IntroductionAdvertising has changed signifi enkindletly over the decades. The straightforward style of merely introducing and boosting a crop has been replaced by a more elaborate social system of metaphors and unconscious mess durations. It?s in a flash the feeling and sense conveyed by an ad that?s more important than the product itself. Advertisements of at present speak to the audience from a much profounder level and in redact to be successful they need to respond to the notice elements of the human psyche.
The reason for much(prenominal) development can be attri unlessed to the rapid growth of the advertising industry in whole. non only do we see advertizings in TV and freshlyspapers, but in fact well-nigh public spaces as salubrious as the internet argon flooded with promotional messages.
So wherefore dont we feel overwhelmed by such a adamant wave of provocative icons? wherefore is nobody compelled to read distributively of the subway billboards before getting on the train? Why dont we remember e re onlyy single TV advertisement during the hightail it?The reason is desensitization, a process in which our brains learn to trickle out periphery messages. This driveling is d iodine unconsciously, which is why were practically alive(predicate) that we saw a particular advertisement but futile to recall it. This means that out of the vast number of icons perceived, our unconscious must decide which of the messages deserves our heed and which don?t.
If we unconsciously filter out external messages and visits, therefore advertising must talk to the unconscious to keep its impact. Understanding of the unconscious and unarticulated unavoidably of the audiences is vital for successfully getting the message through. These of necessity be what Jung refers to as arche fibres.
Jungian ArchetypesCarl Gustav Jung first introduced the term ?archetype? in 1919, describing it as an inherited pattern of thought or emblematical imagery derived from the past corporal experience and present in the individual unconscious. Being universal joint and innate, their influence can be detected in the form of myths, symbols, rituals and instincts of human beings.
Jung argued that while the experiences and characteristics that abstract from archetypes are individual and affected by unrivalleds item condition, archetypes themselves are essentially similar for all humanity.
He excessively makes a very(prenominal) important distinction between the unconscious, preexistent tendency and the archetypal image. The archetype whitethorn emerge into consciousness in myriads of variations. In an opposite words, there are a very few basic archetypes or patterns which exist at the unconscious level, but there are an infinite variety of specific images which point back to these few patterns.
Jung never made a definitive list of archetypes arguing that they do not have a determinate content but since the moment they stick in our consciousness, they are filled with the material of our conscious experience. The archetype is revoke; it is a pure formal element, secret code else but a possibility to perform, a tendency of representation given a priori. We cannot see the archetypes directly, but they function somewhat exchangeable instincts to figure of speech our behavior. However, we can see the different archetypal behaviors that are all around us in the instinctual behavior of everyday great deal: the hard-charging businessperson, the nurturer, the joker, the lover, the tough ridicule/warrior, etc.
Archetypes are neither good nor evil, they exclusively are. They live an autonomous existence at the root of our psyches in their original raw and primitive states. However, the human mind, at least(prenominal) in most cases, interprets certain archetypal qualities as corroborative and others as negative. For example, we are attracted to the positive, creating, nurturing aspects of Mother, but terrified of her negative qualities such as her terrible fierce possessiveness, or her federal agency of behavior and death over us. It is because of their deep and innate nature and our emotionally charged attitude towards them, that the archetypes have such a compelling impact on us.
Use of archetypes in advertisingA lot of advertisements overhear on a universal, deep-seated need. They play to the readers primitive emotions, their deepest needs, ambitions, desires, and sometimes, fears. That type of archetypal advertising is very often the most persuasive one. Understanding archetypal meaning and using psychological principles is now becoming more of a prerequisite to effective advertising, whereas in the past, it was considered an extra perk.
Images are more effective at communication unconscious feelings than words because we cant always articulate or bonk archetypal feelings through language. Language is a surface-level communication peter bound by conscious thought; images often go deeper to engage fears and emotions people may be too embarrassed to admit to, or may not blush advised of. Thats why an ads visual is extremely important. Images dont merely grab attention - they offer the subconscious a bridge between the product and the archetypal need the product fulfils.
One of the most renowned archetypal characters in advertising has been the Marlboro humanity created by social lion Burnett in 1954. The cowboy image was designed to appeal to recent males looking for an initiation ritual, while the packaging was in part designed for older male smokers to represent the ribbons of World state of war II medals when worn in the left breast pocket.
The Marlboro Man clearly draws on the Hero(or alternatively Warrior) archetype, which is connected with the urge to win, be a pioneer, explore, express ones individuality and find status. This is a chump highly dependant on strong visual features: the image involves a rugged cowboy or cowboys, depicted in wilderness with only a cigarette to accompany them. The collocation of a single man against vast empty spaces is a common way of highlighting the archetypal image of the Hero. It conveys the universal feeling of Mans smallness contrasted with the infinite greatness of the Universe, which can be both terrifying and exalting. The cigarette itself carries the symbol of companionship and solace, that?s so much needed in these surroundings. With a niggling exaggeration, one could even say that the image of the Marlboro Man communicates directly to the very basic level of the human condition; it addresses the empiric question of facing your own fear and overcoming it, both of which are the main characteristics of the Hero archetype.
In advertisements many different archetypes may be at play at the same time, and ii or more can join to become one. For example, a calculator can draw upon the wise (advising), secure (being protected), and talkative (exploring) archetypes. Toilet tissue can draw upon the healthy (keeping clean), love (being mothered), and secure (being protected) archetypes.
Beer advertisements most commonly rely on the archetypal image of the Regular Guy and often emphasize the value of friendship and companionship. Main visual characteristics of a beer ad involve half-naked females, irresistible golden liquid, socializing among mates and an average guy being able to enjoy all of that thanks to the beer. This is one the most distinctive templates in advertising and seems to work on most of the occasions. If the Regular Guy provides setting and arena result to beer advertisements, wherefore the Jester archetype, with its emphasis on enjoying life, having fun and nourishment in the moment, conveys the feeling of carefree delight. Indeed, the reoccurring feeling presented to us in beer ads is that of being able to sit back, relax and enjoy. That, of course, contrasts with the obligations and commitments each of us has in life (such as work, school, marriage etc) and this contrast is also a common theme used in these adverts, often in comical manner.
Branding is the area of advertising that the archetypes most sharply and powerfully can have their impact. What has worked for thousands of myths and fairytales throughout the ages, can most certainly work in the creation of contemporaneous fall guys. Seems absolutely logical, but actually conscious archetypal appeal to branding is a fairly new development.
Ironically, in this postmodern age when people are supposedly no long-term interested in meta-narratives with common understanding, brand development is nothing short of creating a report that people demand to be part of; a character with values that have deep resonance which our target audience want to emulate or be associated with.
That is why Scott Bedbury, in his time head of marketing at Nike and Starbucks, believes that: a brand is a metaphorical story that ? connects with something very deep ? a fundamental human grip of mythology ? Companies that manifest this sensibility ? invoke something very powerful. (Bedbury, 1997)What seem like intangible elements of a brand are really very precise sets of contextual values, emotions, aspirations and projections that can easily be not only identified but plotted, graphed, and inserted into a brands identity. Some brands even achieve this without even realizing it. They instinctively tap into something primal and culturally relevant without really knowing or understanding why or how they did it.
Take Nike, for example: The Nike brand appeals to the Hero and uses sports as the medium for its allegorical language. The very choice of names - Nike the classic Goddess of victory - has immediate Archetypal implications. Nike is a Goddess, a prick straight out of mythology - in which every character, god, human and everything in between is the embodiment of a specific human archetype.
Nike symbolizes victory. victory typically comes from bravery, sacrifice, courage, strength... all being the attributes of the brand - or quite an, the symbolisation that the brand aims to help consumers project onto itself and every product it stamps with its mark.
at a time the brand takes on the attributes of the desired archetype (or two, or three), then people begin what could be called projective identification. They first project their wants and needs onto the brand, in effect using it as a vessel for the qualities which they cannot articulate or completely manage on their own. They then become patrons of the brand in order to possess these attributes in a form they can understand, use, and express. Once a brand has achieved this type of relationship with the public, it becomes alive. It becomes part of pop culture. It becomes relevant on a level that surpasses traditional marketing, messaging and business-speak. It becomes a power brand.
ConclusionThe introduction of Jungian archetypes into the world advertisement can be a potential treasure chest, opening up new horizons that go deeper into the human psyche than ever before in the history of advertising. On one hand this is a rather new development and the amount of research done into the subject is relatively small so far, but on the other hand, retrospectively we can see that every advertisement that is win over and powerful has its roots in the archetypal realm. So without perchance even realizing it, good advertisements have already been playing on the notes of the theory that Mr. Jung proposed more than 80 years ago. The increased information of the impact and power of archetypes is where the potential lies for the advertising of tomorrow. Theories around the collective unconscious have never been more important than in todays modern society, where we move away from an age of broadcasting and into an age of globally shared individual experience.
Media today is evolving as promptly as never before and the consumer is no longer a passive spectator but rather a actor with an increasing variety of choices. That proposes a great challenge for the advertisement industry which needs innovation and exploration in order to retain and increase its effectiveness. Research into the primordial world of archetypes is one of the most promising and interesting new horizons for advertising.
Bibliography1.Bedbury, S. (1997). What Great Brands Do. Fastcompany. come 102.Mark, M ; Pearson, C. (2001). The Hero and the Outlaw: Building Extraordinary Brands through the Power of Archetypes. New York: McGraw-Hill.
3.Campbell, J. (1968). The Hero with a Thousand Faces. Princeton: Princeton University Press.
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