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Advertising creativity is conceptualized as a function of three dimensions-novelty, meaningfulness, and connectedness. Novelty and meaningfulness involve infocentric aspects, while connectedness incorporates the perspective of the audience. The relationship among these dimensions and ad effectiveness, and the linkage of ad creativity level to persuasion is then posited. Two experiments were conducted among 201 undergraduates. The first tested novelty and meaningfulness; while the second tested connectedness and meaningfulness. The results affirm the proposed conceptual framework. Relative to non-novel and meaningful ads, novel and meaningful ads generated higher ad recall, more favorable ad attitudes, and more upbeat feelings. Novel and nonmeaningful ads elicited higher recall, more favorable attitudes toward non-claim elements (Aad-nc), and negative feelings, and less favorable ad attutides toward claim elements (Aad-c) than non-novel and non-meaningful ads. Relative to ads that did not connect with the audience, connected ads elicited higher ad recall, more favorable Aad-c under meaningful ads, lower Aad-c under non-meaningful ads, and higher levels of Aad-nc and warm feelings under both meaningful and non-meaningful ads.

Multimedia advertisements often contain nonverbal auditory elements, such as music and sound effects, and nonverbal visual elements, such as images and logos. On the one hand, these elements can have the unintended negative effect of interfering with the processing of the verbal ad copy. Two experiments demonstrate that auditory elements interfere more with the learning of and cognitive responding to English ad copy than with Chinese ad copy, and vice versa for visual elements. On the other hand, auditory and visual elements have the intended positive effect of facilitating ad copy recall when they are reinstated as part of an integrated marketing campaign or as a recall cue in an advertising tracking study. A third experiment demonstrates that auditory elements are better retrieval cues for English than for Chinese ad copy, and vice versa for visual elements. The authors discuss implications of these cross-linguistic differences for the effective design of multimedia communications, integrated marketing campaigns, advertising tracking studies, and cross-cultural research.

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