Audience Perception of Obstructive Advertisement in Super Story : Current School News

Audience Perception of Obstructive Advertisement in Super Story

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Audience Perception of Obstructive Advertisement in Super Story.

ABSTRACT

There has never been any profession that has received so much criticism than advertising. There is generally, feelings and attitudes among the average consumers who always accuse advertising of making exaggerated claims about products.

The assumption is that since advertising has the duty to portray a given product in the most favourable light, it can only do so by speaking in superlative terms.

Using the survey research design and the questionnaire as instrument of data collection, this work investigated the perception of viewers of Super Story television drama on the obtrusiveness of advertisements that are a major feature of the programme.

The data generated were presented in tables using simple percentage.

The study reached the conclusion that adverts in the programme be moderated to accommodate the interest of the audience.

INTRODUCTION

Television advertising has traditionally been purchased on the basis of programme audience measures. These metrics are used both to select the programmes in which to advertise and to negotiate the rates for huge sums of money in advertising spending.

While measures of the programme audience are appropriate for marketers considering branded entertainment (i.e., product placement), programme ratings have shortcomings in advertising planning.

Chief among them is the discrepancy between measures of the audience with the opportunity to see the programme and measures of the audience with the opportunity to see the programme’s commercial breaks.

Advertisers are not primarily concerned with programme audiences but rather with the audience that particular commercials may reach. According to Poltrack (2006), “the relationship between program audiences and commercial audiences was found to be very stable over time and by programme.”

If this is the case, established programme audience measures may be effective proxies for the potential commercial audience. As such, media planners and their clients can simply use these metrics to choose programmes in which to place commercials.

However, the appropriateness of programme audience measures for such decisions is more tenuous if the relationship between viewers’ opportunities to see programmes and their opportunities to see commercial breaks varies significantly across programmes or within a given episode.

Steinberg and Hampp (2007) also report that programme audiences may be approximately 5%–10% higher than potential commercial audiences. If the price charged for advertising is based on the average programmes audience, this discrepancy effectively increases the cost of reaching a given number of viewers.

Overview of Super Story

This is a programme that has been able to retain audience viewership since its inception. The programme which is aired on the network stations of NTA commands huge followership from Nigerians, especially women and children.

The programme, from the stable of Wale Adenuga Production, stormed the airwaves with a captivating and touching story of a man who forgot his family when things became rosy for him. The series titled “Oh Father Oh Daughter”, had casts like Suara, Toyin Tomato, Abike among others. These names have since become memorable ones for many Nigerians.

The family-oriented programme which teaches factual lessons about life to every member of the family and society at large was first aired on NTA and has Unilever as its major sponsor.

Super Story, which debuted in 2001, is clearly one of the most popular TV programmes in Nigeria and this is reflected in the number of TV stations on which it is aired. Super story still commands decent viewership because of its quality and creativity. The programme prides itself as “the toast if corporate advertisers”.

The programme employs various techniques to gain the attention and hold the interest of the audience, which create suspense and tension by leading the audience to wonder about possible solutions.

These techniques include: plant, twists, interest curve, flashback, as well as hook and conflict. Plant is used to generate audience sympathy for rather dull character in the drama. There is something to remind the audience about an incidence which would take place later in the programme.

REFERENCES

Abernethy, A. M. (1990). Television exposure: programs vs. advertising. Current Issues & Research in Advertising, 13(1), 61-78.

Anand, B., and  Shachar, R. (2005). Advertising, the matchmaker. Mimeo, Tel Aviv University.

Anderson, S. P., and Coate S. (2005). Market provision of broadcasting: A welfare analysis. Review of Economic Studies, 72(4): 974-972.

Balasubramanian, S. K., James, A. K., and Hemant, P. (2006). Audience response to product placements. Journal of Advertising, 35(3): 115-141.

Cole, S., Spalding, L. and Fayer, A. (2009). The brand value of rich media and video ads. Double Click Research Report, June.

Danaher, P. J. (1995). What happens to television ratings during commercial breaks? Journal of Advertising Research, 35(1): 37-42.

Depken, I., Craig A. and Dennis P. (2004). Is advertising a good or a bad?     Evidence from U.S. magazine subscriptions. Journal of Business, 77(2): 61-80.

Dukes, A., and Esther Gal-Or. (2004). Negotiations and exclusivity contracts for advertising. Marketing Science, 22 (2): 222-245.

Ephron, E. (2007).Blunt Pencil: The minute that took nearly a year,” MediaWeek, (accessed June 11, 2011), [available at http://www.mediaweek.com/mw/esearch/article_display.jspvnu_content_id=1003550027]

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