29 April 2009

commercial analysis



Companies spend an average of $150 billion on advertising in national media on an annual basis; somewhere between 10% and 30% of that amount funds the placement of ads meant to be humorous. The significant focus on comedy stems from any number of theories - that it makes people remember the spots, that viewers are more likely to sit through them for entertainment, or even that Plato's theory is still relevant, and laughter is the result of feeling superior to others. Whatever the theory behind the ads, most people can agree that humorous commercials take up far more space in the media as time progresses. In the United States, the prime time for these comedy-driven ads is during Super Bowl Sunday; however, in other countries throughout the world, humorous ads dominate the airwaves year-round. This phenomenon resulted in the airing of the above commercial, produced by the Belgian condom company Zazoo. 

As a company that produces means of artificial birth control, it is obviously in Zazoo's best interest to promote safe sexual intercourse through the use of condoms. The sender, in this case, recognizes not only the need to promote safety but the need to advertise a sexual product in a widely acceptable manner. Most likely as a result of prior complications with advertising, the company brainstormed a concept that almost entirely removes sexual intercourse from the situation at hand. Zazoo does not even mention the product or, really, what it does, until the final segment of the commercial. This allows the sender to communicate the message without fear of censorship or backlash from the general public. 

Zazoo uses this commercial to communicate a message not only of the importance of safe sex, but of the potential consequences for those who do not practice it. The audience does not know whether the man pictured in the commercial planned to have a child or had one by accident; they only know that, obviously, at the time of the child's conception, a condom was not in use. Here, the company communicates a message that is closer to the extreme end of the spectrum. Not all children are monsters who regularly throw tantrums this destructive in public places, but the extremity of the message is integral to its effectiveness. The message, put simply, is, "You don't want this. To prevent this, buy our product."

This commercial plays strongly off of the emotions of its target audience, 18-24 year old males. The young demographic would be more likely to go out and buy the largest volume of Zazoo's product on a regular basis; it would also be more likely to have a strong aversion to any kind of long-term responsibility, like children. Using a scene of such embarrassment and obvious misery with a young man in its starring role will hit close to home emotionally for many. Watching the child throw his tantrum, the audience may feel an overwhelming desire to distance themselves as much as possible from the situation. To do this, they might feel more obligated to go out to the store and prepare themselves, so to speak. Zazoo infuses the commercial with another emotional appeal as well: humor. While the child's tantrum is obviously meant to communicate embarrassment, it also contains a great deal of hilarity. It's extremity inspires as much laughter as cringing, making the commercial a likely topic of conversation between friends later on. 

Language does not play an overwhelming role in the commercial; most of the message is communicated through body language and tone. What little language used is sparse - just the child screaming over and over, "I want those sweeties!" The phrase reflects the widely recognized attitude of a child, the intense demand for something wanted for only a brief period of time and forgotten about soon afterward. The child in the commercial is determined and quite serious about his demands; however, the audience will interpret his demands as more comical than anything else, adding to the overall humor of the commercial. The language used for the actual tag line of the commercial is also very sparse, allowing the ad to speak mostly for itself. "Use condoms" - two words, direct and to the point, leaving no room or need for interpretation. The commercial's language accurately reflects its overall effectiveness. 

Zazoo also excels at the logic of their commercial. The advertisement sets up and executes a very clear cause-and-effect relationship between not using condoms and having a monstrous, tantrum-prone child like the one pictured. It makes sense: use a condom, avoid the grocery store theater. Don't use a condom, and end up braving the sweet aisle with a determined young one. Chances are, very few people will want to leave that decision up to fate after viewing this commercial. 

This commercial reflects the ideal relationship between content and effectiveness in an advertisement. Zazoo worked with a brief time slot to stage a scene, execute a condensed plot line, and sell its product to an audience through the use of comedy. Most of all, the company's ad leaves a lasting impression, something that many strive for and few achieve. Word of mouth will do most of the work for this particular product after the commercial airs. 

21 March 2009

bricks and mortality



"Modern Guilt" Beck

I feel uptight when I walk in the city
I feel so cold when I'm at home
Feels like everything's starting to hit me
I lost my bearings ten minutes ago

Modern guilt, I'm stranded with nothing
Modern guilt, I'm under lock and key
Misapprehension is turning into convention
Don't know what I've done but I feel ashamed

Standing outside the glass on the sidewalk
These people talk about impossible things
And I'm falling out of the conversation
And I'm a pawn piece in a human shield

Modern guilt is all in our hands
Modern guilt won't get me to bed
Say what you will
Smoke your last cigarette 
Don't know what I've done but I feel afraid

With the world today seemingly spiraling out of control - wars, global warming, and rampant malnutrition are only a few of the contributing factors - humanity faces a new and unsettling mixture of emotions. Among these reside fear, hope, indifference and, interestingly enough, guilt. In his song "Modern Guilt," Beck employs isolating imagery and an unusual juxtaposition of emotions to explore how postmodern shame alienates individuals from the world instead of instilling in them a sense of global responsibility. 

Throughout the first two stanzas, Beck constantly undermines listeners' expectations of certain ideas to highlight the difference between this generation's guilt and the last's. When the speaker walks in the city, surrounded by people and potential connections, he feels "uptight" instead of comfortable. At home, the center of warmth and his hearth, he feels "so cold." By contradicting basic human associations, Beck captures the attention of his audience and uses it to deconstruct the past in order to make way for the future. In the past, many felt what historians refer to as Christian guilt - the idea that the privileged possess both physical and spiritual responsibility for the "unprivileged" of the world. The Christian guilt movement resulted in a spike in soul-saving, purpose-driven, hopeful missionary work that put more band-aids on problems than actually solved them. Beck realizes that this guilt has become outdated; "these people talk about impossible things." "Modern Guilt" paints a portrait of an emotion weighed down with fear, ignorance of direction, constraint, and hopeless isolation.

Beck's pronoun choice and use of imagery reflect this feeling of isolation throughout the song. Almost every personal reference the speaker makes is to himself; the repetition of "I" underscores the belief that he is completely alone in the world, at least in his mind. His own form of modern guilt separates him from emotions, from true freedom, from connecting with people, and from enlightenment. Beck reflects each form of isolation in his imagery. The speaker, who "lost [his] bearings," feels that he is "stranded with nothing." He has no hope with which to anchor himself. The chains and restrictions of his guilt keep him "under lock and key," and he knows of no way to escape the oppression. His "misapprehension is turning into convention," making it difficult for him to foresee a future in which he understands the very concept that separates him from so many things. This isolation leaves the speaker "standing outside the glass on the sidewalk," able to watch the world take place around him but unable to participate. 

Relaxed diction and an inviting melody bestow upon the song a degree of universality, encouraging the audience to take part in the conversation. Beck uses mostly monosyllabic words, which both complement the rhythm of the song and make the meaning accessible to the audience. All of the words evoke familiar images and sentiments, allowing listeners to experience modern guilt along with the speaker. The song's melody contributes to this exercise as well. At odds with the gravity of the lyrics, the beat is more uplifting and catchy than anything else. It captivates the audience and holds their attention so that Beck can make his point with relative ease.

By demonstrating how modern guilt alienates people instead of highlighting their connection, Beck encourages the opposite. The more alienated and isolated we feel from the rest of the world, the more we should involve ourselves in it. "Modern guilt is all in our hands;" we are given the opportunity to make a difference along with the burden of change. As Beck notes, each person has two options: either "smoke your last cigarette" and let history happen, or join the conversation. We may not know what we've done to inspire this modern guilt, but we do know, deep down, that we have to fix it. It's just the matter of discovering how that eludes us.

17 February 2009

unfixed (a rondel)

if i had a soul, you would be its mate.
(because, to date, you have not shied away
from the misshapen edges that line the way)
i'd thank God, but probably it's fate.

since i cannot love, i doubt that i may hate.
(my emotions have not colors, only gray)
if i had a soul, you would be its mate
because, to date, you have not shied away.

though loneliness is such a rotten state,
i refused to keep the shadows at bay
for fear i'd forget a difference from the day.
(you took the rains and forever made them late)
if i had a soul, you would be its mate
because, to date, you have not shied away.