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CONTENTS

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

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IMAGE APPENDIX

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BIBLIOGRAPHY

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SEMIOTICS & ADVERTISING:

WHO DECIDES HOW WE THINK? BY HAYDEN A. RICHARDS

This essay is based around a discussion that questions the effect of media advertisements on the behaviour and attitudes of society, and individuals. Staying grounded in a graphic design perspective, I would like to focus on semiotics, how they are employed to convey messages in adverts, and how effective or important semiotics are to the process. I want to delve into the notion that through semiotics and advertising, corporations are able to suggest and influence people to do things or think in ways they may not have otherwise. Could this be purely for financial gain…or perhaps some other motive? What are the reasons behind certain messages or ideologies being promoted, and others not? Is there any evidence to suggest that chosen ideals promoted though advertising have become socially accepted? If found that this notion has substance, then it poses further questions about what these subliminal messages may truly be telling people, and any negative effects that they may have. If there are negative effects, a final question would then be: In what way, and to what extent are corporations and advertising agencies to be held accountable, if at all? Using thorough research I will attempt to address these issues. Much has been written and theorised on this topic, and I will use the ideas of others against my own to help me form a strong conclusion and standpoint on the questions I have laid out. Though I am aware that in some instances questions don’t always produce a fully complete answer. I will use common literature as well as thoughts from slightly more obscure places. These will include books, essays and video. I have chosen to address this topic because it appeals to my own fascination and distrust of those who seek to control others using covert means, whether it be a fictitious situation or a truthful one. I also have an interest in psychology and the workings of the mind, and as a graphic designer I need to be aware of the power I have to affect people.

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I - INTRODUCTION TO SEMIOTIC THEORY When dissecting the topic of Visual Semiotics and Advertising, it is best to start with a broad understanding of semiotics itself. Loosely speaking semiotics or semiology is the study of social science and the relationship between signs, symbols and their meanings. You can find evidence of semiotics everywhere. Our brains are constantly processing visual cues and we make judgments of our surroundings based on what we see. While it is clear that certain types of visual stimuli will provoke a certain change in response, or mood, there are also proven studies that show that even colour can subconsciously affect us. This is why many information signs will have yellow, for attention or red for danger. Swiss philosopher and linguist Ferdinand de Saussure (1857-1913) is widely considered to be the founder of semiotics. He developed a framework that has become the basis to all further thinking on the subject. “It is... possible to conceive of a science which studies the role of signs as part of social life. It would form part of social psychology, and hence of general psychology. We shall call it semiology” (Saussure, 1974: 16). Saussure presented a two-part or dyadic model of what a sign is. There have since been slight updates made to this by various practitioners but originally he defined it as simply being formed of the ‘signifier’ and the ‘signified’. To clarify, the signifier is the form of the sign, what is being used in order to communicate the message. Whether that is via symbol, image, gesture, sound or text. The signified denotes the actual meaning, concept, detail or object that the signifier represents. The correlation between the signifier and the signified is referred to as ‘signification’. For example, if a set of traffic lights is showing green, then the green light is the signifier, and ‘you may go’ is the signified concept. The context and the location of that green light (signifier) can change its signified meaning, sometimes completely. For example, a smaller, LED sized green light may signify that an electronic device is ‘switched on’. Context is one of the crucial factors that denote how a sign will be interpreted, and I will revisit this later on. All signs can be broken down into 3 main groups of classification: Symbolic, Iconic or Indexical. Symbolic signs do not look like what they are signifying. They can be abstract, and the way that the viewer would gain meaning from it is by learning the taught and accepted concepts associated with that particular shape or symbol. For example, letters of the alphabet or natural numerals are a collection of symbols that represent or signify different vocal sounds, or mathematical values. The next type is iconic, in which the signifier is perceived as looking like, resembling or imitating the signified. This could be as detailed as a portrait, or as simplified as a pictogram. And finally, indexical signs indicate or point to something. The sign is directly connected to the signified some way, and so the meanings are mostly quite absolute. For example smoke is a sign of fire, because the two are intrinsically linked. Another example is a signature, or handwriting. A certain form and style of handwriting is a sign that a certain particular person has written it. Although the different classifications of sign are very distinct, it is possible that a sign could fit into more than one group, or be a combination of all three.

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II - HOW TO DECODE MEANING Visual Semiotics delves further into how links are made between a certain visual reference or cue and the meaning that’s interpreted. “Human being has always wanted to understand and interpret the world he lives in. He desires to get to know, and read, the nature, the universe, human being and his culture, which is why he needs to think about and analyze their meanings. The meaning doesn’t necessarily come out obviously, it often exists latently and waits to be disclosed, analyzed and read” (Parsa & Parsa, 2002: 79). In his book Visible Signs, David Crow suggests there are three concepts that define how visual meaning is formed. He states that these are "the signs themselves, the way they are organized into systems, and the context in which they appear” (Crow, 2003: 33) Understanding how signs are developed and how the meaning of a sign could be affected by context helps designers craft effective adverts that communicate to their target audience with the desired interpretation. Context has the greatest influence on how a sign is read. From a young age we learn visual associations and we continue to do so into adulthood until these form personal world views, and even belief in stereotypes. The viewer reads most signs in an unconscious way. So if we are to think of or see the word “tree” instantly, we can envision the image of a tree in our minds. We are taught various connections by society, and these can be perpetuated, countered or played upon by advertising. Whether it is through family, friends, government, mass media or public and social media such as books or the Internet we are taught what is good, bad, acceptable or taboo; What look makes a person appear sexy, or appear suspicious. This is called convention. Convention is "an agreement about how we respond to a sign" (Crow, 2003: 58). We are taught visual meanings, but why context is so important is because not everyone’s life is the same. We learn different associations depending on culture, wealth, race, country and religion amongst other things. For instance, for women in the Muslim world, the burqa, a long usually black garment covering the whole body except the eyes and hands is a symbol of modesty, virtue and restraint. In some countries female visitors can be charged for showing too much skin in public. However take that same garment worn in the western world, and the symbol can take on a very different meaning. Suddenly it becomes a symbol of inequality, oppression, suspicion and even fear. Because of this, adverts are tailor-made to suit the target audience. Designers have to first thoroughly research and understand the viewer’s cultural context. This can include the places they live, what they like to eat or wear, what they enjoy doing, and how they spend their money. This is done in order to ensure as much as possible that the message sent is absorbed effectively. There are two separate levels of visual signification: denotative, and connotative. With

denotation the interpretation is explicit, iconic or self-referential; it “refers to the physical reality of the object which is signified” (Crow, 2003: 57). Usually the viewer doesn’t have to work that hard to get this kind of meaning. Whereas connotation refers to a meaning implied or suggested by the object that is invoked in the mind of the viewer. French intellectual theorist and writer Roland Barthes addressed this in his essay Rhetoric Of The Image. Essentially, Barthes tries to "submit [...] the image to a spectral analysis of the messages it may contain" (Barthes, 1977: 33), and examine and understand the extent to which they take part in transmitting ideological messages to society. Barthes examines the rhetoric of the image by analyzing an advertisement for Panzani, a pasta brand. He specifically chose the medium of advertising “Because in advertising the signification of the image is undoubtedly intentional” (Barthes, 1977: 33). The advertising image, he argues, draws from "signs [that] are full, formed with a view to the optimum reading: the advertising image is frank, or at least emphatic" (Barthes, 1977: 33). Images in advertising, more so than any other image are loaded with intentional messages. An advert has to communicate to its audience within 30 seconds, so signs used are seldom accidental. The advert that Barthes talks about in depth shows an image in which a mesh groceries bag lies on a table. [Fig. 1.] The contents include fresh vegetables and packets of pasta displaying a brand name. This

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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 it’s 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.

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III - THE PERSUASIVE SELLING OF MYTHS

In a separate essay, Myth Today Barthes refers to connotation again. For him connotation is a higher level of interpretation than denotation, and in this writing he talks about how certain ideologies or ‘myths’ are given justification, or credibility through connotative signifiers. According to Barthes, myths serve the ideological function of ‘naturalization’ (Barthes, 1977: 45-46). Their purpose being to make dominant humanly fabricated cultural and historical values seem ‘natural’, or normal; self-evident and “go without saying” (Barthes, 1972: 142). Advertising comes in various forms: commercial ads for products and services, public service ads on behalf on numerous institutions, causes and programs, and political advertising and propaganda. For the purpose of this essay I would like focus on the commercial. The ultimate aim of commercial advertising is to get people to buy a product or service. There are a few ways that this objective is achieved. Some adverts do this by informing. This kind of advert raises awareness about a certain product, and gives the audience the required specifications and information about it. Additionally they inform the audience of how this product might be useful for them and why it’s a superior alternative to the competitive brand. Repetition is another technique used in order to reaffirm the importance of the product and any of the brand ideology used within the advert. In this way, a product and its values become established in the minds of the targeted audience. This relates to the logical fallacy ‘proof by assertion’ in that if something is repeated enough times then after a while it can become accepted as truth if there is nothing opposing it. For example the makers of men’s shaving products, Gillette have a slogan “The Best A Man Can Get”. This claim may or may not be true but the fact they claim it is and that it’s repeated over and over on their adverts will at least make an audience question the validity of the statement, and in turn some will buy into the product just to find out. Another way an advert can effectively promote sales is to persuade. Adverts go beyond simply selling a product; in effect they sell concepts and ideas. The way this is done is by marrying positive or desirable connotations to the product, by strategically placing particular signs alongside the presentation of it within the advert. “Images, ideas or feelings, then, become attached to certain products, by being transferred from signs out of other systems […] to the products, rather than originating in them. This intermediary object or person is bypassed in our perception; although it is what gives the product its meaning, we are supposed to see that meaning as already there, and we rarely notice that the correlating object and the product have no inherent similarity, but are only placed together. […] So a product and an image/emotion become linked in our minds, while the process of this linking is unconscious” (Williamson, 1978: 30). Advertisements often succeed in creating demand through inducing and increasing consumption by attempting to reconstruct our relations to things and other people. They interfere with our sense of identity; they equate us with objects and manipulate us.  “Advertisements are selling us something else besides consumer goods: in providing us with a structure in which we, and those goods, are interchangeable, they are selling us ourselves” (Williamson, 1978: 13). Psychologist David Dunning refers to this as the “desired self”. Through clever techniques advertisers have been able to make people associate their products to how we feel about ourselves, and include these commercial items as statements about our personal image. Ordinarily irrelevant objects become powerful emotional symbols of status, power, freedom, youth and sexuality amongst a number of other things. Instead of buying a car purely because of its efficiency, or technical worth, consumers are more likely to buy a certain car because of the perceived esteem of owning it; or how it would make them feel to drive it. These emotional responses to products can at times outweigh more rational responses when it comes to consumer decision-making. This of course works very well for the companies involved.

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IV - INFLUENCE, MANIPULATION, AND EFFECTS Things weren’t always done this way however. Since the turn of the 20th century America in

particular had become a mass industrialized society. City growth increased rapidly and mass production was the new norm. In this period, companies would advertise mainly in an informative way. For the millions of working class people products were sold on the basis of necessity, and were promoted in functional terms. In these times when promoting a product, the key focus was how durable or practical it was, or how well it did its job. Because of the increasing rate of mass production after the First World War, corporations began to have concerns people would have fulfilled their needs, and wouldn’t want to buy any more. This would ultimately lead to losses for them due to the millions of items coming off production lines. In searching for a solution to this problem, they realized they would have to change the way the majority thought about products. A new attitude would have to be adopted where people could be convinced to buy things they didn’t need. Paul Mazer, a Wall Street banker from the 1930s, is quoted in the BBC Four documentary “The Century of the Self” as declaring “We must shift America from a needs to a desires culture. People must be trained to desire, to want new things, even before the old have been entirely consumed. We must shape a new mentality in America, man's desires must overshadow his needs” (BBC/Curtis, 2002). To achieve this, advertisers looked to psychologists in order to gain insights into the deepest recesses of the human psyche and the factors that motivate people, and then to capitalize on their expectations and fears. The leading pioneer in this area was Edward Bernays, the nephew of Sigmund Freud. He combined the ideas of Wilfred Trotter and Gustave Le Bon on crowd psychology with the psychoanalytical ideas of his uncle. He believed that all persons had subconscious irrational desires that could be used to control them. His ideas were readily accepted by the corporations and advertisers and over the years this new form of manipulation in adverts became commonplace. Looking forward now to the present day, advertisers cannot afford to be so overtly

manipulative. Through the years there has been much talk and criticism of these practices. It has had to adapt and change to a new age of smarter people born in a world full of free, accessible information. However, ethics in advertising is still not a clear subject. Adverts are part and parcel of our lives. Essentially they form “an integral part of modern culture” (Goldman & Montagne, 1986: 7). Whether it is through social networking sites, billboards, newspapers or magazines it is something that the average person is used to, and unfazed by. Nevertheless, the ways they convey their messages have a profound effect on every part of our lives: our happiness, our family and interpersonal relationships, business, culture, identity, stereotypes, wealth and status, and so on. They can yield a notable influence on people’s habits and conceptualization of themselves in relation to values — values that are a great deal determined by the marketplace. Advertisers are very selective about the values and attitudes to be pushed and encouraged, promoting some while ignoring others. The motives behind this vary, but they consist mainly of attempts to maintain the status quo, to perpetuate stereotypes, and reinforce a system that creates and simultaneously feeds consumerism. There are important negative effects to be noted that are caused by these types of

methods. For instance, the absence from adverts of certain racial and ethnic groups in multi-cultural societies can help to create issues with image and identity. Another example is because of false trendsetting, consumers become addicted to having the latest products they don’t really need. It’s responsible for transforming people into a materialistic society. “Advertising promotes "commodity fetishism" and a fetishized consciousness that invests goods, services, and individuals, etc. with symbolic properties, associating products with socially desirable traits” (Kellner & Harms). Judgments get made on what clothes people wear, or whether they have the new iPhone or not, rather than on who they really are. This then leads to a degree of social discrimination, emotional insecurity and in some cases depression, especially in the younger generation. This is called Implied Behavioral Normalcy.

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This operates under the premise that if you don’t 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 ego-driven 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.

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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 doesn’t 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 brand’s 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 Perry’s 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 it’s 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 “I’m not polite. I’m 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 don’t 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 “I’m 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 woman’s 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 it’s 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 world’s 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. I’ll 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 it’s 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 men’s 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 Jeter’s 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. Jeter’s 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 it’s 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 òl 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)