Camel Crud
Joe Camel plods on If
There is a link to some of this historical information at the end of this page. But see below for what has been happening over the past year or so. Consider carefully the ad illustrated below. It is a recent ad for Camel cigarettes. What do you make of it? First
consider the bottom smoke ring. It has a If you are overly inhibited or not accustomed to analysing adverts in detail you might not wish to acknowledge that it is, indeed, a phallic shape. But, is this all that is left of Old Joe and his attempts to associate Camel cigarette smoking with sexual activity and related interests and values? Bear in mind, as the intro page noted, first appearances don't count on these pages. There is more to this ad than initially meets the eye. Look
now at the second smoke ring (actual size) in the illustration on
the right. Although it might seem to be simply one stage in The
answer to the question 'What does the shape remind one of? could be
related to what the young man might use of if his libido were aroused
- and if he were sensible enough to practice safe sex. Think
of a contraceptive and then look at the smoke ring again. The The spirit of Old Joe's lives on, even if many of R.J.Reynolds customers d are now six feet under. |
The Camel Quartet From top to bottom (no pun intended) one can note that the 'hidden' sexual theme associated with Camel cigarettes is still apparent. The
two packs illustrated above appear to be simple variations on the
standard Camel pack. This has been reputed to contain a manikin
with an erection and various other images. For the manikin,
see the Camel's foreleg. This assertion has been discounted a number
of times Additionally, the author has an ad produced around the same time Camel cigarettes first appeared. This also would seem to contain embedded elements. The brand is not Camel but the use of the same type of embedding technique early this century would indicate general knowledge within ad companies producing ads for the tobacco industry at this time. Additionally one might note that the American artist Winslow Homer was rather renowned for embedding images in his work (see Winston Homer, the Obtuse Bard). His work may have been the inspiration for some interesting ads during this early period of cigarette advertising. On the assumption that once is chance, twice is coincidence, three examples would tend to indicate a calculated intention, doubts about the existence of the manikin would quickly recede into the sands of the desert if other examples of early Camel ads with embedded elements could be unearthed. More will be revealed in Sexy, Subliminal and Deadly? The psychology of manipulative advertising (in preparation). If you fancy yourself as a detective, start with the knowledge that the ad referred to can be found in a book currently in print. The
failure to see the demise of the ambiguous manikin is not surprising
if its presence
The fourth pack is the most interesting from the point of view of embedded sexual imagery in ads and most evidently reveals a sexual theme. Whatever the origin of the embedded manikin in the 1920's, this ads embedded imagery indicates that the sexual theme is now clearly manipulated by RJR's advertising agencies.
Take a closer look at this pack and note the separate elements of the overall scene. It is composed of a stretch of beach, some sea and an inland lagoon, complete with sandbank. Overall, the combination of elements overtly offer an impression of the Camel logo. Closer analysis reveals that this Camel logo is different is the shape presented by the sandbank. The sandbank is clearly phallic in shape but then, so what! Anything longer than it is wide can be construed as a phallic shape. But
note that in this instance, this is intended to be perceived
as a phallic shape. There is additional information in the ad dedicated
to ensuring that the shape is perceived as To pursue this sexualized interpretation further. Note that the phallic shape is probably intended to be perceived as 'penetrating' the camel. The construction is not anatomically correct and, so far as the author is aware, camels are not renowned for having oral sex. But, presumably, the ad might have been deemed somewhat pornographic and the message obvious if 'penetration' had occur normally from the rear. However, the 'rictus of excitement' helps give the game away. One wonders what the other special packs contained. Incidentally, if the author's interpretation of these packs is correct then one can expect the others in the series to contain similar ambiguous and sexualized elements. Check out collectors of Camel memorabilia for the answer. |
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The
monster is, in most respects, simply one distraction among many as
the ad is very 'busy'. But the area underneath
the monster's left leg contains some unusual shapes. These can be
interpreted as forming the letters s e and x, as might be expected.
In addition, look at the white 'splash' underneath the monster's left
leg. The 'kiss' could be RJR's ad agency acknowledging that cigarettes offer 'The Kiss of Death'. Paradoxical though it may seem, it is desirable for tobacco companies to trigger fear and anxiety in their customers, so long as this is done covertly (clear and unambiguous fear messages reduce smoking levels). When covert images are used to trigger fear and anxiety this is likely to be responded to by every smoker who has an unacknowledged fear that they may be among the unfortunate one in three smokers who will suffer from an untimely end or years of illness. Therefore many cigarette ads, when consciously appraised, can be seen, rather paradoxically, to do their best to trigger this fear, as in this ad. The anxiety produced by such images is not, of course, counterproductive where the tobacco companies are concerned. As the imagery triggering such anxiety is semi-subliminal, the anxiety would not be attributed by viewers to viewing the ad. The imagery, after all, would not be consciously noted. The emotional response might also be consciously overlooked. But irrespective of how the smoker is influenced, the only factor that matters is that the smoker reaches for another cigarette. This would give them temporary relief or control of anxiety. This is just what the tobacco companies want and they sell more cigarettes. To some extent one might also acknowledge that the warnings on tobacco packets fulfil the same anxiety arousing function for addicted smokers. Less attention is paid to it than any other aspect of an ad, indicating, amonst other factors, a strong tendency to avoid unpleasant message. Ads that are designed to trigger anxiety give a clear indication of the tobacco companies view of their customers. Their customers are simply 'cannon fodder'. They are customers to be used whilst they are capable of smoking and to be replaced with vulnerable young kids when they suffer their almost inevitable spiral into ill health and an early death. Despite its anxiety laden component, this Camel ad, as with many others, also offers different, yet equally meaningful, messages to different sets of viewers. Whilst raising anxiety in some viewers, the lettering, masturbation and other 'sexual' behaviour in the ad was part of a strategy to foster and maintain 'mental links' between the sexual motivation present in all normal individuals - especially young adolescents - and cigarettes. Another Camel ad can be found on the Yanks page and another on the Polling pages.
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*This health warning was adapted from Camel's recent parodies of real 'Health Warnings'. See for example the original of the Monster Beach Party ad. |
Would you be interested in supporting the development of a web site focussing specifically on cigarette advertising, smoking behaviour, nicotine addiction and related information? In particular would you like to help encourage youngsters to develop a healthy scepticism about advertising practices associated with cigarette advertising and promotion? If you can offer either financial assistance to develop such a site or have material available that could be of use on such a site, the author would be pleased if you would contact him. |
Last Revised: 3rd January, 2003 |