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Do you ever watch the Super Bowl for its commercials? Have you ever bought a more expensive product because you had seen its advertisement? If the answer is yes, then you might have been a victim of today’s marketers. Jean Kilbourne, the author of “Killing us Softly” stated in one of her lectures, “The influence of advertising is quick, cumulative and for the most part, subconscious, ads sell more products.” “Advertising has become much more widespread, powerful, and sophisticated.” According to Jean Kilbourne, “babies at six months can recognize corporate logos, and that is the age at which marketers are now starting to target our children.” Jean Kilbourne is a woman who grew up in the 1950s and worked in the media field in the 1960s. This paper will explain the methods used by marketers in today’s advertising. An advertisement contains one or more elements of aesthetics, humor, and sexual nature.

In Chapter Seven of Practices of Looking, we start to explore in the ideas of advertising, consumer cultures and desire. Everyday, we are faced with advertisements through newspapers, magazines, TV, movies, billboards, public transportation such as buses and taxis, clothing, the internet, etc. Logos, such as signs, or anything that resemble a brand, are everywhere, they are on clothing, household items, electronics, cars, etc. Consumers are always showing off their brands and advertisements and we are used to seeing those brands and advertisements in an everyday setting. In modern media, advertisers are pressured to always change the ways they show off and get the attention to consumers, old and new. Advertisers also used present figures who were glamorous. Advertisements set up a certain relationship between the product and its meaning to sell the products and the hidden meaning we link to each of the products. Advertisements use the language of conversion. Advertisers try to create a customer relationship to the brand to try to form them as familiar, necessary, and also likeable.

Frontline documentary The Persuaders discusses the spiritual transcendence and emotional bonds brands can form with today’s consumers. A vast majority of brands use emotional branding as a way to attract consumers into purchasing their products. Emotional branding is an appeal to a consumer 's needs, desires and emotional state. Brands use emotional branding by presenting consumers with advertisements that will create meaning and identity. Emotional branding is not about what the product is, but what it means to consumers. Eyeshadow advertisements “The Blushed Nude” from Maybelline New York and “Colorstay” from Revlon present similar products that create distinct emotional bonds with consumers by presenting images of women with distinct emotional desires. Desires of love, independence, and strength give rise to consumers to find an identity and meaning within the advertisements.

Most advertisements involve some sort of emotional appeal: images of charming animals, humorous slogans, delicious food, attractive models. However, advertising’s goal—to convince the consumer to purchase a product or service—does not hold the same personal connection that a child’s persuasion of a parent holds. The lack of longevity and impersonal nature weakens its effect; therefore, emotional appeals are given higher legitimacy. Regardless, one may argue that certain aspects of advertising—like images of near-perfect humans—may detriment one’s thinking and expectations. However, this is not applicable to all, as the severity to which it affects one varies, and it does not directly relate to the legitimacy of emotional appeals, as the intents of most advertisements is not to nurture feelings of insecurity and

Many companies sway a consumer’s mindset by using emotional advertising. This type of advertising pulls at the consumer’s heartstrings and makes them act quickly without thinking critically. Strong images are used often in emotional advertising, as they provide a

“The authors found subtle stereotypes and suggest that the ads included in their analysis reflect the cognitive dispositions of their creators who aim to their audiences and influence them” (Bolliger). After spending such time analyzing one particular visual advertisement this quote couldn’t relate more to my opinion. The ad is plausible in that a glance provides a conclusive assumption. After imagining myself as both characters I can make no premiss as to who the creator is. Stereotypes in this ad can be defended mutually; the woman getting what she wants demanding love and possessions, or the man taking control and taking what he wants while keeping his eye on the

Kilbourne, Jean. Deadly Persuasion: Why Women and Girls Must Fight The Addictive Power of Advertising. New York: The Free Press, 1999.

In the world we live in today advertising has all but consumed us as Americans. An essay entitled “Advertising’s Fifteen Basic Appeals “by Jib Fowles explains how advertisements affect and influence us daily in society. He explains how marketers through advertisements play on your needs, emotional feelings and sometimes desires to draw consumer to their brands. Fowles discusses fifteen main appeals that marketers use in ads and commercials in hopes we will purchase their product. In the October issue of Glamour Magazine there’s an ad promoting the brand BEBE. In this ad it has a timeline of a woman getting ready to go out and enjoy her

Dior Suavage Makes The Heart Yearn For The Wild Jib Fowles’ essay “Advertising’s Fifteen Basic Appeals” analyzes the different appeals that show up in advertisements. The appeals range from the need for nurture to the need for sex. The viewers witnessing Dior’s new advertisement for Dior Sauvage, featuring Johnny Depp, are not immune to these basic appeals. The appeals used to captivate the audience include the need to escape, the need to satisfy curiosity, and the need for aesthetic sensations.

As we follow to review any type of advertisement besides the image and colors we also have another important detail such as the content of text.In this particular advertisement we have at the top center once again what drags our eyes to the main key this imagine is transmitting "Dollar & Sense" .Attach with some statistics of about 63 percent of woman having to deal with credit card debt at an early stage of their life .To the audience eyes this explains the white woman's body replacing the body of George Washington.

The time is night, but the lights of this advertisement’s city illuminate both the foreground and the background amidst the darkness. The bottom of a modern looking building occupies a major part of the image, seemingly inflated to the point where it disproportionately larger than anything else in this city. The busy street next the the building is packed, looking like a jumbled mess of shadow and car lights. The sidewalk between the street and the building is mostly defined by a shadowy mass of people walking. This inhuman mass is contrasted by the clear presence of three people. Two seem to be a couple, here a man and a woman, their faces expressing a sense of happiness. Opposing them is a man who gesticulating towards the two; his face

Amongst all of these advertisements, a natural link is developed between the visual representation and the product/idea being sold. In the first ad, a masculine link of control and success was created between the picture and job, targeted for both elder men and women. For man, their natural state of superiority would increase if he took this job. For the woman, her natural lower class state would move up to that of manís. The perfume ad, on the other hand, is attracting female customers only. The feminine feelings of happiness, peace, beauty and truth are linked through objects from nature, such as the sky and clouds; and these feelings are stereotypically viewed as feminine. The third ad selling a vacation trip is directed mainly toward college students. The presentation of freedom, adventure and relaxation grab studentsí attention, especially for those who really need to get away from school stress. The ad targets all sorts of students, those ìmasculineî ones who are seeking adventure and those

Marketing and advertising play a major role in the promotion of companies and products in the United States. Consumers are constantly surrounded by advertisements by means of television and radio commercials, billboards, magazines, and even social media. But how exactly do companies appeal to their consumers? My topic explores the different strategies used to persuade everyday people to use a certain product or service. One of the biggest effective strategies used in advertising is by appealing to the audience’s emotions. I chose to analyze two different sources for my research. The first source is called Emotional Moneymaker: Why Advertisers Need to Appeal to Emotions, and it talks about emotion-based

This paper will discuss one of the "iphone 4 Face Time" commercial advertisements (HYPERLINK "http://www.youtube.com/watch?v=yatSAEqNL7k"http://www.youtube.com/watch?v=yatSAEqNL7k) that I like most due to its ability to create emotional feelings inside me. "Iphone 4" is another appealing product of Apple, launched in 2010 along with several ads on television, newspapers and internet. Apple has a very old history of producing creative and subliminal ads that touch the heart of the consumers, as discussed in the psychoanalytic approach of Sigmund Freud (O'Shanghnessy and O'Shaughnessy 166).

As one can see the image portrays a woman named Sandra P. on top of her new Fiat 500. She looks vivacious and powerful. The setting is selling her wealthy yet affordable lifestyle and she is a direct representation of power. Sandra P. is in fact the direct focal point of the advertisement, with no male present. Unlike the 1950’s she has gone from being the accessory to the man to buying her own: a car. This advertisement communicates equal power as the male figure, even though he is not present. The product gains its desirability in the way it portrays Sandra P. at her best. Women want to be her and men want to be with her, yet not overstepping the over used sexualisation techniques used within the 1950’s advertisements. She is desired in an unconscious way as well as not sexualised. Looking at her facial expression she in fact gives of the sense of control and