A Thesis Report On MEDIA PLANNING AND ADVERTISEMNT EFFECTIVENESS OF VODAFONE

INDIAN INSTITUTE OF PLANNING AND MANAGEMENT NEW DELHI (2010 -2012) Submitted byDurgesh Bagga SM2 ISBE-B (SS 10- 12) Submitted toMr. Angshuman PAUL (Faculty of IIPM)

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ACKNOWLEGEMENT I, Durgesh Bagga have taken efforts in this project. However, it would not have been possible without the kind support and help of many individuals and organizations. I would like to extend my sincere thanks to all of them. I am highly indebted to Mr. Angshuman Paul (faculty of IIPM) for their guidance and constant supervision as well as for providing necessary information regarding the project & also for their support in completing the project. I would like to express my gratitude towards my parents & member of Mr. Manish Tripathy (Manager, Advertisement of Vodafone) for their kind cooperation and encouragement which help me in completion of this project. I would like to express my special gratitude and thanks to industry persons for giving me such attention and time. My thanks and appreciations also go to my colleague in developing the project and people who have willingly helped me out with their abilities.

ABSTRACT

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In todays media landscape advertisers find it ever more challenging to break through the clutter of competing ads in order to shape consumers attitudes and intentions and move them to purchase. An alternative strategy to greater advertising spending may be more creative advertising, which has been proposed to promote advertising effectiveness. However, researchers have neither agreed on a model of advertising creativity nor conclusively linked Zoozoo ad campaign to key measures of effectiveness. Based on a sample of twenty real life campaigns from Vodafones ZooZoo Campaigns, and a panel of consumer responses, this thesis provides strong support for a of ZooZoo characters based on novelty, meaningfulness, humor, positiveness, and wellcraftiness. It concludes that these particular ads were more effective in promoting ad and brand attitudes, brand interest, purchase intentions, ad and brand WOM intentions, as well as perceived ad expenditure and effort. Results hold even among consumers with a negative general attitude towards advertising. A test of the relative effect of Zoozoo ad campaign and media expenditure on sales value produces inconclusive results, however. Finally, the study shows that the ZooZoo campaigns were considered more creative among consumers and were more effective in their communication.

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ISBE B (SS 10-12 ) PROJECT THESIS TOPIC APPROVAL

Dear DURGESH NANDAN BAGGA, This is to inform you that the approved topic for project thesis is - MEDIA PLANNING AND ADVERTISING EFFECTIVENESS OF VODAPHONE. This email is an official confirmation that you would be doing your project thesis work genuinely and shall try to achieve the said objectives mentioned in the synopsis. You must always use the thesis title as approved and registered with us. Your project thesis id Number is TS12-M-081. You are required to correspond with your Internal Guide MR.ANGSHUMAN

PAUL (angshuman.paul@iipm.edu) at regular intervals before sending the thesis final draft to him.

Regards,

Dipti Sharma The Indian Institute of Planning and Management

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INDEX Serial No 1 2 3 4 5 6 7 8 9 TOPIC INTRODUCTION OBJECTIVE LITERATURE OVERVIEW RESEARCH METHODALOGY FINDINGS CONCLUSION RECOMMENDATION QUESTIONNAIRE BIBLOGRAPHY Page NO 6 35 36 57 66 77 80 81 85

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INTRODUCTION There is always a need to find a sustainable differentiation in a highly competitive telecom market. Search is always on for a perfect platform to showcase the array of products and services, building emotional connect with the customers and yet be positioned as a market leader. With millions of Indian television viewers expected to tune in, for the Season 2 to season 5 of the Indian Premier League cricket extravaganza, a perfect media opportunity was upon the brand owners of Vodafone as this was set to become the biggest mainstream entertainment option for viewers from the summer of 2009,2010,2011 and 2012 a chance to talk to over 40 million consumers. Over 58 days. O& M created a unique world of lovable and funny egg shaped characters to tell the brand stories of Vodafone in. The Zoozoos represented a much simpler and more uninhibited world than our own a world we could easily relate to. And the communication for the individual products and services was set amidst stories of their lives. The Zoozoo commercials were viewed in rapt attention by over 41 million people across the country. In accordance with an independent survey conducted by TNS Synnovate, Vodafone was by far the most recognized brand in IPL much more than even the presenting sponsor. But massive as they are, numbers alone dont really do justice to a campaign that actually touched the hearts of Indian consumers. The ways in which the Vodafone Zoozoos have affected consumers is what makes it a truly iconic campaign. A substantiate evaluation study undertaken by Dragonfly Research indicated that the Vodafone Zoozoos had had a life impact on consumers. And the author believes that. Because of the wedding cards with a Zoozoo theme that surprised everyone; the Zoozoo cakes that were baked; Zoozoo cookies were not far behind; Birthday parties with Zoozoo themes fast became the

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norm; Zoozoo merchandise did brisk business! Zoozoo rakhis sold in hoards. Cityscapes were painted with Vodafone Zoozoo murals. Most recently, Indias leading retail chain, Shoppers Stop approached Vodafone to create and retail exclusive Vodafone Zoozoo merchandise a first for any commercial brand in the country. The Zoozoos even caught the attention of leading butter brand Amul who paid homage to the Vodafone Zoozoo campaign on its advertising. Vodafone showcased 50 different products and services through the period of the IPL, each communicated in a simple, refreshing manner. From an idea to a character

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Television

Outdoor, PrintOnline and and POS Direct

On ground

Mobile and merchandise

PR

Interest 29 different offerings Zoozoos on ground TV interviews

Engagement Cricket related offerings IPL Contest

Conversation s with the brand Facebook Youtube Bill messages

Salience Ground mats Merchandise perimeter boards

Experience Games MMS Ringtones Greeting cards T shirts Mugs DVD

Spread the cheer Making of Zoozoo capsule for TV channels DVD Merchandise for employees

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innovations would be copied by competition in a matter of days. Vodafone too was straddled with this industry problem in the summer of 2009. While the brand had a wide array of never-talked about products and services in the pipeline, not many out of that long tail seemed sustainable as differentiators for an extended period of time. The challenge was in finding a way to make that differentiation sustainable, so as to stay in the consumers consideration set. Parallely, a perfect media opportunity was upon the brand owners of Vodafone. Naturally, every brand worth its salt wanted a piece of the IPL action. A number of these brands had allocated disproportionate spends and were even saving their best campaigns for the occasion. The communication challenge then was for Vodafone to use a highly crowded property like IPL to differentiate itself and establish an emotional connect with customers. Add to that the challenge of a not-so-happy public spending sentiment during the period and the huge financial outlay the IPL demanded and the makers had a brand under tremendous pressure to deliver from all quarters. The objectives set for the campaign were: To position the brand as an innovation leader in the mobile services category, thereby gaining traction for the brand And to do so, leverage the Indian Premier League in a manner that the brand would be the most salient and engaging through the extended period of the tournament The big idea: With the Vodafone Zoozoos, discover something new every day! The big idea actually came from the format of the medium available to Vodafone the IPL, and the way viewers interacted with the medium. With 59 matches across 37 days, the IPL viewing audience was characterized by a high level of duplication across the tournament the same people seemed to be

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watching the matches every day. When it came to the cricketing action, they had something new to look forward to every day. But brand communication on the other hand, was subject to very high levels of fatigue. So Vodafone turned the characteristics of a media property into a strategic initiative for the brand. Vodafone decided to do the unthinkable - surprise the viewers/customers by introducing a new product/service message from the Vodafone repertoire every day. To bring the idea to life, it was necessary for Vodafone to first string these brand messages together with a device that would melt its way into the hearts of a billion strong nation and the now iconic Vodafone Zoozoos were born. For the campaign to be successful, Vodafone needed for the world of the Vodafone Zoozoos and their stories to be all permeating. And every piece of the communication mix needed to work to the teeth, for the sum of the parts to be greater than the whole. Driving Interest through television Central to the communication package was the Vodafone Zoozoo television campaign, where 50 simple stories told through 50 films a film almost every day of the IPL. The initiative was a first in Indian media history, busting conventional media planning rules and engaging with the customer according to the rules of the medium. Ashton bands and pushbacks were also developed featuring the Zoozoos to promote individual products and services during the IPL matches. During the semi-finals of the IPL, the Vodafone Zoozoos were inadvertently captured by television cameras enjoying the matches with spectators at the grounds.The Vodafone Zoozoos also found their way as special guests onto television interviews on the presenting channel, with commentators seeking their expert (gibberish) opinion, and the nation watched in rapt attention. The Zoozoo interview on Set Max during IPL was viewed approximately by about more than 11 million people. The Interview

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was uploaded on Youtube by multiple people and had over 50000 views in less than a week. Building Engagement with Print And Out Of Home Print, outdoor and retail level POS used the Zoozoos to drive relevant cricket related offerings like Score Alerts, Match schedules and Live Commentary on your mobile phone. For consumers, Vodafone extended the benefit of being the telecom partner of the IPL by launching the Star of the Match contest for its subscribers. A SMS based contest, the Star of the Match contest gave 20 lucky Vodafone customers to not just experience the IPL in South Africa, but also be part of the felicitation ceremony, shaking hands with and receiving an autographed cricket ball from the winning captain. This contest was also driven aggressively using print, out of home and retail level executions. Zoozoo Chhota Recharges were also released. Customers who bought a Chhota Recharge worth Rs 50 or Rs 100 could get a Vodafone Zoozoo sticker free. For its 9 lakh trade partners, Vodafone launched the Score Kya Hai (whats your score) contest. A sales driven trade contest that gave retailers a chance to watch the IPL matches live in South Africa and also win a host of Vodafone goodies Engaging In Conversations with the Brand Online and One-On-One Next, Vodafone harnessed the power of the youth, using the new and ever expanding platforms of social networking and video sharing to create a Vodafone Zoozoo Facebook page and a dedicated Youtube channel. Both channels were used to build conversations with consumers on a daily basis and were instrumental in generating tremendous word of mouth for the

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campaign, as well as its viral popularity. Some of the key activities the makers undertook on the Facebook page to fuel conversations were: Naming the characters Zoozoos online Distribute viral Tag-me applications Preview the television commercials online 3 hours in advance Sparking the debate of whether the Zoozoos were real or animated. And then resolving the debate A host of Vodafone Zoozoo goodies distributed periodically

A dedicated microsite and targeted banners on the official IPLT20 website not only helped specific product message, they also let consumers experience with world of the Vodafone Zoozoos. Bill envelope backs were also used to share targeted Value Added Service messages with customers based on their past usage patterns. Building Salience on Ground The on ground visibility of the brand was approached with building salience through innovative branding opportunities. Regular perimeter boards were animated, pitch mats were used and free merchandise was distributed at the grounds to garner maximum visibility amongst ground spectators as well as television cameras. Driving consumer experience with mobile In a bid to bring the world of the Vodafone Zoozoos at a more personal level, Vodafone created mobile specific content like MMS clips, Zoozoo Callertunes, E greetings, wallpapers and Games for Vodafone customers to download on their phones from Vodafone live! Eventually, they were seen, heard and experienced on non Vodafone customers phones as well.

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Seeding Media Conversations with PR A capsule on the making of Zoozoos was created and that became the most sought after content for almost all GEC and News channels and all leading publications. This helped in seeding the right messages with media, because after the initial coverage, the popularity of the Vodafone Zoozoos took on a life of its own. A special commemorative DVD was later released to media from Vodafone with all 29 films, mobile downloads and PC downloads. This created such a large demand that the makers had to distribute 85000 of them to customers at Vodafone Stores and Mini stores as well. Set amidst the canvas of two of Indias greatest entertainment options the general elections and cricket the Vodafone Zoozoos not only managed to overshadow them both; they also managed to lodge themselves firmly in the hearts of the Indian consumer. Impact on the brand The campaign had a very visible impact on brand health scores as well. Immediate traction was seen on appeal scores. And since the brand was being positively talked about, recommendations from friends and family also grew. Pre Brand becoming more popular Appeals more Recommended by family and friends campaign 48 42 38 Post campaign 54 47 44

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The slew of products and services showcased helped position the brand as a leader, who developed the market and had differentiated offerings from the competition Pre Offers something different Best quality products and services Leads development of mobile category campaign 42 44 41 Post campaign 45 49 45

In category strife with cut throat competition, the most significant impact though, was the sharp rise in brand consideration scores for Vodafone amongst category intenders - from a stagnant 20 pre-campaign to 25 postcampaign clearly indicating that communication had impacted intention to purchase. Incidentally, the post campaign scores also reflected a dramatically reduced gap between Vodafone and the market leader, bringing Vodafone within striking distance across all parameters (and even ahead on a few) something that had not been last achieved by the brand only during launch. Though not even a listed objective, sales of the individual services advertised also saw a significant increase. An average 60% growth in usage was registered for the individual services advertised, post airing of the respective commercials. The cricket alerts and commentary services specifically drew in over 200,000 new user subscriptions during the period of the campaign. Over 600,000 consumers downloaded Vodafone Zoozoo mobile content onto their phones

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What started off as a cricketing extravaganza in South Africa will now also be remembered as the year of the Zoozoos. The Zoozoo commercials were viewed in rapt attention by over 41 million people across the country. According to an independent survey conducted by TNS Synnovate, Vodafone was by far the most recognized brand in IPL much more than even the presenting sponsor. The same study also declared Vodafone as the top brand to have advertised on IPL 2 to IPL 5 on all parameters measured - recall, message comprehension and likeability of message. The Zoozoos on ground during the semi-finals of the IPL was another coup the makers pulled off, with the brand garnering over 8 million views from the television coverage the makers achieved. Advertising Age crowned the Vodafone Zoozoo campaign the Top viral campaign in the World - the first time a campaign had debuted at no. 1 spot ever! The Vodafone Zoozoo Facebook fan page gathered over 600,000 fans and over 10 million page views, in under 4 years time- the largest for any Indian brand or personality. This fan base is also larger than iconic characters like Mickey Mouse, Archie, Donald Duck, Popeye, Asterix and Superman! With over 3 million views in a month, the Vodafone Zoozoo channel on Youtube became the highest subscribed Youtube channel in the country for the month. Online, the Vodafone Zoozoos overshadowed the cricket with the Facebook and Youtube pages receiving more hits than the official IPL T20 website itself. Every major online news website in the country covered the Vodafone Zoozoos. The Zoozoos also found their way into online conversations on over 8000 consumer blogs across the country.

Whats more important is that the Facebook page did not remain just a short lived part of the campaign mix. It has evolved to become a channel for continuous dialogue with the brands consumers. And the subject of a hot case

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on community building and leveraging brands on social media, in the Indian advertising and marketing fraternity Dozens of TV stations carried specials on the making of the Zoozoos. Some channels even made hour long programmes on the Zoozoos and sold it as content to other advertisers. Surprises popped up everywhere. The Economic Times carried their masthead with Zoozoos and Times Life had a front page article on Zoozoos. Every national and regional newspaper of repute carried multiple reports on the Vodafone Zoozoos. Peers from across the industry, elicited responses of awe, admiration and jealousy all at the same time. In fact, the free media coverage generated for the campaign in television and print was estimated at over Rs. 6 crore! But massive as they are, numbers alone dont really do justice to a campaign that actually touched the hearts of Indian consumers. The ways in which the Vodafone Zoozoos have affected consumers is what makes it a truly iconic campaign. Surprises popped up everywhere. In fact, the free media coverage generated for the campaign in television and print was estimated at over Rs. 6 crore!

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Cube dangler

Bunting

Shelf strip

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Mobile manners campaign

Special projects Star of the match competition: A SMS based contest Total no of hits on the keyword STAR : 74,652 Total no of participants: 15,440 20 Vodafone customers won a trip to IPL matches in South Africa and also got a lifetime opportunity to meet and receive an autographed match ball at the match felicitation ceremony live on TV! 39 winners had their names announced on Television and received the autographed match balls Promoted using television, radio and outdoor

Zoozoo Recharge Card with stickers:

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A limited edition of Zoozoo Recharge (Chhota recharge) for Rs 50 and 100 Each recharge card with a Zoozoo sticker and 7 different stickers across the Recharge sheet

A total of XXX Recharge cards ordered from across circles

Zoozoo Recharge Card & sticker Zoozoo DVD A compilation of all Zoozoo films from season 1 along with a special feature on the making of the Zoozoos and many Zoozoo downloads for your mobile phone and PC. More than 80,000 + DVD were produced and given to customers under a Vodafone Store led promotion on recharging, VAS activations and direct debit enrollments across circles.

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Zoozoo merchandise

Zoozoo campaign evaluation 1. Beauty Alerts - on air 20th April

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4500 4000 3500

Subscription

3000 2500 2000 1500 1000 500 0 12-Apr

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2. Dating - on air 3rd May

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Subscription

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3. Stock Alerts - on air 28th April

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3000 2500 2000 1500 1000 500 0 21-Apr

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4. Call filter - on air 26th April

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5. Cricket Services

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800,000 700,000 600,000 500,000 400,000 300,000 200,000 100,000 0 Pre contest Day 5 Day 10 Day 15 Day 20 Day 25 Cricket Subscriber base

200,000 incremental subscribers for Cricket Alerts & Commentary services for the contest run during IPL Vodafone Zoozoo Facebook page Facebook is a relatively new social networking platform available in India, but already has over 12 million fans, fast gaining popularity amongst the youth and the influencers in society. But Indian brands (for that matter a large proportion of the brands around the world) had not tapped this medium effectively, yet. As a first step, the unique Vodafone characters were christened Zoozoos on a dedicated Facebook fan page, giving the online consumers a sense of discovery when they found out about it. To rapidly spread awareness of the fan page online, special Facebook Tag-me applications with different types of Zoozoos were created and distributed virally. As youth signed on as fans in droves, they were rewarded with videos of the much loved commercials there. A few days later, the makers started previewing the commercials for fans on Facebook, two hours before they went

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on air. Fans were then invited to share the advertisements with their friends and get some serious bragging rights. In the second week, the makers sparked a conversation of how the Vodafone Zoozoos were made were they real or animated? As the discussions gathered fervor, the makers revealed the making of videos on Facebook. These were released periodically a day after the respective film was released on air. By this time, fans had started begging for more and a large amount of user generated material started appearing on the Facebook page. So the makers introduced goodies like e-cards, games, Facebook applications like What Zoozoo are you? wallpapers and Zoozoo tones for them Zoozoos on facebook

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Zoo Zoos on You Tube

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Zoozoo game - Spot the difference

Zoozoo MMS clips

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Zoozoos on the web Most viewed viral campaign in the world in May 2011 and Top viral campaign in the World for the week by Advertising Age (14th May 2011). The Zoozoo Facebook fan page has over 3, 15,000 fans the largest in India across brands & personalities. Over 6000 Indian blogs reviews online!

A channel on Youtube with over 4 mn views. Two viral videos on Diwali and Independence Day with 2 mn views

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The Zoozoo commercials were viewed by over 41 million people across the country. 75% of this population viewed this campaign at least 5 times. Media pundits hailed it as an ideal case study of how to approach and leverage a media property. The campaign captured the imagination of viewers and for once, a cricket-crazy country waited and looked forward to the commercial break in the games. It was the highest subscribed YouTube channel in the country for the month, with over 4 million views on Youtube alone. And the amount of buzz created on the site and the resultant spillover on Youtube didnt go unnoticed as Advertising Age crowned the campaign the Top viral in the World for the week - the first time that a campaign had debuted at no. 1 spot ever! The campaign remained in Ad Age top 10 viral lists for 5 weeks, making it the most viewed viral in the world in May 2009. Every national and regional newspaper of repute carried multiple reports on the Vodafone Zoozoos. In fact the free media coverage generated was estimated at a staggering 1.25 million USD. The Facebook page did not remain just a short lived part of the campaign mix. It has evolved to become a channel for continuous dialogue with the brands consumers. The Star of the Match contest was a unique prize, which gave the brand television visibility to approximately 4 million viewers per match. The hallmark of an iconic campaign is the level it permeates to in public consciousness and the Vodafone Zoozoo campaign emerged with flying colours. Zoozoo merchandise did brisk business! In the recent summer of 2012, three things captured the imagination of India Vodafone Zoozoos, IPL and the General Elections in that order Campaign evaluation Night Talk: On air 27th Nov Circl e Nov (in lacs) Dec (in lacs)

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UPE Mah Mum Guj

37.6 2.1 0.53 6.9

33.9 2.1 0.51 6.6

http://www.vodafone.in/vodafone/misc/night_talk30sec_eng_261109.zip Pay Bills online: On air 3rd march Rs. 22.35 Cr in march Increase in payment @average of 70 Lakh/day Busy message: On air 27th No Number of selections made in Jan10: 514 Number of selections made in april11: 1536 Number of selections made in april 12: 1934

Job Alerts: on air march 2012 April subscriptions were 102,747 as compared to 70,000 of .March April Date 1-7 8 - 14 15 - 21 22 - 28 28 - 31 Subscriptions 11,378 20,905 26,369 29,039 15,056

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Total

102,747

Live counseling: On air 4th April 2012 Incremental revenue of Rs. 35,624 daily In April as compared to the month of March Impressions delivered 12152524 5457413 5493102 42419558 1560763 3562082 648522 100000 2993182 Site Vodafone.in Facebook Orkut Jivox Total Site YouTube Video Hungama Prerolls

Site Orkut Yahoo Msgr YouTube Google Facebook Jivox Sify EDM Sify iWays Rediff Clinck

Clicks 43504 68221 33143 131101 13190 6153 57605 5116 9397 42134 Entries 33458 7551 1549 82 42640 Views 191049 743398

CTRs 0.36 1.25 0.60 0.27 0.39 1.62 0.79 9.39 1.41

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Jivox Video Vdopia Prerolls Youtube Channel Total

536329 448664 450000 2369440

Analysis The total entries of Complete the Zoozoo Story were 42640. The total Video Views during the Campaign 2369440. The increase in Facebook fans: 9121. The increase in Orkut fans: 540. The avg. CPC for this campaign Rs.7.25/- and the avg. cost per video view 50paise Learning Facebook & Orkut still is a question mark with respect to the regular users. Cyber cafes were one of the best options for targeting youth. Google content network (Targeted) one of the best options for online promotions. Interactive banners will still take some time to capture market in India. Zoozoo ID day viral

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This viral became the most favorite and one of the most viewed videos within just 24 hours being uploaded. YouTube Channel: 57470 views Youtube Video Banner: 33888 views Facebook: 15000 views Vdopia Video Network: 816788 views Vuclip : 2080 views Rediff.com : 10000 views Many blog sites picked it up spontaneously and featured it Google, Rediff.com etc All top searches showed third party sites streaming the video

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Diwali viral

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This viral became the Top Viewed and Top Favourited videos within just 48 hours being uploaded Youtube Channel: 58,660 views Youtube Video Banner: 67,176 views Facebook: 10,402 views Vdopia Video Network: 9,50,876 views Other Zoozoo videos during this period on Youtube: 36,102 views Total 10, 87,114 views of the Diwali video! 13,766 customer subscriptions

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PROBLEM AREA Ad agency professionals have long supported creativity as one of the most significant elements in advertising, maybe even important in its own right. The vital figure in the making of advertising is titled a creative and the main advertising awards center on creativity. On the other hand, many of these have been condemned as beauty contests, focusing on industry specific criteria more willingly than on the actual effectiveness of ads. Yet, some view creativity as essential for advertising effectiveness or even that creativity is effectiveness. Even though creativity is extensively acknowledged as significant to advertising, researchers differ on what chief factors of ad implementation add to ad creativity. Chief reviews of the theoretical space of creativity are short of any major reference to advertising and in advertising research only a few studies deal openly with creativity. Amongst these, few have formed results that are together significant and clear-cut. Some findings are open to doubt. Time and again cited Kover, Goldberg, and James (1995) found that ads classified as creative by consumers also made the strongest fondness and purchase interestyet the authors confessed that they could only examine trends and indications rather than look for statistically significant differences. Other findings are at odds with one another. For instance, while some authors find a positive outcome of Zoozoo ad campaign on brand attitude and purchase intentions. Lastly, there is a total lack of research in many areas of advertising effectiveness. No study has tried to associate Zoozoo ad campaign to brand interest, perceived ad expenditure, perceived ad effort, and the influence of universal advertising attitude on the effectiveness of Zoozoo Ad campaigns is unknown.

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In sum, researchers are undecided on the nature and effects of the Zoozoo campaign on consumers. The Zoozoo commercials were one of the most successful campaigns of all times. Over 41 million people viewed it across the country. 75% of this population viewed this campaign at least 5 times.

OBJECTIVE This thesis has the primary purpose to determine the main dimensions of advertising creativity of ZooZoo ad campaigns and to establish whether these dimensions had significantly improved several key measures of advertisements effectiveness. Secondary purposes are to decide to what extent each dimension ZooZoo ad campaign impacted each effect measure, to conclude if the campaign retains effectiveness among consumers with a negative general ad attitude. The research is on the Vodafone Zoozoo iconic campaign. Also the research would show the effect of this campaign on the consumer behavior towards the brand. LIMITATION The author has focused on Zoozoo Ad campaigns execution and not, e.g. the media choice. Most studies of advertising have depended on experimental research designs, using alternatives of mocked-up ads as stimuli. To keep away from repeating this, the author based the advertisement selection on real-time campaigns. The author limited the study to the Vodafone ZooZoo advertising, which he believed is a representative one. The focus has been on consumer advertising and the author decided to test Vodafone Zoozoo ads from television, print, or outdoor media.

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The campaign collection spans from March 2009 till date, to create a representative sufficient sample size at the same time as keeping material as up to date as possible. While the age disparity of campaigns might danger skewing perceived creativity, affirmation checks determined that this was not the case. Most preceding creativity studies have tested ads from one product or service category.

Literature Review The thesis is separated into five main chapters. Subsequent to this introductory chapter, the second chapter looks at the present state of theory. It evaluates the likely dimensions for case in point the Zoozoo ad campaign and proposes some advertising effects to which it may have a say: ad and brand attitude, brand interest, intentions, perceived ad expenditure and effort. Also discussed is the function of general advertising attitude, the comparative effectiveness of Zoozoo ad campaign. Hypotheses are developed all through the chapter on theory. The third chapter outlines the method used, evaluating the initial work, research design, survey design (the scales and measures, questionnaire, and sample), external data, reliability and validity, and instruments and methods of analysis. The fourth chapter is devoted to the analysis and results from hypothesis testing. This chiefly aims to institute the important dimensions of Zoozoo Ad campaigns and the effect measures to which it actually contributes. Lastly, the fifth chapter discusses the results, suggests ways for recommendations, and draws conclusions for advertising theory and practice.

BACKGROUND

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In 1758, Dr. Samuel Johnson affirmed: Advertisements are now so numerous that they are very negligently perused. Since then it has turned out to be ever more taxing for advertisements to break through the clutter of rival ads so as to gain consumers attention, shape their attitudes, and let alone shift them to purchase. Nowadays, consumers are open to thousands of commercial messages each week, making it hard for every advertiser to stick out as only one of its kind and influence consumers to support their offer. The broad trend is reflected in a steady growth of advertising expenditure. One approach of breaking through the clutter is to outspend the rivalry by making more and bigger campaigns than other brands. Leaders in advertising media spending, as calculated by share of voice, are awarded greater brand salience and experience less from brand confusion. Certainly, Schroer (1990) sustains that superior and more steady advertising spending than competitors is a key factor at the back of larger market share of leading firms. This game is not for the faint heart, on the other hand: to move market share forward and ahead of comparable competitors, the majority of firms would require as a minimum doubling-up their chief rivals advertising expenditure and sustaining this rank for years. While one path towards attaining advertising objectives is to make the most of the share of voice, a small number of firms have the capability to outspend competition to this degree. It has been probable that 7085% of new product introductions fall short and empirical proof points to marketing as a chief factor behind the phenomenon. Senior managers in the U.S. believe that close to 90% of all advertising fail to meet its objectives. Many markets are affected by advanced costs, bigger competition, and pulling down demand, promoting the need to get better the effectiveness of marketing expenses (Keller 1993). There may be an additional cost-effective way to share market. As ad spending is the way to share of voice, Zoozoo ad campaign may lead

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straightforwardly to share of heart. Eastlack and Rao (1986) encourage the creative element of advertising, maintaining it has been established to be far more significant than real spending rates or patterns. Some say it is creativity that pushes the message into viewers minds. A small number of studies have tried to bond advertising creativity to changeable measures of advertising effectiveness. On the other hand, though known as imperative, the connection between advertising creativity and advertising effectiveness is far from researched at length and amongst the studies so far, researchers have the same opinion that findings are open to doubt or even contradictory.

Creativity in Advertising Earlier than developing the hypotheses connected to the dimensions and effects of advertisement, the reader will be given support of a short introduction to the idea of creativity; its function on the whole, in strategy, marketing, and advertising; and the a variety of definitions of the word. The implication of creativity is recommended by the scope of research activity carried out to know its nature and appliance in assorted fields. These comprise art, music, science, education, management, and advertising. Near the beginning, work on creativity is characterized by the aha meaning in Parnes (1975). Opening in the late 1980s this inclination was made out of order and more refined definitions of creativity were launched. Creativity can be conceptualized as personal attribute, environment, process, and product (e.g. advertising). Zinkhan (1993) maintains that creativity is very important to the business strategy as strategic planning deals with the allotment of resources amongst the possibilities of whats to be done, creativity plays an imperative role in creating or recognizing what could be donei.e. to do the right thing rather than just doing things right.

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Marketing researchers have asserted the importance of creativity in marketing programs, of which advertising is a central element, to build meaningful differentiation from competing alternatives. This in turn stimulates customer satisfaction and loyalty, and reduces the risk of price wars. For new products, marketing program novelty is at least as important as product novelty "to add enough value to the strange service to counterbalance the pain of the new idea" (Wasson 1960). Indeed, products can rise from anonymity to marketleader status without offering groundbreaking product innovation. Advertising may be the only profession where the central figure in the business process is titled a creative, illustrating the focus placed on creativity within the field (Till and Baack 2005). Definitions of Creativity The Oxford American Dictionary defines creativity as the use of the imagination or original ideas, esp. in the production of an artistic work. Creativity in advertising varies from this common idea, and unluckily the understanding of it differs a great deal. Though Taylor, Hoy, and Haley (1996) put forward that definitions of advertising creativity differ transversely through cultures, certain key elements seem universal. Not contrasting from definitions in psychology, creativity in advertising is regarded as a way of problem solving. To make this path, the majority of definitions propose that creativity depends on two central aspects: novelty and meaningfulness. For instance, Amabile (1996) argues that a product or response will be judged creative to the extent that it is a novel and appropriate, useful, correct, or valuable response to the task at hand. The task at hand in advertising is the advertising objective, i.e. the psychological and behavioral reaction of target consumers. Amabile argues that together novelty and meaningfulness must be incorporated in the definition of creativity, for the reason that the target

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audience may make out ideas as weird or bizarre if they are novel or unique but carry no meaning for the audience. More definitions bring into line with and elaborate on this notion. Zoozoo Ad campaigns communicate the message in a playful but relevant way. Likewise, Marra (1990) defines creativity in advertising as being new and relevant with your ideas and Smith and Yang (2004) consider that creative ads are those that are perceived to be different and relevant. Leo Burnett defined advertising creativity as the art of establishing new and meaningful relationships between previously unrelated things in a manner that is relevant, believable, and in good taste, but which somehow presents the product in a fresh new light. As said by Parnes (1975), the core of creativity is the notion of aha, which is the fresh and relevant association of thoughts, facts, and ideas, into a new configuration which pleases, which has meaning beyond the sum of the parts, which provides a synergistic effect. Tellis (1998) defines creativity as productive divergence. Holtzman (1984) offers a comparable explanation of creativity: "divergent thinking that yields some kind of highly valued product or idea." These definitions put forward that creativity must provide value ads. Many other dimensions have been suggested as element of advertising creativity, and thus implicitly or explicitly incorporated in the definition: particularly humor, positiveness, and well-craftiness. As a purpose of this thesis is to determine the effectiveness of ZooZoo ad campaigns, the author will not set out to choose or construct any one definition beforehand.

Dimensions for Zoozoo Ad Campaign

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Even though creativity is important subject matter for advertising, it is not apparent how to operationalize it. Gordon White (1972) distinguished that creativity is the X factor in advertising theory, it escapes the scientific probe of the researcher and the decision-maker. While there has been a great deal of research in the field, and some agreement, numerous facets of creativity are construed in different ways, and results from comparable interpretations may be vague. The simplest way to gauge creativity is on a single-item scale. For instance, Amabile (1982) circumvented the problems of both the definition and the measurement of creativity by letting experts evaluate the creativity of creative products using their own individual standards and definitions of creativity. Amabile suggests that if suitable judges separately concur that a given product is creative, it can and must be established as such. On the other hand, even experts may differ in their definition of creativity. In addition, to completely know creativity, one would require exposing what factors are usually held to include it. Such a requirement would also make measures more similar and dependable. So, what factors might be positioned behind the concept of creativity in advertising? Novelty Researchers in the field usually have the same opinion that as a minimum, one facet must be novelty (also referred to as originality, divergence, unexpectancy, and newness). This relates in countless of disciplines, from art to business. For instance, in the fine arts creative artists have been said to display disequilibrium in their private lives and to mirror such deviations in their works. In business literature, a creative product is thought to be original and the result of imaginative thinking that needs a theoretical formation of objects that are not real. In actual fact, as said by some researchers novelty

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should be the main criterion measured when making a decision on a products creativeness, in spite of other possible positive attributes. In the field of advertising, the majority of definitions of creativity entail a feature of newness, unexpectedness, or originality. This idea of creativity matches to a deviation from the standarda stimulus that is not anticipated from preceding information. Such novelty is similar to expectancy in advertising projected by Heckler and Childers (1992), which concerns how well information obeys the rules to a prearranged structure suggested by the ad theme. Novelty matches to unexpectedness in the sense that ads not in agreement with other ads of the same product category or scheme are novel (Ang and Low 2000). The author therefore expects the following: H1a: Novelty of Zoozoo Campaigns promoted its ad creativity Meaningfulness Novelty is usually looked upon as a need but not enough criterions for an advertisement to be measured creative. Consumers have particular expectations for ads in a particular category, e.g. what visuals a detergent ad ought to have. The more an ad diverges from expectations, the more consumers will assess the ad as novel. Simultaneously, unless the creative part expresses some meaning about the advertised product, unexpectedness does not essentially mean creativity. Consistent with many researchers of advertising creativity, the novel ad element must also be meaningful for the ad to be eligible as creative. The mixture of novelty and meaningfulness (also referred to as relevancy, appropriateness, usefulness, and the strategic component to creativity) makes sense also from the viewpoint of advertising professionals and marketing strategy. The course of creativity in advertising has one central

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oddity from the process of creativity in the traditional arts and sciences. The creativity desirable in advertising is problem-solving creativity, forced by marketing objectives, competition, the organizational support hierarchy, etc. It is practical creativity: on demand, on a deadline, and inside strict parameters. From this viewpoint, meaningfulness complements novelty, spinning creativity into an instrument of problem solving and goal attainment, in the framework of marketing strategy. In addition, Holtzmans (1984) definition of creativity, divergent thinking that yields some kind of highly valued product or idea, suggests that creativity must give value ads. Meaningfulness should be vital for advertising to add value. Based on the preceding discussion the author hypothesizes: H1b: Meaningfulness in Zoozoo Campaigns promoted its ad creativity Humor At the same time as the majority of common elements in previous research, novelty and meaningfulness are by no means the just factors commendable of consideration for advertisement creativity. Lee and Mason (1999) did test expectancy and relevancy as variables in print ads, but tested humor also. The authors hold the three factors to be connected, all functioning as variables of information inconguency in advertising (p. 156). Findings propose humor can lift the assessment of unexpectedirrelevant ads (but not unexpected relevant ads). Smith and Yang also suggest humor as a facet of creativity, connected to the different qualities of ads. Lastly, Weinberger and Spotts (1989) maintain humor to be one aspect of [] advertising creativity (p. 39). The author expects that: H1c: Humor in Zoozoo Campaigns promoted its ad creativity Positiveness

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Ang and Low (2001) also talk about novelty and meaningfulness as parts of advertising creativity. As an added factor they take account of valence of feelings, i.e. the emotional direction of the ad contentto what degree the advertisement expresses positive feelings. Why positiveness might be measured? As preceding research proposes, novelty ought to be a core factor of creativity. Ang and Low compete that the unanticipated stimulus of novelty will draw out emotional consequences, which in sequence color the assessments of novelty. This would powerfully persuade whether consumers will acknowledge the novel ad. Consequently, positiveness should play a function very much parallel to meaningfulness, as a lubricant to the acceptance a of novel ad implementation. Smith and Yang (2004) suggest a comparable relationship, in which an ads expression of emotion adds to its creativity. Make a note that in this way positiveness is not conceptualized as a measure of effectiveness for the Zoozoo ad campaign, but rather as a factor corresponding to, e.g. novelty. The author hypothesizes that: H1d: Positiveness in Zoozoo Campaigns promoted its ad creativity Well-Craftiness Besemer and OQuinn (1986) aimed to build up a semantic scale of creativity, and integrated the factors novelty, resolution (meaningfulness), and elaboration/ synthesis. The concluding variables stand for the stylistic details of ad execution; how well-crafted it is. The study built on Besemer and Treffinger (1981), which instituted novelty, resolution, and attractiveness to be criteria to clarify creativity. White and Smith (2001) have built on this custom, and included well-craftiness next to measures of novelty and meaningfulness in their study of differences in creativity judgments among advertising professionals, the common public, and students. Koslow, Sasser, and Riordan (2003) include artistry along with innovation and

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meaningfulness in their study of advertising creativity. To review this line of creativity research, the author proposes: H1e: Well-craftiness in Zoozoo Campaigns promoted its ad creativity

Finally, Figure 1 outlines the proposed dimensions of to check the effectiveness of the Zoozoo Ad campaigns

Meaningf ulness H1b

Humor H1c

Positive ness H1d Wellcraftines s H1e

Novelty H1a

Effectiveness of Zoozoo Ad campaigns

Advertising Effectiveness Advertising effectiveness mirrors the extent to which advertising achieves its objectives. Many such effects are linked in a sequential chain of stepse.g. brand awareness, knowledge, favorable attitude, preference, and intentions which ultimately lead to purchase or repurchase. However, not all advertising has the main objective to stimulate overt action. For example, products in different markets or at different points in the life cycle may differ markedly in

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what advertising effects are prioritized, whether direct action or long-term behavioral attitudes. Eastlack and Rao (1986) affirm that creativity in advertising is far more important than actual spending rates or patterns. They argue that effective advertising creative can move a brand into a new competitive structure, possibly permitting significantly higher prices. Others maintain that creativity pushes the message into viewers minds. Researchers generally hold advertising creativity to be very important, and certain studies have indeed examined the relationship between creativity and effectiveness. However, these studies are in relatively short supply and in some cases present findings that are inconclusive or that contradict other studies. The author will now propose several possible effects of Zoozoo ad campaigns, and develop hypotheses as to how the campaigns may affect each. Ad and Brand Attitude In consumer behavior literature attitude is defined as a persons consistently favorable or unfavorable evaluations, feelings, and tendencies toward an object or idea (Kotler 2007). As obliqued by this definition, attitudes are usually considered steady over time. Holding a positive attitude toward a good or service is one chief requirement for consumers to hold a positive purchase or consumption intention toward it. Brand attitude (Ab) is the consumers assessment of a brand on the whole, and time and again forms the base of consumer behavior. Attitude toward the advertisement (a.k.a. ad attitude) (Aad) is the consumers evaluative reaction to an ad through a particular exposure occasion. Notably, ad attitude has been shown to act as a gobetween the advertisements upshot on brand attitude, such that AadAb. The upshot of ad attitude on brand attitude has been established to function both directly and indirectly through its effect on brand cognitions. Additionally, it holds for in cooperation central and peripheral processing and is pertinent for

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both low and high involvement product categories as well as high knowledge/importance and low knowledge/importance consumer segments (Gardner 1985). MacKenzie and Lutz (1989) present many antecedents to ad attitude, amongst them ad execution. A creative ad execution thus holds the prospective to optimistically affect attitudes (ibid.). To maintain this, Smith and Yang (2004) dispute that creative ads may create considerably more positive cognitive and affective responses based on the value of different stimuli. In addition, research has shown that consumers have internal dispositions concerned with creativity. For instance, novelty seeking, variety seeking, incongruity seeking, exploratory drive, innovative proneness, and exploration erg are all examples of consumers seeking divergent. There is also well-built proof from social psychology that consumers can be expected to appreciate creative ideas (Guilford 1967). In addition, under the lower levels of involvement characteristic of most advertising exposure (Krugman 1965), ad creativity may work as a peripheral cue with significant effect on ad and brand attitude (Petty and Cacioppo 1986). Some studies have tried to institute the connection between advertisement creativity and attitude. A lot of these, though, have significant caveats or produce conflicting results. Additionally, their research designs have always been experimental, and thus debatably have sacrificed practicality. Kover, Goldberg, and James (1995) found that ads classified as creative by consumers also produced the strongest liking and purchase interest. Unfortunately, their test had limited statistical significance. Lee and Mason (1999) showed that unexpected advertisements, if also relevant, are more favorably evaluated than expected ones. However, the authors provide no explicit reference to creativity. Ang and Low (2000) found that the novelty dimension of creative ads contributed to higher ad attitude and brand attitude,

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with the strongest effect for unexpected, relevant, and positive-feeling ads. This study relied solely on a student sample for measuring creativity, a method that has raised significant concerns. Stone, Besser, and Lewis (2000) linked advertisement creativity to likeability, but in relatively simple terms. Finally, Till and Baack (2005) studied television commercials, equating creative to award winning, but found no significant effect of creativity on brand attitude. Research and intuition suggest that the unexpectedness of novel ad execution would cause greater arousal, more elaborate processing, and in the end more favorable evaluations, i.e. ad and brand attitude. Additionally, meaningful, humorous, positive, and well-crafted elements of ads should all work to promote favorable attitudes toward the ad, with certain effects spilling over to the brand. In spite of this, the mixed findings above call for a more comprehensive study of the effects of Zoozoo ad campaign on attitudes. Based on the theoretical foundation laid out, the author hypothesize the following: H2a: Ad attitude will be greater for Zoozoo Ad campaigns which are creative ads than for non-creative ads H2b: Brand attitude will be greater for Zoozoo Ad campaigns which are creative ads than for non-creative ads

Brand Interest Machleit, Allen, and Madden (1993) contend that research on attitudinal constructs generally has had an understanding focus on unfamiliar brands. For familiar brands, such as Coca-Cola, McDonalds, and Vodafone, when brand attitude by now is well recognized, a boredom factor can occur even when the

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attitude is positive and the brand is providing sufficient contentment. For that reason, advertising that merely reinforces this attitude cannot be anticipated to give as strong a motivational push to action as advertising that revives interest in the brand. This is especially relevant when fostering repeat purchasing as opposed to trial behavior. Brand interest is defined as the base level of approachability, inquisitiveness, openness, or curiosity an individual has about a brand. Machleit, Allen, and Madden (1993) maintain that their conceptualization of brand interest is consistent with approach, exploration, and creative encounter. Advertising should strive for more than to increase brand awareness, and humorous advertising may not be sufficient. Novel and atypical methods are needed to create an ample affective reaction and thereby revive interest, especially for familiar brands. Indeed, one study of agency creatives indicated that sameness among brands has been a key reason for improving creativity in recent years. Zoozoo Ad campaigns are novel by definition and so should be expected to enhance brand interest to a greater extent than noncreative advertising. And the meaningfulness dimension seems reasonably important when promoting repeat purchasing. The author therefore hypothesizes: H2c: Brand interest will be greater for Zoozoo Ad campaigns which are creative ads than for non-creative ads

Purchase and WOM Intentions One of the most important skills of a successful company is the ability to predict the behavior of its customers. One way of forecasting, e.g. future sales, is by looking at past behavior. However, due to the fact that behavioral patterns change over time, the prevalent theoretical model of predicting

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behavior is to look at. Intentions are the subjective judgments about how we will behave in the future. A number of studies have demonstrated that intentions have an explanatory effect on actual behavior. But the intentions behavior model has been shown to have some imperfections. Belk (1985) refers to several studies that show certain degrees of discrepancy between consumers intentions and their true behavior. However, much can be done to improve the result (ibid.) and despite these limitations the intentionbehavior model is generally regarded as the best method of predicting actual behavior. In a previous discussion the author hypothesized that the creativity of the Zoozoo Ad campaigns should lead to more favorable ad and brand attitudes. As brand attitude promotes purchase intentions, this means Zoozoo Ad campaigns should result in greater purchase intentions. There might be direct effects of Zoozoo ad campaign on purchase intentions as well. For example, ad meaningfulness might illuminate the brands link to consumer needs. And ad novelty might bring the offering into new light, moving previously neutral consumers to want the product. Ang and Low (2000) in fact found that unexpected, relevant, and positive advertisements (i.e. creative ads by their definition) have the highest positive impact on purchase intentions. The authors relied on a student sample and used an experimental research design with a mock-up ad as stimuli. The author aims to extend the general applicability of theory in this regardbacked by a set of real-life ad campaigns and a large panel of consumer respondents, the author set up the following hypothesis: H2d: Purchase intentions will be greater for Zoozoo Ad campaigns which are creative ads than for non-creative ads Beside the prediction of purchase behavior, much attention has been drawn to the measurement of word-of-mouth (WOM) intentions.

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Research shows that WOM, the informal transmission of ideas, comments, opinions, and information between two people, has an indirect positive effect on the performance of the firm. One might expect a creative ad to offer more talk fodder than a non-creative one, as people should be more prone to talk about divergent or humorous experiences. In addition, it should be easier to convey meaningful elements. Last but not least, both positiveness and wellcraftiness ought to vouch for a more pleasant message, or at least reduce the effort needed to process and pass it on. In the case of creative advertising, as opposed to creative product development, the effect should be largest on ad WOM intentions, yet also affect brand WOM intentions. Also, it is not unlikely that a strong enough ad attitude would increase word-of-mouth intentions. If Zoozoo Ad campaigns results in greater ad attitude, as reasoned above, then WOM intentions should be promoted by an indirect effect as well. In sum, the author presents the following hypothesis: H2e: Ad WOM intentions will be greater for Zoozoo Ad campaigns which are creative ads than for non-creative ads H2f: Brand WOM intentions will be greater for Zoozoo Ad campaigns which are creative ads than for non-creative ads The effects discussed so far all stem from the classic advertising hierarchy-ofeffects. In an effort to further extend the knowledge of the effectiveness of Zoozoo Ad campaign, the author will factor in also the perceived ad expenditure and effort, the role of general advertising attitude and the sales value impact of ad creativity in relation to media expenditure

Perceived Ad Expenditure and Effort

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Ambler and Hollier (2004) find that perceived advertising expenditure enhances the consumer's perception of the brand. The portion of advertising expenditure that may be perceived by the target market, but which adds nothing to the functionality of the advertisementthat is, understanding the message or its persuasivenessis referred to as waste. This perceived extravagance of an ad contributes to its effectiveness by increasing credibility. This theory draws especially on the Handicap Principle in biology: animals use wasteful characteristics to signal their exceptional biological fitness. The authors maintain that excesses in advertising work in a similar way by signaling brand fitness. They find that perceived ad expenditure is a strong indirect predictor of brand choice, through its influence on perceptions of brand quality. Interestingly, consumers tend to overestimate the amounts of advertising expenditures. The conclusions of Ambler and Hollier agree with those of Kirmani and Wright (1989) as well as Homer (1995). In addition, the latter tested perceived advertising effort, i.e. perceptions of the amount of advertising effort expended by an advertiser, and found that it too positively influenced perceived brand quality. A lower actual level of ad expenditures might very well be compensated for by creative ad execution, adding to its perceived expenditure. As described above, creativity has meaning beyond the sum of the partsit provides a synergistic effect which may well boost the ads perceived expenditure and effort. Such a relationship would implicate that the Zoozoo Ad campaigns indirectly promoted the advertised brand's perceived quality. Its worth noting that while the author does not measure perceived brand quality in this study, it should be a direct predictor of brand attitude and purchase intentions, which is measured. In summary, the author hypothesizes:

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H2g: Perceived ad expenditure will be greater for Zoozoo Ad campaigns which are creative ads than for non-creative ads H2h: Perceived ad effort will be greater for Zoozoo Ad campaigns which are creative ads than for non-creative ads General Advertising Attitude Obermiller, Spangenberg, and MacLachlan (2005) note how the increase of ad skepticism makes it harder to inform and influence consumers through advertising. As one would expect, consumers with a generally negative attitude towards advertising would tend to evaluate any given ad less favorably than would the general public. However, the authors find that people with a negative general advertising attitude tend to be more positive towards advertising with emotional appeals, and less influenced by their general adverting attitude for products that are of interest to them. Some contrary conclusions have surfaced, e.g. MacKenzie and Lutz (1989) who found that advertising attitude had very little or no effect on ad attitude, since the specific ad or situation tends to dominate ad evaluation. Also, Friberg and Nilsson (2006) established that for ads in traditional media there is no significant difference in ad attitude between consumers with a negative general advertising attitude and the total population. But they did show that choosing a Zoozoo Ad campaigns medium significantly raises ad attitude compared to using traditional media and the increase is lesser for consumers with a more negative general advertising attitude. Clearly, more research about the role of general advertising attitude is needed. Its conceivable that advertisement creativity would work to mitigate the negative effect of higher skepticism, as does emotional appeal and

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product involvement. For this reason the author hypothesize that although consumers with a general advertising attitude will evaluate ad attitude and the like lesser, Zoozoo Ad campaigns will be more effective among this group as well. H2i: Consumers with a negative general advertising attitude will evaluate objectives lesser, but among them Zoozoo ad campaigns creative ads will achieve greater objectives than non-creative ads Media Expenditure and Sales Value To break through the clutter of competing ads, many businesses resort to larger or longer-running ad campaigns. Leaders in advertising spending suffer less from consumers confusing their brand with those of competitors. Media expenditures may also strengthen sales and market share by increasing brand salience in a particular category. Schroer (1990) believes advertising spending to be a key factor behind the larger market share of leading firms. As a case in point, Wilcox (2001) found a positive relationship between total brand advertising expenditures and brand market share from 1977 to 1998 for eight U.S. brands of beer. However, this strategy is expensive: to successfully raise market share ahead of similar competitors, most firms would need to at least double its main rivals outlay and maintain this level for years (Schroer 1990). Few firms have the ability to outspend competition to this extent. And most businesses face challenges in achieving cost-effectiveness at any level of spending. Indeed, most advertising is believed to fail meeting its. In the case of new product introductions, an estimate 7085% fall short; empirical evidence points to marketing as a key factor behind this. Some researchers have therefore shifted focus from ad spending to ad execution, from share of voice to share of heart. For instance, Eastlack and Rao (1986) promote the creative

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component of advertising, claiming it to be far more important than actual spending rates or patterns. Kover, Goldberg, and James (1995) believe creativity pushes the message into viewers minds. Pitched against well-funded campaigns, which are promoted by frequency and breadth of ad exposures, the author proposes that Zoozoo Ad campaigns have three main advantages. First, the author has demonstrated that Zoozoo Ad campaigns which are creative ads are more effective in promoting brand attitude, brand interest, and purchase intentions in each exposure to an ad. Second, because Zoozoo Ad campaigns are more novel and meaningful, and perhaps more humorous, positive, and well-crafted, they should have more staying power with consumers. Indeed, creative ads have been shown to be more memorable. To compete, non-creative campaigns need to be exposed more frequently, and well-funded campaigns certainly are. They would therefore tend to induce more negative wear-out over time. Third, because Zoozoo Ad campaigns generated stronger ad and brand WOM intentions, they should have greater sharing power with consumers. Even though greater expenditure buys exposure in more media channels and thus potentially among more consumers, a Zoozoo Ad campaigns may compete by more productively spreading its message through WOM, a source of demonstrated effectiveness and credibility. The question is which advantageeffectiveness, staying power, and sharing power, or greater scale and scope of ad exposureare dominant in the aggregate. The notion of an idea overpowering might is a classic one, echoing throughout art and history. In the words of Victor Hugo, an invasion of armies can be resisted, but not an idea whose time has come. One finds a body of research on Vodafones Zoozoo campaigns; a central aim of this thesis is to ascertain its effectiveness. However, no study has empirically tested the effect of creativity

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in relation to media expenditures. Media expenditure is an absolute measure, which is dependent on product category. It will therefore be tested within each of the three largest categories. The author proposes that in each category: Up until now the author has reviewed a number of psychological advertising objectives, all prevalent in research and business practice. One effect measure remains, however, as it deserves special attention. While several studies have linked advertising creativity to the psychological hierarchy-of-effects, there is currently no research relating Zoozoo Ad campaigns to actual sales value. Assuming that Zoozoo Ad campaigns positively influenced the hierarchy-ofeffects, as hypothesizedstrengthening notably ad and brand attitude, brand interest, and purchase intentions, which in turn have been shown to predict consumer behavior and thus sales valuethen advertising creativity should, to some degree, positively influence sales value. Such a link would prove to be a novel and quite valuable discovery. Like media expenditure, sales value is an absolute measure, dependent on product category. It will be tested together with media expenditure within each of the largest categories. The author hypothesizes that in each category:

RESEARCH METHODOLOGY

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Initial Work The author got underway discussions with experienced advertising agency professionals and marketing researchers. This led the author to focus on the time and again problematic and questioned connection between Zoozoo Ad campaigns and its objectives, such as attitudes, intentions, and sales. The surprised author found that definitions of creativity differed substantially, especially within the field of advertising. Also, research was usually restricted to experimental research designs, which the author wanted to move beyond in the interest of general applicability and to be able to introduce data on media expenditure and sales.

Data Collection Methods There are so many ways in which data shall be collected. The methods that have been used for collecting the data are: Primary Research Questionnaire Method Direct Interview Method Secondary Research Books Internet Articles Newspapers Magazines

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Both of these methods have been used for collecting the data. Questionnaire method was used for collecting the primary data. This has been done by firstly preparing an appropriate structured questionnaire. Then this questionnaire was given to 50 customers who belong to different age groups at the various shopping malls in Ernakulam. This data has been used for data analysis. Secondary data for the purpose of research has been mainly taken from internet and various magazines. Various journals have been used for the purpose of reference.

Research Design Since this study built on previous research and the aim was to test specific hypotheses and examine relationships between Zoozoo Ad campaigns and its effectiveness variables the author chose a conclusive research design. This choice was also supported by the clear definition of sought-after information and the large and representative sample in the experiment. The author aimed to test both established and, from literature, proposed theories with quantitative research, and draw conclusions and discuss the conclusions and recommendations. This also called for a conclusive research design. To be able to test how Zoozoo Ad campaigns ratings correlate with quantifiable effect measures, and compare different groups ratings, the author chose to conduct a quantitative study. A quantitative study gave the opportunity to answer the proposed hypotheses and draw significant conclusions. The first question to address was how many and which advertisings campaigns to include in the study.

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Campaign Period The first thing was to decide on was from which period of time the campaigns were to be selected from. In addressing a relevant time period for advertisement campaigns, there is some trade-off between using up-to-date material on the one hand, and obtaining a large and representative campaign sample on the other. There is also the issue of natural time lag in the production and collection of relevant sales data. Too recent campaign would not have had a measurable effect on the market and therefore analysis of the market impact would have been impossible. Campaigns The author needed to find real campaigns where one could get access to representative advertising material along with data on media expenditure and sales value growth. In the first phase the author amassed a set of 30 advertising campaigns, mostly based on Vodafones Zoozoo campaigns. Further, campaigns deemed to target a market too local were not included. Lastly, a few campaigns exhibited special external circumstances and were thus excluded. From this phase remained the following material: 30 campaigns from campaigns all based on Vodafones Zoozoo campaigns 2009 and 2010. To be able to draw general conclusions and to minimize stimulus-specific effects the author chooses to include 20 campaigns in the study. This was also the quantity that balanced the wish of including a high number of campaigns and a high number of responses per campaign, as the limit of the study initially were set to 200 respondents. In the third phase the author started to search the internet to get campaigns along with sales and media expenditure data. To make sure that respondents would be presented with a representative media sample of each selected campaign, the author focused on campaigns that were dominated by one single media choice. The author also delimited the selection to Vodafone, and excluded entirely new launches.

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This was important both because the author wanted to measure sales in percentage increase and since the novelty rating should focus on the advertising, not new product launches. This also led to the choice of focusing on brands that are at least somewhat familiar to respondents. In the final selection of 20 campaigns are represented. Yet awards are no definite, end-all proof of creativity or lack thereof. The author used a scale of 17 and, when choosing which additional campaigns, aimed to arrive at a final selection of ads with a wide apparent range of Zoozoo Ad campaigns. The mean of all Zoozoo Ad campaigns ratings were in fact 4.33, ranging from 3.40 to 5.66, on a scale of 17. This indicates a good distribution between Zoozoo Ad campaigns which are creative ads and non-creative ads (out of 200 responses, 6% were 1-ratings and 10% were 7-ratings). Advertisement Media Advertisement campaigns in the initial set were either focused on one ad medium, such as television or print, or built on a mix of media. The latter was the predominant case. The survey panels at the disposal did not technically limit to only, say, print ads; the author had the ability to test executions of television, print, and outdoor advertising. This freedom had important methodological gains. It promoted the aim to execute a realistic, nonexperimental research design. The ability to test the hypotheses across a reallife spectrum of media contributes to the external validity of findings. Furthermore, it minimizes distortion from the potential idiosyncrasies of any one medium. Of course, from campaigns using a mix of media the author selected only one element for inclusion in the panel surveys, to avoid respondent fatigue. Out of the 20 campaigns finally chosen, 7 were represented with a movie and 13 with images.

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Survey Design After deciding on research design, which included twenty campaigns the author needed to find a survey design that could be implemented in practice. The author decided to conduct two surveys that complement each other. First survey targeted consumers, testing both Zoozoo advertising creativity and measures of its effectiveness and therefore constituted the main study, used to answer the hypothesis. To decrease respondent fatigue each person rated only four campaigns. The second survey targeted ad industry professionals. This study was aimed at obtaining specific Zoozoo Ad campaigns ratings from creatives, strategists and advertisers. These ratings worked as a complement to the consumer study and are reported in the analysis only where specific ratings differ from consumers. The author chose to delimit the number of campaigns per respondent to four, and respondents were exposed for the same eleven creativity questions used in the consumer survey. Since the sample of respondents in this survey is not representative of consumers in general, the effectiveness questions were wholly excluded from this survey. This also worked to reduce respondent fatigue. To be able to separate the different judges of Zoozoo Ad campaigns within the industry survey the author included a question where the respondents had to pick one of the four following positions: creative, strategist, advertiser or other. The author also included a question of how many years the respondent had worked in the industry. The respondents were also offered to get access to survey results. Scales and Measures The author only used structured questions in the survey, mainly because unstructured questions are not suitable for web based surveys but also to decrease interviewer bias and coding time and cost. For the questions

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regarding respondents position and years of experience in the industry, the author chose to use multi-choice questions when there were several possible, mutually exclusive alternatives, and dichotomous questions for two response alternatives. For all Zoozoo Ad campaigns and effect questions the author used the interval scale, ranging from 1 to 7 with numerically equal distances. Interval scale, or in this case a semantic differential scale, is a well-established measurement technique in the field of marketing research, which permits many key statistical analyses. Questionnaire The author started with an extensive review of previous research and made a list of questions or propositions relevant for measuring the variables. The author rounded up those formulations most proven in the literature, and took care to make them easy to understand. Wherever possible, the author chose to limit the number of questions to minimize respondent fatigue and the risk of response bias. Creativity: The questionnaire starts off with a single-item scale to measure creativity with the pair creative vs. non-creative. This is the simplest way to measure. Novelty: This concept is probably the most acknowledged dimension of creativity. The author chose a multi-item scale with three frequently used pairs: predictable vs. novel, expected vs. unexpected and conventional vs. original. Meaningfulness: Meaningfulness has long been an accepted dimension of creativity and as such has been included in many studies. The author chose a multi-item scale with three pairs- relevant vs. irrelevant, appropriate vs. inappropriate, and adequate vs. inadequate.

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Humor: Another potential dimension of creativity is humor. The author used the proposition The ad is humorous from Lee and Mason (1999). Positiveness: Ang and Low (2001) presented valence of feeling or positiveness as a possible dimension of creativity. The author followed their formulation and asked consumers whether the ad conveyed feelings that were positive vs. negative. Well-Craftiness: the author used a multi-item scale with two propositions to measure well-craftiness: well-made vs. botched and skillful vs. bungling Ad and Brand Attitude: For both ad and brand attitude the author used a well established multi-item scale with three questions: like vs. dislike, good vs. bad and positive vs. negative impression. Brand Interest: Three propositions were used: I am curious about [brand], I would like to know more about [brand], and I am intrigued by [brand]. Machleit, Allen, and Madden (1993) recommend these questions for measuring brand interest. Intentions: There are three different intention constructs: intentions-asexpectations (How likely is it), intentions-as-plans (Do you plan), and intentions-as-wants (Do you want). Earlier research has shown that intentions-as-expectations are finest in forecasting behavior. On the other hand, the priority with this measure was not to come as close to predicting behavior as probable, but to a certain extent to inspect the psychological outcome of the campaigns. Most campaigns have the reason to build positive attitudes and create loyal costumers over time, and intentions-as-wants are more connected with consumer variables such as positive affect and

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motivation. In addition, the author included actual sales data to represent behavior. Therefore the author has chosen the following three questions I want to buy [brand] to measure buying intentions, I want to recommend [brand] to measure the will to recommend a brand and I want to talk about [ad] to measure word-of-mouth intentions. Perceived Ad Expenditure and Effort: the author chose two propositions, corresponding with previous research, I perceive the cost behind this ad campaign as high vs. low and I perceive the effort behind this ad campaign as high vs. low. General Attitude towards Advertising: To measure the general attitude towards advertising the author used the proposition I like advertising from MacKenzie and Lutz (1989). Sample In a final entry to the survey design, the author discusses how he went about collecting large and representative enough samples for the two surveys, and how response rates were managed.

Consumer Survey The author needed to determine an appropriate sample size, large enough to give us a valid representation of the original population of consumers in India. Malhotra (2004, p. 318) recommends a sample of 150 responses minimum when examining TV or print advertising. After discussions the author agreed on a target sample size of 200 responses per campaign. The survey resulted in 500 valid responses with at least 25 for each campaign.

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Industry Survey The total population for this survey is defined as professionals in the advertising industry. Due to the risk of respondent fatigue the author divided the total sample into five subgroups with four campaigns each. The data collection was active for two weeks and resulted in 278 valid responses for a completion rate of 18.1%. Since the investigated population is highly delimited and the author was not able to get in touch with non-respondents, the author cannot perform non-response adjustments such as sub-sampling, replacement or substitution. To inspect whether non-response bias has prejudiced results, the author instead performed a trend analysis and compared early respondents to late ones. Respondents during the first week (173 hours) were placed in the first group (n=161) and respondents during the following week (173 hours) in the second (n=39). Comparisons of the responses revealed no significant difference between the groups. External Material and Data To build the industry and consumer surveys the author drew material from several external sources. Firstly, high quality print and television ads were collected directly from advertising agencies, various magazines and the internet. Secondly, sales data was collected mainly from the advertiser or the ad agency that produced the campaign (O&M). Instruments and Methods of Analysis All survey data was collected through surveys and electronically plotted in Microsoft Excel documents, which then were altered into SPSS files. Participation figures were coded into SPSS by the author. The author used SPSS for all analysis, which includes factor analysis, independent t-test, linear regression and MANOVA (multivariate analysis of variance). When a measure

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needed to be split in high vs. low values the author used a cut-off point to compute two groups. If nothing else is written, the main analysis is based on the consumer sample of 200 respondents. The author has chosen to accept results only sat the 0.1% level of significance.

FINDINGS

Hypothesis Testing As discussed earlier, the main motive for studying the Zoozoo ad campaigns is to check the effects it has on consumer behavior, and consumers, rather than experts, may have the last word in the matter. As a result, the author will report results from hypothesis testing based on the consumer study, and add industry results only in cases they significantly differ.

Dimensions of measuring the effectiveness of Zoozoo ad campaigns Hypotheses 1a addresses the issue of defining which dimensions influencing Zoozoo campaigns. These were tested using linear regressions, where the five independent variables novelty, meaningfulness, humor, positiveness and wellcraftiness were run towards the dependent variable creativity, across all consumer responses. Results confirm novelty (0.298), meaningfulness (0.108), humor (0.220), positiveness (0.154), and well-craftiness (0.187) to be significant in explaining the effectiveness of the Zoozoo campaigns. All five

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hypotheses are accepted at a high level of significance. See Table 1 for details. Hypothesis: Dimension H1a: Novelty H1b: Meaningfulness Beta () 0.298 0.108 Decisio n Accepte d Accepte d H1c: Humor 0.220 Accepte d H1d: Positiveness 0.154 Accepte d H1e: Well-Craftiness 0.187 Accepte d Table 1: Dimensions of Zoozoo Ad Campaigns: linear regressions for H1ae Results confirm that these five dimensions are able of explaining Zoozoo campaigns as judged by consumers. Each hypothesis is accepted as significant at the 0.1% level. The five dimensions together account for 68.8% of the variation in the measure. In addition, removing any dimension from the model results in a reduced the industry research R2, suggesting that the dimensions complement one another in influencing creativity. The regression model based on the industry study has an even greater R2 (0.819). In other words, unknown variables or natural variability explain less of the variation in creativity. One reason for this may be that the general public has a lesser-defined notion of the effectiveness of Zoozoo campaigns. Also of note, for industry respondents, positiveness does not significantly influence Zoozoo ad campaign and is thus removed from the regression model. This

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proves to be valid, as R2 stays constant upon running the test with the four remaining factors. R2 is reduced when removing any other dimension from the model. Lastly, a t-test revealed no significant differences between creatives and strategists in judging any dimension of the Zoozoo campaigns. Novelty: Novelty seems the most well accepted dimension of Zoozoo campaigns. The regression analysis lends further support to this argument. In line with H1a, Zoozoo campaigns were considered more novel are indeed associated with greater creativity. As evident in Table 1, noveltys (0.298) is the highest among the proposed dimensions of Zoozoo campaigns. In fact, the effect of novelty is almost triple that of meaningfulness. Striking is that in the industry study novelty has a considerably greater than in the consumer study (0.613 vs. 0.298), while the other dimensions differ to a lesser extent. This implies that to advertising agency professionals, the novelty dimension plays an even larger part in the extent to which the campaign was deemed creative, both in relation to consumer judgment and to the four remaining dimensions. Meaningfulness: While most researchers consider novelty to be essential to advertising creativity, many agree that ad elements must also be meaningful for an ad to qualify as creative. The more unexpected an ad element, the more meaningfulness is needed for consumers to retain the connection to product category needs. H1b predicted that greater meaningfulness should strengthen ad creativity, and testing supported this at a high level of significance. Notably, however, is the lowest among these dimensions (0.108). Humor: Research has proposed humor as a facet of creativity, related to the divergent qualities of ads. In accordance with H1d, the humor level in the Zoozoo campaign should positively influence its creativity. This relationship is

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supported by regression as in fact humor has the second highest impact on creativity ( = 0.220). Positiveness: Similarly to the role of meaningfulness, the emotional direction of the ad contentpositivenesscould help lubricate the acceptance of novel elements. H1c proposed that higher positiveness should raise perceptions of the Zoozoo campaign. This was supported by the consumer study ( = 0.154). For ad professionals, however, no significant relationship was found between the variables. This might suggest that professionals, experienced by the craft behind the scenes, are not swayed by the conveyance of mere positive feelings. To them it is, first and foremost, ad novelty that counts. Well-Craftiness: Quite a few researchers contend that the Zoozoo campaigns well-craftiness is also brought to bear on perceived creativity. Indeed, whatever idea lies behind the campaign, intuition suggests that one part of the creative element should spring from the ads attractiveness. H1e proposed that Zoozoo campaigns well-crafted ads should garner greater creativity. This was supported by testing as wellcraftiness demonstrates high impact on creativity ( = 0.187). The author started testing the effects of the Zoozoo campaign by running a MANOVAwith ad creativity as a fixed factor and ad attitude, brand attitude, brand interest, purchase intentions, ad WOM intentions and brand WOM intentions as dependent variablesto test hypotheses 2af simultaneously. The overall multivariate test demonstrates that the Zoozoo campaign has a significant effect on all dependent variables, which confirms all of these hypotheses as working independently. To answer hypotheses 2af the author split the consumer sample in two groups, noncreative versus creative ads. The author wanted to examine

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Zoozoo Ad campaigns that stand out and therefore the author chose a cut off point that place ratings 14 in the non-creative and 57 in the creative group. the author tested the hypotheses with a t-test for the mean difference between the two groups on the dependent variables ad attitude, brand attitude, brand interest, purchase intentions, ad WOM intentions and brand WOM intentions. See Table 2 for details. Hypotheses 2af are all accepted, the conclusions of which is discussed for each effect measure further below.

Hypothesis: Effect H2a: Ad Attitude H2b: Brand Attitude H2c: Brand Interest

Beta ()

Decision

2.09 1.17 0.77

Accepte d Accepte d Accepte d

H2d: Purchase Intentions H2e: Ad WOM Intentions

0.75 0.91

Accepte d Accepte d

H2f: Brand WOM Intentions

0.78

Accepte d

Table 2: Effects of Zoozoo Ad Campaigns: t-tests of H2ag

To get further insights and likelihood to understand the results on all five dimensions of the Zoozoo Ad campaigns the author also ran linear regressions, where the five independent variables novelty, meaningfulness, humor, positiveness and well-craftiness were run towards a single dependent effect

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variable across all consumer responses. This was performed for all six effects variables ad attitude, brand attitude, brand interest, purchase intentions, ad WOM intentions and brand WOM intentions, which resulted in a total of six linear regressions that are horizontally summarized in Table 3.

Effect \ Factor Ad Attitude Brand Attitude Brand Interest Purchase Intent. Ad WOM Int. Brand WOM

Novelty

Meanin gfulnes s 0.170 0.194 0.262 0.205 0.169 0.195

Humor

Positiv eness

Wellcra ftiness 0.284 0.157 0.018 0.025 0.010 0.006

R2

0.065 0.110 0.048 0.068 0.104 0.060

0.289 0.041 0.128 0.050 0.254 0.080

0.252 0.218 0.101 0.105 0.021 0.107

0.84 0.38 0.21 0.13 0.24 0.14

Int. Table 3: Effects of Zoozoo Ad Campaign dimensions: linear regressions Ad and Brand Attitude In accordance with theory, creativity in advertising is expected to cause arousal, more elaborate processing, and in the end more positive evaluations (Ang and Low 2000). Nevertheless, earlier studies have created ambiguous results in trying to ascertain this relationship. The author therefore used sample of actual advertisements to test the effect on both ad and brand attitudes. The results, displayed in Table 2, are unambiguous: since the Vodafone ads were more creative, more creative ads generated considerably greater consumer ad and brand attitudes (mean difference = 2.09 and 1.17, respectively, at p < 0.1%). Ad attitude is evidently affected to a greater

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extent, which is intuitive as the creativity judged is that of the advertisement and not the brand. The linear regressions of Table 3 confirm this: the hypothesized creativity dimensions explain an impressive 84% of the variance in ad attitude (R2). Still, their effect carries over to explain 38% of the variance in brand attitude. Among the creativity dimensions of Zoozoo Ad campaign, the author believed the different ones to be dominant in promoting favorable responses among consumers. The results are mixed in this respect. For ad attitude of Zoozoo Ad campaign, the divergent quality of humor does have the greatest impact ( = 0.289). On the other hand, novelty has the least effect on ad attitude (0.065). Wellcraftiness (0.284) has an influence comparable to humor, followed by positiveness (0.252) and meaningfulness (0.170). For brand attitude, however, positiveness (0.218) is the predominant dimension, followed by meaningfulness (0.194), well-craftiness (0.157), and novelty (0.110). The modest effect of humor on brand attitude (0.041) is significant only at the 5% level. It seems that, any entertainment value of the campaigns promoted attitudes towards the ad but not towards the brand advertised. This is intuitive; much like the melody of a national anthem might move one to better like the anthem, but not the nation. In sum, in Zoozoo Ad campaign, the perceived ad creativity significantly affected both ad and brand attitude; humor raised ad attitude but hardly affected brand attitude; and novelty has limited effect on either. Brand Interest When advertising familiar brands, a boredom factor can arise even when the brand attitude is positive. Advertising that simply reinforces this attitude cannot be expected to provide as strong a motivational push to purchase as advertising that revives interest in the brand. Even though one might anticipate the deviation of Zoozoo Ad campaigns to help revive interest in the brand, no currently published study has investigated this relationship. The

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author therefore tested whether Zoozoo Ad campaigns would enhance brand interest to a greater extent than non-creative advertising. The test confirms this relationship at a high level of significance (mean difference = 0.77 at p < 0.1%). The results lend further support to the effectiveness of Zoozoo ad campaign. Interestingly though, ad novelty has no significant effect by itself when compared to the other dimensions (Table 3). The same is true of well-craftiness. Instead, it is meaningfulness (0.262), humor (0.128), and positiveness (0.101) that impact brand interest. In sum, in Zoozoo ad campaigns has a significant effect on brand interest, with ad meaningfulness as the primary driver and humor and positiveness as supporters. This finding is instrumental to the objective of promoting repeat purchasing of established brands. Purchase and WOM Intentions Purchase intention is a well-established predictive measure of actual consumer behavior, e.g. purchase. Theory has shown purchase intentions to be promoted by brand attitude, which in turn is affected by ad creativity. Also, one previous study, based on experimental ad execution, has hinted at a direct Zoozoo ad campaign effect on purchase intentions. The author thus hypothesized that in the case of Zoozoo ad campaign positively influences purchase intentions, and the result is clearly in agreement (mean difference = 0.75 at p < 0.1%). Besides purchase intentions, advertisement execution may also spark intentions to talk about the ad or brand. Results confirmed the hypotheses that Zoozoo ad execution promotes both ad and brand word-ofmouth intentions (mean difference = 0.91 and 0.78, respectively, at p < 0.1%). The linear regressions confirm this: dimensions of creativity explain 24% of the variance of ad WOM intentions, 14% of brand WOM intentions, and

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13% of purchase intentions (Table 3). This is a consequence liable to testing Zoozoo Ad campaigns as opposed to creative product development. Meaningfulness surfaces as the only dimension to exert both significant and substantial influence on all three types of intentions. This strengthens the problem-solving role of ad meaningfulness, which should illuminate the Vodafones link to the needs of consumers and thus propel their purchase intentions. As for the effect on WOM intentions, meaningfulness might work to simplify relaying the message. Humor is a great factor for ad WOM intentions, but lesser so for brand WOM intentions and both lesser and less significantly so for purchase intentions. This seems reasonable a humorous ad is interesting enough to become the topic of conversation, but the effect doesnt extend as well to the brand and in itself drives few consumers to purchase. Similarly, novelty most significantly affects ad WOM intentions, but lesser so than does humor. Interestingly, ad positiveness is significant in affecting brand WOM and purchase intentions, but not ad WOM intentions. Conceivably, while positiveness offers nothing tangible to talk about, it may work as a peripheral cue to spark conversation and action vis--vis the brand. Lastly, well-craftiness is at most a hygiene factor, with no significant effect on any measure of intentions.

Perceived Ad Expenditure and Effort Excesses in advertising expenditure, which adds nothing to the message or its persuasiveness, may still promote perceived brand quality in the case of Zoozoo Ad campaigns. The perceived amount of advertising effort expended by the advertiser may have an analogous effect. No currently published study has attempted to link the creativity of ad execution to perceived ad expenditure or effort. The author hypothesized that Zoozoo Ad campaigns

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promoted both, and results are positive (mean difference = 0.69 and 1.34, respectively, at p < 0.1%). Whether Zoozoo Ad campaigns was less or more costly, consumers apparently perceive it to be backed by greater expenditure. And whether Zoozoo Ad campaigns took less or more effort to produce, consumers perceive the effort to be greater. Linear regressions unveil that, between perceived ad expenditure and effort, the dimensions of Zoozoo Ad campaigns explain a greater deal of the latters variance. Well-craftiness dominates the other dimensions in influencing these two effects, which is highly intuitive. Perceived ad effort is also affected by ad novelty and humor. This is reasonable, since crafting novel or humorous ads would tend to demand more effort. Perceived ad expenditure is actually (slightly) negatively affected by positiveness. Beyond the workings of each dimension, perceived ad expenditure and effort are clearly promoted by Zoozoo Ad campaigns. In this way, Zoozoo Ad campaigns should signal brand fitness and promote perceived brand quality, which in turn is a demonstrated precursor to brand attitude.

General Ad Attitude Increasing ad skepticism among the general public compounds the challenge of influencing consumers through advertising. A more negative general advertising attitude tends to dampen attitude toward specific Zoozoo Ad campaigns. However, the author hypothesized that Zoozoo ad campaign has the power to elevate ad attitude among those negatively inclined towards advertising in general, and to the same extent as for those with a positive general ad attitude.

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Summary of Main Results Based on hypothesis testing at the 0.1% level, the main conclusions can be summarized in the following: HYPOTHESES H1AE: ACCEPTED Zoozoo ad campaigns were positively influenced by ad novelty, meaningfulness, humor, positiveness, and well-craftiness. HYPOTHESES H2AH: ACCEPTED Zoozoo ad campaigns were effective in strengthening central measures of advertising effectiveness: ad and brand attitude, brand interest, ad and brand WOM intentions, purchase intentions, as well as perceived ad expenditure and effort.

Conclusions This management thesis has been done for the company Vodafone Essar for understanding the effectiveness of their advertisements for the people of Kochi. The study proved that the advertisement has got relevant effectiveness to the people of Kochi while they try for a new mobile connection.

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The customers of Vodafone are happy with the services of the company and they suggest the advertisements of Vodafone should be more interactive and funny like the one that has been done by them during the IPL Session 2 to IPL Session- 5. The customers say that the people who are not usually watching television came to know about the advertisement and they say that this was the effectiveness of that advertisement.

Leaking Buckets The hypothesized effects of Zoozoo Ad campaigns may be ordered into a hierarchical chain, e.g. from ad attitude to brand attitude to purchase intentions. Such a chain may be conceptualized as a set of leaking buckets in the course of which the effect of its ad exposure dissipates through each step: for instance, a subset of consumers positive towards the ad is positive towards the brand, and a subset of the latter has positive purchase intentions. The model here has straightforward conclusions for how pliant each dimension to check the effectiveness of Zoozoo Campaigns. First and foremost, it sheds new light on the two most prevalent dimensions in this research, ad novelty and meaningfulness, the workings of which are apparently more complex than previously understood. The author turns to explain this below, along with what remains to uncover.

Novelty and Meaningfulness Amongst the dimensions hypothesized, novelty was shown to have the greatest impact on perceived creativity of the Zoozoo campaign. These findings reinforce the key role of novelty as suggested by prior publications. Not to the authors surprise, novelty was shown to have doubled the impact on creativity perceptions among creative professionals. Regardless of this,

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novelty was one of the weaker dimensions in following through the chain of psychological measures. This is an interesting finding, which shades the role of novelty suggested in earlier works: even though novelty is dominant in Zoozoo Ad campaigns, it translates into a more modest impact on the hypothesized measures of effectiveness of those ads. Although novelty does affect other psychological measures, e.g. attention and memory, more research is needed to extend the knowledge of the precise mechanism of ad novelty. Meaningfulness is another factor emphasized in previous research. Although significant, its impact was shown to be lesser than the other hypothesized dimensions. Theory suggests that meaningfulness works as a hygiene factor for creativity, which may still be the case even though it does not elevate it as much. To further clarify the role of meaningfulness, future studies should attempt to establish interaction effects between this and other dimensions of creativity such as novelty. In addition, even though meaningfulness was not the greatest factor in Zoozoo ad campaigns per se, it had the greatest stamina in the flow of leaking buckets from ad attitude through brand attitude and purchase and WOM intentions. Also recall that meaningfulness dominated the other dimensions in affecting brand interest, important for well-established brands. This resilience is perhaps testament to the proposed status of meaningfulness as a hygiene factor. Again, the link between meaningfulness and creativity deserves further probing, as does its interplay with effect measures.

Well-craftiness, Humor, and Positiveness Earlier studies have principally missed the significant role of well-craftiness in explaining THE dimensions for effectiveness of Zoozoo ad campaigns, as demonstrated by this study. It significantly affects both ad and brand attitude,

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while being the main influence on perceived ad expenditure and effort. It seems well-craftiness is entitled to more room in coming studies. While humor is instrumental in improving ad attitude, positiveness is the same to brand attitude. As concluded, any entertainment value of Zoozoo ad campaigns promoted attitudes towards the ad but not towards the brand advertised. Brand attitude is arguably the main objective in most practical cases however; humor may have positive side effects on other variables, such as memory. The explanatory power of the multi-dimensional model makes for interesting potential application to complementary variables like attention and memory. This would deepen the understanding of the effects of Zoozoo ad campaigns. Furthermore, the author concluded that humorous ads are interesting enough to spark ad WOM intentions, but the effect doesnt extend as well to brand WOM intentions or purchase intentions. Also, the ad positiveness is significant in affecting brand WOM and purchase intentions, but not ad WOM intentions. The author suggested that while positiveness, unlike humor, offers no incentive to tell friends of the ad, it may work as a peripheral cue to influence talk and even purchase of the Vodafone brand. Further study is needed to determine if this is the case. Conceivably most notably, against a backdrop of questionable or even contradictory studies on the effectiveness of creativity this model provides conclusions of much-needed clarity and certaintyZoozoo Ad campaigns are effective, significantly strengthening ad and brand attitude, brand interest, purchase intentions, ad and brand WOM intentions, as well as perceived ad expenditure and effort. In sum, the author advocates the continued use of the dimensional model based on its great explanatory power. A natural next step is to apply the model to a single brand at a time, to establish which dimensions play larger or smaller roles in different onesboth in explaining creativity and affecting

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attitudes and intentions. The model can also be applied to ascertain the impact of creativity on additional measures of advertising effectiveness.

RECOMMENDATIONS
The author recommends others to build on this study of media expenditure and sales value, and perhaps include other actual market performance measures, such as market share. The next methodological step is to deploy a creativity study with sole focus on actual market performance measures, in one particular category: ridding the survey of psychological measures will shorten the amount of questions, so the number of questionnaires per respondent can be raised; and focusing on one category will aggregate more comparable data. Furthermore, the authors advice is to work even more closely directly with advertisers, ad agencies, market research agencies, tracking agencies, or ad effectiveness award shows, to capture market performance data as standardized as possible, or transparent enough to allow for standardization with other, equally transparent sources for case in point the Zoozoo ads. Beyond the conclusions based directly on the findings, the author would like to propose a number of related avenues of research: applying the multi-dimensional model to other advertising media, e.g. radio, web, or integrated marketing communications; introducing the theoretical implications in studies of creative product development, creative marketing strategies, creative market segment choice, and creative media choice; examining any interaction effects among or non-linear effects of Zoozoo ad campaign dimensions; looking into the interaction effects between creative media choice and creative ad execution; investigating the moderating roles of context, knowledge, brand-congruence, and involvement on the effectiveness of creativity (i.e. maybe humor loses some effectiveness if brand-incongruent; perhaps product benefits take over ad characteristics in high-involvement categories); determining the effect of Zoozoo ad campaign on certain

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emotions or brand values, and on brand equity; combining it with informational/ transformational or central/peripheral processing frameworks (i.e. perhaps positiveness acts as peripheral cue on brand WOM and purchase intentions); studying different effects of creativity among various demographics (i.e. age, educational level, or income); testing the effect of Zoozoo ad campaign on evaluation of the product/service itself; ascertaining whether, e.g. meaningfulness and well-craftiness work as hygiene factors and novelty as a motivator; determining the endurance of Zoozoo ad campaign effects in terms of wear-out and memory; testing which ad elements (message, visual, etc.)

QUESTIONNAIRE
1. Thinking about brands of telephone connection, what brands have you seen of heard of?

2. If you were to buy a telephone connection, which brands would you seriously consider?

3. If all the brands shown below were available to you at the same price and quality, which one would you be most likely to choose?

4. Please select the statement that best describes the likelihood of you buying the brand listed below the next time you get a new telephone connection o Definitely will buy o Probably will buy

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o Might or might not buy o Probably will not buy o Definitely will not buy

5. Please think about all the different places you have seen, heard or read about Vodafones Zoozoo ad campaign

6. Please tell me everything you saw the Zoozoo ad campaign that was just shown to you

7. Have you seen this TV commercial before? o Yes o No o I dont know 8. Have you seen a commercial similar to this one? o Yes o No o I dont know

9. What specific product was being advertised?

10.

What is your overall satisfaction, having seen the Zoozoo

characters Not satisfied at all 1 2 3 4 5 6 Extremely satisfied 7

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11.

What did this commercial make you feel it was? o Creative o Non-creative o Expected o Unexpected o Conventional o Original o Relevant o Irrelevant o Appropriate o Inappropriate o Adequate o Inadequate o Humorous o Positive o Negative o Well-made o Botched o Skillful o You liked it? o You disliked it? o I am curious about Vodafone now o I would like to know more about it o Im intrigued by Vodafone brand

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12.

Thinking about the ad you just saw, please evaluate the following

statements: Yes No I enjoyed watching it a lot It made me want to buy the product It contained new information about the brand The points made in the commercial were believable It was like any other ad for a tee phone connection I like the characters in the commercial I thought it was irritating It made me feel differently about the brand 13. Having seen the advertisement, how likely would you be to o Speak to friends and family about Zoozoos o Visit Vodafone.com o Search the internet to find out more information about Zoozoo o Go to a telephone Shoppe to see the Zoozoo merchandise o Purchase a Vodafone connection 14. There are some commercials that people remember but never I dont know

know which brand they are for. Which of these phrases applies best to this commercial? o You couldnt help but remember it was for o It was pretty good at making you remember it is for o It is just okay at making you remember what it is for

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o It could have been for any telephone company o It could have been for almost anything 15. You perceive the cost behind this ad campaign as o High o Low

16.

You perceive this effort behind this ad campaign is o High o Low

17.

What is the highest level of education you have completed? o Some high school or less o Graduate o Post college graduate school o Prefer not to answer

18.

What is your gender? o Male o Female

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BIBLIOGRAPHY

Ambler, T. and Hollier E. A. (2004),The Waste in Advertising Is the Part That Works Andrews, J. and Smith, D. C. (1996), In Search of the Marketing Imagination: Factors Affecting the Creativity of Marketing Programs for Mature Products

Ang, S. H. and Low, Y. M. (2000), Exploring the Dimensions of Ad Creativity. Blackwell, R. D., Miniard, P. W. and Engel, J. F. (2005), Consumer behaviour

Gonten M. F. and Donius, J. F. (1997), Advertising Exposure and Advertising Effects: New Panel-based Findings. Journal of Advertising Research

www.vodafone.in http://www.vodafone.in/existingusers/pages/aboutus.aspx) http://www.medianama.com/wp-content/uploads/2009/07/q2-09vodafone-arpu.jpg) http://cricket.vodafone.co.uk/england_cricket.Par.92856.Image.o.gif)

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