http://www.msnbc.msn.com/id/6895297/ After backlash, marketers plan to rein in the raunch By Martin Wolk MSNBC Last year’s Super Bowl is best remembered for Janet Jackson’s halftime ‘wardrobe malfunction,’ but the singer’s accidental overexposure was hardly the event’s only breach of good taste. The CBS broadcast of the showdown between the New England Patriots and Carolina Panthers also was marred by a…
http://biz.yahoo.com/prnews/050201/phtu025_1.html Press Release Source: Eisner Communications Little Backlash from Wardrobe Malfunction, Little Interest in Rooney’s Butt BALTIMORE /PRNewswire/ — Only seven percent (7%) of U.S. adults will watch Super Bowl XXXIX just to watch the commercials according to the annual Eisner Communications Super Bowl Ad Survey of 1,000 U.S. adults (http://www.eisner-communications.com/superbowlads) released today – down 2% from last year, and…
http://www.reuters.com/newsArticle.jhtml?type=entertainmentNews&storyID=7414083 By Michele Gershberg NEW YORK (Reuters) – Call it the ripple effect, or the nipple effect, but Super Bowl advertisers have eased off the hoopla ahead of the National Football League championship game this year following an indecency scandal last year. Less than two weeks before the big U.S. game on Feb. 6, few advertisers have trumpeted their plans…
http://www.detnews.com/2005/autosinsider/0501/24/A01-68309.htm They spend millions on pregame, postgame and in between, while Chrysler sits it out. By Nick Bunkley / The Detroit News NFL playoff ads, which also will air during the Super Bowl, hype three Cadillacs that can accelerate to 60 mph in less than five seconds, including the STS-V. A year before the Motor City plays host to football’s…
The Aesthetics of Super Bowl Ads
For the first time in long memory, this year’s Super Bowl XXXVIII was actually worth watching for the game itself. You know, that’s the fussing around on the field that happens between the high-priced commercials that this year averaged $2.25 million for a 30-second spot. But despite Adam Vinatieri’s 41-yard cliffhanger field goal in the final four seconds that put the Pats over the Cats 32-29, much of this year’s post-game chatter concerned aesthetics, which my American Heritage dictionary defines as “Guiding principles in matters of artistic beauty and taste.” No, I’m not yet referring to Janet Jackson’s peek-a-boob flashdance but its relevance will come into play shortly.
Let’s kick off our annual analysis of the most striking of this year’s Super Bowl ads by celebrating the editing principles behind these mixtures of entertainment and hype. This column has always defined “editing” as the creative act of combining two discrete ideas to create a third, disparate concept in the mind of the viewer. This can be expressed in the formula B + C = A, where “B” and “C” are the audiovisual elements being juxtaposed and “A” is the intended impression the audience is supposed to receive.
While most post-Super Bowl attention focused on the halftime debacle and the mediocre quality of most commercials, one place the event did shine for marketers as never before was on the Web.
The most dramatic, symbiotic TV-Internet Super Bowl media strategy was that of Mitsubishi Motors North America. Created by Interpublic Group of Cos.’ Deutsch, Los Angeles, Mitsubishi’s campaign combined the front-end lure of a Super Bowl TV commercial with the back-end depth of a Web site to maximize the message’s breadth and impact.
Using speeding, crashing cars and a simple but effective cliffhanger, the marketer catapulted waves of TV-viewing consumers directly into a rich Web environment, where its product was presented as an enveloping physical experience.
The guy who made the Terminator look so creepy — and Jurassic Park’s dinosaurs so scary — is about to play on the biggest field of all: the Super Bowl.
John Rosengrant of Stan Winston Studio helped create this ‘alien’ for a FedEx ad.
A Super Bowl commercial, that is.
John Rosengrant, an ace Hollywood designer of yucky-looking creatures, filled two roles for FedEx’s (FDX) Super Bowl ad. First, he designed the life-size alien, crafted of rubber, silicon and fiberglass. Then, he got inside the body to play the brown-nosing alien.
Come Sunday, you can expect to see the usual array of advertisers appearing during breaks in the Super Bowl: Spots for beer, cars and chips all will be there.
But so will the unexpected. At least two pharmaceutical companies plan on pitching pills meant to treat something that’s not thought of in quite the same way as beer, cars or chips: erectile dysfunction. So along with your Budweiser, Cadillac and Lay’s, you’ll also get Cialis and Levitra. And if that’s not enough, Viagra also may make an appearance during the game, although Pfizer, the drug’s maker, isn’t saying either way.
It’s the first time impotency drugs have aired during the Super Bowl, and it comes at a time when both Cialis and Levitra, which is an official NFL sponsor, are trying to grab market share away from leader Viagra.
Cadillac said Tuesday that its marketing efforts in the third year of its deal with the NFL as the official vehicle of Super Bowl will include significant presence this week in and around the big game in Houston.
A previously revealed 60-second spot, “Turbulence,” via Chemistri, Troy, Mich., will debut during the Feb. 1 game on CBS, highlighting the CTS-V luxury sedan, the Escalade sport utility, the SRX performance utility and the XLR luxury roadster. In addition, Cadillac will be presenting sponsor of the Super Bowl MVP Award that airs immediately after the game, with the game’s MVP receiving a trophy and a Cadillac of his choice. The post-game events will be touted in a billboard ad at the game’s two-minute warning. Cadillac will also air three 30-second spots in the post-game show, one for the XLR and two for the SRX.
Sponsors saddle up as cbs rides high into houston with week of Super Bowl programming highlighted by super bowl xxxviii on sunday, feb. 1, 2004
For the first time in more than a decade, all three Detroit automakers will have a significant presence during the Super Bowl broadcast, spending millions for advertising time and other promotions during the world’s biggest marketing bonanza.
The Super Bowl offers a rare and pricey chance to reach 130 million viewers in the United States and 1 billion worldwide.
he average price of a 30-second spot on the Super Bowl has jumped 7% to a record-breaking $2.25 million, solidifying the game’s role as the centerpiece of the marketing year, even as grumbling grows about the effectiveness and cost-efficiency of network TV.
CBS has sold 54 in-game spots for the Feb. 1 game to marketers such as Anheuser-Busch Cos., Frito-Lay, Pepsi-Cola Co. and Procter & Gamble Co. Eight slots remain, according to media buyers. Those last spots, as usual, are available for significantly less than the spots already sold, although the network is shuffling inventory in a bid to keep the value high. The fourth quarter is now selling for as low as $1.8 million, media buyers reported.
It wasn’t a night for Metamucil ads.
The commercials on Sunday’s ABC telecast of the Super Bowl took aim at young – mostly football-loving – men with a mixture of spots for beer, soda pop, sports cars, and action-themed movies.
Each slickly-produced 30-second commercial set advertisers back upwards of $2.2 million. It was a bargain, many said, since they reached about 130 million viewers.