Hershey’s and Quaker are two well established brands in the snack food world. The weight of their names carry a specific ethos; a persona that will influence the consumer to buy their product, as it is a name that the customer trusts. Two advertisements are analyzed, both found in a February 2007 edition of People magazine: Hershey’s Extra Dark Chocolate and Quaker True Delight print advertisements. The main connection between these two prints is rather apparent: they are both snack foods, and they contain dark chocolate. However, both prints, as they are introducing a new product line, paint a new image of their merchandise: this snack food is healthy, ergo this creation should be chosen over all other products. Hershey’s Extra Dark Chocolate utilizes a cause-and-effect strategy by outlining that consuming their dark chocolate will improve cardiovascular health, backed by the logic and ethos of a study performed by a well-known university. Quaker’s True Delights, however, emphasizes the fact that their product tastes fantastic and is low in calories, in addition to using their ethos of their brand. Ultimately, both products utilize their established persona to draw …show more content…
“Indulge,” is used twice in the print, which paints a decadent image of the chocolate. “Deep, smooth richness,” is also utilized to describe the product, which almost lets the reader taste the chocolate. Lastly, Hershey’s claims that both the shopper and the shopper’s heart will love the chocolate, invoking a sense of unity between the rhetorical appeals made. This type of word choice is also found in the Quaker True Delights advertisement. “Luscious raspberries, rich dark chocolate, and whole almonds,” and “From first sight to last bite, you’ll be delighted…” is how the snack food is described, conjuring an image of a decadent, indulgent bar the consumer will
The presentation will also emphasize how persuasive advertisements can have significant effects on society, including society’s ideological perception of products and their contribution to the nation’s overall health. It was even found to have more Kilojoules than an average Mars Bar! In fact, the study found that most muesli bars usually have more than 1000 Kilojoules. See how misleading advertisements and packaging can be! These clever marketing techniques give extremely sugary foods a healthy perception to make it more enticing to buy – even though it’s still not healthier than confectionary.
Some studies say that the use of repeating a statement causes you to perceive it as being more truthful. So as Nabisco was trying to gain Ethos, the credibility of a company, they repeated the key parts of their product. By doing this the consumers remembers the statement and they are more likely to remember it and believe that companies products are the best. Using the words “Cookie” and “Cream” repetitively kept Oreos in the mind of the viewer. The commercial causes its viewers to think which they like better, the cookie or the
Of course we cannot stop there, but it is a good place to start. The advertisement starts off with how a soon to be couple (spoiler) met. As predicted, Sarah drops her books and Juan helps here. However, after this moment, the advertisement takes a new turn. Sarah offers the guy a piece of Extra Gum. Now, why is that important? This is important because Sarah uses that piece of gum as a gateway to get past the initial social awkwardness when you first meet someone. At this stage, it portrays Extra as a way to swiftly bypass the awkwardness and go directly for social interaction. (i.e. Talking)
The Lunchables ad represents Lunchables as “bursting with fun” and implies that children will be happy and enjoy school if they have a Lunchables. Lunchables placed this ad in a magazine to target moms and children to get them to buy their product. They are trying to convey, like most advertisements do according to Croteau and Hoynes (2014), that “happiness and satisfaction can be purchased” (p. 179) if mothers buy their children Lunchables. Lunchables (Lunchables Parents) advertise as being “packed with what kids love” and “giving your kids what they want”. They include a hand tray with a main entrée, drink, and dessert. The brand delivers on the idea of fun and interactivity of building your own meal and “mixing up” your lunch. Lunchables
Americans are constantly facing obstacles to healthy eating. Obesity is something that is growing rapidly in the United States. Some Americans argue that fast-food restaurants play a major role in obesity. In “Preventing Obesity” Barbara Mantel states, “Four of the companies — Cadbury, Coca-Cola, Hershey and Mars — pledge not to advertise any food and beverage products on programming for children younger than 12, and the remaining firms pledge that 100 percent of their children's advertising would be for self-designated ‘better-for-you’ products ” (805-806). Whenever children see a junk-food or candy commercial they are instantly attracted to it, it might be because of how colorful they are or the usual toy they receive when they buy kids
For example, Moss spoke to Bob Drane, inventor of the Lunchables, on how they started adding sugar to the packaging by including Kool-Aid, cookies and other extras when customers started to get bored with the plain packages. Moreover, they started targeting younger kids. When the company shifted focus to the kids, the ads started showing up in the Sunday morning cartoons which announced: “All day, you gotta do what they say, but lunchtime is all yours.” In their ads they generated a feeling of empowerment to kids who now want to eat lunchables as an act of independence. They don’t make it about what is inside, but they form it into a psychological aspect.
In another in-film experiment, Spurlock scours each of the McDonald’s restaurants in New York City for the nutritional information about their food. In a stunning turn of events, 50% of those locations had a single wall poster with nutritional information, roughly 20% had pamphlets with nutritional information, and less than 10% had both. Even though these statistics are circumstantial, they nevertheless illustrate how vast consumer ignorance is and how little McDonald’s is concerned about it in their pursuit of business.
For my semiotic analysis I chose to talk about a commercial for ‘Be delicious’ from Donna Karan New York to demonstrate how advertising generates its meanings, construct the image and behaviors ideology in order to attract customers.
The advertisement is a video, titled “Canada Shared By Canadians” (YouTube 2012) from the Keep Exploring campaign, by the Canadian Tourism. The general conception of this video is to exhibit some of Canada’s best peregrinate experiences, highlighted by Canadians themselves with the utilization of their personal cameras, to gain the interest and pick up the enthusiasm of international tourists. The video is 2 minutes in length and it shows numerous attractions of Canada for the worldwide tourism commercial center. The campaign requested Canadians to present their best peregrinate experiences, and over 7,000 videos were submitted. Throughout the video, there are tons of Canadian sites and activities of interest from different places displayed.
A small smile, a booming laugh, and a little play on words helped Pepsi’s ad “Scary Halloween” reach viral status on social media in 2013. Ads can be a triumph or a failure depending on how well the rhetorical appeals of logos, ethos, and pathos are used to convey an ad’s message. This ad’s largest draw was its use of pathos, making the viewers laugh and smile alongside Pepsi over their sly jokes.. “Scary Halloween” also engaged the audience by causing the viewers to cringe at the thought of their chosen soft drink being replaced. Pepsi also has massive amounts of credibility in the soda industry since it has been on the market for over 100 years, giving it ample room to poke at its competitors. Pepsi’s Halloween ad was successful because of
How many of us in our busy lives stop and really examine the countless advertisements placed in front of us? Being something available to all students for viewing, the communication employed by the advertisement is cunning and deceptive. The appeal to ethics in the Ben and Jerry's "brownies that do good" advertisement is simple tactic to distract the viewer. David Wall in "It Is and It Isn't" refers to this as a social assumption which builds off of cultural expectations. There are countless concealed messages and symbols within the Ben and Jerry's advertisement that contain these social assumptions and require closer examination of content.
A man is shown upside down; viewers instantly notice his bright blue eyes, pink lips, dark brown hair, and perfectly white teeth. However, when viewers turn their heads to the side to get a better reading of the upside-down lettering above his chin, which states, “You’re not you when you’re hungry” (Snickers), they can see that the reality of the happy smile is quite creepy. The man’s supposed smile is actually a deep frown, and his teeth appear awkward and large coming out of his bottom lip. The message is clear: you simply are not you when you’re hungry. What viewers are unaware of is the propaganda they are being subjected to while viewing this ad. In this advertisement, advertisers are primarily targeting people’s “physiological need” for food in order to
This ad starts with a young girl at a McDonald’s placing an order for a happy meal; she notices there are several choices to make. Soda or milk, Carrots or French fries, or perhaps apple slices? The girl appears to be amazed at the amount of choices. There is also dancing kids, dancing fruits and vegetables, several children blowing bubbles with creepy Ronald McDonald in the park while eating happy meals, children are playing ball and enjoying a McDonald’s meal with their parents with joyful smiles on their faces.
The first advert we will look at is from 1960. It depicts two men and
The only unambiguous message of this commercial is the product it endorses: as product recognition is most important in advertising, Singer subtly creates the “Affiliation”[2] appeal. The fast-moving ad features unidentified people and indeterminate foods; however, amidst the myriad of attractive imagery stands the easily-recognized Coca-Cola contour bottle. While Coke is rarely dispensed in glass bottles anymore, the choice to present it in this container distinguishes it as nostalgic and thus familiar, as opposed to the vague and thus anonymous food that the ad is not promoting. This dichotomy of the indeterminate food and prominent Coke bottle serves as one example of the duality I will discuss throughout the essay: Salma Hayeck resembles the Coke bottle’s distinction in contrast to the unknown people also featured in the commercial[3]. Additionally, the ad evokes affiliation from audiences with its text “Craving” “Coca-Cola” “Real,” which resonates the company’s previous slogan, “The Real Thing.” Essentially viewers acknowledge the reality of Coke through their memories of prior ad campaigns.