Matching Items (7)
Filtering by
- All Subjects: Digital Marketing
- All Subjects: Women
- Creators: Ostrom, Amy
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
Over a twelve-month period I completed industry research on women working in the financial industry. I then compiled a set of 17 qualitative questions with a focus on career development, leadership, compensation, and best practices for women working in the financial industry in order to complete my own study. I focused my time and energy on ten women working in the finance in Arizona. I completed one hour interviews with each woman in order to gain an understanding of the challenges women face in the workforce today. I have learned that gender bias is still very prevalent in the financial industry. Seven out of the ten women I spoke to labeled it as an obstacle during their career. The wage gap in finance continues to exist and I believe this is due to a culture of secrecy in the workforce and the discouragement of negotiation. The women I interviewed focused on communal leadership skills such as encouragement, empathy, and team success. This is a benefit today as the workplace culture changes these leadership strategies are extremely affective. Although gender discrimination is still prevalent, there are many promising signs for women entering the financial industry. Women as a whole are very satisfied with their careers and recommend the field to other young women starting off. Ten out of ten of the women I interviewed believe that being female in a male dominated workforce can be a benefit. If you work hard and demonstrate successful leadership abilities it can be easier to stand out. It is definitely possible to have a fulfilling career in the financial industry, but you have to define success in your own terms and make time for the activities and people you enjoy. I hope that my research will impact other young women to continue to pave the way of success for women in the financial industry.
ContributorsRuttledge, Florence Rose (Author) / Kalika, Dale (Thesis director) / Ostrom, Amy (Committee member) / Barrett, The Honors College (Contributor) / Department of Finance (Contributor) / Department of Supply Chain Management (Contributor)
Created2015-05
Description
Combining the research of case studies with a creative application, this thesis consists of four main sections: an overview of data surrounding current application marketing efforts on mobile devices, an analysis of three brands that have successfully used applications marketing to engage their audiences and sell their products, the creation and explanation of a proposed application marketing strategy, and a practical use of the previously found conclusions to a mobile application marketing strategy for Nutella USA. The outcome is to determine how companies use mobile applications to successfully engage consumers and lead to product purchases.
ContributorsBooker, Rebecca Allison (Author) / Ostrom, Amy (Thesis director) / Giles, Bret (Committee member) / Sabbatini, Cristina (Committee member) / Barrett, The Honors College (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Department of Marketing (Contributor)
Created2015-05
Description
Advertising to the Millennial Generation is an honors thesis project that combines research with a creative application. The thesis is broken into three main sections: a literature review of the Millennial Generation, three case studies identifying brands or advertising campaigns that have successfully reached Generation Y, and the application of these findings to an advertising campaign with additional marketing mix elements for Bose headphones.
Before creating a campaign targeting Millennials, this thesis first identifies which consumers belong in the Millennial demographic. The definition given looks beyond the ‘age 18-34’ demographic information and analyzes the generation’s unique characteristics, their feelings of being misunderstood by businesses, the importance of social media and technology in their world, and what motivates them to take action.
The subsequent case studies examine the advertising tactics of Barack Obama’s 2008 presidential campaign, the burgeoning social news and entertainment website BuzzFeed, and Beats by Dre headphones. Each of these brands successfully captured the Gen Y demographic group, with an emphasis on the younger end of the 18-34 age spectrum, and effectively communicated their understanding of Millennials’ culture. Each of the three campaigns contained social or digital elements to create engaging and relevant content for the niche of younger Millennials. Immediately following the case studies, best practices are outlined to summarize the findings.
Finally, a digital campaign is proposed for Bose headphones. The literature review, case studies, and best practices contributed to the culminating campaign, which will allow Bose to reach the younger Millennial audience.
Before creating a campaign targeting Millennials, this thesis first identifies which consumers belong in the Millennial demographic. The definition given looks beyond the ‘age 18-34’ demographic information and analyzes the generation’s unique characteristics, their feelings of being misunderstood by businesses, the importance of social media and technology in their world, and what motivates them to take action.
The subsequent case studies examine the advertising tactics of Barack Obama’s 2008 presidential campaign, the burgeoning social news and entertainment website BuzzFeed, and Beats by Dre headphones. Each of these brands successfully captured the Gen Y demographic group, with an emphasis on the younger end of the 18-34 age spectrum, and effectively communicated their understanding of Millennials’ culture. Each of the three campaigns contained social or digital elements to create engaging and relevant content for the niche of younger Millennials. Immediately following the case studies, best practices are outlined to summarize the findings.
Finally, a digital campaign is proposed for Bose headphones. The literature review, case studies, and best practices contributed to the culminating campaign, which will allow Bose to reach the younger Millennial audience.
ContributorsOechsner, Meredith Leigh (Author) / Montoya, Detra (Thesis director) / Ostrom, Amy (Committee member) / Giles, Charles (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor)
Created2014-05
Description
The purpose of this thesis is to examine the effects of digital on the fashion industry. In order to accomplish this, we must first examine the fashion industry, as well as the emerging digital space, and how these two industries are rapidly colliding. Fashion, an industry that has been around since the early 1800s in the United States (Fashion History: The American System for Fashion, 2009), is being forced to pivot, and change its traditional practices, in order to remain relevant in a world heavily influenced by the Internet and consumer preferences. The largest changes taking place within fashion include the power of various industry influencers, including designers, magazines, retailers and lifestyle bloggers, and the rise of blogging as a fashion news source. Although designers, magazines and retailers still have significant clout within the industry, bloggers are becoming a force to be reckoned with, adding a new variable to the industry.
Meanwhile, digital is still being defined, as countless people work to determine best practices and reconcile the unending amount of information available into something that can be used. Trends in digital include the concept of new media, blogging, social media and new channels of media. Overall, we are seeing a shift to user-‐ generated content, available all the time, and a proliferation of content being created and published on the Web.
Some of the ways these two industries are colliding include the rise of lifestyle bloggers, developments and usage of technology, an abundance of new e-‐commerce models, and finally, a shift in the ways consumers curate and discover products online.
Predictions for the future include a more streamlined and user-‐friendly process for search and product discovery online, increase in social commerce and personalization of products, and finally, a return to brick and mortar shopping, but with an improved, experiential model. These trends will affect industry stakeholders dramatically, and so necessary actions for these stakeholders are also discussed, such as allocating more resources to content generation and e-‐commerce, giving consumers the ability to personalize, and improving their physical shopping experiences to provide something valuable and entertaining.
Meanwhile, digital is still being defined, as countless people work to determine best practices and reconcile the unending amount of information available into something that can be used. Trends in digital include the concept of new media, blogging, social media and new channels of media. Overall, we are seeing a shift to user-‐ generated content, available all the time, and a proliferation of content being created and published on the Web.
Some of the ways these two industries are colliding include the rise of lifestyle bloggers, developments and usage of technology, an abundance of new e-‐commerce models, and finally, a shift in the ways consumers curate and discover products online.
Predictions for the future include a more streamlined and user-‐friendly process for search and product discovery online, increase in social commerce and personalization of products, and finally, a return to brick and mortar shopping, but with an improved, experiential model. These trends will affect industry stakeholders dramatically, and so necessary actions for these stakeholders are also discussed, such as allocating more resources to content generation and e-‐commerce, giving consumers the ability to personalize, and improving their physical shopping experiences to provide something valuable and entertaining.
ContributorsLose', Jenna Elizabeth (Author) / Ostrom, Amy (Thesis director) / Giles, Bret (Committee member) / Boonlorn, Jennifer (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor)
Created2013-05
Description
"The Online Entrepreneur's Digital Marketing Handbook" is exactly what it sounds like \u2014 a resource for entrepreneurs (or aspiring entrepreneurs) to learn about all things digital marketing, ranging from web design to advertising to much more, in order to be better equipped to have success with building out their business ideas. The paper serves as not only a resource that explains fundamental elements of marketing strategy and digital strategy, but as something that connects people with the resources they need to actually implement these strategies. By reading this paper, you can learn about web design and how it correlates with digital and business strategy, about key advertising channels and what the current best practices are for using these platforms, about social media marketing tactics, about age-old marketing disciplines like email marketing, and about trends expected for the future of digital marketing. Nearly every discipline discussed within the paper is an extremely deep field itself, and thus learning more in depth about any of the fields is recommended, but the paper at least provides a compilation of what fields are most important to consider, and the most crucial elements of strategy and best practices needed for someone to have success, whether it's for a small project, or for the launch of a new business. Far too many entrepreneurs have the opportunity for success, and the resolve, but they focus their energy on the wrong things when it comes to marketing, because they don't know where to start. With a better grasp on the digital marketing landscape, key elements of strategy, and the most crucial digital marketing channels, entrepreneurs should have higher odds of success by diverting resources to what's important, and not getting distracted by all the choices out there.
ContributorsHubbard, Zachary Scott (Author) / Ostrom, Amy (Thesis director) / Giles, Charles (Committee member) / School of International Letters and Cultures (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
Abstract
My thesis aims to uncover the ultimate strategy behind short form visual stories, otherwise known as the digital advertisment. In this thesis, I analyze traditional storytelling, visual storytelling, and short-form visual storytelling in order to uncover the best practices advertisers should use when crafting a digital advertisement.
Storytelling “reveals elements and images of a story while also catalyzing the imagination of the listener” (National Storytelling Network, 2017). This tradition has two purposes for society: a neurological structure, and a social mechanism (for historic preservation, human interaction, and a vehicle for connecting with others) (Gottshcall, 2012; Scott, 2012; Paul, 2012; Woodside, 2008).
Visual Storytelling is “using photography, illustration, video, (usually with a musical enhancement) to guide” the human brain along a plotline, and has an unlimited timeframe (Ron, 2017). There are seven key elements to effective visual storytelling: A listener/audience, an element of realism coupled with escapism, a focus on the dread of life, an element of the unknown, emotion, simplicity, and a three-part plot structure (Andrews, 2010; ProQuest, 2012; Zak, 2014; Stanton, 2014; Reagan, 2016; Jarvis, 2014; Petrick, 2014)
In the words of Sholmi Ron, from a marketing perspective, “Visual [short hand] Storytelling is a marketing strategy that communicates powerful ideas through a compelling story arc, with your customer at the heart of the story, and delivered through interactive and immersive visual media – in order to create profitable customer engagements" (Ron, 2017). This advertising strategy has four best practices: non-obvious logo placement, a comedic emotion, multiple emotional arcs, and a relevant message (Golan, 2017; Teixeira, 2015; Graves, 2017, Teixeira, 2017). These are important to understand because, in 2017, online consumers can be described as skeptical, conscious of content, individualistic, and drawn to authenticity (Teixeira, 2014).
To supplement my findings, I conducted primary research by analyzing the 2017 Super Bowl videos against a criteria created using the best practices previously identified (in Part 1 and Part 2). Through the data collection of the 66 videos, I uncovered the most popular plotline is "fall than rise," the most popular emotions are humor, inspiration, and empathy and people tend to have a preference towards videos that are more realistic and simplistic in nature.
In the end, I recommend that advertisers identify an authentic yet relevant message, while employing a comedic, inspirational, or empathic tone, and that they place their ads exclusively for their target market. Additionally, producers should use a fall then rise plotline (with multiple mini plot peaks and valleys), a "logo-pulsing" strategy, and a minimal amount of characters and settings to keep the audience's focus on the ad’s message.
My thesis aims to uncover the ultimate strategy behind short form visual stories, otherwise known as the digital advertisment. In this thesis, I analyze traditional storytelling, visual storytelling, and short-form visual storytelling in order to uncover the best practices advertisers should use when crafting a digital advertisement.
Storytelling “reveals elements and images of a story while also catalyzing the imagination of the listener” (National Storytelling Network, 2017). This tradition has two purposes for society: a neurological structure, and a social mechanism (for historic preservation, human interaction, and a vehicle for connecting with others) (Gottshcall, 2012; Scott, 2012; Paul, 2012; Woodside, 2008).
Visual Storytelling is “using photography, illustration, video, (usually with a musical enhancement) to guide” the human brain along a plotline, and has an unlimited timeframe (Ron, 2017). There are seven key elements to effective visual storytelling: A listener/audience, an element of realism coupled with escapism, a focus on the dread of life, an element of the unknown, emotion, simplicity, and a three-part plot structure (Andrews, 2010; ProQuest, 2012; Zak, 2014; Stanton, 2014; Reagan, 2016; Jarvis, 2014; Petrick, 2014)
In the words of Sholmi Ron, from a marketing perspective, “Visual [short hand] Storytelling is a marketing strategy that communicates powerful ideas through a compelling story arc, with your customer at the heart of the story, and delivered through interactive and immersive visual media – in order to create profitable customer engagements" (Ron, 2017). This advertising strategy has four best practices: non-obvious logo placement, a comedic emotion, multiple emotional arcs, and a relevant message (Golan, 2017; Teixeira, 2015; Graves, 2017, Teixeira, 2017). These are important to understand because, in 2017, online consumers can be described as skeptical, conscious of content, individualistic, and drawn to authenticity (Teixeira, 2014).
To supplement my findings, I conducted primary research by analyzing the 2017 Super Bowl videos against a criteria created using the best practices previously identified (in Part 1 and Part 2). Through the data collection of the 66 videos, I uncovered the most popular plotline is "fall than rise," the most popular emotions are humor, inspiration, and empathy and people tend to have a preference towards videos that are more realistic and simplistic in nature.
In the end, I recommend that advertisers identify an authentic yet relevant message, while employing a comedic, inspirational, or empathic tone, and that they place their ads exclusively for their target market. Additionally, producers should use a fall then rise plotline (with multiple mini plot peaks and valleys), a "logo-pulsing" strategy, and a minimal amount of characters and settings to keep the audience's focus on the ad’s message.
ContributorsBosmeny, Mackenzie Lauren (Author) / Ostrom, Amy (Thesis director) / Montoya, Detra (Committee member) / Department of Marketing (Contributor) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
I will explore that confidence gap between men and women and how it holds women back in a male-dominated business world. Then, I will give recommendations to businesswomen and managers to overcome the confidence gap. Everyone knows that women on average get paid less per dollar than men. Clearly, this is partly due to a social ill that discriminates against women. However, I am not the type of person to sit back and wait for things to change. As a young woman graduating Barrett and moving onto law school, I wanted to explore what I myself can do to combat disadvantages I may encounter in the corporate world. My objective is to investigate the differences between men and women in the business world using the book, The Confidence Code, by Katty Kay and Claire Shipman as a framework for discussion. Is there a confidence gap between males and females and how is that hindering the latter in the workplace? Next, I will discuss why it is important for businesses to even care about having women on their teams at all. Finally, I will explore possible ways to build self-confidence in women in order to make them more successful in their careers. I will give recommendations to businesswomen themselves and to businesses in general to achieve this goal. For the purposes of this thesis, I will define confidence in business as "the belief that one is able to succeed at something" and furthermore, "the act of actually trying to be successful at something". To take it a step further, confidence also means being resilient instead of discouraged in the face of failure. Self-confidence is absolutely essential to a successful career as a businessperson. It is necessary to build skills such as: speaking up, sharing ideas, negotiating, applying for jobs, positions, projects, and promotions, not letting others intimidate you, not feeling the need to unnecessarily apologize, and to be proactive instead of hesitant. I found that part of the reason for the wage gap and why there are so few women CEOs is due to women's lack of confidence. For example, women do not initiate salary negotiations as often as men do and they ask for significantly less money when they do. Women will not apply for promotions unless they feel 100% qualified while men will go for it if they feel they have about half the qualifications. Then I decided to do research on whether or not women are as confident as men- and the answer is absolutely yes. Companies with more women in leadership positions outperform companies without. Men and women generally produce the same results but women still doubt themselves more. Finally, it turns out women actually have more effective leadership strategies then men. The confidence gap is due to many biological, psychological, and sociological factors. At the beginning of my research, I was frustrated by what I was finding. But the good news is that there are many ways women can overcome the confidence gap through reframing, taking action, and practice. There are ways businesses can foster a culture that meets the needs of women in a previously male dominated space. This information is empowering and I hope my thesis can help other women the way it has helped me.
ContributorsChristov, Anjelica (Author) / Kalika, Dale (Thesis director) / Ostrom, Amy (Committee member) / W. P. Carey School of Business (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05