Dois anos após a Primavera Árabe, o conflito ainda permanece na região e as liberdades continuam restritas. Algo simples para nós, brasileiros, como ir a um estádio ver nosso time jogar, tornou-se impraticável na Tunísia. É aí que entra a ação Mobilizing The 12th Man, que os escritórios da Ogilvy Tunísia e Dubai desenvolveram em parceria para ajudar o time C.S. Hammam-Lif a se conectar com seus torcedores no mais importante jogo da liga.
Como estavam proibidos de ir ao jogo, os torcedores foram incentivados a baixar um aplicativo para smartphone ligado a 40 enormes auto-falantes estrategicamente posicionados no estádio. Bastava um clique para escolher o som que os fãs gostariam de ouvir reproduzidos: torcida, palmas, tambores, cantos…
Graças ao aplicativo, o estádio com capacidade para 12 mil pessoas conseguiu reunir mais de 93 mil torcedores, criando um resultado de arrepiar. E mesmo com o estádio vazio, o som tomou conta campo, e os jogadores encontraram o apoio que precisavam para seguir em frente, vencendo a partida por 1 a 0.
O diretor de arte brasileiro Leo Ehrlich conta que criou todos os visuais do projeto em Dubai, que depois foram finalizados pela equipe na Tunísia. Além da mídia espontânea, a ação levou 7 leões em Cannes, cinco de prata, dois de bronze.
IBM's technology is helping cities get smarter in innumerable ways. Now, its outdoor advertising is doing the same—by making simple little improvements to the landscape. A triad of outdoor ads from Ogilvy France function as a bench, a shelter and a ramp over stairs. Sure, they're small gestures mostly intended to have a wow factor online. But they nicely embody the brand promise, and represent just a starting point—urging passersby and the online audience both to visit people4smartercities.com and submit their own, presumably larger ideas for civic upgrades. More ads, a video and credits below.
CREDITS Client: IBM Agency: Ogilvy & Mather France Chief Creative Officer: Chris Garbutt Executive Creative Director: Susan Westre Art Director: Daniel Diego Lincoln Copywriters: Lauren Elkins, Andrew Mellen Concept: Daniel Diego Lincoln, Stephane Santana Photographer: Bruno Bicalho Carvalhaes Agency Supervisors: Muriel Benitah, Mary McFarland
Com a proliferação dos smartphones, a procura por WiFi grátis virou a nova busca pelo Santo Graal. Todo mundo anda atrás dos milagres da conexão rápida. E é aqui que o Scrabble entra.
O Scrabble, você sabe, é aquele jogo de tabuleiro onde você recebe algumas letras e precisa formar palavras. No Brasil ele também foi lançado com o nome de Palavras Cruzadas. Certo, mas o que isso tem a ver com o tal do WiFi?
A premissa é a seguinte: lembra da tal proliferação dos smartphones? Bem, Segundo o case, ela está acabando com a linguagem escrita mundo afora. Quanto mais a gente usa o celular, pior escreve. Ou pelo menos escreve de forma abreviada (vc, wtf, waiting4U, etc) e algumas vezes completamente errada (kd, kra, vlw, xau e por aí vai).
É aqui que o Scrabble entra novamente. Eles colocaram algumas vans em Paris levando WiFi para lugares onde você normalmente não conseguiria uma conexão. Para ter acesso, a pessoa deveria mostrar sua habilidade em formar palavras. Quanto maior a pontuação obtida, maior seu tempo de conexão grátis.
Um jeito simpático e pertinente de fazer todo mundo lembrar do jogo e ainda ganhar uns minutos de internet. Eu gostei. A criação é da Ogilvy Paris.
Lembra do Chaves fazendo sinal de “sim” e dizendo “não” na escola do Professor Girafales? Na Bulgária é mais ou menos assim que acontece 🙂
Quem conta essa história é a nova campanha “Travel Yourself Interesting” da Expedia, criada pela Ogilvy de Londres. São dois filmes divertidos com curiosidades sobre destinos interessantes para viajar. Assista abaixo.
Assim que sair uma versão legendada eu atualizarei o post. Por enquanto, só em inglês:
Burger King in Puerto Rico celebrated its 50th anniversary by giving away "Hands-Free Whopper" holders to 50 lucky customers. DLC/Ogilvy & Mather helped develop the gag gift, which is still the most brandtastic invention since, I dunno, that Nivea print ad that charges your cell phone. The clip below shows folks feeding their faces while the holders free up their hands for other important stuff, like boxing, working in a tattoo parlor and taking dogs for a walk. (After about 30 seconds, I wished the dude strumming his guitar and belting out the "Hands-Free Whopper" song would take a big beefy bite and give my tortured ears a rest.) Actually, I'm not so impressed. Looks like there's plenty of room on that thing for a French fry dispenser and sippy-cup holder. I don't want to live in a world where I have to burn a single calorie reaching for my big gulp at lunchtime.
Ogilvy France and Ogilvy Asia-Pacific joined forces to make a can that splits in half for Coca-Cola, the most literal extension of the brand's global "Share Happiness" concept. The split-can design is admittedly pretty cool, although sharing a Coke with anyone who isn't a germaphobe is already pretty easy, so this is a solution to a problem that doesn't really exist. It does make Twix look even worse for their infamous "Two for me, none for you" campaign back in the day, though.
Uma engenhoca criativa da Billboard instalada em bancas de jornais, verificava quem realmente era fã de determinado artista. Bastava plugar o iPhone na Fan Check Machine, se a pessoa tiver 20 ou mais músicas do artista da capa, ganhava uma revista.
Oh, hey there, ladies. Feeling fat? Of course you are. Don't worry. I've got some advice. Don't get sugary, fattening soda from that fat, tubby vending machine over there. Get delicious, trimming diet soda from from me! The Slender Vender. I'm so skinny, I fit between chairs at the hair salon, so you can be thin, but pretty too. I fit between treadmills at the gym, so you can drink more diet soda—it hydrates!—while you're working hard, so you can be more thin, like me. You won't find me, though, at that sketchy artist's loft in Brazil, where that soap company hangs out. Whatever you do, don't go there. They'll try to convince you that you're not anywhere near as fat and hideous as you think you are. And they'll probably serve you soda in a creepy skinny can. For Diet Coke, from Ogilvy Paris.
Depois do Bluetooth Alert da Hipoglós, aqui está uma versão mais bem acabada da mesma ideia. Um dispositivo + aplicativo da Huggies que avisa quando a fralda do bebê precisa ser trocada.
O sensor monitora a umidade da fralda, enviando uma mensagem para o smartphone dos pais quando é hora de trocar. Através do app ainda é possível monitorar a quantidade fraldas usadas no dia, além de comprar online.
O site da campanha – huggiestweetpee.com.br – não diz como é possível adquirir o produto, se é que ele será lançado no mercado. No videocase ficou bacana.
Advertised brand: Business Line – Cerebration
Advert title(s): The Annual Business Line Corporate Quiz
Advertising Agency: Ogilvy, Chennai, India
Associate Creative Director: Binu Varghese, Mridula Joseph
Creative Controller: Deepan Ramchandran
Art Director: KD Divya
Copywriter: Deepan Ramachandran
Illustrator: KD Divya
Ideia do tipo “como ninguém pensou nisso antes?”. Vending machines são gigantes e desengonçadas, mas não essa especialmente desenvolvida para a Diet Coke.
Em Paris, a “Slender Vender” é elegante, e vending machine mais fina do mundo. É preciso descontar o fato de que a máquina não precisa contar e armazenar dinheiro, já que o refrigerante sai de graça para quem apertar o botão.
Advertised brand: The Hindu
Advert title(s): Friday Review November Fest 2012
Headline and copy text (in English): Where every story has its song.
Advertising Agency: Ogilvy, Chennai
Associate Creative Director: Mridula Joseph, Binu Varghese
Art Director: Apeksha Sharma
Copywriter: Archana Abraham
Client Servicing: Karthik Hariharan, Aruna Narsi
Illustrator: Jonathon Stephen
Saudi Arabia, which ranked 131st out of 134 countries for gender parity in a recent report from the World Economic Forum, has unveiled what is believed to be its first major ad campaign condemning violence against women. The first ad, created by Memac Ogilvy in Riyadh for the King Khalid Foundation, shows a woman in a niqab with a black eye. The English version of the copy reads: "Some things can't be covered: Fighting women's abuse together." "The veil does not only hide women's abuse, but it's also a representation of the social veil behind which a lot of societal deficiencies hide," says Fadi Saad, managing director of Memac Ogilvy in Riyadh. "It is one bold first step toward legislation to fight women's abuse in the kingdom of Saudi Arabia. We believe that the authorities are ready to support such a drive today given the evolution that is taking place in the country." It's another sign that views toward women may be slowly changing in Saudi Arabia. Last summer, Saudi women competed in the Olympics for the first time. And this January, King Abdullah appointed 30 women to the consultative Shura Council—also a first.
A violência doméstica é um problema que ignora nacionalidades, etnias, religiões ou classes sociais. Aqui no B9, a gente já viu bons exemplos de campanhas focadas no assunto, mas a imagem acima é histórica. Segundo o site BuzzFeed, esta é a primeira propaganda contra a violência doméstica já feita na Arábia Saudita, com criação da Memac Ogilvy para a King Khalid Foundation.
Em países islâmicos, a situação é um pouco mais complicada, já que as mulheres são “guardadas” por homens – geralmente seus pais, irmãos ou maridos.
Isso significa que os abusos, em sua maioria, não são denunciados. E apesar do uso do véu e da burca, o próprio impresso já diz: há coisas que não podem ser cobertas. Independentemente dos resultados, a coragem de falar a respeito já torna este material histórico.
Dentro desta temática, vale lembrar que, há cerca de um mês, mostramos por aqui o vídeo One Photo a Day in the Worst Year of My Life, em que a modelo Mia Hujicaparecia em diversas fotos supostamente tiradas ao longo de um ano, mostrando a escalada da violência doméstica. Na época, ficou evidente que era uma campanha mais ou menos nos moldes de Perdi Meu Amor na Balada, mas com o importante propósito de conscientizar o público sobre o abuso.
Aproveitamos o gancho da propaganda árabe para relembrar essa história. O vídeo está próximo das 5 milhões de visualizações no YouTube e a Saatchi & Saatchi de Belgrado e a Fund B92 assumiram a autoria da campanha.
Independentemente das maneiras escolhidas para se falar sobre o assunto, o importante é que ele continue em pauta.
Consider this a left-handed compliment: Time Warner Cable has better commercials promoting their cable service than they do actual cable service. That’s not an exaggeration. Anyone who lives in New York has either experienced firsthand or heard of the terrible reception and customer service. And for anyone planning on writing some snarky, contrarian comment about your perfect Time Warner service, don’t jinx the good cable karma by being an idiot.
That being said, Time Warner is back with another commercial about its sports package, which, according to the above spot, can be watched on just about every mobile device ever created. Victor Cruz, the man in half of all commercials on television, makes an appearance along with golfer Ian Poulter, driver Kasey Kahne, and former NFL coach/current CBS football analyst Bill Cowher (who tipsters have been taking for his acting skills in the last few days). The spot is a short and clever way to include four endorsers at once, a compliment directed completely at the agency behind this, Ogilvy, not Time Warner itself.
In closing, one more reason to dislike Time Warner Cable: Victor Cruz has one contract with TWC and zero contracts with the New York Giants. See another TWC spot with Cowher and Cruz called “The Test” after the jump.
Dove's "Real Beauty Sketches" quickly became a viral phenomenon. But as it blazed past 1 million views on YouTube, the video has racked up its fair share of critics, too. The Ogilvy-produced clip, which shows a police sketch artist drawing women as they perceive themselves versus how strangers see them, has been praised by thousands of women as a heartwarming wake-up call for women to stop being so hard on themselves. But some feel the video actually reinforces beauty stereotypes by depicting one sketch as "uglier" than the other. Below, we catalog a few of the specific complaints about the campaign that have been bouncing around the Web this week.
1. It features too many traditionally attractive white women. Jazz Brice on Tumblr: "When it comes to the diversity of the main participants: all four are Caucasian, three are blonde with blue eyes, all are thin, and all are young (the oldest appears to be 40). The majority of the non-featured participants are thin, young white women as well. … Out of 6:36 minutes of footage, people of color are onscreen for less than 10 seconds."
2. It seems to define beauty as being thin and young. Kate Fridkis on PsychologyToday.com: "Looking at the two portraits of herself, one woman described the one meant to be prettier as looking 'much younger,' which seemed to be true of all of them. The more 'beautiful' facial representations seemed to all be thinner and younger-looking. If that is the crux of beauty, then I guess we're all pretty screwed by that obnoxiously inexorable bastard called time."
3. It positions beauty as the yardstick by which women measure themselves. Stacy Bias on StacyBias.net: "Is the pinnacle of success always beauty? Believing that others see us as beautiful? Believing that we are beautiful? I want people to question their negative self-perceptions, sure. But I would love for that to happen in a context where beauty doesn't always end up valorized. This is a mindfuck—'everyone is beautiful, so you are beautiful, too!' still reinforces beauty as an aspirational value."
4. It shows women as their own enemies rather than victims of a sexist society. Erin Keane on Salon.com: "All of that body image baggage is internalized by growing up in a society that enforces rigid beauty standards, and since the target demographic for this ad is clearly women over 35 with access to library cards (which is to say, women who have had some time to figure this reality out), it is baffling that Dove can continue to garner raves for its pandering, soft-focus fake empowerment ads."
5. It is hypocritical because it comes from Unilever, which also makes Axe, Slim-Fast and more. Charlotte Hannah on Twirlit.com: "[Dove's] long-running Real Beauty campaign has shed light on some important truths about the media's unrealistic portrayals of women, but given the fact that Dove is owned by Unilever, which also owns Axe (ugh) and the company that produces Fair & Lovely skin lightening cream (double ugh), the campaign comes across as hypocritical and patronizing—a way for the company to pander to women for sales while practicing the very evil it preaches against."
What arguments have we missed? Let us know your thoughts or share links to other reactions in the comments.
Ogilvy Brazil's "Real Beauty Sketches" campaign for Dove took the Internet by storm this week with its clever use of a forensics artist to show women that they're really more beautiful than they think. What would happen if you tried the same experiment on men? Check out the brilliant parody below from New Feelings Time Comedy. Let's just say guys get the opposite results—but end up getting a little weepy just the same. "Men. You're less beautiful than you think." And you ain't no movie stars.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
Post originalmente publicado no Brainstorm #9
