Download PDF by Jackie Cannon, Robin Warner, Patricia Odber De Baubeta: Advertising and Identity in Europe: The I of the Beholder

By Jackie Cannon, Robin Warner, Patricia Odber De Baubeta

ISBN-10: 1841500372

ISBN-13: 9781841500379

ISBN-10: 1841508721

ISBN-13: 9781841508726

Advertisers aim particular teams of shoppers and entice them accurately by way of their feel of team club. So, as our feel of crew identification is damaged down by means of international communications applied sciences, how do advertisements proceed to focus on mass audiences?

This quantity stands by myself because the first dependent evaluate of the influence of ads, by way of tradition and of commercial, around the nationwide limitations of Europe. It considers the successes and screw ups of numerous internaational strategic advertising plans, and describes stylistic and persuasive features of particular promotional texts. With examples from Scandinavia to the Iberian Peninsula, the members additionally discover different structures of neighborhood, nationwide, social and sexual identities exploited by way of advertisers to render their messages potent. for that reason, the ebook may be of curiosity to students of media stories, language, and cultural reports in addition to these operating in marketing.

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Sample text

The advert is in the form of an address to camera by one of the characters, subsequently off camera, then back at the end, inviting an inspection of the Rice Krispies ‘factory’. The premise of the advertisement is that the sounds made by the cereal indicate the ‘full to bursting-point’ vitamin content. Kellogg’s Rice Krispies 1st cartoon character to camera/voiceover Why do Kellogg’s Rice Krispies go snap, crackle and pop? Let’s find out. Listen to those vitamins! 2nd cartoon character Hear that iron!

The conspicuous presence of the Italian tricolour’s red, white and green in an advertisement for the Alfa 164. • A two-page spread titled, in English, ‘Jaguar for believers’ on the page showing the luxury limousine in question and ‘Jaguar for sceptics’ on the page of explanation for those who remain to be convinced of the car’s merits. This German-language text focuses attention on the fact that the new XJ6 delivered ‘in feinstem Oxford Englisch’ [‘in finest Oxford English’] exactly what the company’s slogan, ‘Grace, pace and value for money’, promised.

What stands out in the adverts we have looked at is the complex interplay between text and image, so that a secondary rhetoric is created, both visual and auditory. Not the least exciting field of study in the aesthetics of contemporary advertising is the rapid evolution of this complex interplay between visual and audio, and in all cases the underlying rhetoric on which both depend. Of course there are, aesthetically speaking, ‘bad’ advertisements as well as ‘good’ ones, just as there is ‘good’ and ‘bad’ poetry.

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Advertising and Identity in Europe: The I of the Beholder by Jackie Cannon, Robin Warner, Patricia Odber De Baubeta

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