Ethics and advertising
Paper instructions:
I need an analyze for this article in simple words and cover there questions
IDENTIFY THE ISSUES
•What are the major moral or ethical issues raised by this case?
•What are the major factual issues raised by this case?
•What are the major conceptual issues raised by this case?
•Who are the major stakeholders in this case? (stakeholders refers to all individuals whose interest could be affected by the decision made in the case).
•How are the issues in this case related to the application of technology?
Eth ICS case study Apple.pdf Ll
CASE 3-B
Was That an Apple Computer I Just Saw? A Comparison of Product
Placement in US. Network Television and Abroad
PHILIP PA’ITERSON
Oklahoma Christian University
Michael Scott, the buffoonlike office manager in the Emmy-award winning NBC
comedy “The Ofiice,” shows up at casual Friday encouraging his shocked employ-
ees to check out his backside in his new Levi’s jeans. In the wildly popular ABC
drama/comedy “Desperate Housewives,” Gabrielle (played by Eva Longoria) gets
desperate enough for cash to model beside a Buick LaCrosse at a car show and for
a mattress firm. In the now-cancelled “American Dreams,” which portrayed Amer-
ican life in the 19608, such American icons as Campbell’s Soup and Ford Mustang
were woven into the show.
Hollywood calls it “brand integration.” Its critics-some of them the very writ-
ers for shows using product placement-call it much worse. But by any name, the
phenomenon is growing. During the 2004-2005 television season, more than
100,000 actual products appeared in American network television (up 28 percent in
one year) according to Nielsen Media Research, generating $1.88 billion (up 46 per-
cent in a year) according to PQ Media (Manly 2005). Advertising agencies have set
up product placement divisions. Research organizations have cropped up to take on
the task of measuring the effectiveness of product placement. And television shows
in the United States seem to have an insatiable appetite for what they offer.
“The fact is, these brands are part of our lives, and brands exist in these televi-
sion environments, so why not showcase them,” said Ben Silverman, chief execu-
tive of the firm that produces “The Office” (Manly 2005, A14).
However, not everyone is pleased. In a 2005 meeting in New York during
“Advertising Week,” television writers protested outside a panel discussing the state
of brand integration in television programming. Among their gripes: they want more
of a say in how products will be placed and, inevitably, a share of the profits gener-
ated from writing a product into the script.
Most see the move as one of survival. Taking a cue from radio and its “soap op-
eras,” the original television shows were named for the sponsors (“The Colgate
Comedy Hour” and “Texaco Star Theater”), and the audience had little option but to
watch the ads. But while commercials undergirded the television industiy for the
first 50 years, the advent of the remote, and more recently TiVo have allowed con-
sumers to avoid the very commercials that make the programming free.
“The advertising model of 10 years ago is not applicable today,” according to
Bruce Rosenblum, president of Warner Bros. Television Group. “At the end of the
day, if we are unable to satisfy advenisers’ appetites to deliver messages in new
ways to the viewer, then we’re destined to have a broken model” (Manly 2005, A14).
However, for government sponsored television in EurOpe, the practice of prod-
uct placement remains a sticky issue.
In a 2005 edition of “Spooks,” a BBC drama, a logo for an Apple computer ap-
peared in early airings of the show and then was removed ‘m subsequent showings after
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