Advertising 2.0

Learning objectives

At the end of the course each student will have acquired the ability to produce creative ideas - that is, interesting, engaging, effective - which are at the service of the brand that commissions them, each fit within the scope of the brief proposed by the client, and can be used on the means that the better they reach their target audiences: print, radio, TV, BTL, data driven websites, social media.

During the course each student will be able to practice and test different creative ideas, never in an abstract way but always with reference to concrete case studies and briefs from tourism communication, territorial marketing, social and institutional communication in the field of health and environmental sustainability, from commercial communication in the agri-food sector, from the marketing of business, political and trade union associations.

Course content

Through group project work, the laboratory will deal with the following topics with particular attention to the creative strategy of advertising with a high digital content.

CREATIVE AWARENESS
There is an important difference between creative ability and artistry. For valuable advertising it is essential to develop the first, and everyone can do it with practice.

CREATIVE PROCESS
The Double Diamond process, made up of problem-framing followed by problem-solving, guides the project work activities.

ON-BRAND CREATIVITY
Advertising creativity must always reflect the values ​​of the brand it works for. It is essential to align creativity with the purpose of the brand.

SOCIAL IMPACT OF CREATIVITY
It doesn't matter if it's a private company, a public one or a non-profit organization, advertising in the era of globalization can no longer avoid considering its impact on living beings and the environment.

TESTS & LEARN
Prototyping and testing during the creative process are essential to highlight those critical issues that could generate failures and cause significant loss of time, resources and reputation, but above all to raise new questions capable of discovering further opportunities for improvement.

REPRESENTATION
In the age of the digital revolution, which continually offers new creative opportunities, the expressive forms of advertising are increasingly new and complex. Thus it becomes even more important to represent them effectively for the customer and for one's collaborators.

LANGUAGES AND MEDIA 2.0
The creativity of contemporary advertising is literally without strategic, narrative, technological and channel limits, and the wealth of results it can generate is immense.

Bibliography

The mandatory bibliography will be provided based on the project needs that emerge during the laboratory.

Optional

• Barry, The advertising concept book: a complete guide to creative ideas, strategies and campaigns, third edition 2013, Thames & Hudson
• Bernocchi, History of advertising, 2022, Utet University
• Burtenshaw, Mahon, Barfoot, The fundamentals of creative advertising, second edition 2011, Ava
• Himpe, Advertising next: 150 winning campaigns for the new communication age, 2008, Thames & Hudson
• Kelley D., Kelley T., Creative confidence, 2014, William Collins
• Lombardi, We Are Social, Creativity in advertising: from logic to emotions, 3rd edition 2021, Franco Angeli
• Lucas, Guerrilla! Assault advertising, 2011, Logos
• Pallera, Create, 2nd edition 2012, Sperling & Kupfer
• Puggelli, Sobrero, Social communication, 2010, Carocci
• Young, Ogilvy on advertising in the digital age, 2017, Goodman

Sitography for case studies

Art Directors Club Awards
Cannes Lions Awards
Clio Awards
D&AD Awards

Teaching methods and tools

Each student will build their knowledge and skills through the Doing Using Interacting approach, applying themselves to an international challenge and interacting directly with consumers.

Activities include group project work; quick workshops; classroom and field exercises; audiovisual lessons with case study presentations and research references; collective critique meetings; group reviews; peer review; bibliographic studies; retrospective analysis sessions.

Assessment methods and criteria

The final evaluation will depend on the group work carried out leading up to the exam.

Will be considered:

• compliance with the brief
• the originality of the creative concepts
• the formal quality of the presentations
• the punctuality and completeness of deliveries throughout the course
• the effectiveness of collaboration between group members

During the exam, a retrospective analysis session can also be held for each group.

The final grade also takes into account attendance and behavior in the classroom.

Those who always attend, have a number of absences below the admitted 25%, and demonstrate attention, participation and civility in the classroom can be rewarded with 1, 2 or 3 points, rounding up the profit grade.