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Observational methods often fail to accurately recover the treatment effects generated from randomized advertising experiments on Facebook. Measuring the causal effects of digital advertising remains challenging despite the availability of granular data. Unobservable factors make exposure endogenous, and advertising’s effect on outcomes tends to be small. In principle, these concerns could be addressed using randomized controlled trials (RCTs). In practice, few online ad campaigns rely on RCTs and instead use observational methods to estimate ad effects. We assess empirically whether the variation in data typically available in the advertising industry enables observational methods to recover the causal effects of online advertising. Using data from 15 U.S. advertising experiments at Facebook comprising 500 million user-experiment observations and 1.6 billion ad impressions, we contrast the experimental results to those obtained from multiple observational models. The observational methods often fail to produce the same effects as the randomized experiments, even after conditioning on extensive demographic and behavioral variables. In our setting, advances in causal inference methods do not allow us to isolate the exogenous variation needed to estimate the treatment effects. We also characterize the incremental explanatory power our data would require to enable observational methods to successfully measure advertising effects. Our findings suggest that commonly used observational approaches based on the data usually available in the industry often fail to accurately measure the true effect of advertising. The online appendix and data files are available at https://doi.org/10.1287/mksc.2018.1135 .

Modern advertising has changed dramatically since the early twentieth century, but when it comes to food, Katherine Parkin writes, the message has remained consistent. Advertisers have historically promoted food in distinctly gendered terms, returning repeatedly to themes that associated shopping and cooking with women. Foremost among them was that, regardless of the actual work involved, women should serve food to demonstrate love for their families. In identifying shopping and cooking as an expression of love, ads helped to both establish and reinforce the belief that kitchen work was women's work, even as women's participation in the labor force dramatically increased. Alternately flattering her skills as a homemaker and preying on her insecurities, advertisers suggested that using their products would give a woman irresistible sexual allure, a happy marriage, and healthy children. Ads also promised that by buying and making the right foods, a woman could help her family achieve social status, maintain its racial or ethnic identity, and assimilate into the American mainstream. Advertisers clung tenaciously to this paradigm throughout great upheavals in the patterns of American work, diet, and gender roles. To discover why,Food Is Lovedraws on thousands of ads that appeared in the most popular magazines of the twentieth and early twenty-first centuries, including theLadies' Home Journal, Good Housekeeping, Ebony, and the Saturday Evening Post. The book also cites the records of one of the nation's preeminent advertising firms, as well as the motivational research advertisers utilized to reach their customers.

[This corrects the article DOI: 10.1371/journal.pone.0229175.].

Despite a 20-year trend toward integrated marketing communications, advertisers seldom coordinate television and search advertising campaigns. We find that television advertising for financial services brands increases both the number of related Google searches and searchers' tendency to use branded keywords in place of generic keywords. The elasticity of a brand's total searches with respect to its TV advertising is 0.17, an effect that peaks in the morning. These results suggest that practitioners should account for cross-media effects when planning, executing, and evaluating both television and search advertising campaigns. This paper was accepted by Pradeep Chintagunta, marketing.

Der Werbefilm befindet sich in einem asthetischen Transformationsprozess, der die Grenzen zwischen Werbung und Kunst starker als je zuvor in Frage stellt. Angetrieben durch die Digitalisierung, spitzt sich dabei auch der Kampf um die Aufmerksamkeit der Rezipienten zu. Mit den produktunabhangigen Werbekurzfilmen reagiert die Werbung hierauf mit einer neuen Art narrativer Spots, die sich den Grundsatzen der Werbung widersetzt und sich in ihrer Asthetik verstarkt dem Kurzfilm zuwendet. Dabei ist die Erzahlung, ebenso wie die emotionalen Stimuli, die sie vermittelt, losgelost vom Werbeobjekt und zeigt unverfalscht auf, welche Werte, Normen, Wunsche und Probleme in der rezipierenden Gesellschaft vorherrschen. Die Untersuchung verdeutlicht, dass der produktunabhangige Werbekurzfilm folglich nicht allein auf der Ebene der Werbung interpretiert werden darf, sondern auch als Filmgattung verstanden werden muss.

Antarctica is, and has always been, very much \"for sale.\" Whales, seals, and ice have all been marketed as valuable commodities, but so have the stories of explorers. The modern media industry developed in parallel with land-based Antarctic exploration, and early expedition leaders needed publicity to generate support for their endeavors. Their lectures, narratives, photographs, and films were essentially advertisements for their adventures. At the same time, popular media began to use the newly encountered continent to draw attention to commercial products. These advertisements both trace the commercialization of Antarctica and reveal how commercial settings have shaped the dominant imaginaries of the place. By contextualizing and analyzing Antarctic advertisements from the late nineteenth century to the present, Brand Antarctica identifies five key framings of the South Polar continent: a place for heroes, a place of extremity, a place of purity, a place to protect, and a place that transforms. Demonstrating how these conceptual framings of Antarctica in turn circulate through our culture, Hanne Elliot Fønss Nielsen challenges common assumptions about Antarctica's past and present, encouraging readers to rethink their own relationship with the Far South.

The behind-the-scenes story of how admen and sponsors helped shape broadcasting into a popular commercial entertainment medium. During the \"golden age\" of radio, from roughly the late 1920s until the late 1940s, advertising agencies were arguably the most important sources of radio entertainment. Most nationally broadcast programs on network radio were created, produced, written, and/or managed by advertising agencies: for example, J. Walter Thompson produced \"Kraft Music Hall\" for Kraft; Benton & Bowles oversaw \"Show Boat\" for Maxwell House Coffee; and Young & Rubicam managed \"Town Hall Tonight\" with comedian Fred Allen for Bristol-Myers. Yet this fact has disappeared from popular memory and receives little attention from media scholars and historians. By repositioning the advertising industry as a central agent in the development of broadcasting, author Cynthia B. Meyers challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history. Based largely on archival materials, A Word from Our Sponsor mines agency records from the J. Walter Thompson papers at Duke University, which include staff meeting transcriptions, memos, and account histories; agency records of BBDO, Benton & Bowles, Young & Rubicam, and N. W. Ayer; contemporaneous trade publications; and the voluminous correspondence between NBC and agency executives in the NBC Records at the Wisconsin Historical Society. Mediating between audiences' desire for entertainment and advertisers' desire for sales, admen combined \"showmanship\" with \"salesmanship\" to produce a uniquely American form of commercial culture. In recounting the history of this form, Meyers enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history, and American cultural history from the 1920s to the 1940s.

Online advertising accounts for almost 9 percent of all advertising in the United States. This share is expected to increase as more media is consumed over the Internet and as more advertisers shift spending to online technologies. The expansion of Internet-based advertising is transforming the advertising business by providing more efficient methods of matching advertisers and consumers and transforming the media business by providing a source of revenue for online media firms that competes with traditional media firms. The precipitous decline of the newspaper industry is one manifestation of the symbiotic relationship between online content and advertising. Online-advertising is provided by a series of interlocking multisided platforms that facilitate the matching of advertisers and consumers. These intermediaries increasingly make use of detailed individual data, predictive methods, and matching algorithms to create more efficient matches between consumers and advertisers. Some of their methods raise public policy issues that require balancing benefits from providing consumers more valuable advertising against the possible loss of valuable privacy.