1. APPEALS AND TYPE OF ADVERTISING

2. The linguistic message
Almost all images, in all contexts, are accompanied by some sort of linguistic message.

3. Anchorage
Roland Barthes introduced the concept of anchorage. Linguistic elements can serve to 'anchor' (or constrain) the preferred readings of an image: 'to fix the floating chain of signifieds'.
Barthes introduced this concept of textual anchorage primarily in relation to advertisements, but it applies of course to other genres such as captioned photographs, maps...

4. Anchorage
Anchorage is text (such as a caption) that provides the link between the image and its context.
It tells us in words exactly how the subject of the visual should be read
Images are prone to multiple meanings and interpretations. Anchorage occurs when text is used to focus on one of these meanings, or at least to direct the viewer through the maze of possible meanings in some way. Hence, its ideological value.

5. Relay
Relay – the text adds meaning and both text and image work together to convey intended meaning.
Barthes used the term relay to describe text/image relationships which were 'complementary', instancing cartoons, comic strips and narrative films.

12. Anchorage, Relay (a remind)
In an advert we have images that seem to have a certain meaning.
Per se, such images carry no specific meaning
It is the text that guides the viewer to read the right meaning of the image.
There is, however, a difference between printed advertising and TV commercial: tv commercial are more relay-linked

13. The relationship between the visual and the text (=the anchorage) creates the Advertising Appeal

14. ADVERTISING APPEALS There exist seven different types of APPEAL: FEAR
HUMOUR
SEX
MUSIC
RATIONALITY
EMOTION
SCARCITY

15. FEAR
If a negative incident or behaviour occurs, then there will be vulnerability and severity in the damage
=> NEGATIVE CONSEQUENCE
Insurance companies, shampoo, mouthwash, internet service providers

16. HUMOUR Humour is effective in both getting attention and keeping it.
Humour, irony and nonsense have statistically proven to be the best techniques for cutting through clutter
Humour helps people to adjust to situations they cannot control and cope with life’s problems

17. HUMOUR (2/2)
To be effective and successful, humour in an advert must be related to the product’s benefits
Humour ties together
the product features
the consumers’ advantages
other personal and positive values and feelings

18. SEX
The sex appeals go from unconscious innuendo to nudity to overt sexuality and sensuality
Sex and nudity do increase attention regardless of the actor’s gender in the ad or the audience’s gender
Yet sex distracts the audience from the brand name =>it is not loved amongst copywriters

19. MUSIC It helps to capture the attention of listeners It is linked to
emotions
memories
experiences
Music indexicalizes the product

20. RATIONALITY
It assumes consumers elaborate a process of rational thought when making purchase decisions.
The goal of a rational appeal is to provide the information needed to help & make the decision
Automobile ads:
info about gas mileages, warranties, price, delivery schedule, etc.

21. EMOTION It is based on three ideas: consumers ignore most ads
rational appeals go unnoticed
emotional adverts can capture a viewer’s attention and help to develop an attachment between the consumer and the brand

22. SCARCITY
It urges consumers to buy a particular product because of a limitation
McDonald adverts

23. Which Appeal?
Limit one voucher per household

24. Which Appeal?

25. Which Appeal?

26. Which Appeal?

27. Which Appeal?

28. Which Appeal?

29. Anchorage/Relay/Appeals
The relation between the image and the text in advertising (the anchorage) creates the appeal by means of which an ad is meant to target the audience.
Irony and nonsense are the most exploited forms of appeal.

30. NONSENSE C. Pennarola, Nonsense in Advertising, Liguori, 2003
It is a dichotomy between fantasy and logic; imagination and reason.
It is a sort of coming back to childhood
It is an attempt of running away from the constraints of logic and meaningfulness.

31. NONSENSE (2)
It is characterized by the festive and liberating spirit of carnival mocking ‘normal life’.
With nonsense, all kind of boundaries collapse.

32. NONSENSE (3)
In language, the collapse of barriers corresponds to the elimination of the borders given by the tragic (or sublime) and comic (or ridiculous) registers.
In advertising language, nonsense creates imaginary worlds where the sublime (= the product) and the ridiculous (= the price) co-exist.
So, dogmatic and institutional discourses are no longer serious, and language gains freedom.

33. Appeals and Type of Advertising (Leech, English in Advertising, chapter 6)
The particular appeal (and therefore the particular type of advertisement) to use depends on the following :
products
media
audiences
aims

34. PRODUCTS Leech, English in Advertising, chapter 6
To advertise a product means to make a choice in terms of:
vocabulary
syntax

35. Products (2): Vocabulary Leech, English in Advertising, chapter 6
Adjectives are much more used than substantives.
Why?
Substantive are usually very concrete
Adjectives can be highly informative
Adjectives can be evaluative => associate the product to feelings => product added-value
There are homogeneous set of adjectives for each class of products

36. Products (3): vocabulary – adj
Products (3): vocabulary – adj. Leech, English in Advertising, chapter 6
Example of the most common used adj.s in woman’s clothing:
New – Good – Soft – Warm – Free – Full – Lovely – Wonderful – Easy – Light – High – Perfect – Smooth – Luxurious – Slim – Smart – Fashionable – Practical – Washable

37. Products (4): Syntax Leech, English in Advertising, chapter 6
High frequency of minor sentences
(“when still warm, it is good”)
They are used
to emphasise illustrations and headlines
to capture the imaginative appeal of the product.
They describe in an impressionistic way the qualities of the product.
The text is thus emotionally descriptive

38. Media Leech, English in Advertising, chapter 6
We have different types of media:
TV commercials
Radio commercials
Printed advertising
(E)Mail
Internet; social media

39. Audiences Leech, English in Advertising, chapter 6
We have different types of language according to
AGE
SEX
SOCIAL STATUS
GEOGRAPHICAL AREA.

40. Audiences

41. Aims Leech, English in Advertising, chapter 6
Advertising may promote
a product
a service (bank, insurance)
a commercial enterprise – the so-called ‘prestige’ advertising

42. Aims (2)

43. PRESTIGE ADVERTISING
Environment Introduction Toyota cares for its environment
Toyota in Europe has a clear vision for the future, a growing market share, rapidly expanding manufacturing operations, an exciting range of vehicles - with state-of-the-art engines - and a proven track record of customer satisfaction. However, our success in Europe does not affect the attention we pay to the impact that our activities - and vehicles - have on the environment and we are strongly committed to reduce constantly these impacts over time. (

44. Prestige Ad (2) clear vision for the future growing market share
expanding manufacturing operations
a proven track record of customer
our success in Europe
The words (taken from the Toyota advertisement) are not only eulogistic in themselves but have strong positive connotations

45. Aims
The way we structure information also depends on the aim of our discourse.
Information => meaning is structured as a genre
A genre is a communicative event defined by the participants, the topic and the type of register used.

46. AIMS OF DISCOURSE There exist four main aims of discourse:
Expressive Literary
Conversation Novel
Letters short story
Diaries Drama
Blog texts Poetry
Referential Persuasive
Exploratory Advertising
Scientific political speech
Informative religious sermons

47. PERSUASIVE DISCOURSE
Persuasive discourse can be reached with the following:
        the ethical argument (testimonials)
        the pathetic argument (emotions)
        the logical argument (deductions)