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2000年10月22日,第七届中国广告节结束了。在紧张有序的评审过程中,一些现象引起了我的注意和思考:公益类作品获奖比例过高,创意上缺乏相关性,制作上难以称得上精细美观。下面就是我的一点想法。作为一名大学二年级的学生,与众多的广告界专家学者和从业人员相比,我对广告的理解也许会显得肤浅,有不当之处,恳请指正。本届广告节所评出的九件金奖作品中,“支持山区失学儿童”,“蜘蛛网。内裤篇、文胸篇”,“足球流氓”,“欢欢喜喜过个年”和“一心不能二用”五件作品都属于公益类项目,占金奖总数的55.5％。公益类作品获奖偏多,这在前几届广告节上也是如此,但这种现象在国际大奖上是少见的。相对而言,
October 7, 2000, the Seventh China Advertising Festival is over. During the intense and orderly review process, some phenomena caught my attention and thought: the proportion of winning public service works was too high, the lack of relevance in creativity, and the production was hard to be called fine and beautiful. Here is my point of view. As a sophomore in college, my understanding of advertising may be superficial, inappropriate, and impolite relative to the numerous advertisers, academics and practitioners. Among the nine gold medals awarded by this year’s festival, “Support for Mountain Out-of-School Children,” “Cobweb, Underpants, Bracelet,” “Football Rogue,” “Hilarious for a Year,” and “ With ”five works belong to public welfare projects, accounting for 55.5% of the total number of gold medal. Prize-winning works of public interest are too much, which in previous ad festivals as well, but this phenomenon is rare in the International Awards. Relatively speaking,