Multi-platform communication is becoming the norm as media practice has been changing with the growth of technologies that put viewers in more control and introduce interactivity. This chapter focuses on the Turkish cross-platform advertising campaign, Tweet Village for Sekerbank that received a bronze prize in 2015 at Cannes Lions, which is globally regarded as the most important festival in the field of creative communication. The campaign focused on thousands of family farmers who quit farming to migrate to urban cities in order to support those who resisted leaving. The campaign involves multiple platforms, such as social media, print advertisements, outdoor advertisements and radio spots which make it a successful case for explaining the use of storytelling in cross-media advertising. The case of Tweet Village was evaluated through Berger's (2013) criteria for sharing the campaign's message online as well as Chiu et al.'s (2012) brand story elements.
Digital technologies have heightened the debate on convergence where technologies, corporations and people [target audiences] meet. New media has become a new meeting place and a social platform for people. As more brands choose to employ relationship marketing strategies that emphasize consumer's experience with the brand, it is inevitable that they explore opportunities to connect with their target audiences in this new meeting place. Thus, user-created content and electronic word of mouth [eWOM] have become important concepts for influential and noteworthy advertising campaigns in this new medium. The aim of this study is to understand the dynamics of viral marketing campaigns and to identify the strategies that make viral advertising successful. International cases, such as brand applications of 3D Mapping Projections are used to understand the relationship between cutting-edge digital art and their use in advertisements. Recent Turkish viral ad campaigns such as Profilo's "O Tabak Bitecek!" [Finish everything on your plate] and Turkish Airlines Miles and Smiles' "İnanılmaz Evlenme Teklifi" [Unbelievable Proposal] disseminated through social networks are used as cases to identify the message strategies used in making these advertisements successful.
The manifestation of gender-based inequalities and sexist roles in business life affects the areas in which female employees can have a profession. The challenges faced by women in occupations where men have traditionally been more prevalent, have been studied in various contexts in academic literature. Considered as an ideological power, the existence of gender inequalities, stereotyped behaviors and sexist roles in professional life, are some of the indicators of women's secondary position in the patriarchal system. Although advertising appears to be an area in which women can easily take part in the both national and international level, gender discrimination is observed. In the advertising industry, where both vertical and horizontal segregation is observed, the fact that women are not widely and globally represented in creative decision-making positions is one of the problematic issues in advertising agencies. Studies focused on gender equality are needed in Turkey, where international advertising agencies have a dominance in the advertising industry. Therefore, it is important to examine women's decisionmaking positions in this creative industry. The aim of this study is to examine the participation of women in competition juries, which is one of the decision-making mechanisms in the field of advertising creativity, and by demonstrating gender inequality in the advertising sector in order to make a contribution for the solution. In this study, women's representation in the Kristal Elma Creativity Festival selection committee were examined. Kristal Elma is Turkey's first, longest and most important advertising creativity competition. The male-dominated structure of the juries stands out when the gender composition of the juries formed for 30 years between 1988 to 2018 were examined.
This entry aims to take a snapshot of the women advertisers' position in the advertising industry based on global studies. Tracing women's growing place in advertising is important in terms of presenting a model for gender equality and women's rights. There is unanimous agreement in literature that being a woman, especially a woman with children, negatively impacts an advertising professional's career. Horizontal and vertical segregation, glass ceiling, sticky floor, the pink ghetto, and hegemonic masculinity present in the advertising agency cultures are all various ways that hold women back in the advertising industry, especially in the creative departments.
Although the advertising industry seemingly welcomes women globally, strong horizontal segregation resulting in the feminization of specific departments exists alongside glass ceiling and sticky floor issues. Thus, it is essential to explore how women negotiate their existence through gendered work experiences in organizations. This paper focuses on how women managers experience gender roles in advertising agencies in a developing country. As a developing country integrated into global capitalism, Turkey's advertising industry is mainly made up of international network advertising agencies. Tracing women's growing place in advertising is important for presenting a model for gender equality and women's rights in developing countries. Through an interpretive phenomenological analysis of interviews with 15 women managers with more than 15 years of advertising agency experience, the study finds that women who are in managerial positions in ad agencies tend to define themselves as a manager rather than a woman. In order to become ideal workers, they embrace the hegemonic masculinity and ambivalent sexism within the heteronormative matrix as they learn to perform unfemininity. They choose not to contest gender meanings and categories that function as disempowering and marginalizing elements for women.
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