

Intera

ction

Knowled

ge

Audienc

e Eng

agem

ent

Ente

rtainment

Tota

l

Objectives of teaser campaigns

No.

of t

ease

r cam

paig

ns

Newspaper Freq

Newspaper Percent

Newspaper Comulative

Television Percent

Television Freq

Television Comulative

Fig. 18 : Distribution of teaser campaigns for communication objectives

149

Television campaigns show that 40% are aimed at arousing public attention by

creating mystery or suspense around the name or the type of the proactive response.

Not necessarily feedback, these campaigns tended to direct the audience to use new

media to participate in ‘solving the puzzle’. url’s and website addresses and names

were given at the end of the advertisement. 23% merely communicated to the

audience about various aspects of the product without naming it and 13% campaigns

entertained the audience, induce fun, humour and enjoyment by telling a story

(Fig 18).

Table 10 : Frequencies of linkage between the campaign and brand in The

Hindustan Times and Sony Entertainment Channel


Brand Linkage Freq Percent Cumulative Freq Percent Cumulative

Product Feature/USP 38 66.7 66.7 12 40.0 40.0

Icon/Mascot 4 7.0 73.7 1 3.3 43.3

Celebrity attachment 3 5.3 78.9 8 26.7 70.0

Previous campaign 7 12.3 91.2 2 6.7 76.7

No apparent connect 5 8.8 100.0 7 23.3 100.0

Total 57 100.0 30 100.0

From the results it is clear that teaser campaigns do not occur in isolation.

They are part of a larger ad plan. Previous studies had established that blind teasers

with no connect to the brand does not contribute much to the overall brand equity or

even value. The data shows that most campaigns were created with visible and

distinguishable linkages with the brand. 67% newspaper campaigns encapsulated the

product feature or a tangible product benefit isolated as the unique selling proposition

(USP) in the teaser ad. They had the USP of the product clearly encoded in the teaser

150

element despite no cues on the brand identity. Teaser one after the other established

the product feature in mass memory. In fact, the motive was to draw public attention

to the USP of the brand and motivate the people to guess the likely brand or the

product. Such a participatory communication activity worked to the advantage of the

brand. Matching the mystery quotient to the product feature enabled the consumer to

guess the brand correctly most of the times. The product feature serve like cue cards

in a puzzle game. It led the consumer to the brand, it follows the principle that if the

reader guesses it right, it becomes part of subconscious memory likely to create

permanent recall and in case the guess is incorrect, the concept of the ad and brand

remains alive.

0

20

40

60

80

100

120

Product

Feat

ure/

USP

Icon/

Mas

cot

Celebrit

y atta

chment

Previo

us cam

paign

No appar

ent c

onnect

Tota

l

campaign-brand linkage

no. o

f tea

ser

cam

paig

ns

Newspaper

Television

Fig. 19 : Distribution of teaser campaigns for campaign –brand link

The table shows that 12% campaigns had linkage to the previous campaign of

the same product. It mainly occurred in brands using small cryptic teaser campaigns

one after the other than opting for a single lengthy one.9% campaigns had no

connection with any previous campaign of the same product or brand.

151

Similar results were obtained from the television campaigns. 40% campaigns

communicated the product feature or unique selling proposition through their teaser

ads. While 27% were created to inform about the celebrity attachment/endorsement

with the product, 23% campaigns had no apparent connect with the product or any

previous campaign of the product. These campaigns were fully mysterious and were

product specific leaving room for interpretation of the teaser ads independent of the

intended message. Only 7% campaigns showed linkage to the previous ad campaign

in any which way (Fig.19). This shows that despite the need to careful, some teaser

campaigns were fresh, original and novel. Even in creative advertising, lower level of

communication objectives: awareness and knowledge were crucial. Nearly half of the

campaigns in print and electronic were created with an aim to disseminate key

attribute information about the product not in one dose but in sequence of parts.

Novel forms like teasers too used rational appeals directed at the consumers’

practical, functional need for the good or the service by encoding tangible product

feature or benefit in a curiosity based teaser message. Secondly, it is seen that the role

of celebrity appeal in advertising is becoming more invasive than diminishing with

time. Even in innovative advertising forms like teaser ads celebrities are increasing

being used as intrinsic part of message encapsulation. In many cases, the celebrity

endorser becomes the persona of the campaign (Irfan Khan in Religare & Aamir Khan

in Tata Sky). Celebrities from the film industry, sports, entertainment industry are

roped in for testimonials, as communicators of storytelling in advertising especially in

television commercials. This reflection of increasing reliance on celebrities to build

brands finds validity in their attachment with numerous products across class and

category. Apart from saleable products, non commercial advertising commonly and

political advertising too banks on celebrity appeal to build credible consumer base.

152

Table 11 : Frequencies of brand building functions by teaser campaigns in TheHindustan Times and Sony Entertainment Channel


Brand Building

Functions

Freq Percent Freq Percent

Brand Presence 20 35.1 9 30.0

Brand Interest 14 24.6 8 26.7

Brand Extension 7 12.3 7 23.3

Brand Image 8 14.0 - -

Category Need 8 14.0 6 20.0

Total 57 100.0 30 100.0

Advertising creates brands, all creative forms follows this maxim. 35%

campaigns in the newspaper served established the brand presence for a new product

to announce the brand’s identity with the final revealer advertisement in the launch

phase.

020406080

100120

Esta

blishing t

he bra

nd...

Creat

ing bra

nd Inte

rest

brand

Extensio

n

Developin

g bra

nd imag

e

Categ

ory need

Tota

l

Brand building functions

No.

of t

ease

r cam

paig

ns

Newspaper Freq

Newspaper Percent

Television Freq

Television Percent

Fig. 20 : Distribution of teaser campaigns for brand building functions

153

30% campaigns created brand interest. These teaser campaigns by highlighting

either the hidden or the induced differences between the competing products through

a mysterious track or plot stimulated interest about the brand amongst the otherwise

nonchalant audience. The results show that mature brands in product categories with

familiar, frequently used products, stimulated brand interest motivate action because

of there ability to make the individual consumer open or curious about the brand .

Existing products used teasers to revive the bored audiences towards the brand by

creative messages that are entertaining and enjoyable. 13% were done for brand

extension(Fig.20). Seemingly, manufacturers strategize to create individual brands

instead of umbrella branding for the firm. Brand live cycles were extended via teaser

ads by positioning the key brand associations of the line extension by launching or

introducing a new extension i.e a new product variant of the same product or a new

type of product related to the existing category or belonging to a new class. This

strategy is likely to build corporate reputation in the long run where aggregate product

valuation and relationship with the organizations is taken into account. 9% campaigns

were involved in initiating long term function of developing brand image. Result

show that teasers are not able to affect the image of the brand in themselves, yet can

act as precursors to a long term strategy where the focus is not on tangible physical

attributes but on perception of the people. Evidently teasers can only play a part in

brand image, may be if it uses mascots or brand ambassadors in their message

executions. 14% campaigns strived to create a new category need in the consumers.

Teaser campaigns for health awareness and financial services were serving generic

branding functions, where the entire type of good or service was focused upon.

154

Data on television advertising shows similar findings. 30% of the campaigns

served to introduce a new product in the market with the primary purpose of building

brand identity through series of teasers and brand name presentation with the final

revealer. 27% campaigns were predominately leading to create brand interest. The

creative quotient of these campaigns e.g Videocon, Vodafone, ponds, dove etc was

very high. 23% campaigns were done to extend the brand either by repositioning it or

by starting a new line of the company. E.g. Maggi (three ad teaser campaign) for

Maggi Bhuna Masala extended the brand Maggi further. 20% were generic campaigns

to create demand for a new type of good or service. No campaign was found to

develop image at this stage.

Table 12: Frequencies of target audience in The Hindustan Times and SonyEntertainment Channel


Type of targetaudience


End user/finalconsumer

44 77.2 77.2 28 93.3 93.3

Influencers - - - - - -

Both 13 22.8 100.0 2 6.7 100.0

Total 57 100.0 30 100.0

Most of the teaser campaigns are mass, people facing campaigns . The results

show that 77% campaigns are targeted at general consumers ( end users ). Only 23%

campaigns are designed to target the gatekeepers or opinion leaders along with the

general masses in the process of communication. These 23% campaigns are

significant as they suggest a marginal shift in the rationale of consumer segmentation

for print advertising .industrial consumer and the media are now becoming the

sponsorial audience for creative advertising.

155

On television, 93% of the campaigns are targeted at end users or the final

consumer in the product –production chain. Only 7% campaigns were intended at

both the consumer and the intermediate link in the chain or the gatekeepers. Now

campaigns target not only the end user but also either the intermediate link (the trader,

the wholesaler or the professional) but also the gatekeeper like the news media that

has the power of influencing public opinion(Fig.21).

Teaser advertising campaigns are prepared with a pre defined target audience

following the steps of campaign planning and execution i.e objectives, time duration ,

target segmentation and identification , creative plan , media plan and evaluation.

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

ulat

ive

Freq

Perc

ent

Cum

ulat

ive


Target audience

No.

of t

ease

r cam

paig

ns

End user/final consumer

Influencers

Both

Total

Fig. 21 : Distribution of teaser campaigns for target audience

The study is not able to specifically quantify the type of target segment i.e the

intended receiver, yet it successfully reveals the nature and class of consumers as the

actual receivers of the creative message. Geo-demographically, the teaser campaigns

are targeted at urban, city bound literate, middle and upper middle class across age

156

,occupation and sex with the propensity to consume and willingness to buy. This

socio economic class of consumers posses behavioral attributes like seeking pleasure,

emotional connect fun, and advertainment (advertising that entertains). They are

keenly involved with mass and new media, impulsive buyers and have the coherent

ability to solve puzzles and quizzes. Adventure seeking audience that prefer

experiential forms of marketing for brand engagement as compared to the traditional

attractions like discounts, promotional schemes and direct marketing.

6.3 TO COMPARE THE EFFICACY OF TEASER ADVERTISING WITH

OTHER MESSAGE EXECUTION STRATEGIES IN INDIAN

ADVERTISING

In order to assess the long term role of teaser advertising, its impact with

respect to other popular prevalent creative executions is observed. In Q10 (1-4) and

Q10 (1-4) in Questionnaire 1 and Questionnaire 2 teaser were compared with

celebrity endorsement, comparative or combative appeals, fear and sex appeal. The

creative forms were measured with the help of a rating scale with four options namely

greater than, less than, equal to and cannot compare.

157

Table 13 : Comparison of audiences and professionals on impact of teasers Vs other executions

Teaser Vs Fear Teaser Vs celeb Teaser Vs Spoofs Teaser Vs Sex

Audience Agency Audience Agency Audience Agency Audience Agency Audience Agency Audience Agency Audience Agency Audience Agency

Relative

Impact

Freq Percent Freq Percent Freq Percent Freq Percent

More

Impact

160 50 45.7 33.3 143 75 40.9 50 139 104 39.7 69.3 134 84 38.3 56

Less

Impact

74 66 21.1 44 98 35 28 23.3 121 12 34.6 8 88 20 25.1 13.3

same

Impact

47 21 13.4 14 49 36 14 24 42 16 12 10.7 45 27 12.9 18

No

comparison

69 13 19.7 8.7 60 4 17.1 2.7 48 18 13.7 12 83 19 23.7 12.7

Total 350 150 100 100 350 150 100 100 350 150 100 100 350 150 100 100

158

0

50

100

150

200

250

300

350

400Au

dien

ce

Agen

cy

Audi

ence

Agen

cy

Audi

ence

Agen

cy

Audi

ence

Agen

cy

Audi

ence

Agen

cy

Audi

ence

Agen

cy

Audi

ence

Agen

cy

Audi

ence

Agen

cy

Teaser Vs Fear Teaser Vs Celeb Teaser Vs Spoofs Teaser Vs Sex

Relative Impact

No.

of R

espo

nden

ts

More Impact

Less Impact

same ImpactNo comparison

Total

Fig. 22 : Comparative Impact of teaser Campaign w.r.t. other message executions

159

In order to assess the long term role of teaser advertising, its impact with

respect to other popular prevalent creative executions is observed. In Q10 (1-4) and

Q10 (1-4) in Questionnaire 1 and Questionnaire 2 teaser were compared with

celebrity endorsement, comparative or combative appeals, fear and sex appeal. The

creative forms were measured with the help of a rating scale with four options namely

greater than, less than, equal to and cannot compare.

1) Fear is a strong emotion to overlook. Use of fear appeal in advertising is well

known. Impact analysis of teaser and fear shows the following responses :

60% respondents said that the impact of teasers is more than fear while 22%

said fear is more impactful as compared to teasers. 11% said that both of them

have the same impact while 7% respondents stated that the impact of two

creative execution strategies cannot be compared.

IT>IF = 60% respondents

IF>IT = 22% respondents

IT=IF = 11% respondents

IT no comparison IF = 7% respondents

Where IT : impact of Teaser advertising ; IF : impact of Fear advertising

2) Comparison between impact of teaser advertising and celebrity advertising

shows that 41% respondents said that the impact of celebrity is more than

teasers while 28% said teasers are more impactful compared to celebrities.

14% said that both of them have the same impact while 17% respondents

stated that the two creative execution strategies cannot be compared.

IT>IC = 37% respondents

160

IC>IT = 57% respondents

IT=IC = 4% respondents

IT no comparison IC = 2% respondents

Where IT : impact of teaser advertising ; IC : impact of celebrity advertising.

The results show that celebrity appeal is perceived to be more effective in

advertising than teasers. This result explains the increasing use of all famous persons,

film stars and sportspersons alike to endorse a brand in India why achievers in a

special stream have become a highly credible message source, more than the

advertiser or the creator of the ad. It can be inferred that there is a direct relationship

between the familiarity of the person and consumer’s belief in the advertised product.

Celebrities not only make the audience see the advertisement but also win the trust of

the people. Along with credibility, consumer's desire to ape the lifestyle of popular

personality, drives him/her towards purchase. The data clearly showed that a celebrity

carries more weight that the intrigue and involvement of teasers (Fig.22).

3) Comparison between impact of teaser advertising and spoofs in advertising

shows that 57% respondents said that the impact of teasers is more than use of

spoof ads while 37% said combative advertising is more impactful as

compared to teasers. 3% said that both of them have the same impact while

similar percentage of respondents stated that the impact of two creative

execution strategies cannot be compared.

IT>ISP= 57% respondents

ISP>IT = 37% respondents

IT=ISP = 3% respondents

161

IT no comparison ISP = 3% respondents

Where IT: impact of teaser advertising ; ISP : impact of spoof advertising

4) Comparative Impact analysis of teaser and sex (subliminal) advertising shows

the following results. 45% respondents said that the impact of teasers is more

than sex while 41% said sex advertising leaves more impact as compared to

teasers. On the minds of the target audience. 9.3% said that both of them have

the same impact while 4.5% respondents stated that the impact of two creative

execution strategies cannot be compared.

IT>IS = 45% respondents

IS>IT = 41% respondents

IT=IC = 9.3% respondents

IT no comparison IC = 4.5% respondents

Where IT : impact of Teaser advertising ; IC : impact of Sex advertising

Professional responded in the following manner. The frequencies obtained

show that celebrities remain the more tried and tested choice of the agencies.

1) Out of 150 sample professionals, 69% respondents said that the impact of

teasers is more than fear while merely 8% said fear has more impact as

compared to teasers. 11% said that both of them have the same impact. Results

indicate a decline in preference for fear appeal. It can be attributed to

increasing use of inhibiting fear appeal in India (e.g. shock advertising in

health and consumer rights). Fear in mild doses is far more potent than

extreme degrees of fear showing fatality or ruin in the statement of the

problem. It blocks the audiences mind towards both the ad and the

162

corresponding brand. Teasers on the other are extremely inviting, luring the

audience to find your own solutions by solving the mystery campaign. There

is a chunk of ad experts (12%) who do not think fit to compare the two

strategies

IT>IF = 69% respondents

IT<IF = 08%

IT=IF = 11%

IT no comparison IF = 12%

Where IT: impact of Teaser advertising; IF : impact of Fear advertising

2) Comparison between impact of teaser and celebrity advertising shows that

44% respondents said that the impact of celebrity is more than teasers while

33% said teasers have more impact on people. 14% said that both of them

have the same impact. 9% respondents stated that the two creative execution

strategies cannot be compared. It can be reasoned that celebrity due to their

ever growing mass appeal catch the eyeballs more easily than other

campaigns, but trends are indicating a snail shift. A significant proportion put

their weight behind teaser campaigns. Some believed that in a growing ad

market, all the creative executions perform to their potential depending upon

the type and the stage of the product.

IT>IC = 44 % respondents

IT<IC= 33% respondents


IT no comparison IC = 9% respondents

Where IT: impact of teaser advertising; IC : impact of celebrity advertising

163

3) Comparison between impact of teaser advertising and spoofs advertising is as

follows : 50% respondents said that the impact of teasers is more than use of

spoof ads while 23% said combative advertising has more impactas compared

to teasers. 24% said that both of them have the same impact. The remaining

found it difficult to compare.

IT>ISP= 50% respondents

ISP>IT = 23% respondents

IT=ISP = 24% respondents

IT no comparison ISP = 3% respondents

Where IT: impact of teaser advertising; ISP: impact of spoof advertising.

4) Industry feels that teasers have beaten sex appeal in its power to influence

masses. Comparative Impact analysis of teaser advertising and sex

(subliminal) advertising shows the following results. 56% agency people said

that the impact of teasers is more than sex while 13% said sex advertising

leaves more impact as compared to teasers. 18% said that both of them have

the same impact. 13% declared no comparison can be made between the two.

The findings outlined the all pervasive scope of teasers while sex appeal

creates dissonance amongst some sections of the society dividing the

consumers. Seemingly, sex lead to adverse effect on the product as the

audience watches only those messages that are cognitively consistent with

their moral code. Teasers are not walking on any such tight rope of conduct.

IT>IS = 46% respondents

IS>IT = 28% respondents

164


IT no comparison IC = NIL respondents

Where IT : impact of Teaser advertising ; IC : impact of Sex advertising

Finding suggest that despite a flurry of spoofs being done in Indian advertising

in the last decade, effectiveness of spoofs has always been a suspect. The data showed

a marked preference for teasers. The premise of the two can explain these results.

Teasers are progressive chain of cues, positive and people oriented while spoofs are

mocking parodies of rival products or ad, negative and competition oriented. It may

be interpreted that while spoofs may remain a fad, teaser advertising can become a

long term creative execution.

6.4 TO CRITICALLY EXAMINE THE MERITS AND DEMERITS OF

APPLYING INNOVATIONS IN NEWSPAPER AND TV AD

CAMPAIGNS

The present study attempted to understand the strengths and weaknesses of

innovative forms of advertising in print and television media. For the purpose,

perceived opinion of general audience and advertising professionals on critical

assessment of teaser campaigns, information on advertising budget allocation, reasons

for increasing popularity of teaser campaigns amongst Indian advertisers has been

tabulated and analyzed. Variables on nature and functions of teaser ads were cross

tabulated to see their interrelationship.

The objective stated above was completed by obtaining the data from Q17-22

of Questionnaire 1and Q17, 20-23 of Questionnaire 2.

165

Table 14 : Frequencies of audience response on effect of teasers on producttrial/use

Frequency Percent Valid Percent Cumulative Percent

Always 160 45.4 45.4 45.4

Sometimes 175 50.0 50.0 95.4

Never 15 4.3 4.3 99.7

Total 350 100.0 100.0

Critical examination of role of teaser advertising included analysis of its

effects on the last two steps of advertising effects on consumers. Differential rating

scale was used to gauge the audience opinion on effect of teasers on purchase

decisions and buying behavior. A three point scale (always, sometimes and never)

was created. The results show that most people thought that teasers do induce trial

purchase or product use. 50% respondents believed that teasers lead to product use at

times. It shows that the audience believes that teasers influence the buying behaviour

of the people, though not with every ad. The consumers may get motivated towards

product trial after repeated exposures. It can be interpreted that on exposure, the teaser

ad comes within the sensory reception nerves vision in a deliberate attempt by the

advertiser, the audience through its receptors sees and shows interest depending upon

the size, intensity and insertion frequency of the ad. Attention moves to affective

interpretation of the teaser stimuli; the consumer gets involved in solving the mystery

in the ad in order to attach meaning to the product. The emotional responses created

by the attention stimuli create an image of the product. This cracking the message

code leads to creation of perceptual space in the cerebral sphere. It creates 'Short term

memory called retention. The final revealer lifts the mystery and announces the name

and features of the product. Revealer ads together with the emotional response

triggered by teasers persuade the consumer to try the product at least one or use it

166

afresh. 45% respondents described the relationship between the two as direct and

causal. Teasers always lead to trial purchase. The respondents think that like any other

campaign, teasers too culminate into use or buying the product, at least once. Here,

the respondents seemed to believe that the attention power of teaser ads targets the

cognitive growth motives specifically the need for stimulation. This need for

stimulation is both active and external seeking gratification through motivated ad

involvement deciding upon product and brand choice. Only (4%) thought that teasers

do not lead to product use/trial at all. The respondents were convinced of the

persuasive power of teasers. Findings strengthen the argument that besides the

primary functions of attention, interest and desire, it also pushes people towards

product purchase and use. However, it is important to note that teasers may induce

trial use of the product but brand repetition and creation of loyalty depends on various

other external and internal factors. Trial use does not necessary mean increase in sales

of the commodity. The study reveals that via sample sachets, demo packs, free or test

runs, pre launch games product trial can be readily induced by teaser advertising not

leading to boost in sales of the product in the long run.

Table 15: Frequencies of audience response on effect of teasers on consumerconnectivity

Teasers increaseconsumer connectivity

with the product


Strongly Agree 102 28.9 28.9 28.9

Agree 144 41.1 41.1 70.0

Neutral 90 25.7 25.7 95.7

Disagree 13 3.7 3.7 99.4

Strongly Disagree 1 .3 .3 100

Total 350 100.0 100.0

167

One way to study advertising effectiveness is to understand the attitude of the

people to an advertising campaign solely at the emotional level. Connative and

affective responses to teaser advertising are vital to the study. Q16 used a five point

likert scale to measure the degree of agreement to causal relationship between teaser

campaign and consumer connectivity at an emotional level. 41% respondents agreed

while 29% strongly agreed to the statement that ‘teaser ads make the consumers

try/use a product at least once’. 26% were non committal and merely 4% disagreed to

the causal relationship. Averages and percentages calculated support Brock and

Shavitt’s basic premise that the consumers are not passive, objective receivers of

advertising messages. Apart from self relevant thoughts and product related thoughts,

consumers ideas and reactions are based upon execution thoughts that relate to

executional elements or aspects of ad production. Teaser element, typology, and use

of various copy formats (product demo, vignettes, drama, testimonial, animation) in

messages find the peripheral route .The sequential placement of teaser ads create a

response based on excitement, heightened state of mood manipulation and challenge.

All these emotions lead to product attachment. The final revealer ad lowers down the

degree of emotions caused by teasers. Thus the campaign creates a strong emotional

bond between a consumer and a specific product. This emotional connect transforms

the product into a brand with distinctive personality and association. The cause and

effect relationship alters many determining variables of consumer psychology. Firstly,

consumers emotionally connected to a brand are also likely to have a favourable

168

brand attitude. Secondly, Emotional attachment augmented by teaser campaigns leads

to satisfaction of needs. Advertising consumer relevance achieved by teaser stimuli

increases the level of involvement beyond ad engagement in a step towards brand

liking and preference. Teasers facilitate consumer’s inner dialogue with the campaign

resulting in learning, potential change in attitude, storage in memory and recall. EA

can also give an opportunity to the advertiser to ask for premium price for the product.

Table 16 : Frequencies of professionals on effect of teasers on

product perception

Teasers changepeoples’ perceptionabout the product


Yes 101 67.3 67.3 67.3

No 49 32.7 32.7 100.0

Total 150 100.0 100.0

As shown in the table 67% professionals said that teasers change peoples’

perception about the product. They seemed to believe that the image of the product

can be established through these campaigns. In response to the open tailed Q-16

(Questionnaire 1), they gave reasons like ‘it helps in making fresh image about a stale

product’. ‘It helps in making an extra value proposition noticeable’ and “At times

hints are about a comparable advantage”. The other 33% believed in no such thing.

Many indicated their response in yes without giving reasons for the same. This

finding gives a consumer behaviour dimension to the innovative ad type.

169

Table 17 : Frequencies of audiences and professionals for increasing use ofteasers in India

General Audience Professionals

Reasons for increasinguse of teasers in India

Frequency Valid Percent Frequency Valid Percent

Initial Hype 74 21.1

Campaign Interesting 108 30.9 27 18.0

West Does It 11 3.1 53 35.3

New Product Strategy 39 11.1 18 12.0

Highly Memorable 96 27.4 29 19.3

Everyone’s Doing It 20 5.7 12 8.0

More Effective ThanOthers

2 .6 11 7.3

Total 350 100.0 150 100.0

Research studies in the past and available teaser advertising literature

suggested its increasing use in India post millennium. The glut of products has led to

increase in the numbers of advertisers and agencies in India. Creative men are using

innovations to cut the clutter and sift the glut. Teasers seemed to be a highly popular

ad form in use in recent times. Question 18 & 21 in (Q1 and Q2 respectively) sought

response to why Indian advertisers like it. The audience saw teasers as positive and

valuable tool for the advertiser. 31% audiences felt that the advertisers use teasers to

cut the clutter in the product parity driven market as they are unique and interesting.

The advertisers probably bank on transferring the intrigue factor to the product

persuading the audience to see, check, try and adopt actively. 27% respondents felt

that high recall value of such ads make it a preferred choice by the advertisers. In

India , memorability ranks highly in the client’s mind. Evidences to the same can be

170

found in repeated use of same jingles or musical commercials for several decades.

Since teasers are low on recognition, high recall is a priority for the sponsors. Teasers

boast of proven recall of characters, storylines and brand connect were their use is on

the rise. Taking a cue from films advertisers too may be looking to create hype around

the product . Hype through teasers for word to mouth/ a mouse promotion sets the

tone for the product.21% people thought advertisers are equally concerned about

systemic excitement around the brand and increase in market share. 11% said that

need for distinct launch of a product is a major factor for increasing use of teasers.

Number of products has multiplied leading to hardly any difference in the nature of

the product. Therefore, differential pre launch campaign is thought to be a head start

to a new brand. The audience rejected the observation that teasers are yet another

form of copycat advertising in India. And these advertisers are simply following their

western counterparts. Only 3% audience felt that increase in extent of teasers can be

attributed to its popularity in the west. They believe that the Indian advertiser is clever

and uses creative executions to achieve its own set of objectives rather than bank on

its suitability to the west. According to them advertising may have evolved in USA

and Western Europe but growth and development of message strategies and media

plans show a glocalised approach in India. Globally successful ad plans are adapted to

suit the 3 C’s in India : Consumers, communication channels and creative needs.

Indian advertisers may make creative and budgetary decisions in line with the

competitors especially in the same product category however, in case of teasers

merely 5% believed that there existed a bandwagon effect. Most respondents did not

feel that advertisers merely follow each other’s creative executions without SWOT

171

analysis and market research. The results indicated that teaser advertising is not

merely a fad. It is a well deliberated strategy, spreading its base both in the minds of

the advertisers and the audiences equally.

050

100150200250300350400

Initial H

ype

Campa

ign In

teres

ting

Wes

t Does I

t

New Product

Strate

gy

Highly

Mem

orable

Everyo

ne’s D

oing I

t

More

Effe

ctive

Than

Oth

ers

Tota

l

Reasons for Growing Use

No.

of R

espo

nden

ts

General AudienceFrequency

General AudiencePercent

ProfessionalsFrequency

ProfessionalsPercent

Fig. 23: Distribution of audiences and professionals on reasons of increasing use

of teasers

It is clear from the findings that the audiences and professionals see it in a

different light. While 31% of the general audience though the campaigns are

interesting and will capture the attention of the audience easily. 35% practitioners felt

that this increasing use of teaser campaigns is the result of the ‘copycat’ effect

(Fig.23). Though, the practitioners believe in the power of teaser campaigns, they

think advertisers do not fully understand the nature and scope of the ad form and are

rather happy to ape the west, majorly persuaded by their agencies to do so. Significant

number of respondents in both the samples that increase in teaser advertising can be

due to its high recall potential. 28% audience and 19% agency personnel said that

think that advertisers like teasers because of its high memorability. Recall is a major

172

indicator of the success of not just the present campaign but also forms the edifice of

the successive campaigns of the product. If celebrities aid recall and recognition,

teasers too succeed in penetrating the subconscious mind to occupy a more permanent

space.

Table 18 : Frequencies of audiences and professionals for critical analysis ofteaser advertising


Reasons for increasinguse of teasers in India

Frequency Valid Percent Frequency Valid Percent

Confuse The Audience 25 7.1 3 2.0

Fail 1 .3 - -

Good Then Boring 66 18.9 25 16.7

Creative And PositionThe Product favourably

196 56.0 80 53.3

Wasteful Expenditure 8 2.3 3 2.0

No Impact on Consumerbehaviour

15 4.3 12 8.0

All The above 33 9.4 26 17.3

None 6 1.7 1 .7

Total 350 100.0 150 100.0

Both the sender (AS) and the receiver (AR) opinion on teaser campaigns is

similar on most counts. More than half of the respondents in both the samples believe

that teaser campaign is creative and position the product favourably. 56% and 53% of

the advertising professionals believed that teaser campaign is innovative and benefits

the product at the same time. Critically, some respondents appeared cautious. 19% of

the general audience and 17% advertising professionals find teasers interesting in the

173

beginning but begin to bore towards the end. Possibly more than the creative

production of teasers, they were emphasizing on the longiivity of the campaign.

Lengthy campaign can witness receding interest levels in the target audiences beyond

a point. Clearly, only marginal percentage of respondents in both the samples think

that it does not impact the consumer behaviour, remaining limited to creation of buzz

and nothing thereafter. Almost all the Respondents reject the statement that teaser

campaigns are merely wasteful expenditure and therefore should not be used.

Application of innovations also depends upon the advertising budgets

allocated for the same. Since, professionals are likely to have information on ad

spends Questionnaire 2 (Q17) sought response to the financial expenditure incurred

on teaser campaigns alone. The responses were not very specific Only 52%

professionals wrote their observation/experience on teaser ad budgets in monetary

terms. Variations were recorded in their stated figures. Preening of the data led to

formation of six class intervals of reported budgets.1000000-2500000, 5100000-

10000000, 1cr- 5cr, 5cr-10cr , 10-15c. Lot of industry professionals did not quote any

figure but argued that ‘large’ 2/3 of the total ad budget is kept for teaser advertising.

Statements like, "accounts at launch and growth stage are adopting teaser advertising

on a large scale or advertisers spend generously on innovations especially in the new

product or revival category" were given.

Significant to note are the descriptive responses of both audiences and

professionals on making teaser advertising more effective. Q1 (20) and Q2 (23)

invited detailed responses. All the advertising professionals think that teaser

174

advertising is a novel creative type, in a growing market, it is an creative innovation

with inherent adaptability to all the advertising media. ¾ of the sample believes that

teasers cut across product categories, can be effective in both B2B and B2C products.

Some respondents stated the merits of teaser explicitly ads “We humans are

instinctive characters. We are largely driven by curiosity. Therefore, it is quite apt that

in order to make a campaign interesting and unique, teaser campaigns are viable

option.”

The general audience suggested making teasers a popular long term strategy in

the following ways:

1) New concepts in teaser ads: several respondents suggested the use of new

ideas like the current socio political situations in the teasers to make them

fresh and unique. A respondent suggested :

“just keep coming up with new, catchy, creative ideas which stay in people’s

minds. People need new stuff every six months, so reinvent”

2) Final revealer a befitting match for the teasers: Many respondents suggested

that the final revealer should be a powerful one. A presentation of various

responses making this point are : “The final revealer should be the best part

worth of the audience wait and patience”. “Curiosity created by teasers has to

be revealed with a bang”. “Don’t let the revealer be an anti climax”. “The final

scene in the drama is the most important one”. “ only if the final ads are more

impactful”. “shouldn’t overhype to prevent a sense of anti-climax”. Summed

up by a respondent :

175

“Teaser ads should be more interesting and should be able to create curiosity

in the mind of the audience along with it all care should be taken that final

revealer ad should be equally creative and interesting.”

3) Campaigns should not be long: a large number of respondents wrote against

lot of ads in one teaser campaign and opined that small or medium size

campaigns yield best results

4) Use of celebrities: Some respondents think that using one or more celebrities

one after the other might prevent attempts of ambush by the rival brand. While

some respondents also believed that teasers and celerity marry very well. This

creative format gives the ad professionals a chance to engage the celebrities in

a role play wherein they shed their existing images and become “mysterious

characters in an intriguing story’’.

5) Use it on new media: A fraction of audiences believed that besides television

and print, new media is very apt for teaser advertising. “Internet is an

addiction these days, teasers can catch them online to play the mind games”.

“Brand contests in the form of blind quiz is quite fun”. Since we are online at

least 2-3 hours on set sites, teaser campaign on the net is a good idea”.

However most of the respondents thought teasers on television are ones that

should be uploaded on the internet as well.

6) Relevant to the product: A lot of respondents thought that this strategy can

survive in the long term only if it concentrates on being brand specific than

generic. Relevant product must find some form of resonance in the campaign.

“ show different aspects of the product” , said a respondent.

176

A few respondents did not think that teaser advertising will be popular in the

future because of it requires prolonged participation.“ housewives can be impressed

by teasers because they have more time to spend whereas the young generation is

busy and doesn’t have time”

Agency professionals also seemed to believe in the attention grabbing ability

of the teasers

“teasers are a powerful strategy of breaking clutter and taking a sneak peak

into the consumer’s mind”. “Teaser advertising is major part of the paradigm shift in

marketing communications. They are exciting, engaging and experiential all at the

same time”.“Teasers are especially an innovation in the cluttered services sector like

financial services which are boring , unsexy , mundane … it creates dissonance

amongst the audience”“Despite being risky, its ability to make people talk about the

ad and the brand makes it so popular in a diverse product market. “ innovative it

certainly is because it can be used at almost all the stages of the PLC”.

Practitioners gave suggestions particularly on when to use , how much to use

and what is to be done after the teaser campaign. Cumulatively the responses can be

summed up as follows:

1. Do not stretch it: Majority of the ad industry warned against prolonging the

teaser campaign. Small campaigns are more effective . “ Keeping a teaser

running for too long is hara-kiri as it can be hijacked….look what happened to

DNA”

177

2. A good follow up campaign: a large number of professionals advocated the

creation of a brand specific follow up campaign. “teasers can fail miserably if

there is no connection between the teaser and the follow up campaign”.

3. Use it specifically to launch a brand or to rebrand it: some respondents did

believe that this form of advertising should be restricted to either introduce a

new product or to change the identity or an existing one . “

4. Beware of ambush: caution was issued by many vis-à-vis teasers running the

risk of ambush.

5. Media mix: it was suggested that one teaser campaign should run across media

platforms to create buzz. “launch the campaign simultaneously on print , tv

and web”.

6. Add humour to mystery ads: it is important to entertain people , make them

laugh , have fun with ads, hence even teasers need to up their humour

quotient.

Interesting points were made by some e.g. insert the USP in teasers: “let the

teasers be like treasure hunts- the consumer must find the USP of the products by the

end of the campaign”.

Some suggested that use of this particular element or format can make a good

teaser. “A mini-ploy in the teaser can be a mini quiz to get people involved”. “Always

use questions to create teasers”.

The merit of pure innovation in advertising in both print and television can

also be explained though the interrelationship between the nature and functions of

teaser ads.

178

Table 19 : Comparison of audiences and professionals on teaser campaignexecution


Creative Options Freq Percent Freq Percent

Same Story 190 54.0 88 58.7

Different Sit 160 45.4 62 41.3

Total 350 100.0 150 100

Survey findings show that 55% and 59% respondents (AR and AS) find a

continued story most effective in teaser campaigns. 45% audiences said that use of

vignettes or slices of life depicting situations are more impactful in teasers. On the

other hand, professionals (41%) felt that instead of a single story, different situations

calling attention towards the same cue may serve better. People favoring the latter can

be explained by the theory of advertising exposure(Fig.24).

0

50

100

150

200

250

300

350

400



Teaser execution

No.

of r

espo

nden

ts

Same Story

Different Sit

Total

Fig. 24 : Distribution of audiences and professionals on teaser campaignexecution

179

While same story requires exposure to all the ads to be able to gather cue to

reach the climax together with the final ad, the vignette based campaigns allow the

audience to miss and hit the target. Vignettes can yield better results because they

have the flexibility of using multiple situations in verbal and visual synapses to offer

product related hidden cues in every ad. It resembles a treasure hunt where, even

though the destination is the same, every milestone awaits a different cue. Not only do

teaser campaigns through vignettes achieve optimum results but also provides base

for follow up campaigns in times to come.

Table 20.1 : Cross tabulation of typology and objectives of teaser campaigns in

The Hindustan Times

Communication Objective of Using Teaser Ads

arousal interaction knowledge audience

engagement

entertainment

Total

Classic 25 2 6 12 2 47

Partial 5 2 0 3 0 10

Teaser typology

1 0 0 0 0

Total 30 4 6 15 2 57

It is evident from the table that most of the totally unbranded campaigns

(classic) are created to arouse curiosity amongst the audience. More than 50 % of the

classic campaigns aroused mystery. Classic campaigns were also created to engage

the audience into inclusive and active participation. In the sample partial campaigns

too worked on the theory of curiosity and intrigue building.

180

Table 20.2: Cross tabulation of typology and objectives of teaser campaigns onSony Entertainment Channel

Communication Objective of Teaser Campaigns

arousal interaction engagement entertainment

Total

Classic 11 5 5 2 23Teaser Typology

Partial 1 2 2 2 7

Total 12 7 7 4 30

49% of the total classic teaser campaigns are created for mystery or suspense

arousal. Besides, arousal in people, engagement of audiences is a favoured objective

in classic campaigns. In television partial campaigns do not show a relationship with a

particular objective of advertising.

Table 21.1: Cross tabulation of typology and elements of teaser campaigns inThe Hindustan Times

Teaser Element in the Campaign

headline visual logo body copy more than one

Total

Classic 20 5 4 1 17 47Teaser Typology

Partial 3 0 0 0 7 10

Total 22 5 4 1 25 57

More than one : H+V(headline and visual), H+V+BC(headline, body copy and visual)

Table 21.1 clearly illustrates that classic teaser campaigns select both headline

or a combination of headline and visual equally to execute the teaser message ,

whereas partial teaser campaigns rely on multiple ad element combinations like H+V

and H+BC+V.

181

Table 21.2 : Cross tabulation of typology and elements of teaser campaigns onSony Entertainment Channel

Teaser Element in the Campaign

(visualandspoken)tagline

story/scenes supers/writtencopy

visualmemorydevice

logotype Total

Classic 7 8 1 6 1 23TeaserTypology

Partial 0 5 0 2 0 7

Total 7 13 1 8 1 30

Table 21.2 shows that in television advertising, in classic teaser campaigns use

of narrative scene and visual taglines as the teaser element is preferred .The findings

show that innovations in adverting are essentially using copy elements in print and

audio visual media either solo or in a creative mix to make them advantageous to

apply.

6.5 TO KNOW THE SIMILARITIES AND DIFFERENCES BETWEEN

THE RESPONSE OF AUDIENCES AND ADVERTISING INDUSTRY TO

THE USE AND EFFECTIVENESS OF TEASER ADVERTISING

Through the survey, the study attempted to know the opinion of the

advertising professionals and the audience on various key indicators of campaign

effectiveness. Responses to various questions on ad spend , functions of advertising ,

predominant function of teaser advertising , popular names of teaser ads, recall of

teaser campaigns, ranking the specific objectives , product category, perception

mapping , role of teasers in consumer behaviour and brand building.

182

The demographic distribution of the sample population1

Out of the 350 valid respondents (AR), 132 were females and 220 were males.

60 were in the age group of 18-25, 118 in the age group of 26-32, 126 in the age

group of 33-40, 23 between 40-47 yrs, 7 between 48-55 and 15 between 55-62 yrs.

Occupation wise, : Students – 39, Employees (PSU)- 51,Professionals (corporate)-

164,Business /self employed -79, Retired/At home – 08,Freelancers/Volunteers – 13

The annual income of the respondents was as follows:34% between 5-10 lakh, while

37% 0-5 lakh, 25% - 10-15 lakh and 4% 15-20 lakh per annum.

Out of a total of 150 professionals (AS): 92 were males and 58 were females.

38 were between 18-25, 33 in the age group of 26-33, 51 in 34-40 and 28 between 40-

47 yrs. The demographic distribution of advertising professionals show an even

spread of respondents belonging to all major departments in an ad agency. In the

survey, the largest chunk is of creative professionals (42%) like copywriters,

visualisers, graphic artists, ideators, art directors and creative heads in the agencies.

30% were in the planning department with profiles like media executives, media

planner, media coordinator etc. 14% were either from account management or client

servicing departments .8% were involved in market research and 6% were from a

more recent addition to the advertising setups:- the brand department . Profiles like

brand communicator, brand director, brand executive, analysts, and research

associates were commonly found in the sample. The classification of the respondents

on the basis of annual income : 0-5 lacs 58,5-10 lacs 83,11-15 lacs 11

1 Please note that the analysis of the demographics of the sample is not part of this study, as thestated objectives do not require it.

183

All the 350 respondents said that they notice advertisements on various media

at different point in their daily use of media channels. 100% respondents replied in

affirmative to being aware of advertising.

On the other hand, all the practicing ad personnel also preferred advertising as

a tool of product promotion. Therefore, we see that advertising remains a popular

choice of advertising agencies in the integrated marketing communication mix.

Advertising alone or in combination with public relations, sales promotion, direct

marketing etc. guides brands in India.

Table 22.1 : Frequencies of audience preference for advertising media

Ad Media Frequency Percent Valid Percent Cumulative Percent

Print 69 19.7 19.7 19.7

TV 230 65.7 65.7 85.4

Outdoor 29 8.3 8.3 93.7

Internet 18 5.1 5.1 98.9

Any other 4 1.1 1.1 100.0

Total 350 100.0 100.0

Out of 350 respondents 66% said that they usually see ads on TV.20%

indicated that their preferred media vehicle for noticing advertisements is print media

vehicles namely newspapers and magazines. 9% see advertisements on outdoor media

like the billboards, bus shelters, posters, banners, LCD screens. Even though large

segment of the survey population is youngsters, only 5%said that they come across

advertisements mainly while using the World Wide Web or the internet. Some

respondents noticed ads on shopping malls, in the metro rail, display spectaculars on

various vehicles like cabs, canters and forms of aerial advertising. Analysis of

184

audiences’ advertising media habits revealed that television advertising is the most

popular form. The increasing popularity of television as a medium of advertising can

be attributed to its increasing reach, frequency and penetration. More and more

households are exposed to satellite network. Television offers highly specialized

programme content for the advertisers to beam their ads in every possible way.

Even though the results show 20% respondents cited print as a top most

advertising media, the advertising rates suggest that print advertising is still the most

credible media option. It is indicating that rise of Out of Home advertising in the last

ten years can be seen in the acknowledgement of the survey respondents. Though its

share in the ad pie is still less. Even the rise of new media for advertising is slow and

is in the nascent stage. At present audience prefers mass media like television and

newspapers than internet and mobile w.r.t. advertising.

Table 22.2: Frequencies of professionals’ preference of advertising media forteaser campaigns

Ad Media Frequency Percent Valid Percent Cumulative Percent

Print 33 22.0 22.0 22.0

TV 63 42.0 42.0 64.0

Radio 4 2.7 2.7 66.7

Outdoor 15 10.0 10.0 76.7

Internet 7 4.7 4.7 81.3

Any other 28 18.7 18.7 100.0

Total 150 100.0 100.0

Media scheduling of innovations like teasers is possible after conclusive

results on suitability of media vehicle for it. Advertising professionals feel that

television closely followed by print and other media is best suited for teaser

185

advertising. 42% believed that television is the ideal medium to broadcast teaser

advertising campaigns , whereas 22% said that print is best suited to its nature and

10% find outdoor or out of home media as the best communication vehicle .Radio and

internet , though most economical in ad rates are not considered suited for teaser

campaigns. Their marginal standing can be attributed to their limited reach amongst

the audience. 18.7% said use of permutations and combinations of old and new media

in a promotional mix for teaser advertising is the best.

It was interesting to note that number of professionals feel that teasers can be

used across media are in fact most effective in mixed media campaigns integrating

both conventional and the new communication media. According to them teasers are

compatible with both conventional and new media vehicles. It empowers the

advertiser to use integrated media mix in which teaser campaigns can begin in

newspapers, television platform simultaneously and the final revealer ad can be on the

largest selling advertising media –television.

Table 23.1: Frequencies of audience on most important function of advertising

Functions Frequency Percent Valid Percent Cumulative Percent

Identification 69 19.7 19.7 19.7

Introduction of NewProduct

159 45.4 45.4 65.1

More Information 17 4.9 4.9 70.0

Good Image 31 8.9 8.9 78.9

Consumer Decision 28 8.0 8.0 86.9

Boosting Sales 46 13.1 13.1 100.0

Total 350 100.0 100.0

186

The data obtained from the advertising communication receivers show that

introduction of a product in the market is the paramount function of advertising. 45%

respondents considered it as most important. 20% believed that ensuring that people

can recognize or identify a brand due to advertising is most important. 13%

population said that boosting sales is the primary job of advertising whereas 9%

differed completely; stating developing good image for the brand is the top priority.

8% respondents thought that advertising aims to help the consumer make up

his mind while or before purchasing. That it acts as a supplementary guide to the

consumer while decision making. Based on Percy’s grid of communication effects of

advertising, the data shows that audience felt that a new product benefits most from

advertising of any kind. (Advertising is most potent in diffusion of new product

development in the market). A smaller segment emphasised that the traditional role of

creating brand recall and recognition still is the core function stressing on creation of

visual and verbal identity of a brand through brand name, packaging, characteristics

and trademarks. The audience response reiterates the unique nature of advertising. In

the survey, 77% respondents did not think that advertising directly leads to sales; in

fact merely 13% felt that the advertising is primarily done to increase the sales

reinforcing the communication functions of advertising. Since audience believes that

advertising, per say, is mostly used to introduce new product and teaser advertising is

largely done for new products, the results outline the increasing role and scope of

using teasers advertising in India.

187

Table 23.2: Frequencies of professionals’ ranking the functions of advertising

Awareness ofexisting product

Introduction intothe Market

More Infoabout The

product

DevelopingImage

Reinforce

Identity

ConsumerDecisionMaking

Boosting Sales

Ranksassigned

Freq ValidPercent

Freq ValidPercent

Freq ValidPercent

Freq ValidPercent

Freq ValidPercent

Freq ValidPercent

Freq ValidPercent

Rank1 25 16.7 104 69.3 - - 3 2.0 4 2.7 1 .7 15 10.0

Rank 2 92 61.3 12 8.0 21 14.0 5 3.3 7 4.7 10 6.7 2 1.3

Rank 3 15 10.0 9 6.0 66 44.0 17 11.3 35 23.3 7 4.7 1 .7

Rank 5 4 2.7 10 6.7 13 8.7 56 37.3 37 24.7 23 15.3 7 4.7

Rank 5 5 3.3 2 1.3 13 8.7 34 22.7 22 14.7 53 35.3 20 13.3

Rank 6 6 4.0 5 3.3 20 13.3 18 12.0 10 6.7 49 32.7 43 28.7

Rank 7 3 2.0 8 5.3 17 11.3 17 11.3 35 23.3 7 4.7 62 41.3

Total 150 100.0 150 100.0 150 100.0 150 100.0 150 100.0 150 100.0 150 100.0

188

To find out the scope of teaser advertising in India, the professionals are asked

to rank the main functions of advertising. The averages and percentages show ranking

of the functions in the following order :

a) Introducing the product

b) Awareness about a brand’s existence

c) Giving more information about the brand

d) Developing a good image

e) Consumer decision making

f) Recall the identity of a brand

g) Boosting Sales

Table 24 : Comparison of audiences and professionals on stage for maximum adexpenditure


Stage of PLC Frequency Percent Frequency Percent

launch 213 60.9 96 64.0

Growth 53 15.1 30 20.0

Maturity 11 3.1 5 3.3

Saturation 25 7.1 8 5.3

Decline 48 13.7 11 7.3

Total 350 100.0 150 100.0

PLC : Product Life Cycle

Both advertisers+ agencies and audiences are vital to creation of the ad

campaign budgetary process. The analysis of the audiences’ opinion on ‘when to

spend more on ads’ is crucial to adoption of message and, media strategies in ad plans

as products require different communication and promotional strategies in each phase

189

of the product life cycle. 61% respondents believe that an advertiser should spend

maximum money during the introductory stage. 15% people said that maximum

advertising expenditure should be incurred during the growth phase while 3.1% felt

that budget should be maximum during the maturity phase.14% people felt that

advertising should be done at the decline stage.

0

50

100

150

200

250

300

350

400

launch

Growth

Mat

urity

Satu

ratio

n

Declin

eTo

tal

Stages of Product Life Cycle

No.

of R

espo

nden

ts



Professionals Frequency

Professionals Percent

Fig. 25 : Comparison of audiences and professionals on stage for maximum adspend

It is evident that the consumers think maximum advertising needs to be done

to launch a new product in the market i.e during the pioneering stage of the product

life cycle, as the product grows older, advertising expenditure should decrease. When

the product reaches the saturation phase, advertising budgets shrink till there is a need

to revive the product from the decline stage. Initially advertising spend needs to be

more to reposition the product in the market with 1) finding new markets for the same

product 2) development of new product /brand extensions ready to replace the

existing versions .

190

They believe, at the pioneering stage it is important to create advertising

which is distinct, memorable and engrossing as premium price is charged at this stage.

The buyer is new to the product; the advertiser must innovate to propel the

prospective buyer towards trial of a new product by creating enough buzz/noise in the

market. Results indicate that advertising needs to spend most during the initial phase

of product life much in line with the needs of the advertiser. Innovations like teaser

campaigns are ideal during the product launch or re launch. Advertising budgets can

be high at the growth stage because as the product moves from introduction to

growth, the focus is on increasing the visibility and influencing the final sales of the

product to make a strong case for increase in advertising both quantitatively and in

kind.

The advertising fraternity also stated that maximum advertising budget must

be allocated to the pioneering stage of the product life cycle (PLC). 64% respondents

said that maximum advertising expenditure should be incurred while launching the

product into the market i.e. during the introductory stage (Fig.25). 20% ad men said

that advertising expenditure should be maximum during the growth phase while 7,5

and 3% respondents felt that advertising budget be maximum during the decline,

saturation and the maturity phase respectively. The results present an insight into the

thrust on advertising at various stages of the PLC. The makers of advertising

campaigns knew that an unknown product or a new product extension requires

multiple media vehicles and series of advertisements to catch the attention of the

audience in a cluttered market. In reality, the advertising professionals attempt to

target the early adopters (willing to try new things), in the process the advertisers

191

must spend significant ad sums to enter into a new market or penetrate an established

one before the growth stage begins. Growth phase is characterized by incline in sales

and mass expansion stimulated by mass advertising. Ad spend during the growth

phase is high. When the sales remain consolidated or stagnant, focus shifts from

advertising to other forms of promotion. Both maturity and saturation phase showed

low advertising. It is significant to note that few ad professionals do believe that

reminder advertising should increase substantially on various mass and new media to

stem the decline of the product whereas, others felt that a considerable ad spend on a

new line extension will be prudent and long term. Revival of the product will be

through entering a new market (leapfrog) or staircase (revised product) approach.

Maximum ad spend during introduction and revival encourage the message executors

to experiment and innovate creatively resulting in forms like teaser campaigns.

Table 25 : Comparison of audiences and professionals on awareness levels aboutteaser advertising


Awareness of Teaser

Campaigns

frequency percent frequency percent

Yes 340 97.1 148 98.7

No 10 2.9 2 1.3

Total 350 100.0 150 100.0

• Some respondents were confused about the creative execution form , hence

they replied in negative

97% respondents knew about teaser advertising. It clearly shows that people

have noticed the existence and growing use of teaser advertising in metropolitan

India. The sample of urban Delhi was not new to teaser ads, they have been exposed

192

to them on various media platforms (print, radio, TV, internet, OOH). It can be

inferred that teaser advertising has certainly caught the attention of the urban

consumer in the recent past. Since the audience is aware of the execution type, their

feedback is vital to its effective and long term prospects.

To understand the extent to which teasers are part of advertising firm toolkit.

Q4 in Questionnaire 2 asked about use of teaser advertising from various ad

professionals in India.

All the 150 agency professionals (100%) replied in affirmative. It established

the teaser advertising is not limited to being an advertising form used by a few large

agencies in India, albeit all the advertising professionals are aware about its

prevalence and use in Indian advertising. Additionally , it is not merely limited to the

creative domain but finds cross sectional use and wide base amongst creative, media,

account and client servicing , brand and research professionals .

Table 26 : Comparison of audiences and professionals on popular terms/namesfor teaser ads


Terms /Names Frequency Percent Frequency Percent

Mystery 99 28.3 96 64.0

Hidden 30 8.6 1 .7

Question 17 4.9 9 6.0

Incomplete 29 8.3 6 4.0

Suspense 147 42.0 23 15.3

Any Other 28 8.0 15 10.0

Total 350 100.0 150 100.0

193

To ensure that people are not merely responding to a single coined term for the

unique innovative style under the study, Question 5 was asked to know alternative,

similar or synonymous terms used/ heard by the people for teaser advertising. Since it

has been made popular by ad practitioners, many connotative terms have been used

interchangeably with teaser advertising in both the advertising literature and common

parlance. The analysis of audience’s familiarity with the synonymous ad terminology

showed varied choice of lexicon amongst the people. Results show that people were

familiar with various commonly used terms used for teaser advertising. 42% people

knew teasers as suspense advertising.

0

50

100

150

200

250

300

350

400

No

of

Resp

on

de

nt s

Terms/Names Used for Teaser Campaigns

General Audience

Professionals

Fig. 26 : Comparison of audiences and professionals on popular terms used for

teaser advertising

28% called them mystery ads, whereas 9% , around 8% and 5% of the total

sample knew them as hidden advertising, incomplete and question advertisements

respectively .Some people in the audiences used alternative names like ticker, pointer

and trigger viral, episodic and buzz advertising. Whatever may be the name, the

194

audience is familiar with the nature and potential of teaser advertising in promotion.

Advertising professionals zeroed in on ‘mystery ads’ as the commonly used synonym.

Like common people, they too have many names for teaser. 64 % said that teaser

advertising is also called mystery advertising (Fig.26), 15% alternatively called them

suspense ads. 10% agency people used terms such as : episodic ads, to be continued,

ambush marketing or buzz marketing. 6% and 4% also name it as question ads and

incomplete ads. So we see that the mystery ads was the most commonly used for

teaser advertising both by the audiences and the advertising industry. This ensures

reduction of confusion in the dissemination of information from the sender to the

receiver.

Table 27.1 : Frequencies of audience on recall of teaser campaigns

Recall of Teaser Campaigns Frequency Valid percent

Yes 231 66.0

No 117 33.4

Total 350 100.0

It was noted that the recall of teaser advertising is high. Out of the total sample

of 350, 66% were able to recall teaser campaigns done by the product at some stage. It

was interesting to note that the audience was able to recall the old teaser campaigns

and very recent ones as well. The responses given reveal some consistent patterns: a)

most respondents were able to recall highly successful campaign like Jassi, Anchor,

Frooti, Pepsi TV, World Cup 2003, Nike etc. The campaigns recalled national

advertising campaigns from 2000 till date. Lot of people repeated the same campaign

during recall. It shows that teaser advertising leads to short term buzz and long term

195

recall. High recall of teaser advertising justifies its growing use. However 33% people

admitted to know about the existence of teasers but were unable to recall the exact

product.

Table 27.2: Frequencies of professionals’ using teaser campaigns

Used Teaser Campaignsfor their Clients

Frequency Valid Percent

Yes 55 36.7

No 95 63.3

Total 150 100.0

Even though the professionals knew about teaser advertising, its efficacy and

use; less than 50% had created teaser campaigns for their accounts. 37% advertising

professionals in Delhi said that they have used teaser advertising campaigns at for

various accounts , while remaining 63% said that they had never used it themselves,

but have seen their colleagues or other teams in their agency extensively using teaser

advertising of late. They could easily recall campaigns like DNA, Fevicol, Sony Viao,

Zylo, Parle Agro, Satyamev Jayate etc. The data obtained shows that respondents

have used it for consumer durables, soft drinks, media products like –e newspaper,

television programmes, news based shows, major events; sporting, art festivals and

cosmetics. Few creatives in the sample also said that they have used teaser advertising

for products like housing, infrastructure and hardware. One can say that even though

the respondent professionals may not have used it themselves, teaser advertising is i

being used by other agencies for several accounts and by other professionals.

196

Table 28 : Comparison of audiences and professionals on main function of teasercampaigns


Functions of TeaserAdvertising

Frequency Percent Frequency Percent

Arouse Curiosity 137 39.1 21 14.0

Create Hype 18 5.1 9 6.0

One to One PublicInterface

5 1.4 7 4.7

Placement of BrandLogo

24 6.9 3 2.0

Announce a newCelebrity or Mascot

42 12.0 13 8.7

Beat Competition 8 2.3 9 6.0

All the Above 116 33.1 88 58.7

Total 350 100.0 150 100.0

Survey results brought to light the following : Around 39% general

respondents (AR) said that the teaser advertising is largely used to arouse curiosity in

the minds of the target population. This finding is similar to the existing studies on

teaser ads in US and Korea. Teaser advertising has been studied vis-à-vis curiosity

cues and knowledge gap about the product in the past. We see that in India too, the

audience feels that the reason why teaser advertising is adopted as a creative strategy

is because it arouses curiosity in the minds of the buying prospect leading to a high

involvement of the audience in the communication process to satiate the curiosity.

33% respondents attributed the use of teaser ads to its multiple needs. They believed

that this specific creative execution strategy is a cumulative attempt to create hype ,

arouse curiosity, one to one communication, brand logo placement , holding audience

attention and cutting the clutter i.e. all the reasons mentioned in the question. Through

a teaser campaign, arousing curiosity, building buzz ,announcement of a new celebrity

197

endorser, interaction with people , brand positioning through a new logo all the given

reasons were given equivalent importance by the sample respondents.12% said it is

used primarily to call attention towards a mascot or a celebrity endorser of the brand.

Here, the intent may be to get attention for long term product persona attachment to

build the brand in follow up or subsequent campaigns with the same

character/ambassador. Teaser announces the celebrity association in an unidentified

campaign to be followed by him/her communicating the brand salience in

forthcoming ads. High involvement quotient of teaser ads creates niche space for next

in line celebrity ads. In recent times visual identity makeovers have gained

importance. Long standing brands are keen to reposition themselves by assuming a

new look by changing the product package, color or most importantly the trademark

or logo. 7% people felt that teaser campaigns are carried out to place a new logo in the

minds of the prospective buyers. Abrupt change of visual identity can annoy or

confuse the audience therefore an interesting teaser campaign in bits and parts can

reveal the new logo in smaller doses.

050

100150200250300350400

Arouse

Curiosit

y

Creat

e Hyp

e

One to

One

Publi..

.

Placement o

f Bra.

.

Announce

a new

...

Beat Competit

ion

All the A

bove

Tota

l

Functions of Teaser Campaigns

No.

of R

espo

nden

ts


General Audience Percent



Fig. 27 : Comparison of audiences and professionals on the most importantfunction of teaser advertising

198

Mere 5% respondents said that teasers are used to generate only hype around

the brand. It can be interpreted that in creating an intrigue laden, interactive campaign

hype will be generated automatically. This campaign is not solely to create hype as

hype can be created via other promotional gimmicks like news development,

controversies, publicity and public relations. They are both time and cost consuming

to be used merely for hype in the shortest run. Attempts to create hype in promotion

die soon and do not have any long staying impact on the brand once it’s over.

Advertising professionals (AS) were more inclusive of the determining purposes with

respect to its functions. Fig.27 shows that out of 150 advertising professionals, 59%

feel that teasers are not used for one single reason but for many reasons like to create

hype, arouse curiosity, one to one communication, brand logo placement, holding

audience attention and cutting the clutter. The industry seemed to believe that need for

teaser advertising depends upon various factors like budget, nature of the product,

stage of the product life cycle , market segmentation and timing of the campaign.

14% ad men narrowed down the focus of teaser advertising to arouse curiosity about

the product. They stuck to the most widely propagated reason for teaser campaigns in

the world. Less than 10% each thought that creation of new mascot or celebrity link,

positioning a new logotype, interaction with the people and combating competition

through cutting ad clutter, pre-launch hype may be the dominant reason for teaser

campaigns in India. However not a significant percentage of sample population thinks

that these functions are the primary drivers of the message format selection process.

It can be concluded that both industry and the audience feels that curiosity is

the dominant function of teaser campaigns though in addition to it, the industry is

more macroscopic in its view emphasizing on all the determining reasons for creation

of teaser campaigns.

199

Table 29 : Comparison of audiences and professionals ranking of teaser objectives

Rank Grab Attention Unique ProductInfo

Entertain throughInnovative ads

Interact With theAudience

Increase Liking forThe Product/Brand

Influence BuyingBehaviour

%GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP

Rank 1 64.6 62.7 4.3 5.3 11.7 18.0 8.9 10.0 4.9 3.3 5.1 1.3

Rank 2 16.3 16.7 11.4 26.7 19.4 33.3 38.6 20.7 6.9 2.7 7.1 2.7

Rank 3 10.9 14.0 12.3 2.7 21.4 27.3 27.4 42.7 21.1 9.3 6.6 4.7

Rank 4 4.0 5.3 26.0 14.0 12.6 6.0 14.3 24.7 27.7 44.7 15.1 23.3

Rank 5 2.3 .7 23.4 28.7 12.0 8.0 4.0 .7 34.6 38.7 23.1 66.7

Rank 6 1.7 .7 22.3 22.7 22.6 7.3 6.3 1.3 4.6 1.3 42.9 1.3

Total 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100 100.0 100.0 100.0

OBJ : objectives of teaser campaigns ;%GENA : percentage of general audience ; %ADP : Percentage of advertising professionals

200

Critical analysis of teaser advertising depends upon the perception of the

respondents about its primary, secondary and allied functions. Advertising, in general

is expected to perform core functions of awareness, knowledge, liking, preference,

consumer involvement and purchase decisions. Q8 & Q7 in (Q1 and Q2) examined

how the audience ranked the identified teaser functions. While the question was

designed with the view that all the objectives stated are vital to the concept and copy,

responses indicate the relative importance of the objectives set. Ranking (1-6) the six

major functions served by teaser advertising in product promotion, 65% people

ranked attention grabbing as the first function of teaser advertising concurrent with

the basic model of communication wherein grabbing the attention of the audience is

crucial to creation of awareness about the product.

0

20

40

60

80

100

120

%G

EN

A

%A

DP

%G

EN

A

%A

DP

%G

EN

A

%A

DP

%G

EN

A

%A

DP

%G

EN

A

%A

DP

%G

EN

A

%A

DP

Grab Attention Unique ProductInfo

Entertainthrough

Innovative ads

Interact With theAudience

Increase Likingfor The

Product/Brand

Influence BuyingBehaviour

Function of Teaser Advertising

No.

of R

espo

nden

ts

Rank 1Rank 2Rank 3Rank 4Rank 5Rank 6Total

Fig. 28 : Comparison of percentage of audiences and professionals on rankingteaser objectives

Respondents ranked attention as top most function in the order of importance.

Post attention, engagement, or triggering conversation around the identity or typology

of the unbranded campaign was ranked. 39% people ranked talking about ads as

second best function. Entertainment through creative innovation was ranked highly

Rank 3 by 28% respondents. Maximum respondents (26%) have assigned providing

201

more information or product knowledge a lower rank 4 in the case of teaser

campaigns. May be as teaser ads are cryptic, incomplete and terse, educating the

audience is not their main focus. Spate of teasers are not too short to give detailed or

even unique information. Though the final revealer ad is complete and feature based,

the entire campaign does not aim add information. 35% people felt that teaser

campaigns are not directly aimed at increasing loyalty or liking towards the product. It

is congruent with the fact that teaser ads are not comparative in nature, highlighting

the differential product advantage. A whopping 42% assigned the lowest rank to

influencing the buying behavior through teaser ads(Fig.28). It indicates that audiences

accept the fact that all advertising does not intend to push sales or drive the buying

behavior in the short run. Data analyzed depicts the most preferred ranking order is as

follows :

Results prove that the specific objectives of teaser advertising can be as per

this adapted model Attention – Interaction – Entertainment – Engagement - Brand

Preference- Recall (in that order),

Perceptions of the qualified professionals show us the direction in which

teaser campaigns should proceed in the real world. 63% have assigned attention as

Rank 1 reinforcing the application of attention theory in teaser advertising.

Entertainment was ranked no. 2 by 33% industry respondents. 42% assigned Rank 3

to make people talk about ads whereas 33% ranked increase liking of the people

towards a brand at 4. The results indicate that the advertising world is stressing upon

advertainment as the new promotional approach. Since teaser advertising is not a

conventional form, detailed product knowledge cannot be given through it till the

final ad. 29% ranked giving unique information at 5 and 67% assigned the lowest

rank to objective of influencing buying behavior of the people. The specific objectives

202

can be summed up in the acronym AEILKP. Attention - Entertainment - Interaction

-Engagement – Information – Recall (in that order).

Comparative rank assignment to specific teaser objectives shows that while

advertising professionals and audience agreed that most important objective is to grab

attention of the people and lowest priority should be given to increase in sales directly

or indirectly. Contrastingly according to the industry, entertainment is more important

than interaction and to augment brand preference through increase in liking for the ad

is more important than product knowledge.

Table 30: Comparison of audiences and professionals on importance of type ofadvertisements in teaser campaigns


Type of advertisementin a teaser campaign

Frequency Percent Frequency Percent

Teaser Advertisements 226 64.3 100 66.7

Final Revealer Ad 57 16.3 15 10.0

Both equally important 67 19.1 35 23.3

Total 350 100.0 150 100.0

An investigation into the composition of teaser campaigns provided insights

into the creative process. Not only will it establish a clear understanding about the

creative pyramid but also help to know the attention attracting parts of a campaign.

Q12 attempted to know relative importance of the two types of advertisements in a

teaser campaign (teaser ad and the revealer). The frequency distribution of the data

show the following : 64% respondents felt that series /string of teaser advertisements

are more important than final revealer ad .19% found both teasers and revealer ads to

203

be equally important within a campaign while the rest of 16% stressed on the

importance of the final revealer advertisement in a teaser advertising campaign. The

data presented indicates that focal point of the campaign is the teaser ads. The big idea

must be bold and furtively woven into the strategy via copy elements in fresh

involving ways that increase ad interest to rise and make the audience stop, look, read

and listen. In the light of the above, the researcher believes that it is important to

discover original ideas. The advertising creatives need to cross associate concepts,

search for new information and pay attention to unusual patterns. Since teasers catch

the audience attention, it is important to establish thematic and conceptual unity

amongst them. Often series of teaser ads are created using same message execution

format and copy element. The teasers must also show principles of unity and harmony

in design through same layout patterns and use of background and foreground

colours. Q15 in Questionnaire 2 asked the ad practitioners to present their views.

Important to note are the results.

050

100150200250300350400

No

. of

Re

spo

nd

en

t s

Imp of Type of Ads in TAC

General Audience Frequency

General Audience Percent



Fig. 29 : Comparison of audiences and professionals on the more important partof teaser campaigns

204

67% respondents felt that series of teaser advertisements are more important

than final revealer ad while the rest of 23% stressed on the equal importance of both

ad parts in the campaign(Fig.29). The reasons given were that teasers build

expectation and revealer meets the raised expectations. Teasers enlist problems,

revealers solve them. Teaser ads provoke needs and desires, revealer gratifies them.

Spilling the beans gradually via teasers builds the tempo of the campaign, paving way

for an encompassing revealer to match the level of consumer expectations. Responses

suggest that even though onus lies on the teasers to present a strong campaign,

success remains elusive without a well matched revelation. In a teaser advertising

campaign, it is important to conceptualize the campaign holistically with an equally

strong teasers and descriptive revealer.

Table 31.1 : Frequencies of professionals’ on best teaser element in print ads

Print Element Frequency Percent Percent Cumulative Percent

Headline 72 48.0 48.0 48.0

Slogan 4 2.7 2.7 50.7

Visual 14 9.3 9.3 60.0

Body copy 1 .7 .7 60.7

Logo 5 3.3 3.3 64.0

Combination 54 36.0 36.0 100.0

Total 150 100.0 100.0

Q12 gathered the industry views on suitability of ad elements to tease. Both

verbal and non verbal elements were chosen as teaser elements in print advertising.

Data tabulated presented headlines, (either solo or in combination form) as the best

teaser element in a campaign.

205

Maximum respondents (48 %) felt that a headline is the most effective carrier

of a teaser message. Possibly became headlines has an inherent quality of grabbing

attention. It contains the words in the leading position in the advertisement; it will be

read first and are situated to draw most attention. Placed at the top, it gets ample space

and opportunity to grab the eyeballs. A headline in every teaser was short and

incomplete at the same time egging the consumer on to the last ad. Headlines tended

to attend and engage the audience, two of the main objectives of teaser campaigns.

36% reported that no single element can carry the message as effectively as a

combination of two or more elements. They said that headline and visual together

makes the best teaser element. Both verbal and visual cues were combined to form the

teaser cue in every single ad. Headline to hook attention and the visual to arouse the

interest of the reader in either the headline or the ad takes the message forward. 10%

advocated visuals as teaser elements in the campaigns. It may be reasoned that visuals

are less effective as use of a unified visual technique can lend continuity, but not

curiosity without ambiguity. Using the guideline that taglines and logotype are the

identity elements of a brand and hence cannot be teaser elements in an identity -less

campaign, only 3% and 3.3% agency people opted for them. Though, to reposition a

brand, teaser campaign can use the parts of the new logo in each ad to unveil the final

look. No respondent thought body copies should be used as teaser elements unless in

combination with headlines or visuals. It can be because the body copies are detailed

and far too long to be able to incite and sustain the required suspense. It will make the

campaign copy heavy and uninteresting.

206

Table 31.2: Frequencies of professionals on best teaser element in televisioncommercials

TVC Element Frequency Percent Valid Percent CumulativePercent

Jingle 4 2.7 2.7 2.7

Logo 13 8.7 8.7 11.3

Characters 14 9.3 9.3 20.7

Scenes 54 36.0 36.0 56.7

Spoken copy/tagline 12 8.0 8.0 64.7

Combination 53 35.3 35.3 100.0

Total 150 100.0 100.0

In electronic media as audio visual elements are used to tease. Respondents

were asked to choose the best tease(r) advertising element (visuals+ sound+ spoken

word) in television commercials. Scenes narrating a story were considered most

appropriate, while characters on screen and visual/spoken tagline boasted of equal

prowess. 36% professionals from the advertising industry think that a dramatic scene

is the best teaser element. 35 % industry people felt that in comparison to solo audio

or video elements, sound and sight together makes the best teaser element in

campaigns. Rest of the TVC elements like on screen characters, SFX/VFX, and

logotype were not thought to be suitable by most respondents.

Only up to 10% each reported in their favour. Jingles rated very low in the

suitability assessment maybe because good jingles contain the brand name, repeated

thorough out the product song contradicting the very premise of unbranded teaser ads.

207

6.6 TO FIND OUT THE IDEAL PLANNING AND SCHEDULING OF

TEASERS AS AN INNOVATIVE CREATIVE TOOL IN PERSUASIVE

COMMUNICATION

The above stated objective was accomplished by obtaining results for the

following variables: length of the campaign, size of the teaser/revealer ads and the

number of ads. Content analysis of newspaper and television channel provided the

relevant data for these whereas the survey measured the opinion of the audience and

practitioners. Tables have been drawn to present the data for each variable.

Table 32 : Frequencies of total duration of teaser campaigns in The HindustanTimes and Sony Entertainment Channel


CampaignDuration


1-3days 18 31.6 52.6 1 3.3 3.3

4-9 Days 19 33.3 59.6 7 23.3 26.7

10-15 9 15.8 70.2 5 16.7 43.3

16-30days 11 19.3 96.5 16 53.3 96.7

More than 30Days

- - - 1 3.3 100.0

Total 57 100.0 100.0 30 100.0

Results show that the teaser campaigns in print did not work on any preset

periodicity. In fact campaigns were created for a single day as well for a month .Even

though there emerged no single dominant duration frame in the case of teasers ,it was

seen that bulk of the campaigns ran for more than a month . 32% teaser campaigns

were upto three days, while 33.3% campaigns were timed anywhere between four to

208

ten days. 16% campaigns were between 10-15 days and 19% campaigns ran from

more than a fortnight to one month. It is evident that teaser campaigns were stingily

timed that is they should not be extra long to kill the connecting quotient of the

campaign. Depending upon the campaign theme and the teaser element campaigns

were scheduled upto ten days as well. Cumulatively 65% campaigns were of less than

15 days duration, suggesting that teaser campaigns need to be short not be long and

dragging. It can be seen that teaser advertising is not merely a creative innovation but

also entails media scheduling.

020406080

100120

1-3day

s

4-9 Day

s

15-Oct

16-30d

ays

More

than

30 Day

sTo

tal

Duration of the campaign

No.

of t

ease

r cam

paig

ns

Newspaper

Television

Fig. 30 : Distribution of teaser campaigns for total duration

On television channels, teaser campaigns were long and spread out over many

day parts i.e. time zones created for commercial 24 hours programming. 53% of the

campaigns were between 15 days to 30 days whereas 17% campaigns of 10-15 days

duration. 23% are up to ten days long and only 3% campaigns were upto 3 days. Out

of the total campaigns 3% extended itself beyond one month and ran for 45 days.

Comparatively teaser campaigns on television were longer than in newspapers. This

can be attributed to the fact that because of more slots and innovations available on

209

television, it is easier to sustain a long teaser campaign than in newspapers where the

frequency of delivery is limited to once a day. In fact, reverse works in print better,

maximum campaigns (32%) ranged between one to three days. The campaigns were

scheduled in the manner as per the medium (Fig.30).

Table 33 : Frequencies of teaser/revealer ad in a teaser campaigns in TheHindustan Times and Sony Entertainment Channel


TeaserRevealer


1-2:1 34 59.6 59.6 15 50.0 50.0

3-4:1 20 35.1 94.7 8 26.7 76.7

5-6:1 3 5.3 100.0 5 16.7 93.3

7:1 - - 1 3.3 96.7

More than 7:1 - - 1 3.3 100.0

Total 57 100.0 30 100.0

Teaser ads in grouped as (1-2),(3-4),(5-6),7,>7

It was important to find out the proportion of teaser ads to the revealer in one

campaign. 60% of the campaigns had one or two teasers in the campaigns per one

revealer. Thus, we see that majority of the campaigns contained a total of two or three

advertisements, including the teasers and revealer. Delhi Development Authority

(DDA) created one teaser one revealer campaigns instead of creating a series of

teasers in one campaign. Five separate teaser campaigns were created for DDA in

print with 1:1 teaser/revealer ratio. 30% campaigns consisted of three to four teaser

ads in proportion to one revealer i.e a total of 4-5 advertisements in a single

210

campaign. Only 5% campaigns had series of five teaser ads before the final revealer

in the newspaper. It can be inferred that like other ad campaigns, teaser campaigns too

contain three ads in all for a short and potent pitch for the product. Out of 60%

campaigns nearly 23 (Most national brands in FMCG, SMCG category like Vaseline,

Tashi, Dove, Anchor, Axe, Shine) had two teasers and one revealer campaign.

Television programme teasers also had three ad campaigns.

0

20

40

60

80

100

120

1-2:1 3-4:1 5-6:1 7:01 Morethan7:1

Total

Teaser: Revealer

No.

of t

ease

r ca

mpa

igns

Newspaper Freq

Newspaper Percent

Newspaper Cumulative

Television Freq

Television Percent

Television Cumulative

Fig. 31: Distribution of teaser campaigns for teaser: revealer in one campaign

The remaining 12 campaigns had teasers and revealer in the campaign for

brands like LG, DDA, NIIT, HT, Quantas, Hyper M it was noted that 11 campaigns

out of 35 % had three teaser ads to the proportion of one revealer. It can be inferred

that campaigns based on creating a novel story require at least three teasers to arouse

interest, arrest attention and provoke the audience into thinking about it. In AIDS

awareness campaigns, narrative was woven around Balbir Pasha, a fictitious

character, (much like the famous Digen Verma of Frooti in 2003 by Parle Agro

industries) through four teasers of Balbir Pasha in different situations without telling

211

the name of either the product or the sponsor. At times more teasers were used by

brands like Metro Now or Moolchand Hospitals to link all the product attributes with

teaser elements to gain double advantage of entertainment and information. From the

results, it is clear that number of teasers largely remained between one to five and in

rare cases exceeded six ads. There was not a single campaign with more than seven

advertisements i.e six teasers and one revealer.

On television, teaser campaigns contain largely a total of odd number i.e 3,5,7

etc of advertisements . Similar to print, 50% of the campaigns on television contain

three ads in all; two teasers in proportion to one revealer. 27% campaigns had five ads

; four teasers as to one revealer(Fig.31). Telecommunication brands like Airtel, Big

TV , Tata Sky were not only following each other’s ad plans by creating teaser

campaigns to compete with each other but also created big , long teaser campaigns to

combat the rival brand within the product category . Television is a complete medium

to tell a story in sequence and parts, making it ideal to roll out series of four to five

teasers ,each taking the story forward till the final revealer ‘says it all’. Vodafone 3G

used its popular mascot ZooZoos to come up with a news format teaser campaign of

five teasers and final revealer. The inaugural edition of Indian Premiere League came

out with a very interesting story of Manoranjan Ka Baap Kaun through five teaser ads

and one revealer. These two campaigns of seven and more than seven teasers were

long and big.

Analysis of teaser advertising in print and television shows that teaser

campaigns contains less number of teasers to create suspense or mystery quickly

leading to disclosure of the identity of the brand .On few occasions, creative

212

professionals plan a long teaser campaign with many teasers, each creating a

beginning and middle of the story leaving the climax to the final ad. In these

campaigns, teaser ads vary in both copy elements and layout patterns.

Table 34.1 : Frequencies of teaser ad size in The Hindustan Times

Size (s) of the ad Frequency Percent Valid Percent Cumulative Percent

Full page 4 3.0 3.0 3.0

Half page 31 23.1 23.1 26.1

100 cc - Half page 18 13.4 13.4 39.6

60-100 cc 42 31.3 31.3 70.9

30-59 cc 39 29.1 29.1 100.0

Total 134 100.0 100.0

A total of 191 teaser ads were found in the sample. The results obtained

showed that 31% of the teaser ads in Hindustan times were between 60-100 column

centimeters. 29% ads were smaller. There size was in the range of 30cc-59 cc. A

significant number of such ads (23%) were half page in size. It was noted that teaser

ads were neither too big nor too small. Only 3% teaser ads were full page in size and

not even a single ad was found to be below 30cc. Some advertisements (13%) were

within the range of 100-half page length of the newspaper.

From the results it is clear that teaser ads follow the same size trends as other

creative formats. They do not favour a particular size more than the others (Fig. 19.1).

However, teaser ads do not spread across the length and breadth of the sheet. Two

significant inferences can be drawn. Firstly, teaser ads are not too small, they use

adequate space. Even when one single element is being used generous amount of

213

white space is left. Secondly, regardless of creative form, size of advertisements is

following similar a pattern. Across board 60 cc, 80cc or 100 cc sizes were used

forcibly to be able to dominate the entire page without fully covering it.

Table 34.2 : Frequencies of teaser ad size on Sony Entertainment Channel

Size of the Ad Frequency Percent Valid Percent Percent

10-20sec 71 72.4 72.4 72.4

21-30 sec 26 26.5 26.5 98.9

31-45 sec 1 1 1 100

Total 98 100.0 100.0

Out of a total of 98 teasers on the television channel 72% are small less than

20 seconder spots while nearly 27 % are between 20 to 30 second ads. Few ads were

bigger than 30 seconders.

Thus it is clear that television teasers are small in size. It can be seen in the

light of two major developments in television advertising of late. Firstly, most TVC's

are now being made either as 10 sec spots. Even the broadcast channel specifies its

rate card in terms of 10 sec spots. The creatives and the media planners found a 10

second spot easier to schedule in the TV media plans. Secondly, since teaser ads are

not one off, but is a part of long campaign, small spots allowed the advertiser to

distribute his ad spend over many teasers in a single campaign.

However it was noted that the size of teaser ads within one campaign remains

uniform on television unlike print ads where sizes show variation even within a

campaign.

214

Table 35.1 : Frequencies of revealer ad size in The Hindustan Times


Full Page 24 42.1 42.1 42.1

Half Page 20 35.1 35.1 77.2

100cc- Half Page 7 12.3 12.3 89.5

60-100 cc 6 10.5 10.5 100.0

Total 57 100.0 100.0

cc : column centimeters

Majority of the teaser campaigns end into a full page revealer. 42% of these in

print were full page that is the size of the broadsheet of the daily newspaper paper.

35% of the campaigns were half page in size. While some ads were between 100cc

(col cm) to half page (12.3%) and 11% are between 60-100 col cm, no revealer ad

was found to be less than 60 cc.

It is evident that if teaser ads are meant to create curiosity, interest, suspense

and knowledge gap amongst the audience, the final revealer ad is about resolution of

curiosity, solving the mystery in a comprehensive manner. The climax of the teaser

campaign ended in a careful inclusion of all the required facts about the teaser

campaign along with product information, new or otherwise. The final revealer ad did

not limit itself to merely revealing the identity of the brand but also provided visual

and verbal information about the product.

It is vital to use a large revealer because in many ways it is the first complete

advertisement about the product with a dual responsibility of completing the teaser

campaign and introducing the new product/ positioning to the audience for the first

time. The final revealer ad also acted as the first ad to the follow-up brand campaigns

215

in the future. It became the reference point for the source to ideate and execute the

next competitive advertising campaign for the product. A revealer ad must be

connected to the teaser ads through the teaser element. It was seen that revealer ads

contain all the copy elements of a print ad in their design and layout. Results show

that the size of the revealer is not dependent upon either the product category or the

size of the teasers in the same campaign. All the products opened their teaser

campaign with a large revealer, making maximum use of space to include soft sell and

hard sell components of advertising. Barring a few campaigns like the KILB

campaign for Aegon Religare where the size of the teaser ads and the final revealer

remained the same, the other campaigns presented a huge difference between the size

of the teasers and the final revealer. Hindustan Unilever used the picture format to

reveal their teaser campaign for the new logo. The teaser ads for the same campaign

were using logotype (visual cues) as their teaser element. Some revealer ads were

celebrity based especially in the case of established corporate brands like LG

(anniversary special) campaign in print. Innovations though limited in media

placements of the revealer ads were found in brands like LG, Nimboos, Shine that

used Figured Outline in both teasers and revealer. The elements of design like colour

and typographical contrast maintained the thematic unity of the teaser campaigns as

teasers progressed into the final revealer. 90% of the ads use the teaser element as

their main copy element in the last ad along with continued presence of a coloured

strip / panel/ grid throughout the campaign. The elements of design created cued

curiosity triggers for moderating the high knowledge gap created by classic teasers to

ensure directed consumer motivation in search for the final ad to resolve that

curiosity.

216

Table 35.2 : Frequencies of revealer ad size on Sony Entertainment Channel

Ad Size Frequency Percent Valid Percent Cumulative Percent

21-30 sec 11 36.7 36.7 36.7

31-45 13 43.3 43.3 80.0

More than 45 sec 6 20.0 20.0 100.0

Total 30 100.0 100.0

sec : seconds

Unlike print, on television, ad sizes did not vary much. In comparison to the

teaser ads, the final ad was longer and more comprehensive. Teaser spots were

generally 10 sec long, whereas revealer ads ranged between 20-45 sec. in general.

37% revealer ads were found to be between 21-30 seconds and 43% were long ads

with the a time slot of maximum 45 seconds. Some revealer ads were very long,

though not many followed the trend (Fig.20.2).

So it is evident that generally, revealer are a 30 seconder, but in some cases

the length is more. The 30 second format is popular because the story has unfolded

already many small parts leaving the brand identity revelation and product

information in the end.

Table 36 : Frequencies of media scheduling in The Hindustan Times and SonyEntertainment Channel


Placement onmedia


Same size andplace/slot

30 52.6 52.6 19 63.3 63.3

Different sizeand place/slot

27 47.4 100.0 11 36.7 100.0

Total 57 100.0 100.0 30 100.0 93.3

217

Critical analysis of the size of the teaser ads in newspapers and television

channels is crucial to understand the role of teaser advertising in product promotion.

Out of the 57 campaigns studied, 53% had all the teaser advertisements in a campaign

of the same size. 47 % teasers varied in size and shape in the newspaper. It was

observed that the placement of teasers does not remain same within a campaign.

Especially if the entire campaign ran on a single edition on the same day (e.g.

Kohinoor, Vaseline, CNN-IBN, Citizens Against Terror, NIIT, AIDS Awareness,

DDA, BPTP Resorts, HT Career Call) teasers were published on different pages of

the newspaper. Even for a multi edition teaser campaigns (Dove, Mint, Max Vijay,

Aegon Religare, Nimboos, Ponds, Red Label, Metro Now, Union Bank of India, LG,

Probiotic Dahi, HUDA, Shine, Haagen-Daaz, Spencer,i-Control television DTH,

Airtel and Big TV etc.) there is no congruity in the placement or positioning of the ad

in the newspaper. 94% of the campaigns run their teaser ads on page 3, 5,7,9

….etc(Fig.32).

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

ulat

ive

Freq

Perc

ent

Cum

ulat

ive


Placement on ad media

No

of t

ease

r ca

mpa

igns

Same size and slot

Different size and slot

Total

Fig. 32 : Distribution of teasers campaigns for media scheduling

218

Noticiably, teasers campaign had copy devices to interconnect the campaign

.It can be inferred that media planners ensure that the OTS of teaser ad is maximum.

Majority of the teasers are placed on RHS of the daily newspaper since the optical

movement of a reader is from left to right providing maximum opportunity to the

advertiser at right bottom or top right corner of the broadsheet. Thus, teasers not only

allow for greater stimulation of creative execution but may also inspire the media

planners to use the newspaper space in a critically beneficial manner.

Table 37 : Frequencies of teaser repetition in The Hindustan Times and SonyEntertainment Channel


Repeating theteaser ad


Present 32 56.1 56.1 26 86.7 86.7

Absent 25 43.9 100.0 4 13.3 100.0

Total 57 100.0 30 100.0

In print, teaser ads were often repeated several times before revealing the final

advertisement. 56% of the campaigns examined reported this trend. Repetition of

teasers occurred in two modes. Firstly, the string of teasers i.e. T1>T2>T3…Tn was

repeated in the same sequence again before the revealer ad. Secondly, the teasers was

individually repeated i.e t1 occurs twice before T2, similarity T2 is repeated twice

preceding T3 and so on till the final revealer. It might be that the purpose of repetitive

teaser ads is firstly, to ensure maximum visibility for the ad, secondly to facilitate the

reader to pay attention to the teaser so as to galvanize him/her to actively seek the

next ad in the campaign, (for need gratification). Repetitive use of the same teaser can

219

allow the advertiser to make a long duration campaign in order to catapult the

heightened state of curiosity and emotional participation to a higher degree creating a

profound space for the final revealer ad and a befitting finish to the campaign.

Reinforcement of teaser message created a involved audience; ready to create a

unique perceptual space for the brand to be disclosed after matching their guess about

brand identity and product features.44% of the campaigns did not repeat the teaser

ads. These campaigns were found to be of one to two days periodicity with one or two

advertisement. They occurred mostly in the same edition (on the same day in the

newspaper). Repetition was also absent in those campaigns that had four to seven

teasers spread over two to three days. It was seen that repetition was also dependent

on the total time duration in the media plan. If the media plan was prepared for a

duration of for more than ten days to 1 month, they were repeated either daily or

periodically before the final release.

0

20

40

60

80

100

120

Freq

Perc

ent

Cum

ulat

ive

Freq

Perc

ent

Cum

ulat

ive


Repetition

No

.of t

ease

r ca

mpa

igns

Present

Absent

Total

Fig. 33 : Distribution of teaser campaigns for repetition of teaser ads

220

On television, 87% of the campaigns were found repeating the teasers possibly

to ensure maximum opportunity to be seen (0TS). Only 13% campaigns ran in one

schedule without any repetition of teaser ads(Fig.33). Results show that television as a

medium of advertising provided the opportunity to frequently broadcast your

messages for horizontal and penetrative reach and impact. It can be inferred that since

television is also an ephemeral communication channel, repetition of the ad message

allows the advertiser to be able to cover all the intended receivers. In television

advertising, frequency of telecasting the same message is very high, replicated by

planners in media scheduling of teaser campaigns as well. Since teaser campaigns are

innately mysterious and incomplete, repeated placement of them with various

programmes during the same slot can increase the attention scope and level of

involvement of the mass audience. Multiple exposure of the same teaser builds buzz

and captures top of mind cognitive and conative space affecting the behavioural

response at the time of the final revealer. The build up of the campaign is sustained by

repetition of messages, bringing the idea and the cues of the campaign in

interpersonal, group and public communication discourse both in personal and public

spheres. Since teaser campaigns were done on all above the line media, the strategy

seems to be matching the needs of each media vehicle used with the other. For e.g.

Videocon 'Zero Paisa' teaser campaign was carried out in newspapers, billboards and

television simultaneously. Since newspapers and billboards were carrying a new

teaser everyday, television too did not repeat the teaser advertisement to maintain the

integrated mix of the media. Interesting to note was the Pantene teaser campaign that

cut short its teasers to reveal the identity of the brand because of ambush marketing

by Dove. Since Pantene had chosen to do multi-media teaser campaign that is through

221

print, Outdoor and TV, it was planned keeping the 29 day hoarding slot (in the state of

Delhi) in mind. But the campaign was hijacked by the rival shampoo brand Dove,

hurrying it up to reveal the name and the details of the teasers. Some small budget

campaigns also refrained from repeating the teasers in order to save media buying

cost. Home Trade financial services opted for three teasers and a revealer without any

repetition in both print and television as they followed it up with a full fledged

campaign nationwide immediately after the teasers.

Table 38 : Frequencies of audiences and professionals on number ofadvertisements in a teaser campaign


Total number of ads in a TeaserCampaign


Two 50 14.3 12 8.0

Three 158 45.1 61 40.7

Five 109 31.1 65 43.3

Seven 24 6.9 12 8.0

More than Seven 9 2.6 - -

Total 350 100.0 150 100.0

Q11 (Questionnaire 1) and Q12 (Questionnaire 2) asked the optimum number

of advertisements (2 to 7 or more) in one teaser campaign. Nearly 45% said that a

teaser campaign should have three advertisements. The results show that the

audiences prefer a series of two teaser ads and a final revealer advertisement in one

campaign. The three ad campaign ensures that the knowledge gap created by the two

teasers is not large and is filled up quickly by the final display product ad. It also

ensures that in case the first teaser is missed by the general audience, the second has

the opportunity to be seen and serve intended functions. Since it is a teaser, the second

222

advertisement may cajole the audience to search for the previous one before the final

revealer. The audience believes that small stories make the best campaigns. 31% said

five ads make the best teaser advertising campaign. Thus we see that a significant

population likes teaser campaigns with long stories. It also highlights the audiences’

preference for full blown suspense story in order to solve the mystery slowly and

sequentially. It presents the audiences love for treasure hunt and brain teaser games. A

few respondents (7%) felt that teaser campaign must have six teasers and one revealer

that is seven ads in all. It is clear that audiences do not like very long campaigns. Such

campaigns become a drag and may end up boring or annoying them. These teasers run

the risk of law of diminishing marginal returns w.r.t. levels of audience involvement.

Only 3% believe that more than seven ads make a good teaser campaign.

Contrastingly, 14% think that teasers should be very short, limited to only one teaser

and a the final revealer (two ads in all ). Hence, it can be concluded that audiences

find 3 or 5 as the ideal number with a teaser revealer ratio of 2:1 or 4:1. Professionals

too feel that either three ad or five ads works best in the case of teasers.41%And 43%

respectively responded in this manner. Not many(8% each) thought very short that is

two ad and very long (seven ad) campaigns are good.

050

100150200250300350400

Two Three Five Seven Morethan

Seven

Total

No of ads

No.

of r

espo

nden

ts

GeneralAudience

Professionals

Fig. 34 : Distribution of audiences and professionals on number of ads in a teasercampaign

223

Neither too few nor too many teasers are effective. Too few are likely to be

blink and miss ads without stirring our attention, interest, desire or any action, too

many will stretch the campaign making it boring and too pushy leading to sagging

interest with each additional ad. The results can also be inferred in the light of

changing media scenario in India. In the advertising media share wagon wheel, Three

to five ad campaigns are most suited for television because of its frequency, reach and

exposure. In the newspaper, very small 2 ad campaigns are able to communicate well

as it arrive once a day providing the audience opportunity to see the teaser ad and

follow it up with a quick revealer. In magazines, the periodicity is more hence; it

becomes imperative to go in for 2-3 ad campaigns. Hoardings and billboards are put

up for an average period of 29 days allowing the audience to see seven or more than

seven ads in one campaign (Fig.34).

Table 39: Frequencies of audiences and professionals on the ideal duration of ateaser campaign


Ideal Duration Freq Percent Frequency Percent

One Day 19 5.4 10 6.7

2-7 Days 78 22.3 17 11.3

8-15 Days 140 39.7 63 42.0

16-30 Days 62 17.7 34 22.7

More than a Month 21 6.0 13 8.7

Any Other 30 8.6 13 8.7

Total 350 100.0 150 100.0

Continuity is a measure of media planning in teaser campaigns too. Continuity

is defined as the total duration of an advertising campaign over given period of time.

224

Nearly 40% said that the teaser campaign should run continuously for 11-15 days

.They felt that the ideal time duration for a teaser ad campaign should be 2 ½ weeks.

The results imply two significant outcomes. Firstly, the teaser campaign must have

both the seeding and the incubation period to achieve the campaign objectives.

Secondly, though the number of teasers in one campaign can be 2 -5, it is essential to

repeat the teaser ads. Audiences think that since the focal point of the campaign lies in

the series of teasers, increasing the frequency of teasers in one media or varied media

options is effective.

0

50

100

150

200

250

300

350

400

OneDay

2-7Days

8-15Days

16-30Days

Morethan aMonth

AnyOther

Total

Campaign Duration

No.

of R

espo

nden

ts

GeneralAudience Freq

GeneralAudiencePercentProfessionalsFrequency


Fig. 35 : Distribution of audiences and professionals on ideal duration of a teasercampaign

22% said it should be up to a week (1-7 days and not more). These

respondents perhaps felt that a small campaign in a mixed media approach may not

require reminder advertising as the same teaser ad is placed on multiple media

vehicles simultaneously. 18% however favored long running teaser campaigns either

with more number of ads or the same teasers being repeated over and over again.

225

Campaigns are time bound ad practitioners have always said. Nearly 42% said that the

time duration for a teaser ad campaign should be up between 8-15 days i.e (1-2

weeks), 23% said that it should be from two weeks to 4 weaks(Fig.35).11% felt one

week long campaigns whereas 9% thought six to eight week campaigns are most

ideal. Less than 10% think that very small campaigns lasting for a single day are best.

We can see that advertising fraternity too believe that it must conclude in two weeks

time. The results show that careful planning is mandatory to the success of teaser ads.

The campaign must be spaced and spread out in a manner that the audience gets

repeated exposures of every teaser ad before the final revealer. Care also needs to be

taken while spacing the ads in the campaign. Frequent insertions of teasers for around

a fortnight can help to tell stories unhurriedly. One day campaigns were probably

rejected by the professionals as such campaigns can be effective only in newspapers

in the same edition. Teasers campaigns rolled out in one day runs the risk of less

audience readership/viewership due to single insertion.

Table 40.1 : Cross tabulation of T:R and total time duration in The HindustanTimes

Duration of the Campaign

1-3 Days 4-9 Days 10-15 Days 16-30 Days

Total

1-2:1 16 8 6 4 34

3-4:1 2 10 2 6 20

Teaser : Revealer

5-6:1 0 1 1 1 3

Total 18 19 9 11 57

T : R = Teaser : Revealer

226

Table 40.1 shows that total number of ads in a campaign and length of the

campaign are directly related in most cases. Small campaigns (2/3) are scheduled for

three days. Very few (4/34) are long that is range between 16- 30 days. Big

campaigns with more number of ads do not show any specific scheduling patterns.

Medium size campaigns were more wide based. They can be from seven days or even

go upto one month.

Table 40.2 : Cross tabulation of T:R and total time duration on SonyEntertainment Channel


1-3Days

4-9Days

10-15Days

15-30Days

>30Days

Total

Teaser : Revealer 2:1 1 4 4 5 1 15

3-4:1 0 3 1 4 0 8

5-6:1 0 0 0 0 5 0

7:1 0 0 0 1 0 1

>7:1 0 0 0 1 0 1

1 7 5 16 1 30

T : R = Teaser : Revealer

In television advertising (Table40.2), there existed a direct relationship

between total ads and the duration of the campaign. Very short campaigns with two

teasers and a revealer ad lasted for not more than three days whereas medium size

campaigns with three to four teaser ads is a 1½ week campaign, higher number of ads

ran for a fortnight to one month.

227

Table 41.1: Cross tabulation of teaser ads placement and total time duration inThe Hindustan Times

Duration Of The Campaign


Total

Same Sizeand Position

10 10 3 7 30Placement ofTeaserCampaigns

Different SizeAnd Position

8 9 6 4 27

Total 18 19 9 11 57

From the table, it can be inferred that there is no apparent relationship between

position or placement of ads in the media and campaign duration. Ads of the same

size and at the same place can be used for short and long campaigns.

Table 41.2: Cross tabulation of teaser ads placement and total time duration onSony Entertainment Channel

Duration Of The Campaign

1-3Days

4-9Days

10-15Days

15-30Days

More than30 Days

Total

Same sizeand slot

1 5 3 9 1 19Placement ofTeaser

Campaigns Different sizeand slot

0 2 2 7 0 11

Total 1 7 5 16 1 30

Teaser campaigns have used variegated media (planning and scheduling)

strategies. Series of teaser ads of same size were being scheduled for differential time

duration. On television, more teasers were of same size and are slated at the same slot

on various days during the campaign run time.

228

Table 42.1: Cross tabulation of teaser ad repetition and total time duration inThe Hindustan times



Total

present 1 11 9 11 32Repetition of teasersin one campaign

absent 17 8 0 0 25

Total 18 19 9 11 57

The cross tabulation of repetition of teaser ads and the length of the campaign

did not show clear cut directional relationship , though largely campaigns (11/32) in

which teaser ads were repeated ran for fifteen days to a month.

Table 42.2: Cross tabulation of teaser ads placement and total time duration onSony Entertainment Channel


1-3Days

4-9Days

10-15Days

15-30Days

> 30Days Total

Present 1 4 5 15 1 26Repetition ofteasers in onecampaign Absent 0 3 0 1 0 4

Total 1 7 5 16 1 30

Media planning and scheduling included frequency of exposure w.r.t. the total

campaign time. Table 39.1 and 39.2 showed that there exists a direct relationship

between repetition of teaser ads and total campaign duration, more in television and

significantly in print media. All the three week to one month long campaign showed

repeated use of same teaser ads either in the same sequence or intermittently.

Repeated use of teasers for a greater length of time may have been media tactic used

229

to prolong the curiosity, thereby increasing the level of expectation in consumers.

Possibly, instead of making more teaser ads for a long campaign, same set of teasers

were repeated to reinforce the linkage with the product or its promotional plan and

enhances ad familiarity making it highly involving and hard to miss. It may be

because repeated use of teasers for very long campaigns aids teaser recall. Besides,

examining what is being done in the media plans of existing teaser campaigns it is

imperative to analyze the responses given by both the audiences (AR) and the

advertising professionals (AS) on variables such as media preferences, number of ads

per campaign and the ideal duration.

Correlation has been used to find the interdependence.

Table 43.1: Correlation between T:R and campaign duration in the dailynewspaper

Teaserrevealer

Duration ofthe campaign

Pearson Correlation 1 .326*

Sig. (2-Tailed) .013

Teaser :Revealer

N 57 57

Pearson Correlation .326* 1

Sig. (2-Tailed) .013

Duration ofthe Campaign

N 57 57

*. Correlation Is Significant At The 0.05 Level(2-Tailed).

r=.326 p=.013, at 0.05 level of significance

230

It indicates a moderate correlation between number of teaser ads in the

campaign and the total time duration of the campaign. However, the correlation is not

too strong to infer a directional relationship between the two variables.The percentage

of variability can be determined as follows : R= (.3 )2 X 100 =9% .It can be said that

number of ads shares approximately 9% of its variability with duration of the

campaign.

Table 43.2: Correlation between T:R and campaign duration on the generalentertainment channel

Teaser : revealer Duration of the campaign

Pearson Correlation 1 .348

Sig. (2-tailed) .059

Teaser : Revealer

N 30 30

Pearson Correlation .348 1


Duration of theCampaign

N 30 30


Moderate but positive correlation between number of teaser ads in the

campaign and the total time duration of the campaign was observed. However, the

correlation is not too strong to infer a directional relationship between the two

variables. The percentage of variability can be determined as follows: R= (.3 )2 X 100

=9%.It can be said that number of ads shares approximately 9% of its variability with

duration of the campaign.

231

Table 43.3: Correlation between audience response to no. of ads and campaignduration in the daily newspaper

No of Teaser Ads Ideal Duration

Pearson Correlation 1 .232**


No of teaserads

N 350 350

Pearson Correlation .232** 1


Ideal duration

N 350 350

**. Correlation is significant at the 0.01 level (2-tailed).

There exists a positive correlation between number of teaser ads and the ideal

duration perceived by the general audience. Though the correlation is weak, it is

positive and significant at .01 level.

Table 43.4: Correlation between audience response to no. of ads and campaignduration on the general entertainment channel

No of teaser ads Ideal duration

Pearson Correlation 1 .404**


No of teaser ads

N 150 150

Pearson Correlation .404** 1


Ideal duration

N 150 150

**. Correlation is significant at the 0.01 level (2-tailed).


232

It indicates a positive and moderate correlation between number of teaser ads

in the campaign and the total time duration of the campaign. The percentage of

variability can be determined as follows :R= (.4 )2 X 100 =80% .It can be said that

number of ads shares approximately 80% of its variability with duration of the

campaign.

6.7 TO KNOW THE RELATIONSHIP BETWEEN PRODUCT CLASS/

CATEGORY AND ADVERTISING APPEALS AND AUDIENCE

RESPONSE

The above stated objective aims to know if teaser campaigns are more suited

to a particular product category. Data analysis of the campaigns in various product

categories, occurrence of teasers in specific product types, perceived effectiveness by

the professional and the general audience is done.

Table 44: Frequencies of teaser campaign in various product categories in TheHindustan Times and Sony Entertainment Channel


Product Category Frequency Percent Frequency Percent

FMCG 14 24.6 11 36.7

SMCG 11 19.3 5 16.7

Services 19 33.3 11 36.7

Others 13 22.8 3 10

Total 57 100.0 30 100

FMCG : fast Moving Consumer goods ; SMCG : slow moving consumer goods;

Services ; others : organizations /retail/institutions

233

Table 44 does not show any strong linkage between the product category and

use of teaser advertising. In fact all the major product categories were using teaser

campaigns equally for product promotion. Services led with 33% teaser campaigns

while FMCG and SMCG used 25% and 19% respectively. Lot of retail organizations

like BPTP also used it. Therefore we can see that Services, FMCG edible and

household and retail organizations, all are the early adopters to innovations in

advertising .Similarly in all the 30 teaser campaigns on television, all the product

categories featured in its use.

0

20

40

60

80

100

120

FMCG SMCG Services Others Total

Product Category

No.

of R

espo

nden

ts

Newspaper

Television

Fig. 36 : Distribution of teaser campaign in various categories

37% of the teaser campaigns were by FMCG items, both edible and household

and services respectively whereas 17% teasers were done by SMCG and 10% by

organizations and retail sector (Fig.36). The frequency distribution clearly outlines

that despite popular belief regarding use of conservative advertising strategies and

formats by the services sector; it leads the tally in the overall product category in

teaser adoption/execution.

234

Table 45 : Frequencies of teaser campaign for different types of products in TheHindustan Times and Sony Entertainment Channel


Type of the Product Frequency Percent Frequency Percent

Edible Items 6 10.5 6 20.0

Cosmetics and Toiletries 6 10.5 4 13.3

Infrastructure and Real Estate 12 21.1 - -

Garments/Footwear/Access 1 1.8 1 3.3

Electrical and Electronic And ITGoods

3 5.3 1 3.3

Gems and Jewellery 6 10.5 - -

Transport and Travel 4 7.0 4 13.3

Healthcare 3 5.3 1 3.3

Education 4 7.0 7 23.3

Telecommunication and SateliteComm

4 7.0 3 10.0

Banking and Insurance 8 14.0 3 10.0

Total 57 100.0 30 100.0

All the products are adopting the innovative advertising form. Detailed

account shows that in newspapers, infrastructure ad campaigns are more inclined than

others. Financial services both banking and insurance are difficult to promote, hence

innovations like teaser campaigns may have been used to create unique presence for

sometimes the product category and for specific brands on the other.

0

20

40

60

80

100

120


Type of Product

No.

of R

espo

nden

ts

Edible Items

Cosmetics and Toiletries

Infrastructure and Real Estate

Garments/Footwear/Access

Electrical and Electronic And ITGoodsGems and Jewellery

Transport and Travel

HealthcareFig. 37 : Distribution of teaser campaigns in various types of products

235

Aegon Religare created two teaser campaigns to hammer in its concept. Other

banks like UBI also chose teaser campaigns to come back in public domain. Within a

product category, bandwagon effect was visible. For e.g. : Airtel used a teaser

campaign for its DTH servives quickly followed by BIG TV, similarly Dove and

Pantene created a teaser war to create comparative advantage for the brand. Teaser

advertising is all pervasive, from local brands like Kohinnor, Hyper M, Moolchand

Hospitals to national brands like, Ponds, Dove, Airtel, On Television all kinds of

products were using it. Media products (YRF) like upcoming tv shows continued to

bank on teaser campaigns like their predecessors (Jaissi Jaissi Koi Nahi etc.) Like in

print , on television too ,no specific type of product showed greater leaning towards

teasers.

Table 46.1 : Cross tabulation of product category and stage of PLC in TheHindustan times

Stage of Product Life Cycle

Introduction Growth Maturity Revival

Total

FMCG 5 3 3 3 14

SMCG 6 2 1 2 11

SERVICES 6 6 0 7 19

ProductCategory

OTHERS 5 1 5 2 13

Total 22 12 9 1 57

There exists no distinctive difference in the type of product advertised and the

stage at which teaser ads are used in the product life cycle. Analysis shows that in all

the four product categories, teaser campaigns are created during introduction, growth,

maturity, and revival. There is no teaser campaign during the saturation or decline

stage to leave the ideal gap for a repositioning strategy in order to revive or extend the

product brand.

236

Closer look at of frequencies show that services bank on question, declarative

and intrigue headlines in the teaser ads. 16/19 campaigns in the category uses either

just headlines or headlines and visual to tease the audience. Preference for headlines

exists in other product categories though not as significantly as services.

90% of tangible consumer goods (both FMCG and SMCG) are set to the

objective of arousing audience while teaser campaigns (9/19 and 7/19) in service

category aim to satisfy both the objectives of arousal and engagement.

(9/13)Retail Organizations and miscellaneous governmental bodies like

HUDA, DDA use very short duration campaigns i.e. FMCG products are running

teaser campaigns for one day, one week as well as a month. On the other hand 1 ½

week long campaigns were commonly found in the consumer durables category.

Services sector showed no preference w.r.t time duration of the campaign.

Table 46.2 : Cross tabulation of product category and stage of PLC on SonyEntertainment Channel

Stage of the Product Life Cycle

Introduction Growth Maturity Revival Total

FMCG 3 3 4 1 11

SMCG 3 0 1 1 5

SERVICES 3 2 0 6 11

ProductCategory

OTHERS 1 0 1 1 3

Total 10 5 6 9 30

Even on television, campaigns are being done at Introduction, Growth and

Revival stage across product categories. Category wise, services sector adopted

teasers to re brand themselves (52%), more than goods, both FMCG and SMCG. It

does not show conclusive evidence of using teasers to revive a brand.

237

Table 47.1 : Cross tabulation of product category and teaser objectives in TheHindustan Times

Communication Objective of using Teaser Ads

Arousal Interaction Knowledge Audienceengagement

Entertainment

Total

FMCG 9 1 0 3 1 14

SMCG 10 0 0 1 0 11

SERVICES 9 1 1 7 1 19

ProductCategory

OTHERS 2 2 5 4 0 13

Total 30 4 6 15 2 57

Category wise, FMCG and SMCG (64% and91%) used teaser advertising

largely for arousal of curiosity whereas the services sectors created them both for

arousal and audience engagement. This variation may be due to the fact that services

adopt creative strategies to ensure economic as well as social impact.

Table 47.2 : Cross tabulation of product category and stage of PLC on SonyEntertainment Channel

Communication Objective of Using Teaser Ads

Arousal Interaction AudienceEngagement

Entertainment

Total

FMCG 4 1 5 1 11

SMCG 1 3 0 1 5

SERVICES 5 3 1 2 11

ProductCategory

OTHERS 2 0 1 0 3

Total 12 7 7 4 30

Product wise, teaser campaigns were made for several communication

functions .In the case of television, however, it was noted that FMCG brands them

equally for arousal and engagement (36% and 45% respectively). SMCG’s were

inclined towards interacting with the consumers with the help of teaser ads. The

services advertising set all the listed objectives for their campaigns.

238

Table 48 : Comparison of audiences and professionals score on teaser effectiveness for product categories

Marks

Daily Use NonEdibles

Edible (PackagedAnd Non Packed)

ConsumerDurables

Services Events Public ServiceInitiatives

Institutions/Establishments

Media Products

%GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP

Marks 0 - .7 2.0 - - - .3 .7 - 8.7 1.7 1.3 1.1 18.0 - -

Marks 1 4.0 1.3 5.4 2.0 1.1 - 3.4 .7 4.0 2.0 2.9 .7 7.4 6.7 2.9 -

Marks 2 8.3 2.7 7.1 3.3 3.7 - 5.1 - 6.3 7.3 5.7 2.7 15.1 12.7 .9 -

Marks 3 7.7 2.0 17.7 2.7 7.1 .7 6.9 4.7 7.1 6.7 4.0 4.0 12.9 11.3 1.7 -

marks 4 11.1 4.7 12.6 4.0 11.7 4.0 9.4 1.3 8.3 6.0 12.0 3.3 12.3 6.7 1.7 -

Marks 5 12.9 8.7 16.9 16.0 12.6 6.0 16.9 4.7 18.3 32.7 17.4 22.7 21.4 25.3 6.6 -

Marks 6 18.9 18.7 13.4 16.7 23.1 9.3 14.0 6.0 15.1 6.0 14.3 17.3 12.9 7.3 11.1 6

Marks 7 20.9 30.0 11.4 20.7 19.4 20.7 17.7 16.0 20.0 15.3 12.3 12.7 10.6 6.7 22.3 11

Marks 8 10.0 19.3 9.7 20.7 12.6 26.7 15.1 20.7 10.9 9.3 16.3 24.0 4.3 .7 30.0 31

Marks 9 5.4 10.7 - 14.0 6.9 22.7 6.3 34.0 9.1 4.7 10.6 11.3 2.0 4.7 15.4 42

Marks 10 .9 1.3 3.7 - 1.7 10.0 4.9 11.3 .9 1.3 2.9 - - - 7.4 9.3

Total 100.0 100.0 100.0 100 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0

239

0

20

40

60

80

100

120

%GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP %GENA %ADP

Daily Use NonEdibles

Edible (PackagedAnd Non Packed)

Consumer Durables Services Events Public ServiceInitiatives

Institutions/Establishments

Media Products

Mar

ks g

iven

Different Types of Products

Marks 0Marks 1Marks 2Marks 3marks 4Marks 5Marks 6Marks 7Marks 8Marks 9Marks 10Total

Fig. 38 : Comparison of percentage of audiences and professionals scores for teaser in various product categories

240

Effectiveness of teaser advertising is based on its relative suitability for

different kinds of goods and services. Since the execution strategy must establish its

efficacy across product classes Q9 (Q1) asked the respondents to examine teaser

advertising for various type of products. The scores have been given from 0 to 10.The

grade sheet prepared to evaluate the scores is as follows:

0-3 = very poor, 4-5= poor, 6-8 good, 9-10 very good.

Teaser advertising is quite effective in the FMCG household category, 68% of

the advertising professionals scored it between 6-8 on the effectiveness grade

sheet.19%,30% and 19% ad persons scored it highly at 6,7 and 8 respectively)

Evidences support the results as products like toothpastes, soaps, toiletries, stationary

items , glue sticks showed increasing use of such campaigns. Product parity and

saturation in the market may have encourages the use and augments the efficiency of

innovations in advertising. FMCG edible commodities too show liking for teasers.

60% reported it good (18%, 21% and 21% scoring it 6, 7 and 8 marks). Edible items

continuously advertise throughout the year. In order to draw the audience attention to

their ever changing product features, new extensions, teaser advertising acts as the

perfect attention catcher. 34% found a very strong relationship between teaser use and

edible items scoring it at 9-10. Teasers were found to be perfect for brand interest,

engagement and building value over a period of time. In addition to stimulation of

primary demand through trial use, teasers are also leading to widening consumer base

across the market area. 61% people find teasers quite good for slow moving consumer

goods. Electronic and IT goods are high involvement products. Advertising in this

sector is not done to perennially influence sales but to alter perceptions or create

241

emotional connect with the brand. 55% find them good to use in consumer durables

sector. 23%, 19% and 13% score it 6, 7and 8. 25% grade it in SMCG as average.12%

and 13% score it 4 and 5 out of 10 respectively. The industry felts that the services

gain the most from use of innovations in advertiisng.45% scored it between 9-10,

grading it very good on the report card(Fig.38). Possible reason could be that

Hospitality, Tourism, Banking, Finance, Education and Heath Care are challenging

intangibles to promote. Direct response advertising is not effective. Use of creative

toolkit is vital to create the product consumer relationship. Teaser advertising is able

to launch and diffuse existing services either via mascots or celebration. Often a key

benefit or existing problem is encapsulated into teaser themes to integrate the unique

product selling point into a solution offered by the brand revealed in the final ad of the

campaign. This category received perfect score from 11% respondents indicating a

huge scope of teaser advertising in the sector. 39% graded the performance average; a

score of 4-5 was given to live events, indicating a cautious approach of the industry

towards it. Generally, ad men prefer informational advertising (presenting the identity

near the optical center) to ensure ‘what and who’ of an event become well known.

However, impact of teasers of IPL stands exception to the rule.

54% rated the performance of teasers in Public Service Advertising above

average or good. Contemporary ad professionals believe that non commercial

advertising need not be dull, boring and sanctimonious; it should be interesting,

captivating and novel. They believe that serious issues might find systemic injection

of intrigue in place of age old shock advertising easier to penetrate the masses. A

jigsaw puzzle like campaign may lead the audience to action as intended by the social

242

sector. Government too, has woken up to use of creative formats to reach out to the

people. Industry does not favour the use of teasers in political and institutional

advertising. 45% score it below par, grading it very poor- poor. Since political

advertising banks on hyperbole and propaganda, it should not spend large sums of ad

budget on unbranded innovations. Very high scores of 9 and 10 were given by

majority of ad professionals to media products. 71% advocate the use of teasers for

media products explaining the deluge of teaser campaigns for films, daily soaps,

reality shows and even news programmes. Launch of a new media product is

invariable done through teaser campaigns.

57% people scored FMCG house hold daily use commodities good (19%,

21%, 10% gave high scores of 6,7 and 8 respectively). Therefore we see that people

believe teasers should be used by toothpastes, soaps, detergents, shampoos that is by

products by goods used at least once every day. Such product markets are full of

variants and competitors, teaser ads can make them stand out. The subset of FMCG’s

edible items need to be looked at separately because conventionally the category

banks on packaging, sales promotion, active hard sell product and word of mouth

advertising is used for reaching the desired target A totally divided opinion was found

for edible items. While 32% scored the effectiveness of teaser campaigns for atta, dal,

packed food, oils very poorly, similar number30%( 12.6 %& 16.9% gave low medium

score of 4 and 5)and around 34% were happy with the use of teasers for edible items

or necessity foods category .The latter seemed to believe that foods category is highly

saturated and needs to survive in the market . Whether to launch a new variant or

reposition the existing one , edible items find teasers both fun and distinctive to woo

243

the diverse age groups especially teens, tweens and youngsters. 55% (23%,19% and

13% gave scores 6,7 and 8 respectively) people feel that teasers are good for

consumer durables like electronics, home appliances, IT hardware like computers,

mobile , furniture etc. research studies on teasers in the past show high use and

efficacy of teasers in television sets, mobile phones and other technology based

products. For high end products, differentiation is low. Effectiveness of teaser can be

more as in expensive, products communication messages attempts to capture the

peripheral route of the central nervous system relying more on emotion, entertainment

and engagement than product price or features. Since the life span of the slow moving

consumer goods is much higher, teaser campaigns become a building block for

pulsing and flighting media scheduling strategies followed by subsequent campaigns

presenting the product using rational appeals and knocking the CRP. The result

suggests that, services sector may have started to see advertising as a necessary

investment. 42% feel that teasers are highly effective in services category. About 5%

people have scored teaser efficacy perfect 10 for the services category while 11%

gave it a very high score of 9-10 giving ‘very good’ on the grade sheet. Hence we see

that innovative ads can make the complex world of services quite interesting for the

consumers to get attracted to the ad and consequently the service promoted. The

education, health and finance have accepted the need and impact of creative

executions in promoting this difficult product category. It can be inferred that

audiences took note of the transformation of service sector ads from mundane to

mysterious in the last two decades. Teasers have been graded good even for events

organized by various sponsors. 46% audiences scored events (6-8) illustrating the

244

point. Event industry has burgeoned post millennium. Events are idea driven, cost

bound short duration multimedia packages with SMART objectives. Public Service

Advertising or non commercial form of advertising was graded good that is between

6-8 for the category by 42% audience.

A comparative analysis of various product categories suggest that teasers are

not effective or suitable for one particular product category though, they are thought

to be more effective for media products and SMCG, more than 55% tend to propagate

benefits of using teasers for newspapers, supplements, news programmes,

entertainment channels, new programme formats, advertising and promotion agencies

and firms and internet websites or portals. Teasers were widely accepted by the

audiences in all product categories, even within a product category, product type also

does not show much variance in effectiveness of teaser ads. Only religious and

political products may refrain from use of teasers. Other products like services, non

commercial products like health awareness, ecology and environment conservation,

cultural preservation and national heritage promotion also showed positive

interrelationship with teaser advertising.

Table 49 : Frequencies of audience and professionals on brand wise effectivenessof teaser campaigns


Type of advertisementin a teaser campaign


International 77 22.0 10 6.7

National 227 64.6 114 76.0

Regional 28 8.0 16 10.7

Local 18 5.1 10 6.7

Total 350 100.0 150 100.0

245

65% and 76% (AR and AS) respondents recommended the use of teaser ads

for national brands the most. This result can be explained on the basis of the

promotional requirements of a national brand. In order to remain affixed in the minds

of large anonymous mass of audience, such brands continue to transform or extend all

the time. Teasers fulfill this need of a brand to find or stay connected with its target

segment.

0

50

100

150

200

250

300

350

400

Intern

ational

National

Regiona

lLo

cal

Tota

l

Type of brands

No.

of r

espo

nden

ts

General AudienceFreq


Professionals Freq


Fig. 39 : Distribution of audience and professionals on brand wise efficacy ofteaser campaigns

22% and 7% (AR and AS) respondents felt they are more effective for

international brands. Professionals do not think an international brand can gain from

unbranded campaigns Local and regional brands too are not high on their list. Only

5% and 7% from both the samples found teasers effective .Mere 8% and 11% people

have recommended greater efficiency of teasers for regional brands(Fig.39).

Innovations are assumed to be for up market, omnipresent products. It explains the

reason behind most respondents not finding teasers for regional and local products

most effective. People might have felt that most local and regional advertising is

246

limited to direct response in the form of sales inducement offers (buy one get one free,

20% off, clearance sale etc) . The pressure to appear distinct compels or propels the

national advertisers to adopt innovative brand communication strategies to capture the

diverse consumer market.

6.8 TO FIND OUT THE SCOPE OF PRINT ADVERTISING VIS-À-VIS

ELECTRONIC AND BELOW THE LINE MEDIA IN INDIA.

Even now, Print continues to enjoy the position of a leading above the line

media, especially for new creative executions like teaser campaigns. Innovative

advertising is using print media for reach and impact and its ability to maximize the

use of verbal conveyors in creative execution. Table 22.1 and 22.2 showed that print

advertising is the second most popular medium for advertisers in India. Television has

emerged as the most preferred medium by both the advertisers and the audiences.

News papers and magazines provide advertisers wide range of placement and position

options. Print medium is suitable for campaigns, the more popular form of advertising

today because of its creative flexibility and broad reach. The findings of the present

study lend support to the argument. We saw that in the span of three years, 57 teaser

campaigns were found in the newspaper under the study. A total of 191 teaser and

revealer advertisements were found in the newspaper. In comparison, 30 teaser

campaigns were reported on the entertainment channel, Sony Entertainment Network

with a total of 128 television commercials or spots (including teaser ads and revealer

ads). The study showed that teaser campaigns occurred in both main newspaper and

supplements and during various programmes on television.

247

Findings of the survey show that television as a medium of advertising is most

popular followed by Print and Out of Home (OOH) media. 66% of the audiences

found television the best medium and 20% thought print is most effective ad media.

Although Out of Home and internet are emerging, but the dominance of print and

television for advertising is obvious. Besides audiences, ad industry too responds in

the similar manner, 42% of professionals favoured TV while 22% said that print

media is most suited for teaser advertising. So we see that television has gained an

edge over print advertising in recent times. It can be interpreted that print needs to

reinvent itself to remain a leading medium for the advertisers. With the rise of new

media, the threat is growing. Internet advertising, with dual characteristics of

television and print is likely to pose serious challenges to the supremacy of print,

advertising. A deeper insight into the finding also highlights the growing trend of

cross media or integrated media campaigns in which one idea is executed on all media

or multiple media to reach varied set of target audiences. In that combination, print

though not the leader may play a supplementary role to television in coming times.

6.9 TESTING OF HYPOTHESES

In the present study non parametric statistical tools have been used to test the

hypotheses for the study. Null hypothesis has been tested to be accepted or rejected2.

Consequently support for research hypothesis is gained.

H1: Teaser advertising is the most effective creative execution strategy for

product promotion in India.

H 0: There exists no difference between the impact of teasers and other creative

execution strategies in India

2 Refer to Steinberg, W.J.,2010, Statistically Alive, London: Sage Publications

248

Chi Square goodness of fit test has been used to test the hypothesis.

Questionnaire 1 (audience), Q10 (a-d) measured the audience response to impact of

teasers vs celebrity ads, spoofs, fear and sex in advertising.

Test Statistics

impact of Teaservs Celebrity

Impact of Teaservs Spoofs

Impact ofTeaser vs Fear

Impact ofTeaser vs Sex

Chi-Square 62.046a 84.629a 84.811a 45.589a

df 3 3 3 3

Asymp. Sig. .000 .000 .000 .000

a. 0 cells (.0%) have expected frequencies less than 5. The minimum expected cellfrequency is 87.5.

Value of Chi Square =62.046, 84.811, 84.811, 45.589, respectively for IoT Vs IoC ,

IoT Vs IoSP, IoT Vs IoF, IoT Vs IoS df=3, p=7.815(.05 level of significance),

Questionnaire 2 (professionals), Q11 (a-d) measured the audience response to impact

of teasers Vs celebrity ads, spoofs, fear and sex in advertising.

Test Statistics

Impact of Teaservs Celebrity

Impact ofTeaser vs Spoofs

Impact ofTeaser vs Fear

Impact ofTeaser vs

Sex

Chi-Square 49.093a 67.653a 157.733a 77.893a

df 3 3 3 3

Asymp. Sig. .000 .000 .000 .000

0 cells (.0%) have expected frequencies less than 5. The minimum expected cellfrequency is 37.5.

249

Value of Chi Square =49.093, 67.653 , 157.733, 77.893, for IoT Vs IoC , IoT Vs

IoSP, IoT Vs IoF, IoT Vs IoS respectively df=3, p=7.815(.05 level of significance)

Where IoT : impact of teaser ads; IoC : impact of celebrity ads; IoSP : impact of

spoofs, IoS : impact of sex

We see that in both sets of sample respondents ( audience and professionals )

value of chi square is much beyond the interpolated value of p. Hence, the null

hypothesis may be rejected at .05 level of significance and the alternative hypothesis

may be partially accepted. It means that significant number of respondents believe

that Teaser advertising is the most effective creative execution strategy for

product promotion in India.

H2: Teasers aid recall and recognition of a brand causing a favorable brand

image in the minds of the buying prospective buyer.

H0 : Teasers do not lead to any change in creation of favorable brand image in the

minds of the prospective

Question 16 in (Questionnaire 1) used a Likert scale to measure the opinion of the

people about whether teaser ads increase consumer connectivity (emotional bond)

with the product.

Q20 in (Questionnaire 2) asked a dichotomous question to measure the opinion of ad

persons about whether teaser advertising can alter public perception about brand.

Test Statistics

Teaser Leads to Perception

Chi-Square 18.027a

df 1

Asymp. Sig. .000

a. 0 cells (.0%) have expected frequencies less than 5.The minimum expected cell frequency is 75.0.

250

Chi square =18.027, df=1, p=3.841

Chi square is greater than the value of p at .05 level of significance. Hence null

hypothesis may be rejected and the alternative hypothesis may be accepted.

iii) Cross tabulation of Q6 & Q16 is also used to test the hypothesis

Teaser Increase Consumer Engagement

Stronglyagree Agree Neutral Disagree

Stronglydisagree Total

Yes 89 93 46 4 0 232Recall Teaser ads

No 12 52 44 9 1 118

Total 101 145 90 13 1 350

It shows that 78% audience members that were able to recall the teaser ads

agreed or strongly agreed that teasers ads increase consumer engagement with the

brand. Therefore, we see that use of teaser ads do lead to creation of favorable image

of the brand in the minds of the prospective buyer.

From both the samples it can be said that teaser advertising leads to creation of

favorable image of a brand in the minds of the buying prospect.

H3 : Teasers not only entertain the audience but also influence the buying

patterns

Ho : Teasers merely entertain and do not affect the consumer patterns

In the (Questionnaire 1), Q15 asked the respondents whether teaser ads lead to

product trial or use

251

Chi square goodness of fit test has been used to test the hypothesis

Teaser and Consumption Pattern

Observed N Expected N Residual

Always 160 116.7 43.3

Sometimes 175 116.7 58.3

Never 15 116.7 -101.7

Total 350

Test Statistics

Teaser and Consumer

Chi-Square 133.857a

df 2

Asymp. Sig. .000

a. 0 cells (.0%) have expected frequencies less than5. The minimum expected cell frequency is 116.7.

Chi square =133.857, df=2,p=5.99 at .05 level of significance .

We see that the calculated value of chi square is beyond the tabulated value p

at .05 level of significance. Therefore null hypothesis is rejected and the alternative

hypothesis may be accepted. It is therefore correct that teaser advertising not only

entertains but also influences the consumption pattern

H4: Teasers are equally effective in print and television media

Ho: Teasers are more effective in print as compared to television

Q5 in the agency survey (Questionnaire 2) sought response on suitability of medium

for teaser advertising.

252

Media Vehicle

Observed N Expected N Residual

Print 33 25.0 8.0

TV 63 25.0 38.0

Radio 4 25.0 -21.0

Outdoor 15 25.0 -10.0

Internet 7 25.0 -18.0

Any other 28 25.0 3.0

Total 150

Test Statistics

Media vehicle

Chi-Square 95.280a

df 5

Asymp. Sig. .000

a. 0 cells (.0%) have expected frequencies less than5. The minimum expected cell frequency is 25.0.

Chi square =95.280, df=5,p=11.07 at .05 level of significance

We see that the calculated value of chi square is beyond the tabulated value p

at .05 level of significance. Therefore null hypothesis is rejected and the alternative

hypothesis may be accepted. It is therefore true that teaser advertising is equally

effective in print and television media.

chapter -vii data analysis and...

Documents