Intr-o era a informatiei, in care publicitatea este dominanta, se pierde linia de demarcatie dintre

perceptia personala asupra unui produs si influenta pe care publicitatea o are asupra decisiilor noastre.
Publicitatea este unul dintre cele mai flexibile si creative intrumente de comunicare ale marketingului

Intr-o societate tot mai complexa si dinamica, problemele sociale semultiplica exponential, capatand noi
dimensiuni si forme de manifestare siconstituie reale subiecte de analiza, interpretare, dar mai ales de
actiune practica, prin campanii sociale, in particular. Organizatii cu profil si formade proprietate dintre
cele mai diverse sunt chemate sa-si manifesteresponsabilitatea in sesizarea si investigarea problemelor
sociale, cu scopul precis de a concepe si aplica programe de interventie in rezolvarea saumacar limitarea
lor.

Adevertising-ul (publicitatea) este „în acelaşi timp ştiinţa, afacereasau profesia creării şi diseminării
mesajelor (reclamelor), o instituţie socialăcare afectează viaţa e zi cu zi a fiecărui individ, o forţă care
modeleazăcultura de masă, o componentă a activităţii de marketing sau o sursă deinformare despre
produse, servicii, evenimente, indivizi sau instituţii”.

Publicitatea urmăreşte schimbarea atitudinilor celor ce recepteazămesajul transmis (care de cele mai
multe ori este unul de tip persuasiv) însensul de a cumpăra produsul promovat în respectiva campanie
publicitară

Caracteristicile/ elementele campaniilor publicitare: emitatorul, mesajul, receptorul, canalul, codul,
contextul. Publicitatea emotionala, aici publicitatea are functie sociala deoarece incearca rezolvarea
unor problem sociale,

Scopul: influentarea attitudinilor, schimbarea comportamentelor, urmand etapele: cunoastere,
persuasiune, decizie si confirmare.

Mass-media definitie Mass-media (vine de la latinescul massa care înseamnă o cantitatemare de entităţi
agregate şi medium , la plural media care desemneazămijlocul de a transmite ceva) este un termen
consacrat mai întâi în limbaengleză referitor la mijloacele de comunicare în masă, el desemnează
seturide tehnici şi metode de transmitere, de către furnizori centralizaţi, a unor mesaje, unor audienţe
largi, eterogene şi dispersate geografic. Într-o perspectivă instituţională mass-media sunt considerate
instituţii sociale, atâtculturale cât şi economice”

Campaniile publicitare pe probleme sociale vin în ajutorul oamenilor cărora le este frică să ia atitudine
împotriva unor situaţii ce pot deveni periculoase pentru ei înşişi. Ele susţin activitatea unor organizaţii
care luptăde mult timp pentru rezolvarea problemelor sociale. Marele obstacol e care îlîntâmpinau
organizaţiile nonprofit de apărare a unor drepturi umane eraacela al notorietăţii acţiunilor pe care ele le
întreprind. Campaniile publicitare s-au dovedit a fi soluţia cea mai bună prin care organizaţiile şi-aufăcut
cunoscute programele şi activităţile. Pe lângă acest beneficiucampaniile publicitare au mai adus un
avantaj şi anume au sporit număruldonatorilor.

humanitarian agencies are able to attract support. Beyond communicating pain and want. making what is. Susan Sontag argues that a photograph has a deeper bite than television because it freeze-frames memory – its basic unit is the single image. In the case of humanitarianism. Even as they raise awareness and replenish the coffers of aid organizations. (16) Through the medium of the photograph the viewer is drawn into the position of being witness to these distant events. in Lichtenberg’s formulation. Image-based advertising thus represents a balancing act for aid agencies. In this sense. to bring the distant victim to donor publics. humanitarianism’s expansion is strongly correlated with the expanded use of imagebased fundraising and consciousness-raising campaigns. theory holds that physical distance is inversely related to charitable inclinations. Humanitarian organizations use imagery to bridge distance. in part because of the power of a wellconstructed photo. technological advances in telecommunications and transport mean the affluent are conscious as never before of the condition of poor people around the world. Should this be the case? Perhaps not. that humanitarian actors engage imagery as a means of bridging distance. Peter Singer has most famously claimed that there is no moral difference whether the person he helps is the neighbor’s child ten yards away or a nameless Bengali 10.I suggest. In this way. (17) Imagery is central to humanitarian campaigns. quick and compact. involves bridging this distance. especially of imagery. confront people with uncomfortable facts. first. Images are never unproblematic. My argument is that technologies. they raise acute ethical questions. In other words.000 miles distant. suffering becomes real to those who are elsewhere. have enabled large-scale humanitarianism precisely because they challenge the notion of distance. Given that awareness is a factor in giving. humanitarian advertisements are also transferring guilt: the pleading eyes of the hungry child implore us to do our part. He writes that this communication shrinks the world. This argument situates humanitarianism in relation to a wider theoretical literature on proximity and assistance that maintains that people are less likely to respond to aid victims who are far away. My concern in this section is with the darker side of humanitarian imagery. provides a remedy for minimizing distance. Imagery complicates this standard proximity claim. technology. Largely as a result of successful communication. The humanitarian challenge. present. absent. Aid agencies have embraced new technologies of imagery both to fuel operational expansion and to assure themselves of a measure of functional independence. Selling pain and suffering are central to humanitarian fundraising. . and help bankroll intervention. This argument also links the contemporary rise of global humanitarianism closely to the implementation of direct mail and media technologies. Benthall explains. in the form of enhanced means for the rapid dissemination of images. Pictures of victims sell humanitarianism in ways that are potentially beneficial: they mediate distance. then.

‘ 9 attention and convey a message in passing. while linguistic text is limited. for securing support and legitimacy for their operations and for raising awareness. those who wish to express pain must resort to visual portrayals of the “trace. reasons not to not act. The image is the mediator that brings donor publics and victims of crisis together. I use the term incitement to refer to a rational appeal dimension which corroborates the appeal by adding further information about the cause and the term enticement to refer to an emotional dimension. (70) Humanitarianism’s relationship with images is both symbiotic – the image exists in the form it does because of the efforts of the humanitarian. . by alluding to reasons to act or. I use the term incitement to refer to a rational appeal dimension which corroborates the appeal by adding further information about the cause and the term enticement to refer to an emotional dimension. The increasing competition in the sector is an important part of the reason why mass communication has become progressively more central to the operations of humanitarian organizations for mobilizing funds. reasons not to not act. This paper argues that these tensions are in various ways associated with the paradox of power which is integral to humanitarianism: how to engage in a relation the essence of which is asymmetrical access to resources. which aims to stir the moral impulse of the audience. Two appeal dimensions structure the ad material. the humanitarian exists because of the power of the image in manipulating affect – and also parasitic – dehumanization is a genuine concern. It rests on the basic argument. images and large headings take spatial priority. together with the media. donor fatigue is a risk. most frequently. in part construct the public’s vision of the developing world. Agencies. which aims to stir the moral impulse of the audience.This relates to what Scarry and Dauphinée have said about inexpressibility of pain and suffering: because pain cannot be adequately vocalized. most frequently.” Humanitarianism is tied up with the image in ways that have not largely been explored. Two appeal dimensions structure the ad material. without reinforcing this power asymmetry. that not only semiotic. but equally technological and institutional. averaging around 50 words. by alluding to reasons to act or. mediation has profound impacts on the humanitarian appeal.

Enticement is typically evoked by means of a heading. ‘Enticement’. subheading or image – that is. contextual information. which is promoted by displaying beneficiaries whose presence may lay a demand on us by evoking our sense of responsibility. namely agency and affinity. enticement conversely more or less explicitly addresses reasons for audiences to take action. is used to refer to the emotional persuasive dimension of an appeal which promotes action by stirring the moral impulse of audiences. the immediate cause of a crisis. Enticements revolve around two key themes.‘Incitement’ is used when the appeal is corroborated with factual. Though aid NGOs are still widely considered leading agencies in the promotion of global humanitarianism. The substantiations are of four types. the worthiness of the benefactor. hand. the perceptually most salient modalities. This persuasive mode is enacted through blocks of text substantiating the cause of the appeal or the organization’s efforts or prerequisites to alleviate it. the dominant enticement mode is affinity. either describing (mostly quantifying) the extent of a crisis. however. In imagery. can be said to legitimate the cause. as described above. the . on the other hand. While incitement. derived effects of a familiar crisis or remedies needed for assistance.