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Home / Tag Archives: Political Ads

Tag Archives: Political Ads

UK General Elections 2017: The Can’t Be Arsed Party




Forever Beta, London has created this web film titled "The Can't Be Arsed Party," a political party for those who don't vote.
The CBA Party Political Broadcast

CREATIVE CREDITS:
Client: Forever Beta
Agency: Forever Beta, London
Country: United Kingdom
Director: Nick Trumble
Executive Creative Director: Matthew Saunby
Art Director: Neil Ritchie
Copywriter: Gary Arnold
Agency Producer: Amanda Poulter
Account Director: Tania Mendes
Design: Darren Cox
Design: Alexander Harazim
Design: Sam Hamer

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New York Times Film Series: “The Truth Is Hard To Find” Featuring PhotoJournalist Bryan Denton and Tyler Hicks




Discover the hard work needed to report the facts in the latest video series from The New York Times marketing team. All photos in this video were taken by Bryan Denton while he was covering Iraqi counterterrorism forces for The New York Times in Bartella, Iraq, in 2016. The video is directed by Darren Aronofsky.

Below, a second film from the series: All photos in this video were taken by Tyler Hicks while he was covering the refugee crisis for The New York Times in Lesbos, Greece, in 2015. The video is directed by Darren Aronofsky.



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Find Out Exactly How many lies can be told by President Trump in 100 days?


How many lies can be told by a president in 100 days?

Poli-Graph hooks president Donald Trump up to a online lie detector test that lasts his first 100 days in office.

It can often be a challenge to decipher political talk, and know truth from lie.

Two Art Directors and a Developer have designed and built a website in their spare time that functions as an online lie detector,
hooking Trump up to it 24/7. Every false claim will be detected* and automatically posted to our site the moment it is posted on the web.

They call it the Poli-Graph – a mix of the words Politics and Polygraph. The site is made to look like an actual lie detector with the needle drawing the graph every time a new false statement is detected. Trumps nose will grow a little with each lie detected.


With The Poli-Graph, we want to make politics more transparent and involving thereby keeping the people well informed. We hope you share our views and will post the story and spread the message, especially keeping the nature of the presidents agenda in mind. See it live at http://poligraph.live/

It was Chris Hedges who said that “A society without the means to detect lies soon squanders its liberty and freedom.”

*Facts are pulled from the most reliable news sites in the world in real time.
Washington Post, The Guardian, Factcheck.org, Huffington Post, Politifact, The New York Times,
Associated Press, The Telegraph, ABCNews, The Daily Beast among others.

CREATIVE CREDITS:
The Poli-Graph Team
Creatives / Art Directors
Camilla Ploug & Martin Furze

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New Wearable PEG for Politicians ‘Neutralises’ Smell of War Crimes for The Syria Campaign




The Syria Campaign has leveraged the symbolism of clothes pegs to create a new campaign with the aim of increasing public pressure on politicians looking to shift the EU and other key countries to a more pro-Assad position. The launch of the campaign follows on from a suspected chemical attack in the country on Tuesday, killing dozens in Idlib province.

Developed in-house by the independent advocacy organisation, the PEG campaign acts as a creative way of explaining the complicated diplomatic situation currently concerning Syria. London-based production company, Armoury, brought the concept to life and was responsible for directing and casting the film, and creatively directing the animation.

Borrowing the clean-cut and inspirational tone of a tech crowdfunding campaign, the satirical film pitches the ‘Personal Embarrassment Guard’ (PEG) as a ‘new wearable’ that blocks the ‘awkward’ stench of war-crimes, in order to help diplomatic leaders continue their negotiations with Syrian dictator, Bashar al-Assad, without being impeded by their moral compass.

Flaunting PEG’s ‘nasal technology’, the satirical product film rolls into a montage of the content faces of PEG-wearing diplomats, complete with upbeat, inspirational music, before abruptly cutting to real life footage of the devastating conflict in Syria. Targeting the Brussels Conference on supporting the future of Syria and the Region on 5th April, the campaign film will be distributed to journalists covering the talks and be supported by a stunt at Brussels.

Working off the brief for the film to stylistically resemble a crowdfunding campaign, Armoury seamlessly fused together the two influences of a polished, jargon-filled smart-tech product launch and the stuffy world of EU politicians to craft the perfect balance of humour and satire. Securing a suitable cast and drawing out believable performances was key to capturing the novel concept whilst effectively communicating the important message.

Director Jack Laurance of Armoury, comments: “The project was immediately appealing to us for the level of creativity and humour being levelled at such a serious subject. Re-creating the world of the PEG product and its well-trodden visual cues was a great exercise. It goes without saying that these sorts of projects allow us to focus on a moral imperative, as opposed to a commercial one. But approaching it creatively was the key and one that James Turner at The Syria Campaign led from the beginning. They were fantastic to work with.”

James Turner, Communications Director for The Syria Campaign, comments: "Armoury immediately understood what we were trying to do with the PEG concept and the collaboration was effortless. Jack and the team brought it to life so cleverly, and with such craft, that it felt like the idea had been two years in the making. The fact that it only took two weeks is almost making me pinch myself. Or perhaps peg myself. https://www.nosepeg.com/en

CREATIVE CREDITS:
Production Company: Armoury
Director: Jack Laurance
Producer: Gussy Sukala Barry
DOP: Martin Testar
Animation: Scorch Motion
Grade: Paul Dimond @ My Brother Bob
Editor: Sam Rowland

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NRA Lashes Back At The New York Times Ad With It’s Own “Truth” Commercial




The NRA created a new ad in response to the commercial that the New York Times ran during the Academy Awards where the Times claims “The truth is more important now than ever.” The NRA responded by blasting the Times with a spot that says “The truth is that the truth didn’t matter to The New York Times then as much as now -because as long as liberals were “progressing,” the truth was depressing.

NRA Quote: The New York Times placed an ad during the Oscars to tell us that the truth is more important now. But why now? The truth is that the truth didn't matter to The New York Times then as much as now—because as long as liberals were "progressing," the truth was depressing. America has stopped looking to The New York Times for the truth, now more than ever. The times are burning and the media elites have been caught holding the match.

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Trump White House Is The Focus of this Immigrant Owned Company’s Controversial New Ad


SnoreStop, an immigrant-owned family business, is joining the movement to preserve American ideals by reviving a controversial ad campaign.

Based in California, the company was founded by the DeRivel family in 1995, French immigrants who have lived the American Dream for more than 20 years.


The company markets SnoreStop, a line of anti-snoring products that include oral sprays, nasal sprays, throat sprays and tablets. Originally created in 2013, the ad depicts a U.S. soldier embracing a Muslim woman dressed in niqab and is meant “to symbolize the world we’d like to see someday.”

Back in 2013, the company launched the ad on Sunset Boulevard in Los Angeles, a city known for its diversity. The original concept of the campaign focused on the message of #BeTogether to promote social equality (and the fact that the product itself helps couples to stay together in the same bed by providing snore relief).

"We love this country. We are an immigrant success story. But we will not stand by while the Trump White House begins to dismantle everything good about the United States of America," says Dominique de Rivel, president and CEO of SnoreStop.

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Fake News: Shoulda called LaRosa¹s

In a low-budget social media campaign rolling out this winter, Cincinnati-based pizza chain LaRosa’s, Inc. introduces its newly available catering services. The work is by advertising agency Brunner, Pittsburgh.

The campaign’s ten ads are paid posts that appear to be Facebook newsfeeds, or, on Twitter, news-related. All headlines are styled as (fake) local news, such as, “Local mediators look to head off JV football banquet crisis,” or “Area couple tries to entertain friends with bag of chips.” Each is tagged, “Have you heard the news? LaRosa’s caters.” All link to larosas.com/catering .





The media budget is under $10K, and the production budget, including stock photography, is described as “less than peanuts.”

Creative credits go to Brunner creative director Gordon Robertson and social media strategist Josef Bookert.

LaRosa’s Inc., privately held, is a Cincinnati-based pizza chain with 64 locations in Ohio, Kentucky and Tennessee.

CREATIVE CREDITS:
Ad Agency: Brunner, Pittsburgh
CD/CW: Gordon Robertson
ACD/AD: Maria Tarquinio
CW: Alaina Sapienza
Designer: Erik Leib
Photog: MyStock
Search Account Manager: Ryan Bopp
Social Media Strategist: Josef Bookert

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Watch Part 1 of the Controversial 84 Lumber Super Bowl 51 Commercial “The Journey Begins”




84 Lumber Super Bowl “story intro” ad:
90 seconds, national, just prior to halftime.
A Mexican mother and daughter embark on a journey. The spot ends before they reach their destination. Viewers are directed online for the conclusion.

Online conclusion:
Approximately 3 minutes. Journey84.com
Spot will not be revealed until after the Super Bowl ad has aired.

Why two parts?
84 Lumber’s intended Super Bowl spot, and in particular its depiction of a wall, was rejected by FOX as “too controversial.” The online spot conveys 84 Lumber’s message.

CREATIVE CREDITS:
Chief Creative Officer: Rob Schapiro
CD: Dave Vissat
ACDs: Derek Julin, Kevin Corfield
Chief Client Officer: Jeff Maggs
Account Dir.: Lauren Tedesco
Sr. Account Mgr.: Dana Lucas
Assoc. Broadcast Dir.: Kathy Baldauf

Agency Production: FIXER Partners, New York
Exec Agency Producers: John Noble, Brad Powell

Production Co.: Sanctuary, Los Angeles
Director: Cole Webley
D.P.: Justin Brown
CD: Matt Wilson
Line Producer: Christopher Cho
Exec. Producer: Preston Lee
Heads of Production: Adam Litt (Sanctuary), Leopoldo Luisetti (La Casa Films)
Production Designer: Christopher Lagunes

Editorial: Final Cut, New York
Editor: Jeff Buchanan
Exec Producer: Sarah Roebuck
Producer: Penny Ensley
Head of Production: Jen Sienkwicz
Assistant Editor: Geoff Hastings
Cutting Assistant: Andre Castiglioni

Visual Effects: Method Studios, New York
Executive Producer: Stuart Robinson
CG Supervisor: Boaz Livny
VFX Supervisor: Eliza Pelham Randall
Flame Artists: Stephen Morris, Jared Pollack
Senior VFX Producer: Bennett Lieber

Color Grading: Company 3, New York
Colorist: Tom Poole

Music: Future Perfect, Santa Monica, Calif.
Composer: Victor Magro
Producer: Max Gosling

Audio Post: Heard City, New York
Sound Mixer: Phil Loeb

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