Advertising and Media

The purpose of this research is to increase understanding of Taylor’s six-segment strategy wheel (SSSW) by exploring how message strategy makes use of commenters’ parasocial interactions (PSIs) with social media influencers (SMIs). Recent research findings have concluded that younger viewers often consider PSIs/parasocial relationships (PSRs) to be highly similar to their social interactions/relationships. To understand this phenomenon, the research explores the dynamics of the vaping community, because SMIs are a primary means of product information. Vaping companies use SMIs who are known only to the collective group of like-minded peers to create a loyal audience. The present study uses research from the SSSW and PSIs to understand persuasive cues while watching a video featuring an SMI.

As successful tourism firms invest heavily in marketing to defend or improve their competitive position, they increasingly need to measure their marketing performance. Previous studies related to tourism have largely focused on financial and operational performance, but the marketing perspective has been largely overlooked. Drawing on an in-depth investigation involving 12 hotel chains, 8 travel agencies and 8 tour operators, this study provides an overview of the state-of-the-art marketing performance measurements among some of the leading tourism firms in Italy. Several issues and unanswered questions are also identified.

Advertisements do have a large impact on the audiences. Every day children are exposed to the selling messages of advertisers via mass media. It clarifies that advertisements really are one of the most powerful and strongest medium of mass communication. Though advertisements help us to become aware of the products in the market, they have their negative effects also. Children today are exposed to all types of advertisements on the various media like the television, print media and internet as well. In fact, everyone is bombarded by advertisements everywhere nowadays. It can be said that advertising is a pervasive influence on children and adolescents, although Children in general are more susceptible and get easily influenced by advertisements. Children are defenseless and innocent. When a marketer advertises a product on television, they do not understand that it is a business and their main aim is to sell. They do not understand that advertisers try to push their products and market in such a way that children want to buy it. Children take everything at face value and believe without a doubt the messages in the advertisements. Advertisements are made in such a way as to attract the attention of children. Children do not understand it to be marketing strategy. Children are an extremely vulnerable target audience and get easily carried away. Hence, in this study we are going to understand how advertising influence children?

Se trata del primer libro-manual de Audio Branding escrito en idioma español. En este caso el libro describe el estado del arte disponible a nivel mundial sobre el tema y brinda un acercamiento a la realidad sobre el mismo en el contexto latinoamericano, específicamente el colombiano

Nota: versión impresa disponible en el link adjunto

Resumen. Las recomendaciones de productos y servicios en Instagram por parte de influencers se han convertido en una práctica publicitaria generalizada. El 68% de los usuarios españoles de redes sociales sigue a influencers, por lo que las marcas ven en ellos un canal valioso para prescribirse y ganar consumidores. No obstante, este tipo de prácticas se realizan al amparo de un vacío legal que podría perjudicar los derechos de los usuarios. Se analizan 750 publicaciones de los 25 influencers de moda más relevantes en España para comprobar cuántas de ellas se presentan como publicidad y no como opiniones personales. Los resultados evidencian la utilización de estas técnicas de recomendación como publicidad ilícita o engañosa, lo que exige un marco regulador legal y concienciación de los órganos de autorregulación y de las propias redes para suplir estas lagunas y garantizar la calidad de la comunicación entre marcas y públicos.

Palabras clave. Instagram; Influencers; Publicidad; Publicidad ilícita; Regulación.

Abstrak Diskusi mengenai penggunaan bahasa slanga yang semakin meluas dalam kalangan masyarakat hari ini bukanlah isu baru yang melanda bahasa Melayu. Hari ini bahasa slanga sudah menjadi kelaziman dan tanpa segan silu diujarkan oleh penutur sama ada dewasa, remaja mahupun kanak-kanak, di tempat-tempat awam mahupun di tempat-tempat rasmi seperti di sekolah dan institusi pengajian tinggi. Aktiviti sembang siber yang semakin meluas juga menjadi faktor penggalak penggunaan bahasa slanga dalam kalangan penutur bahasa Melayu. Bahasa slanga tidak diguna pakai dan dipelajari secara formal di sekolah tetapi diperoleh dalam kehidupan seharian. Bahasa Melayu yang diajar di sekolah merupakan bahasa Melayu standard. Oleh yang demikian, penggunaan bahasa slanga di kalangan kanak-kanak sekolah boleh menjejaskan perkembangan bahasa standard kanak-kanak tersebut. Situasi ini juga sekiranya tidak dibendung boleh menggugat usaha pendaulatan bahasa Melayu. Mutakhir ini banyak kajian penggunaan bahasa slanga telah membuktikan bahawa bahasa slanga bukan sahaja di gunakan dalam pertuturan oleh golongan tertentu, malahan telah wujud di dalam filem, drama, rancangan hiburan dan menular ke bahan bacaan ringan seperti majalah hiburan dan komik. Lambakan pelbagai bentuk bahan bacaan ringan di pasaran menyebabkan penulis cenderung menggunakan bahasa yang lebih santai dan dekat dengan pembaca. Sehubungan itu, maka kertas kerja ini akan mengupas bentuk-bentuk bahasa slanga yang wujud dalam penulisan komik kanak-kanak, iaitu Siri Komik Ana Muslim yang diterbitkan oleh Ana Muslim Sendirian Berhad. Hasil tinjauan awal menunjukkan terdapatnya penggunaan bahasa slanga yang sering digunakan dalam penulisan novel dan cerpen remaja dalam Siri Komik Ana Muslim. Antara bentuk slanga yang digunakan oleh penulis ialah slanga yang dibentuk dari bahasa asing seperti 'baby kiut', 'terer', 'jeles', 'otai' dan slanga untuk kata ganti nama seperti 'korang', 'diorang', 'kitorang' dan sebagainya. Kata kunci: Bahasa slanga, bahasa santai, kanak-kanak, komik

La presente comunicación se centra en el sector de la promoción y marketing de la industria del cine y la televisión. De esta forma, se estudia la evolución y modificación que han sufrido formatos relativamente nuevos y recientes como el sitio web promocional. Así, gracias a la interactividad que propone el concepto de web 2.0 y a las nuevas formas de publicidad online, estos soportes publicitarios han evolucionado en sub-formatos completamente diferentes. Tal es el caso, por ejemplo, del sitio web interactivo, en el que el consumidor-usuario puede construir y generar contenidos que tienen que ver con la propia película. Al mismo tiempo, otros formatos clásicos, como el tráiler o el cartel se han transformado, generando, a su vez, otros nuevos modelos. A todo esto se une el fenómeno fan que contribuye a la difusión del mensaje promocional gracias a la utilización de las redes sociales (Facebook) o sitios “contenedores” del tipo Youtube. La promoción de películas y series de televisión se extiende, en definitiva, en un universo digital virtual donde las posibilidades de interacción y creatividad parecen no conocer fin.
Lo que se propone con esta comunicación es, a través de un estudio teórico-práctico, y desde el punto de vista comunicacional, ofrecer un panorama esclarecedor sobre las estrategias actuales de marketing de las que se sirve la industria cultural del cine y la televisión en Internet. De este modo, partiendo del análisis de una serie de ejemplos representativos de varias campañas promocionales online de películas y series de televisión actuales, se pretende dar respuesta a cuestiones tales como: ¿Qué estrategias publicitarias se utilizan, hoy en día, para seducir al espectador?, ¿Cómo han evolucionado los formatos tradicionales de promoción en el mundo online?, ¿Podría establecerse una nueva tipología de formatos promocionales digitales? etc.

Please cite as
Elena FELL, Natalia LUKIANOVA, Fast food and the semiotics of gastronomy. ESSACHESS - Journal for Communication Studies. Vol 8, No 2(16) (2015). P.49 – 57. http://www.essachess.com/index.php/jcs/article/view/298/342

Nourishment stands apart from other physiological events: whilst we normally exercise discretion in relation to bodily functions, food consumption takes place in public. We dine, snack and nibble in front of others, and the imagery associated with food takes on the manifold of meanings—religious, cultural, historic and so forth. Gastronomic practices unite or divide people, and as such are a powerful communication tool. As the twenty-first century confrontational stance between fast food and family meal traditions intensifies, we investigate fast food’s visual imagery and its ability to attract consumers.



Résumé: La nutrition se distingue d'autres événements physiologiques: alors que normalement nous exerçons avec discrétion les fonctions corporelles, la consommation d'aliments a lieu en public. Nous mangeons, prenons une collation et grignotons devant les autres, et l'imagerie associée avec la nourriture prend une multiplicité de significations: religieuses, culturelles, historiques, etc. Les pratiques gastronomiques unissent ou divisent les gens, et sont en tant que telles un puissant outil de communication. Alors qu'au 21ème siècle la confrontation entre le fast-food et le repas traditionnel en famille s'intensifie, nous enquêtons sur l'imagerie visuelle de la restauration rapide et sa capacité à attirer les consommateurs.

Digital advertising remains the main source to the media on the Internet, despite the evolution of more structural formulas like paywalls, partial or full. As reality that will endure over time, it is essential to analyze its features, which facilitates decision making of the newspaper company and the content production phase. The results of a comparative empirical study of digital advertising in www.elmundo.es and www.ara.cat, Spanish and Catalan reference newspapers, are presented. We observe the preferential use of banner and box ad as the main ad formats and a predominance of logo and text in the multimedia options.

To counteract increasing competition and satisfy evolving customers’ needs, many firms are changing the positioning of their offering, from being product-based into service-based. Despite the increasing relevance of this shift, it is still unclear if this choice has a differential impact on customer perceived value.

Therefore the purpose of this paper is to analyze customer perceived value for a firm’s offering being positioned either as service-based or product-based. An experiment was conducted using stimuli from two different product categories (hearing aids and bicycles) and measuring customers perceived value through the PERVAL scale’s four dimensions (quality value, emotional value, price value, social value).

The results show that presenting the product as service-based instead of good-based can enhance customer perceived value (in particular: quality, emotional and social value), but only if customers are not familiar with the product.

El desarrollo de la tecnología digital ha ocasionado cambios de gran calado en las estrategias y los formatos publicitarios. Con ello, la publicidad se ha encontrado ante un nuevo escenario en el que dispone de mayores posibilidades para llevar a cabo la que es, siguiendo a Antonio Caro, su principal función: la producción semiótica de la marca. A partir de esta constatación, se mostrará que estamos asistiendo, mediante la apropiación de las prácticas propias de la cultura participativa, a un aumento de la participación activa del consumidor en la producción semiótica de la marca. En este sentido, los contenidos creados por los usuarios (UGC), pero también las Big Data, permiten integrar al consumidor en la generación de valor mediante herramientas de co-creación. Por un lado, el consumidor puede aportar valor a la marca creando contenidos en los que suele aportar su imagen personal, creando un efecto de reconocimiento para aquellos consumidores más pasivos. En otros casos, el consumidor puede personalizar el producto que consumirá, con lo que se establece la ficción de que el cliente elabora el producto de forma única y para sí mismo. O, en tercer lugar, mediante su navegación por Internet, el consumidor proporciona una gran cantidad de datos que, una vez procesados, permiten a las marcas ofrecerle nuevas experiencias de consumo. La producción semiótica de la marca se realiza, por tanto, utilizando cada vez más unas herramientas que no son sino un recurso estratégico que persigue ocultar su propia lógica. A su vez, la integración del consumidor en la generación de valor mediante la co-creación de su propia experiencia de consumo permite: a) una intensificación del uso de elementos emocionales que ya se había observado en un primer estadio en el que la construcción de imágenes de marca pivotaba alrededor de las comercialización de experiencias de consumo, b) profundizar en la naturaleza constructiva de la identidad del consumidor gracias a una posibilidades tecnológicas que permiten una mayor interacción y participación.

This paper is concerned with photography as strategic imagery. Strategic imagery consists of images intended to persuade, promote, or otherwise perform strategic intentions. Encompassing advertising, billboards, packaging, promotional brochures, point of purchase displays, viral media, and website design, strategic imagery comprises a large portion of contemporary visual culture. Pictures of people–models, celebrity endorsers, spokespersons, “average” consumers, managers and employees—make up a large part of this imagery In turn, visual images constitute much strategicx imagery for products and services, about economic performance, or designed to promote organizational identity. Within this purview, advertising has long since moved beyond its traditional role of “showing products” or “informing” consumers. Much strategic imagery, of course, does not show products at all; instead, it encourages a range of aesthetic, cognitive and emotional effects to promote a vision of a brand’s essential role in a good life. Much of this promotion depends upon visual style, how images appear, and how they fit into broader trajectories of visual culture.

This essay is about cultural identity in the advertising of non-alcoholic beverages. This paper focuses on audiovisual advertising rather than on the traditional printed media. The essay aims to appreciate the intercultural communication difficulties in brand advertising intended for global and target audiences. It has the ambition to demonstrate the role of cultural identity in beverage advertising, but also to call attention to the challenges offered by globalization and the rise of national misunderstandings due to cultural differences. A large amount of advertisements from France, the United States and South Korea have been analyzed in order to find correlations between today's advertising features and the work of the anthropologists Geert Hofstede and Edward T. Hall. The results show great interconnections between Hofstede’s cultural dimensions and their impact on advertising, as well as consistent links in advertising with high and low context cultures. However, the increasing conflict of cultural identities within a society and the growth of globalization appear as evident threats to the use of cultural values in advertising, and therefore should not be underestimated.

Hemos ingresado al siglo XXI habituados a una herencia de conceptos sonoros rica y amplia, herencia que nos invita al desafío de continuar las indagaciones sobre el lenguaje sonoro iniciadas en el siglo XIX a partir de las grandes transformaciones científico-técnicas y culturales en torno a este campo . Tal marcación histórica no implica de modo alguno suponer que la problemática de la comunicación sonora posea un linaje histórico tan breve: la comunicación sonora acompaña a la humanidad desde sus inicios, manifestándose como lenguaje verbal, como producción y reconocimiento de sonidos diversos originados en la vida natural y en la social, y como fenómeno musical. Pero es en la era industrial y sus grandes cambios socio-culturales y científicos que constituye los tópicos decisivos de un campo científico autónomo.
El lenguaje verbal ha sido largamente estudiado en los últimos siglos, primero por la filosofía y la filología, más recientemente por la semiótica. Su rol decisivo en la configuración y transmisión de la cultura, en la configuración de la escritura y por lo tanto de la Historia, lo tornan el lenguaje humano por excelencia, y por ello, objeto de un tratamiento distintivo por parte de los estudiosos de los signos: su doble articulación, su equilibrada tensión entre continuidad y cambio, entre transmisión y consenso, entre lengua y habla lo distinguen de otras formas de comunicación humana existentes en la vida social. En tal sentido, es interesante notar como la semiótica saussuriana se ha preocupado en distinguir los distintos aspectos de la sonoridad del lenguaje verbal como rasgos accesorios que no hacen al funcionamiento esencial del sistema (Saussure, 1945).
Dentro del campo de lo sonoro, pues, la semiótica ha considerado al lenguaje verbal como un objeto de estudio radicalmente distinto de otras formas de expresión sonora humana, como serían la interpretación de sonidos naturales, la creación de sonidos no verbales para la comunicación, y las distintas formas y funciones de la música. Las semiologías del siglo XX coinciden en el carácter central del lenguaje verbal para la cultura, y nadie dudaría, precisamente, de su condición de lenguaje. Sobre los otros modos de comunicación sonora existen, en cambio, numerosas dudas y puntos de vista largamente discutidos y no necesariamente saldados en la actualidad. Cuando hoy en día utilizamos el término “semiótica sonora” nos estamos refiriendo a estos últimos modos, y no al lenguaje verbal, aunque se sobreentiende que este lenguaje depende necesariamente de un soporte sonoro y del oído para existir .
El propósito de este artículo es reflexionar sobre estos últimos modos considerando su posible condición de lenguaje, esto es, su posibilidad de constituir un conjunto articulado de signos que pueda viabilizar una comunicación intencional a través del sentido del oído, haciendo abstracción del lenguaje verbal, cuya condición de lenguaje no es puesta en discusión. Utilizaremos para ello la clasificación de signos propuesta por Charles S. Peirce para la construcción de una teoría semiótica general, en tanto constituye uno de los dos pilares clásicos de la semiótica contemporánea, y dada su notable eficacia tanto para la reflexión teórica como para la intervención profesional en campos de producción sígnica por fuera de la lengua  en sus versiones verbal y escrita.
Para ello tomaremos como unidad de análisis cualquier evento sonoro que se constituya en signo, y el único requisito para que esto ocurra es –siguiendo la hoy clásica definición de Peirce- que ese evento sonoro  signifique “algo para alguien en alguna relación o sentido ”. Basarnos en esta definición nos permitirá superar algunas dicotomías que suelen presentarse al momento de pensar lo sonoro como podrían ser arte/información, intencional /no intencional, codificado/no codificado, espontáneo/planificado pues tales dicotomías provienen de analizar al signo exclusivamente como instancia de producción basada en un consenso sistemático y explícito, en tanto que la definición peirciana que hemos tomado nos permite entender al signo no como una producción a priori del sentido, sino como el proceso mismo de significación.  No se trata pues, de que algunos sonidos sean a priori signos y otros no, sino de analizar bajo qué circunstancias cualquier sonido –o silencio- se constituye en signo.

Growth in the Face of Industry Decline: A Case Study of Le Télégramme, French Regional Newspaper  by  Philippe Wallez, Université Aix-Marseille, France  and JB Lesourd, Professor Emeritus, Aix-Marseille University
Abstract
The case of Le Télégramme, a French local newspaper based in Brittany (NW France), is quite exceptional. Starting from 80,000 paid-copies in 1944, only on one market which is the Finistère département, (“metropolitan” France is divided into 96 départements of various sizes), it has increased its circulation year after year reaching the 200,000 mark in 2014, while operating in three départements. This feat is unique in the French industry.
The profit margin has been reduced over the last few years, due to the shrinking advertising revenues as a consequence of the disruptive innovation of the digital platforms. However the group has always been profitable to various scales. It has expanded and then maintained its staff of journalists, it chose to. because it is operating in a competitive market (1.1 million households) in a duopoly with Ouest-France, the leading daily newspaper in France.
Two categories of reasons may explain this remarkable resilience. Endogenous: the business model is relevant, the management of the group is safe and cautious when most regional newspapers are indebted to finance the transition print/web. Exogeneous: Le Télégramme is
connected so far to its market, fulfilling many conditions regarding the appetence for local news.
The features of this market are the following: community-bounded, with a strong shared identity, high level of educational attainment, favorable economic situation. But this relative prosperity might be fragile. In 2014, a few years after many other protagonists, the group has erected a paywall
Keywords: Business model -Le Télégramme – Community - Proximity- Diversification - Competition - Spin-off – Connection to market

Several billboard ads in Metro Manila have stirred controversy in the past decade for using images suggesting sexual acts or revealing private body parts. Politicians and church leaders have criticised them as being ‘indecent’ or ‘pornographic’. But in spite of this advertising strategy being abandoned, a fresh wave of billboards in Metro Manila has continued to use sexualised images, arguably in innovative ways. A content analysis of some of these billboards suggests that two representational techniques are emergent: purposive and referential. Public criticisms have then been strategically circumvented.The discourses that have surrounded billboard sexualisation in Metro Manila unravel the moral conservatism of religious institutions and the state. The purposive and referential techniques on billboards are an attempt to navigate such conservatism. Two possibilities are discernible. As the attention is on viewers’ imagination, the referential technique affords space for the cultural critique of these norms. In contrast, the purposive technique is limited as it focuses on the product’s benefit to the customer. This has led to the reinforcement of sexual stereotypes concerning masculinity and femininity, for example. The article ends by reflecting on the state of sexualisation in Metro Manila.

In recent years, companies all around the world directed their concerns towards environmental issues regarding the promotion and sales of their products and services. Such developments have been theoretically debated under the terms “green marketing” and “green advertising” in academia, especially in the fields of public relations and advertising. It is certain that the increasing market interest in the “green” has cultural, political and ideological implications, in addition to the market-oriented interests. In this regard, this paper undertakes a critical discourse analysis of the advertisements by “Akkuyu Nükleer”, a nuclear power plant company that initiated the construction of Turkey’s first nuclear plant. By analyzing the campaign’s TV and outdoor advertisements, this paper will argue that the green advertising campaign facilitated by the company provides an example for a peculiar form of “ecogovernmentality”, a term coined after Michel Foucault’s notion of governmentality; in the sense that the discourse of the campaign aims to eliminate the potential threats of the nuclear power plantation and hence regulate the ways in which individuals relate themselves to the environment. An agreement between Russia and Turkey for the construction of a nuclear power plant has been signed at May 2010 and the work began at Mersin’s Akkuyu district in 2011. As the public raised critical concerns over the project with an increasing attention, the company responded with an advertising campaign launched at March 2015. As this paper will show, the discourse of the campaign focused on the positive aspects of a nuclear plant project especially in terms of its contribution to the energy production, environment and the overall development of future generations. The discourse of advertisements particularly focus on progress, youth and the future; aiming to persuade the public that what they approach in skeptical manner is actually a project with which their hopes for the future will be guaranteed. Significantly, children appear in advertisements as actors and actresses to draw attention to the contribution that the nuclear power plant will make for the safety of future generations. The advertisement discourse however systematically conceals any potential threats and fears that the nuclear power plant may cause. Moreover, the advertisement discourse is constructed in such a homogeneous way since it presents an “ideal” imagination of Turkey’s nuclear era without any risks. Referring to Foucault’s terminology, this paper will point at the power-discourse dynamics by analyzing the ways in which the discourse regarding the nuclear plant project is instrumentalized to provide the public with a certain form of understanding about the nuclear phenomenon; which helps the state and the market to govern the existing power relations. To sum up, this paper will first address the ways in which such a discourse is constructed and then will continue with the deconstruction of meaning production in the advertisements by a critical discourse analysis. This paper will eventually show that advertising as a “technology of government” provides a legitimate space for power- discourse-knowledge dynamics to be exercised via advertising as ecogovernmentality to discursively eliminate the potentialities of an ecological disruption.

Advertising is becoming globalized. As the world is more interconnected, advertising discourses occupy new spaces in consumers’ minds.
This article highlights some of the new strategies employed by
advertising creators and their struggle against communicative saturation.
The distracted minds of consumers are increasingly inaccessible to their strategies. Consumers, hyper-connected minds are now affected by advertising campaigns that appeal to the most basic part of our instincts. The process is the same, regardless of the advertising medium or distribution channels.
The article proposes an analysis of the phenomenon through different examples from everyday life. The examples have a global reach and are representative of a global trend.

The appearance of women in print media is symbiotic to creating attention, interest and desire to purchasing product, services or ideas that they sell on the advertising copy. In this media semiotic study, we seek to explore the overall connotative messages and examine what these advertisements represent women as in advertisements by establishing how various codes haven been combined to create a certain meanings associated with women. These associations can therefore the basis of gender stereotyping even in countries that are considered progressive in nature.

Using netnography and questionnaires, we examine how commercial practices are interpreted by electronic game-players. An analysis of 805 postings on Slashdot (2002-2004) revealed active discussions and insight into gamers' beliefs about the effectiveness and appropriateness of marketers' tactics as well as the perceived impact on self. Players were fairly positive about  brands in games when they added realism. Those who were negative about product placements were also negative about advertising. While some players did not think they were influenced by product placements, others reported instances of learning about and then purchasing new brands. A survey of gamers empirically tested observations from the netnography. Positive relationships between attitudes toward advertising in general and attitudes toward product placement in games were noted, and  each of these was positively related to perceived impact on purchasing behaviors. Attitudes toward product placements in games partially mediated the effect of attitudes toward advertising on respondents' perceived purchasing behaviors.

Every advertisement text has a specific impact on the mind of receivers. Just like a water-mill or wind mill, human mind develops a specific systematic interaction against different advertisement texts. This section focuses on how information presented and carried by different texts are built on human mind. The basic aim is to reveal how advertisement texts operate human mind. In this sense, the authors try to understand the impact of analogue media on our minds through discussing the nature of science, the way human mind operates, and the structure of mass communication means. On top of that, the authors visualize this interaction on a model. This model would not only make it possible for us to understand our interaction with analogue media but also would give clues about digital media. With these clues, it would be possible to make predictions about changing advertising environment, and accordingly the way of making more effective strategies and future of advertising sector.

The objective of this research was to find out the importance of digital media and business to increase their revenues and market their products in a better way. Another objective of this research to differentiate between conventional and new media and to view the level of awareness about their concept among people. This research is exploratory and research design is qualitative in nature. We conducted interviews from different experts of digital media who are fully aware with latest trends of marketing. The findings of this research reveal that a wise marketing strategy can increase the market share of different brands in Pakistan (especially new entrants) in comparison of conventional media. It is concluded that the digital media has a key role in creating brand royalty since advertising has changed from traditional to digital so there is a much scope available in this area, consumer interest is increasing in this type of marketing platform in Pakistan, especially big companies like (Coca-Cola, Unilever, P&G, Gucci) have successfully created their brand image and brand association by engaging various activities through digital media. In today’s world digital media is important because it is cost effective, develop more awareness and also the queries put forward by the consumers are answered by the companies quickly. Through digital media companies constantly improve themselves and try to create a good image about the product.

Cosmetic names today carry more than just information on products' functions or ingredients; they carry dreams, fantasy and stereotypical beliefs of femininity. This study intends to investigate gender representation through advertising language from the perspective of Mills' (1996) Feminist Stylistics. This research explores the naming devices at word and clausal level, stylistic features and rhetorical devices in order to uncover the extent to which prevailing views of gender are either maintained or challenged. It examines how advertisers and copywriters use language to depict women and how language contributes to such depictions. Findings reveal that the noun phrases are dominated by pre modifiers that function as adjectives to describe the cosmetic names. The notion of gender is also represented in various clause types in which women are not encouragingly depicted, while the stylistic features and rhetorical devices used in cosmetic names reveal traits that are stereotypically prescribed to women. Evidences in which the cosmetic names revolve around gender differences and the patriarchal concept of male domination are extensive. This study hopes to contribute in improving advertising practices, as well as to provide awareness in educating buyers to be more critical when decoding advertising language.

Il turismo archeologico della post-modernità: shopping e autenticità
1. L’outlet dell’antico: mobilità, shopping e turismo.
Castel Romano Outlet tra turismo, shopping e archeologia
2. I super-Mercati di Traiano
3. Vini e profumi: turismo archeologico nell’età dello shopping.
Pompei e il vino Villa dei Misteri

The history of advertising in our country has undergone various transformations since 1840. In addition to linguistic transformation, socio-cultural and socioeconomic change has transformed advertising as a social institution. This is also reflected in the advertising narration. New advertising channels that emerged in parallel with technological developments and the new culture that accompanies them have caused radical differences in the structure of the advertising narration. This study focuses on new advertising channels that emergence with digitalization, and the structural changes of advertising narration. In the study, the sample advertising texts in Turkey are analyzed by structural analysis method. In the first part, the transformation of traditional advertising narration is outlined. In the second part of the study, based on the findings obtained as a result of the analysis, interactive advertisements, ingame ads, advergamings, virtual reality, virale ads, social media ads, augmented reality and transmedia storytelling applications and their narrative structure are introduced. The study is completed with a conclusion about advertising narration and the future of advertising in our country.

Özet:
Ülkemiz reklamcılık tarihi 1840'tan bu yana çeşitli dönüşümler geçirmiştir. Dilsel dö-nüşümün yanı sıra sosyo-kültürel ve sosyo-ekonomik değişim, reklamı da toplumsal bir kurum olarak dönüştürmüştür. Söz konusu dönüşüm reklam anlatısında da kendini göstermektedir. Teknolojik gelişmelere paralel olarak ortaya çıkan yeni mecralar ve be-raberinde getirdiği yeni kültür, reklam anlatısının yapısında belirgin farklılıkların ortaya çıkmasına neden olmuştur. Bu çalışma, dijitalleşme ile ortaya çıkan yeni reklam mecra-ları ve bunların reklam anlatısında oluşturduğu yapısal değişikliklere odaklanmaktadır. Çalışmada ülkemizdeki uygulamalarından hareket edilerek, örneklem dahilindeki rek-lam metinleri yapısal çözümlemeye tabii tutularak incelenmektedir. İlk bölümde gele-neksel reklam anlatısının dönüşümü ana hatlarıyla anlatılmaktadır. Çalışmanın ikinci bölümünde, çözümleme sonucunda elde edilen bulgulara dayanarak sektörde üretilen interaktif reklamlar, oyuniçi reklamlar, reklamoyunlar, sanal gerçeklik uygulamaları, ar-tırılmış gerçeklik uygulamaları, viral reklamlar, sosyal medya reklamları ve transmedya öykü anlatımı uygulamalarında yer alan anlatı yapılanmaları açığa çıkarılmaktadır. Ça-lışma, reklam anlatısı ve ülkemizde reklamcılığın geleceğine ilişkin bir sonuç bölümüyle tamamlanmaktadır.

The Mayor of London’s #BehindEveryGreatCity campaign is focused on tackling gender inequality in and around London. Earlier this year, UCL was commissioned to carry out a study, exploring how women experience gender in London’s out-of-home advertising.
‘The Women We See’ research collected the stories of 16 women (aged 21-65) and 22 teen girls (14-16) from a range of backgrounds to explore how they experience advertising content that they see in London’s public spaces. A quantitative survey also captured the views of 2,012 women and men on gender and diversity in London’s advertising.
While there have been some important positive changes in advertising content, the research found that gender equality and diversity in advertising remains a problem for all media channels across London. The Women We See report focuses specifically on the impact of out-of-home advertising and provides recommendations for advertisers on how to tackle this issue.
The Women We See report recommends that advertisers tackle this issue by considering
the intersecting issues of age, ability, culture, religious, ethnicity, gender and sexuality shaping Londoners’ identities and experiences.

A practical joke (i.e. a prank) belongs to a category of disparagement humor, as it is a
playful act held to amuse, tease or even mock the victim, and to entertain the audience. Although
humor has been long exploited in broadcast and print advertising, the use of practical
jokes is a more recent phenomenon esp. in digital marketing. The development of the Internet
and social media creates new opportunities for using pranks as disguised adverts embedded
in online strategies and there is an increasing number of companies which exploit
pranks as a creative content solution for their on-line presence. As there is little academic
endeavor devoted to this subject, this paper forwards a theoretical and practical framework
for pranks. It recognizes pranks as innovative forms of digital advertising and it analyses
their potential in terms of branding effectiveness (e.g. in maximizing brand reach, exposure,
brand visibility, drawing consumer attention, eliciting strong emotions etc.). Possible prank
effects are inferred from the theory of humor and from the secondary data collected by the
authors of this paper. Key challenges, risks and limitations are discussed and relevant examples
are provided. The paper concludes with several research areas and questions to be addressed
in future empirical studies.

This is the first book-length analysis of Whitehead's body of work, from _The Intuitionist_ through _Zone One_ (alas, it went to press before _The Noble Hustle_ was released...to say nothing of _The Underground Railroad_).

(NOTE: What is appended here is the table of contents, an excerpt from Chapter One that lays out the critical apparatus of the book, and the bibliography for the volume)

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Reviews:

"Derek C. Maus’s book _Understanding Colson Whitehead_ constitutes an important contribution to the growing body of scholarship on Whitehead. Hundreds of reviewers have commented on Whitehead’s individual books, and several literary scholars have published articles highlighting aspects of his writing. However, Understanding Colson Whitehead is the first book-length examination, and thus a notable cornerstone in what might someday become known as Whitehead studies. [...]

Further, Maus’s book represents a surprisingly rare extended treatment on an African American writer born after 1960. [...]

_Understanding Colson Whitehead_ rewards those who are new to the novelist’s works as well as his longtime readers. Maus summarizes and then provides in-depth analyses of Whitehead’s books, highlighting the workings of the individual selections. The overall examination paints a broad and detailed picture of what Whitehead has produced over the years.

Given the structural complexity of Whitehead’s _John Henry Days_, Maus’s chapter on that novel is particularly notable.[...] Maus’s chapter confirms the praise reviewers placed on Whitehead after the publication of the novel and goes further by explaining the details of Whitehead’s artistic capabilities in producing such an intricate, multithreaded novel.

_Understanding Colson Whitehead_ offers many important insights concerning the novelist’s compositions."

          -- Howard Rambsy II, in _African American Review_ 48.4 (Winter 2015): 482-83.

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"This volume on Whitehead...announces that his work should be taken as seriously as that of other authors in the series, such as Toni Morrison, Philip Roth, and David Foster Wallace. Maus (SUNY, Potsdam) does an admirable job of explaining Whitehead's aesthetics and reading his novels. [...] Maus is particularly strong when discussing _Sag Harbor_, which he calls Whitehead's most accessible yet least understood work, and when addressing Whitehead's debut novel, _The Intuitionist_. This volume should help move Whitehead onto classroom syllabi and further the current critical conversation about his works. [...] Highly recommended."

      -- D.J. Rosenthal, _Choice_ 52.10 (June 2015)

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"Derek Maus's _Understanding Colson Whitehead_ is a comprehensive overview of Whitehead's shape-shifting ouevre...The chapters all give in-depth analyses of Whitehead's novels, building on the work of other critics while offering fresh readings. Maus gives academics and Whitehead fans alike a crisp and thorough reading of this work."

            -- _Forum on Modern Language Studies_ 51.4 (October 2015)

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"Maus’s book is an excellent and enlightening guide to Whitehead’s work"

            -- Christian Lorentzen, Vulture.com (http://www.vulture.com/2016/09/how-colson-whitehead-got-from-zombies-to-slavery.html)

For many of today's cultural critics and semioticians, questions about visual semiotics and interpretation of TV images are of central concern. It focuses on the ways visual images communicate messages and also on the system that dominates their code and usage. Admittedly, television advertising is a communication field whereby images are "perfect" representation of life. This paper examines the construction of meaning of visual messages in television advertising from a semiotic analysis perspective. More precisely, patterns of meaning construction are analysed and interpreted. For this purpose, I have investigated two specific advertisements The 'Garlic Cube Knor' and the 'Prince Biscuit' commercials which ran in Moroccan 2M channel. Obviously, traditional criticism mostly questions the aesthetic aspects of object or the text according to their face values. However, semiotics largely makes inquiries into the manner of which the meaning is created rather than simply investigating what it is. The results yielded both iconic message elements and symbolic or indexical ones. However, symbolism seems to be more effective and prevalent than iconic meaning. Résumé : Pour beaucoup de critiques et de sémioticiens culturels d'aujourd'hui, des questions sur la sémiotique et l'interprétation des images de télévision visuelle sont au centre des préoccupations. Il se concentre sur les façons d'images visuelles communiquent des messages ainsi que sur le système qui domine leur code et l'utilisation. Certes, la publicité télévisée est un champ de communication dans lequel les images sont considérées comme étant une parfaite représentation de la vie. Cet article examine la construction du sens des messages visuels dans la publicité télévisée à partir d'une perspective d'analyse sémiotique. Plus précisément, les modèles de construction signifie seront analysées et interprétées. A cet effet, je l'ai étudié deux annonces spécifiques « L'ail de Cube Knor »et le produit du' Prince biscuit 'qui couraient dans le canal marocaine 2M. De toute évidence, la critique traditionnelle interroge essentiellement les aspects esthétiques de l'objet ou le texte en fonction de leurs valeurs faciales. Cependant, la sémiotique fait largement enquêtes sur la manière dont le sens est créé plutôt que de simplement enquête sur ce qu'il est. Les résultats ont donné les deux éléments de messages emblématiques et symboliques ou indiciels. Cependant, le symbolisme semble être plus efficace et plus répandue que signification emblématique.

TABLE OF CONTENTS

Bollywoodization of Foreign Policy: How Film Discourse Portrays Tension between States 11
AZMAT RASUL - MUDASSIR MUKHTAR
An Essay on Actor, Actress in Turkish Cinema, Human Ans Sector Ethics in the 21st Century 29
NEVİN ALGÜL
Digital Media Platforms and Education: The Uses of Social Networking in the UAE and China 47
BADREYA ALJENAIBI
Are you cup of joking? : The “latte salute”, American President Barack Obama’s Visual Rhetoric 91
JENNIFER ANNE GEHRISCH
Advertising in Virtual Worlds: The Example of Second Life 103
DİNÇER ATLI - TUNCER CAN
Semiotic Analysis of E-Newspapers Interface Views within the Scope of Advertisements 117
BAHAR DİNÇAKMAN
Interactivity and Political Communication: New Media Tools and their Impact on Public Political Communication 131
BURTON SPEAKMAN
Uses and Effects of Myspace among Christian Teens and Young Adult 145
MICHAEL S. JEFFRESS
A Narrative Criticism of Lifestyle Reality Programs 167
TRAVIS LOOF

The number of defective and unsafe products recalled from the market has increased dramatically in the last decade. While several studies have investigated consumer reaction to product recalls, the impact of such events on utilitarian versus hedonic attitudes toward the brand involved in the recall has not yet been assessed. Similarly, it is not clear whether brands with utilitarian positioning and brands with hedonic positioning are equally affected by recalls.
Through an experiment based on a real-world stimulus from the laptop product category, this study shows that hedonic brands are more resistant to the negative effects of voluntary product recalls than are utilitarian brands. Furthermore, data show that brand familiarity mitigates the effect of the recall on utilitarian attitudes for both utilitarian and hedonic brands. Brand familiarity also positively moderates the impact of the recall on hedonic attitudes, but only for hedonic brands.

-- Purpose: Advances in technology allow fans to consume live broadcasts of sports events almost anywhere via personal computers, tablets and smartphones. These devices are also frequently utilized as “second screens” to communicate with fellow fans on social media, access additional content, or otherwise multitask during televised game consumption. The purpose of this study is to investigate how simultaneous use of these devices impacts sponsors that receive brand integration during the broadcasts.
-- Design/methodology/approach: A 3x2 between-subjects design based on the theoretical framework of dual coding theory was utilized to advance understanding of the influence of second screens on brand awareness and attitudes toward the sponsors of televised events.
-- Findings: Results demonstrated that brand recognition and recall was reduced by second screen activity across nearly all audio or visual consumption experiences. Further, while second screen use in an audiovisual setting did not interfere with consumers’ ability to recognize brands, it inhibited their ability to recall brands from memory, providing empirical evidence that second screen use may interfere with elaborative rehearsal and reduce cognitive capacity.
-- Practical implications: Given that marketers are investing more resources than ever to achieve brand integration during televised sports events, these findings suggest that brands face challenges in achieving a requisite return (in the form of brand awareness) on their investments.   
-- Originality/value: This study represents the first empirical investigation of the impact of consumers’ use of “second screens” in the academic literature, and has important implications for advertisers during live sports broadcasts.