The Devil's Disciple?

Without any reservations, the author can state that no company makes more use of secondary imagery than Philip Morris Inc.  [If you are interested RJReynolds runs a close second.] A very large proportion of their cigarette ads incorporate images that have nothing to do with their products. Some embedded images are fairly blatant, some are more moderate, like those above. On the left is an example of an extremely subtle Marlboro ad - but subtle only in terms of visual imagery, not meaning.    Overtly, the ad epitomizes and glorifies the Marlboro cowboy, the freedom of the range, independence, self control, etc.  Covertly it aims to instil or trigger anxiety, if not fear.

The ad itself, like a large proportion of Marlboro ads, is dark and sombre. In itself this coloring might convey negative messages, and trigger negative moods and smoking in some viewers. Fitting in with the sombre mood of the ad is a figure underneath the horses hooves, a figure that can only be described as the face of a figure from another world.  Perhaps Hades, perhaps just from the world of horror movies, perhaps straight from the grave.

This image is no accident of printing. Nor is it likely to be an aberration or joke on the part of an artist such as the upraised digit finger in the Big isn't it ad.  Such figures appear regularly in Marlboro ads.    The only reasonable conclusion one can therefore draw is that the ad agency for Philip Morris Inc. considers that such figures are sufficient to trigger a mood related response in some viewers. And that will lead to, or maintain, smoking behaviour.   Such a notion could, of course, be empirically tested by any undergraduate psychology student if they wished to do so once they learned to identify these marginally perceptible images. The page on Experiments provides some relevant information.

The assumption on the part of Philip Morris' ad agency must be that smokers and potential smokers can perceive these figures without any conscious attention being paid to them.   The figures are semi-subliminal and presented on the borderline of perceptual ability.

The figure referred to is illustrated somewhat more clearly to the left but the author expects that the vast majority of viewers will find it difficult to detect.  The rollover image outlines the figure to make it easier for the uninitiated viewer to perceive it.    Normally one would have to acquire a degree of skill at 'extracting' images against a similar coloured background before one would consciously perceive them.  And of course web pages are not really the ideal medium for viewing images that were initially presented in finer detail in print. Check out original ads and hone your skills. And then, if smoking in public gets up your nose, ride along with the clip art message on the right.

The difficulties inherent in detecting such embedded images mean that Philip Morris and Co. can easily deflect criticism. The standard argument would be that the perceived figure is simply a figment of the (paranoid) imagination of the critic. Consideration of more obvious examples below should, however, lead one to adopt a more cautious approach, and not reject such interpretations of embedded imagery outright. 'Subliminal' ads exist on a continuum [see Famtree.htm. ] Examples and illustrations on the Psychology pages also provide counter arguments to those of the tobacco companies. These demonstrate that it is the application of standard rules related to visual perception, rather than psychotic thinking, that leads to the identification of embedded imagery such as this.

It will undoubtedly be argued by those who produced this ad, that perceiving figures within such a complex background cannot possibly influence anyone. They will contend that 'seeing' such images is simply the outcome of projecting ones thoughts and 'seeing' images that don't exist.  Before accepting such an argument compare how easily and how often one can detect images in Marlboro ads against the effort required to do so with other similar ads.  Again standard experimental techniques, and the use of content analysis, would reveal that detecting such images is much easier with the Marlboro ads than other equivalent ads. The conclusion one would thus draw, is that Marlboro ads have been constructed to provide relevant visual clues or cues.

Any study that did find results in line with this prediction would do so precisely because Marlboro ads incorporate the type of semi-subliminal) cues that trigger the relevant perceptual processes. Determining that such embedded elements exist does not, however, mean that they are effective in influencing behaviour. The cartoon on the left might be more effective. However, the consistency with which Philip Morris and Co. use semi-subliminal embedded material would seem to indicate, not only an intention to manipulate, but the capacity to do so. In other words such ads are commercially effective. The only evidence that might indicate whether or not such ads are influential, derived from evaluation studies and marketing results, is held only by the companies who produced such ads. At present the experimental evidence from laboratory studies is extremely rare and flawed in many respects. Public scrutiny of the evidence held by tobacco and other companies is thus the only means at present by which one could determine whether ads containing semi-subliminal material were effective.

Just peekin'

Here we have another figure that is close to the borderline of visual perception.   This time it is a face embedded in the chaps of the cowboy on the right.    This is an example related to one of two recurring themes in Marlboro ads that are enhanced by semi-subliminal faces.  One, as noted above, is anxiety provoking, and is ostensibly related to the fear of death or death and dying.   The other is sex.   The sexual activity indicated may be homosexual or heterosexual.

Visual images, such as presented in this ad, do not have any specific meaning. The meaning is derived from an interaction between the imagery and previous experience i.e. on the basis of previous knowledge, the viewer constructs meaning. One can therefore note that indications of homosexual activity are likely to be considered positively by those with homosexual preferences, but could be anxiety provoking to many heterosexual males. As meaning is in the mind of the viewer, some embedded sexual messages could therefore serve the same function as anxiety provoking, deathly, images.

In this ad, the 'face' would seem to be related to homosexual activities. It is looking directly towards the crotch of the cowboy in the centre of the ad.   Perhaps other interpretations can be placed on such a configuration of elements.  If so, the author would like to hear of them.  

Buzzard Meat 

Another ad focusing on death related anxiety is illustrated on the left.   Here the message is primarily conveyed visually by the clear allusion that the circling buzzards are focussing on something, or someone, underneath. They are about to have a picnic.

Exposure to standard Western literature would lead one to conclude that some animal or person is dying.   Given that the ad is for Marlboro, it surely must be a Marlboro smoker.  Heaven forbid that the potential buzzard meat should smoke Camel, Benson and Hedges or Silk Cut cigarettes!

A superficial analysis of this ad might lead one to conclude it is simply a representation of an activity that can be observed within the American west, or anywhere such carrion exist. It may simply be a depiction of birds rising on a thermal current.   However, if one takes into account the imagery in Marlboro ads as a whole, and also focuses on the secondary imagery, then the message is clearly intended to represent death and dying. Even the slow, circling, motion of the buzzards are indicative of the slow motion, apparently self induced, 'suicide' of smokers.  

The conclusion one should draw, is that those who produce Marlboro ads seem to have little respect for their customers. They use words and imagery as means of engendering anxiety that they hope will be relieved by smoking.   Smoking, of course, triggers additional anxiety.   And the vicious circle has only one winner, the tobacco company.

If viewers look carefully at smaller portions of the Buzzard' picnic ad, rather than the whole ad, they will probably note that the artwork does not offer a true representation of reality. It is textured in such a manner that one can perceive 'faces', the prototypical embedded feature found in Marlboro ads and indicative of the dead, the dying and the decayed. 

Welcome to Marlboro Country, Indeed!

Bermuda Triangle

A superficial appreciation of this ad would seem to indicate it is simply an aerial photograph taken through an aeroplane window.    However, the image superimposed on the map is in the shape of a triangle. And triangles present quite a potent message to a substantial segment of the population, a message that is, once again, clearly related to anxiety about smoking.

The most famous triangle in the world, other than the hypotenuse triangle, is probably the notorious Bermuda Triangle. As most people 'know', this is an area of the world where ships, planes and people are reputed to get lost rather easily.   Statistical evidence indicates that this area, in fact, fares no better or worse in terms of disappearances and accident than other similar areas of the world. But advertising relies upon myths, not facts. The allusion here, in part, pertains to lost souls.

This is not the only Marlboro ad featuring the Bermuda triangle. Another had the triangle 'disappearing' into the Marlboro pack.  The disappearing triangle ad and the ad illustrated above appear to be offering much the same message: 'Whatever the Bermuda Triangle can do, Marlboro can do better.'  And it's true. With Marlboro there is no need to take a plane to lose your life.   

To finish off this page, ask yourself the question