Dimensiones en la evaluación de la creatividad en campañas de comunicación integradaUna aportación para la evaluación en el entorno docente

  1. Elena González Leonardo 1
  2. Marta Pacheco Rueda 1
  3. Belinda de Frutos Torres 1
  1. 1 Universidad de Valladolid
    info

    Universidad de Valladolid

    Valladolid, España

    ROR https://ror.org/01fvbaw18

Journal:
Doxa Comunicación: revista interdisciplinar de estudios de comunicación y ciencias sociales

ISSN: 1696-019X

Year of publication: 2020

Issue: 30

Pages: 283-307

Type: Article

DOI: 10.31921/DOXACOM.N30A15 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Doxa Comunicación: revista interdisciplinar de estudios de comunicación y ciencias sociales

Abstract

Evaluating the creativity in the integrated communication campaigns is not an easy task. Despite creativity being one of the most important aspects in the sector, subjectivity plays a decisive role when assessing the creative potential in a campaign. In the professional environment, creatives es-tablish subjective assessments based on their experience to filter the different alternatives generated in the agency. In the Advertising and PR degrees, students do not have previous experience and it is also necessary to translate the qualitative evaluation into a numerical grade that represents it. The objective of this research is to identify the implicit dimensions in the evaluation of creativity in or-der to develop a resource that, aligned with the requirements of the industry, contributes to re-duce the academic-professional gap. The method includes interviews with professionals and an ex-tensive review of the literature. The data coding was carried out simultaneously to the bibliographic review and the result was the identification of four core evaluation dimensions and fourteen facets. They constitute the model presented which by its application in the teaching field, can contribute to evaluate and guide the students creative work. The students can also reinforce their mastery in the subject by integrating, through practice, the principles proposed in this model.

Bibliographic References

  • Aguilera, R. (2017). Análisis de los modelos que evalúan la creatividad en los productos publicitarios (tesis doctoral). Barce-lona: Universidad Autónoma de Barcelona. Recuperado de: https://cutt.ly/PtMtSwa
  • Ang, S. y Low, S. (2000). “Exploring the dimensions of ad creativity”, Psychol. Mark. 17, 835–854. https://cutt.ly/xtMkL4Q
  • Altarriba, M. y Rom, J. (2008). (Re)formar a los creativos. ¿Las campañas son un reflejo de las demandas actuales de la profesión?. IV Simposium de Profesores Universitarios de Creatividad. Pamplona: Universidad de Navarra. Recuperado de: https://cutt.ly/MtZCpse
  • Amabile, T. (1983). The Social Psychology of Creativity. New York: Springer-Verlag.
  • Ansari, A. y Riasi, A. (2016). An Investigation of Factors Affecting Brand Advertising Success and Effectiveness. Internatio-nal Business Research, 9 (4), 20. Recuperado de: https://cutt.ly/ttZCaCn
  • Arroyo, I. (2006). La profesión de crear. Creatividad e Investigación publicitarias. Madrid:Ediciones del Laberinto.
  • Baños, M. y Ramírez, J. (2004). Una nueva creatividad publicitaria para las nuevas fórmulas de comunicación comercial. Creatividad y sociedad, 6, 17-26. Recuperado de: https://cutt.ly/otZCEk4
  • Barahona, N. (2019). Creatividad Publicitaria, ¿cómo juzgarla?. Barcelona: UOC
  • Bartolomé, A.; Viñarás, M. y Llorente, C. (2012). Emprendedores y creativos: una propuesta interdisciplinar de innovación docente. Vivat Academia, 117, 1613-1641. Recuperado de: https://cutt.ly/GtV4niW
  • Bartolomé, A.; Llorente, C. y Marugán, F. (2018). Telepizza y Universidad CEU San Pablo. Adquisición de competencias transversales en área de creatividad publicitaria. En González, M. Valderrama, M. (coords.). Discursos comunicativos per-suasivos hoy, 31- 43. Madrid: Tecnos.
  • Bassat, L. (1993). El libro rojo de la publicidad. Ideas que mueven montañas. Barcelona: Folio.
  • Besemer, S. y O’Quin, K. (1989). The development, reliability, and validity of the revised Creative Product Semantic Scale.Creativity Research Journal. 2 (4), 267-278. Recuperado de: https://cutt.ly/ZtZCYf5
  • Besemer, S. y Treffinger, D. (1981). Analysis of creative products. Review and synthesis. Journal of Creative Behavior, 15 (3), 158-178.Recuperado de: https://cutt.ly/TtZCI6Q
  • Burtenshaw, C., Mahon, K. y Barfoot, C. (2007). Principios de publicidad. El proceso creativo: agencias, campañas, medios, ideas y dirección de arte. Barcelona: Gustavo Gili.
  • Caroff, X. y Besançon, M. (2008). Variability of creativity judgments. Learning and Individual Differences, 18 (4), 367-371. Recuperado de: https://cutt.ly/jtZCAsd
  • Carretero, M. y Rangel, C. (2017). Comunicación estratégica integral frente a publicidad tradicional. aDResearch: Revista Internacional de Investigación en Comunicación, 15 (15), 32-53. Recuperado de: https://cutt.ly/YtZCSF3
  • Castelló, A. y Del Pino, C. (2019). De la publicidad a la comunicación persuasiva integrada: estrategia y empatía. Madrid: ESIC.
  • Cook, R. (2002). Thoughts on Skills for Tomorrow’s Media. Journal of Media Practice, 2, (3), 186- 188. Recuperado de: ht-tps://cutt.ly/atZCZkR
  • Corredor, P. y Farfán, J. (2010). Demandas y formación: Nuevos perfiles profesionales para la Publicidad en España. Pen-sar la Publicidad. Revista internacional de investigaciones publicitarias, 4, (1), 97-116. Recuperado de: https://cutt.ly/ctZCXU7
  • De Miguel, Z. y Toledano F. (2018). Storytelling y storydoing: técnicas narrativas para la creación de experiencias publicitarias. En García, F., Tur-Viñes, V., Arroyo, I. y Rodrigo, L. (coords.), Creatividad en publicidad. Del impacto al comparto,215-232. Madrid: Dykinson.
  • Estanyol, E. y Roca, D. (2014). Creativity in PR consultancies: Perception and management, Public Relations Review. Recu-perado de: https://cutt.ly/HtZCCWA
  • Fallon, P. y Senn, F. (2007). Exprime la idea. Madrid: Lid Editorial.
  • Fanjul, C. y González, C. (2012). El rol de los códigos verbales de la realidad en la creatividad del discurso publicitario. Doxa Comunicación, 14, 75-97. Recuperado de: https://cutt.ly/5tZCVwA
  • Glaser, B. (1978). Theoretical sensitivity. Mill Valley. California: Sociology Press.
  • Glaser, B. (1992). Basics of grounded theory analysis: Emerge vs. Forcing. Mill Valley. California: Sociology Press
  • Glaser, B. y Strauss, A. (1967). The Discovery of Grounded Theory: strategies for qualitative research. New York: Aldine.
  • Gil, N. (2012). La evaluación de la creatividad publicitaria en el ámbito docente (tesis doctoral). Barcelona:Universitat Pompeu Fabra. Recuperado de: https://cutt.ly/ytZCVIq
  • Goldhaber MH. 1997. The attention economy and the Net. First Monday
  • Guilford, P. (1950). Creativity. American Psychologist, 5 (9), 444-454. Washington: American Psychological Association. Recuperado de: https://cutt.ly/BtZC1G0
  • Halper, F. (2013). Predictive Analytics for Business Advantage. TDWI Research. Recuperado de: https://cutt.ly/ktZC0hz
  • Hernández, C. (2004). Manual de creatividad publicitaria. Madrid: Síntesis.
  • Horn, D. y Salvendy, G. (2006). Product Creativity: Conceptual Model, Measurement and Characteristics. Theoretical Issues in Ergonomics Science, 7 (4), 395-412. Recuperado de: https://cutt.ly/VtZC2KF
  • Horn, D. y Salvendy, G. (2009). Measuring Consumer Perception of Product Creativity: Impact on Satisfaction and Purchasability. Human Factors and Ergonomics in Manufacturing, 19 (3), 223-240. Recuperado de: https://cutt.ly/ptZC91R
  • Hubbard, K. (2018). The Academic–Practitioner Gap ... Is It as Vast as It Sounds?: A Creative Perspective. Journal of current issues & research in advertising, 39 (3), 272–288. Recuperado de: https://cutt.ly/htZC3EO
  • Jackson, N. (2005). Assessing creativity: synthesis of teachers’ views. The Higher Education Academy, Heslington. Recuperado de: https://cutt.ly/TtZC8v9
  • Kleeba, J. y Tierney, P. (2012). Advertising Creativity: A review and empirical investigation of external evaluation, cognitive style and self-perception of creativity. Journal of Current Issues and Research in Advertising, 17 (2), 33-52. Recuperado de: https://cutt.ly/DtZC4h2
  • Koslow, S., Sasser, S. L. y Riordan, E. A. (2003). What Is Creative to Whom and Why? Originality, Strategy and Artistry Per-ceptions in Advertising Agencies. Journal of Advertising Research, 43 (1), 96-110. Recuperado de: https://cutt.ly/ptZVr6u
  • Koslow, S., Sasser, S. L. y Riordan, E. A. (2006). Do Marketers Get the Advertising They Need or the Advertising They Deserve?. Journal of Advertising, 35 (3) 81-101. Recuperado de: https://cutt.ly/RtZVtC7
  • Kover, A. (1995). Copywriters’ Implicit Theories of Communication: An Exploration. Journal of Consumer Research, 21 (4), 30-45. Recuperado de: https://cutt.ly/atZVu5u
  • López de Ayala, M.C. (2004). El análisis sociológico del consumo: una revisión histórica. Sociológica: Revista de pensa-miento social, 5: 161 - 190. Recuperado de: https://cutt.ly/LtZVinz
  • Navarro, C. (2007): Creatividad publicitaria eficaz. Madrid: ESIC.
  • Nesamoney, D. (2015). Personalized digital advertising: How data and technology are transforming how we market. Old Tappan: Pearson Education.
  • Obradors, M. (2007). Creatividad y generación de ideas: estudio de la práctica creativa en el cine y en la publicidad. Barce-lona: Aldea Global
  • Plucker, A., Beghetto, A. y Dow, T. (2004). Why isn’t creativity more important to educational psychologists? Potentials, pitfalls, and future directions in creativity research. Educational Psychologist, 39(2), 83–96. Recuperado de: https://cutt.ly/PtZVi5M
  • Rayport, F. (2013). Advertising’s new medium: human experience. Harvard business review, 91 (3), 76-82. Recuperado de: https://cutt.ly/dtZ
  • Vogl Ross, M. (1989). Relation of Implicit Theories to the Construction of Personal Histories. Psychological Review 96 (2):341. Recuperado de: https://cutt.ly/xtZVoO1
  • Ricarte, J. (1999). Creatividad y comunicación persuasiva. Barcelona: Aldea Global.
  • Runco, M. y Charles. R. (1993). Judgments of originality and appropriateness as predictors of creativity. Personality and Individual Differences, 15, (5), 537-46. Recuperado de: https://cutt.ly/ctZVpo1
  • San Martín, D. 2014. Teoría fundamentada y ATLAS.ti: recursos metodológicos para la investigación educativa. Revista electrónica de investigación educativa 16(1): 104-122. Recuperado de: https://cutt.ly/dtBRAlE
  • Sarkar, P. y Chakrabarti, A. (2011). Assessing design creativity. Design Studies.32 (4), 348-383. Recuperado de: https://cutt.ly/BtZVp6q
  • Segarra, T. (2013). Creatividad en un mundo complejo, Conferencias El Sol. Recuperado de: https://cutt.ly/NtZVstw
  • Selva, D. y Caro, L. (2016). Uso de datos en creatividad publicitaria: el caso de Art, Copy & Code de Google. El profesional de la información, 25 (4), 642-651. Recuperado de: https://cutt.ly/JtZVdtG
  • Smith, E., Mackenzie, B., Yang, X., Buchholz, M. y Darley K. (2007). Modeling the Determinants and Effects of Creativity in Advertising, Markting Science, 26, 819- 833. Recuperado de: https://cutt.ly/ttZVfw8
  • Smith, Robert E., Chen, J. y Yang, X. (2008). The Impact of Advertising Creativity on the Hierarchy Effects. Journal of Advertising, 37, 47-61. Recuperado de: https://cutt.ly/gtZVfAk
  • Sivera, S. (2014). Marketing viral: claves creativas de la viralidad publicitaria (tesis doctoral). Barcelona:Universitat Ramón Llul. Recuperado de: https://cutt.ly/ZtN8YPq
  • Solana, D. (2010). Postpublicidad: reflexiones sobre una nueva cultura publicitaria. Barcelona: Doubleyou.
  • Soneira, A. J. 2006. La teoría fundamentada en los datos (grounded theory) de Glaser y Strauss, pp. 153-173. En: I. Vasilachis. Estrategias de investigación cualitativa. Barcelona: Gedisa.
  • Stuhlfaut, M. (2011). The creative code: An organizational influence on the creative process in advertising. International Journal of Advertising, 30 (2):283. Recuperado de: https://cutt.ly/PtZVgOi
  • Stuhlfaut, M. y Yun, C. (2011). A tool for evaluating advertising concepts: desirable characteristics as viewed by creative practitioners. Journal of Marketing Communications, 19:2, 81-97. Recuperado de: https://cutt.ly/FtZVg1I
  • Taylor, A. y Sandler, E. (1972). Use of Creative Product Inventory for evaluating products of chemists. Proceedings of the 80th Annual Convention of the American Psychological Association. 7 (1), 311-312. Recuperado de: https://cutt.ly/vtZVlIi
  • Taylor C.R., Wilson R.D., y Miracle W. L. (1994). The Impact of Brand Differentiating Messages on the Effectiveness of Korean Advertising. Journal of International Marketing, 2 (4) 31-52. https://cutt.ly/ItMjpVg
  • The Holmes Report, Ketchum y Now-Go-Create (2013). Creativity in PR: A global study. Recuperado de: https://cutt.ly/rtZVvux
  • Torrance, P. (1977). Creativity in the classroom. What research says to the teacher. Washington: National Education Association.
  • Treffinger, J. (1980). Encouraging creative learning for the gifted and talented. Ventura: Country Superintendent for Schools.
  • Tucker, C. (2014). Social networks, personalized advertising and privacy controls. Journal of marketing research, 51 (5), 546-562. Recuperado de: https://cutt.ly/jtZVbeZ
  • Twose, D. y Polly, W. (2011). Creative effectiveness. Millward Brown. Recuperado de: https://cutt.ly/stZVbLw
  • Van Doorn, J., Lemon, K. N., Mittal, V., Nass, S., Pick D., Pirner, P. y Verhoef, P. (2010). Customer engagement behavior: Theoretical foundations and research Directions. Journal of Service Research, 13, 253. Recuperado de: https://cutt.ly/ctZVmiw
  • Vejling, L., Tomba, C. y Mateo, A. (2014). La esencia creativa de la publicidad. Mendoza: Editorial UMaza. Recuperado de: https://cutt.ly/YtZVEwD
  • White, A. y Smith, L. (2001). Assessing advertising creativity using the Creative Product Semantic Scale, Journal of Adver-tising Research. 41, (6), 27-35. Recuperado de: https://cutt.ly/ttZVmXg
  • West, C., Caruana, A. y Leelapanyalert K. (2013). What makes win, place or show? Judging Creativity in Advertising at Award Shows. Journal of Advertising Research, 53 (3), 324-338. recuperado de: https://cutt.ly/VtZVQUk