Structure/Morphology in advertising – major essay

1⃣️This essay examines your ability to understand and appreciate the various ways in which advertisements are strategically structured/patterned.

2⃣️You will need to carefully consider the major structures and supporting patterns mobilised in ONE TVC or online advertisement (employing the moving image) of your choosing.

3⃣️The TVC must be in English and must not exceed 3-minutes in length.

4⃣️Do not choose an advertisement about which much has been written online or elsewhere. We know all of these ads, and you will be marked down for using such material—even if you make new observations.

5⃣️While you must identify the major structures engaged, you will also need to show how these are reinforced via other aspects of the advertisement’s structural-semiotic system.

6⃣️Accordingly, an in-depth argument as to how all structural elements work together will be a critical determinate of your grade.

 

Preamble 【代写Essay

1⃣️Your task is to write an essay (which means making a cogent argument with an introduction, body, and conclusion) regarding the structural concepts and tactics strategically engaged as modes of message-making in your chosen TVC. This means you first have to identify the various governing morphologies (structures) at work and then discuss how these are reinforced in the TVC to make a gestalt; a whole.

2⃣️As Marshall McLuhan argues in Understanding Media (1964/1967), ‘film is not really a single medium like song or the written word, but a collective art form…’ (p.292). As just suggested, in order to do well, you simply must engage with heavyweight (i.e. serious) academic sources. It also means that there needs to be close engagement with course resources: i.e. recommended readings and/or books. Work that does not engage with course resources will be marked well down.

3⃣️It will be (very) difficult to get more than 30-percent for an essay that fails to connect with the course readings!

4⃣️On the other hand, work that intelligently and robustly engages with course resources is likely to do well. Work that does this and that offers original arguments is likely to excel.

5⃣️Again, 75-percent of the marks go to argument and engagement of academic sources.

 

So, what governing structures do I need to identify?

Identify every broad conceptual schema that you think relevant to your chosen TVC.

  • Is some sort of borrowing, adaptation, intertextuality, allegory, or allusion going on?
  • For example, does your TVC present a typical romance structure: a boy-meets-girl love story replete with the usual complication and ‘happy ever after’ ending?
  • Is it a narrative of escape?
  • Is it a narrative or reconciliation?
  • Does it retrieve and recast a generalised or specific mythology?
  • Related to this, is there some sort of retrieval of a fairy-tale or fable?
  • Is a hero narrative suggested?
  • Does the TVC present a good v evil story?
  • Is it a story of sin and punishment?
  • Is there some sense of the creation narrative?
  • Does the TVC follow the narrative structure of the joke/the gag?
  • In any case, is the TVC in some sense episodic: that is, does it exploit the notion of the categorical form wherein specific sections relate to a specific whole?
  • Does the TVC in some way evoke/reflect Northrop Frye’s idea of seasonal topoi and/or the categories of drama?
  • Is some other archetype at work?
  • Is there an Eliotesque sense of the dramatic monologue or religious confession (in which case, there’s likely to be one introspective narrator)? ….
  • Is there a specific and pervasive conceptual metaphor at work?
  • Does the TVC strategically engage the principle of defamiliarisation?
  • Can Gustave Freytag’s narrative triangle be applied?
  • Is there some sense of a musical structure—e.g. a classical five-part symphony?
  • Is there a tension between fabula (plot) and suyzhet (theme)?
  • Does the TVC depend on a governing sense of irony?
  • Does it exploit the conventions of satire?
  • Does it employ stock characters: goodies, baddies, peacemakers, etc?
  • Is a psychoanalytic or anthropological framework in some sense suggested?
  • For example, dos the TVC depend upon a dream sequence?
  • Does it exploit specific poetic structures (such as the Johnny Walker Dear Brother TVC which engages elements of the elegy and the hymn)?
  • Does the TVC seem to exploit particular film genres or sub-genres—e.g. the action film; the documentary, the musical, the western, the comedy; the disaster film; the gangster film; the detective film/film noir; the horror film (or, perhaps, one of its sub-genres—the ‘slasher film’ in which a psychotic wields a cutting instrument of some sort, as in The Texas Chainsaw Massacre)?
  • Is there a sense of mixed genre?
  • What about genuflections to the blockbuster; impressionism/surrealism; etc?

And so on… Once you have identified the broad patterns at play, you can move on to identify and discuss the specific structural techniques or devices that reinforce these.

Again, patters are important.

 

What sorts of specific structural principles/techniques/devices should I discuss?

  • You might want to open up your discussion of technique by stating the production values suggested the TVC?
  • Are these higher or lower, and what is the significance?
  • As to specific structural techniques, there are many. For example, is there any suggestion of bookending (similarities between beginning and ending)?
  • Are there strategic shifts in narrative perspective?
  • How does the score develop?
  • Is there a contrast between past and present?
  • Is there a tension between the realistic and the fantastic?
  • Which elements of Saint-Martin’s coloreme (if any) seem to be at work?
  • Does an application of Kandinsky’s typology of plastic semiotics reveal anything interesting?
  • What is denoted, and what is connoted?
  • Is the device of chiaroscuro at play?
  • What is the dominant colour palette, and does it change?
  • Are some parts of the TVC rendered in black and white, and others in colour—and, if so, why?
  • How is camera/shot engaged?
  • How are shots framed/What distances are employed?
  • What about the way the TVC is edited?
  • How are cuts and cutting rhythm managed?
  • Are some other forms of transition employed—e.g. fade-outs, dissolves, etc?
  • Is there any evidence of graphic-matching (transitioning from one shot to another using similar shapes or objects)?
  • What other aspects of continuity (or discontinuity) editing can be observed?
  • What is in focus and out-of-focus?
  • Is there anything significant about foreground and background?
  • Note that Borwell and Thompson’s Film Art: An Introduction (Chapter 6) is handy here.
  • Are there particular symbols or motifs at work—either visual, sonic, or related to dialogue?
  • What is repeated in the TVC?
  • What is repeated identically?
  • What is repeated somewhat differently?
  • Here, you might consider Deleuze’s idea that repetitions do not need to be exact.
  • See Difference and Repetition (1968). Are there variations in amplitude (volume)?
  • Are sounds heard offscreen?
  • How do any offscreen sounds contrast against or reinforce what’s on-screen?
  • Is there anything interesting to observe about diegetic and non-diegetic (asynchronous) sound?
  • What sonic rhythms predominate?
  • Does the footage match the soundtrack, or is there a sense of deliberate dissociation?
  • What about changes to aspect ratio: e.g. 3:4 (old TV screen) > 1:16 (widescreen)?
  • Is CGI (computer-generated imagery) used and, if so, in contrast to what—or in keeping with what?
  • Are radical angles (Dutch angles) employed and how/why do these contrast with more common angles?
  • Is flashback (analepsis) or flashforward engaged?
  • Are there suggested differences in film stock: grain, colour saturation, etc.?
  • What commitments (if any) are made to the Aristotelian unities of time, place, and action?
  • How does the director signify the passage of time?
  • Is there a sense of narrative circularity—and, if so, what is suggested?
  • Does the TVC employ under-cranking (slowmo) and/or its opposite ‘over-cranking’?广告中的结构/形态学——主要论文

    1⃣️This论文检验你理解和欣赏广告的各种策略结构/模式的能力。

    2⃣️You需要仔细考虑你选择的一个电视广告或在线广告(使用动态图像)中的主要结构和支持模式。

    3⃣️The TVC必须是英文的,长度不得超过3分钟。

    4⃣️Do不会选择在网上或其他地方写了很多的广告。我们知道所有这些广告,即使你有新的观察,你也会因为使用这些材料而被扣分。

    5⃣️While:你必须确定所涉及的主要结构,你还需要展示这些结构是如何通过广告的结构符号系统的其他方面得到加强的。

    6⃣️Accordingly,关于所有结构元素如何协同工作的深入讨论将是你成绩的决定性因素。

     

    序文

    1⃣️Your的任务是写一篇文章(意思是用引言、正文和结论来做一个有说服力的论证),内容是关于在你选择的TVC中作为信息制造模式的战略性的结构概念和策略。这意味着你首先要确定各种起作用的支配形态(结构),然后讨论这些形态如何在TVC得到强化,从而形成完形;整体。

    2⃣️as·马歇尔·麦克卢汉在《理解媒体》(1964/1967)中认为,“电影实际上不是一种单一的媒体宋立科或文字,而是一种集体艺术形式……”(临292)。正如刚才建议的那样,为了做得好,你只需与重量级(即。严肃)学术来源。这也意味着需要与课程资源密切合作:即。推荐读物和/或书籍。与课程资源不相关的作业将被标记为低。

    对于一篇与课程阅读不相关的论文,3⃣️It很难获得超过30%的分数!

    另一方面,4⃣️On聪明而有力地参与课程资源的工作可能会做得很好。这样做的工作和提供原始论据的工作很可能会出类拔萃。

    在5⃣️Again,75%的分数来自学术资源的争论和参与。

     

    那么,我需要确定哪些治理结构?

    确定你认为与你选择的TVC相关的每个宽泛的概念模式。

    • 某种借用、改编、互文、寓言或典故正在进行吗?
    • 例如,你的TVC是否呈现了一个典型的浪漫结构:一个男孩遇见女孩的爱情故事,充满了通常的复杂和“永远幸福”的结局?
    • 是逃避的叙事吗?
    • 是叙事还是和解?
    • 它是检索和重铸一个一般化的还是特定的神话?
    • 与此相关,是否有某种童话或寓言的重现?
    • 是否建议英雄叙事?
    • 《TVC》讲述了一个善良与邪恶的故事吗?
    • 是一个罪与罚的故事吗?
    • 创作叙事是否有某种意义?
    • TVC遵循笑话/插科打诨的叙事结构吗?
    • 无论如何,TVC在某种意义上是情节性的吗:也就是说,它是否利用了范畴形式的概念,其中特定的部分与特定的整体相关联?
    • 《TVC》是否在某种程度上唤起/反映了诺思罗普·弗莱对季节地形和/或戏剧类别的想法?
    • 是否有其他原型在起作用?
    • ….
    • 有没有一个具体而普遍的概念隐喻在起作用?
    • TVC是否在战略上奉行了陌生化原则?
    • 古斯塔夫·弗雷塔格的叙事三角形可以应用吗?
    • 是否有某种音乐结构的感觉——例如。古典五声部交响曲?
    • fabula(剧情)和suyzhet(主题)之间有张力吗?
    • TVC是否依赖于一种主导性的讽刺感?
    • 它利用讽刺的惯例吗?
    • 它使用普通的角色吗:好人,坏人,和平使者,等等?
    • 从某种意义上来说,精神分析或人类学的框架被提出了吗?
    • 例如,TVC依赖于一个梦序列吗?
    • 它是否利用了特定的诗歌结构(如约翰尼·沃克的《亲爱的兄弟TVC》,其中融入了挽歌和赞美诗的元素)?
    • TVC似乎利用了特定的电影类型或子类型吗。动作片;纪录片、音乐剧、西部片、喜剧;灾难片;黑帮电影;侦探电影/黑色电影;恐怖电影(或者,也许是它的一个分支——一部精神病患者挥舞某种切割工具的‘恐怖电影’,就像《德州电锯杀人狂》一样)?
    • 是否有混合流派感?
    • 向重磅炸弹下跪怎么样;印象主义/超现实主义;等等。

    等等…一旦你确定了主要的模式,你就可以继续识别和讨论具体的结构技术或设备来加强这些。

    同样,模式很重要。

     

    我应该讨论哪些具体的结构原理/技术/设备?代写ESSAY内容

    • 你可能想通过陈述TVC建议的生产价值来展开你对技术的讨论?
    • 这些是高还是低,意义何在?
    • 至于具体的构造手法,有很多。比如有没有书挡的暗示(开头和结尾的相似点)?
    • 叙事视角是否有战略转移?
    • 分数如何发展?
    • 过去和现在有对比吗?
    • 现实和幻想之间有张力吗?
    • 圣马丁色彩的哪些元素(如果有的话)似乎在起作用?
    • 康定斯基的造型符号学类型学的一个应用揭示了什么有趣的东西吗?
    • 表示什么,意味着什么?
    • 明暗对比装置在起作用吗?
    • 主色调是什么,它会改变吗?
    • TVC的某些部分是黑白的,而其他部分是彩色的吗?如果是,为什么?
    • 相机/镜头是如何接合的?
    • 镜头是如何设定的/采用了什么距离?
    • 《TVC》的剪辑方式怎么样?
    • 剪辑和剪辑节奏是如何管理的?
    • 是否采用了其他形式的过渡,例如。淡出、溶解等?
    • 有图形匹配的证据吗(使用相似的形状或物体从一个镜头转换到另一个镜头)?
    • 连续性(或不连续性)编辑还有哪些方面可以观察到?
    • 什么是对焦和失焦?
    • 前景和背景有什么意义吗?
    • 请注意,这里很方便阅读博尔维尔和汤普森的《电影艺术:导论》(第6章)。
    • 有没有特定的符号或主题在起作用——视觉的,声音的,还是与对话有关的?
    • 什么在TVC被重复?
    • 什么是同重复?
    • 什么东西重复起来有些不一样?
    • 在这里,你可以考虑德勒兹的观点,重复不需要精确。
    • 见《差异与重复》(1968)。振幅(音量)有变化吗?
    • 屏幕外能听到声音吗?
    • 屏幕外的声音如何与屏幕上的声音形成对比或加强?
    • 关于diegetic和非diegetic(异步)声音有什么有趣的观察吗?
    • 什么音律占主导地位?
    • 镜头和配乐是否吻合,还是有刻意分离的感觉?
    • 长宽比的变化呢。3:4(旧电视屏幕)> 1:16(宽屏)?
    • 是否使用了计算机生成的图像,如果是,与什么形成对比——或者与什么保持一致?
    • 是否使用了偏角(荷兰角),这些偏角如何/为什么与更常见的角度形成对比?
    • 是倒叙(安睡)还是向前闪?
    • 胶片中是否存在建议的差异:颗粒、色彩饱和度等。
    • 对亚里士多德的时间、地点和行动的统一做出了什么承诺(如果有的话)?
    • 导演如何象征时间的流逝?
    • 是否有一种叙事循环感——如果有,建议是什么?
    • TVC是否采用了欠摇(慢摇)和/或相反的“过摇”?

     

现在下单

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