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Dansk Råd for Genoplivning (The Danish Resuscitation Council) and TrygFonden asked a very comprehensive task in very few words: "How do we teach people to recognize the signs of a stroke?" A stroke is the 4th most frequent cause of death in Denmark, and if you get a stroke, you can't necessarily see the signs yourself. Therefore, it is important that everyone - not just special risk groups - can recognize the symptoms of a stroke and act immediately. If you come to the hospital quickly, many people can recover for a good life. What the Danes need to know first and foremost is to know the symptoms to which it is important to react urgently. The three most frequent signs are facial paralysis, difficulty lifting one arm, and speech difficulties. Historically, stroke communication has been based on a special kind of strip, so-called initial abbreviations. This applies to both Denmark and the rest of the world (at least in all the languages ​​we have been able to google). Two Danish initial abbreviations had already been created to help people remember the symptoms and pattern of action. AKUT: Arm, Krop, Udtale, Tid ALARM: Ansigt, Lammelser, Afasi, Ring 112, Med det samme, In the English, there are also two initial abbreviations from which countless information campaigns have been created. FAST: Face, Arm, Speech, Time BEFAST: Balance, Eyes, Face, Arms, Speech, Time. All of these initial abbreviations were included in the brief material, but the assignment was left open. We realized early on that initial abbreviations are impossible to remember. Even those who work with stroke should think seriously. Initial abbreviations are riddles to a greater extent than they are memorization tools. Therefore, the initial creative work was a study in mnemonic engineering. What's easy to remember? Good strips seem intuitive because they have a structure that helps the memory move. Some of the simplest shortcuts to memory can be found in children's texts. They contain letter trims, repetitions, and patterns, rhythms, and melodies. That's why we created a letter strip: Stræk. Snak. Smil. (Stretch. Talk. Smile.) Therefore it was all told rhythmically with many repetitions and therefore the underlying melody. The inspiration for the visual side was found at the more serious end of mnemonic literature: Joshua Foer's "Moonwalking with Einstein", which, as the title suggests, describes how both familiar faces and truly surprising situations helped him remember so well that he ended up winning the World Cup in memory. Therefore, the film is filled with familiar faces that appear in some often bizarre situations. At the same time, all the familiar faces in the film are a distribution strategy, an influencer strategy to spread the message. It was an influencer strategy with familiar faces that could contribute to the campaign not only by their immediate participation but also by helping to spread it afterward because they now had a stake in it. At the same time, the participation of some influencers was a reason in itself for others to watch and distribute the film. Dansk Råd For Genoplivning & TrygFonden Lisbet Schønau Sekretariatsleder/Dansk Råd for Genoplivning Karen Linding Thomsen Projektmedarbejder/Dansk Råd for Genoplivning Trine Heidemann Underdirektør / Trygfonden Grethe Thomas Projektchef/Trygfonden & Co. / NoA Rune Petersen Art Director Johan Køhler Copywriter Martin Baltzer Art Director Jacob Benjovitz Art Director Aske Gramstrup Designer Anders Martin Jensen Motion Designer Nynne Sille Hansen Social Media Planner Lone Tvedergaard-Bach Senior Strategic Planner Sarah Gandil Associate Account Director Trine Aagaard Eisinger Account Director Anne-Mette Lund In-house Producer Ian Isak Director Malene Dyhring Producer Collaborators HoneyTrap Film Filmproduktions selskab https://redhjernen.dk/ DANSK Baggrund ”Stræk snak smil er kommet på danskernes læber på rekordtid, fordi det er lykkedes at skabe en kampagnefilm, som er både faglig, sjov og memorabel. Det har været et fantastisk samarbejde mellem de kreative kræfter fra &Co. og det faglige miljø på strokeområdet, og succesen er i høj grad betinget af, at det sundhedsfaglige miljø har bakket op om kampagnen og delt den i deres netværk”, siger Lisbet Schønau, der er sekretariatschef i Dansk Råd for Genoplivning Dansk Råd for Genoplivning og TrygFonden stillede en meget omfattende opgave på meget få ord: ”Hvordan lærer vi folk at genkende tegnene på et stroke?” (Det var i øvrigt en delopgave at påbegynde en ændring af sprogbrugen fra hjerneblødning og blodprop, apopleksi og slagtilfælde til stroke, fordi sidstnævnte bruges af sundhedsprofessionelle, men mere om det senere.) Stroke er den 4. hyppigste dødsårsag i Danmark, og når man får et stroke, kan man ikke nødvendigvis selv opfatte tegnene. Derfor er det vigtigt at alle – ikke bare særlige risikogrupper – kan genkende symptomerne på et stroke og handle med det samme. Hvis man kommer på hospitalet hurtigt, kan mange komme sig til et godt liv. Det som danskerne først og fremmest skal kunne er at kende de symptomer, som det er vigtigt at reagere akut på. De tre hyppigste tegn er ansigtslammelser, problemer med at løfte den ene arm, talebesvær og ansigtslammelser. Historisk er kommunikationen omkring stroke bygget op om en speciel slags remser, såkaldte initialforkortelser. Det gælder både i Danmark og i resten af verden (i hvert fald på alle de sprog, vi har kunnet google os til). Der var allerede skabt to danske initialforkortelser, som skulle hjælpe folk med at huske symptomerne og handlingsmønstret. AKUT: Arm, Krop, Udtale, Tid ALARM: Ansigt, Lammelser, Afasi, Ring 112, Med det samme I den engelsktalende verden er der ligeledes to initialforkortelser, som der er skabt utallige oplysningskampagner ud fra. FAST: Face, Arm, Speach, Time BEFAST: Balance, Eyes, Face, Arms, Speech, Time Alle disse initialforkortelser var med i brief-materialet, men opgaven stod åben. Løsning Det gik tidligt op for os, at initialforkortelser er umulige at huske. Selv dem, der arbejder med stroke, skulle tænke sig alvorligt om. Initialforkortelser er i højere grad gåder, end de er huskeværktøjer. Derfor var det indledende kreative arbejde et studie i mnemoteknik. Hvad er nemt at huske? Gode remser virker intuitive, fordi de har en opbygning, der hjælper hukommelsen på vej. Nogle af de simpleste genveje til hukommelsen er at finde i tekster til børn. De indeholder bogstavrim, gentagelser og mønstre, rytmer og melodier. Derfor skabte vi et bogstavrim: Stræk. Snak. Smil. Derfor blev det hele fortalt rytmisk med mange gentagelser og derfor den bagvedliggende melodi. Inspirationen til den visuelle side fandt vi i den mere seriøse ende af mnemoteknik-litteraturen: Joshua Foers ”Moonwalking with Einstein”, der, som titlen antyder, beskriver hvordan både kendte ansigter og virkelig overraskende situationer hjalp ham med at huske så godt, at han endte med at vinde verdensmesterskabet i hukommelse. Derfor er filmen fyldt med kendte ansigter, som optræder i nogle ofte bizarre situationer. Samtidig er alle de kendte ansigter i filmen en distributionsstrategi, en influencerstrategi for at sprede budskabet. Ofte sætter man influencers til selv at lave indhold, andre gange sætter man dem til at dele noget indhold, de ingen aktie har i. I stræk snak smil-kampagnen havde rigtig mange en aktie i filmen, for rigtig mange var med. Og heldigvis avler opmærksomhed mere opmærksomhed, så da de deltagende kendte først viste engagement, fulgte mange efter. Det var en influencerstrategi med kendte ansigter, som kunne bidrage til kampagnen ikke bare ved deres umiddelbare deltagelse, men også ved at hjælpe med at sprede den bagefter, fordi de nu havde en aktie i den. Samtidig var nogle influencers deltagelse en grund i sig selv for andre til at se og sprede filmen. Dette kunne vi for eksempel se på al den nostalgi, det vakte at gendanne Gramsespektrum for første gang i det nye årtusinde. Nogle nøjedes med at deltage i filmen og dele den i deres egne kanaler, andre gik hele vejen og deltog i artikler og interviews. Niveauet af engagement var op til den enkelte deltager. Resultat Umiddelbart efter den første kampagneperiode–flere er planlagt–er resultaterne overvældende: Distributionsstrategien virkede fantastisk, og over 2.142.000 danskere over 18 kan huske at have set kampagnen. (Det er meget tæt på halvdelen af danskerne over 18). Facebook alene genererede 1.1+ millioner organiske,gratis visninger. Et forbilledligt samarbejde med kommunikationsbureauet Mannov fik så godt som samtlige store medier i Danmark, fra EB til JP til Information, fra DR og TV2 til Radio24-7 tog historien op i så forskellige formater som fra nyhedsudsendelser, Go’AftenDanmark og Aftenshowet til DenKorteRadioavis og DetLilleMeme-mageri. Og budskabet blev forstået. Dansk Råd for Genoplivning og TrygFonden havde så meget tillid til idéen, at de startede på et blankt kanvas. Ingen kendte remsen Stræk-Snak-Smil inden kampagnen af den simple grund, at den ikke fandtes. Men 45 % af danskerne over 18 år tilkendegiver, efter kampagnen, at kende remsen Stræk, Snak, Smil og forbinder den til stroke. Samtidig steg det uhjulpne kendskab til symptomer på et stroke markant. Før Stræk, Snak, Smil-kampagnen blev lanceret kunne 41 % af danskerne uhjulpet nævne mindst ét af de tre mest almindelige symptomer på stroke. Efter kampagnen var det hele 64 % af danskerne, der uhjulpet kunne nævne mindst ét af symptom på stroke. Kendskabet til symptomet nedsat kraft i den ene arm (som ”Stræk” dækker over) steg fra at være kendt af 28% af danskerne i præmålingen til 58% af danskerne i postmålingen. Ansigtslammelsen (”Smil”) gik fra 11% til 34%. Mere end en tredobling. Og den usammenhængende tale (”Snak”) gik fra 24% til 55% af danskerne. Et mindst lige så imponerende faktum er, at hver 5. på baggrund af kampagnen har søgt mere information om stroke. 407.000 danskere har altså opsøgt mere information om stroke efter at have set kampagnen. NGO-kampagner har meget høje benchmarks, men Stræk, Snak, Smil outperformede samtlige. Citater fra rapporten af It’sAFact efter kampagnen: ”Meget høj liking og signifikant højere end andre NGO-kampagner.” ”Kampagnen findes særdeles relevant og i særdeleshed troværdig.” Som rosinen i pølseenden er det værd at nævne, som vi foregreb i første afsnit, at et delmål i kampagnen var at indføre ordet stroke i det danske sprog. Ordet var en torn i øjet på mange – som forudset, ligesom da sukkersyge skulle blive til diabetes – men det hjalp umådeligt meget til at skabe debat og få filmen op i algoritmen. Og man vænner sig til meget: Stroke er allerede optaget i den danske ordbog, og kendskabet til stroke steg med over 30%. ”Signifikant flere, der husker kampagnen, nævner uhjulpet, at et stroke er en blødningellerblodprop i hjernen ift. præ-testen. Rigtig godt!”, skrev It’sAFact. Stræk-Snak-Smil. Husk det nu! (English translation + Google translate) Background “Stretchy smiles have arrived on the lips of the Danes in record time, because they have succeeded in creating a campaign film that is both professional, fun and memorable. It has been a fantastic collaboration between the creative forces of & Co. and the professional environment in the stroke area, and the success is largely dependent on the health professional environment backing the campaign and sharing it in their network, "says Lisbet Schønau, secretary director of The Danish Resuscitation Council and The Danish Resuscitation Councill and TrygFonden asked a very comprehensive task in very few words: "How do we teach people to recognize the signs of a stroke?" (Incidentally, it was part of the task to start changing the language from brain bleeding and thrombosis, apoplexy and stroke to stroke, because the latter is used by health professionals, but more on that later.) Stroke is the 4th most frequent cause of death in Denmark, and when if you get a stroke, you can't necessarily see the signs yourself. Therefore, it is important that everyone - not just special risk groups - can recognize the symptoms of a stroke and act immediately. If you come to the hospital quickly, many people can recover for a good life. What the Danes need to know first and foremost is to know the symptoms to which it is important to react urgently. The three most frequent signs are facial paralysis, difficulty lifting one arm, speech difficulties and facial paralysis. Historically, stroke communication has been based on a special kind of strip, so-called initial abbreviations. This applies to both Denmark and the rest of the world (at least in all the languages ​​we have been able to google). Two Danish initial abbreviations had already been created to help people remember the symptoms and pattern of action. ACUTE: Arm, Body, Pronunciation, Time ALARM: Face, Paralysis, Aphasia, Ring 112, Immediately In the English-speaking world, there are also two initial abbreviations from which countless information campaigns have been created. FAST: Face, Arm, Speach, Time BEFAST: Balance, Eyes, Face, Arms, Speech, Time All of these initial abbreviations were included in the brief material, but the assignment was left open. Solution We realized early on that initial abbreviations are impossible to remember. Even those who work with stroke should think seriously. Initial abbreviations are riddles to a greater extent than they are memorization tools. Therefore, the initial creative work was a study in mnemonic engineering. What's easy to remember? Good strips seem intuitive because they have a structure that helps the memory move. Some of the simplest shortcuts to memory can be found in children's texts. They contain letter trims, repetitions and patterns, rhythms and melodies. That's why we created a letter strip: Stretch. Chat. Smile. Therefore it was all told rhythmically with many repetitions and therefore the underlying melody. The inspiration for the visual side was found at the more serious end of mnemonic literature: Joshua Foer's "Moonwalking with Einstein", which, as the title suggests, describes how both familiar faces and truly surprising situations helped him remember so well that he ended up winning the World Cup in memory. Therefore, the film is filled with familiar faces that appear in some often bizarre situations. At the same time, all the familiar faces in the film are a distribution strategy, an influencer strategy to spread the message. Often you set influencers to create content yourself, other times you set them to share some content they have no share in. In a nutshell, the smile campaign really had many a share in the movie, for a lot of people participated. And fortunately, attention is gaining more attention, so when the participants knew first showed commitment, many followed. It was an influencer strategy with familiar faces that could contribute to the campaign not only by their immediate participation, but also by helping to spread it afterwards because they now had a stake in it. At the same time, the participation of some influencers was a reason in itself for others to watch and distribute the film. This we could, for example, look at all the nostalgia it caused to restore the Gramses spectrum for the first time in the new millennium. Some just joined the movie and shared it in their own channels, others went all the way and participated in articles and interviews. The level of commitment was up to the individual participant. Result Immediately after the first campaign period - several are planned - the results are overwhelming: The distribution strategy worked great, and more than 2,142,000 Danes over 18 remember to have seen the campaign. (It is very close to half of Danes over 18). Facebook alone generated 1.1+ million organic, free views. An exemplary collaboration with the communications agency Mannov got almost all major media in Denmark, from EB to JP to Information, from DR and TV2 to Radio24-7, the story took up in as different formats as from news broadcasts, Go'AftenDenmark and The Evening Show to DenKorteRadioavis and DetLilleMeme-mageri. And the message was understood. The Danish Council for Revival and TrygFonden had so much confidence in the idea that they started on a blank canvas. No one knew the Stretch-Talk-Smile strip before the campaign for the simple reason that it did not exist. But 45% of Danes over the age of 18, after the campaign, announce the strip Stretch, Talk, Smile and connect it to stroke. At the same time, the unhelpful awareness of the symptoms of a stroke increased significantly. Before the Stretch, Talk, Smile campaign was launched, 41% of Danes could not cite at least one of the three most common symptoms of stroke. After the campaign, only 64% of Danes were able to mention at least one of the symptoms of stroke. Knowledge of the symptom of reduced force in one arm (which "Stretch" covers) increased from being known by 28% of Danes in the pre-survey to 58% of Danes in the post-survey. Facial paralysis ("Smile") went from 11% to 34%. More than a triple. And the incoherent speech ("Talk") went from 24% to 55% of Danes. An equally impressive fact is that every 5th on the basis of the campaign has sought more information about stroke. Thus, 407,000 Danes have sought out more information about stroke after watching the campaign. NGO campaigns have very high benchmarks, but Stretch, Talk, Smile outperform all. Quotes from the report of this postAfact after the campaign: "Very high liking and significantly higher than other NGO campaigns." "The campaign is highly relevant and, in particular, credible." As the raisin at the sausage end, it is worth mentioning, as we anticipated in the first paragraph, that a sub-goal of the campaign was to introduce the word stroke in the Danish language. The word was a thorn in the eyes of many - as predicted, just as when diabetes should turn into diabetes - but it helped immensely to debate and get the film up in the algorithm. And one gets used to a lot: Stroke is already included in the Danish dictionary, and the knowledge of stroke increased by over 30%. “Significantly more people who remember the campaign mentioned unhelpfully that a stroke is a bleeding or blood clot in the brain according to the pre-test. Really good! ”Wrote AFAFact. Stretch-Talk-smile. Remember it!
Mærke
Verificeret (9)

Samuel Lehn

Lydmixer

Malene Dyhring

Executive Producer
+1

Ian Isak

Direktør

Honningfælde

Produktionsselskab
+1

Martin Dirkov

Lyddesign
+1

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