Coker has come up with a recipe for success called the branded viral movie predictor algorithm. According to the algorithm, the four ingredients required for a video to go viral are congruency, emotive strength, network involvement, and something called “paired meme synergy.”

First, the themes of a video must be congruent with people’s pre-existing knowledge of the brand it is advertising. “For example, Harley Davidson for most people is associated with Freedom, Muscle, Tattoos, and Membership,” Coker explained on his website. Videos that strengthen that association meet with approval, “but as soon as we witness associations with the brand that are inconsistent with our brand knowledge, we feel tension.” In the latter case, few people will share the video, and it will quickly “go extinct.”

Second, only viral-produced videos with strong emotional appeal make the cut, and the more extreme the emotions, the better. Happy and funny videos don’t tend to fare as well as scary or disgusting ones, Coker said

Third, videos must be relevant to a large network of people — college students or office workers, for example.

And last, Coker came up with 16 concepts — known on the Internet as “memes” — that viral-produced videos tend to have, and discovered that videos only go viral if they have the right pairings of these concepts.

For example, the concept he calls Voyeur, which is when a video appears to be someone’s mobile phone footage, works well when combined with Eyes Surprise — unexpectedness. These also work well in combination with Simulation Trigger, which is when “the viewer imagines themselves being friends [with the people in the video] and sharing the same ideals,” he said.

{ LiveScience | Continue reading }

Cannibal Holocaust is a 1980 Italian horror film directed by Ruggero Deodato.

The film tells the story of a missing documentary film crew who had gone to the Amazon to film indigenous tribes. A rescue mission, led by the New York University anthropologist Harold Monroe, recovers their lost cans of film, which an American television station wishes to broadcast. Upon viewing the reels, Monroe is appalled by the team’s actions, and after learning their fate, he objects to the station’s intent to air the documentary. Much of Cannibal Holocaust is the portrayal of the recovered film’s content, which functions similarly to a flashback and grows increasingly disturbing as the film progresses.

Cannibal Holocaust achieved notoriety because its graphic violence aroused a great deal of controversy. After its premiere in Italy, it was seized by a local magistrate, and Deodato was arrested on obscenity charges. He was charged with making a snuff film due to rumors that claimed some actors were killed on camera. Although Deodato was later cleared, the film was banned in Italy, the UK, Australia, and several other countries due to its graphic depiction of violence, sexual assault, and the actual slaughter of seven animals.

After seeing the film, director Sergio Leone wrote a letter to Deodato, which stated, [translated] “Dear Ruggero, what a movie! The second part is a masterpiece of cinematographic realism, but everything seems so real that I think you will get in trouble with all the world.” […]

The courts believed that the actors who portrayed the missing film crew and the native actress featured in the impalement scene were killed for the camera. Compounding matters was the fact that the supposedly deceased actors had signed contracts with the production which ensured that they would not appear in any type of media, motion pictures, or commercials for one year following the film’s release. This was done in order to promote the idea that Cannibal Holocaust was truly the recovered footage of missing documentarians.

{ Wikipedia | Continue reading }

Francesca Ciardi was one of four actors whom the Italian police believed had been murdered in the making of the 1980 horror film Cannibal Holocaust. So realistic was the film that shortly after it was released its director Ruggero Deodato was arrested for murder. The actors had signed contracts to stay out of the media for a year in order to fuel rumours that the film was a snuff movie. The court was only convinced that they were alive when the contracts were cancelled and the actors appeared on a television show as proof.

{ Wikipedia | Continue reading }

New research shows that Internet users often do not make the conscious decision to read news online, but they come across news when they are searching for other information or doing non-news related activities online, such as shopping or visiting social networking sites. (…)

“Many people don’t realize how their news reading behavior is shifting to more serendipitous discovery.”

{ University of Missouri | Continue reading }

Is it true Thanksgiving was invented by the editor of Harper’s Bazaar?

Right idea, wrong magazine. Thanksgiving as we know it today — at least on the scale we know it — is largely the creation of Mrs. Sarah Josepha Hale, editor of Godey’s Lady’s Book, one of the first women’s magazines. Mrs. Hale spent 36 years browbeating public officials high and low before finally getting Thanksgiving declared a national holiday in 1863.

{ The Straight Dope | Continue reading }

{ Toilet Paper magazine | Maurizio Cattelan and Pierpaolo Ferrari | Maurizio Cattelan Launches the Latest Issue of Toilet Paper At His Guggenheim Retrospective }

A sociological content analysis of advertising catalogues with the eye-tracking method

Is it possible to look at something without actually noticing it? Is it possible to see something in the picture that is not really there? The answers to these philosophical questions can be obtained by comparing the results of eye-tracking tests combined with interviews based on sociological theories. (…)

The respondents, in line with our expectations, turned out to be familiar with the catalogue investigated. All of them provided the correct name of the company. When asked to describe in their own words the situations presented, the respondents would stress the fact that they show “the ideal” world. (…)

While most attention should be given to watching the advertisements, we constitute our dreams of a perfect life, environment and the items that furnish it.

{ Qualitative Sociology Review | Continue reading | PDF }

As an employee in an agency creative department, you will spend most of your time with your feet up on a desk working on an ad. Across the desk, also with his feet up, will be your partner-in my case, an art director. And he will want to talk about movies.

In fact, if the truth be known, you will spend a large part of your career with your feet up talking about movies.

The ad is due in two days. The media space has been bought and paid for. The pressure’s building. And your muse is sleeping off a drunk behind a dumpster or twitching in a ditch somewhere. Your pen lies useless. So you talk movies.

That’s when the traffic person comes by. Traffic people stay on top of a job as it moves through the agency. Which means they also stay on top of you. They’ll come by to remind you of the horrid things that happen to snail-assed creative people who don’t come through with the goods on time.

So you try to get your pen moving. And you begin to work. And working, in this business, means staring at your partner’s shoes. That’s what I’ve been doing from nine to five for over 20 years. (…)

There comes a point when you can’t talk about movies anymore and you actually have to get some work done. You are faced with a blank sheet of paper, and you must, in a fixed amount of time, fill it with something interesting enough to be remembered by a customer who in the course of a day will see, somewhere, thousands of other ad messages.

You are not writing a novel somebody pays money for. You are not writing a sitcom somebody enjoys watching. You are writing something most people try to avoid. This is the sad, indisputable truth at the bottom of our business. Nobody wants to see what you are about to put down on paper. People not only dislike advertising, they’re becoming immune to most of it—like insects building up resistance to DDT. (…) When people aren’t indifferent to advertising, they’re angry at it. (…)

So you try to come up with some advertising concepts that can defeat these barriers of indifference and anger. The ideas you try to conjure, however, aren’t done in a vacuum. You’re working off a strategy—a sentence or two describing the key competitive message your ad must communicate.

In addition to a strategy, you are working with a brand. Unless it’s a new one, that brand brings with it all kinds of baggage, some good and some bad. Ad people call it a brand’s equity. (…)

People generally deny advertising has any effect on them. They’ll insist they’re immune to it. And perhaps, taken on a person-by- person basis, the effect of your ad is indeed modest. But over time, the results are undeniable. Try this on: 1980—Absolut Vodka is a little nothing brand. Selling 12,000 cases a year. That’s nothing. Ten years and one campaign later, this colorless, nearly tasteless, and odorless product is the preferred brand, selling nearly 3 million cases a year. All because of the advertising. (…)

Diet Coke didn’t just happen. Coca-Cola didn’t simply roll it out and hope that people would buy it. Done poorly, they could have cannibalized their flagship brand, Coke. Done poorly, it could have been just another one of the well-intentioned product start-ups that fail in six months. It took a lot of work by both Coca-Cola and its agency, SSCB, to decipher market conditions, position the product, name it, package it, and pull off the whole billion-dollar introduction.

{ Luke Sullivan, Hey, Whipple, Squeeze This | Thanks Tim }

What is the art of immersion? The focus of the book is on how the internet is changing storytelling; and the idea is really that every time a new medium comes along, it takes people 20 or 30 years to figure out what to do with it, to figure out the grammar of that medium. The motion picture camera was invented around 1890 and it was really about 1915 before the grammar of cinema–all the things we take for granted now, like cuts and point-of-view shots and fades and pans–were consolidated into first what we would recognize as feature films. Birth of a Nation being the real landmark. It wasn’t the first film that had these characteristics but it was the first film to use all of them and that people settled on that really made a difference. I think we are not quite there yet with the internet but we can see the outlines of what is happening, what is starting to emerge; and it’s very different from the mass media that we’ve been used to for the past 150 years. (…)

NotSoSerious.com–the campaign in advance of the Dark Knight. This was what’s known as an alternate reality game. This was a particularly large-scale example that took place over a period of about 18 months. Essentially the purpose of it was to create this experience that kind of started and largely played out online but also in the real world and elsewhere that would familiarize people with the story and the characters of the Dark Knight. In particular with Heath Ledger as the Joker. Build enthusiasm and interest in the movie in advance of its release. On one level it was a marketing campaign; on another level it was a story in itself–a whole series of stories. It was developed by a company called 42 Entertainment, based in Pasadena and headed by a woman named Susan Bonds who was interestingly enough educated and worked first as a Systems Engineer and spent quite a bit of time at Walt Disney Imagineering, before she took up this. It’s a particularly intriguing example of storytelling because it really makes it possible or encourages the audience to discover and tell the story themselves, online to each other. For example, there was one segment of the story where there were a whole series of clues online that led people to a series of bakeries in various cities around the United States. And when the got to the bakery, the first person to get there in each of these cities, they were presented with a cake. On the icing to the cake was written and phone number and the words “Call me.” When they called, the cake started ringing. People would obviously cut into the cake to see what was going on, and inside the cake they found a sealed plastic pouch with a cell phone and a series of instructions. And this led to a whole new series of events that unfolded and eventually led people to a series of screenings at cities around the country of the first 7 minutes of the film, where the Heath Ledger character is introduced. (…)

The thing about Lost was it was really a different kind of television show. What made it different was not the sort of gimmicks like the smoke monster and the polar bear–those were just kind of icing. What really made it different was that it wasn’t explained. In the entire history of television until quite recently, just the last few years, the whole idea of the show has been to make it really simple, to make it completely understandable so that no one ever gets confused. Dumb it down for a mass audience. Sitcoms are just supposed to be easy. Right. Lost took exactly the opposite tack, and the result was–it might not have worked 10 years ago, but now with everybody online, we live in an entirely different world. The result was people got increasingly intrigued by the essentially puzzle-like nature of the show. And they tended to go online to find out things about it. And the show developed a sort of fanatical following, in part precisely because it was so difficult to figure out.

There was a great example I came across of a guy in Anchorage, Alaska who watched the entire first season on DVD with his girlfriend in a couple of nights leading up to the opening episode of Season 2. And then he watched the opening episode of Season 2 and something completely unexpected happened. What is going on here? So he did what comes naturally at this point, which was to go online and find out some information about it. But there wasn’t really much information to be found, so he did the other thing that’s becoming increasingly natural, which was he started his own Wiki. This became Lostpedia–it was essentially a Wikipedia about Lost and it now has tens of thousands of entries; it’s in about 20 different languages around the world. And it’s become such a phenomenon that occasionally the people who were producing the show would themselves consult it–when their resident continuity guru was not available.

What had been published in very small-scale Fanzines suddenly became available online for anybody to see. (…)

The amount of time people devote to these beloved characters and stories–which are not real, which doesn’t matter really at all, which was one of the fascinating things about this whole phenomenon–it couldn’t have happened in 1500. Not because of the technology–of course they are related–but you’d starve to death. The fact that people can devote hundreds of hundreds of hours personally, and millions can do this says something about modern life that is deep and profound. Clay Shirky, who I believe you’ve interviewed in the past, has the theory that television arrived just in time to soak up the excess leisure time that was produced by the invention of vacuum cleaners and dishwashers and other labor-saving devices.

{ Frank Rose/EconTalk | Continue reading }

She found that 20 percent of the models on the agency’s books were in debt to the agency. Foreign models, in particular, seem to exist in a kind of indentured servitude, she writes, often owing as much as $10,000 to their agencies for visas, flights, and test shoots, all before they even go on their first casting call. And once a model does nab a job, the pay is often meager. (…)

Why do so many models operate against their own economic interests? Mears details how, in the fashion world, there is typically an inverse relationship between the prestige of a job and how much the model gets paid. A day-long shoot for Vogue pays a paltry $150, for instance, while a shoot for Britain’s influential i-D magazine, which Mears calls “one of the most sought-after editorial clients for a model,” pays absolutely nothing, not even the cost of transportation or a copy of the magazine for the model’s portfolio.

The alternative to high-fashion poverty is to be a “money girl,” working for catalogs and in showroom fittings, jobs that pay well and reliably. The best-paid model at Mears’ agency, for instance, was a 52-year-old showroom model with “the precise size 8 body needed to fit clothing for a major American retailer. She makes $500/hour and works every day.” But the commercial end of modeling is widely derided within the industry as low-rent, as mere work without glamour. Once a model has done too many commercial jobs, she is thought to have cheapened herself, and it’s exceedingly difficult for her to return to high fashion.

{ Slate | Continue reading | Thanks Tim }

photo { Yasuhiro Ishimoto, Untitled (Chicago), 1948 }

{ via Copyranter }

Historically, the two main types of obstacles to information discovery have been barriers of awareness, which encompass all the information we can’t access because we simply don’t know about its existence in the first place, and barriers of accessibility, which refer to the information we do know is out there but remains outside of our practical, infrastructural or legal reach. What the digital convergence has done is solve the latter, by bringing much previously inaccessible information into the public domain, made the former worse in the process, by increasing the net amount of information available to us and thus creating a wealth of information we can’t humanly be aware of due to our cognitive and temporal limitations, and added a third barrier — a barrier of motivation. (…)

If we somehow stumble upon an incredible archive of, say, digitized “rare” vinyl LP’s or unpublished manuscripts by a famous author, and it tickles our fancy, perhaps we bookmark it, perhaps we save it to Delicious or Instapaper, perhaps we take a quick skim, but more likely than not, we shove it into some cognitive corner and fail to spend time with it, exploring and learning, assuming that it’s just there, available and accessible anytime. The relationship between ease of access and motivation seems to be inversely proportional because, as the sheer volume of information that becomes available and accessible to us increases, we become increasingly paralyzed to actually access all but the most prominent of it — prominent by way of media coverage, prominent by way of peer recommendation, prominent by way of alignment with our existing interests. This is why information that isn’t rare in technical terms, in terms of being free and open to anyone willing to and knowledgeable about how to access it, may still remain rare in practical terms, accessed by only a handful of motivated scholars.

{ Nieman Journalism Lab | Continue reading }

In the months after the collapse of the credit market in the fall of 2008, The New York Times was forced to take drastic measures to stay afloat: In January 2009, it granted Mexican telecom mogul Carlos Slim Helú purchase warrants for 15.9 million shares of Times Company stock for the privilege of borrowing $250 million at essentially a junk-bond interest rate of 14 percent. Two months later, in a move redolent with uncomfortable symbolism, the company raised another $225 million through a sale-leaseback deal for its headquarters. Add on double-digit declines in both circulation and ad pages and the trend lines looked increasingly clear: The New York Times was doomed.

But a funny thing happened on the way to the graveyard. Though the Times’ circulation dipped during the crash years, much of the lost revenue was made up for by doubling the newsstand price, from $1 to $2—evidence, the paper insisted, that its premium audience understood the value of a premium product. In March, after several years of planning and tens of millions in investments, the Times launched a digital-subscription plan—and the early signs were good. In fact, less than 48 hours before my interview, the Times announced it would finish paying back the Carlos Slim loan in full on August 15, three and a half years early. When they were released last week, the company’s second-quarter financial results showed an overall loss largely owing to the write-down of some regional papers, but they also contained a much more important piece of data: The digital-subscription plan—the famous “paywall”—was working better than anyone had dared to hope.

{ NY mag | Continue reading }

The Wall Street Journal says Apple is thinking of making a bid for Hulu and Seattlepi.com says Microsoft’s is no longer interested, which leaves Amazon, Apple, Google, Yahoo, and any unnamed parties. I can’t think of any unnamed parties, by the way, so I’m guessing one of these will walk with Hulu, which went into play a couple weeks ago following an unsolicited (and still unidentified) bid.

Of course the three big network owners of Hulu will guarantee five years of continued program access with the first two years exclusive. That’s because they have no money in Hulu and each stands to walk with $600+ million from the sale, but only if there is a sale. Without such an exclusivity period there will be no sale and no $600+ million. None of these networks can buy out the others for antitrust reasons so the “networks might balk” story is just to sell newspapers (or electrons). Hulu will be sold.

{ Robert X. Cringely | Continue reading }

{ Thanks Glenn! }

{ Ogilvy Malaysia hired some local Lego artists to create the posters that play off of the surrounding environment. | copyranter | more }

The ad industry is quickly evolving into a new industry - one that won’t offer only the limited menu of services that’s attributed to it today. I’m not sure if this new industry should even be called advertising anymore, as the term itself can be an albatross to innovation. But whatever the name is, it’ll be even more exciting and productive than in its current incarnation.

When I invented the 4th Amendment Wear brand for my consultancy, I didn’t realize at the time that it would teach me such an important lesson about where we’re headed. (…)

It’s one thing to create an ad. It’s a whole other beast to invent new technology, create products using that technology, tap into social media, and orchestrate a marketing campaign to reach millions. (…)

While much of 4th Amendment Wear’s success can be attributed to the brand being in the right place at the right time, the truth is, all brands need to be.

{ Tim Geoghegan | Continue reading | 4th Amendment Wear picked up the Gold lion for Promo & Activation at Cannes. }

Heineken Star Player… (…) Whether this piece of work gets recognized at Cannes this week or not is not relevant or even important. What’s important is that it wasn’t the regular copywriter + art director duo who came up with the Idea. It was a combination of a Storyteller and a Software Developer who conceived it.

{ Rei Inamoto | Continue reading }

Despite the first ‘Cars’ movie’s somewhat unimpressive reviews and ticket sales, Pixar is rolling out a sequel. Why? Because the animated film sparked a long-lived licensing bonanza.

In the five years since its 2006 release, “Cars” has generated global retail sales approaching $10 billion, according to Disney. That ranks the Pixar film alongside such cinematic merchandising standouts as “Star Wars,” “Spider-Man” and “Harry Potter.”

No fewer than 300 toys — and countless other items, including bedding, backpacks and SpaghettiOs — are rolling out in stores, in anticipation of the “Cars 2″ opening.

“We anticipate the consumer products program to be the largest in industry history, eclipsing the high water mark set by ‘Toy Story 3,’” Disney Consumer Products Chairman Andy Mooney said in a webcast last week before the annual toy licensing show in Las Vegas. Last year, the third installment of “Toy Story” generated $2.8 billion in merchandise sales.

{ LA Times | Continue reading }

photo { Alex Tehrani }

Why did I self-publish?

Advances are quickly going to zero. Margins are going to zero for publishers. There’s no financial benefit for going with a publisher if advances are going to zero and royalties are a few percentage points. The publishing industry does minimal editing. The time between book acceptance and release is too long (often a year or more). That’s insane and makes zero sense in a print-on-demand world when kindle versions are outselling print versions.

Most importantly, the book industry sells “books”. What they need to do is sell their “authors”. Authors now are brands, they are businesses, they are mini-empires. Publishers do nothing to help 95% of their authors build their platforms and their own brands. This would increase author loyalty and make the lack of a meaningful advance almost worth it.

{ James Altucher | Continue reading }

I found myself staring at a publication titled Horseshit. The cover featured a crisp illustration of a man with a face wrapped in barbed wire. It recalled Winston Smith’s cover of the Dead Kennedys’ Give Me Convenience or Give Me Death. Clearly, I thought, this was a punk zine I’d never heard of. What was it doing here? I opened it and immediately discerned three things:

1) The magazine predated punk by at least ten years.
2) It was full of extremely arousing drawings of nude women.
3) It was also full of disturbing antimilitary propaganda.

(…)

“Excuse me,” I said as I lifted the magazine. “How much for this?”

“That’s NOT for sale.”

(…)

Later I scouted for clues about Horseshit online, but there weren’t many. I learned from one website that the magazine was published by two brothers, Thomas and Robert Dunker (Thomas, a paraplegic, died in 2003). In 1968, Horseshit was responsible (along with Zap, Snatch, and the SCUM Manifesto) for the arrest of Berkeley bookseller Moe Moskowitz on charges of selling pornography. A year later, Frank Zappa referenced the magazine in his track “German Lunch.” Beyond those two intriguing historical morsels, Horseshit occupies a void. A few online booksellers offered complete sets of the magazine—all four issues for $150.

{ Vice | Continue reading }