The Two Logics of the “Lion Rock Spirit” Re-Represented by FortunePharmHK’s Branding Television Commercial

Author(s):  
Sunny Sui-kwong Lam
2017 ◽  
Vol 8 (3) ◽  
pp. 523
Author(s):  
Muhammad Hasyim

This research uses semiotic of metaphor to unmask the underlying meaning beneath the semiotic of consumerism on television advertisements. This research attempts to explain how advertised products are being used, through the means of semiotic of metaphor by scrutinizing the dynamic relationship between sign and signifier. Semiotic of metaphor makes the products ‘alive’ within human society hence, this implies that the very existence of human beings is no longer determined by the presence of another human being, instead the very existence is now determined by the presence of certain commercial products in possession. The society, in term of consumerism, views the products as animate or living entities within the sphere of living. Commercial advertisements use metaphorical expressions to relate and exchange in two major concepts: products are humans, and humans are products’ users. Thus, nowadays, humans tend to seek their purpose of living and existence through consumerism. The result of this research shows that television commercial advertisements mainly work by means of certain metaphorical symbolism: it shapes society’s perspective into believing that the very existence of human beings, the actualization of self, and differentiations among them are achieved by using or purchasing certain advertised products therefore, the products serve as the symbols of those achievements.


PEDIATRICS ◽  
1982 ◽  
Vol 70 (3) ◽  
pp. 375-375
Author(s):  
Lewis A. Barness

It is sobering to reflect that a three minute television commercial for a food product costs about the same amount of money as most University Nutrition Departments in Great Britain have for their annual research budgets.


2020 ◽  
pp. 36-61
Author(s):  
Gary D. Rhodes ◽  
Robert Singer

To explore these issues in-depth, Chapter 2 covers narrative, specifically examining how television commercials operate in terms of Scene, Genre, Cross-Genre, and the Remake. This chapter contends that the narrative framework for producing the television commercial is arguably, shot by shot, second to second, as frequently creative as a full-length feature film. Some commercials utilize cinematic narrative forms of Hollywood; others diverge from the same. The product and its “message” might be realistic or wholly fantastic; nevertheless, the TV commercial is indeed a narrative, a critically substantial formation, whether it unfolds in the form of a slice-of-life story or a presentational style pitch.


Author(s):  
Michael Casten ◽  
Gemma Crawford ◽  
Jonine Jancey ◽  
Malena Della Bona ◽  
Sarah French ◽  
...  

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