根據Belch和Belch，一旦使用郵寄和向外去電話推銷的大眾傳媒工具前景一般，直接營銷便成為新型關系營銷工具。Belch和Belch提出直接營銷以其最純粹的方式，讓公司繞過傳統分銷渠道，使領導能夠捕捉事務和交互數據。在沒有交易和互動數據的情況下，企業不能預期最佳的、最有價值的客戶和前景的未來需求。起初的文獻回顧清楚地揭示出不同直接營銷規制的不同觀點是什么。直銷協會在媒體上將直接營銷廣泛定義為(DMA, n.d.)：
 

任何與客戶或業務接收方的溝通都是為了獲得答復，以訂單（直接訂單），進一步信息的請求（潛在客戶開發流程）或約見的型式來存儲或購買產品或服務（流量生成）。
 

根據Kotler（2000），“直接影響是一個交互式的系統，使用一種或更多媒體工具形式，如廣告來創造可測反應或交易” (p. 650)
 

根據Schermerhorn (2004)，瞬息萬變的商業環境創造了一個新的消費者導向市場。為了企業生存，領導層必須創造一個獨立的、忠誠的客戶關系。
 

根據Kadie and Landrum (2003)，直接營銷在其最純粹意義上與分銷策略相關。

 

According to Belch and Belch, direct marketing, once a mass media tool that used mailings and outbound telemarketing to list-brokered prospects has become the new relationship marketing tool. Belch and Belch propose that direct marketing in its purest form allows firms to bypass traditional channels of distribution enabling leadership to capture transaction and interaction data. Without transaction and interaction data, a firm could not anticipate future needs of best and most valuable customers and prospects. Initial review of literature revealed distinctly different perspectives of what the discipline of direct marketing is. Direct marketing has been broadly defined in media terms by the Direct Marketing Association (DMA, n.d.) as:

 

Any direct communication to a consumer or business recipient that is designed to generate a response in the form of an order (direct order), a request for further information (lead generation), and or a visit to a store or other place of business for purchase of a specific product(s) or service(s) (traffic generation).

 

According to Kotler (2000), “direct marketing is an interactive system that uses one or more forms of media tools such as advertising to create a measurable response and or a transaction” (p. 650).

 

The rapidly changing business environment has created a new customer-driven marketplace according to Schermerhorn (2004). Leadership of firms must create insulated and loyal customer relationships in order to survive.

 

According to Kadie and Landrum (2003), in its purest sense direct marketing is related to channel distribution strategy. In traditional marketing theory, products have passed through channel intermediaries such as wholesalers, distributors, and retailers on the way to the end-user customer. Each channel intermediary added to the chain retains a portion of the profit (Kadie & Landrum, 2003). Direct marketing has enabled marketers to go direct to customers bypassing traditional channels of distribution and cultivating more prospective customers (Kadie & Landrum, 2003).

 

Cultivating increasing amounts of prospective customers is accomplished when traditional channel intermediaries are bypassed so the firm can interact directly with the prospect without hindrance. Bypassing traditional distribution channels allows firms to capture and use information to better understand end-user needs (Peppers & Rogers, 2005b). According to CPO Direct (2005), direct response marketing has been growing and generating billions of dollars. Direct response marketing shows every sign of continuing as a vehicle for new product launches (King, 2004). Companies are using direct response marketing for customer benefits related to time and convenience (LiKam, 2003). According to CPO Direct (2005), the leadership of firms continues to recognize direct marketing as mass mailings and telemarketing and not as a method of bypassing traditional channels to interact directly with customers and prospects.

 

According to Compton (2005) traditionalists in the field of direct marketing have resisted emerging paradigm theory and technological advances that enable the leadership of firms to engage in direct dialogue with customers and prospects. The reasons for resistance to emerging paradigm theory are often sociological rather than technical (Compton, 2005). Companies stay away from on-demand database technologies because they are concerned about up-front investments, pricing, inner workings of each new application and about the fact these technological tools appear to be a long-term investment not addressing the short-term profit pressures a firm might be facing (Belch & Belch, 2001).

 

Compton (2005) proposed that traditional direct marketing techniques yield only an ad-hoc approach to pinpointing and understanding customer needs. Traditional direct marketing techniques are only able to accomplish a disjointed collection of data consisting of spreadsheets, database reporting tools, and manual processes insufficient for painting a picture in-depth enough to enable a firm to differentiate customers or anticipate future needs (King, 2004). According to Belch and Belch (2001), direct marketing efficiency can increase when response motivation tools are linked to direct mail or telemarketing programs. Without response motivators incorporated into traditional direct marketing programs, response rates are low and reach non-prospects yielding failure rates in the high 90% (Belch & Belch, 2001). Belch and Belch characterized traditional direct marketing methodology to be devoid of critical response motivation tools that could increase response rates and create measurability.

 

According to DiGioia (2005) when a significant enough response motivator is linked to a direct marketing contact, response rates can be higher and can motivate prospects to pre-qualify themselves or visit a booth at a tradeshow. According to DiGioia leadership in firms using traditional direct marketing tools to make contacts based on purchased lists from brokers that are not pre-qualified do not achieve favorable response rates because of the lack of relevance and personalization of the contact.

 

According to Belch and Belch (2005) response rates are uncontrollable when direct marketing programs are devoid of response motivation tools. Response rates may be more controllable than traditionally believed. According to Day (2006) the higher the desired response rate, the more significant the value attributed to the response motivation tool. Belch and Belch (2005) proposed that higher response rates are made possible when contacts are timely, relevant, personalized, and pre-qualified. Traditional direct marketing methodology does not address these limiters in a significant way. In the case of Fulcrum Analytics (according to DiGioia 2005), a sweepstakes with a limited number of participants sharing opportunity to win a new red corvette achieved high levels of response and delivered prospective customers to a trade show booth. DiGioia proposed that the success of this program was predicated upon the leadership of the firm altering a traditional view of what direct marketing was and significantly revising an approach that created accountability and measurability.

 

According to Rapp and Collins (1990), traditional direct marketing techniques have targeted broad segments of markets based on demographic categorizations such as age, income, ethnicity, geographic location, and educational level. The authors proposed such targeting is too broad-based, not deep enough or focused enough to garner high response rates desired by direct marketers.

 

Rapp and Collins (1990) compared traditional direct marketing methodology to emerging direct marketing methodology by using a funnel analogy. At the top of the funnel customers and prospects are not segmented deeply enough and marketing resources are wasted when groups are targeted based on broad demographic characteristics such as age, income, or ethnicity. Travelling deeper down the segmentation funnel allows the leadership of firms to target niche-market groups or individualized and customized needs of prospects and existing customers (Moore, 2006).

 

According to Rapp and Collins (1990), traditional direct marketing campaigns have been predicated upon the acquisition of names of prospects based on demographic characteristics.

 

直接營銷效力---Direct Marketing Effectiveness
 

Firstly, let me overcome a common misconception. Direct Marketing is NOT direct mail. Sure, direct mail is the birthplace of direct marketing but it no longer ends there. Direct marketing principles embrace all advertising and personalized communications. Press advertising, TV, email, text messaging, sales promotions, websites and telephone are all direct marketing methods. Put simply, Direct Marketing is any message that’s intended to stimulate measurable (and immediate) actions.

 

Unfortunately for the direct marketing world, the industry suffers from poor strategy. The industry is smaller than stands to reason because would-be direct marketers aren’t applying strong thought to their campaign planning. This lack of thinking means their campaigns are not given a fair chance to succeed. Most often, the lack of thought comes from a lack of training and knowledge. Frankly, the ignorance within the industry is frightening. There are too few practitioners who are aware of the tried and proven techniques that work time and time again. This is not a general statement – there are also some talented, well studied individuals who know what works and push the envelope to uncover new methods.

 

Direct marketing isn’t hard. The methods are logical and common-sense. After all, it is rational for us to learn from the successes and failures of others. Just as repeating other people’s mistakes can be expensive, emulating their successes can be extremely rewarding. Put simply, anybody in the industry from client through to agency planner and creative types should know the basics of the trade. If you, your staff and your agency don’t know these basics you are putting your business at risk.

 

廣告創意---Creative Advertising
 

Creativity in advertising has been the subject of much recent discussion in the marketing literature (El-Murad and West, 2004; Ang and Low, 2000; Ang, Lee and Leong; 2007; Smith and Yang, 2004; Smith, MacKenzie, Yang, Buchholz, and Darley, 2007). It is thought to be one of the most important, yet least understood, components of advertising effectiveness (Reid, King and DeLorme, 1998) with much research cantering on the creative process and the presentation of creative ads. However, creativity has several definitions, with much debate remaining over creativity and its effects in advertising (Sasser and Koslow, 2008).

 

Conflicting opinions over ad creativity and its effects do little to diminish its’ importance. Creative ads, if anything, are more essential to the marketer today than ever before. With firms’ desire for greater returns from marketing investments, the need for effective and efficient advertising has never been more important (Frank, 2009). The continued significance of creativity for executives (Reid, et al., 1998) and the ongoing calls for research on creativity (Zinkhan, 1993; Sasser and Koslow, 2008) are further testimony to this. Nonetheless, there is still much to be understood regarding the specific effects of advertising creativity. While creativity is intuitively an important component of advertising effectiveness, the mechanisms through which creativity influences consumer responses are not completely clear. This work begins to address some of the issues regarding creativity’s definition and its’ effects upon consumer recall.

 

“There are no rules about creativity.” (Fast Company, 2009, p 59) This list of the 100 most creative people in business, spanning from chief executives to brand personalities, to doctors, inventors and media moguls highlights the broad reach of creativity in business. Investigations of creativity trace back to Guilford’s (1950, 1956) work on the psychological components of creativity and creative thought; this, along with Kneller’s The Art and Science of Creativity (1965), which investigated that insightful “aha” moment of creativity, set the foundations for our understanding of the concept.

 

From these beginnings, the study of advertising creativity has centred upon two realms: the production of creative ideas and execution of these products, and the consumer response to the same (Sasser and Koslow, 2008). Within these realms, two components of creativity have emerged: divergence and meaningfulness (El-Murad and West, 2004; Amabile, 1983; Ang et al., 2007; Smith and Yang, 2004). Divergence is the original, novel, difference found within the creative product. Meaningfulness, also categorized as relevance, is how an advertisement, relates to a situation, goals or experience. This relationship can be between the consumer and the ad, or the agency creating the communication and the advertisement. This section provides a discussion of the prior theory and research for our study. In particular, we review creativity and meaningfulness, provide a summary of creativity in advertising, as well as investigate recall and the role of repetition and exposure length within this context.

 

The advertising literature highlights two main concepts regarding our understanding of creativity: divergence and meaningfulness. Divergence is common throughout all discussions of creativity. In order to be creative, the object must differ from the norm. Divergence has been most often characterized as novelty (Ang et al., 2007; Ang and Lowe, 2000; Kover, Goldberg, and James, 1995), but can also be seen as differences, flexibility, or originality (McCrae, 1987). Divergence is that component of creativity that differs from the expected; it provides the differential spark of the advertisement that separates it from simple communication. Divergence moves beyond the anticipated result and expresses the flexibility and imagination found within the creative object. It is what propels the advertisement forward beyond its previously expected limits and borders into a new realm (Simonton, 2000).

 

Past research has attempted to decompose divergence in many ways. Guilford (1950, 1956) presented seven factors related to divergence (sensitivity, fluency, novelty, flexibility, synthesis, redefinition/reorganization, and complexity). Later Torrance (1987) broke divergence down into 14 determinants (fluency, flexibility, originality, elaboration, resistance to premature closure, unusual perspective, synthesis, humour, richness and colourfulness of imagery, fantasy, and expression of emotions, empathic perspective, provocative questions, future orientations). More recently, Smith et al. (2007) built upon these past constructions to synthesize divergence as a second-order factor, made up of 5 components (originality, flexibility, synthesis, elaboration, and artistic value).

 

The creativity literature brings in another component of creativity; meaningfulness. According to some, meaningfulness relates to appropriateness and goal orientation (Amabile, 1983). Creative relevance is something that is meaningful and connected (Smith et al., 2007; Ang and Lowe, 2000; Ang et al., 2007). According to this distinction, meaningfulness “concerns whether the elements in an ad are relevant to the message conveyed and the intent of the ads.”(Ang and Lowe, 2000, p 836) Here, meaningfulness relates to how well the design of the ad has incorporated its message into the final creative product. It is how the ad relates to goals of the brand, firm and the designer producing the advertisement. A related concept, connectedness, addresses how relevant the ad is to the consumer. It addresses how the consumer relates to the advertisement, in terms of their product desires or needs.

 

Meaningfulness appears to be a necessary condition for an advertisement. It places boundaries upon the creative act and defines the structure and purpose of that creation, and becomes the framework that binds the formation of the advertisement (Earle, 2007). Creativity without boundaries may be inefficient or even harmful (Goldenberg, Mazursky and Solomon, 1999). Meaningfulness is a reflection of how ad information contributes or detracts from the communication (Heckler and Childers, 1992). It is the “ad creator’s perspective regarding what message is to be conveyed…and how the message is to be executed.” (Ang et al., 2007, p 221) When an object is created, it is bound by the intentions of the design of the created product. In other words, when the intention of a piece of music is to convey the message of the business, heighten emotions towards a brand and elicit responses and increases purchase intentions, then it is an advertisement; a jingle. In contrast, another work of art, like a symphony may be created to express emotion and connection through melody and harmony in an attempt to highlight the struggle of humanity. When the intention is to express this, it necessarily becomes a symphony and not an advertisement. The meaning that is put into the creation of an ad jingle is different than the meaning put into the creation of a symphony, even though both may use music as the medium.

 

The second context of meaningfulness focuses on how connected the ad is to the consumer or those experiencing the communication. From the perspective of the consumer, meaningfulness reflects how relevant the ad is to him or her (Greenwald and Leavitt, 1984; Krugman, 1967). Here relevant ads are “meaningful, appropriate, useful, or valuable to the audience in some way” (Smith et al., 2007, p 820). Consumers see an advertisement as meaningful if it speaks to their interests, needs, wants or demands. As conceptualized here, meaningfulness is a component of all advertisements, regardless of their creativity. Connectedness is the term used to express the unique relationship between the ad and the individual viewing the advertisement.

 

創意廣告效力---Creative Advertising Effectiveness
 

In art, the artist sets the limits to his room without governed by any aspect of functionality as opposed to advertising. Any advertising campaign is governed by the same criteria: effectiveness. Advertising effectiveness is one of the first fruits of the profession because it is meaningful. (Brock 2008, 650)

 

Investment in creative advertising is carried mostly today. However, investment in (direct marketing) is increasing year after year to nearly equal the investment in creative advertising. This turnaround is due to new audiences that have hated mainstream media and they must communicate with direct marketing techniques. Moreover, it is due to the enormous difference in communication budgets and subsequent achievement of objectives. (Brenner 2007, 59)

 

Clearly, the purpose of advertising is to create change in people’s mindset – in particular, to enhance predisposition to ‘purchase’ a brand. Until recently, most advertisers believed advertising was a rational process. However, this belief was overturned ‐ it is largely our subconscious, emotional feelings that decide outcomes and what we say consciously about things is generally a rationalization of unconsciously‐formed feelings.

 

In a recent issue of the Journal of Advertising, Sasser and Koslow (2008) highlight the history of creativity research in advertising. They categorize creativity research based upon the design of the study and the perspective of the creative function.

 

The primary research domains of creativity are the production of the advertisement and the consumer response. These research designs centre upon three functional perspectives: person, place and process. We build upon this framework to outline the past research in creativity and advertisement.

 

Production focused research is concerned with the creation of creative advertisements, whether it is the person creating the ad; the place, or creative agency and situations, forming the creative environment; or the process through which creative advertisements are produced. Response orientated investigations are more concerned with the effects of creativity, whether it is the person’s, in this instance the consumer’s response to the ad; the place and location of the creative ad (either in the viewing environment or within context of other advertisements); and the process of how creative advertisements are viewed. While we highlight the major findings within this stream, further review and discussion can be found in Sasser and Koslow (2008).

 

Creativity has been the subject of much interest in marketing. It has been seen as a necessary, but not sufficient, component of advertising effectiveness (Zinkhan, 1993). The extent to which creative ideas are generated and how they influence both practitioner goals and output has been a driving force in ad agency strategy (Koslow et al., 2003).

 

Creativity has been shown to have a substantial influence on ad recall and recognition (Till and Baack, 2005; Baack et al., 2008), and may also influence attitude towards the ad, brand and purchase intentions (Smith et al., 2007). Creativity’s role upon consumer response has been less researched. How consumers’ respond to creative advertisements and the role of the creative presentation have yet to be fully investigated (Sasser and Kaslow, 2008). Further, how creative advertisements are encoded and processed by consumers is still unknown. The ability of creativity to cut through consumers’ attention and the role of repetition as it relates to creativity is still open to discussion.

 

What's the difference?
 

Effective marketing will generate new customers by making them aware of your business. Knowing the difference between marketing and advertising lets businesses become and stay successful. Marketing is not an overnight activity; it takes time and can involve in-depth research for a marketing plan to be utilized effectively. Think of marketing as whatever an organization does to make it possible for an exchange of product or services between a company and their consumers.

 

Implementation of an effective marketing plan needs to be done on a consistent basis; only 1 percent to 3 percent of the population at any given time is interested in buying a product or a service. Marketing frequency is the only way for a business to stay in the consumer’s mindshare. Contacting prospective clients through advertising has to be done for the long haul. Marketing to your target market month after month keeps the business’s identity in front of exis1in and future clients.

 

Without marketing there would be no business, and advertising is just one of the marketing tools needed to generate business. Both marketing and advertising need work hand-in-hand to be effective in recalling and getting customers to be proactive in buying a product or service. Another way to help distinguish between marketing and advertising is this: marketing consists of planning a marketing strategy and the correct steps in implementing the strategy.

 

結論-CONCLUSION
 

As an aid to the reader, this final chapter of the thesis restates the research problem and reviews the major methods used in the study. It further summarizes the results, put forward conclusions, admit the limitations and give the implications and recommendations based on the results. It is an accepted fact that all ads do not work and are not equally effective. By this study, the researcher wanted to resolve a query regarding the active role of Creativity element in Advertising. In conclusion the empirical results show that intensity of Advertising. Creativity is a contributing factor in the effectiveness of an advertisement. These results also confirm strong, positive relationships among Creativity in Advertising,

 

In sum, this study investigated several issues regarding the use of Creativity in Advertising. This investigation fills a gap in the literature by bringing together the opinion of leaders in advertising community and real consumers at the grass-root level. The researcher has increasing confidence in these conclusions, however, because the pattern of findings makes a great deal of intuitive sense.

 

The best medium is direct marketing while communicating with younger generation. Everything else also has a cost. This is current opinion, but not the most exact. There is no doubt that word of mouth is one of the best and most economic forms of advertising, but it is of many. In recent years, marketing has gained increasing importance for the body. (Brehm 2006, 72)

 

Direct marketing allows a help to cater a large number of potential customers, but at times direct marketing may not be noticed by most of the customers. For this, to ensure that the direct marketing is effective, it is important to pay attention to direct marketing strategy and the type of customer that are targeted. (Alden 2007, 1)

 

The creative process of producing ideas in advertising is complex and rarely studied. This has two implications: first, since little is known about how creativity in advertising works, information for developing a tool is limited. Second, there is an obvious need for more research in this area to ensure the research-based advancement of creativity in the field of advertising. However, despite the lack of research in this area, some interesting observations were made. I conclude by discussing what specific implications these observations could have for a tool developed for supporting idea generation in advertising.

 

Creativity by directing attention to the ad and enhancing motivation to process the ad message speeds up wearin in addition to increasing recall. This is highlighted by the high evaluation of creative ads upon a single viewing, where control ads required two exposures to reach maximum evaluations. By increasing the opportunity for the consumer to acquire and access more information regarding the communication creative ads, utilize designs that continually surprise and enhance awareness (Goldenberg and Mazursky, 2008), creative ads are able to hold the attention of the consumer and enhance their evaluations reducing both wearin and wearout.

 

Future Aspects
 

'The findings of this study provide some benchmarks for those who wish to study the issues further. This survey study addressed some issues in an explorative way to provide some preliminary findings in order to stimulate further research on the topic. This has definitely paved the way for subsequent work, which will give a better feel for the expansive applicability of much of what the researcher found. Yet there is still more to be pursued in a deliberate and well thought out fashion and to be accomplished. The research possibilities for extended, systematic replications are quite numerous, but potentially well worth the effort. In fact, replications of this work are needed to further substantiate its conclusions and to give conclusive evidence regarding the reasons behind these findings.

 

The future of direct marketing because of its advantages is very promising. The presence of direct marketing techniques in the new technologies we predict a strong evolution development, increasing its importance. Moreover, most young people show their preference for the new interactive media, contrary to their lack of interest in traditional media. These new forms of communication, in which the viewer user is directly involved, encourage the use of direct marketing techniques via phone calls, games, quizzes, making the most of the acquisition of goods or services, by simply putting an X or by clicking on the right place.

 

Managerial Implications of the Study
 

The findings of this study have wider implications for marketing and advertising managers of corporate undertakings, which deal in frequently purchased consumer goods. The most important among these is that managers can minimize the advertising wastage by diverting the resources from advertising agencies that do not follow high creativity standards. As rational client, they can even reshape their advertising budget based on the results of this Advertising Effectiveness study so that optimum allocation of resources can be ensured. It is also important that these findings can be clearly and concisely communicated in terms of their potential value as an aid to strategy and tactical planning. Anyhow, translating this researched effect into market effects requires considerable use of managerial judgment. Marketing managers of consumer product companies may also find these results useful in learning the type of advertising efforts, which increase the level of awareness for their brand.

 

The present study results may even be extended towards resolving the existing conflicts. Both academic researchers and practitioners agree that higher level of Creativity is needed to achieve better results. When it comes to the testing of Creativity by way of research, they do not agree on its reliability. This study result, to some extent, strikes a balance between academic researchers’ conclusion and practitioners’ perception.

 

There is historic evidence that the views of both creative people and ' research personnel have been a source of conflict. But it is meaningless in the strict sense that the work of the researcher is to identify valid, new meanings and that the work of the creative person is to find novel ways to communicate these meanings. In fact, the most effective advertising does both, that is evident from the study.

 

Suggestions for Practice
 

Although a single study cannot provide a sound basis for the practice of advertising, this study and other studies with similar findings would suggest that the professionals in advertising agencies should not underestimate the value of Creativity in its effectiveness and should give due consideration for this aspect in advertising.