By Charles S. Gulas
Even though using humor in advertisements has its origins within the early days of the company, its frequent use as an ads method is a newer phenomenon. this is often the 1st book-length, absolutely built-in dialogue [illegible] this well known ads process. good written and jam-packed with attention-grabbing examples, Humor in ads attracts on huge critical learn [illegible] using humor from the fields of marketing, in addition to Psychology, Mass Media, and Communications reports. The authors are cautious to show not just the advantages, but additionally the capability in advertising's makes an attempt at humor, as advertisers proceed to exploit funny message to damage in the course of the [illegible] of proliferating advertisements, and the road among advertisements and leisure is extra blurred. No different e-book presents any such accomplished and wide-angled research of this crucial subject. it's crucial analyzing for students and researchers within the box, in addition to for ads organization account planners and artistic administrators.
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Extra resources for Humor in Advertising: A Comprehensive Analysis
They proceed to examine aspects of Raskin’s (1985) semantic theory that jokes produce a mirthful response by including incongruities (structural contrasts) between expected and unexpected situations. Contrasts can arise from (1) actual/existing and non-actual/non-existing; (2) normal/expected and abnormal/unexpected; and (3) possible/plausible and fully/partially impossible or much less plausible. Though Raskin’s script-based theory is not strictly IR, Alden and Hoyer blend it with IR to predict the types of incongruent contrasts in advertising and which are likely to produce a stronger positive reaction.
The findings regarding gender effects on response to humor raises some interesting issues. Humor is very closely tied into the culture, experiences, and points of reference that are shared between the humor originator and the humor receiver. For example, research has suggested that the gender response to sexual humor is reversed when the creator of the humor is female (Gallivan 1991), and as noted earlier, the characteristics of the butt of the joke may influence which audiences find the joke funny (Gallois and Callan 1985; Gruner 1991; McGhee and Duffey 1983).
Of particular importance is the nature of the audience and the relationships between the agent, audience, and object of the humor. Not surprisingly, these interactions can be quite complex. In a study of children aged three years to six years from different ethnic and income backgrounds, McGhee and Duffey (1983) found that, in general, humor victimizing parents was perceived as funnier than humor victimizing children, and humor victimizing the opposite sex was perceived as funnier than humor victimizing one’s own sex.
Humor in Advertising: A Comprehensive Analysis by Charles S. Gulas