An Exploration of the Use and Effectiveness of Nature Imagery, Metaphor, and Symbolism in Advertising.

An Exploration of the Use and Effectiveness of Nature Imagery, Metaphor, and Symbolism in Advertising.

Konstantinos Perimenis

2018

Core participation of nature imagery, indoor scenery, visual metaphor, and literal image in the construction of commercials and advertising industry has been established through repeated research. The current study aims to deeper investigate regarding the role of two specific components of aesthetic communication (nature imagery, poetry) in advertising. Results suggested that between nature imagery and indoor scenery there was a significant preference to nature imagery. However, results from the comparison between visual metaphor and literal image indicated a more divided outcome with participants suggesting that both presented as equally appealing. Overall, our results suggest that nature imagery was established to be the
most significant component towards forming an appealing advertisement. We indicated that further research could investigate and highlight the effectiveness of other mediator components of aesthetics (verbal language, humour, music, etc) in advertising.

Nature imagery in advertising, symbolism in advertising, metaphors in advertising

      In all focus groups, a digital voice recorder was used for further analysis. The first selected pair of ads, with indoor and outdoor imageries, was about Coca-Cola brand. At the first Coca Cola’s ad film, which was broadcasted for the first time in 2010, participants had the chance to watch two young people inside an overcrowded bus. Even if these two passengers were completely strangers, they finally broke the ice between them, thanks to an invisible Coca-Cola bottle. At the second Coca-Cola’s commercial, diversity in terms of gender, religion and race, within the United States of America, was presented. At the same time, the viewers were given the opportunity of admiring some of the most breathtaking landscapes in USA.

     The second selected pair of ads, in terms of connotative and denotative imageries, was about Smirnoff brand. At the Smirnoff’s connotative commercial, there were clear signs that its creators intended to show temptation and seduction.  From the beginning it was clear that the starring couple was meant to represent a modern day Adam and Eve. As the music picked up, snakes appeared from the bartender’s sleeves to help make an Apple Bite and the customers got up to dance in a fast-paced song. The bartender was leading ‘Adam and Eve’ to the apple flavour cocktail and the fast-paced music suggested that something big would happen if the drink was taken.  This also insinuated that the drink was so desirable that they would not be able to resist the apple drink. At the denotative one, there was a stylish, classy man that was just listing the values of Smirnoff vodka. The initial 40 advertisements were selected randomly from Coloribus.com (See Appendix H for full links) an online databases for commercials and advertisements.

Data analysis

       Responses to the focus groups’ questions were thematically analyzed.  The current research followed the six step thematic analysis approach as described by Braun and Clarke (2006). Notes of detailed observation were used to generate and apply codes to the qualitative data and to identify potential themes, as the small sample gave us that opportunity.

Lancaster University

WAV

Perimenis2018

Open

English

Data

LA2 0PF

Leslie Hallam

MSC

Psychology of Advertising

For the purpose of advertisement selection a pilot group was conducted consisted of 3 participants. Following the advertisement selection, two focus groups were formed, 6 participants were included in the first focus group, and 7 in the second focus group. Participants recruited in the pilot group and both focus groups (N= 16) were students from Lancaster University (age range 22-28). Inclusion criteria required participants to be above the age of 18 and be able to physically attend the focus group. Participants of both focus groups were 5 males, 8 females, and participants consisted the pilot group 2 males, and 1 female.

Qualitative