Semiotics and Identity: Ad text Analysis - Literature review Example

Name: Semiotics and Identity: Ad text Analysis Institution: Date: Semiotics and Identity: Ad text Analysis Semiotics refers to the study of symbols, signs, and how they are implemented, whether in and artifact, ad text, a specific context, or a generalized genre or cultural context. Identity deals with forging relationships between symbols and signs. According to the University of Texas (2013), Semiotics and identity seek to not only study what signs and symbols represent, but also the process of forming a connection between what is represented by the particular symbol or sign. Ad text analysis involves the examination of semiotic and textual aspect of advertisements following a critical assessment. Encoders use a diversity of texts, symbols, and signs in ways that may be implicit or explicit to grab the attention of their decoders in intended ways (Thwaites, Davis, & Mules 2002). This paper will assess three clothing ads and attempt to discuss, effectively, the use of semiotics and identity as expressed by the encoder and perceived by the decoder, taking into account possible humanism or post-structuralism models used or perceived. The paper shall begin by giving a brief semiotic and identity analysis of the three ads independently, give a description of related ad characteristics, and a general conclusion on the findings. Semiotic and Identity Analysis of the Ads Semiotic analysis of an ad text begins with an adequate description of the nature of the signs associated with the ad to facilitate the provision of a framework for which to base the analysis. Chandler (2007) indicates that since the domination of semiotics by Saussure, a linguistic, the study of semiotics has drawn heavily on concepts of linguistics. Therefore, when using Saussure model, signs denoted by an ad text are subdivided into the signifier (the form taken by the text, symbol or sign), and the signified (concept represented) (Zlatev, 2009). Deely (2005), advices that cautions that the two parts of an ad, that is, signifier and signified, are inseparable in their application in semiotics. The Akubra Hats Ad text 2: Akubra Hats, 2014, Legendary Australian hat maker, Available from: Signifiers operating in this ad text include the whole picture, which depicts an Australian scene with stockmen, or race goers, at a turf, with all the men pictured wearing hats. The hats are also important signifiers. They depict that the Australian traditional wear is still respected in and modern times as an important patriotic outfit. The turf signifies an important Australian culture observed traditionally during horseracing and rodeo performances. The ad is also nostalgic. It appears to bring back the memories of entertaining rodeo clowns on horsebacks. “A denotation is the most literal or basic meaning indicated by a sign” (Danesi 2007, p.17). In this ad text, the most literal meaning is that Akubra hats are the best for doing rodeo. This plainly means that the activities of race goers, rodeos, or horse racers, are incomplete without the hats. A connotation is “a cultural meaning attached to signs, or symbols, that are used as signifiers to create a secondary meaning” (Caesar, 1999, p28). In this ad, the secondary meaning is that Akubra hats are made of superior leather quality to sustain the harsh entertainment activities. A dusty environment indicates that the rodeo jockey activities are quite intense and therefore require participants to wear long lasting, and tough clothing, which includes hats. Based on the signs, and their identity, the overall message is that the hats are of the best quality, made from durable material, such as leather or fur. The encoder depicts a motion image of a rodeo riding on a horse while other race goers’ watch. The heavy dust that clears from the ground and the rodeo’s motion in the air indicate that the activity is intense, yet the hats remain in position, showing their quality is great. Wool Innovation Ad text 1: Beautiful life, 2013, Branding for Australian wool innovation, Available from :< http://www.beautifullife.info/advertisment/branding-for-australian-wool-innovation/> The key signifiers in this ad are the woman dressed in woolen clothing and the whole image of the ad text. From the pictorial signifier, the person seems relaxed and possibly comfortable concentrating probably on the feeling the woolen wear exerts on her skin. The woman, as an important signifier, appears completely in control, letting herself drown in the comfort of the woolen wear. The primary denotation is that the woolen wear feels comfortable and seems to soothe the body, creating a relaxed emotional reaction to the wearer. Additionally, the woolen wear seems to initiate a calm, gentle, and peaceful response on the wearer as a literal meaning. Claus & Kalevi (2011) indicate that nature involves attaching meanings to signs and symbols to create a wholesome understanding of events that surround us. In this ad text, the denotation is that wool has a close association with nature. The pictured woman seems to be in resonance and in control of her environment probably because she is putting on a quality and comfortable woolen clothing. Based on the signs, the overall message is that the woolen wear product advertised is comfortable enough to initiate a complete relaxation. Additionally, the signifier signs seem to communicate that there exists a strong relationship of wool to nature, and that the two aspects are inseparable or go well together, as suggested by Petrilli (2009). Baby Boys Clothes Ad text 3: Goo Goo Gear, 2012, Baby boys clothes. Available from :< http://www.googoogear.com.au/boys_clothes.html> The key signifiers operating in this ad include the boy, the background vegetation, the blue sky, and the horizon. All these signify the relationship between the boy, clothing, and the environment. The boy’s clothing seems to resonate well with his atmosphere, the floor, and surroundings. He seems to feel very comfortable and playful in his colorful clothes. Color, in this ad, is iconic, representing both the comfort of the clothing and the relationship with the background. Thurlow & Aiello (2007) suggest that adequate use of color is an important semiotic tool for meaning making and capturing the audience’s attention. Culturally, color provides an attractive representation that captivates and signals the brain to take note of its environment, making it an important selling point in the designing of ads (Ryan 2011). The literal meaning of this ad is that children feel comfortable colorful clothing. The secondary meaning is that children associate colorful clothing with their nature. The colorful pair of shorts seems to match well with the floor and the surrounding environment. Based on these signs, the overall message of this ad text is that children enjoy colorful clothing that matches well with their environment. Description of Related Characteristics Atkins (on Mythologies by Roland Barthes, 1995) notes that “mythology, since it is the study of a type of speech, is but one fragment of this vast science of signs which Saussure postulated some forty years ago under the name of semiology.” Speech is a message conveyable through linguistics, which utilizes a variety of signs and symbols to infer meanings to objects. Based on this finding, therefore, the overall ad messages encompass the status of myth, in Barthes’ sense of the term. In all the ads, the producers and encoders seem passionate about their work. They also attach great symbolism of their products to nature and culture. The producers express their thoughts, ideas, and feelings by using a combination of color, vivid pictures, and active environmental representation, such as clouds, dust, and atmosphere, to create an entertaining but informative advert. The producers are also keen on using iconic signs to express their pictorial representations adequately in one piece. Iconic signs refer to situations where the ad producer utilizes signifier signs to represent the signified, for example, a picture (Alden et al. 1999). In all the scenarios, the picture acts as both the signifier and the signified, effectively communicating their message through signifier signs. The producers also apply the use of paradigmatic relation in which signs derive meanings from their respective associations with each other (Deely & Poinsot 2009). In this case, the hats derive their durability and great quality meaning from their association with tough horsing activities. In the woolen wear, the woman appears to be in an emotional and relaxed communication with her environment, owing to the comfort derived by the clothing. The boy also seems to appreciate his clothing especially with the colorfulness it associates with his floor and the environment. In all the ads, the binary opposition appears illustrated only implicitly, with pictorial representations dwelling much on associated moods, such as smooth colors transitions in the woolen and baby clothes ads. The hat ad also uses a combination of roughness and toughness only, depicting the binary position only implicitly. All the ads also seem to embrace a humanism model, which is fundamentally individualist, and idealist. Individualism means that the decoders are autonomous unique beings that are free and rational, by nature, to infer meanings to events, ideas, or thoughts, as they please, or perceive (Thwaites, Davis, & Mules 2002; Deely 2005). Idealist perspective suggests that meanings inferred to events, signs, symbols, or other phenomena, have affiliations to general universal principles that are agreeable through rational analysis (Caesar 1999). Chandler (2007, p.67) adds that it is a common belief that “general principles of meaning making are equally applicable to all individuals, irrespective of time or place.” In all the discussed ads, the encoders have used simple illustrations and ad texts. Therefore, they expect the decoders of their signs and messages to infer meanings to what they already know, such as horses, a boy child, and a woman. Conclusion When designing ads, encoders already have in their perception, the target audience. The encoders make effective use of the status of myth to produce ads that communicate easily to the targeted audience in a quick and efficient manner by using speech adequately. The use of myth is a core aspect of semiotics in the design of catchy ads. Advertisers and ad designers understand that production of an ad is a complex and costly process that requires thorough planning, brainstorming, and appropriate decision-making, prior to actual production. Therefore, they accurately choose appropriate methods for image selection, topography, highlighting, clear focus, camera angle, and other facets that enhance image quality of the final product that encompasses connotative associations. The design of political ads is an industry that has continued to apply the fundamentals of semiotics to create content that woes a diverse number of voters at the same time. For example, designing a political ad in Texas (composed of significant blacks’ numbers as well as whites, and other races) requires a great combination of myth, signs, and signifiers, to convey a message that each individual can relate to easily. References Alden, D., Steenkamp, J., & Batra, R. 1999, "Brand Positioning Through Advertising in Asia, North America, and Europe: The Role of Global Consumer Culture", Journal of Marketing 63 (1), 75–87. Atkins, S., 1995, Mythologies by Roland Barthes, translated by Annette Lavers, Hill, and Wang, New York, 1984. Available from: < http://xroads.virginia.edu/~drbr/myth.html>. [Accessed 4 April 2014] Caesar, M. 1999, Umberto Eco: Philosophy, Semiotics, and the Work of Fiction. Hoboken, NJ: Wiley  Chandler, D., 2007, Semiotics: The Basics. London: Routledge Danesi, M., 2007, The Quest for Meaning: A Guide to Semiotic Theory and Practice. Toronto: University of Toronto Press Deely J. & Poinsot, A., 2009, The Protosemiotic Development, Scranton: University of Scranton Press Deely J., 2005, Basics of Semiotics. 4th ed, Tartu: Tartu University Press. Emmeche, C. & Kalevi, K., (eds.), 2011, Towards a Semiotic Biology: Life is the Action of Signs. London: Imperial College Press Mansfield, N., & Fuery, P., 2000, Cultural Studies and Critical Theory, 2nd ed, New York, NY: Oxford University Press Petrilli, S., 2009, “Semiotics as semioethics in the era of global communication,” Semiotica, 173(4), 343–359 Ryan, M., 2011,  The Encyclopedia of Literary and Cultural Theory, Hoboken, NJ: Wiley The University of Texas at Austin, 2013, College of Liberal Arts: Semiotics and Identity Construction, Available from: [Accessed 4 April 2014] Thurlow, C. & Aiello, G., 2007, "National pride, global capital: a social semiotic analysis of transnational visual branding in the airline industry", Visual Communication, 6(3), 305–344 Thwaites, T. Davis, L., & Mules, W., 2002, Introducing cultural and media studies: A semiotic approach, 2nd ed, Basingstoke: Palgrave Macmillan. Zlatev, J., 2009, The Semiotic Hierarchy: Life, Consciousness, Signs and Language, Cognitive Semiotics, Sweden: Scania Read More