Discuss
the phenomenon of digital media convergence in relation to advertising and new
media.
Digital media convergence, which is the merging of
formerly separate media and technological devices, has meant that centralised
and location-based media forms, such as television, newspaper and billboards,
are no longer the only platforms for advertising; new media has inspired access
to advertising content anywhere, at any time, using any digital device. The
chance for advertisers to take old media content and feed it through many media
channels, such as social media sites, may seem like a simple and cost-effective
way to reach the online audience, which consists of 2.37 billion user accounts
on social media networks combined. But social media and new media has existed
on the premise that the “structured break”, which was present in old media
forms would be beaten, due to the sharing and participatory culture the new
media forms inspire. Advertisers have been forced to adapt to the sharing
culture by sharing product information as opposed to telling product
information, as they interact with consumers through establishing relationships
and creating an online presence.
Advertisers must approach digital media convergence
creatively in order to effectively make use of the unique experience new media
can bring to consumers. An example of the convergence of somewhat of a library,
and the technological benefits of searching the internet, is Google, which
since its beginnings in 1996, has become one of the largest search engines,
used almost daily by all digital consumers, therefore the benefits for
advertising cannot be denied; the searched items by the consumer declares the
target market they belong to, and advertisers can act accordingly. In 2010,
Google released a series of advertisements, most frequently promoted on YouTube,
named “Search Stories.” YouTube content is available to consumers almost any
time and place, and advertisers are keen to connect with target groups through
this digital media form, as not only is the content produced free, but has the
ability to be viewed time and time again and shared between online users. (Burgess
et al, 2009)
The 53 second clip, entitled ‘Parisian Love’, was a
simple yet effective use of new media advertising as it addressed three main
marketing benefits. The clip firstly addresses the selling of the brand; Lipsman
states, “the effective use of music to convey mood and
emotion…the demonstration of product convenience (i.e. the use of the search engine
shown throughout the 60-second spot) and the most significant reason behind
this ad’s strong score was the existence of certain structural elements,
including the prominence and heavy use of the
Google logo, and the prominence and demonstration
of the actual product.” (Lipsman,
2010) ‘Parisian Love’ clearly conveys itself to the consumer as trusted brand,
as important life decisions within individuals lives are made through Google,
which addresses the second marketing benefit of the advertisement, which is
recognising the competition within the market; Microsoft powered search engine,
Bing, holds the logo, “the decision engine.” But it is the combination of these first two
marketing strategies used within the advertisement which allows for Google to
sell itself to advertisers as a creative, speed efficient and popular way of
channelling new media marketing to consumers. By advertising the search engine
brand to other advertisers, Google is ensuring revenue, as the benefits of
advertising on the search engine become clear; the social and informational
elements merge, as the advertisers can not only promote the brand in accordance
with what the consumer wants to know, but what the consumer has searched for in
the past. (Spurgeon, 2008) While the positives of the product are clear, many
people have accused Google of fraud, as accepting money from companies to
promote their business as the first relevant article diminishes the consumer’s
right to information. In a Wall Street Journal article in 2012, Jeffrey Katz
stated, “Most people believe that…they will receive a
list of the most relevant sites…the most prominent results are displayed
because companies paid Google for that privilege.” (Katz, 2012) Following this, Google
released a statement which claimed they did not accept financial benefits for
having certain websites appear closer to the top of the list of searched items,
although, as recently as 2010, a side bar has appeared on certain searches
which are under the heading “Ads related to…”. Amit Singhal, senior vice
president of engineering with Google states that “ads and commercial expenses”
are clearly labelled on the site, and set apart from the “organic” listings, so
not to interfere with consumers rights to the most relevant texts for their
needs. (Swenson, 2012)
The 21st century has dramatically changed the
significance of the “celebrity.” What was once a distanced and untouchable
element, secluded to the entertainment industry, has now entered people’s homes
through digital media convergence which has generated social networks such as
Facebook, Twitter and Instagram. Spurgeon explains that advertising is seen as
a new communication process in public culture, and advertising in social
networks “is also growing at extraordinary rates”, so connecting with their
consumers through the phenomenon of digital media convergence allows them to
send a specific and conceptualised message to as many members of their target
audience as possible. (Spurgeon, 2008: pp. 25 - 26) As celebrities increasingly
create online presences throughout different social networking mediums, brands
recognise the potential of their product to generate to new media forms. For
example, on the photo sharing application Instagram, which is available to
Android and Apple phones, people share photos with friends, and are encouraged
to follow other friends to see their photos, similarly to Twitter. Marketers
have valued the power of the celebrity, especially within the Western world,
because as Precourt outlines, “star worship leads to value-transfer that can
affect brand purchase intent.” (Precourt, 2011) Through celebrity endorsement,
the value of the
product to the consumer can be issued clearly, as it is usually one or all of
the values which the celebrity has promoted in their own image. Advertisers
recognise that as celebrities, for example a member of the Kardashian family,
gain more followers on Instagram, and continually post photos, they gain access
to more consumers within more locations, as the application is specifically on
the phone. Advertisers are able to cross the boundaries which were once posed
by time and space. By getting celebrities, such as Kendall Jenner, to promote
their products, they do not only have access to the millions of followers which
the celebrity has, but can specify the target market. Kendall has approximately
2 million followers; advertisers can search through her list of followers and
discover that the majority of these followers are females from approximately 14
– 25 years old, who have similar interests to her, and therefore the brand can
use Kendall to promote their brand accordingly. In this picture, for instance,
Kendall comments on the photo saying “Thanks SOOOOO much Chanel for my new
iPhone cover, lovingggg it!” The importance of the relationship between brands
and celebrities is not a new development within advertising, but by adopting
the new media practices which social networks provide, advertisers can
efficiently manipulate which target market is being addressed.
Advertisers must recognise that the rise of new media
forms have not been established upon the premise that old media forms can just
be produced online. The 21st century has dramtically altered the
relationship which once existed between the transmitter and receiver within
former advertising types, but the digital age has allowed the consumer
sovereignty over decisions made within digital forms. The phenomenon of digital
media convergence has provided companies with the opportunity to explore new
and creative ways of sharing product information within new age digital mediums,
and therefore consumers are given an equal amount of power within the market as
advertisers.
References
Burgess, J, and Green, J, 2009, YouTube: Online Video and Participatory Culture, Polity Press, UK
Jenkins, H, 2006, ‘Introduction: worship at the altar of
convergence – a new paradigm for understanding media change,’ Convergence Culture: Where Old and New Media
Collide, pp. 1-24
Lipsman, A, 2011, ComScore, USA, accessed 30/08/2012,
< http://blog.comscore.com/2011/02/scoring_super_bowl_ads.html>
Precourt, G, 2011, ‘Engaging with digital China’, Journal of Advertising and Research, December,
pp. 553 – 554
Swenson, L, 2012, Chron, USA, accessed 30/08/2012, < http://smallbusiness.chron.com/companies-pay-google-first-result-48392.html>
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