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From Naturalisation to Sacralisation: Changing Paradigms for Analysing Visual Advertising
Unformatted Document Text:  18 18 the frenetic movement of the city, an attempt to arrest time and the overwhelming flow and “anomie” of urban existence. Hence the advertisement has to represent a whole compared to the endless partiality that it represents. We cannot even see the whole of the taxi, it is moving so fast. The advertisement then produces a model of its own context within it. Text and context are not separate but relate to each other as a set of Chinese boxes or Russian dolls. The brand becomes the context as well the text. It bridges the naked private world as well as the public street world. Hence we can begin to a see a synthesis between on the one hand, the textual theory of Myers and about ads setting up language games which create ad worlds and define their own contexts and on the other hand, the social theory of Couldry about the semi-sacred perception of media spaces. . 8G:Social Meaning. This advertisement cannot simply be described as a process of naturalisation of the media but one of mediation and sacralisation. It defines the brand as a place in an extraordinary media world. The brand is what allows movement between the other almost sacred media world and the ordinary world of the street, between the space of this photograph in a magazine and being a consumer. The advertisement seduces the viewer by producing a model of itself inside itself. . This place is limited by the frame of billboard an the “ad within the ad” and the ad outside the ad. Each frame provides the limits to space and defines the limitations of movement. We can see a homology between the frames defining space inside the advertisement and the frame of the advertisement overall. Text and context intermesh in the attribution of an almost sacred status to the brand and the advertisement. The media world is where the model is contained within the frame and yet has a type of primordial innocence. The brand constitutes its reality not by reference to the natural world but by reference to the media world. This media world has become somehow more real than the natural world because it can invoke belief. 10 Couldry’s theory would have to be extended in this case to think not so much about naturalisation as the sacralisation of brands. He argues that media power is so pervasive that it is invisible, part of the natural order However we could argue that brand power is about being a bridge between the visible and the invisible. 10 This shares something with a Renaissance Annunciation ( Arayssee 1999) which concerns the announcement of the apparition of the infinite divine with the finite body of Jesus through the intermediary of the angel Gabriel who represents the intervention of sacred energy in the mundane space of daily life. The model stands in her phone booth much like a Renaissance loggia, She is receiving a message and in the place of the angel Gabriel representing the virtual, we have the swoosh of the yellow cab, pointing towards her.. Literally the painting gives this sense of an announcement the arrival of something from another world, of infinite possibility, an incarnation.

Authors: Doyle, Waddick.
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18
the frenetic movement of the city, an attempt to arrest time and the overwhelming flow and
“anomie” of urban existence.
Hence the advertisement has to represent a whole compared to the endless partiality that it
represents. We cannot even see the whole of the taxi, it is moving so fast. The advertisement
then produces a model of its own context within it. Text and context are not separate but
relate to each other as a set of Chinese boxes or Russian dolls. The brand becomes the
context as well the text. It bridges the naked private world as well as the public street world.
Hence we can begin to a see a synthesis between on the one hand, the textual theory of Myers
and about ads setting up language games which create ad worlds and define their own
contexts and on the other hand, the social theory of Couldry about the semi-sacred
perception of media spaces. .
8G:Social Meaning.
This advertisement cannot simply be described as a process of naturalisation of the media but
one of mediation and sacralisation. It defines the brand as a place in an extraordinary media
world. The brand is what allows movement between the other almost sacred media world
and the ordinary world of the street, between the space of this photograph in a magazine and
being a consumer. The advertisement seduces the viewer by producing a model of itself
inside itself. . This place is limited by the frame of billboard an the “ad within the ad” and
the ad outside the ad. Each frame provides the limits to space and defines the limitations of
movement. We can see a homology between the frames defining space inside the
advertisement and the frame of the advertisement overall. Text and context intermesh in the
attribution of an almost sacred status to the brand and the advertisement.

The media world is where the model is contained within the frame and yet has a type of
primordial innocence. The brand constitutes its reality not by reference to the natural world
but by reference to the media world. This media world has become somehow more real than
the natural world because it can invoke belief.
10
Couldry’s theory would have to be extended
in this case to think not so much about naturalisation as the sacralisation of brands. He argues
that media power is so pervasive that it is invisible, part of the natural order However we
could argue that brand power is about being a bridge between the visible and the invisible.
10
This shares something with a Renaissance Annunciation ( Arayssee
1999) which concerns the announcement of the apparition of the
infinite divine with the finite body of Jesus through the intermediary
of the angel Gabriel who represents the intervention of sacred energy
in the mundane space of daily life. The model stands in her phone
booth much like a Renaissance loggia, She is receiving a message and
in the place of the angel Gabriel representing the virtual, we have the
swoosh of the yellow cab, pointing towards her.. Literally the
painting gives this sense of an announcement the arrival of something
from another world, of infinite possibility, an incarnation.


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