Perpetually Happy
Considering that the Perpetual ad simply featured a mountain peak, one might ask why it is so successful? The reason might be because it is not simply a picture of a mountain peak. It is a mountain peak with face appeal as closer attention to the areas circled in the rollover over images (below right) will reveal.
Incidentally, an additional 'face' become evident when viewing the newspaper version of this ad (illustrated left), rather than the magazine version. If one applies a slight stretch of the imagination, the entire mountainside can be perceived as one very angular face rather like an ape with a diamond shaped snout and mouth. Believe it or leave it. The choice is yours. |
Cheerful Chaps
Even
at relatively low resolution on a computer screen
you should be able to discern a profiled image of
a 'bust' looking towards the left. It is, admittedly,
not very clear and recognition of this 'face'
This 'face' is notable for its line of gaze, as was the case in the Bergasol ad discussed elsewhere on this site. If one follows the line of sight of the bust you will end up looking at the crotch of the cowboy in the centre. Viewers may speculate upon the message that this ad is intended to convey. There are a number of possible interpretations. Which one an individual will settle upon after unconsciously 'noticing' the convergence of elements within the ad will depend upon their personal preferences, experiences and knowledge. Aficionados of cigarette ads containing semi-subliminal elements might like to note that another interesting 'face' intended to 'direct' attention can be found in the Camel ads. There one can see a small muppet like face, partially hidden behind a smoke ring. This 'face' directs attention towards a phallic shape 'slung' around the neck of a young man. This component of the Camel ad is only one of a number of sexually related images in the ad. |
The Voyeurs?
In
her book Learning to Look at Paintings, Mary Acton notes
that many thousands, if not millions, of words have been written about
this painting. Art historians and others Situated
in the tree line at the top of the painting are a
number of masculine profiles. Three of these
have been circled on the extract from the Are these 'faces' depicting a number of voyeurs taking a keen interest in the ladies in the forest? Or do they have some other message? The pair of figures situated on either side of Venus are facing outwards. Are they guardians? Was Botticelli commenting in some way on his patrons or local worthies? Various
other adverts have used Botticelli's work of art to exemplify quality.
See, for example, the Peugeot ad on Mexico.htm.
This ad was based on Botticelli's painting The Birth of Venus and
it would seem to contain another example of Boticelli's semi-subliminal
technique. Other ad artists have also drawn upon the technique of
embedding a face or a representation of a face in the background.
The ad on the left, for example, |
Smile as Gallagher's wave you goodbye?
The Mexican Wave ad actually 'hides' as much as it reveals. Most prominent in the thumbnail version of the ad one might note a rather cheerless 'face' underneath the crest of the wave - the sombrero to the right in mid air is the ear, the sombrero to its left and somewhat higher is the eye. The 'face' has a small rounded chin and a very large, blunt, whale-like 'nose' and the individual depicted is apparently toothless or very tight lipped. By changing ones focal point the another face can be viewed looking upwards. The eye remains the eye but below that is the ear and a band of hair. This individual is almost bald. The mouth is rather grim. This face may attract attention but it also serves to distract attention from other elements of the ad. A closer look reveals that the wave is composed from a variety of images, only some of which are sombreros, cacti, etc. One set of 'features' can be found above the 'mouth' of the larger figure. There is an additional 'face' at this point. This is illustrated below. It can be found at the tip of the smaller wave. None of these figures is cheerful. Other, equally, miserable faces will also be discerned by interested viewers.
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In conclusion one can note that faces can be used to convey a variety of messages. They can trigger anxiety, help direct attention or simply attract interest. When faces are semi-subliminal rather than overtly presented it seems reasonable to assume that there is an ulterior motive lying behind their use. The examples given above would seem to indicate that, with few exceptions, embedded imagery is used solely in attempts to manipulate the thoughts and emotions of viewers. It would seem that as the motives associated with specific campaigns become more unsavoury and less socially acceptable then the greater the likelihood that such images will be presented close to the boundary of perceptual ability.
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This page has multiple parts: click to continue You are on Part 2 and Parts 4-5 have yet to be allocated |
Last Revised: 3rd January, 2003 |