Adland's adnews


Writer Guilds call for disclosure in promotions and product placement

Today the Writers Guild of America, West, and the Writers Guild of America, East, with the support of the Screen Actors Guild, will hold a news conference calling for a code of conduct for stealth advertising -- product placement and the weaving of products into story lines as key plotlines. The groups say that "the integration deceives audiences and forces writers and actors to do jobs they were not hired for." They are also expected to release a paper today which states:

"We are being told to write the lines that sell this merchandise, and to deftly disguise the sale as story. Our writers are being told to perform the function of ad copywriter, but to disguise this as storytelling."


Amp'd wants you to wait to die

Amp'd thinks you should wait to die. At least until their new services are launched. A new integrated campaign from Taxi NYC has launched a teaser campaign which has begun airing on stations like Comedy Central, Spike TV, and other channels with large young adult/teen demos. Next month they will roll out the "regular" campaign.

"Try not to die" will incorporate TV, Print, Guerrila, Web ads and a microsite.

Read on to see the ads and find out more.


PTC convinces Toyota to stop advertising on Nip/Tuck

Brandweek reports that the Parents Television Council has persuaded yet another advertisier to stop buying ad time during FX's Nip/Tuck. Gateway and Coors walked away from the show in 2003 after being sent letters by the group.

According to the PTC, Toyota was sent regular rundowns of the show's racier elements, along with a DVD featuring specific hot-button scenes. In its letters to sponsors, the advocacy group characterizes Nip/Tuck as being "one of the most sexually explicit, profane and violent television programs in the history of American television."

John Solberg, senior vp of public relations for FX, said the activities of the PTC aren't exactly going to keep the network's executives up at night. Solberg pointed out that the first seven episodes of season three have averaged 2.8 million viewers in FX's target 18-49 age group, making it the top-rated show in the demo across all of basic cable.

Solberg also noted that Nip/Tuck's CPMs "are as high, if not higher than any other program on basic cable."


The Jolly Green Giant is back

Today, a 25-foot tall billboard of the Jolly Green Giant went up in New York City's Times Square to officially launch the integrated campaign for Green Giant tagged, "For the love of vegetables."


Experts in India ponder if more talent is needed

Advertising in India lacks talent according to this article and their "experts".

In a scenario like this, the advertising industry is witnessing a booming opportunity in all segments across industries and markets. One of the key hurdles the advertising fraternity needs to overcome was spelt out at the AAAI diamond jubilee symposium. The future of advertising was that of the dearth of creative talent in the industry today.


Most expensive "photo copy" of an ad

Last night, Christies auctioned off a an untitled cowboy photograph by Richard Prince. It set a record at $12,238,000.


Marcel sells chocolate virally

All thee holding your breath wondering what became of Parisian ad agency Marcel founded by Fred and Farid in May this year, exhale - they just launched a campaign for chocolate.


Frieze Films and Ogilvy JHB depart from usual scare tactics of car tracking adve

Tony Baggott of South African production company - Frieze Films, commissioned by Ogilvy JHB, directed the launch commercials for Digicore C-track Secure. C-track Secure is a tracking system for vehicles using innovative technology.

For Baggott, the hero of the commercial is the car and it was therefore important to give the car a personality. "The car and owner were cast in the same way one would cast a couple. Bringing the cars personality to life meant that the driving shots were important performance pieces, where the style of driving illustrated the cars feelings."

Baggott says: "The car had to have a face and a personality in its looks and in its action - a humanization process had to take place to charm the viewer and make the commercial work."