关于特定广告的内容分析 [2]
论文作者:bluesky论文属性:作业 Assignment登出时间:2013-03-10编辑:bluesky点击率:4088
论文字数:1654论文编号:org201303101127095643语种:英语 English地区:英国价格:$ 22
关键词:特定内容广告分析恩岑斯贝格法师广告的重要性
摘要:广告在我们的生活是很重要的,谈广告时,人们总是认为有关的创意和想法。然而,重要的是他们能够专注于它的内涵。恩岑斯贝格法师说,文化是一杯水与盐一样。
" "Where would one have to be to see this scene this way, and what sort of person would one have to be to occupy that space?"(Kress & van Leeuwen 1996, 149)
In Ways of Seeing, a highly influential book based on a BBC television series, John Berger observed that ccording to usage and conventions which are at last being questioned but have by no means been overcome - men act and women appear. Men look at women. Women watch themselves being looked at� (Berger 1972, 45, 47). Berger argues that in European art from the Renaissance onwards women were depicted as being ware of being seen by a [male] spectator� (ibid., 49), Berger adds that at least from the seventeenth century, paintings of female nudes reflected the woman抯 submission to he owner of both woman and painting� (ibid., 52). He noted that lmost all post-Renaissance European sexual imagery is frontal - either literally or metaphorically - because the sexual protagonist is the spectator-owner looking at it(ibid., 56). He advanced the idea that the realistic, ighly tactile� depiction of things in oil paintings and later in colour photography (in particular where they were portrayed as 憌ithin touching distance�), represented a desire to possess the things (or the lifestyle) depicted (ibid., 83ff). This also applied to women depicted in this way (ibid., 92).
Writing in 1972, Berger insisted that women were still epicted in a different way to men - because the "ideal" spectator is always assumed to be male and the image of the woman is designed to flatter him(ibid., 64). In 1996 Jib Fowles still felt able to insist that
advertising males gaze, and females are gazed at(Fowles 1996, 204). And Paul Messaris
notes that female models in ads addressed to women 憈reat the lens as a substitute for the eye of an imaginary male onlooker,adding that could be argued that when women look at these ads, they are actually seeing themselves as a man might see them(Messaris 1997, 41). Such ads 慳ppear to imply a male point of view, even though the intended viewer is often a woman. So the women who look at these ads are being invited to identify both with the person being viewed and with an implicit, opposite-sex viewer(ibid., 44).
We may note that within this dominant representational tradition the spectator is typically assumed not simply to be male but also to be heterosexual, over the age of puberty and often also white.
Marjorie Ferguson (1980) identified four types of facial expression in the cover photos of British women抯 magazines:
Chocolate Box: half or full-smile, lips together or slightly parted, teeth barely visible, full or three-quarter face to camera. Projected mood: blandly pleasing, warm bath warmth, where uniformity of features in their smooth perfection is devoid of uniqueness or of individuality.
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