Advertising in brazil

Advertising in Brazil

International Advertising

Brazil Is Different

• Brazil enjoys an international reputation for producing some of the world's most creative advertising.

• The mere mention of Brazil to advertising professionals evokes images of innovative, appealing print ads and commercials.

• Many that have taken top prizes at the Cannes Lions International Advertising Festival and other international competitions.

• A creative revolution took place in Brazil in the 1980s and 1990s.• Today we explore some of the factors giving rise to the high

level of creativity in Brazilian advertising and examines some recent campaigns that reflect the Brazilian style of advertising

The Place of Advertising in Brazilian Society

• Generally speaking, Brazilians like and admire advertising, especially when it is entertaining. It is accepted and tolerated to a much higher degree than in the United States.

• Marcio Moreira, Vice Chairman and Chief Talent Officer of McCann Worldgroup, and native Brazilian, puts it this way: The Brazilian public is a sucker for advertising!

• It's an environment in which advertising people are stars.


• advertising is ubiquitous in Brazil. Familiar venues for advertising include television, billboards and signs in city streets, magazines, newspapers, and electronic media. Evening soap operas (telenovelas) are extremely popular and, along with sporting events, especially soccer, provide some of the most coveted advertising space.


• Models as well as producers of advertisements often achieve celebrity status in Brazil. Gossip magazines report on the private lives of top advertising executives, adding to their celebrity status.

• Washington Olivetto, a well-known advertising executive, was kidnapped and held for ransom for nearly 2 months in 2002.

• Gisele Bündchen, a top model who appears in her own company's advertisements for sandals is among the most recognizable people in Brazil.

• There are even rumors that a well-placed advertising executive may shortly run for presidency in Brazil.


The regard with which advertising is held, the public's acceptance of it, and the celebrity statusof advertising stars set a backdrop against whichBrazilian advertising manages its creative verve.


• Nowadays ad agencies in Brazil include two major types.• First, many well-known multinational agencies like

BBDO, DDB, Draftfcb, Grey, JWT, Leo Burnett, McCann Erickson, Ogilvy, TBWA, Saatchi and Saatchi, and Y&R have a strong presence in Brazil and service multinational accounts as well as some local ones.

• Second, there are a small number of extraordinarily successful Brazilian agencies (including Africa, Almap, DM9, and W/Brasil) that grew up in the last two decades and enjoy distinction as some of the world's most creative agencies. São Paulo is both the primary business capital of Brazil and the nerve center of Brazilian advertising.

Creative Department at McCann Erickson in São Paulo

The Run-Up to the Creative Boom

• In 1929, the J. Walter Thompson Advertising Agency of New York opened an office in São Paulo, bringing with it the international advertising standards of the time that included the latest market strategies and research techniques. The ostensible reason for this expansion into Brazil was to service its major client, General Motors, which had just opened a manufacturing plant in Brazil.

• Similar GM plants and accompanying JWT offices were opened in more than 20 locations around the world during the 1920s.

• Another American agency, N.W. Ayer & Son, established offices wherever the Ford Motor Company had its manufacturing plants.


• The establishment of Brazilian offices was no simple matter for the American agencies.

• Typically one or two expatriates opened the office and began the search for local managers and creative talent. Since they were unable to find people trained specifically to manage ad agencies or to create ads, they hired managers who had been trained in law, journalism, or finance and creative people from the world of writers and artists.


• As a result, the advertising from this period tended to be rather formal. Typical ads showed products and consumers in highly idealized situations.

• Although JWT, Ayer, and other American agencies initiated a shift in both the tone and style of Brazilian advertising, their influence was actually short lived. The Great Depression led to the closing of Brazilian and most other foreign GM and Ford manufacturing plants and, in turn, the American advertising branch offices. It was not until after World War II that foreign agencies opened or reopened offices in Brazil.


• Brazil, however, remained more or less a closed market for goods produced outside the country until the 1990s when a shift in economic policy resulted in a re-growth of involvement in international and global markets both in terms of what Brazil produced and purchased.

• In addition to companies like Coke, McDonald's, and Sony that sold less expensive items, Brazil became in the 1990s a market for luxury consumer goods and top international brands like Gucci, Chanel, BMW, and the like.


• As elsewhere in the world, the economy drives advertising in Brazil. Today Brazil has the world's 9th largest economy and a population of over 183,000,000 people. There are great differences within Brazil—from extraordinarily wealthy consumers in the big cities of Rio de Janeiro and São Paulo to the urban poor of thefavela slums and remote rural areas of Amazonia.

• Today, television operates as a force to unite Brazil's diverse population. Most programs are, of course, sponsored, and, thus, accompanying advertisements play an important role in constructing common values, desires, and lifestyles in Brazil.

Why Is Brazilian Advertising So Creative?

• The most popular programming continues to be the evening news and the telenovelas that run at 7 and 8 o'clock. It is difficult to overstate the loyalty to and interest in the telenovela in Brazil. Faithful audiences include housewives, domestic workers, laborers, office workers, men as well as women, and they generally cut across social classes and categories reaching perhaps 90% of households.

• Whole families arrange their days so as not to miss the nightly episodes. Viewers become involved in the plots, frequently imitating the actors and discussing the comings-and-goings in the stories with their friends, families, and neighbors. The associated commercial slots form nearly perfect media opportunities for advertisers.


• In addition, many products are used and talked about in the soap operas themselves, making product placement a familiar and highly successful marketing device. Other great loves of the Brazilian people are soccer and carnival—both of which create important advertising venues as well.

• Creative boom began in Brazilian advertising in the 1960s. Alex Periscinoto, a co-founder of the Almap agency, spent time in New York in the early part of the decade working with Bill Bernbach, father of the American Creative Revolution and the most influential figure in American advertising in the 1960s.


• A few years later, three Europeans, Roberto Duailibi, Francesc Petit, and José Zaragosa, founded DPZ, an advertising agency that brought a European feel and sophistication in art to Brazil. These two movements came together in Brazil—modern advertising techniques based on Bernbach's revolutionary style with beautiful layouts and exquisite photography from the European advertising tradition. The combination ignited Brazilian creativity.


• During the 1970s, young creatives from DPZ and Almap began founding agencies of their own, effectively spreading the movement around the major cities of the country.

• The Brazilians continued to pay attention to other international advertising trends, from which they drew further inspiration.

• At the same time, Brazilian advertising began to address consumers in a more colloquial voice rather than continuing the more formal language used in the past. This brought advertising closer to consumers and they responded positively to ads that spoke to them like they talk to their friends. This new style was "very engaging, humorous, and 'very Brazilian.


Brazilian advertising thus faced two critical issues in the1990s—having campaigns that would work all over LatinAmerica, and looking toward the possibility of winninginternational awards that would garner increased attentionand ultimately more business. • A major obstacle inhibiting achievement of either goal was

the Portuguese language, which, although the official language for Brazilians who constitute 51% of Latin American population, is typically unknown in the other 12 countries of South America. This linguistic block precluded others understanding and admiring even the most brilliant copy. Moreover, puns, jokes, and other forms of language play did not translate well. Thus, Brazilian advertising became much more dependent on visual communication.



• Brazil had begun winning international awards for its advertising as early as the 1970s. This continued through the 1980s and emerged as a major trend in the 1990s. An example of this early award-winning advertising from the year 1987 is the commercial for Kaiser Beer created by the DPZ agency.


• During the 1990s, a new generation of creative people who had established reputations from the previous decade moved on to found or head their own independent agencies. The best known of these are Washington Olivetto, Nizan Guanaes, and Marcello Serpa. Each of their agencies was a center of excellence, and each competed with the others for clients. This frenetic competition eventually led to these agencies trying to outdo the others in terms of creativity, the most important yardstick for which would be the prizes won in international competitions.

Fake Award Winning Ads

• Many creatives felt stifled by the constraints of their clients' needs and strategies, and thus emerged the phenomenon of creating commercials strictly for the international competitions. Most of these commercials never aired even a single time, but several picked up international prizes for their extraordinary creativity.

• For the first time, the Cannes Lions International Festival of Creativity banned agency creatives from next year's festival after stripping independent Brazilian shop Moma Propaganda of two Lions won at the Cannes awards for apparently fake ads for Kia Motors Brazil.


• After the June festival, a firestorm of bad publicity swept social media, criticizing the campaign for overtones of lust and pedophilia. Automotive News, Ad Age 's sibling publication, described the two print and outdoor ads, intended to promote the Kia Sportage's dual-zone hot-and-cold climate control feature, as comic strip-style scenarios with family-friendly images on one side, juxtaposed with racy, adult fantasies on the other, including a male teacher helping an elementary school girl.

• When Kia denied approving the ads, the festival investigated.


• The Cannes Lions rules state clearly that if requested, proof must be provided that campaigns ran and were legitimately created for a fee-paying client.


Selling Corn Flakes to People Who Skip Breakfast

• A significant breakfast is not a part of Brazilian culture, certainly not an American-style breakfast that includes breakfast cereal. This did not stop Kellogg from attempting to make it so. J. Walter Thompson/Brazil advised Kellogg to use product placement in telenovelas as a strategy to entice potential Brazilian consumers. They based their reasoning on the fact that consumers tend to imitate the actors in telenovelas.

The Body Beautiful in Brazilian Advertising

• It is hard to understate the importance of sex in Brazilian public life. It is discussed on TV shows, magazines, and everyday life. On the beaches of Rio and in the Carnival parades, sexuality is on display. One of the first things that foreigners notice in Brazil is the extraordinary focus on nearly nude bodies, sensual clothing, and overt expressions of sex. Most of the bodies on display are female, although emphasis on male beauty is also a part of Brazilian culture.


• We just go to society and pick up what's happening there and put it back in advertising. It's not something we are ashamed of. It's on TV at prime time. Everybody's watching and people here grow up with that. You go to the beach, it's like that.

• Sex is definitely a part of our day-by-day discussions everywhere. It's very difficult for Americans or maybe the British to understand how it works, but the moment they live here, they get it. Advertising is linked to how society is structured, and advertising just reflects that.


• The openness with which Brazilian ads treat the human body stands in stark contrast to a disdain for expressions of violence in ads. Brazilians are accustomed to hearing about violence and corruption in society but that they do not like it in their films, TV programs, or ads.

• They want media to express alternatives and aspirations to the social problems of poverty, street crime, and corporate and government corruption.

• No guns, no thievery, no thieves, no assaults, no jokes about killing people, or death because people don't like it. People react badly—but a naked body or sexuality in the sense of erotic sexuality, it will go nicely. It's a cultural phenomenon.

Creativity over Strategy

Creativity over Strategy

• Award-winning campaign was for a Brazilian soft drink, Diet Guarana. The two-page spread featured only a bronzed stomach (alternatively, female, lighter-skinned male, darker-skinned male) and a Diet Guarana bottle cap positioned at the same height as the model's navel on the opposite page.

• The Creative Director wanted to portray the product as a beauty product as well.

Three Leaders in Brazilian Advertising

Washington Olivetto• Olivetto has received more Cannes Lions than any other figure in

the world of advertising—more than 50. He is listed in the Guinness Book of Records as the creator of the longest-running advertising campaign with the same leading character. The series, which appears in both print and TV, features comedian Carlos Moreno impersonating various celebrities, politicians and icons, including Che Guevara, and the Mona Lisa. Since its inception in 1978, there have been almost 350 different executions.

• This campaign for Bombril, a household cleaner, is much loved by Brazilians who anxiously await Moreno's next impersonation. So popular are the spots that they are listed in programming guides. When the company attempted to change the campaign in 2004, the public demanded its revival.


Nizan Guanaes• The desire to win more international prizes led Guanaes,

according to some of his critics, to start a trend that focused more on creativity than strategy. Guanaes went on to win other Cannes Lions. His campaign for Parmalat milk reflects the creative heights that DM9 reached during the 1990s. Critics of the creativity-before-strategy approach use this example to illustrate the process of a creative director looking for a brand where he could use his creative idea. Apparently, a creative director at DM9 had seen a display of photographs of children dressed like animals at a New York show. Guanaes liked the idea and wanted to adapt it to a campaign


Marcello Serpa• Serpa's award-winning campaign was for a Brazilian soft

drink, Diet Guarana. The two-page spread featured only a bronzed stomach (alternatively, female, lighter-skinned male, darker-skinned male) and a Diet Guarana bottle cap positioned at the same height as the model's navel on the opposite page. Serpa thinks that this campaign embodies his preference for visual over verbal communication, and he believes that it won because it communicated its message both simply and powerfully.

Outdoor in Brazil

• Imagine a city of 11 million inhabitants stripped of all its advertising. It’s nearly impossible when the clutter and color of our current urban landscapes seem inextricably entwined with the golden arches of McDonald’s or the deep reds of Coca-Cola.

• Yet for the residents of São Paulo, Brazil, this doesn’t require imagination: city dwellers simply have to walk down the street and look around to see a city devoid of advertisements.

• In September 2006, São Paulo’s populist mayor, Gilberto Kassab, passed the so-called “Clean City Law," outlawing the use of all outdoor advertisements, including on billboards, transit, and in front of stores.

Outdoor in Brazil

• São Paulo continues to exist without advertisements. But instead of causing economic ruin and deteriorating aesthetics, 70 percent of city residents find the ban beneficial, according to a 2011 survey. Unexpectedly, the removal of logos and slogans exposed previously overlooked architecture, revealing a rich urban beauty that had been long hidden.

ENDS

Date post:	08-May-2015
Category:	Economy & Finance
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Advertising in brazil

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