Traditional Media Strategy

Introduction

Traditional media remain strategically important despite the growth of digital platforms. Television, radio, print, outdoor, cinema, sponsorship and experiential media continue to deliver distinctive combinations of reach, attention, credibility, geographical coverage and cultural influence. Their strategic value does not arise simply from the number of people they contact. It depends on the quality of exposure, the context in which the message is encountered, the availability and price of inventory, the creative form required, and the reliability of measurement.

A contemporary media planner therefore evaluates traditional media neither as obsolete channels nor as isolated vehicles. Instead, traditional media are considered components of an integrated communication system. Television may create broad awareness, radio may provide frequency and local immediacy, outdoor may reinforce presence near retail locations, print may offer detailed information, cinema may provide high-impact attention, and sponsorship or experiential activity may create participation and association.

The central managerial problem is allocation: which medium should carry which communication task, for which audience, at what time, with what creative treatment, and at what acceptable cost and risk?

Learning Objectives

By the end of this chapter, students should be able to:

1. Evaluate television, radio, print, outdoor, cinema, sponsorship and experiential media as strategic communication channels.
2. Compare media using audience delivery, context, cost, creative requirements, scheduling and inventory constraints.
3. Apply reach, frequency, gross rating points and cost-efficiency concepts appropriately.
4. Distinguish measured delivery from actual attention, engagement and business outcomes.
5. Design an integrated traditional-media plan for a defined communication problem.
6. Identify ethical, regulatory, operational and measurement risks.

1. Strategic Foundations of Traditional Media

1.1 Media as a set of communication environments

A medium is not merely a transmission technology. It is also an environment that shapes how audiences interpret advertising. A television commercial appears within a professionally produced programme and may benefit from sound, movement and narrative. A newspaper advertisement is encountered in a reading environment in which audiences may actively seek information. An outdoor poster is consumed quickly, often while the audience is mobile. A cinema advertisement is presented in a large-screen, low-distraction setting, whereas radio depends almost entirely on sound and imagination.

The same creative message can therefore have different effects across media. A complex product demonstration may suit television or cinema; a price promotion may suit radio and retail-oriented outdoor; a detailed institutional argument may suit print; and a product trial may be more appropriate for experiential media.

1.2 The communication task

Media selection should begin with the communication task rather than with media popularity. Common tasks include:

• creating rapid awareness;
• establishing or refreshing brand salience;
• explaining a product or service;
• changing perceptions;
• generating store visits or enquiries;
• supporting a launch;
• building trust and legitimacy;
• creating emotional association; and
• facilitating trial or participation.

A broad-reach medium is not automatically the best choice. If the problem is lack of understanding, a high-attention or information-rich environment may be more useful than maximum reach. If the problem is low salience among a geographically concentrated audience, local radio and outdoor may be more efficient than national television.

1.3 Audience delivery and exposure quality

Media audiences are described through several related but non-identical concepts:

• Universe: the total population eligible for measurement.
• Target audience: the defined group relevant to the campaign.
• Reach: the number or percentage of target individuals exposed at least once during a specified period.
• Frequency: the average number of exposures among reached individuals.
• Impressions: the total number of delivered opportunities for exposure, usually including repeated exposures.
• Rating: audience size expressed as a percentage of the relevant universe.
• Gross rating points (GRPs): the sum of ratings delivered by a schedule.
• Share: a vehicle’s proportion of total media consumption at a particular time.

Under standard planning assumptions, a schedule’s GRPs can be represented as:

Reach is expressed as a percentage of the target universe and frequency is the average number of exposures among those reached. This identity is useful for planning, but it does not reveal how exposures are distributed. Two schedules may deliver the same GRPs while producing very different reach and frequency patterns. It also does not measure attention, comprehension or persuasion.

For a vehicle or schedule, cost per thousand impressions is commonly expressed as:

Media cost and impressions must be measured in compatible currencies and counts. CPM is a delivery-efficiency indicator, not a complete measure of value. A low CPM may reflect large but poorly targeted exposure, weak attention or limited brand suitability.

For a target audience, cost per rating point may be expressed as:

CPP is meaningful only when the rating points refer to the same target definition, market and time period. Neither CPM nor CPP should be compared across media without examining differences in measurement, attention, format and audience quality.

2. Television Strategy

2.1 Strategic characteristics

Television combines sight, sound, movement, music, dialogue and narrative. It is particularly useful for mass awareness, emotional storytelling, demonstrations, social proof and brand-building. Broadcast television can deliver rapid national reach, while cable, connected television and addressable systems may offer more selective delivery.

Television’s principal strengths include:

• broad and rapid audience delivery;
• strong audio-visual demonstration;
• emotional and narrative capacity;
• shared cultural experience; and
• relatively mature audience measurement systems.

Its limitations include high production costs, audience fragmentation, commercial avoidance, clutter, limited message length and substantial premium pricing for high-demand programmes or events.

2.2 Context and placement

Context operates at several levels. A programme may be relevant to the audience, compatible with the brand and emotionally suitable for the message. A sports broadcast may be valuable for a beverage or financial brand seeking association with energy and collective participation, but less appropriate for a message requiring quiet explanation. Placement within a programme, break position, adjacency and sponsorship identity can influence memory and perceived fit.

Television inventory may be sold by spot, package, daypart, programme, audience guarantee or sponsorship arrangement. High-demand inventory—major sporting events, election coverage, seasonal programming and popular premieres—may be scarce and costly. Late cancellation deadlines and production lead times create operational constraints.

2.3 Scheduling

Television scheduling decisions include:

• Dayparts: broad time periods such as morning, daytime, early fringe, prime time and late night.
• Continuity: a relatively even presence over time.
• Flighting: alternating periods of activity and inactivity.
• Pulsing: continuous activity with varying intensity.
• Event concentration: heavy investment around a defined event or launch.

Scheduling should reflect purchase cycles, audience availability, competitive pressure, seasonality and the campaign’s response objective. A short, intensive launch may require concentrated television weight; a mature brand may benefit from continuity.

2.4 Creative requirements

Television creative must communicate quickly. The opening seconds should establish attention and relevance; the brand should not be postponed until the final frame. Sound-off viewing, small-screen viewing and distracted consumption increasingly require visual clarity. Effective television is not simply a print advertisement with movement added. It uses editing, performance, sound design and visual demonstration to create meaning.

3. Radio Strategy

Radio is an intimate, portable and frequently repeated medium. It is especially useful for local advertising, tactical promotions, traffic-related messages, retail activation and frequency building. Its reliance on sound creates both a limitation and a creative opportunity: radio cannot show a product, but it can stimulate imagination through voice, music, rhythm, dialogue and sound effects.

3.1 Audience and context

Radio audiences often listen during commuting, working, shopping or household activity. Listening may be habitual and dispersed across the day. Stations possess distinctive formats and personalities, allowing planners to select audiences by age, lifestyle, geography and interests. Local radio can provide strong market relevance, live endorsements and rapid copy changes.

3.2 Inventory and scheduling

Inventory is constrained by available commercial minutes, programme structure, audience demand and regulatory limits. Premium breakfast and drive-time slots can command higher prices. Radio plans frequently emphasize frequency because individual exposures may be brief and partially attended. However, excessive repetition can produce irritation or wear-out.

Radio may be purchased as spots, sponsorships, presenter reads, outside broadcasts or integrated promotions. Presenter endorsements can provide perceived authenticity, but they require disclosure and careful control of claims.

3.3 Creative requirements

A radio advertisement should normally communicate the brand, proposition and action clearly through sound alone. Distinctive verbal devices, mnemonic phrases and repeated brand naming can assist memory. Copy should be written for listening rather than reading. Telephone numbers, web addresses and complex instructions should be simplified or repeated judiciously.

4. Print Media Strategy

Print includes newspapers, magazines, trade publications, supplements, directories and specialist publications. Its strategic value lies in information depth, permanence, credibility, editorial context and selective targeting.

Newspapers may provide geographic and topical immediacy, while magazines often provide stronger audience affinity, visual quality and longer shelf life. Trade and professional publications can reach narrowly defined decision-makers, although their absolute audiences may be small.

4.1 Audience delivery and context

Print readers choose or receive content in a reading environment. This can support attention, comparison and information processing. Editorial environment matters: a financial-services advertisement in a respected business publication may gain contextual legitimacy, while an advertisement in an unsuitable editorial environment may create reputational risk.

Print measurement may distinguish circulation, readership, pass-along readership, issue readership and digital extensions. These measures are not interchangeable. Circulation counts copies distributed; readership estimates people who read or looked at a publication. A media planner must identify the definition used by the research source.

4.2 Creative and production considerations

Print supports detailed copy, comparisons, coupons, maps, testimonials and visual identity. Yet detail does not guarantee attention. Headline clarity, hierarchy, typography, image quality and proximity to relevant editorial material are central. Production specifications include size, colour profile, paper stock, bleed, booking deadlines and proofing.

Inventory constraints may involve limited premium positions, cover placements, classified sections, insertion volumes and publication frequency. Print is also exposed to declining circulation in some markets and changing reader behaviour, requiring cautious interpretation of historical benchmarks.

5. Outdoor Media Strategy

Outdoor, or out-of-home media, includes roadside billboards, transit advertising, street furniture, retail panels, airport media, place-based screens and digital out-of-home formats. It reaches audiences in public environments and is often strong for visibility, geographic reinforcement and repeated exposure.

5.1 Location as strategy

Outdoor effectiveness depends heavily on location. Relevant variables include traffic volume, pedestrian flow, dwell time, direction of travel, visibility, obstruction, speed, lighting, viewing distance and proximity to points of sale. A panel near a retail outlet may support immediate action, while a landmark billboard may build broad brand presence.

Outdoor audience estimates are usually modelled from movement data, traffic counts, visibility adjustments and panel characteristics. These are opportunities to see, not guaranteed attentive exposures. The distinction should be made explicit in planning and reporting.

5.2 Creative requirements

Outdoor messages must be understood rapidly. Strong contrast, large type, a simple proposition, limited wording and a recognizable brand asset are generally important. Creative should be designed for the actual viewing distance and travel speed. QR codes or short URLs should not replace a clear message because scanning opportunities vary considerably.

Inventory is inherently finite. Premium sites, large formats, transport hubs and major-event locations may have long lead times and high prices. Digital outdoor increases flexibility through dayparting, sequential creative and trigger-based scheduling, but also introduces screen availability, proof-of-play and brand-safety issues.

6. Cinema Media Strategy

Cinema advertising benefits from a large screen, high-quality sound, a seated audience and comparatively low environmental distraction. It is useful for high-impact launches, entertainment, luxury, automotive, tourism and campaigns seeking immersive attention.

Cinema audiences are geographically concentrated and demographically variable by film, venue, day and screening time. The planner should consider whether the film environment supports the brand. A campaign may use national cinema networks for scale or selected venues for affluent, urban or specialist audiences.

Cinema inventory includes pre-show spots, on-screen slides, foyer displays, sampling, ticketing integrations and event partnerships. The pre-show environment may involve clutter, and attendance forecasts may be uncertain. Creative can use longer formats than outdoor, but it should still respect the audience’s expectation of entertainment. Sound design, large-scale visual composition and cinematic storytelling are valuable advantages.

7. Sponsorship Strategy

Sponsorship is an exchange in which a brand provides financial or other support to an entity, property, programme, event or cause in return for rights and association. The property may be sport, entertainment, culture, education, social purpose or community activity.

Sponsorship differs from ordinary advertising because the brand does not fully control the surrounding experience. Value may arise from:

• association with desirable meanings;
• access to a defined community;
• hospitality and relationship development;
• content and media rights;
• sampling or trial opportunities; and
• internal employee engagement.

A sponsorship should be assessed through strategic fit, audience overlap, distinctiveness, activation potential, exclusivity, reputational risk and contractual deliverables. Buying naming rights without an activation plan can produce weak returns. The property’s audience may be large, but the brand must establish how exposure becomes memory, preference or behaviour.

Measurement should separate exposure value, engagement, brand effects, leads, sales, hospitality outcomes and community outcomes. Equivalent media value may be reported, but it should not be treated as proof of causal return on investment.

8. Experiential Media Strategy

Experiential media create direct or participatory encounters between audiences and brands. Examples include product demonstrations, pop-up installations, roadshows, festivals, branded spaces, street teams and trial events.

Experiential activity is valuable when sensory experience, human interaction or product trial is central to the proposition. It can generate richer feedback than passive media and can produce content for subsequent communication. However, it is operationally complex. Location permissions, staffing, health and safety, accessibility, weather, queues, stock, insurance and data governance must be planned in advance.

Key measures include attendance, qualified interactions, demonstrations completed, samples distributed, opt-in rate, trial rate, conversion, satisfaction and subsequent behaviour. Raw footfall is insufficient if visitors are outside the target audience or if the experience fails to communicate the brand.

9. Comparative Evaluation Framework

The following framework supports cross-media evaluation.

A robust plan uses a portfolio logic. Reach media establish presence; frequency media reinforce memory; contextual media provide relevance; participatory media deepen involvement. The mix should be justified by the communication task and not by a desire to include every channel.

10. Measurement and Attribution

Traditional-media measurement generally progresses through four levels:

1. Delivery: spots, circulation, estimated audience, impressions or attendance.
2. Exposure quality: visibility, completion, attention, dwell time or recall.
3. Communication effects: awareness, recognition, understanding, attitudes or consideration.
4. Business outcomes: enquiries, visits, sales, donations, subscriptions or brand equity.

These levels should not be collapsed. A television rating is not a sale; a sponsorship impression is not an attitude change; and experiential attendance is not necessarily qualified engagement.

Useful methods include audience surveys, brand-lift studies, matched-market tests, unique promotional codes, retailer data, search-volume analysis, econometric modelling and controlled experiments. Attribution is difficult because traditional media often operate alongside price changes, distribution shifts, public relations, digital advertising and seasonal demand.

A practical evaluation design may compare exposed and control markets, while controlling for baseline differences. Where randomization is impossible, analysts should acknowledge confounding variables and avoid claims of certainty. Post-campaign dashboards should report delivery, cost, quality, outcomes and confidence in the evidence.

11. Integrated Planning Process

A professional planning process can be organized as follows:

1. Define the business and communication problem.
2. Specify the target audience using behavioural, demographic, geographic and attitudinal information.
3. Identify the role of each medium in the consumer journey.
4. Estimate reach, frequency, cost and production requirements.
5. Assess context, brand fit, inventory and operational feasibility.
6. Develop media-specific creative rather than mechanically adapting one execution.
7. Build a schedule around purchase cycles, events and audience availability.
8. Establish measurement before launch.
9. Monitor delivery, quality, complaints, brand safety and operational performance.
10. Evaluate outcomes and document learning for the next planning cycle.

Worked planning example

An illustrative campaign has a media budget of $240,000. Television costs $120,000 and delivers 180 rating points against the target audience. Radio costs $60,000 and delivers 150 rating points. Outdoor costs $60,000 and is evaluated primarily through impressions rather than rating points.

Television CPP is:

Radio CPP is:

Radio is more efficient on this narrow delivery measure. That conclusion does not establish that radio is strategically superior: television may deliver stronger visual demonstration and broader emotional impact, while outdoor may provide valuable geographic reinforcement. The planner should therefore combine efficiency with communication role, audience quality, creative suitability and outcome evidence.

12. Applied Case: Launching a Regional Healthy Beverage

The following is a fictional illustrative case.

Background

A beverage company is launching a low-sugar product in three metropolitan regions. The target is adults aged 18–34 who are active, socially connected and interested in convenient healthier choices. The product is unfamiliar, and distribution is initially limited to selected supermarkets, gyms and convenience stores.

Problem

The company needs rapid awareness but also faces a comprehension challenge: consumers must understand the product’s taste proposition and locate it in stores. A purely national campaign would waste budget outside the distribution footprint.

Analysis

Television offers scale and can demonstrate consumption occasions, but national buying would create wastage. Local radio can build frequency during commuting and support retail promotions. Outdoor can reach people near participating stores and gyms. Experiential sampling can address the taste barrier directly. Cinema is useful in selected urban venues but cannot carry the entire launch. Sponsorship of local fitness events may provide credibility and trial opportunities.

Approach

The plan uses:

• regional television during high-reach entertainment and selected sports programming;
• radio presenter reads and short spots during drive-time;
• outdoor panels near retailers, gyms and transit routes;
• weekend sampling at gyms, markets and fitness events;
• a modest local-event sponsorship with category exclusivity; and
• print placements in health and lifestyle publications for product explanation.

Creative is adapted by medium. Television shows social consumption and the product benefit. Radio emphasizes availability and a memorable verbal device. Outdoor uses a short benefit statement and store cue. Experiential staff provide tasting, explain the product and obtain consent for follow-up communication.

Outcome

The company evaluates delivery, aided awareness, product understanding, sampling conversion, store-level sales and repeat purchase. It does not treat media impressions as sales. Regional sales are compared with matched areas where the product is available but launch support is lower, while distribution and promotional differences are documented.

Learning points

The case demonstrates that traditional media work best when assigned complementary roles. Reach created initial salience; radio and outdoor reinforced availability; print supported explanation; sponsorship transferred relevant associations; and experiential activity reduced uncertainty through trial. The plan also shows why distribution, measurement design and operational execution must be integrated with media strategy.

13. Ethics, Regulation and Governance

Traditional media strategy must comply with advertising standards, consumer-protection law, sector-specific rules and contractual obligations. Claims should be substantiated, especially for health, finance, environmental performance and comparative advertising. Sponsorship and presenter endorsements should be clearly identifiable. Experiential data collection requires informed consent, secure storage and a defined retention purpose.

Additional governance issues include:

• protection of children and vulnerable audiences;
• avoidance of discriminatory targeting or harmful stereotypes;
• accessibility for people with disabilities;
• safe event design and responsible sampling;
• transparent disclosure of commercial relationships;
• responsible environmental practices in print, production and outdoor materials; and
• brand-safety controls for programme, venue and event associations.

Ethical quality is not merely a compliance cost. Trust, credibility and long-term brand equity can be damaged by a campaign that is technically efficient but socially irresponsible.

14. Contemporary Developments

Traditional media are increasingly connected to digital systems. Connected television enables more addressable delivery and outcome tracking. Digital outdoor supports flexible scheduling and dynamic creative. Print publications extend campaigns through websites, newsletters and events. Radio is distributed through streaming and podcasts, while cinema venues offer mobile, foyer and ticketing integrations. Sponsorships generate short-form content for social platforms, and experiential activity may use QR codes, applications or customer relationship systems.

These developments improve flexibility but can create false precision. More data do not automatically mean better causal measurement. Planners should distinguish deterministic delivery records from inferred audience estimates and should maintain consistent definitions across channels.

Best-Practice Principles

1. Start with the communication problem, not the channel.
2. Define the target audience and measurement universe precisely.
3. Separate reach, frequency, impressions, attention and outcomes.
4. Use each medium according to its distinctive creative strength.
5. Evaluate context and brand suitability as well as audience volume.
6. Allow for production, booking, cancellation and operational lead times.
7. Treat premium inventory as scarce and negotiate deliverables carefully.
8. Build measurement and governance into the plan before launch.
9. Use integrated media roles rather than duplicating the same message everywhere.
10. Report uncertainty honestly and use learning to improve future allocation.

Chapter Summary

Traditional media strategy is the disciplined evaluation and combination of television, radio, print, outdoor, cinema, sponsorship and experiential communication. Each medium offers a different relationship among audience delivery, context, creative form, scheduling, inventory and measurement. Television provides audio-visual scale and storytelling; radio offers intimacy, locality and frequency; print supports information and credibility; outdoor delivers public visibility and geographic reinforcement; cinema creates immersive attention; sponsorship builds association and access; and experiential media encourage participation and trial.

Reach, frequency, GRPs, CPM and CPP help planners describe delivery and cost, but they do not by themselves establish attention, persuasion or commercial return. Effective planning therefore requires a clear communication task, a defined audience, media-specific creative, realistic scheduling, inventory awareness and an evaluation design that distinguishes exposure from outcomes. Ethical, regulatory and operational considerations are integral to professional practice. The strongest traditional-media plans use channels in complementary roles and integrate them with wider brand and customer systems.

Key Terms

Audience delivery: The process and scale by which a medium contacts a defined audience.

Brand fit: The compatibility between a brand and the context, property or environment carrying its message.

Continuity: A scheduling pattern that maintains relatively steady media activity over time.

Cost per mille (CPM): Media cost divided by impressions and multiplied by 1,000.

Cost per rating point (CPP): Media cost divided by rating points delivered.

Daypart: A defined period of the day used for media scheduling.

Experiential media: Brand activity designed to create direct, participatory or sensory interaction.

Frequency: The average number of exposures among people reached.

Gross rating points (GRPs): The sum of audience ratings delivered by a schedule.

Impression: A delivered opportunity for an audience member to encounter a message.

Inventory: The available advertising space, time, placements or rights offered by a medium or property.

Out-of-home media: Advertising encountered outside the home, including outdoor, transit and place-based formats.

Reach: The number or percentage of a target audience exposed at least once.

Sponsorship: Commercial support exchanged for rights and association with a property, event or cause.

Target audience: The defined group for whom communication is strategically intended.

Context: The editorial, physical, social or cultural environment surrounding an advertisement.

Flighting: Alternating periods of advertising activity and inactivity.

Pulsing: Continuous advertising activity with varying levels of intensity.

Attention: The degree to which an audience notices and processes a message.

Brand safety: Processes used to prevent inappropriate, harmful or reputationally damaging associations.

Review Questions

Short Answer Questions

1. What is the difference between reach and frequency?
2. Why should CPM not be used as the only basis for comparing media?
3. Identify two creative requirements for outdoor advertising.
4. What distinguishes sponsorship from ordinary spot advertising?
5. Why is distribution important when planning a regional media campaign?

Long Answer Questions

1. Compare television and radio in terms of audience delivery, context, creative requirements, scheduling and measurement.
2. Explain how print and outdoor can perform different strategic roles within an integrated campaign.
3. Discuss the advantages and limitations of cinema, sponsorship and experiential media.
4. Explain the distinction between media delivery, attention, communication effects and business outcomes.
5. Develop a traditional-media strategy for a new consumer product with a geographically limited launch.

Analytical / Application Questions

1. A campaign delivers 240 rating points at a cost of $144,000. Calculate the CPP and explain why the result is insufficient for a complete media evaluation.
2. A brand has strong awareness but weak product understanding. Which traditional media would you prioritize, and how would you assign complementary roles to them?
3. Design an evaluation framework for a sponsorship and experiential campaign. Specify delivery, engagement, brand and business measures, and identify at least two possible sources of bias.

Multiple Choice Questions with Answers

Question 1

Which statement best describes the relationship between GRPs, reach and frequency?

A. GRPs are calculated by multiplying reach percentage by average frequency.

B. GRPs measure only the number of unique people reached.

C. GRPs are calculated by dividing media cost by impressions.

D. GRPs measure only audience attention.

Correct Answer: A. GRPs are calculated by multiplying reach percentage by average frequency.

Question 2

A television schedule costs $90,000 and delivers 150 rating points. What is its CPP?

A. $450

B. $600

C. $1,667

D. $240,000

Correct Answer: B. $600

Question 3

Which medium is generally most dependent on sound, voice, music and imagination?

A. Print

B. Outdoor

C. Radio

D. Cinema

Correct Answer: C. Radio

Question 4

Which factor is especially important when evaluating an outdoor site?

A. Paper stock

B. Viewing distance and traffic flow

C. Programme plot development

D. Presenter endorsement disclosure only

Correct Answer: B. Viewing distance and traffic flow

Question 5

What is a central strategic advantage of print media?

A. Guaranteed attentive viewing by every reader

B. Information depth and reading permanence

C. Unlimited premium inventory

D. Automatic product trial

Correct Answer: B. Information depth and reading permanence

Question 6

Which statement best characterizes sponsorship?

A. The advertiser fully controls every aspect of the surrounding property.

B. It exchanges support for rights and association with a property or event.

C. It is always cheaper than spot advertising.

D. Its only valid measure is equivalent media value.

Correct Answer: B. It exchanges support for rights and association with a property or event.

Question 7

Which activity is most characteristic of experiential media?

A. Product sampling and direct participation

B. Buying a newspaper classified advertisement

C. Purchasing a late-night television spot

D. Calculating circulation

Correct Answer: A. Product sampling and direct participation

Question 8

If a campaign costs $50,000 and delivers 10 million impressions, what is its CPM?

A. $0.50

B. $5

C. $50

D. $500

Correct Answer: B. $5

Question 9

Why should exposure not be treated as equivalent to a business outcome?

A. Exposure is always measured incorrectly.

B. Exposure indicates an opportunity to encounter a message, not necessarily attention, persuasion or purchase.

C. Business outcomes cannot be measured.

D. Only digital media can produce sales.

Correct Answer: B. Exposure indicates an opportunity to encounter a message, not necessarily attention, persuasion or purchase.

Question 10

Which scheduling pattern alternates periods of advertising activity and inactivity?

A. Continuity

B. Pulsing

C. Flighting

D. Dayparting

Correct Answer: C. Flighting