Television Commercial Semiotics Analysis Media Essay

Television Commercial Semiotics Analysis Media Essay In 2004, former Playboy centerfold and American reality television character Anna Nicole Smith starred in a 30-second television commercial for Trimspas diet product X-32. The principal had recently lost a significant amount of excess body weight after having appeared throughout an American reality series that seemed to capitalize on the shock value of her metamorphosis from a Playboy centerfold and fashion model to obesity in the years preceding her re-emergence as a sex symbol, presumably as a result of her use of the advertisers diet products. The dominant elements of the advertisement consisted of Smith attired in flamboyant gowns and posed provocatively in various postures and in conjunction with textual images superimposed over the visual images. A seductive female voice also emphasized the words displayed in the text. The textual component of the advertisement consisted of the words sexy, powerful, and attitude in connection with SPA portion of the manufacturers name suggesting a pneumonic connotation. The only other textual component appears in the form of the phrase Be Envied in the last frame of the commercial. A male voice is also heard saying Cutie; wont you come inside? A semiotic analysis of the commercial would focus on the psychological and social relevance of the sexual imagery and the connotations to gender roles, sexual desirability, and also to suggestions of wealth and privilege. More specifically, the advertisement highlights the reliance on gender roles and gender-based expectations in relation to independence and power, social class, and (especially) pop culture-based recognition and the influence of the link between celebrity, notoriety, and positive product association. Key Visual and Textual Elements of the Commercial and their Connotations The primary visual content of the commercial presents Anna Nicole Smith dressed and coiffed in a style that is apparently intended to draw connections (whether conscious or unconscious) to mid-20th century American film icon Marilyn Monroe, to whom Smith already bears a general likeness. From a semiotics perspective, the visual component of the commercial incorporates at least three distinct aspects of social codes (bodily, commodity, and behavioural codes); two aspects of representational or textual codes (genre and mass media codes); as well as both main aspects of interpretive codes (perceptual and ideological codes). More specifically, the commercial emphasises bodily codes (Aronson, Wilson, Akert, 2003, p.266) associated with sexuality, sexual aggressiveness, and sexual availability as Smith engages in exaggerated sexually provocative postures, gestures, and facial expressions. It also relies heavily on commodity codes (Aronson, Wilson, Akert, 2003, p.266) represented by the high-fashion gown worn by Smith and on behavioural codes (Aronson, Wilson, Akert, 2003, p.266) such as the dynamic between photographer and high-fashion model and the focus of attention on her. In that regard, the behavioural code consists of the portrayal of the respective roles of the photographer engaged in capturing images of the model on a set designed to suggest high-fashion and social privilege. To a certain degree, the use of social codes merges with textual codes, illustrating the basis of the traditional argument in favour of a broader interpretation of all semiotic codes as social codes (Hawkes, 1977, p.104). In that respect, the commercial exploits the perspective of both genre (in the apparent connection to Marilyn Monroe) and in its closely related reliance on Smiths notoriety from her (then) recent television series and her high-profile will contest proceedings over the estate of her deceased former husband, oil and business magnate J. Howard Marshall that eventually reached the U.S. Supreme Court a decade after his death in 1996 at the age of 90 (Newman, 2007). It was Smiths controversial marriage to Marshall barely a year before his death and the decade-long media coverage of her claim to his entire estate and the probate contest it precipitated that apparently catapulted Smith to infamy more than anything else (Newman, 2007). Although the case was ultimately decid ed against her in 2006, her claim to the fortune likely generated the popular perception that Anna Nicole Smith represented fabulous wealth and privilege. That image, or more precisely, the consumption of that image by the American public as a function of perpetual tabloid coverage, provided the social framework for the connotations intended for exploitation by the advertiser. Finally, with respect to semiotic coding, the commercial images rely on interpretative coding in the form of both perceptual codes and ideological codes. More specifically, the body postures and facial expressions adopted by Smith throughout the commercial trigger hard-wired psychological responses in the areas of sexual signaling and sexual arousal (Gerrig Zimbardo, 2008, p.276). The obvious intent is to establish a deeper association in that regard than merely conscious absorption of the explicit messages in the commercial. Moreover, ideological coding is used to convey one of the most important take-aways intended by the advertiser to appeal to a hegemonic female audience: namely, through the notion that the product is associated with a departure from traditional ideological views and expectations of females as passive and dependent on males, particularly for their sexual identity and power. This use of both perceptual and ideological coding (specifically in relation to human sex uality) is one of the most powerful and common themes in product advertising; it has been since the dawn of the modern advertising age (Kahle Lynn, 2006, p. 27; Ogilvy, 1982, p.26). Thematic Interaction of Commercial Elements to Convey Meaning The commercial includes superimposed text in the form of three words (sexy, powerful, and attitude) in conjunction with the individual letters in the SPA portion of the manufacturers product. While the relevance of the word sexy is literal, the words powerful and attitude both rely heavily on the discursive concepts originally introduced in the context of semiotics by Michel Foucault (Harvey Evans, 2001). According to that analysis, the choice of language in the commercial fits within a discourse, or representational system that is a function on socially relevant codes and an interpretive repertoire of concepts, values, and myths that give them meaning (Harvey Evans, 2001). The notion of power is clearly meant to appeal to women primed to value or strive for the sexual autonomy of a feminist perspective. Likewise, the notion of attitude also represents an expectation or a right to have things as they wish rather than as they may be expected by society. The only other words that are audible besides those spoken by the female narrator who breathlessly repeats sexy, powerful, attitude are delivered by a male voice who says Cutie, wont you come inside? The relevance of that phrase is also a function of Foucaults discourse concept (Harvey Evans, 2001): it is likely meant to suggest a connection to an invitation (such as from a doorman) to enter an exclusive social club or other opportunity that is only an option for beautiful members of the privileged class. Given the other elements of the commercial and their relation to the discourse pertaining to female sexual independence, it may also be meant to suggest a much more sexually explicit concept as well. The last textual image of the commercial consists of the superimposition of the phrase Be Envied in the last frames. No formal analysis is necessary to identify the discourse upon the strategic purpose of that phrase relies. Specifically, envy is a natural human response with direct connections to perceptual codes as well as to commodity codes (Hawkes, 1977, p.107). In that respect, the impulse of envy is closely connected to the related desire to inspire envy in others (Ogilvy, 1982, p. 119) and, like sexuality, it is a very common (if not universal) discursive feature in modern advertising and product marketing (Ogilvy, 1982, p. 120). The contextual relevance of the phrase is simply that users of the Trimspa product will lose weight and become more beautiful, more sexually desirable, more sexually powerful, and more envied by others in society. Conclusion The 2004 Trimspa X-32 commercial features an extremely recognisable American cultural icon believed to embody beauty, sexuality, wealth, and privilege. The fact that she happened to lose a substantial amount of weight (whether or not with the help of cosmetic surgery as had been rumoured) fit perfectly within the scope of the advertisement. The commercial emphasizes a wide range of semiotic social codes, representational or textual codes, and interpretive codes. It exploits a connection to a another former American film icon as well as several different discursive elements in relation to the modern rejection of traditional roles of and social constraints imposed on women in patriarchal societies. Those semiotic elements merge with explicit connotations associated with promises of enviable beauty and sexual desirability as well as with the exploitation of the human failing represented by the natural impulse to envy others and to inspire theirs.

Huckleberry Finn by Mark Twain :: essays research papers

It is my opinion that the book The Adventures of Huckleberry Finn By Mark Twain should be taught in schools because this book is very well written and can teach many lessons. I think that the people in today's world, or maybe just the USA, try to be censor and shelter the children. I think that it is wrong to censor things, this book is supposedly wrong because it says the word nigger a lot and has death in it. I think that although the word nigger was used frequently in this book it showed the separation between the slaves and the owners and how Huck overcame this separation and saw through the societies views on niggers . Racism is now a very big issue but when the book was written African Americans didn't have the rights they have today and racism didn't exist. Twain wrote this book not having to worry about racism. In our day and time they want to censor out the words like nigger but that really would be wrong because it wouldn't be realistic, people need to know what it was truly like. Sheltering people from the truth Is the worst thing you can do. If kids don't learn about how slavery was then they won't truly understand where racism comes from. In the book there is much violence. "It's a dead man. Yes, indeedy naked, too. He's been shot in de back."(pg. 50) The book is better with violence because it becomes more interesting to the reader. It becomes more of a real life situation than just a fairy tale world where nothing goes wrong, because in real life things do go wrong and people do get shot and killed. It is hard to read these kinds of things with death that are gruesome but it helps form feelings for the characters. Also it was necessary for them to find the dead man so that Huck didn't have to worry about pap taking his money. In the scene where Jim finds pap we learn more about Jim and that he is a sensitive person and was cautious not to upset Huck by letting him see pap's body. Many people could have been offended by the stereotypes in this book. For example, "I see it warn't no use wasting words—you can't learn a nigger to argue."(pg. 78) In this example Huck stereotypes Jim as being a stupid nigger that can't learn anything.

“Ethan Frome” by Edith Wharton Essay

Naturalism is commonly understood as an extension or intensification of realism. The intensification involves the introduction of characters of a kind (Baym, 1999) A perfect example of Naturalist work is Ethan Frome by Edith Wharton. Ethan, one of the main characters in the book, is a old, deformed man who is in love with his wifes cousin. Zeena is Ethans wife who occasionally has psychological illnesses. Mattie is Zeenas cousin and is in love with Ethan. There are many examples of naturalism in Ethan Frome: the characters, their deformities, and their lowly place in society, their bad luck, and distasteful environment they lived in. Ethan Frome, a significant character in the book, is very troubled. Life hasnt been pleasant for Ethan. Through his life experiences, Naturalism has been portrayed. At the beginning of the story, the reader, from the following quote, finds out that Ethan is crippled from a smash-up:The smash-up it was—I gathered from the same informant—which, besides drawing the red gash across Ethans Fromes forehead, had so shortened and warped his right side that it cost him a visible effort to take the few steps from his buggy to the post-office window. (Wharton 4)This is a characteristic of Naturalism because the smash-up was caused by Ethans emotions. If Ethan did not have any feelings for Mattie, the smash-up would have never taken place and Ethan and Mattie would not be injured and forced to spend the rest of their lives being taken care of by Zeena. Then, the novel goes into a flashback and the whole story of Ethan Frome is told to the reader. The reader then finds out that Zeena, Ethans wife, is actually his cousin who came to Starkfield to take care of Ethans mother, and she never left after his mother passed away. Ethan and Zeena get married and they have a loveless marriage that took place because of loneliness. In the novel, it says that the marriage might not have taken place if it had not been wintertime. This is also another example of Naturalism because it was decision that was controlled by their instincts that if they did not get married, then they would have a lonely winter. Zeena becomes sick, and her cousin Mattie has to come to Starkfield and take care of the house. Ethan falls in love with Mattie, but is not able to express his feelings at first because of Zeena. Later on in the story, Ethan and Mattie discover that they love each other and that they cannot be together so they decided to commit suicide. Unfortunately, the suicide attempt was futile and Mattie and Ethan both survive. In this part of the story, Ethan and Mattie are acting on their emotions because they know that they cannot runaway together, and they also know that if they commit suicide they will never have to be apart together. Ethan and Mattie would have run away together if not for their economic conditions. Because the farm was so poor, Zeena wouldnt have sold the farm for very much and she would have to suffer if Ethan and Mattie had runaway together. Although, Ethan Frome plays a very big role in this novel, Zeena also portrays examples of naturalism. Zeenas character was portrayed to the reader as being selfish and needy. Because Zeena was not required to take care of anyone, she began to show the symptoms of sickness that Ethans mother was described to have had. And within a year of their marriage she developed the sickliness which had since made her notable even in a community rich I pathological instances. When she came to take care of his mother she had seemed to Ethan like the very genius of health, but he soon saw that he skill as a nurse had been acquired by the absorbed observation of her own symptoms.(Wharton 53)This is an example of Naturalism because Zeenas need to be required by others led her to become psychologically sick and this affected her marriage with Ethan. In the middle of the novel, Ethan and Mattie walk home together after the dance and Zeena hasnt put out the key. To the reader, this seems like it was Zeenas instinct to not put out a key because she was suspicious of the relationship between Mattie and Ethan. Soon after, Zeena goes to see a new doctor in town because of her sickness. This event gives the impression that Zeena is sick only because she wants to be recognized in society, and being sick is allowing her to be noticed by others. At the very end of the novel, Zeena recognizes that Mattie and Ethan have feelings for each other, and tries to split them apart by hiring another girl to take care of the house. However, the smash-up allowed Zeena to be needed by the handicapped Mattie and Ethan, and Zeena instant got better. These are examples of naturalism, because Zeena is acting on her instincts that that Ethan and Mattie are having an affair, and the outcome is that they try to commit suicide and fail and have to live the rest of their lives together with Zeena almost in  poverty. The decisions that the characters in Ethan Frome impact the rest of their lives. These decisions are all examples of Naturalism. Ethan decisions are based on his instinct and also his emotions of love for Mattie, and his emotion of loathe for Zeena. Zeenas, on the other hand, are based on by her instinct that Ethan and Mattie are in love with each other, her lowly status in society, and also their meager economic conditions. This book shows the reader that life should not always be controlled by instinct and emotion, but rather that it should be controlled by thoughts and adapting to the environment around you. Wharton, Edith. Simon & Schuster, 2004.

Analysis Of The Movie Silver Lining Playbook - 1564 Words

The movie Silver Lining playbook is an award winning movie that exposes some social disorders that the community as a whole as engaged in for years. â€Å"A word-of-mouth hit in 2012, David O. Russell’s Silver Linings Playbook has been popularly discussed as successfully targeting an adult audience under-served in contemporary Hollywood, as â€Å"authentically† reflecting the parenting challenges of its star and director, and as portraying a â€Å"modern† romance about a sympathetic, deeply damaged protagonist couple† (Nadel P1.). Silver Linings Playbook consolidates forms of social damage arising in societies. The movie reflects a post-feminist, narrative of social, family and economic burdens and display the effect of those stress on the struggle for affection in the modern century. Silver Lining employs sets of cultural chronicles that produce a matter narrating gender and family relationships. This re-narration reflects imaginary control over psycholog ical circumstances in order to offset for uncontrollable material conditions. Specifically, the movie, through a illusion maneuver, invokes the passionate nature of the current financial system in order to provide liberation for incapable subjects by investing them to a improper financialism. Silver Linings Playbook is a story about two love birds who find each other. In psychological terms, Pat is suffering from bipolar, while Tiffany has been struggling with depression due to the death of her husband.The film, moreover,Show MoreRelatedAnalysis Of The Movie Silver Linings Playbook 1347 Words   |  6 Pages Silver Linings Playbook begins with the one of the main characters, Pat Jr., being released from a mental hospital by his mother. He has been institutionalized due to his bipolar disorder, because he severely beat the man his wife was cheating on him with. 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