Advertisement
as Text: A Case Study
Barnali
Saha
Research Scholar
University School Humanities and
Social Sciences
GGSIPU, New Delhi
The word ‘advertisement’,
derived from the Latin word ‘advertere’ meaning ‘to turn’ the attention is a
persuasive form of marketing communication with the public with the intention
of promoting or selling a product or a service. Though transient in quality,
advertisements wield visual, verbal and non-verbal artifacts to craft texts the
traces of which are often left behind in the society long after their demise.
Therefore, far from being hackneyed discourses intended to sway the general
masses, advertisements involve complex encryptions that both imitate as well as
construct societal realities.
Like any other form of
communication, advertising too initiates with an addresser intending to convey
a message via a medium—print or audio-visual—to an addressee who decodes the
message and completes the process. However, unlike informal verbal communication
operating on a single level, advertisements are intended for a complex range of
addressees and often include a whole array of messages targeting myriad groups
of audience who must strive to decode the meanings embedded in the text of the
advert.
The paper is a case study
of five commercials, four audio-visual and one print advertisements, all
featuring the Indian social scenario to examine how advertisements include a complex
range of signifiers depicting and altering the pattern of cultural praxis. It also
intends to examine how advertisements use popular social codes to convey a
range of meanings, how they propel and sometimes break stereotypes, how they
use images and sounds and wield the tool of language to deliver their message.
It will further scrutinize how cultural change is reflected in an advertisement
by studying the former versions of the first four commercials chosen for the
case study.
The first commercial is a
promotion of the Indian brand Emami’s men’s fairness cream called Fair and
Handsome. This commercial is among the early advertisements of Fair and
Handsome cream launched by Emami and casts its brand ambassador, Bollywood’s
leading actor, Sharukh Khan. The ad begins with a young woman remonstrating
with her wannabe-fair brother for exhausting her tube of fairness cream.
Subsequently, Sharukh Khan arrives at the scene and reproaches the young man
for using a ladies only fairness product despite being a man. A cast of extras too carry on with the upbraiding as the
protagonist tries to flee from their midst, apparently in embarrassment. The
sequence set to a jingle the lyrics of which proclaim that a man may not
secretly apply fairness cream meant for soft
and delicate womanly skin and instead use Fair and Handsome, a product
especially designed to be imbibed into skin into the “rough and tough” skin of
men and produce desired fairness in only four weeks.
Fair and Handsome ad 2007
Commentary: The text of
the aforementioned commercial is imbued with a thick layer of inner meanings.
The subject of beauty rituals, like application of creams and ointments, is
often associated with women. Fairness creams, particularly, connotes an image of
a female applying the unguent for the effect of whitening her complexion and
thereby becoming an object of desire in the eyes of men. The idea of men
applying a female-only cream is, therefore, in the prevalent patriarchal point
of view, something to be detested and the person performing this sacrilege,
upbraided and embarrassed. The terms of remonstration in the speech bubble and
in the jingle suggest that a man who deigns to use a fairness cream meant for
women is unmanly and effeminate. Nevertheless, Mr. Khan, the manly-man, the
person whose fair skin perhaps the abashed protagonist covets, comes to the
rescue of the disconcerted and erring male by proposing to solve his problem—
his desire to gain fair skin and his shame at using a female-only product—by
offering him a cream meant solely for the “rough and tough” skin of men, a
cream that he may not be ashamed of using, a cream that is “non-girly”.
The ad most importantly
suggests fairness to be desirable not only among women, who need to groom
themselves to obtain a husband, but among men too who could go to any extent,
even condescend to apply a female-only product, to become attractive like film
stars. Nevertheless, the “rough and tough” male society must never approve of a
man using female products to heighten his looks. It must, therefore, find a
solution by which a male can retain his essential maleness and accentuate his
looks. The solution it banks upon is a cream meant for the rough skin of men, a
product that combines the goodness of women fairness creams with added
ingredients that would heighten its effect on male skin and bring on the
desired fairness, the ultimate resolution, in a manner of four short weeks.
The paralanguage of the
text is conspicuous as well. The protagonist is depicted as deliberately dark
complexioned in contrast to the fashionable Bollywood actor, his embarrassment
at using a female product suggest his dire situation.
The advertisement makes
strong association between maleness and grooming. It suggest fairness to be the
ultimate dream of a modern Indian man.
Fair and Handsome Ad 2013
The subsequent ad of Fair
and Handsome, featured a few years later, demonstrates a distinct shift in its fairness
agitprop. The ad recasts Shahrukh Khan, its brand ambassador, but instead of
depicting an act of remonstration at a man using a ladies cream, the commercial
features the “badshah” (emperor) of Bollywood’s journey from rags to riches
with Fair and Handsome acting as his longstanding confidant in his perilous
journey toward the zenith of the cinematic glitter-land. The ad begins with the
star narrating his story of how he received nothing but best wishes from his
predecessors, and yet, he wanted more from his life. In order to quench his
insatiable thirst to succeed, to earn more respect, more fans, he relentlessly
persevered and prepared himself for his daunting task of adopting acting as a
career. It was Fair and Handsome that became his unswerving companion in his
expedition to succeed.
Commentary: The
subsequent Fair and Handsome commercial comes as a distinctly different
rendition of Emami’s essential fairness agitprop of an abashed man using a
female fairness product. Instances of an embarrassingly effeminate male
performing a sacrilege of applying an unsuitable female product is conspicuous
by its absence in the text of the second ad. Even the wish for a fair skin as the
ultimate goal of a person wishing to be attractive is toned down as well. One
wonders if the change in its original sexist and xenophobic vison is because of
a heightened gender consciousness in Indian society or because of the flak the
company received for promoting a racist culture in India. All the same, the ad
does suggest fairness to be equivalent to success in featuring it as the
“soulmate” (humsafar literally
translated) of the emperor of Bollywood in his daunting journey from rags to
riches. It was Fair and Handsome, the cream that gave something extra to the
male toughened by life’s vicissitudes, which was a fit companion to the star.
It is interesting to note that the cream is personified (it becomes humsafar) and equated with strength,
passion of acting and kept on a similar footing with these two qualities that
make-up the essential being of the czar of Bollywood. Fairness is here no
longer the ultimate objective, it is success that one aspires for;
nevertheless, in order to be successful one must be fair, one must have Fair
and Handsome by one’s side, not as a throw-way option, but as a lifelong
companion. As long as fairness is there, the actor will be the coveted star.
Nestle Maggi Ad 2010
The second commercial is
an advertisement to promote the whole wheat variety of Nestle’s already popular
brand of two-minute noodles, Maggi. The ad begins with the old gentleman
watching the signs of impending rainfall and craving a plate of fried
delicacies. Listening to him, his wife instructs her son to ask bahu (son’s wife) to make something
healthy and delicious. He, in turn asks his kids to convey the message. The
elder daughter who is busy painting her nails further instructs her little
brother to forward the instruction to their mother. The child is seen visiting
his mother in the kitchen, his eyes glued to the portable video game he is
holding, and relates the order to make something healthy, tasty and full of
veggies. The woman then instantly decides to prepare Maggi Atta noodles full of
health benefits and sends a bowl for the father-in-law. Every member of the
family help themselves to a delicious spoonful of noodles and by the time the
bowl reaches the old gentleman, he finds only a spoonful of noodles left for
him.
Commentary: The text of
the ad plays with the idea of a traditional happy Indian household and its
ideal denizens: husband and wife, their two kids (one boy and one girl), and
the husband’s older parents all living happily under one roof. It puts forward
the stereotypical idea of a woman as a kitchen queen, the goddess of her
household who could whip up delicious and healthy meals in a jiffy and never
needs any help from her family members who are only happy to order their
special gastronomical cravings and taste the delicacies. There are further
suggestions of patriarchal ideology in the way the woman is positioned in the
kitchen happily spending her time within the confines of her culinary space.
The fact that none of the family members help the woman and while away time by
playing video games, painting nails, exercising or, more exactly, partaking of
activities that don’t involve real work, only furthers the patriarchal belief
system the ad reflects. The happy jingle as well as the cheery faces eager to
taste the noodle all try to hide the retrograde image of an Indian woman
toiling in the kitchen, bearing the responsibility of her family while the
people in question engage in frivolities of which she can never be a part.
Maggi Atta noodles is put forward as the first choice of a responsible Indian
housewife who has to take care of her family and must ensure their optimum
nutritional and health needs. Therefore, Maggi, suggested as the counterpart of
oily batter-fried crisps, is healthier option that everyone can enjoy.
Maggi Mother's Day 2015
Compared with its older
advertisement, Maggi’s 2015 commercial is intended not just as a promotion of
its brand, but as a celebration of the eternal relation between mother and
daughter. The commercial is an “ode to the most beautiful relationship in the
world”. The ad is fashioned as a puppet show and features a mother-daughter
duo. The mother leads her daughter into a room, her hands lovingly covering her
child’s eyes, a beautiful yellow dress laid on a bed, a surprise gift to her daughter
as she embarks on a new journey of life. Next, we see the daughter reminiscing and
reliving a series of emotionally vivacious moments of togetherness where the
mother is depicted as a guardian, a caregiver and a friend. She is seen
lovingly feeding her daughter a nourishing bowl of Maggi. As the daughter
unpacks her belongings at her new abode, her hostel, and shares a meal of
quickly-made Maggi, she remembers her mother. The concluding section shows the daughter
visiting her mother, who affectionately welcomes her child and serves her a
bowl of Maggi as the jingle celebrating the interminable bond plays in the
background. In the epilogue, we see the refracted doppelgangers of the puppets,
the beloved human mother and daughter wielding the puppet-strings behind the
scene. The commercial finishes with the dedication “for the person who knows
everything about you”— a mother.
Commentary: Launched in
the wake of severe criticism and ban for using large quantities of monosodium glutamate
(MSG) and lead, this Maggi commercial is clearly intended to enhance the image
of Maggi. In its aim to ameliorate the controversy and welcome truculent buyers
who were aghast by the revelation that their coveted two-minute snack was
marinated with chemicals destructive to their system back, Maggi turned to the
notion of motherhood.
The text of the ad, the
jingle, sung by Shankar Mahadevan, the singer whose track Maa from the popular movie Tarrein Zamein Par is an unequivocal
popular favorite, strive to cast away
the stigma hurled at Maggi. It is interesting to note here that Maggi before
2015 never celebrated Mother’s day with a special ad. Although the notion of
motherhood is intrinsic in its previous ads and Maggi has been generally
portrayed as the primary snack-time choice for mothers, here the text narrates
a different story. The notion of motherhood, the idea of a mother as a primary
caregiver, as the sole protagonist upon whom the child’s mental and physical
growth depends is the fundamental point in this ad. The lack of any male
presence furthers the notion of powerful matriarchy, not intended to equalize
gender bias, but as a buoy saving Maggi when the vox populi decreed its
jettison from their daily menu. The ad unmistakably displays Maggi as the
traditional snack that is integral in a mother-daughter relationship. In fact,
Maggi acts here as the binding force between the mother and the daughter,
something equivalent to a lifelong friend, the humsafar in the Fair and Handsome ad. The use of puppets to deliver
the message represents the idea of fun and fantasy; and yet, the realistic
features of the puppets as well the human mother-daughter duo featured in the
final part, suggest the commercial’s message to be deeply ingrained in realism
despite its features of fantasy and amusement.
Ariel India 2013
The Ariel India
commercial also features the theme common in several washing powder advertisements:
the Midas touch of a mother’s magical hand rubbing away the stains from
clothes. In fact, it is interesting to note how the image of a mother is omnipresent
and omnipotent in the advertising world. The use of motherly emotion to sell a
product is a commercial manipulation that seems never to misses its point. Here
again, like the Maggi ad, we see a mother-daughter pair; and yet, unlike the
Maggi ad, that borders on the maudlin, the message here is straightforward. A daughter
playing her musical instrument is consternated to find a mud stain on her T-shirt
that the mother uses Ariel to tackle successfully. The mud stain gone, the
mother and the daughter is relieved and the commercial ends with the duo give
each other flying kisses.
Commentary:
The Ariel washing powder advert is another example of a persuasive commercial
that used the image of a mother to enhance the appeal of the product. The ad
suggests the washing of clothes as a mother’s primary duty. Although it doesn’t
adopt the blatant expression like the famous “As good as mom’s hand wash” tagline
of Surf Excel, another washing detergent, the underlying meaning of the text
does represent laundry to be a woman’s department.
Surf Excel Ad
It is from her mother
that the girl child inherits the tricks of laundry— the use of Ariel washing
powder to clean stains—and implements them when the need arrives. One may
wonder how a surfactant’s potency is accentuated when used by an ideal mother—
one who knows her homemaking job well. But here the Ariel ad, like several
other detergent powder ads, is quiet. The ad is satisfied to present a gendered
view of society, one where a woman is a mother more than anything else, where
her other qualities are conspicuous by their absence, and if present, are devalued
in comparison to her homemaking skills.
Ariel Share the Load Campaign 2015
Ariel, however, decided
to deconstruct the dated and gendered view of a patriarchal Indian household, a
stereotype in the advertising world, when it launched its share the load campaign,
a drive to sensitize the Indian men to the need to partake of the chores of the
house. The narrator is the father of a young woman who watches his daughter as
she tackles her official work and her domestic roles singlehanded while her
spouse, unperturbed, demands food, drink and asks his wife to wash his shirt.
The father feels helpless for instilling the gendered roles in his daughter and
takes active steps to rectify the erroneous social gesture of household chores
being gender specific by deciding to share laundry duties with his wife.
Commentary: The ad comes
as a powerful voice and questions the gender roles that have passed on from one
generation to the next without evolving. It questions the idea of a complete
woman as a multitasking role-player, a domestic goddess as well as a career
women and lays bare her desperation when she has to tackle both sides of her
life without help from her spouse and her family members because she was
brought up in an environment which taught her it’s a man job to tackle the
outside world and he must always be a disinterested spectator when it comes to housework:
a stereotype deserving abrogation in our social-media centered modern world
where women are no longer domestic identities. The powerful tagline hook “why
is laundry only a mother’s job” is intended as an embarrassing truth that needs
to be tackled.
The commercial is addressed
to the newer generation of Indian men and women, and Ariel, because of its
progressive outlook, comes as a product designed for the modern Indian home
where men and women share an equal footing. The commercial undoubtedly enhances
the product’s image, it surprises us and persuades us to take a positive
action. By propagating a unique point of view, the commercial makes sure it is
in the news, and by extension, this leads to the product it is promoting to
become popular as well.
Copyright:
Advertisement as Text: A Case Study by Barnali Saha is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Based on a work at http://barnalisahabanerjee.blogspot.in/2016/03/advertisement-as-text-case-study.html#links.
Video
8 Catch Subzi Masala 2015
Not
all commercials, however, likes to tread the unbeaten path to seize the reader’s
attention. Many, like the Catch spice ad, abides by the stereotypical norms of
society to sell its product. In this ad, we see Vidya Balan, Bollywood’s
leading female actor, addressing the narratee. She tells us that when food at
home becomes boring then people start making excuses to avoid the gastronomic fare.
We view a range of cases where the cast— a young man, an office going adult, a
middle aged man returned from work—indulge in the act of making excuses to
avoid tasting bland home food. The problem, nevertheless, is deftly solved by
Miss Balan, who asks the narratee to use Catch spice at home to introduce flavor
to her boring cooking and that way win her family back. The trick works wonders
as we see the disquiet dinner-haters returning to the table and tasting the
delicacies cooked with Catch spice.
Commentary:
The Catch spice commercial is another example acquainting us with the idea that
advertising affects the way we construct our identity. The ad plays around the
stereotype that it’s the woman’s duty to cook for her family, while the family,
regardless of her feelings, may denounce the dishes she cooks when her food,
and she, by extension, becomes boring. The expression “boring” is significant
in the ad. Narrated by the vivacious actor effortlessly managing her way in the
kitchen, Vidya Balan is anything but dreary in the ad, while the other female
case, the cooks, in this ad are either invisible or are lacking personality,
like the woman whose middle-aged husband makes an excuses of having had dinner with
an office client to avoid her home cooked meal. The woman’s unprotesting
dismayed face betrays her inner sentiments, but, it’s interesting, that she doesn’t
talk back and simply accepts her failure and tries to spruce up her cooking by
adding Catch spice. The effect is immediate as we see her displaying herself in
a more confident way dressed not in nondescript monotone but in white,
resembling the white of her husband’s shirt, suggesting equal footing at home.
The paralanguage in the ad also suggest its men who get to deny food they find
boring and it is women who must learn the tricks of the trade from effervescent
movie persona and implement them to add attraction to their selves and to their
cooking. The ad plays around the idea that the way to a man’s heart is through
his stomach, and if a man finds a woman’s cooking unattractive, he, by
extension, considers the woman cooking it, unequivocally dreary. And a man
wants nothing to do with a dreary woman. The ad plays with the insecurities of
an Indian homemaker who is often forced to feel inferior and is hardly
appreciated for her hours of unpaid labor. The ad furthers this stereotype to
sell its branded product. Here again, like many other commercials, we see a
product solving a baffling problem: how to avoid being a boring woman? The answer
is easy: use Catch spice and accentuate your cooking, and, by extension, become
a confident and attractive woman.
Video 9 Catch Hing Ad 2016
The commercial of Catch Hing spice launched afresh resembles
its predecessor in content. It features Vidya Balan, its brand ambassador, as
the same vivacious woman who is ready to solve all cooking dilemmas an Indian
woman encounters. The ad casts a group of woman all tempering the truth in a
frivolous and gossipy way. Vidya Balan tells that everybody tempers truth, but
real tempering is done by Catch Hing which heightens the flavor of a dish and
accentuates its temperate appeal.
Commentary: The text of the commercial preserves the
idea that a woman’s place is in the kitchen. It further adds, that it’s women
who gossip in the most frivolous manner tempering with truth in a masterful
way, adding such color to an original incident—a young woman accidentally
dropping a glass of water on her mother-in-law—that it takes on a bizarre and
outlandish shape. The discourse is intented to be funny and meant for an Indian
woman who watches television soaps that stretch truth to an unbelievable extent.
It doesn’t use any vague symbols but reaches its point straightforwardly: all
women love tempering with truth, but a spice is better at tempering than most
of them.
Figure 10 Print Ad Razor Slim
Commentary:
The Razor Slim capsule ad is an example that shows that despite their
differences both audio visual and print media commercials have equal impact.
This ad targets the insecurities of an overweight individual with the carefully
placed headline “The Amazing New Breakthrough in Natural Weight Loss” the narrowing
of the letters suggest the loss of adipose, the inevitable result of consuming
the slimming capsules. The word “New” suggest the modern roots of the product,
the innovative scientific technique that went on to formulate this natural
breakthrough slimming formula. And yet, the product is completely organic,
being Ayurvedic in nature. The ad deftly plays with an Indian citizen’s obsession
with Ayurvedic products and her general disinclination to consume Allopathy
drugs given their unnatural lineage in a scientific laboratory. The ad
therefore suggests a smart admixture of the old and the new: a new formula with
traditional and modern characteristics acting together.
The before
and after images are cleverly placed and reminiscent of the way we read an
English text from left to right. The picture of the left suggest former
flatulence while the later image depicts the amazing slimming results produced
after taking Razor capsules. Further, the image of a woman’s toned body, a tape
measure calculating the slight number of her waistline boost the idea of
positive weight loss. Finally, the words of endorsement from doctors with
exceptional medical records is used to appease the buyer of the safety of the
capsules as well as its inevitable effects. It suggests that the formula is clinically
proven and is both safe and effective.
The case
study of the series of commercials suggest that advertising is a popular form
of public communication that uses various devices like stereotyping, clever use
of layout, symbols, text, sound, etc., to convey its message to its target audience,
and in this process of communication, it alters, constructs and deconstructs several
societal realities. Advertising is thus an extremely potent form of complex
communication that affects the way we build our identities, we visualize our
world and become conscious of cultural environment.
Copyright:
Advertisement as Text: A Case Study by Barnali Saha is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Based on a work at http://barnalisahabanerjee.blogspot.in/2016/03/advertisement-as-text-case-study.html#links.
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