A particularly British approach to advertising

The sun never sets on the British Empire, it was said.

It did.

What's more, the United Kingdom itself was nearly eclipsed before voters in Glasgow and environs scotched a September referendum on independence.

The United Kingdom may have stayed just that, but Brits may eventually vote on remaining in the European Union, especially if the anti-E.U. United Kingdom Independence Party continues its electoral ascent.

These and other headlines hint at a Britain more introspective than internationalist, which may impact London's ability to project geopolitical power.

Conversely, it may enhance an aspect of British "soft power" — creativity.

At least that's the sense from screening the British Arrows Awards, which celebrate the best of British (and by extension, the world's) advertising. Perhaps reflecting the national mood, this year's reel feels more British, even in spots for global brands.

For instance an advert (British term for commercial) for Heinz Baked Beans isn't focused on the food, but the fraternal duty of an older brother. And if the little brother doesn't steal hearts, the little dog, loyal to his aging owner visiting his wife's grave site in a Cesar's pet food spot, will quiver those stiff upper lips Brits are famous for.

These, and other spots, are not replete with celebrities, but real-looking character actors and, in some cases, actual consumers.

"What we like to produce is great ideas, but those ideas can be owned by any brand," said Andy Gulliman, worldwide director of film and content for advertising agency Saatchi and Saatchi. Speaking from London before jetting to Minneapolis to introduce the Arrows at Friday's premiere, Gulliman added: "Iconic brands may have educated everybody on the power of an idea, and now everybody is playing and at the party."

Even in the decidedly nonparty category of public-service announcements, some of which boldly explore life-or-death issues. Several are among the Arrows hitting a bull's-eye this year, but shot by less creative archers they might have missed the mark, if not deeply wounded sensitive viewers.

For instance an anti-cyberbullying spot shows a noose slowly lower and then tighten around a tech-tethered teen girl's neck as she fights back against her digital tormentors. The noose, unseen by others, never releases. Tragedy ensues. It's very hard to watch but impossible to turn away from, which makes it effective messaging.

To be sure, sledgehammering is not normally the British style. But hard-hitting can be, since smart ads allow for more creative license. For instance, in a spot for The Prince's Trust charity, two tough-looking young Londoners in hoodies read screeds excerpted from over two centuries of British newspapers that excoriate youthful behavior. "Young people have always had bad press," the concluding graphics silently state. "Don't write them off."

That's also the theme of the most comprehensively creative Arrows Award winner. It's an ad from charity Business in the Community, and it implores employers to not write off offenders in job interviews.

The scene is a screen shot of the Guardian newspaper's website. An unseen computer user clicks on a video story about Princess Kate. The pre-roll video isn't an ad, but an ex-con asking for a clean start. Each time the mouse clicks over "Skip Ad" he returns, politely, plaintively pleading that you just listen to his story. "It takes less than 30 seconds to write off an ex-offender," the concluding graphic starkly states. "Give them a second chance and hear what they have to say." The exquisite execution captures computer users' impatience with ads, and society's impatience with ex-cons, and shows how creativity can change minds on crucial social issues.

Most of this year's spots are more silly than serious, however, including the "Commercial of the Year" for Marmite yeast spread. The particularly British product gets a particularly British treatment.

"No matter what the state of the nation is, the British are very good at taking the Mickey out of each other," said Gulliman, using U.K. slang for ribbing.

In fact, quite the opposite: The introspection resulted in creativity that's exportable, as evidenced by the throngs at the Walker during December, as well as the influence the work will likely have on global marketing in months to come.