Corporate Social Responsibility: Its Extension to Consumer Advertising Imagery
The last few decades have seen the emergence of two trends that have important implications for the field of consumer advertising. The first trend, as indicated in Gulas and Mckeage's literature review, is a growing body of research evidence that the imagery projected in consumer advertising has psychological and sociological effects.
This indicates that consumer advertising imagery is now being measured for its possible effect on consumer psychology and social behavior. The second trend, which is related to the first, can be seen in the widely acknowledged public demand that businesses need to demonstrate their social responsibility and conscience in all forms of organizational activity. These two trends make it evident that advertisers and their agencies can no longer defend socially irresponsible advertising imagery by using the traditional argument that consumer advertising merely mirrors society. Instead, as this paper will establish, organizations must now accept that corporate social responsibility extends to evaluating consumer advertising imagery for any possible adverse effect on social values and lifestyles.
The very purpose of consumer advertising is to create the desire for a particular product or brand among a target group. One reliable method that has always been used to achieve this objective has been to build idealized imagery of beautiful people, their attributes, and the enviable lifestyles they lead. This method is adopted on the theory that the images will be transferred to the advertised product by association. However, a growing body of research evidence now indicates that the cumulative effect of such images results in affecting the psychology of individual consumers, and overall social values.
These effects, in fact, have been studied in areas ranging from the promotion of unhealthy products and lifestyles to the inadvertent negative consequences of portraying idealized body images in advertising.
The recent scholarly and public debate on the adverse effects of consumer advertising imagery is not an isolated trend. On the contrary, this trend must necessarily be understood in the context of public demand that organizations conduct their business in a socially responsible manner. As Metzler points out, "organizational legitimacy is important to organizations because it represents a type of social contract that enables an organization to continue to operate." It follows, therefore, that organizations must necessarily ensure that all business activity is conducted in accordance with a socially accepted "normative and value basis."
Thus, it is hardly surprising that the imagery reflected in consumer advertising is now increasingly under scrutiny for any possible adverse effects on social values and lifestyles. More important, this implies that corporates can no longer delineate consumer advertising imagery from the values espoused by organizational culture and other practices. For, any negligence in evaluating the social impact of consumer brand advertising could lead to damaging organizational legitimacy itself.
But perhaps the boomerang effect of manipulative advertising imagery on corporate reputations is best established through citing the example of the tobacco industry. Today, the list of accusations against tobacco companies ranges from failure to disclose information on the harmful effects of smoking to deliberately projecting smoking as a socially desirable behavior. In connection with the last, it is interesting to note that the advertising agency responsible for the creation of the "Marlboro Man" has actually gone on record to say, "We asked ourselves what was the most generally accepted symbol of masculinity in America." After reviewing several hundreds of such tobacco related advertising documents, Clive Bates and Pauline Doyle conclude that tobacco advertising deliberately motivated consumers to smoke through the association of socially desirable values such as asserting one's masculinity or sex appeal with the act of smoking a cigarette.
This, in spite of the tobacco industry being well aware that the consumption of tobacco was harmful to consumer health!
Ultimately, the tobacco industry paid a steep price for indulging in socially irresponsible advertising for decades. For, today, tobacco firms have to contend with not just a total advertising ban of tobacco products, but worse, with loss of credibility and organizational reputation. Indeed, Metzler effectively establishes this point in her analysis of Philip Morris's "Working to make a difference, the people of Philip Morris" image advertising. Although the campaign in question highlights the corporation's humane work in communities, and concern over social issues such as family abuse, Metzler contends that, the effort has come too late to establish Philip Morris as a socially responsible company. Further, since the communication does not directly address public concern over the tobacco issues and instead attempts to deflect attention towards the organization's...
The above perception of the insanity of life is not at all apparent in the second painting of Georges Seurat. While it is mystical, it gives too much quiescence that is there with the impressionistic style. This like Picasso's painting above is a happy trip and does not exhibit as much negative energy as Picasso. He also does not seem to be trying to summon any primitive energies. Rather Seurat's
Art "Sacrifice of Isaac" Analysis This paper will focus upon Lorenzo Ghiberti and one of his artistic works called "Sacrifice of Isaac." The paper will provide a context within which to explain and evaluate this sculpture. Referencing art history, world history, and the artist's personal history, the paper will explore and analyze "Sacrifice of Isaac" as a seminal work of a famous artist that serves as a masterpiece representing the entire artistic
Art Culture: Public Space Art Public art like that of Koon's Train (2011), Serra's Tilted Arc (1981), Lin's Vietnam Veterans Memorial (1981), and James' Sea Flower (1978), ignite discussion to the point of its modification, re-arrangement, or removal. The reason for this controversial treatment of public art is its ability to embrace a variety of aesthetic practices. The adoption of different aesthetic values like poster art, outdoor sculpture, earthworks, multimedia projections,
This work of art depicts a struggle between two ancestors, the Bungalung man and a Tingari man, the latter of whom was trespassing on sacred land (No author). The copious quantity of dots, particularly the white ones, evinces the full force of the elements invoked by the Bungalung Man to beat his opponent into submission. The power of the Bungalung man is evinced by the fact that he leaves
Art of classical antiquity, in the ancient cultures of Greece and Rome, has been much revered, admired, and imitated. In fact, the arts of ancient Greece and Rome can be considered the first self-conscious and cohesive art movements in Europe. Style, form, execution, and media were standardized and honed to the point where aesthetic ideals were created and sustained over time. The art of classical antiquity in Greece and Rome
Art During Renaissance The Evolution of Art During the Renaissance The Renaissance period is defined as a cultural movement that spanned approximately from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe (Brotton 2006, p. 6). This period in the history of art included the painting, decorative arts and sculpture of the period and for many was considered a
Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
Get Started Now