Reintroducing advertising
Reintroducing advertising industry
Images on right hand side showing the 3 main case studies for advertising.
1- Charity advert
Intertextuality
- Charity water aid was established in 1981 as a response to a United Nations campaign for clean water.
- Now work in 37 African, Asian and central American Countries.
Advert itself:
- Created by Atomic London (2016),stars 16 year old Zambian student.
- Aims to show how communities benefit from clean water by depicting normal everyday chores.
Intertextuality:
- Clauding sings in English a British cover of 'sunshine on a rainy day'
- Allows the audience to instantly relate to the advert, targeting a mainstream 'young' British audience.
Ideologies:
- Optimistic outlines the preferred reading, joyful, able to relate to Claudia's ideology.
- Subverts against stereotypical conventional charity adverts. Uses slow motion, hand-held cinematography of chidden laughing and playing around the symbolic code of the flowing water tap. Uses a positive ideology.
- This demonstrates that their donations can directly lead to their happiness.
- Although Polysemic reading may be a sense of confusion to the audience as they may be frustrated about this 'glossed' over representation of central Africa, hiding the raw truths.
Media language:
- Intial shot (opening shot) - use of low key lighting and the mise-en-scene of rain hitting the window. Stereotypical English setting.
- Rapid clean cut to contrasting shot of dusty, yellow field in Africa ( emphasizing binary oppositions) putting emphasis on what African countries lack - ie.water, what we British take for granted.
- Frequent use of mid-shot and tracking shots using hand-held cinematography tech, positions the audience with Claudia as she gets the water. Makes the audience feel part of this journey she Is taking as normal routine of her life.
- Frequent shots and cuts to POV to present the sense of voyeurism. Showing the audience are following her on this journey.
2- Tide print advert - propaganda advert
Context:
- designed specifically for heavy-duty, machine cleaner.
- Market research shows that consumers has high levels of confidence in this company at the time of the launch.
- They used print and radio advertisement campaigns in order build familiarity and a specific niche audience of house wives.
Analysis:
- Proairetic code of woman hugging soap product in cognitive love and romance, ideological perspective that women should be housewives - appeals to mainstream audience.
- Lexis: 'whitest and brightest' hyperbolic language device - allows product to appeal to generalized audience - very mainstream, showing popularity.
- Mise-en-scene of light, feminine makeup, stereotypical representation. Bold lips (red) could suggest her femininity is being sexualized
- The color red has many connotations to sex, Romance, position, devil etc.
- Comic book panel at bottom of print advert reinforces the adverts mainstream and mass market potential.
- Follows strict conventions of the Z line - forces the audience to read in this motion/movement, most important things at the top.
Audience:
- Audience are positioned in a friendly and relatable manner through the costume of the housewife, how audiences would be Able to relate or aspire to look like her or have her profile etc.
- Audience are positioned in a way which allows them voyeuristic pleasures, seeing in to the life of a woman with a similar lifestyle to them.
3- Kiss of the Vampire poster
Media language:
- Uses the generic iconography of the vampire genre in order to attract pre-existing audiences
- Aspects of mise-en-scene, such as setting and costume are highly typical of the genre
- Use of language ‘’In Eastman Color’ suggests film will be in full colour and has been processed using the then popular Eastmancolor technique
- Uses typical film poster conventions, including the names of the principal actors being used to sell the film to a pre-existing audience
- The campiness of the mode of address reflects the changing tastes of the film going public. Public tastes changed in the 70’s with gorier films such as The Texas Chainsaw Massacre and Alien, yet in the 60’s, Hammer Horror’s tongue in cheek mid-budget approach was still popular
Representation:
- Sexualised, objectified representation of women, confirming Van-Zoonen’s theory that women’s bodies are used to sell media products to a heterosexual male audience
- Use of sexualisation is highly typical of the time it was produced
- A stereotypical representation of vampires!
- Middle class British hero’s under-threat in a foreign land. Like many horror films, the monster here represents a xenophobic unease at places which are not in the UK, which supports Gilroy’s postcolonial theory
- Encourages audiences to pick and mix ideological perspectives. It is possible to enjoy the film full well knowing how ridiculous it is, and vampire films can be an important part of an audience’s identity
Theorists:
- Kiss of the vampire - Lisbet Van Zoonen - women's bodies are used to sell a media product to a heterosexual target market/audience.
- Water aid Advert - Roland Barthes - hermeneutic code - Also known as enigma codes, these refer to something within the media product that creates mystery or suspense.
- Tide print advert - Claude Levi-strauss - Structuralism - When two concepts, messages or values are presented in direct opposition/opposites with one another. Claude believed that our world was based of oppositions - Ideology being represented to audience opposing the economic crisis and reality of reaching/ Fulfilling this profile after war at the time of the launch.
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