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THE ROLE OF HELPERS IN ADVERTISING
BRIDGING THE WAY FROM SEMIOTICS TO STORYTELLING
ALPHABETr e s e a r c h
Joseph Sassoon
BRIDGING THE WAY FROM SEMIOTICS TO STORYTELLING
Based on the speech given in Istanbulat the Esomar World Conference – Qualitative 2008
Revelation2009 Great Research Thinking Webinar Series
CONTENTS
THE FRENCH SCHOOL OF SEMIOTICS
A NEW METHOD
AMERICAN STORYTELLING
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THE ROLE OF HELPERS - EXAMPLES
CONCLUSIONS
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CONTENTS
THE FRENCH SCHOOL OF SEMIOTICS
A NEW METHOD
AMERICAN STORYTELLING
3
THE ROLE OF HELPERS - EXAMPLES
CONCLUSIONS
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AN ORIGINAL METHOD
Our method for analysing ads is a convergence betwe en two particularly suitable ways of studying stories:
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Semiotics of the French school ( École de Paris ),
which Alphabet has adopted over many years
as its main method of analysing advertising
Theories concerning the creation of myths born in
the place which, more than any other, feeds
contemporary imagination: Hollywood
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IN OTHER WORDS…
We combine two cognitive tools of extraordinary val ue, with diverse characteristics and some affinity – never previously brought
together:
SCREENWRITING
APPLIED ART
SEMIOTICS
LOGICAL
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APPLIED ARTLOGICAL CATEGORIES
AD ANALYSIS
Main reference:Jean-Marie Floch
Main reference:Christopher Vogler
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CONTENTS
THE FRENCH SCHOOL OF SEMIOTICS
A NEW METHOD
AMERICAN STORYTELLING
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THE ROLE OF HELPERS - EXAMPLES
CONCLUSIONS
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THEORETICAL ASSUMPTIONS OF THE FRENCH SCHOOL
MEANING
is a process by which
A DEEP VALUE
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is set in
A NARRATIVE STRUCTURE
then filled with
FIGURES AND SIGNS
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THE BASIC ANALYTICAL GRID
Widely based on Floch’s perspective, it has four fu ndamental levels:
1) SURFACE LEVEL� visual/colour codes� verbal/sound codes� proxemics
2) FIGURATIVE LEVEL � concrete figures/gestures
anal
ysis
cam
paig
n de
velo
pmen
t
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� concrete figures/gestures� rhetorical structure� spatial/temporal choices
3) NARRATIVE LEVEL� general scheme of action� actants and archetypes� narrative sequence� semiotic modalities
4) DEEP LEVEL� values of the advertisement
anal
ysis
cam
paig
n de
velo
pmen
t
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RHETORICAL STRUCTURE
Analysing the rhetorical structure is crucial in th e study of advertising, where usually the most important (ver bal/visual) figures are:> hyperbole> metaphor> antithesis
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Examples of great advertising metaphors:> Exxon Tiger> Marlboro Man
But it is also necessary to understand and exploit figures such as:
> metonymy
> oxymoron
> litotes
> calembour, etc.Alphabet
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A PERFECT METAPHOR
PERONI BLONDE
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A PERFECT METAPHOR
PERONI BLONDE
BLONDE
TEMPTING
FRESH
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FRESH
FULL-BODIED
NATURAL
EFFERVESCENT
Remarkably, these terms can refer equally to the pr oduct and to the girl
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AN ULTIMATE ANTHITESIS
GOOD VS. EVIL
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VIOLENCE SPORTSMANSHIP
Emphasizing the contrast between Heroes and Villain sAlphabet
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NARRATIVE OUTLINE
According to the French school, the narrative outli ne is based on these main ‘actants’:� Addresser� Hero (or Subject)� Object of Value� Anti-Hero� Helper (often Magic)
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� Helper (often Magic)� Opponent
In advertising, the product typically covers one of these roles:
Hero, Object of Value or Helper
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EXAMPLES OF NARRATIVES
In fables:A king (Addresser) orders a prince (Hero) to look f or the magic sword (Helper) to kill a dragon (Anti-Hero) with and free the princess (Object
of Value)
Anti-Hero
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Addresser
Hero Helper Object of ValueAlphabet
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EXAMPLES OF NARRATIVES
In movies:Snow White (Hero) together with the 7 Dwarves (Help ers) opposes the
plans of the queen/witch (Anti-Hero) and of the cro w (Opponent) to join up with her love (Object of Value)
Opponent
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Hero
HelperAnti-Hero
Object of Value
Opponent
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EXAMPLES OF NARRATIVES
In advertising:In the film 1984 to launch Macintosh a girl (Hero) runs with a heavy
hammer (Helper) and is pursued by guards without fa ces (Opponent). She throws the hammer at a large screen where float s the face of a Big Brother (Anti-Hero), gaining the freedom of the subjugated men
(Object of Value)
Anti -Hero
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Hero + Helper
Anti -Hero
Object of Value
OpponentAlphabet
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ACTANTS: HERO
In movies: In advertising:
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ACTANTS: HELPER
In movies: In advertising:
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ACTANTS: ANTI-HERO
In movies: In advertising:
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ACTANTS: OBJECT OF VALUE
In movies: In advertising:
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NARRATIVE SEQUENCE
According to semiotics, in the development of stori es there are four fundamental steps and three trials connected to the m:
Manipulation Sanction
Competence Performance
Addresser’s path
Hero’s pathThe king asks the prince to free his
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Competence Performance
QUALIFYING TRIAL
The prince finds the sword
DECISIVE TRIAL
The prince defeats the dragon
GLORIFYING TRIAL
The king gives the princehis daughter’s hand
daughter
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NARRATIVE SEQUENCE
This approach can be of great use for analysing:
In the case of a static image, clearly the message must focus on a specific semiotic step – but other steps are often i mplied:
commercials press ads websites posters
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Visible: the decisive trial (athletic performance)
Implied: the qualifying trial (drinking Gatorade) as a previous necessary step
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LIMITS OF THE SEMIOTIC APPROACH
It does not take into account the many possible dif ferences among Heroes, Helpers, etc.
1. HOWEVER, THE DEFINITION OF THE ACTANTS IS TOO SIMPLISTIC
2. THE NARRATIVE SEQUENCE IS TOO RIGID
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It does not encourage to find new creative ways to tell a story
2. THE NARRATIVE SEQUENCE IS TOO RIGID
NEEDED: SOME FRESH INSIGHT ABOUT HOW GOOD STORIES CAN BE TOLD
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CONTENTS
THE FRENCH SCHOOL OF SEMIOTICS
A NEW METHOD
AMERICAN STORYTELLING
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THE ROLE OF HELPERS - EXAMPLES
CONCLUSIONS
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FROM SEMIOTICS TO STORYTELLING
an extraordinary ability to create stories which
transcend boundaries of
A different set of competences about storytelling: HOLLYWOOD
an extremely rich literature about
professional
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transcend boundaries of age, nationality,
language, culture
professional screenwriting, made of
thousands of books
The best of screenwriters’ books build on the princ iples of myth
Fundamental reference:Joseph Campbell’s celebrated work, The Hero with a Thousand Faces
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CAMPBELL AND THE ADVENTURE OF THE HERO
The most influential American author in the analysi s of myth structures
ElixirCall to adventure
Helper
THRESHOLD OF ADVENTURE
Threshold crossingBrother-battleDragon-battleDismemberment
ReturnResurrectionRescue
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Tests
FlightHelpers
THRESHOLD OF ADVENTUREDismembermentCrucifixionAbductionNight-sea journeyWonder journeyWhale’s belly
RescueThreshold struggle
1. SACRED MARRIAGE2. FATHER ATONEMENT3. APOTHEOSIS4. ELIXIR THEFT
strong influenceon George Lukas for
STAR WARS
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VOGLER’S CONTRIBUTION
A smart adaptation of Campbell’s model to screenwri ting:
ACT ISeparation
ACT IIIReturn
Call
Refusal of Call
Ordinary World
Resurrection
Return with Elixir
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ORDINARY WORLD
SPECIAL WORLD
ACT II-ADescent
ACT II-BInitiation
Meeting Mentor
Crossing First Threshold
Tests, allies, enemies
Approach
Ordeal
Reward
Road Back
Resurrection
A NEW MIX OF PRINCIPLES
Vogler’s model goes beyond that of the French schoo l in analyzing the narrative sequence:
ACT ISeparation
ACT IIIReturn
Call
Refusal of Call
Ordinary World
Return with Elixir
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ORDINARY WORLD
SPECIAL WORLD
ACT II-ADescent
ACT II-BInitiation
Refusal of Call
Meeting Mentor
Crossing First Threshold
Tests, allies, enemies
Approach
Ordeal
Reward
Road Back
ResurrectionMANIPULATION
COMPETENCE PERFORMANCE
SANCTION
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EXAMPLE: THE MACINTOSH 1984 CULT COMMERCIAL
Paradigmatic case of action Hero
Call
Refusal of Call
Ordinary World
Resurrection
Return with Elixir
Manipulation Sanction
Line of men staring at a giant video…
“And you will see why 1984 won’t be like 1984”
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ORDINARY WORLD
SPECIAL WORLD
Meeting Mentor
Crossing First Threshold
Tests, allies, enemies
Approach
Ordeal
Reward
Road Back
Resurrection
Competence Performance
The girl runs in with a hammer
Guards without faces try to stop her
She runs up to the big screen
The girl throws the hammer
The screen implodes and the supreme guide disappear s
Men who were previously stupefied are now free
ACTANTS AND ARCHETYPES
The American approach also enriches the rather abst ract semiotic definition of ‘actants’. For instance:
Hero/Subject
Hero of growthHero of action
Anti-Hero/Shadow
Villain, enemyAntagonist
Helper/Mentor
MasterBearer of magic gifts
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Hero of actionInvoluntary hero Hero as WarriorHero as LoverSolitary heroGroup-oriented hero Catalysing hero
AntagonistFemme fataleProjection (Mr. Hyde)Cruel father/mother Monster, alienHumanised villainForce of nature
Bearer of magic giftsInventorShaman, initiation wizardDark Mentor Ex-hero Inner Mentor (conscience)Comic support
It’s not enough to put a certain product in the rol e of Hero: one has to decide what kind of Hero the product should be
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CONTENTS
THE FRENCH SCHOOL OF SEMIOTICS
A NEW METHOD
AMERICAN STORYTELLING
31
THE ROLE OF HELPERS - EXAMPLES
CONCLUSIONS
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THE ROLE OF HELPERS
As one of the three strongest role for a product or brand to play in a story, the HELPER is certainly a very rich and in triguing character
Here are some examples:
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chastitybelt
magicelixir
magichorse
magicboots
rescuergeniecoachlove
potion
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MAGIC ELIXIR
The magic elixir is a strong Helper of Heroes in many fairy tales, cartoons and fantasy
movies
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But it is also very meaningful for functional and
power beverages,
advertised as performance
boosters
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CHASTITY BELT
The chastity belt is an archetype of coercion in th e realm of love –a Helper used for chaining
The “How far would you go for love’
campaign from Cartier
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campaign from Cartier is a sophisticated,
symbolic interpretation of it
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MAGIC HORSE
In myth and movies the horse is a quintessential Helper – a symbol of freedom
Today’s equivalent is the motorcycle, and the comparison may sometimes be literal
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MAGIC BOOTS
Boots can sometimes be a magic Helper, as suggested by ‘Cat in Boots’ fairy tale
and several cartoons built on it
In advertising, this
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In advertising, this role is often assigned to
sports shoes, portrayed as the
best ally of modern Heroes (the athletes)
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LOVE POTION
Love potions are a mythical Helper for people determined to be loved at all costs, in tales and m ovies
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The ‘Axe Effect’ commercial brings this notion to an amusing and hyperbolic
conclusion
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COACH
In a lot of movies the coach is a very familiar Helper, whose support is often crucial to win a
battle
This Budweiser
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This Budweiser commercial uses a very
special coach, for a training
reminiscent of another,
famous one
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GENIE
The Genie is an classical Helper, most of all in Oriental fairy tales
such as Aladdin
This Adidas ad hints at the same archetype, with curious results
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RESCUER
In many action and drama movies the Helper acquires the traits of the Rescuer
or Savior
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This is what happens in an ad of the Catholic Church,
devoted to saving youngsters from drug
addiction
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CONTENTS
THE FRENCH SCHOOL OF SEMIOTICS
A NEW METHOD
AMERICAN STORYTELLING
41
THE ROLE OF HELPERS - EXAMPLES
CONCLUSIONS
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CONCLUSIONS
ADVANTAGES OF THIS METHOD
It may provide:
� a greater articulation and refinement of the analys is
� indications for the roles products and brands can p lay
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� ideas and solutions for improving the creative proc ess
� an escape from over-standardized narrative formulas
� elements of distinctiveness compared to competitors
CONTRIBUTE TO CREATING BETTER ADVERTISING STORIES
Final aim:
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