The globalization of economies and trade intensification lead companies to communicate with consumers of different languages and cultures.
Within the framework of international marketing strategies, advertising plays a key role. It has to resolve a dilemma which can be summarized in the following question: How can we sell a standardized product to local and different consumers?
Numerous arguments, whether theoretical or practical, were given to justify the internationalization of some products advertising campaigns. Among the most frequently given arguments, we name the following:. The standardization of consumer behaviours in many countries (a tangible evidence of the cultural homogenization). . The emergence of similar new categories of consumers on the international level (new transnational markets). . The introduction of international themes and icons thanks to the television networks and the pop music (movie stars and supermodels)
To that, one may add the relatively scarce numbers of brilliant ideas in the field of communication and thus it is easy to understand why companies tend, in their vast majority, to this type of standardized strategy.
But it is also obvious that the risks of a forced standardization are not insignificant. The relevance and the influence of the local culture are still very substantial in numerous countries around the globe including in Western Europe. It is indeed very risky not to adapt communication to some local markets especially in countries where the cultural tradition is still very present.
Localization of international advertising campaigns consists of adapting the company's communication to the specificities of the local environment of the hosting countries targeted by the campaign.
This local environment could be divided in several components to which the localizing translator must pay careful attention:. The socio-cultural component: which includes the local particularities stemming from religion, mores, social and commercial habits, rules of conduct and ethical norms. In short, this component is related to the main features of the hosting culture and society. . The politico-legal component: which includes the local particularities stemming from the nature of the political system, the stage of opening onto the world, the restrictions imposed on advertisements and the regulations related to information and to certain products (such as spirits and tobacco).
perfume Tuscany
But despite these common points, we easily notice a radical scene change when we go from one language to another. Instead of the indoor scene poorly lit and well delimited, one can see an outdoor scene much brighter and more open to the eye. The contrast between shooting indoors and outdoors is well illustrated by moving from a family scene (in French) to a street scene (in Arabic); the change is also obvious in the setting and the extras in the background. We go from the backyard of a house to a busy street. The impression of graphic similarity between the two versions is maintained mainly by the unity of perspective that puts the perfume bottle and the woman on the same line in both ads. The perfume is on the foreground, the character in the middle distance and the rest in the background blurred but crucial.
Let us take the French and Arabic versions.This textual adaptation is visible on two levels.On one hand, on the level of rhetoric images with the translation of the expression "blue planet" in French by "our mother, the Earth" in Arabic which is more idiomatic and emotionally-charged.And on the other hand, on the level of the ideologically chosen words, with the translation of the word "citizen" by "inhabitant" in order to neutralize the political dimension that is still very consequential in Arabic because it refers to a type of government that is rare in the Arab world (the republican and democratic system); to that we could add the universalistic range of the original message ("we are all citizens of the blue planet") that could irritate some nationalistic regimes.
http://www.kwintessential.co.uk/translation/articles/translation-of-advertisements.html
Różnice kulturowe, które dotyczą odmienności językowych (werbalnych i niewerbalnych), religijnych, zwyczajowych, wpływają w dużym stopniu na działalność marketingową przedsiębiorstw działających na rynkach zagranicznych. Szczególna rolę odgrywają podczas przygotowywania przekazów reklamowych.
Innymi słowy mówiąc, ważną decyzją strategiczną dla przedsiębiorstw działających na rynku międzynarodowym jest odpowiedź na pytanie, czy krajowa kampania reklamowa może być przeniesiona na inne rynki zagraniczne z małymi zmianami, np. tłumaczeniem na język lokalny, czy nie. Wielu przedsiębiorców mocno wierzy, że dobra reklama odniesie sukces wszędzie. Jednakże krytycy odrzucają standaryzację, tłumacząc to m.in. różnicami kulturowymi. Twierdzą oni, że reklama powinna być dostosowana do każdego rynku zagranicznego.
. Z badań przeprowadzonych przez agencję Hite & Frase wynika, że tylko 9% firm działających na rynku międzynarodowym stosuje „czystą” strategię standaryzacji, 37% przedsiębiorstw w pełni ją różnicuje, natomiast 54% firm stosuje podejście mieszane (stały przekaz uzupełniany lokalnie dostosowanymi elementami
R.D. Irwin, Global marketing management, Homewood, V, 1996, s. 462, za: H. Tendera-Właszczuk, Kulturowe uwarunkowania reklamy na rynkach międzynarodowych, w: Problemy handlu międzynarodowego, red. K. Budzowski, S. Wydmus, Wyd. AE w Krakowie, Kraków 2000, s. 160-169.
A. Kanso badał także wpływ kultury na międzynarodowe praktyki reklamowe. W badaniach wzięło udział 96 menedżerów zajmujących się reklamą produktów trwałych, które były promowane na rynkach zagranicznych. Wyniki wskazują, że 75% firm dostosowuje reklamy międzynarodowe do lokalnych strategii reklamowych. Tylko 25% firm standaryzuje treści reklam do warunków lokalnych.[iii] Wyniki badań innych naukowców także dowodzą przewagi stosowania strategii adaptacji lub częściowej adaptacji odnośnie do reklam prezentowanych na rynku międzynarodowym.
A. Kanso, International advertising strategies: Global commitment to local vision, Journal of Advertising, Vol. 32 Nr 1, 1992, s. 10-14.
1. Stosowanie tego samego przekazu zmieniając jedynie język.
2. Użycie tego samego tematu w skali globalnej z dostosowaniem do specyfiki każdego rynku lokalnego.
3. Dokonanie adaptacji tematu i sposobu zaprezentowania odpowiednio do każdego rynku lokalnego.
http://www.swiatmarketingu.pl/index.php?rodzaj=01&id_numer=114916
Most Arab radio and television systems are government-owned, for several reasons. First, Arab governments regard radio and television as potent domestic political instruments because they reach most of the population regardless of literacy and income levels. Moreover, Arab broadcasting underwent its first major expansion during the period after World War II when Arab nationalism and anticolonialism were strong, and governments were very eager to use them for purposes of political nation building and national defense.
Third, broadcasting is not a lucrative source of income for commercial investors because commercial advertising in the Arab world, and especially in the electronic media, is relatively limited, and generally advertising revenues do not cover costs.
Fourth, governments are concerned about their image as conveyed in other countries through broadcasting so they want to control the programs.
As for television, indigenous television broadcasting in the Arab world first began during the late 1950s, in Iraq and Lebanon. Thirteen other Arab countries followed during the 1960s, but it was not until 1975, when North Yemen inaugurated its television station, that all Arab states had television stations.
http://www.answers.com/topic/radio-and-television-arab-countries
Nie ma bardziej globalnych marek niż McDonald's, Coca-Cola czy Levi's
W czasach, gdy tak silna jest tendencja do unifikacji, koncerny te powinny sprzedawać na całym świecie identyczne produkty, tak samo opakowane i reklamowane. Nic bardziej mylnego. Giganci zostali zmuszeni do tego, by dokładnie poznać nie tylko chłonność poszczególnych rynków, ale również przyzwyczajenia, gusty, a nawet specyfikę kulturową konsumentów w poszczególnych krajach. 'Dostosowali swą ofertę i zróżnicowali serie tych samych towarów do tego stopnia, że do odbiorców trafiają produkty-kameleony, precyzyjnie dostosowane do ich oczekiwań. Często jedynym elementem, który się powtarza, jest nazwa firmy' - twierdzi Georges Lewi, autor książki 'La Marque'.
Almudena Fernandez, lansująca na plakatach Givenchy perfumy 'Organza', w Europie nosi wydekoltowaną białą suknię bez rękawów. W krajach Bliskiego Wschodu przyodziana jest w skromną sukienkę z długimi rękawami i niewielkim dekoltem.
W zależności od rynku różne są też kreacje Barbie. - Do krajów arabskich nie sprowadza się lalki w strojach bikini w takiej liczbie jak do państw europejskich - przyznaje Dorota Wójtowicz z firmy DMS-Mattel.
Tak było na przykład z reklamą 'nowego, cudownego proszku do prania', lansowanego przez jeden z największych koncernów na Bliskim Wschodzie. W reklamówce - podobnie jak na Zachodzie - pokazano najpierw brudną bieliznę, potem karton z proszkiem, w końcu - olśniewająco biały efekt prania. Zapomniano o jednym: w krajach arabskich czyta się w odwrotnym kierunku!
http://www.wprost.pl/ar/1407/Globalna-lokalnosc/?O=1407&pg=3
Jagdish and Kamakura (1995) argued that celebrity endorsement has become a prevalent form of advertising in the United States. Approximately 20% of all television commercials feature a famous person, and approximately 10% of the dollars spent on television advertising are used in celebrity endorsement advertisements (Advertising Age 1987; Sherman 1985). The purpose of this study is to compare the use of celebrity endorsement between the United Sates and Lebanon in terms of two fundamental cultural dimensions: 1) low versus high context, and 2) individualism versus collectivism. This study investigates differences and similarities regarding celebrity characteristics in the U.S. and Lebanon.
Celebrities have been able to generate millions of dollars in endorsement deals to appear in advertisements
The Arab world is one of the regions historically ignored in advertising research. Abernethy and Franke (1996) found 40 out of 59 content analysis studies dealt with the United States media and concluded, "Much less is known about advertising information in other countries. For example, no study has examined the advertising information in any African nation, any part of the Middle East other than Saudi Arabia, or any of the 'economies in transition' associated with the former USSR"
". In response to this, the purpose of this study is to compare the use of celebrity endorsement between the United Sates and Lebanon in terms of two fundamental cultural dimensions: 1) low versus high context, and 2) individualism versus collectivism.
Although celebrity fascination takes place in the Arab world, it is likely that the way people react to celebrity is different from the way people do in the U.S. due to religious and cultural factors. In spite of these cultural and religious values; however, Arab fascination with celebrity has recently increased due to more exposure to the West and particularly the United States.
The previous literature indicates that Arabs provide celebrities with much more attention than regular citizens. Local and giant international companies have utilized Arab celebrities in advertising. During the 1980s, local football (soccer) star Mahmoud El-Khattib promoted razors, actress Sahar Ramy endorsed hair dye and actor Hassan Abdeen promoted soft drinks (American Chamber of Commerce in Egypt). The American Chamber of Commerce in Egypt also reported that as celebrity use has grown so too have their paychecks. While unconfirmed, superstars such as Amr Diab Amr Abdel Basset Abdel Azeez Diab (Arabic:عمرو عبد الباسط عبد العزيز دياب) (born October 11, 1961) is an Egyptian singer and (a singer from Egypt) and Nawal Al Zoghby (a singer from Lebanon) may be paid over $1.1 million (approximately 6.3 million Egyptian pounds) for appearances in television commercials. Because the phenomenon of using celebrity to endorse products is increasing in the Arab world, it is important that this phenomenon be understood.
Indywidualizm/kolektywizm
http://www.thefreelibrary.com/Cultural+differences+in+television+celebrity+use+in+the+United+States...-a0208956138
Is it possible to persuade consumers in different markets with the same advertising message? Will they respond favourably? Or should the advertising message be customised to reflect local culture? This question is one of the most fundamental decisions when planning an advertising campaign in different cultural areas, and, not surprisingly, one of the most frequently discussed issues in advertising today.
One side in this debate emphasises that the world is growing ever closer, and that the world can be treated as one large market, with only superficial differences in values (Levitt, 1983). In their view, advertising and marketing can be standardised across cultures, and the same values can be used to persuade customers to buy or consume the product. The opposing side is content with the fact that the basic needs may well be the same around the world, however they argue that the way in which these needs are met and satisfied differs from culture to culture.
Any marketing (and advertising) campaign should, in their view, reflect the local habits, lifestyles and economical conditions in order to be effective
Egipt rozwinął niesamowicie reklamy sieci komórkowych, które nierzadko mają w sobie dużo artyzmu i bardzo często rozbawiają widza do łez.
Poniżej jedna z moich ulubionych reklam sieci Mobinil
Film bazuje na typowych egipskich symbolach i gestach, bez których życie tu nie byłoby możliwe. Ciekawa jestem czy rozumiecie któreś z tych gestów czy symboli. Jakieś propozycje? Naliczyłam ich 25 (łącznie z sygnałami dźwiękowymi).
Szczególny popis reklamowy odbywa się w okresie ramadanu i od znajomych, którzy w branży pracują mogę powiedzieć, że prace przygotowawcze do tego okresu trwają nawet pół roku, natomiast po ramadanie następuje 2-miesięczna cisza - czyli zero nowości.
A tutaj jedna z tych ramadanowych, które porwały serca Egipcjan dzięki czasom i klimatowi, do których się odnosi. Niby nic, ale lokalni mieszkańcy dosłownie tańczyli w czasie jej odtwarzania
Proszę bardzo, oto opisy gestów, sygnałów dźwiękowych i innych symboli z reklamy Mobinila :-)
1. pan na moście kręci palcem w kółko - łapie minibusa, który będzie jechał przez rondo (jakie rondo zależy od miejsca, w którym stoi)
2. pan jadący minibusem wychyla się przez drzwi i macha złożoną kartką (lub pieniędzmi) - po arabsku papier to "waraq", angielska ta sama pisownia, ale inna arabska plus inna wymowa to nazwa dzielnicy mieszkalnej w Kairze, czyli minibus jedzie do tej dzielnicy
3. krawiec wskazuje na swoje oczy - znaczy, że zlecenie klienta jest dla niego ważne jak jego własne oczy (odniesienie do lokalnego znaczenia oczu), czyli coś w stylu "zdaj się na mnie" lub "twoje życzenie jest dla mnie rozkazem"
4. pan sprzedający owoce, tzw. "fakahani" (od fakha - owoce) całuje pieniądze i dotyka nimi czoła - podziękowanie Bogu za zarobiony grosz
5. matka w przychodni kręci kółka na głową dziecka - ochrona przez "złym spojrzeniem"
Women in Arab media: present but not heard
Leila Nicolas Rahbani
Same misperceptions of women and representing them as sex objects are seen in
Arab media for decades. Critics confronted the focus on women’s bodies
prevalent in the media and called for new images of women as mothers, wives,
and active participants in society. Queen Rania of Jordan, who was one of these
voices, launched the “Arab women’s media campaign” to remind heads of
satellite channels and other media leaders that they had a role to play in
correcting misconceptions about Arab women and encouraged the efforts for
changing current stereotypes affecting them, in a more strategic manner. (Queen
Rania official website, 2005)
Arab media responded by developing more positive images of women that reflect
daily life through featuring women in the Arab world as submissive wives
DRAFT
10
“happily” using the products being sold. There was too much focus on housewives
and too little attention given to women as workers or political leaders.
As many other issues, the representation of Arab women in advertisements was a
mirror of the diverse cultural currents in the Arab region.
Advertisements shown in Saudi Arabia must show veiled women. Ads aiming for
the Kuwaiti, Dubai and other Gulf markets, on the other hand, try to mix things up
a bit, often going for the stylish, attractive, but conservative style that is
increasingly becoming a trend among elites in the region.
For advertisements intended for the Gulf, women can be dressed casually and
unveiled, but then men won’t be shown in the same scene of the storyboard. As
for the Middle East, more modern and liberal women are shown. In Lebanon,
“sexy, erotic” figures are shown in most of the ads.
In Egypt, Even though an estimated 80 percent of Egyptian women wear a veil in
public today, it’s still rare to see a veiled woman in an ad specifically targeting the
Egyptian market. However, it’s a different story on the Nile Sat nowadays.
Here come some examples from MBC4 station, which is owned by Saudi
businessman and aired specifically for American programs on NileSat:
i. During summer 2006, one KFC ad shows a group of beautiful young women
at home, enjoying their fried chicken while having a girls’ night, then jumps
to a separate scene of young guys eating their chicken on cushions, and
then going outside to leap in a sports car.
During spring 2007, Arabic-language ad spotlights a beautiful veiled young
mother dressed all in white, serving soup (Knorr) to her family in perfect
domestic bliss. In a second ad, a gorgeous model in a sexy sundress throws
back a 7up while sunbathing on the concrete bank of a public fountain.
Portraying Women in
the Western and Arab Media,
General Remarks
Ibrahim Nawar
TV advertisers
in Saudi Arabia and most of the Arab Gulf
countries have to present Arab women in their
commercials as females wearing a hejab. Most
recently, it has become fashionable on some
screens to introduce women wearing a hejab as
TV presenters, as can be seen on the Al Jazeera
TV channel and the Saudi Ekhbariya (news)
channel. It may be said that wearing a hejab
is a personal choice, but behind the scenes we
hear about a policy of pressure and reward to
promote wearing the hejab among Arab female
TV presenters and film actresses.
Television Advertising in the Arab Worid:
A Status Report
EXAMPLES OF CULTURAL AND
RELIGIOUS DIFFERENCES AND
THEIR IMPACT ON ADVERTISING
Depiction of women and gender use
(modesty)
Islam stresses that women should dress
modestly and encourages women not to
show too much of their bodies in public.
In some countries, such as Saudi Arabia,
the law enforces the teachings of Islam.
Surat Al-Noor-Aih-31 in the Holy Koran
addressed the issue of women's modesty
by stating:
And say to the believing women that
they should lower their gaze and guard
their modesty; that they should not
display their beauty and ornaments except
what ordinarily appear thereof that
they should draw their veils over their
bosoms and not display their beauty
except to their husbands, their fathers.
We tested these and the notions discussed
below in a study that compared
721 Arab television commercials from
Egypt, Lebanon, Saudi Arabia, and U.A.E.
against each other, and also compared
them to the United States. A sample of 12
hours of programming was videotaped in
each of the countries. Two guidelines were
followed in selecting television channels
to be taped: (1) the channel had to be
broadcast nationwide, and (2) the network
could be accessed for free and no
subscription of any kind was required.
Based on these conditions we chose CBS
in the United States, Channel ...
Lorrain