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BRAND DISCOURSES IN CAR ADVERTISING
The starting point of brand language analysis cannot be different from advertising.
Ad Renault Clio RS200 CV
- The image shows the back of car along an empty road.
- The car passes on a bump crushing it to make user perceive the speed, grip of its tires and solidity of suspensions.
- The impact seems to do not exist when the car passes.
- The advantage is clearly expressed, if the car moving without damages in that case, it will move with less effort on metropolitan roads.
The brand discourse isn't the result of an advertising campaign, but the result (That one) of all brand language. The aim is not only the promotion of the product but also to analyze the relationship between brand and consumption culture.
In advertising stories, narrative is crucial to build and improve relationship between brand and consumer.
Characters
From the advertising text seems that there aren't people but should be just a driver violating rules of highway.
The impact
We can say that the impact is a simple element of our world but, the bump has to obligate driver to slow down otherwise the car suspensions could break. The impact plays a social role imposing a duty as a policeman.
The story
In the story there are two subjects that meet and clash, until one of them prevails over the other. The first subject is the impact, an unhuman actor suggesting slowing down. The second subject doesn't accept the advice keeping on high speed.
The setting
There is a building on the left side, we can assume as his austere and colorless that is a prison. So, we perceive this text as a desperate and quickly escape of someone that has just stolen a black car. (appena rubata-present perfect)
- Usually car advertising has some recurring features: Cars usually represent change operators, passion keys and space time shift.
The crucial moment of any story is when there is a performance of a subject against the anti-subject, in particular when the car defeats the
enemy.Example 2 Ad by Renault Clio «Bullet» (2004)
Renault Clio «Bullet» - the story
The ad shows a desert and a black car speeding along the road. Background music communicates a quite atmosphere but is disturbed by a metallic sound due to a bullet. The driver notes the bullet but doesn’t stop speeding. At the crossroad the driver makes a dangerous action to avoid the bullet. He succeeded thanks to the speed of Clio Rs 200.
We can linked this to the other spot as the freedom is guaranteed but morality is in danger. The bullet ends up in the caption of the spot. All brand languages contribute to the brand discourse.
VALUES AND VALORIZATION IN SPORTS BRANDS
Usually Sports Brand neutralize two types of opposition:
- Professional vs recreational
- Sport life and ordinary life
For example, jogging represents the opposition between physical effort to improve lifestyle without the competition against anyone else. Each brand tends to define its thematic territory
Representing a sportive experience referring to a life experience. Thematic actions become significant in the canonical narrative schema based on 4 phases:
- Manipulation: The subject is presented with a narrative program consisting to the conquest of a value object
- Competence: The subject obtains competences to do the program
- Performance: The subject makes actions to conquer the object
- Sanction: The subject receives the recognition for taking the action
Nike Case among sports Brands
In Nike ads there are not actions, but nobody stops. The protagonists do not refer to a specific activity. The key point is the plastic form as the bodies assumed by them. Nike seems over the narrative aspect, positioning on an upper level. Its narrative role is as addresser.
Nike does not communicate values but a valorization of values
Values on axiological level:
- Sport as a goal
- Sport as a form of life
Water communication
The water category is a particular pattern of advertising communication.
If consumers can't perceive differences among several products, they will choose the one with the lowest price. This market has particular needs for the brand communication. In Italy Lete and Ferrarelle competed to underline the effervescence of their product. Ferrarelle 1920 - Ferrarelle started to promote its product through print advertising on medical magazines - Effervescent water was presented as a cure for different diseases - An expense justified for medical reasons 1930 Ten years later, Ferrarelle proposed a hedonic approach as the best table water. Then it passed from a practical valorization to an aesthetic-ludic one. After the second world war there was a decrease in this market. 1960 Ferrarelle started to present its product as a cure for diseases, coming back to the practical valorization. 1975 In this year Ferrarelle introduced its most famous slogan "liscia, gassata o ferrarelle". This advertising is characterized by a luxury restaurant and theonly one Italian element was ferrarelle, with an aesthetic-ludic valorization again. 1980 In this advertising there was the slogan: "liscia, gassata oferrarelle?". In the advertising there were tree representations of Gioconda portraits with different hairstyles near the ferrarelle bottle. In the same year Lete produced its first spot showing slice of life. There was a suggestive music that repeat "acqua lete is my sun, Is my life" an utopic valorization. 1990 In the 1990 Ferrarelle also moved to an utopic valorization. The water was presented as a life partner embodied in a specific character and friends only had eyes for her. Some Years later Ferrarelle made different utopic valorization of its product. 2000s Lete introduced a series of spots based on a sodium particle animation that said "is there anyone?". It is one of the few in Lete's water. The proposal is to point out that lete has less sodium than ferrarelle so we can consider it a practical valorization.
BRAND METAPHOR (Capitolo 3)
According to Genette creating metaphor is important for the consumer culture. She states that users hear more metaphors in one day than in the text of Eneide of Virgilio. Metaphors can generate emotions and energy in the everyday communication, helping the imagination. They abound in advertising; they are tools to transform ordinary things into desired objects.
THE ARISTOTELIAN TRADITION IN ADVERTISING RESEARCH
The Traditional Aristotelian approach is based on tropes. The tropes theory limits the strength of metaphor diverting its persuasive function. Metaphorical tropes replace one sign with another based on analogy.
TROPE THEORY
The literature of metaphor in marketing underlines effects of tropes on persuasive advertising. The experts state that the persuasion is the distinctive feature of advertising. They study how consumers elaborate their tropes tracking changes.
TROPE THEORY: TWO BASIC PRINCIPLES
- Metaphors are supplements to the literal meaning of things
- Metaphors create associations and connections between different concepts
Metaphors are infringements of linguistic codes because introduced ambiguity, shades in the discourse
FROM THE TROPE THEORY TO METAPHORICAL DISCOURSE
Metaphors can increase "media turn" but their impact on brand value is wider and deep.
Consumers use product as social markers and emotional rewards, so producing metaphors is crucial in symbolic consumption culture. Brands become metaphors replacing products with emotional and relational benefits.
Metaphors sustain the brand message and fill up the gap between cultural heritage and semiotic advertising.
The trope theory focuses on isolate advertising, excluding conflicts between meaning and positioning.
Example of Nationwide Insurance Company – "Precious"
Thanks to a market research, NIC discovered that 25% of consumers thought about their car such as their baby.
So, the company developed an advertising campaign where the car was replaced with baby by special effects.
The company justified this based on precious attribute:
"What is precious to you is precious to us" - the importance of the context
In the commercial, the baby never stops being a baby, so this moves the meanings from the car to the baby. This message doesn't support the brand positioning and historical message of the company, considering a baby as a car can create confusion about company values such as family and security.
FROM POETIC SIGN TO POETIC FUNCTION
In contrast with the trope theory, the theory of discourse recognizes the metaphor's role in the production of discourse. The metaphor is responsible for symbolic consumption, brand meaning, and the relationship with the brand.
This theory evolved focusing on the poetic function of discourse
THE POETIC SIGN
- Poetic sign contrasts with linguistic sign
- Poetic sign as metaphor, they overpower a semantic field with respect to another in the mind
- In this case, when they say "my car is my baby," the poetic sign generates similarities and contrasts between the car and the baby
Metaphor discourse has to
Structure ties between two meaning fields. There aren’t similarities as the association is motivated by emotionality with their cars.
The poetic function contributes to the ambiguity, creativity and production.
THE POETIC FUNCTION OF DISCOURSE
Jakobson introduced the base structure of rhetoric, discourse, cognition and two primary rhetoric forms:
- Metaphor
- Metonymy
Poetic function of discourse:
- Metaphorical operations structure rhetoric figures based on analogy structuring selection axis and paradigm substitution.
- Metonymical operations structure rhetoric figures based on contiguity, combination and line-up (allineamento) of elements considering creative thought.
Psychic units (Lacan theory):
Lacan states that psychic units of condensation and displacement structure unconscious equally to metaphor and metonymy. By associating metaphor with psychic condensation and metonymy with psychic displacement, Lacan theory represents psychological motivation from literal meanings to
imaginary of consumers ones.Consumers understand these contrasts through projective identification:my car is my baby,that is actually a metonymy, a physic displacement, moving from the material dimension to thesymbolic relationship with consumers.In this ad the car isn't embidies and the baby is regarded as a mechanic object.
CONSUMPTION AND CULTUREThe experts demonstrated that rhetoric operations represent the transfer of meaning betweenculture and sign.From a semiotic point of view the consumer culture is a system of codes based on associations andrituals in a brand category or in a target.To finding a relevant cultural positioning, the sem
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