Showing posts with label advertising. Show all posts
Showing posts with label advertising. Show all posts

Friday, August 31, 2012

South Africa's Great Advertising [Creative] Divide

Over @ the Daily Maverick, Mandy de Waal has a much discussed piece about South Africa’s extremely white advertising industry, and why she thinks it continues as "a colonial enclave where racial polarisation is rife and the best profits are being creamed by a handful of foreign-owned advertising companies." But it is the quote from the Association of Black Communications Practitioners' spokesperson, Taelo Immanuel, that sets up the video clip below:
“There’s a white creative director and a black team, and when they try and talk to each other there’s that chasm because of their respective upbringing. The references are vastly different. As a result there’s a cult of viewing life in an American way through hip hop, movies and music videos,” said Immanuel, who maintained that because of this the advertising mirror that reflects black culture back to South Africans is warped. What we’re seeing isn’t a true reflection of real South African life, but a perversion of its peoples and culture. “In terms of advertising work that speaks to your everyday black South African—say, for instance, my own parents—it is very difficult to find creative work like that. You just don’t get work that has real insight into the South African condition. Instead agencies and brands go to film, and there are black people singing and dancing and they slap in whatever product they want to sell,” said Immanuel. 
One of those American references for white South Africans Immanuel was referring to above was the Cosby Show. Watch the first 3 mins of the 2009 interview with South African director Gavin Hood to get an idea of how huge, for white South Africans, the Huxtables were and the gratitude owed to Bill Cosby.

Friday, July 20, 2012

To Albert, Mukhtar and African Bus Drivers Everywhere...

That story of Albert from South Africa's First National Bank TV ad (above) feels inspired by the birthday story of a real African bus driver in Copenhagen called Mukhtar,  who was the very surprised subject of a flash mob back in 2009.


 Mukhtar's flash mobbed birthday was also an ad - more here

Wednesday, January 11, 2012

Review of 'The Ticket' : Guinness Nigeria Ad Celebrates a Resilient People, Culture

The Guardian's Chuks Nwanne reviews The Ticket, an international TV commercial by Saatchi & Saatchi - Cape Town, produced by Guinness Nigeria and shot in location within Nigeria with local talents and crew:
When the invitations to the screening of new Guinness TV commercial, The Ticket, were given out to media men, there was little or no detail on what exactly the brewery actually intends to achieve with the new advertisement. No doubt, Guinness has acquired a strong reputation of producing classical commercials that provide consumers with extraordinary experiences.From the epic, long running Michael Power campaign, through to the recent award-winning Sky (My friend Udeme is a great man), Scout (…give a man half a chance and he take it), and more recently Guinness The Match, the brand has shown some level of creativity with their advertisements.

Notwithstanding, to most journalists present at the screening held recently at the Protea Hotel, GRA, Ikeja, Lagos, this could be another invitation to celebrate foreign creative minds, especially South Africans; this has always been the case with multinationals in Nigeria when it comes to shooting commercials.From the opening scene, the commercial looked very much like the usual foreign work, except for the yellow buses in the package, which is considered a trademark of the city of Lagos. But as the tape rolls further, capturing Lagos bridges, with the usual hustling and bustling scenes typical of Lagos, the picture became clear; this is a TV commercial shot in Nigeria, with Nigerian cast and crew. At this point, the media men adjusted their sitting positions, with their eyes fixed on the screen with rapt attention.
 Read the rest - here/ Full Credits

Thursday, November 10, 2011

Johannesburg's Bioscope Cinema Print Ads

These print ads published in August 2011 for The Bioscope, Johannesburg's only independent art house and cultural cinema, cooly scream "glocal". They strike that modern balance between Hollywood's global influence and a Johannesburg reinterpretation/appropriation:

More bioscope ads - here.

Advertising Agency: Volcano, Johannesburg, South Africa
Creative Directors: Francois Boshoff, Glenn Jeffery
Art Director: Francois Boshoff
Photographer: Sheldon Windrim

Wednesday, October 12, 2011

Curious Times in Cape Town

Developed at Saatchi & Saatchi, Cape Town, the Curious Times ad takes some time to build, but the lesson is sure worth the wait. Creative director Sammy-Jane Thom, art director Gareth Cohen, copywriter Alex Goldberg, agency produce Lee-Anne Jacobz, account manager Sheharazaad Allie. Animation was produced at Conduit Productions. Sound was designed at Soft Light City.

H/T: inspiration room

Where's the Beef, Bishop Tutu?

After the South African government--in the pocket of China--refuse, again, to grant the Dalai Lama a visa to visit the South Africa, chicken joint Nandos couldn't resist...

Agency: Black River FC

Friday, September 2, 2011

South Africa: Little Girls in Big Shoes Commercials - Ad Love

Two recent ads from South Africa for an ad savvy bank and investment house adopt similar thematics:

Advertising Agency: MetropolitanRepublic, South Africa

Advertising Agency: KingJames, Cape Town, South Africa

Wednesday, August 31, 2011

Africa: Fighting Movie Stereotypes - A Rebranding Lesson

Over at Americas Quarterly, Lina Salazar writes about the Sony Pictures revenge flick, Colombiana, starring Zoe Saldana, and how the perpetuating of a stereotype about a place as a failed state has real costs for people living there. Excerpt:
Colombiana’s title is a brazen attempt by Hollywood producers to capitalize on the decades-old reputation of a country that has made tremendous progress in recent years. It is a purely commercial strategy grounded in fantasy, not reality. And what producers don’t realize is that perpetuating the myth that Colombia is a violence-ridden failed state can have real costs for people living there, and that negative perceptions can have serious negative real world consequences, such as an impact on tourism.
This is good reason to support organizations such as Por Colombia—a group of volunteer students and friends of Colombia in the U.S. and Canada—and initiatives like Colombia, the Other Side of the Coin—a pacifist campaign lead by Carlos Plaza, a Colombian community leader in New York. The latter is leading efforts to distribute materials on premiere night in theaters throughout New York City that shed a more positive (and realistic) light on Colombia.
When they first saw the trailer early this summer, Por Colombia launched #ColombiaisBeautiful—a grassroots social media campaign on Facebook and Twitter designed to counteract overly negative depictions of Colombia in pop culture. The campaign’s banner is a digitally altered poster of the movie: instead of a gun, the “Colombiana” on the film’s poster holds a bunch of flowers, and the tagline "Vengeance is Beautiful" is replaced by "Colombia is Beautiful." This simple campaign has attracted thousands of followers and received coverage from national and international media outlets, including Univision and Huffington Post.
Bogotá-born Carlos Macías, the president of Por Colombia, argues that Sony Pictures is making a profit at Colombia’s expense. Colombians are not against talking about the conflict, says Macías. “If you’re going to talk about the Colombian armed conflict, go ahead, we’re the first to start the conversation," he points out. We don’t deny that violence remains a problem, but we demand balance. We want to provide people with actual facts, while at the same time remembering to include the country’s positive side—which is all too often left out.
Rebranding lesson: piggy back a counter campaign on Hollywood's dime;  re-purposing the same material aimed to make a profit at your expense.

South Africa: History of (the Idea of) the Diamond

Kottke digs up an article by Edward Jay Epstein from the Feb 1982 issue of Atlantic Monthly, explaining how diamonds became so popular and so valuable. It's a story about monopoly and the power of advertising. Excerpts:
The diamond invention—the creation of the idea that diamonds are rare and valuable, and are essential signs of esteem—is a relatively recent development in the history of the diamond trade. Until the late nineteenth century, diamonds were found only in a few riverbeds in India and in the jungles of Brazil, and the entire world production of gem diamonds amounted to a few pounds a year. In 1870, however, huge diamond mines were discovered near the Orange River, in South Africa, where diamonds were soon being scooped out by the ton. Suddenly, the market was deluged with diamonds. The British financiers who had organized the South African mines quickly realized that their investment was endangered; diamonds had little intrinsic value—and their price depended almost entirely on their scarcity. The financiers feared that when new mines were developed in South Africa, diamonds would become at best only semiprecious gems....
....The diamond invention is far more than a monopoly for fixing diamond prices; it is a mechanism for converting tiny crystals of carbon into universally recognized tokens of wealth, power, and romance. To achieve this goal, De Beers had to control demand as well as supply. Both women and men had to be made to perceive diamonds not as marketable precious stones but as an inseparable part of courtship and married life. To stabilize the market, De Beers had to endow these stones with a sentiment that would inhibit the public from ever reselling them. The illusion had to be created that diamonds were forever -- "forever" in the sense that they should never be resold.

Tuesday, August 2, 2011

Kenya/ Nigeria: The Rise of Innovative TV and Radio Local Programming

About gone are the days when many African broadcasters simply ran old American TV shows. It was  cheaper to buy foreign than risk local programming. Today, local programming is no longer money-losing content national broadcasters must run so as to satisfy the daily quota of local programming the government insists must be shown. Today, all across the continent, broadcasters are proving quality, innovative local programming can outsell foreign.

Above, CNN's Christian Purefroy checks in on the surging number of listeners and rising ad rates @ Wazobia FM, a "Pidgin English" radio station in Lagos, Nigeria.

Above, Wachira Waruru, CEO, Royal Media recently sat down with Balancing Act to talk about how Citizen TV rose from the number four to the number one TV station in Kenya by adopting a local programming strategy; the impact of these Swahili programs, the changing attitude of advertising agencies, and the success local programmes like Inspekta Mwala, Papa Shirandula and Tahidi High have had.

South Africa: Ad Love

A print ad for Audiobook India captures the idea of the "autobiography" by retouching a portrait of Madiba and other shapers of history to include “bookmarks”. Winner of a Silver Outdoor Lion at Cannes International Festival of Creativity back in July.

Friday, July 1, 2011

North Africa: Post-Uprising Advertising

Some Coca Cola and Pepsi advertising attempts to ride Egypt's post-uprising wave got featured last month in Al Masry Al Youm:
Coca-Cola and Pepsi have both launched massive advertising campaigns, with themes based on optimism and change, aimed at Egypt’s youth... It's too early to see whether the marketing campaigns will strike a chord with Egyptians, but initial feedback is positive. YouTube pages featuring Coke and Pepsi’s most recent Egypt commercials are full of positive comments...

Hawgblawg breaksdown the Pepsi and Coke ads:
... Note that the focus is entirely on Cairo's downtown, which has both been a site that the upwardly mobile in neo-liberal Egypt have been fleeing for the upscale satellite suburbs, and which is also the focus of plans for gentrification. Finally, and perhaps most significantly, note the penultimate shot, which shows Tahrir Square, with a crowd (meant, of course, to evoke a demonstration, right before the last shot of a young person drinking a bottle of Coke (more)
Other examples of post-uprising advertising - a series of spots by Claude El Khal, Stash Capar, Mohamad Hammoud & Birthmark Films for the Arabic network, Al Arabiya, which borrow a page from the successful Tunisian "The 16 June 2014 ad campaign" developed by the ad agency, Memac Ogilvy Label Tunisia - all blogged here. The ad goes forward in time to 2031 and has Arab Spring participants--i.e. a government pilot (Libya), a teacher who protected the Cairo Museum from looters (Egypt), two policemen who join the revolt (Tunisia) --fondly looking back at those crazy days of the ongoing Arab Spring.

Tuesday, June 28, 2011

Senegal: Fanaan Jamm - Ad Love

Watch a charming 2010-2011 television PSA from Senegal. Malaria No More's Yacine Djibo explains:
YD: In September 2010 we launched Nightwatch. In Senegal it’s called Fanaan Jamm, meaning, “Sleep Peacefully.” The idea is, “It’s 9 pm. Are you and your family safe under your bed net? This is Youssou NDour. Fanaan Jamm.” It came from the awareness campaign in the U.S., “It’s 10 pm, do you know where your children are?” Now every night at 9 pm, these PSAs air on three national radio stations and many community radio stations.

Q: Why 9 o’clock?

YD: From 9 o’clock on is the time when people are at risk of malaria, and that’s when we want people to be under their nets. We know that not everyone is going to bed at 9 pm but it’s a reminder – even if they’re not going to bed yet – that if their children are going to bed, they should remember to put up the nets.

Monday, June 13, 2011

South Africa: Advertising Development, Cont'd

British animation student Tim Wheatley's Cyclotrope animation--a take on the Zoetrope--gets adapted by Saatchi & Saatchi agency for “Africa is Moving” United Nations HIV/AIDS ads spot below:

See the making and more details over @ Cartoon Brew.

Client: United Nations
Agency: Saatchi & Saatchi, Geneva
Chief Creative Officers: John Pallant & Derek Green
Creative Director: Leon Jacobs
Writer: Fréderic Bry
Art Director: Fréderic Doms
Production Company: 7Films, Cape Town
Director: Wednesday
Producers: Jason Plumbly, Lourens van Rensburg, Ben Kaufmann
Animation consultant: Tim Wheatley (Cyclotrope)

Monday, May 16, 2011

Africa: Dutch Wax Glamour - Clothing and Depicting an African Middle Class

Since 2006, Vlisco, the Holland based maker of quality Dutch Wax print fabrics, has moved itself and its signature prints into the world of high fashion and haute couture. The company's 100-year + history of trading with Africa plus glamor advertising targeted exclusively at the African buyer...

... speaks to the long standing purchasing power of Africa's middle classes, whom an AfDB study released last week referred to as "global consumers" whose spending remained resilient during the global recession, reaching $680 billion in 2008 (pgs 14-15). In the '09 behind the scenes look at the relationship between Africa and the wax print manufacturer below, the company's spokesperson...

People tend to think we produce only for the African market, but they are wrong. Vlisco produces for African consumers wherever they live in Africa, London New York or Tokyo.
Also, when you consider that ads and all forms of marketing, in one iteration or another, make up a considerable portion of representations Africans receive about themselves on a day to day basis, Vlisco's high glamor ads targeted at, and designed to flatter, African consumers (more pics - here/ more ads - here)  becomes ample proof that a marketing landscape responding to growing black economic muscle and clout automatically has a whole lot of positive and glamorous things to tell kids about blackness.

Monday, May 9, 2011

Nigeria: Government by and for those with Internet Access

Method to the Madness sees the Lagos State governor's ad campaign and call to the denizens of Lagos to envision the future of their megacity... a half-assed reach out ( so far) to only a privileged class with internet access:
There's nothing wrong with a bunch of diaspora folks and their internet-ready friends with strongly-held opinions batting back and forth on how best to help Lagos in and of itself, but this should not be the sum of what we can expect from our government and other people within relatively-easy reach of the resources that can make a difference in people's lives. This has less to do with getting people talking about how to move the most populous state in the most populous countries in Africa, and more to do with Fashola getting “cool points” with upwardly mobile middle-class Nigerians and the Nigerian diaspora. Nothing wrong with that, let's call it what it is, shall we? I'm probably being harder on this than I absolutely need to be, but this points to a larger trend I see among more-monied, London-for-Summer-hols Nigerians like myself, where we band together in our little bubbles and beat our Proudly Nigeria drums and extol on the virtues of change. We make election monitoring forums by and for us. Our blogsphere is created by people like us and for us. We are both addresser and addressee. Think about it: do you think Nigerian newspapers have to worry about making less money because folks read 234Next/Punch/This Day/Guardian/Daily Independent online and don't buy the physical newspaper? NYT, LA Times and the Washington Post have to worry about stuff like that, because, in the U.S., internet access is ubiquitous. In Nigeria, it's not, so internet cannot be the default for a national or statewide conversation that we actually really need to have. More
She's right. When the Tunisians did something similar a few months back, the effort asked for corporate support and cut across all media.

Speaking of Lagos city and its "Don Drapers", the Economist recently ran pieces on the  state's governor and the country's booming advertising space plus its idiosyncrasies.


Friday, May 6, 2011

South Africa: Ad Love

One in a series of Vodacom red phone ads which dropped recently featured Freshly Ground and a bevy of other local celebrities we didn't know. Looks like it was shot in one take.

An o.k ad. But, hey... "look, it's Matrix. We've been having it" :-)

Thursday, May 5, 2011

Tuesday, April 19, 2011

Tunisia: How to Frame Getting Back to Work as an Act of Resistance

It's now apparent that in a post-revolution context the wide social inequalities that existed pre-revolution becomes a  factor that, after the revolution, widens the gap between those who want a quick return to normalcy and those who go on labor strikes demanding to see a total system overhaul. So how do you go about solving the problems of labor strikes in post-revolution Tunisia?

This is probably old news to French users of twitter, but below is a summary in English explaining "The 16 June 2014 campaign" developed by the Tunisian ad agency, Memac Ogilvy Label Tunisia:

Inspiration room explains:
Memac Ogilvy Label decided to show everyone how bright Tunisia’s future could be if everyone all started building it now. The agency convinced six brands and five major Tunisian media outlets (one radio, one television, two newspapers and one online magazine) to participate in the June 16th 2014 campaign. During a whole day, the media acted as if it were June 16th 2014 and presented Tunisia as a prosperous, modern and democratic country. To further engage people, the agency launched a hashtag on Twitter and, a website with all the content and where people could share their own vision of the future. The media content spread to social media via and people began to imagine wonderful futures and called everyone for action. #16juin2014 hashtag was the number one top trend topic on Twitter all day long. At 6pm, the debate was everywhere on TV, radio stations and blogs. Getting back to work quickly became an act of resistance. The operation was covered by most Tunisian media and several international networks. As getting on with life had become a political act, people massively got back to work the next day and the six brands started traditional marketing again. Others soon followed.

Tuesday, April 5, 2011

South Africa: Ad Love

We've been told that to fully appreciate the new brandy ad below, we should watch the one prior since its building on a theme and a variation in the final lines of dialogue spoken in Afrikaans.

The folks at 10 and 5 explain what “Ngena” means.


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