Masters of Manipulation
The image is typical of the type of scenery that one would find in the Badlands. Wind and weather have worn a remarkable hole in the rocks. Superficial judgement of such a scene might tend to focus upon the myth of the Marlboro cowboy, the scenery, or even holidays on a dude ranch. Or, perhaps - just perhaps - ones thoughts might turn to sex. The structure of the ad will actually assist you to venture on the latter track. Note that the worn hole in the rock can be considered symbolic of a bodily orifice. The Marlboro cowboy is crossing in front of it. One could even say, in quite an intimate manner. And, alongside it, in the upper right hand corner, is the phallic implement that will penetrate that opening. If
you were not convinced by that interpretation of the
Badlands ad consider the nature of the next grand country
scene. Big isn't it. This phrase forms a statement,
it is not a question. And the relevant ad is analysed
in great detail in the forthcoming book Sexy, Subliminal
and Deadly?: The Psychology of Manipulative Without
careful scrutiny this 'Big isn't it' ad is unlikely to reveal
much. But, take note of the arrow on the roadway sign in the centre
of the ad. There are actually two such figures. These are highlighted in the rollover image. It is relatively easy to see the toes or claws of the figure on the right of the enlargement. Towards the top of the cliff face is the face. Halfway up, in the genital area of the statue, is a huge, pineapple shaped erection. Big isn't it? If one wished to follow through the connotations associated with this ad it would take a full five pages. Here is rather humorous one as a starter. There are a pair of statues, they are big. What is the usual common colloquial meaning attached to the phrase 'A Big Pair'? Additionally one can note that the first figure has an upraised left arm. Furthermore it has an upraised digit finger. Is the 'up yours' sign intended to be a prime indication of what Philip Morris and their ad agencies think of Marlboro smokers? Or is it one of the artists taking the mickey out of their employer? Who knows! The
'Big isn't it' ad was published a number of
time. This would seem to indicate it was a commercially successful ad.
Sometimes the scene in the ad was a mirror image of the ad above. The
small illustration on the right shows one of the Comparing
the different versions of the ad indicates that artistic alterations
were made to whatever was the original. Outcrops of rock appear - and
disappear. Artistic 'blasting' or 'major reconstructive surgery' apparently
took place on the left hand side of the bluff in this instance. Such
constructive efforts undoubtedly helped when the creative artists responsible
turned their mind to a Again,
this is a 'sexy' ad if you are aware of, or respond to, the cues that
direct your This steelworker has the great granddaddy of all 'erections'. Proportionally his pecker outstrips that of the statue on the cliff face. Big isn't it? The ads creators would no doubt argue that the alignment of the pole and the steelworker was coincidental. What do you think? Other Marlboro ads can be found below, under Just Words, and elsewhere on the Subliminal World web site. Look for the Marlboro slideshow in due course. An active link will be placed here when the page is enabled. |
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 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 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' 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 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 Exposure
to standard Western literature would lead one to conclude that some
animal or 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.
Welcome to Marlboro Country, Indeed! |
Bermuda Triangle 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. |
The final section of this page will be presented separately
as the content may be found offensive by some individuals.
Please Click Here if you wish to continue.
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 |