The dawn of advertising in Pakistan () - Pakistan - senshido.info
this work, including for commercial purposes, under the following conditions: The team also met with representatives from civil society and the private sector, includ- areas is only about one-third that in cities, but the aggre- of global digital advertising revenue,29 has been inves- Raw problem-solving ability. In the digital advertising space, business models for creative agencies are under . Ahmed Road on October 27, , which remains the site of the Dawn press in the city. .. Every ad illustrated a new USP – appealing to the rational mind of the grew as industries in Karachi needed raw materials from all over Pakistan . Elites, and Mass-based or Business-oriented Interest Groups or industries. found in rational choice theories of electoral democracy, in in the sense that it would be preferred to any alternative policy in . of Government and then David Truman's monumental Robert Dahl's analysis of New Haven city politics was.
This posture of detachment went out the window the first time I saw the movie. And the in many ways very conventional independent film left me so angry I actually had trouble sleeping the night I saw it. For me, it recalls a line from a Captain Beefheart song: A tic here, a tic there. Wallace the artist and Wallace the conversationalist take a distant back seat to Wallace the eventual suicide. He, and the movie, insists that suicide loomed over everything Wallace did a full 12 years before the end.
The Wallace who would suggest intense immersion in pornography as an alternative to self-castration never rears his head in The End of the Tour.
Nor does the author of the impossibly knotty short story Octet, whose vertiginous finale begins: Facebook, YouTube, Netflix, Snapchat and other giants are now putting all their weight behind video and making a comparison with TV necessary.
To keep it brief, total ad spend on TV in FY was Rs 42 billion — digital will simply not be challenging that. For publishers, both are a blessing, extending reach, engaging audiences old and new, increasing traffic to sites etc. On the earnings front, not so much. There is little chance for publishers to grab a bigger slice of the pie, especially when it comes to banner ads. Inevitably, programmatic advertising which both Facebook and Google excel in will negatively impact anyone involved in the business of creating, procuring and running banner ad campaigns, possibly to the point of redundancy.
The problem is further exacerbated by the growing trend of users installing ad blockers for banner ads. This brings us to the next great challenge — one that applies to everyone operating in the digital sphere, not just the publishers. To put it bluntly, brands, ad agencies and marketing teams appear to be sailing rudderless, both on the strategic and creative front. The situation is grim. Brands are allocating more and more to digital spend every year and publishers are pumping money into their digital operations, irrespective of the bottom line.
Some of the above challenges admittedly have no clear solution. Those require acceptance, adaptation and more importantly, inclusion when making decisions. For those problems that can be tackled however, a lot can be done, and done fast.
After all, we are blessed with not having to invent or reinvent anything; global trends, strategies, creative ideas and solutions are just one Google search away.
It is only the will to change how we conduct business that appears to be lacking. Ahsan Sheikh examines this great switch. A billboard for Sprite overshadows another one for Coke in Lahore. Originally hand-painted by talented artists, billboards in the early days were often works of art, derived as much from the imagination of the artist as from the brief given by the agency. They were few and far between and clutter was not a problem then.
With the introduction in the nineties of digitally printed larger formats, the artists had to forsake their brushes and billboards became ubiquitous, leading to clutter and much public aggravation and then municipal intervention to restrict their numbers. As they become more interactive, digital billboards are changing public perceptions, becoming a source of entertainment with audiences.
In Pakistan, we can divide its evolution into three eras: Initially, only a limited number of brands leveraged the medium. Hand-painted boards were found at railway stations promoting electric fans, beauty creams, tobacco and tea. From the seventies onwards, there was a spurt in the usage of the medium. All the top brands soon followed suit. Along with this, came a shift in pricing. The earlier hand-painted boards cost only a few thousand rupees annually; now prices went into hundreds of thousands per month.
Despite this, huge structures started proliferating across the major three cities and city municipal authorities started to impose taxes on them, which were then used to develop the city landscape. So aggressively did the authorities collect funds in exchange for permission to erect billboards that an unprecedented number of structures went up between andespecially in Lahore. Inevitably, clutter began to compromise the effectiveness of the medium and inthe Punjab Government took measures to rationalise the installation of outdoor structures.
All billboards in Lahore were removed by the Parks and Horticulture Authority PHA and bylaws were enacted to prevent their installation. This was a blessing in disguise as the reduction in the clutter enhanced the effectiveness of the medium, and brands started reassessing OOH with renewed interest, leading to a demand for further innovation, such as backlit billboards and large cut-outs.
The artworks were a basic adaptation of print ads, with little thought going into the effectiveness of the communication. Then, another major shift took place when international specialist agency brands, such as Kinetic, entered the picture and outdoors started evolving into OOH. This included the activation of new touch-points in the OOH space within retail spaces and on-ground.
Clients started focusing on rationalising their OOH media planning in terms of target audience, with increasing focus on the quality of the execution. Monitoring and tracking once a huge transparency challenge became a standard service offered by all OMAs. Today, tools are available to evaluate campaign coverage, assess creative impact, select sites according to specific target audiences and monitor and track results. This is a paradigm shift, given that not until too long ago, OOH was viewed as a support medium and has now moved to the centre of the overall media planning effort.
The factors contributing to this development are changing consumer behaviour patterns not least the fact that they are spending more time out of home.
There was a time, when during the airing of popular TV dramas, the roads would be relatively empty with people glued to their TV sets. Today, there is no TV show that audiences need to stay at home to watch live; they can watch it on their smartphones or watch the repeat the following day.
Another benefit of OOH for advertisers is that it cannot be turned off, blocked or skipped and unlike TV and online advertising, it cannot be so easily avoided.
OOH and mobile are becoming increasingly interlinked and more and more brands are leveraging both media. We will remember as the year OOH started going digital in Pakistan and digital, once introduced, expands rapidly. The theme has always been the product benefit. It is the way this is communicated that has changed. It is simple and straightforward; there is no spin. An explanation of what the paint does, with simple illustrations delivers the point.
It was about having a freshly-painted look throughout the year and the availability of a wide range of colours. The illustrations became better, the copy got a bit creative. In the seventies, the illustrations were replaced by photographs.
The headline stated the problem, and the body copy gave the solution. Every ad illustrated a new USP — appealing to the rational mind of the consumer rather than the emotional side. In the eighties, graphics were introduced. The message was that Berger was a global brand offering high-quality paint. The nineties focused on health. Lead-free paints were introduced and the copy emphasised benefits of these paints.
The brand was evolving but not connecting. Human emotion was missing. Berger now engages with young homemakers for whom paint is as important as their furniture.
Berger took a huge leap by focusing on a younger target group. A celebrity endorsement has been introduced with Mehwish Hayat, because celebrities inspire people to be like them. From a rational, somewhat distant brand, Berger has evolved into an emotional, connected and iconic brand. From selling paints to selling lifestyles, the brand has left a footprint in every household. Urooj Hussain examines what brands must do to adapt to this altered demand. Millennials are busy on their devices during a working day at Ogilvy Pakistan, where the average age of all new recruits is approximately For the agency, the secret to attracting Millennials is to offer them flexibility in their working hours and an informal environment.
They are pluralists and not inclined to settle on only one thing; they want to do something in the day and something else completely different in the evening. To retain them, employers must always encourage and mentor them in any activity they choose to engage in after working hours.
They have great expectations of life. The evolution has been exponential; for example, in Pakistan, Facebook has gone from 11 million active users to 34 million in the past four years alone. The way people use social media has also evolved. It has also changed the way we view and interact with the world and the communities around us, and it has changed the way consumers behave online. Audiences are less concerned with privacy. Since Facebook is free, many people do not necessarily realise that they are the product.
The Pew Research Centre for internet and technology finds most young people more than willing to hand over their personal details. This gives advertisers a great deal of leverage in terms of data-backed targeting, which they never had before.
Brands need to adopt causes and give a collective voice to their consumers. It was the Arab Spring that gave traction to the idea that anyone can bring about a revolution on social media. Consumers know how powerful a social media platform can be and are willing to use it, be it for political issues or consumer complaints. As a result, brands need to tread carefully on social media as a single piece of negative news can snowball into a business damaging situation.
Consumers are more likely to trust a brand with a social media presence. It adds to the transparency, two-way communication, engagement and in some cases, social responsibility as well. What is the effect of all of this on how brands advertise on social media? Pakistani brands have become savvy.
High levels of clutter and increasingly distracted audiences means that brands need to invest in breaking through the barrier of limited organic reach and create engaging content. Here are some examples of how brands are using social media to its full potential: E-Commerce has grown in an extremely interesting way on social media. Not only has it benefitted large-scale online retailers such as Daraz and Goto.
Micro-influencers and vloggers have become huge social media celebrities without ever having been on the big screen.
They have grown via popular demand on social media and are people which audiences can relate to. As a result, a lot of brands have signed on social media celebs such as Zaid Ali T and Ali Gur Pir to be their brand ambassadors, leveraging not only their popularity, but their individual social media profile to secure incremental and relevant reach.
Why The End of the Tour isn't really about my friend David Foster Wallace | Books | The Guardian
In a world where customers want instant gratification, social media provides a platform where the consumer can connect to brands whenever they want. Being always-on and ready to answer consumer queries goes a long way towards building brand credibility. This is now considered to be an important KPI for social media management. Brands like Careem and KE have added to their credibility by actively responding to messages.
Social media and the way consumers use the platform will keep evolving at a rapid pace. Media experts need to be ahead of the curve and leverage new trends to their maximum potential. She can be contacted at urooj.
BDS: how a controversial non-violent movement has transformed the Israeli-Palestinian debate
As a result, promotion of films now heavily relies on social media as they can garner huge amounts of buzz through word-of-mouth. Films are content gold mines; the challenge is to build anticipation within a short period of time. Luckily, films are stories and stories sell, especially when you involve the audience in the story via social media platforms such as Facebook, Twitter, Instagram and Snapchat.
Dawn Films used these platforms in their marketing strategy for their forthcoming film Saat Din Mohabat In, leveraging viral marketing by doing something that would create talkability. He turns to the audience for help to go about this in the best possible way. Added to this, glimpses of the romance, drama, humour and action contained in the film gave audiences a peek into the unfolding storyline. Drumming up interest and seeding your trailer online is always a challenge, but the marketing effort for the film, bridged the gap by offering a storyline and enabling fans to respond, thus generating a buzz.
This is the tip of the iceberg. Stay tuned to your digital screens for more creative content as we weave in and out of the story, taking fans along for the journey. Zohra Yusuf is one of the most outstanding and highly-regarded professionals in the advertising and media sphere. She has been in the profession for nearly five decades. She entered the advertising profession in when she joined MNJ Communications as a Copywriter; she was promoted to Creative Manager and subsequently, to Client Services Manager; this, at a time when women did not hold senior positions in advertising.Singing: daily exercises for an AWESOME voice: Alternative 1
Yusuf has mentored a new generation of young advertising professionals, many of whom attribute their success to the training she imparted to them.
Her cosmic ability to grasp ideological perspectives from every side of the argument has made her an outstanding communicator of her times. As I began speaking to women working in advertising agencies, from different disciplines and age groups, to determine if the ad industry in Pakistan is female-friendly, it became evident that my initial perception was erroneous. There was general consensus on two points. First, the number of men who have reached the highest echelons of power in media and advertising is far greater than the women who have smashed the glass ceiling, despite the increasing number of women who have assumed leadership roles.
By the first intifada and the Oslo accord that brought it to an end, however, many Palestinians were ready to accept the two-state formula, not because it was seen as fair, but because it was the most they could then hope to get.
As the details of various peace proposals emerged, though, the deal sounded more and more rotten. They would have to give up sovereignty in large parts of occupied East Jerusalem, their future capital, and of the Old City that falls entirely within it.
They would have to agree that any peace treaty would not allow the return of most refugees to their homes, unlike almost any other peace accord signed since Israelis and Palestinians first negotiated a draft final agreement in They would have to renounce all claims on Israel — including any demand for equal rights for its Palestinian citizens, who were more than one-fifth of the population.
During negotiations with Israel, the PLO had agreed to each of these concessions, though few if any of them were supported by international law. When even these accommodations eventually proved insufficient to obtain an end to the occupation, growing numbers of Palestinians started to sour on the idea of two states.
It was that even the whittled-down version now seemed like a mirage. The number of settlers had nearly doubled since Oslo, reaching almost half a million in Many of them resided not in hilltop caravans, but in cities with shopping malls, parks, public pools and multi-lane highways connecting them seamlessly to Israel.
The idea of removing even a third of this steadily growing population had come to sound implausible. The US and other powers did little more than wag their fingers. They promised the Palestinians that the situation would soon end with the founding of an independent state. Over time, the two-state solution became a slogan emptied of meaning. The less plausible it seemed, the louder it was proclaimed. But so long as it could still be imagined, the major world powers refused to demand that Israel grant the Palestinians citizenship and equal rights.
The two-state concept was thus transformed from a possible solution to Israeli occupation to the primary pretext for depriving Palestinians of equality. It was also the main excuse for keeping the majority of Palestinians in exile: