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Semiotics and Advertising - Who Decides How We Think (H. Richards, 2012)
Semiotics and Advertising - Who Decides How We Think (H. Richards, 2012)
I - INTRODUCTION TO SEMIOTIC THEORY 3 II
- HOW TO DECODE MEANING 4 III - THE PERSUASIVE SELLING OF MYTHS 6 IV - INFLUENCE, MANIPULATION, AND EFFECTS 7 V - ANALYSING ADVERTISMENTS 9 VI - CONCLUSION 12 IMAGE APPENDIX 13 BIBLIOGRAPHY 17
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image is designed to entice the viewer into buying the pasta and it attempts to do this by signifying on several levels information that will provoke desire. Barthes starts with identifying three classes of message within the image, that of the linguistic message (text), the symbolic message (encoded iconic) and the literal message (non encoded iconic). Firstly the linguistic message is contained in the text. He sees two kinds of linguistic messages at work: A denoted message comprising of the caption and the labels on the produce that point directly to the name of the company, and a connoted message, the name Panzani signifies what Barthes refers to as Italianicity. We see that name and easily identify that its Italian and the name of the brand. Because the company is selling goods to make Italian food, we assume that an Italian brand name would be better to use by the very nature of its Italianness. Secondly, Barthes identifies four signs from the non-linguistic part of the image and these form the symbolic message or connoted image. 1) The half-open bag signifies a return from the market, the way the image is presented with the provisions spilling out from the bag over the table signifies freshness, and plenty. 2) The tomato, pepper and the yellow, green and red hues of the poster signify Italianicity. 3) The total collection of the objects signifies a full culinary package; as if Panzani products somehow equate to the entire natural produce that surround it. 4) The general composition is reminiscent of, and consequently signifies the notion and aesthetic of a still life painting. Lastly the literal message is the non-coded aspect and refers to the actuality of what we see when we look at the image. That is, the image of a tomato represents a tomato; the image of the mushroom shown represents a mushroom, and so on. At this point Barthes questions the functions of the linguistic message in relation to the image. Some form of linguistic message accompanies almost all images, in all contexts. He proposed two such functions for this: anchorage and relay. Images generally tend to have multiple interpretations and meanings. Anchorage is when text is used to direct the viewer to one single meaning. The text directs the reader through the signifieds of the image, causing him to avoid some and receive others; by means of an often subtle dispatching, it remote-controls him towards a meaning chosen in advance (Barthes, 1977: 39-40). Relay on the other hand, is a reciprocal relationship between the text and the image. They compliment each other, and work together to convey the intended meaning. Text [...] and image stand in a complementary relationship [...] and the unity of the message is realized at [the] level of the story, the anecdote, the diegesis (Barthes, 1977: 41). This form of linguistic message is rarely used in advertising, but typically can be found in film, cartoons or comic strips. Rhetoric Of The Image is a valuable reference in understanding how meaning and messages in adverts can be interpreted and created.
This operates under the premise that if you dont look like/have/do this you are not normal, are weird and do not belong. Once an advert has successfully made you believe this then the solution is provided in the form of buying into the product. This is one technique used for the creation and imposition of hegemonic norms. Cultural hegemony is the theory that one social class can dominate a diverse society, by manipulating the societal beliefs, perceptions and values so that the ruling class view is perceived as a universally valid ideology and norm beneficial to all society, whilst really only benefiting the ruling class. Advertising using the above methods creates competitive individuals trying to outdo each other for perceived status while the large corporations profit. The impression that an abundance of possessions lead to fulfillment and happiness can be both misleading and frustrating. Further negatives of this form of advertising are the over-sexualization of children and the insecurity and self esteem issues in women and young girls due to unattainable, heavily airbrushed images in magazines. Another lesser-known negative of this kind of consumerism is that mass media outlets increasingly become little more than vessels for advertising. Free media platforms rely on the revenue generated from advertising to stay afloat, so it means that often the priority shifts from the customer to providing a captive audience. Monopoly concentration thus leads to more advertising control of mass media and monopoly and concentration in media ownership that leads to more and more direct and extensive corporate control of popular culture and society (Kellner & Harms). Advertisers can have a big influence on the kind of programming that is shown, or content delivered so it can appeal to their required demographic. This can also mean a compromise in quality. In the interests of a balanced discussion, it is important to note there are some positive effects of advertising as well. There is an economic benefit in that by informing people about new services and improvements in existing ones it contributes to efficiency, and the lowering of prices. At times advertising can contribute to the betterment of society with uplifting, motivational or inspiring messages. The design and delivery of some groundbreaking adverts can even inspire creativity and technical progress. While these benefits are valid and useful, I feel that the problems with current advertising practice outweigh them, and are a cause for concern. Of all the points raised in my findings the thing that interests me the most is the concept of the desired self. I find it interesting that advertisers capitalize on our own innate egodriven desires to feel significant, and important. Most people when they buy into certain products do so because they want to show off to others, or express how unique they are, or because they feel this particular product fits the image of the person they aspire to be. I find it ironic that at times the way we express individuality, is by joining a collective club of people who also bought that product.
V - ANALYSING ADVERTISMENTS
In this section, I will use the ideas and principles laid out in sections I and II on semiotic theory to analyze 3 recent advertisements. I want to review the evidence of adverts promoting this idea of the desired self, and how in each it is implemented. I will firstly explore an advert that heavily endorses this notion, then I will contrast this with a second advert that does not. The third will show a balance between the two. Proactiv Skincare Advertisement (2010) [Fig. 2.] This advert was produced as part of a campaign to promote the cosmetics brand Proactiv. The piece was commissioned by the Guthy-Renker Corporation, and produced by Californian advertising agency Eleven in 2010. Proactiv is a brand that specializes in acne treatments, and is predominantly marketed to women. I would say that the intended target audience is women between the ages of 16-35. People in this age bracket have the most disposable income, and are most likely to suffer with acne. I can also infer this from the large photographic image that is the focal point of the piece. The image depicts famous singer Katy Perry, a young female. The photo is a medium close-up, and Perry fills the entire piece. She is photographed against a neutral coloured background that compliments her skin. The colour of her skin is a big visual draw in the image. Due to her pose, and the selective cropping of the picture, there is an implication of nakedness. This doesnt come across as pornographic or overtly sexual; rather the amount of skin shown in the image becomes a sign of vitality, health, beauty and being natural. The lighting, or the airbrushing done in postproduction gives her skin a warm, healthy glow. Importantly, her skin is shown as clear and without blemish. What all these signifiers effectively do is present this image of beauty as natural and that by using Proactiv, the user will counteract blemishes and return to this level of beauty. The choice of Perry for the ad, instead of an ordinary woman is because of the influence she has as an artist. Her presence endorses the brands credibility. The connoted message is, you can be like Katy Perry, and have skin like her, if you use Proactiv. Looking again at the photo, another theme conveyed is youth and innocence. The green of Perrys eyes have been enhanced so that they stand out strikingly. She wears a ring that looks like it could be made of plastic. The ring is significant for a few reasons: it takes the form and shape of a strawberry. The strawberry signifies sweetness, and femininity. Because its a fruit, this could signify purity and perpetuates the natural theme. The fact it appears to be plastic evokes an air of simplicity, and of childhood or youthful innocence. The same youthful connotation could be read from the yellow bow in her hair. These, together with the pink of her lips combine to create an added colourful element that stands out against the nude colours that dominate the rest of the image. Another way innocence is communicated is through her pose. She seems to have a caught-off-guard look in her eyes, surprised even. With her hand at her lips she is almost saying Oh my. As if accused of doing or saying something that she is far too innocent to have even thought of. This persona of innocence is in direct contrast to the linguistic message contained within the text. The image is emblazoned with a large caption. The words Im not polite. Im Proactiv are presented as a statement by Perry. The statement carries with it many connotations and from the words we are to believe that Perry is a confident, rebellious, defiant, unapologetic, strong and go-getting type of woman. I dont think it would be a stretch to say there is a pro-feminine feel to the statement as well. This message is further communicated by the text itself, from the choice of font, the fact it is said in all capital letters and the rigid way it is stacked and aligned to the left. As mentioned above, the image behind the text communicates an image of femininity, natural beauty and innocence whereas the text seems to convey a persona of strength or dominance. But there is one key observation to be noted and that is how the text is slightly transparent. This to me communicates the joining of the two opposing characters. The advertisers want the viewer to see Katy Perry as bold, confident and strong but soft, innocent and sweet at the same time. There is a subtle sexual
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undertone of naughty but nice. And with the words Im Proactiv it is confirmation from Perry that Proactiv products are intrinsically linked with the persona presented (Added to this is the juxtaposition of the product photos within the composition). It is in this way then that the advert appeals to a womans desired self. The statement is interchangeable, and not simply limited to Perry. The viewer is invited to become the person she represents by buying into the product; then to in turn repeat the statement about themselves. Subconsciously at least, I believe this ad achieves its intentions and is a very good example of the use of the desired self in advertising. Apple iPhone Advertisement (2007) [Fig. 3.] This advert was produced to advertise the then new Apple iPhone. Apple commissioned the piece, but the designer or advertising agency responsible is unknown. The ad was produced for print, and could be found on the back cover of a number of popular magazines. Apple is a worldwide brand, and their products have global appeal. In 2007 when this was produced the iPhone was introduced as the worlds first touch screen mobile phone. The target audience for this has no heavy gender bias, although a slight leaning towards the male demographic because technology is something that more men are interested in. I would place it as aimed at people between the ages of 18-35. Not as young as the previous ad, because the iPhone is a more expensive, high end product that a younger person may not be able to afford. The ad depicts a hand emerging from darkness, lit only by the light of the illuminated iPhone that it is touching. The background is totally black, and the image is compositionally simple. The image is accompanied by the slogan Touching is believing, as well as the product name, Apple logo and information about where to buy. There are a few key signs or symbols in this image. Ill start with the phone itself. The phone is suspended in mid air it seems, floating out of the darkness. It is the source of power and light in the image, this leads me think of biblical connotations. In Christian theology there are many references to the light. Come into the light or let there be light. The phone signifies a divine new creation, as if sent down by God himself. The relationship between the hand and the phone evokes the image of the famous Michelangelo painting on the ceiling of the Sistine Chapel The Creation of Adam. The hand in the image is receiving this gift, scrolling down the screen, almost in awe of it. The translucent positions of the finger on the screen signify movement and let the viewer know the phone has a touch screen. This is important because it was the unique selling point of the iPhone. Because the hand would otherwise be in darkness if not for the light of the phone, it suggests to the viewer that by owning the product, they will become enlightened; that they are better for having it because of its virtue. This darkness is emphasized by the amount of blank space in the composition. The text is placed at the extremities, and is minimal. The blank space has a dual purpose: to highlight the divinity of the iPhone and also to convey a sense of simplicity. Apple has spent years cultivating a brand image of sleek sophistication and simplicity, and this ad is no different. The slogan text follows the linguistic format of anchorage by directing the viewer to the definitive message of the advert: Come and experience the miracle of the iPhone for yourself. It suggests that once experiencing the iPhone, the viewer would then believe in its capabilities and want to buy. This advert works differently to the first in that it sells the product not by appealing to the viewers desired self, but by implying to the viewer that the product is somehow miraculous or divine. The advertisers focus on the unique selling point of the iPhone to let us know that its a new, revolutionary and special product that we would be in darkness without. This may be an exaggeration, but this is nonetheless a beautiful and effective piece of design. Gillette Skincare Advertisement: Worlds Biggest Shave (2011) [Fig. 4.] This advertising campaign is substantially different in format than the previous two examples. It is an example of Guerilla Advertising, advertising that goes above and beyond the standard formats and usually draws a large amount of attention. The campaigns can be
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very expensive to produce so are usually made for big brand clients. This piece was commissioned by Gillette and was produced in 2011 by BBDO a New York advertising agency. Gillette is a brand of mens grooming products. Their market includes any male old enough to shave, however as with most of their ads it is likely to be targeted to those men between the ages of 18-35. People at this age are more concerned with personal style and appearance, and respond better to desired self-style advertising. This campaign centers on a huge painted billboard on the side of a building in SoHo, New York. The painting features baseball star Derek Jeter. It was repainted daily for almost three weeks. The daily repainting repeated a three-day cycle to reflect the various stages of male grooming. The first day would feature Jeter with rarely seen stubble, the next day he would be repainted with shaving prep added and the final day of the cycle would find him appearing with his famously clean shaven face. The billboard required 10 gallons of paint for the 20-foot wide spectacle. Two highly skilled painters with over 45 years combined experience did the repainting every day. The moveable platform they stood on to complete the work was branded with the Gillette logo and trademark blue gradient. This could be seen moving up and down the painting, bringing the next grooming cycle with it. On this platform there is a single line of text Everyday Masterpiece. I believe Derek Jeters image was used in this ad for the same reasons Katy Perry was in the first example. Celebrity endorsement dates back to the ideas of Edward Bernays in the 1920s. And when a customer buys a product endorsed by a celebrity they admire, they can feel a connection with that celebrity on some level through that product, regardless of whether the celebrity actually uses it. Jeters image is painted in style that alludes to classical portraiture. The fact that it is painted at all signifies a gone by, or classical era. When looking at the past there is often nostalgia, so instantly as we see this painting we are reminded of the best and most famous historical masterpieces. This is of course enforced by the caption on the painting platform. Also the sheer scale of the billboard furthers this notion. The overriding message to be denoted here is simple: Your face is a work of art, and Gillette products are the tools to perfect it. Further connotations suggest that by buying Gillette (The Best A Man Can Get) you are the kind of person that invests in yourself. You believe that your face, and by extension you are a masterpiece and are worth the cost of Gillette products versus a cheaper brand. This campaign does promote the self but how its different is because it promotes an appreciation of the self as it is already a masterpiece; rather than implying that the viewer would have to buy Gillette products in order to become one. I feel that even though the goal here is still to sell, the underlying messages conveyed are actually positive ones: To take pride in oneself, confidence and esteem.
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VI - CONCLUSION
In this essay I have tried to explore the effect that advertising has on all of us. I believe that this is a topic that calls for public awareness and wider discussion. The effects as discussed in parts III, IV and V are extensive and profound and through this research I have gained a new, deeper level of understanding. Behavior and attitudes can be shaped and molded by the images we see on screen or in print. The public is susceptible to manipulation by corporations for their own gain. There has been clear success in the development and creation of consumerism and a capitalist society. Possessions, wealth and selfish power take precedence over love, unity and peace, and advertising feeds this mentality. By promoting the concept of the desired self, people can come to define themselves by what they own, ever ready to feed back into the corporate machine. And because people are ignorant to this, practices like this can continue. I believe there has been some improvement, but ethics within advertising it seems is not a high priority. I have found that semiotics play a huge role in the creation and implementation of advertisements, and the transmission of ideas. Semiotic theory is invaluable in helping us decode the messages hidden behind the glossy spreads. I must stress, advertising in itself is not a bad thing; it is simply a tool and has some wonderful uses. I just feel that advertisers should recognize the power they have, and act responsibly. In my personal opinion there has been a huge abuse of this power. A higher level of transparency and truthfulness is required in advertising and less of the deceptive or misleading claims and notions. This issue over ethics makes me question my own standpoint as a practitioner, is this something I want to be a part of? I believe that unfortunately there is no real way that advertisers, marketing directors or their rich clients can be held accountable for the damage already done, because even if it was due to our own ignorance, we have all gone along with it. But the future is yet unwritten and change can happen if enough people call for it. We simply need to ask ourselves the question: Who decides how I think?
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IMAGE APPENDIX
Fig. 1.
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Fig. 2.
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Fig. 3.
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Fig. 4.
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BIBLIOGRAPHY
Curtis, A. (Dir.) (2002) The Century of the Self. [Video] UK: BBC Four/RDF Media. Goldman, R. and Montagne, M. (1986) Marketing 'Mind Mechanics': Decoding Drug Advertisements in Medical Journals. in Social Science and Medicine Barthes, R. (1972) Myth Today in Lavers, A. (ed. and trans.) Mythologies. New York. Hill and Wang. Barthes, R. (1977) Rhetoric Of The Image in Heath, S. (ed. and trans.) Image, Music, Text. New l York. Hill and Wang. Williamson, J. (1978) Decoding Advertisements: Ideology and Meaning in Advertising. London. Marion Boyars. Crow, D. (2003) Visible Signs: An Introduction To Semiotics. UK. AVA Publishing. Parsa, S. and Parsa, A. F. (2002) Analysis of Semiotics. University Press. Martin, B. (2000) Dictionary of Semiotics. London. Cassell Publications. de Saussure, F. (1974, first edition 1916) Course In General Linguistics. London. Fontana/Collins. Chandler, D (1995) Semiotics For Beginners [Online] Available at: http://www.aber.ac.uk/~mcswww/Documents/S4B/semiotic.html (Accessed March 4th 2012) Kellner, D. and Harms, J. (Date unknown) Toward A Critical Theory of Advertising [Online] Available at: http://www.uta.edu/huma/illuminations/kell6.htm (Accessed March 6th)
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