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Semiotic Perspectives on Nowadays Romanian Advertising

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Semiotic Perspectives on Nowadays Romanian Advertising SEMIOTIC PERSPECTIVES ON NOWADAYS ROMANIAN ADVERTISING OLGA BALANESCU University of Bucharest Communication and Public Relations Abstract: The present study is meant to investigate how semiotics, the discipline which considers itself above all those concerned in social communication, gets in touch with advertising. Specific ways of communication in both semiotics and advertising have been scientifically approached, in order to overemphasize the existing similitude between the two of them. The theoretical principles taken as starting points were those belonging to Saussure, Ogilvy and Jacob Mey. Key-words: sign, shifters, advertisement, headline, body-text, slogan, logo. Preliminaries As far as we know, semiotics is centuries old. The first study traces back in 1637, and it is connected with Rene Descartes` name. While advertising is quite new (in the way it is perceived today). Yet, the two of them have something in common, and we how much of the domain of communication they share together. Advertising is not only a relative new discipline of study, but it also claims its importance for our contemporary fellow, as it offers not only information for getting a better life, but it also tries to help him to improve his style of life. There have been heard voices [1] against the importance of advertising in society, moreover, against advertising by all means. Here are their reasons: it manipulates people, it induces unreal desires, making the consumers buy something which they do not necessarily need, it has a negative impact on younger generations, making them aggressive and superficial. Some other voices [2] strongly plead for the necessity of advertising nowadays. We could not simply conceive our lives without seeing the advertising banners in the streets, without finding ads in almost every single magazine or newspaper, without the well-known advertising breaks during our TV shows or movies. It seems to be part of our usual life. As it always happens, the truth is somewhere in the middle to be found. The fizzy pop- ups and pop-under (which we keep on seeing whenever we open up our computer) got to be part of our everyday life, after all. Semiotic research [3] proved how huge the domain of semiotics is. It gets in touch with all the disciplines of communication: ideologies, musical communication, pragmatics, socio- linguistics, rhetoric, as all of them provide `signs` specific to a certain type of communication. These `signs` are meant to establish the strong and undeniable link between the real surrounding items, and the abstract concepts able to depict them. Ferdinand de Saussure mentioned the relationship between the signifie and signifiant as he called them. [4] We should also point out that the semiotic process is the one which expresses the above mentioned link. Under such considerations, the main interest of semiotics is the logic of sign. During the process of communication, it is not the object which is brought out into strong relief, but the relationship between the interlocutors and their responsibility towards one another. Thus it can be stated that the main feature of the cultural phenomenon is the mediation between man and culture. When we mention this aspect, we should keep in mind the theory of communication made by Emile Benveniste. He considers that there are two major communicative instances in a conversation: I and you. They can take the place of each other, fact which enable them to be shifters. They establish a type of relationship between man and the outer world in terms of time and space. The perspective on time and space is theirs, so if I an you consider time from their own point of view, this Is the fact that should put its fingerprint on the whole conversation. Ex. How big should we write for you to see that we practise the smallest prices? (Daewoo Motorcar Romania) The verbal intervention belongs to the Emitter (producer) who also initiates the conversational act because he wants to welcome the consumer with his possible and probable needs, and to satisfy them, too. One of these needs is the one referring to price. Who would not like to purchase something at the lowest price ever? Ex.: From now on, I`ll be using only SENSODYNE (the patient declares to her dentist, as she is visibly content with the results she has got after using this toothpaste.) Benveniste also introduces the concept of indirect locator , namely the person who does not take an active and direct part in the conversational act, but is over there present by all means because the proper speakers mention his name, talk about him, think that he is responsible for what has just happened or what is going on. This should be another `sign` which is worth being taken into serious consideration. Who actually plays the part of the `indirect character` in an advertisement? We will view the most significant aspects of the issue in the following examples taken out from our Romanian nowadays advertising. a. he can be the product itself which `speaks` to the target with self-confidence because it is sure of its high quality. Ex.: Mr. Muscle. He does perform the dirty job you hate. (referring to cleaning the dishes). By focusing his whole attention on it, the advertiser wants to activate AIDA principle (attention, intention, desire, action). Thus the promoted product will be looked at as if it were the best one of this kind in the market. b. he can be the lucky consumer who has just enjoyed the beneficial advantages of the product and is ready to share his opinions with us, with the view to informing us about `the best product in the market`: Ex.: Winterfresh. Cold-ice breathing. The youngsters in the print have their breathing `as cold as ice` and they make the others be envious on them for this reason. The others would also want to be charming and successful in front of their partners as well as the above mentioned youngsters are. c. he can be the would be beneficiary. This technique is successfully used both in commercial marketing and in social marketing, as well. The social campaigns use to place the so-called `victims` in the shoes of the `indirect speaker, indirect character`. As it is the victim it is all about; this victim being either the abused woman or child, or the inexperienced teenager ready to try `a bit of grass` for fun, or the racially discriminated people, or the diseased, the homeless, the refugees. The `indirect character` functions, under such circumstances, as a `sign` standing for the cultural and anthropological features of the community the Emitter (namely, the advertiser) belongs to. We can conclude that in advertising the sign is a real symbol which can be decoded by means of all the possible cultural means of perceiving life: language, religion, arts, science. Classification of Signs Specialists [5] agreed on identifying two major categories of signs: a. natural signs; b. man-made signs. We focus our attention on those created by man as it is this very category where we will find theoretical approaches between semiotics and advertising. Here they are: a. graphical signs (represented by texts, we will take into account the aesthetic text which is semiotic relevant); b. audio signs (the radio message); c. iconic signs (posters, banners, advertisements, postcards, journalistic cuts); d. material signs (this category is represented by those specific buildings which stand for a certain civilization and spirituality: the pyramids, the Japanese pagoda, our wooden churches in Maramuresh. Under the same category, the folk costume enters, too. It is emblematic not only for a specific region (a `sign` for the Northern Moldavia, or for the Southern Dobrogea), but also for the civil status: it can be a `sign` for the unmarried young woman, for the newly married women, or for the woman married for many years, as well as for the divorced and single one). We may thus conclude that a clear media semiotics can be distinguished within the generous field of semiotics: the media semiotics refers to the `signs` in all forms of media: newspapers, magazines, TV, radio, new media. The advertisement – an aesthetic text The advertisement is and has to be an aesthetic text because it deeply implies (as any other literary text does) a special creative effort. Specialists in advertising [6] have even considered that it is more difficult to write a good and efficient advertisement than ten poor poems. The creative artistic work brings along a new code of deciphering the message which is the poetic connotative code. The reader will thus have a new vision about life which reflects the own perspective of the publisher on reality. I will prove all these things by means of concrete examples taken from our Romanian advertising. It should be mentioned that the advertisements below mentioned are newly created (between 2008 and 2009). Ex. Negrul seduce (The black seduces you). Negrul se duce (the black colour loses its intensity). The iconic sign is relevant. The first text is printed under the image of a black, fashionable frock. The dress is shinning black and obviously, new. So, it impresses even stronger the feminine audience (thinking that each and every single woman would like to be the centre of attention in a party owing to her stylish look). The second text is printed under the image of the same dress. But this time, the frock has lost its shinny black, it is almost grey, and looks old and shabby as if it had been worn out and implicitly for many, many times. The frock is no longer fashionable now. The publisher induces the idea that the abluent used by the lady made the dress lose its intense colour.
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