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The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of crosspromotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist's identity with the film's iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern. [ABSTRACT FROM AUTHOR]

The aim of this paper is to contrast whether cognitive memory and emotional recall related to a tragic event and exposure to advertisements that evoke such an experience generates a negative emotional change in the target. We performed an experiment that analyzes emotional changes derived from advertisements featured in the national press ten years after terrorist attacks. We chose the attacks: September 11, 2001, in New York City, and March 11, 2004, in Madrid and analyze the cognitive recall in a set of Spanish and United States focus groups. The results show a significant emotional change in the respondents after the advertisement visualization that is more strongly linked to the recall of a negative event than to the advertisement creativity. [ABSTRACT FROM AUTHOR]

The representation of women in advertising creative departments has been studied worldwide. The findings have shown a low representation that does not favor the emergence of a critical mass of women, who could contribute with alternative visions to make advertising more inclusive. The underrepresentation, above all, occurs in managerial positions where they do not usually reach 35%. This study aims to update and report quantitatively on the phenomenon of the glass ceiling in Spain. In addition, in order to contextualize the level of segregation, these departments are compared with available international data. The results of a content analysis of the credit forms of 839 Spanish campaigns published in 2019 (a sample of 1,311 creatives) revealed gender dynamics, with a balanced starting group of creatives in nonmanagerial positions (just over 40% are women), but a figure of just 18% of women in managerial roles A higher glass ceiling effect was also found when European and global data were compared. The results analyzed through the perspective of the proportional representation theory (Kanter, 1977a, 1977b, 1987), suggest the need to raise awareness of gender inequalities within creative departments; this would foster the equality demanded by today’s society, of which advertising should not be oblivious [ABSTRACT FROM AUTHOR]

Since the very beginning of research on the structure of the advertising system, advertising awards and acknowledgements have been referred to as one of its essential elements. In the specialised sector, a particular interest in advertising festivals has been acknowledged which tends to mirror the continuous evolution of the commercial communication system. With a clear interaction, festivals are forums in which professionals find suitable inspiration which has an impact on what is suggested by each festival each year for future ones. Hence, they become benchmarks for the present and future. Specifically, in order to show the latter aspect, this paper focuses on the organization of festivals and shows the major present and future advertising trends. In advertising, five major macro trends are addressed (Digitisation, New Alternatives, Innovation, Integration and Results) and following the results of our research, they are all covered in the festival awards. Specifically, according to the way the categories of advertising awards are presented, we have concluded that the digitisation of communications has come to an end; the "new ways" of communication in advertising are very present in all contests as the result of the current marketing communication campaigns in which new ways of communication are gradually gaining a more relevant role; innovation is essentially an advertising value; the context of integrated marketing communications is inherent to current advertising; and the effectiveness and results in festivals are significant. [ABSTRACT FROM AUTHOR]

The hypervideo is a selective, user-to-document, and externalexploratory interactive artefact characterised by a video backbone and clickable areas within that allow access to the desired information. Its use in education has been widely studied but there is hardly any research about advertising applications. We have addressed this gap by carrying out a content analysis on a corpus of 148 hypervideos in order to find out what brands and product types are using this tool, the structures employed, the commercial motives that they might fulfil and the appeals dimensions that are present. Our results indicate that highinvolvement products with positive motives are the most frequent. Although a third of the sample can be labelled as shoppable, the majority satisfy the motive of information-seeking by explaining the product characteristics or uses. Sometimes, this information helps to decide which product fits the user’s necessities, as well as fostering the purchase. They present interactive structures described in literature, such as the vector and the tree, but we also identified others. Soft-sell type appeals, particularly humour and storytelling, are more abundant than hard-sell strategies. All in all, this research adds to a growing body of literature on interactive advertising and provides a starting point for further research on these types of videos. [ABSTRACT FROM AUTHOR]

Copyright of Comunicación y Sociedad is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comunicación y Sociedad is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comunicación y Sociedad is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Empresa y Humanismo is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examines the prevalence of emotional appeals in COVID-19-themed brand advertisements from around the world in the months immediately following the World Health Organization's declaration of the coronavirus outbreak as a pandemic. The study analyses the frequencies of use of positive and negative emotional appeals in the content of the ads, and concurrent combinations of such appeals. A content analysis was conducted on a sample of 376 ads from the "Ads of The World" digital archive. The results reveal a preference for positive emotions, with nurturance and affiliation being the most frequent. Sorrow was the third most preferred emotional appeal, and the most used negative emotion. Some brands have compared the virus to a hurricane (Brazil), an assassin with a chainsaw (US) or the death personified (Peru). Advertisers should be careful when using negative emotional appeal content during COVID-19. According to the law of apparent reality, during times of stress the recommendation is to be cautious with negative emotions, as they may be felt more intensely by consumers. Advertising has a social responsibility, which can be directed at promoting consumer behaviours that leave a positive or negative impact on their communities. In a situation such as the pandemic, brand communication professionals must use emotions rigorously, employing this resource to contribute to society, avoiding giving rise to harmful attitudes or behaviours. The research findings are consistent with the literature and lead to future examination of emotional appeals in advertising in stressful and uncertain circumstances. [ABSTRACT FROM AUTHOR]

Facebook's advertising platform provides political parties with an electoral tool that enables them to reach an extremely detailed audience. Unlike television, the sponsored content on Facebook is seen only by the targeted users. This opacity was an obstacle to political communications research until Facebook released advertiser-sponsored content in 2018. The company's new transparent policy included sharing metadata related to the cost and number of impressions the ads received. This research studies the content sponsored on Facebook by the five main national political parties in Spain during the two General Elections held in 2019. The research corpus consists of 14,684 Facebook ads. An extraction algorithm detected the key terms in the text-based messages conveyed in the ad. The prominence of these topics was estimated from the aggregate number of impressions accumulated by each term. Different content patterns were assessed following three categories: user mobilization, candidate presence, and ideological issues. PSOE and PP positioned themselves more toward calls to action. Podemos had the greater number of issues related to policy among the most salient topics in its advertising. Ciudadanos' strategy focused more on its candidate and mobilization. Vox sponsored few Facebook ads, and they barely included policy issues. Spain was a highly prominent term in all parties' campaigns. Ciudadanos shared the middle ground on the ideological axis: they promoted social issues more aligned with left-wing parties as well as economic topics usually advocated by the right-wing. Overall, our results point to a greater emphasis on candidates rather than issues. [ABSTRACT FROM AUTHOR]

The article presents research pertaining to children and their perceptions of television advertising. The research also looks into their role as consumers as influenced by television. In the first section, several issues are analyzed including the evolution of the relationship between children and television. The paper goes on to discuss several relevant topics pertaining to advertising towards children and then goes on to discuss the historical origins and evolution of the academic research pertaining to publicity.

Some influential authors have hardly criticized the traditional marketing consumer-responses models because these approaches would be hypothetical. To test these consumer-responses models, we surveyed 539 Chilean post-millennials, asking them about their prime motivations at the time of clicking on digital ads on their mobile devices (phones, laptops, or personal computers). We displayed three possible outcomes/responses to respondents, based on the traditional marketing consumer-responses approaches: a) knowing about the characteristics of a product or service through an informative ad, b) feeling a pleasant sensation through an attractive ad, and c) making a rapid purchase through a temporary offer or price promotion, with expiration time. We asked subjects about how many times they bought something after receiving different digital advertising inputs. According to our results, respondents tended to click more on behavioural ads, designed to trigger a rapid purchase, than on informative or affective ones. Our regression analysis demonstrated that owning a smartphone increased significantly the number of times Gen Zers bought after being exposed to a digital ad. [ABSTRACT FROM AUTHOR]

Copyright of Communication & Society is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the perspective of the sociology of professions, every professional activity should have its own clearly circumscribed and regulated sphere of action. Such an articulation facilitates the regulation of the production of a given profession as well as the way in which it is practiced. The purpose of the research reported here was to provide a comprehensive review and evaluation of the regulatory framework governing the advertising sector in Spain. To this end, the authors analysed external regulatory legislation and self-regulatory codes extracted from the data base of the Asociación para la Autoregulación de la Comunicación Comercial (Autocontrol) that had been enacted or adopted between 1988, the year that Law 11/1998 on General Telecommunications entered into force, and 2003 as well as other relevant documents retrieved from the Boletin Oficial del Estado (BOE) pertaining to the same period. Findings indicate that although there has been a groundswell of legislation governing advertising practices in Spain since 1988, especially at the regional level, lawmakers have focused on the content of advertising messages and shown very little interest in regulating the professions of advertising and public relations. Furthermore, Spanish legislation enacted in 2003 and EU policies appear to have encouraged the adoption of voluntary codes of ethics. Sectors traditionally subject to mandatory advertising regulation, either due to the vulnerability of their target audiences or the potential impact of their commercial messages on public health or the environment, are more likely to develop self-regulatory codes of conduct than others. [ABSTRACT FROM AUTHOR]

On the anniversary of the attacks of 11 March 2004 which occurred in Madrid, we conducted a study which focused on the advertising published the days following the attacks. This study examines the message content and layout of ads across a sample of 178 advertisements published in the Spanish press. We created a table with 15 variables and 112 subvariables to find out which were the predominant messages in each advertisement and if the advertiser wanted to convey a message of sorrow to the sufferer or implicitly wanted their brand to predominate over the message of shared pain. Among the findings that we obtained was that messages of condolence and sober designs, without pictures or color, in which the advertiser expresses emotions and empathy with the victims are the most numerous. Emotional pain is the dominant feeling in the adverts published after the attacks March 2004 with messages of sorrow and strongly expressed exclamations, followed by messages of condolence and thanks. In the design, the text of the adverts is of great significance compared to the iconic features and the composition looks similar to that of obituaries. In addition, we provide a proposal for joint design of the message as a reference for advertisers in similar circumstances. [ABSTRACT FROM AUTHOR]

Copyright of Communication & Society is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comunicación y Sociedad is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comunicación y Sociedad is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comunicación y Sociedad is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comunicación y Sociedad is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses gender role and sexism in Spanish magazine advertisements. It provides a content analysis of Spanish advertising from magazines published between 1970 and 2000, focusing on general weekly and monthly magazines. Analysis of the evolution of sexism in advertising begins with Spain's transition to democracy following the death of its dictator, Francisco Franco, in 1975. The article also points out the crucial changes that have taken place since the 1970s, including equal roles in these advertisements.