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Visual Strategies in U.S. and Chinese TV Ads
Unformatted Document Text:  8 used to maintain viewers’ attention (Lang, Zhou, Schwartz, Bolls & Potter. 1999; Lang, Bolls, Potter & Kawahara. 2000). H1d: Pacing in US ads is faster than that in Chinese ads. An interesting technique in television is the subjective shot, in which the camera assumes the perspective of the viewer. In this case, viewers’ involvement becomes mandatory because they are no longer observers of the event, but rather participants of the action on the screen. Another camera technique is the direct address, in which the actor or endorser speaks directly to the viewer (the camera). Messaris (1994) described this kind of camera work as a part of “paraproximics,” a resemblance to the real world experience through the skillful use of production means. In this case, the real-world association between physical closeness and psychological intimacy in direct involvement and conversation give the audience a sense of intimacy with an on-screen character. We hypothesize that in a low-context culture, people tend to address an issue directly and forcefully. They would also like to involve the audience as unequivocally as possible. Hence: H1e: U.S. ads use more subjective camera images than Chinese ads. H1f: U.S. ads use more direct address images than Chinese ads.

Authors: Xue, Fei., Zhou, Shuhua. and Zhou, Peiqin.
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8
used to maintain viewers’ attention (Lang, Zhou, Schwartz, Bolls & Potter. 1999; Lang,
Bolls, Potter & Kawahara. 2000).
H1d: Pacing in US ads is faster than that in Chinese ads.
An interesting technique in television is the subjective shot, in which the camera
assumes the perspective of the viewer. In this case, viewers’ involvement becomes
mandatory because they are no longer observers of the event, but rather participants of
the action on the screen. Another camera technique is the direct address, in which the
actor or endorser speaks directly to the viewer (the camera). Messaris (1994) described
this kind of camera work as a part of “paraproximics,” a resemblance to the real world
experience through the skillful use of production means. In this case, the real-world
association between physical closeness and psychological intimacy in direct involvement
and conversation give the audience a sense of intimacy with an on-screen character. We
hypothesize that in a low-context culture, people tend to address an issue directly and
forcefully. They would also like to involve the audience as unequivocally as possible.
Hence:
H1e: U.S. ads use more subjective camera images than Chinese ads.
H1f: U.S. ads use more direct address images than Chinese ads.


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