Benson and Hedges Gold Bricks
The
concept of anamorphic art received considerable
publicity in the late 1990's in association with
publicity surrounding the painting The
Two Ambassadors by Holbein. Holbein's painting
The Benson and Hedges ad takes the anamorphic technique and marries it with semi-subliminal presentation. The topmost deckchair seems merely indicative of the surreal presentation of a Benson and Hedges cigarette pack. However, it incorporates anamorphic distortions of the letters S and E (or was it Benson and Hedges) (into approximations of the letters B and H, the letters one would expect to see as they are part of the Benson and Hedges logo). Due to anamorphic distortion the letters s and e would normally be 'read' as Benson and Hedges, just as Holbein's skull seems to be a flaw in the floor. Viewers assume that the red elements on the top right deck chair are 'smudged' lettering, indicating the brand name. However, a sideways glance or holding the page at an angle to the viewers line of sight will reveal that the red smudge 'collapses' into the letters s and e. only by faint alterations in the colouring of the ink. The S and E are presented separately from the X in this ad, although they are positioned closely together so that they would be perceived together. The third letter of sex is relatively clear and can be found underneath the topmost deckchair. |
In the heat of the night The
cigarette pack displayed on the side of the cinema is an ad for
Benson &Hedges and the 'gold' pack has apparently been 'melted'
by the heat of the film. The message here is not simply related
to the ability of heat to melt 'gold'. There is an allusion here
to sexual 'heat'. Look more carefully at the insert and you
will see that the molten portion of the 'gold pack' has As noted elsewhere with various visual illusions, this molten figure offers two possible interpretations. Whether one perceives a female or a male figure will depend upon ones expectations and the point of the ad that becomes the focal point of perception. In both figures the lower legs and buttocks are clear. But, if one perceives a female, she has a 'beehive' hairdo, foreshortened trunk, upraised arms and breasts. If the perception is of a male, again there is a foreshortened body but this time the head is much smaller and situated underneath what was previously perceived as the females 'beehive' hairdo. Incidentally, just in case you had not noticed, the male figure has an erection. If one needs additional convincing that a sexual message was to be conveyed by this ad one need look no further than the area of the ad just above the 'beehive' hairdo. The letters s e and x are readily apparent in the original ad. The e is smaller than the S and X. Regrettably one needs to use a high definition image to present this lettering. The
ads illustrated on this page are relatively old. Benson & Hedges
did not however give up attempting to manipulate the cognitions
(and presumably behaviour) of viewers For some additional commentary and supporting illustrations on the surrealist aspect of Benson and Hedges ads see the critical paper Eros to Thanatos - Cigarette Adverts by Alastair McIntosh |
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 |