This thesis draws critically on approaches to globalisation, translation and advertising to analyse current translation practices using multimodal advertising texts. The purpose of this study is both to show evidence of the need to approach advertising translation from an interdisciplinary and intersemiotic perspective, and to remark on the need to incorporate such an approach into translation training and practice. It is developed in the broader context of globalisation and its impacts on socio-economic changes and cultural interaction worldwide. The intensification of global communications together with technological advances enhance the steady flow of knowledge and information, whilst at the same time there is a tendency to accentuate commonalities between cultures, clearly illustrated by standardised strategies used in global advertising campaigns. However, one key obstacle in the spread of standardised messages is language diversity, something that has caused translation to gain an active role in global advertising since it facilitates dialogue between global companies and international consumers; thus, translation has not only become an activity that overcomes linguistic and cultural barriers but also a commercial tool. This thesis focuses on the translation of advertisements as an intentional communication act that involves a team process into which translation may be integrated. Translation encompasses concepts that go beyond linguistic matters such as contextual issues and extralinguistic communication sign systems. The translation of advertisements is a growing area of study, with current research mainly limited to the study of linguistic matters. Consequently, in order to improve the accuracy and effectiveness of multimodal translations (text and images in this study) in a professional context, this research incorporates concepts and knowledge from visual analysis and advertising. This thesis suggests a multimodal method of analysis consisting of different phases integrating visual analysis as a part of the translation process. The 2 proposed methodology is illustrated by a corpus of Spanish-English pairs of standardised print advertisements from the beauty and cosmetics sector. The conclusion is that it is vital to consider the extralinguistic aspects surrounding a multimodal text from both a descriptive and critical perspective in order to read connotative information from words, images and the text-image unit. Translation training might also benefit from including this multimodal approach and further collaborative work must be done between translators and marketers to better understand and consolidate the role of translation in this area.

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T13:03:17Z (GMT). No. of bitstreams: 1 Piccini_Alexandre_M.pdf: 1996842 bytes, checksum: d758e6d5fa30fbb172c85cc1490fb37c (MD5) Previous issue date: 2008 / Resumo: Este trabalho é, em parte, uma exploração do meio publicitário com vista aos modos como a música é empregada em sua cinematografia. Do ponto de vista conceitual, posso dizer que a obra filosófica de Deleuze e Guattari é o ponto de encontro e divergência deste ensaio, que tem, quanto às filosofias da representação, uma postura crítica. À orientação axiomática dos estudos de Gorbman e de grande parte das doxas técnicas do campo da film music, procuro especificar uma nova analítica da imagem, especialmente com relação a aquelas que implicam uma nova pedagogia, como em inúmeros casos de Godard, Resnais, Robbe-Grillet, Duras, Herzog, Bresson, Tarkovski e mesmo Pasolini. Nestes casos, em que as analíticas, axiomaticamente fundadas no bom senso e no senso comum, vêem-se claramente fragilizadas ou desfavorecidas, o recurso involuntário ao pensamento (dito aqui sem imagem) instaura uma urgência na qual sujeito, objeto e método nascem concomitantemente. Segundo o posicionamento anti-fenomenológico de Deleuze, nestes casos já não é à intencionalidade da consciência "vígil, clara e distinta" que nos lançamos, mas a um campo transcendental, impessoal, crepuscular, "distinto e obscuro" cujos volumes e paisagens testemunham as mais acrobáticas posições do pensamento - que encontra, nas intensidades, o objeto de seu verdadeiro exercício. Trata-se, aqui, de uma grande empiria que já não visa a um repertório concreto de usos ou a um campo abstrato de possíveis, mas a meadas de mundos, autênticos e (muitos deles) incompossíveis. Sob este ponto de vista, o tema sofre uma reversão em direção à arte mostrando que, se na cinematografia publicitária as moedas de troca são as opiniões, percepções e afecções ordinárias, na arte toda moeda é, em si, uma coleção impessoal e paradoxal de afectos, perceptos e sensações, que será preciso, em cada caso, reconhecer, ainda que pela primeira vez / Abstract: This work is, partially, an exploration of the advertising field, focusing on the particular manners in which music is used in its cinematography. From a conceptual point of view, it could be said that the philosophical work of Deleuze & Guattari is the point of encounter and divergence of this essay, which has a critical posture towards the philosophies of representation. In opposition to Gorbman's studies axiomatic orientation, and to most of the technical doxologies on the film music field, I tried suggesting a new analytical approach to the image (cartography), especially in relation to those cases in which a new "pedagogy" is established, such as the numerous cases found in Godard, Resnais, Robbe-Grillet, Duras, Herzog, Bresson, Tarkovski, and even Pasolini. In these cases, in which analytical models - axiomatically founded on common and good senses - see themselves clearly weakened and unfavoured, the involuntary trigger to transcendental thinking (said here imageless) sets a problematic state of urgency in which subject, object and method unfold reciprocally and immediately. According to the anti-phenomenological position of Deleuze, in these cases we are not concerned, as usual, with the vigil, clear and distinct aspects of consciousness, but with an impersonal, crepuscular, "distinct and obscure" transcendental field, whose volumes and landscapes witness the most acrobatic postures of thought - that finds, in the intensities (that flow in this field), the precise object of its very exercise. The concern, here, is with an ample empiria that doesn't care for organizing concrete cases or, conversely, an abstract field of possibilities, but spoors of worlds, authentic and (many of them) incompossible. From this point of view, our subject suffers a sudden reorientation towards art, revealing that, if in advertising cinematography the opinions, perceptions and affections are the currency of trade, in art, every coin is, in itself, an impersonal and paradoxical collection of affects, percepts and sensations, that we might recognize, even as if for the first time / Mestrado / Mestre em Música

TV-ads today is usually made up by spokespeople screaming in the viewers faces that you need to buy this and that. Often combined with upbeat music to distract you from what’s really going on. Studies shows that this is a very ineffective way of marketing. Is it possible to find a different solution to this energetic advertising strategy. What if adverts were non- verbal? Our thesis examined the opinions from two, age-different, generations to determine if non- verbal communication is used as a marketing strategy in TV-adverts. This study explored what the most important tools of non-verbal communication is, if the two generations differ or share opinions and if it was possible to create adverts with recognition factors using non- verbal communication, and in that case how? With the use of a five focus groups, and an additional film analysis, for our method we felt that enough data was collected. Using an analytic tool, that was prepared beforehand, we processed the material and divided it into categories for further dissection. The study showed that a number of non-verbal tools could be identified and be seen as a marketing strategy. The most significant difference was the use of verbal communication in the adverts. The younger population had no trouble understanding the meaning of adverts using non-verbal communication. The seniors found it rather complicated when there was no dialog in the commercials. However, one thing the focus groups had in common was the fact that they could relate to the adverts in one way or another.

No / Although ads with subtle racist imagery can reinforce negative stereotypes, advertisers can eliminate this problem. After a brief overview of predominantly U.S.-based research on the racial mix of models/actors in ads, a theoretical framework for unmasking subtle racial bias is provided and dimensional qualitative research (DQR) is introduced as a method for identifying and rectifying such ad imagery. Results of a DQR-based study of 622 U.K. television ads with at least one Black actor indicate (1) subtle racially biased imagery now supersedes overt forms, and (2) the most popular ad appeals often mask negative stereotypes. Implications for public policy and advertisers, as well as recommendations for future research, are discussed.

The theme of this master thesis is Instagram - a social networking service and its impact on self-acceptance and self-promoting of teenagers. In the first place, theoretical part aims to describe concepts, that are linked with social networks, such as prosuming, participative culture, and Web 2.0. Furthermore, general approach regarding the impact of social networks on teenagers is introduced. The main subjects of this research are contextualized in the field of social networks. The thesis strives to introduce following topics: the presentation of a distincitve identity on social media, the self-reflection under the influence of the subscribed content, and the marketing exploitation of Instagram influencers. There are three main goals of the dissertation, as stated in a hypothesis part. Firstly, how are the participants of the research influenced by the subscribed content. Secondly, whether is the information stream they are following being reflected in their own Instagram presentation. And finally, what is the impact on the participants of the research in case of advertising activity represented by the Instagram influencers. Qualitative research is focused on girls at the age of sixteen. This is a moderate deflection as the original hypothesis was aiming to involve wider research group of...

I en analys av 300 annonser på en öppen webbplats där socialtjänsten söker efter familjehem till specifika barn kommunicerades fyra olika teman avseende familjehemsuppdraget. Det första temat som avsåg familjens egenskaper förekom i 80 procent av annonserna och det andra temat som gällde förväntningar på uppdragets utförande och familjehemmets kompetens beskrevs i 98 procent av annonserna. Det tredje temat berörde beskrivningar av barnet, hens erfarenheter och egenskaper och förekom i drygt 82 procent av annonserna. När det gällde det fjärde temat- vad familjehemmet kunde förvänta sig i form av utbildning, stöd och ersättning beskrevs det i drygt 35 procent av annonserna. Innehållet i annonserna kan förstås utifrån institutionella logiker om familj, utförande, marknad och solidaritet. Samtidigt förekommande logiker kan erbjuda möjligheter såväl som konflikter och spänningar. Att marknadsföra barn på annons kan bidra till att socialtjänsten kan tillgodose behovet av familjehem, vilket de är ålagda att göra (SOSFS 2012:11). Potentiella familjehem får i tidigt skede information om såväl barnet som förväntningarna på uppdraget och hur socialtjänsten förhåller sig till eventuellt stöd och ersättning. Förfarandet med annonser och dess innehåll kan därmed betraktas som rationellt och effektivt när det gäller utförande av familjehemsuppdraget. Studiens viktigaste bidrag är att konflikter skulle kunna uppstå i mötet mellan en å ena sidan hög förväntan på utförande, kunskap och erfarenhet och å andra sidan en hög förväntan om att ta emot barn av solidariska skäl. Att fokus på stöd och ersättning till familjehemmet är låg, skulle kunna bidra till svårigheter att rekrytera och behålla familjehem. Spänningar skulle också kunna uppstå i mötet mellan socialtjänstens historia av en byråkratisk logik där myndigheten vanligtvis inte delat information om klienter med allmänheten och en marknadslogik där specifika barns egenskaper marknadsförs (anonymt) på öppna webbplatser. Även mötet mellan att se familjehem som en vanlig familj och att ha högt fokus på utförande skulle kunna innebära en konflikt som kan påverka möjligheten att rekrytera familjehem. / In an analysis of 300 advertisements on an open website where the social services are looking for foster homes for specific children, four different themes were communicated regarding the foster home assignment. The first theme, which concerned the family's characteristics, appeared in 80 percent of the advertisements, and the second theme, which concerned expectations of the execution of the assignment and the foster homes competence, was described in 98 percent of the advertisements. The third theme concerned descriptions of the child, her experiences and characteristics and appeared in just over 82 percent of the advertisements. Regarding the fourth theme - what the foster home could expect in the form of education, support and compensation, it was described in just over 35 percent of the advertisements. The content of the ads can be understood from a perspective of institutional logics about family, execution, the market and solidarity. Simultaneously occurring logics can offer opportunities as well as conflicts and tensions. Marketing children through ads can contribute to the social services being able to meet the need for foster homes, which they are obliged to do from the Swedish government (SOSFS: 2012: 11). Potential foster homes receive information at an early stage about both the child and the expectations of the assignment, and how the social services relate to give support and compensation for the foster families. The procedure with advertisements on open websites can thus be considered rational and efficient in the execution of the foster home assignment. The most important contribution of the study is that conflicts could arise in the meeting between a high expectation of execution, knowledge and experience on the one hand and a high expectation of taking care of children in need for solidarity reasons on the other. The low focus on support and compensation for the foster family could contribute to difficulties in recruiting and maintaining foster homes. Tensions could also arise in the meeting between the social services' history of a bureaucratic logic where the authority usually does not make information about clients accessible for the public, and a market logic where specific children's characteristics are marketed (anonymously) on open websites. The meeting between seeing foster homes as an ordinary family and having a high focus on execution could also involve a conflict that might affect the possibility of recruiting foster homes.

Social media is an integrated part of our everyday life. Every user on social media could be a possible customer. The number of users have generated new possibilities for companies to use social media as a tool for marketing. Companies can therefore be more visible as well as they can broaden their scope. Which makes the design of advertisements for social media marketing an important aspect to consider. Therefore, it is crucial for advertisements to be designed in such a way that it stands out from the social media feed and captures the user’s attention. The intention of the design should clearly communicate sender, colors and taglines with its purpose to ensure that the potential customers receive the advertisements message. The focus of this study is to create an increased understanding of how to design digital advertisements for social media, that is by determining principles, guidelines and factors underlying the design. To increase understanding about the design of advertisements on social media, we conducted seven semi-structured interviews. We found that the design of advertisement is mostly made up of perceived and unspoken principles, guidelines and factors. The findings show that they all are relevant when designing an advertisement on social media. When creating advertisements for social media a crucial part is to capture customers' attention and enable purchase intention, which points to the importance of the advertisement’s design.

Purpose: The purpose of this thesis is two folded: firstly to do a content analysis on how consumers older than 55 years (Zoomers) are portrayed in advertisements in the largest Swedish magazines, and secondly, to uncover what perceptions of this portrayal that older and younger consumers have. Background: The population of the world is growing older, and thus older consumers (+55) are a large and rapidly growing group of the population which also are strong in purchasing power. Research indicates that older consumers are neglected in advertisement, which might be due to a low participation rate of older models in adverts. Some researchers indicate that this is due to a fear among advertisers to use older models in advertisement since it could alienate younger consumers from purchasing the products. Previous research is ambiguous concerning the effectiveness of using older models in adverts. Therefore, this thesis will examine how Zoomers are portrayed in adverts and what perceptions older and younger consumers have on this portrayal. Method: The purpose of this thesis was fulfilled by conducting a magazine content analysis of adverts, and by conducting focus groups with Zoomers respectively consumers aged 20-30 years. To analyze the results, theories with a base in psychology and advertising was used, e.g. the cognitive age theory, the key concept theory and the self-discrepancy theory. Conclusion: Zoomers are included in 14 percent of Swedish adverts and are portrayed in a positive manner, which is a portrayal both older and younger consumers are content with. Zoomers want to be included more frequently and indications are discovered that younger consumers might be positive to an increased use of older models in adverts when trust is essential. / Syfte: Syftet med den här uppsatsen är tudelat; för det fösta, att göra en innehållsanalys på hur konsumenter äldre än 55 år (Zoomers) framställs i reklam i de största svenska veckotidningarna. Och för det andra, att undersöka vilka åsikter äldre och yngre konsumenter har om hur Zoomers framställs i reklam. Bakgrund: Världens befolkning blir allt äldre och äldre konsumenter (+55) är en stor och snabbt växande grupp i samhället, som även besitter stor köpkraft. Forskning visar att äldre konsumenter försummas i reklam, något som kan bero på att äldre modeller sällan används i reklamannonser. Vissa forskare menar att detta beror på att reklammakarna är skeptiska till användandet av äldre modeller, på grund av en rädsla att yngre konsumenter ska sluta köpa produkterna. Befintlig forskning är tvetydig gällande effektiviteten att använda äldre modeller i reklamannonser. Därför undersöker den här uppsatsen hur Zoomers framställs i reklam och vilka åsikter yngre och äldre konsumenter har om detta. Metod: För att uppfylla uppsatsens syfte så gjordes en innehållsanalys på tryckt tidningsreklam, samt fokusgrupper med Zoomers och konsumenter i ålder 20-30 år. För att analysera resultaten användes teorier med sin bas inom psykologi, bland andra; the cognitive age theory, the key concept theory and the self-discrepancy theory. Slutsats: Zoomers är inkluderade i 14 procent av tryckta annonser och är positivt framställda, vilket både äldre och yngre konsumenter var nöjda med. Zoomers vill synas mer i reklam och indikationer upptäcktes angående att yngre konsumenter kan ställa sig positiva till en ökad användning  av äldre modeller i reklam där trovärdighet är viktigt.

<p><strong>Purpose: </strong>The purpose of this thesis is two folded: firstly to do a content analysis on how consumers older than 55 years (Zoomers) are portrayed in advertisements in the largest Swedish magazines, and secondly, to uncover what perceptions of this portrayal that older and younger consumers have.<strong> </strong></p><p><strong>Background:</strong> The population of the world is growing older, and thus older consumers (+55) are a large and rapidly growing group of the population which also are strong in purchasing power. Research indicates that older consumers are neglected in advertisement, which might be due to a low participation rate of older models in adverts. Some researchers indicate that this is due to a fear among advertisers to use older models in advertisement since it could alienate younger consumers from purchasing the products. Previous research is ambiguous concerning the effectiveness of using older models in adverts. Therefore, this thesis will examine how Zoomers are portrayed in adverts and what perceptions older and younger consumers have on this portrayal.</p><p><strong> </strong></p><p><strong>Method: </strong>The purpose of this thesis was fulfilled by conducting a magazine content analysis of adverts, and by conducting focus groups with Zoomers respectively consumers aged 20-30 years. To analyze the results, theories with a base in psychology and advertising was used, e.g. the cognitive age theory, the key concept theory and the self-discrepancy theory.</p><p><strong>Conclusion:</strong> Zoomers are included in 14 percent of Swedish adverts and are portrayed in a positive manner, which is a portrayal both older and younger consumers are content with. Zoomers want to be included more frequently and indications are discovered that younger consumers might be positive to an increased use of older models in adverts when trust is essential.</p> / <p><strong>Syfte: </strong>Syftet med den här uppsatsen är tudelat; för det fösta, att göra en innehållsanalys på hur konsumenter äldre än 55 år (Zoomers) framställs i reklam i de största svenska veckotidningarna. Och för det andra, att undersöka vilka åsikter äldre och yngre konsumenter har om hur Zoomers framställs i reklam.</p><p><strong>Bakgrund:</strong> Världens befolkning blir allt äldre och äldre konsumenter (+55) är en stor och snabbt växande grupp i samhället, som även besitter stor köpkraft. Forskning visar att äldre konsumenter försummas i reklam, något som kan bero på att äldre modeller sällan används i reklamannonser. Vissa forskare menar att detta beror på att reklammakarna är skeptiska till användandet av äldre modeller, på grund av en rädsla att yngre konsumenter ska sluta köpa produkterna. Befintlig forskning är tvetydig gällande effektiviteten att använda äldre modeller i reklamannonser. Därför undersöker den här uppsatsen hur Zoomers framställs i reklam och vilka åsikter yngre och äldre konsumenter har om detta.</p><p><strong> </strong></p><p><strong>Metod: </strong>För att uppfylla uppsatsens syfte så gjordes en innehållsanalys på tryckt tidningsreklam, samt fokusgrupper med Zoomers och konsumenter i ålder 20-30 år. För att analysera resultaten användes teorier med sin bas inom psykologi, bland andra; the cognitive age theory, the key concept theory and the self-discrepancy theory.<strong> </strong></p><p><strong>Slutsats:</strong> Zoomers är inkluderade i 14 procent av tryckta annonser och är positivt framställda, vilket både äldre och yngre konsumenter var nöjda med. Zoomers vill synas mer i reklam och indikationer upptäcktes angående att yngre konsumenter kan ställa sig positiva till en ökad användning  av äldre modeller i reklam där trovärdighet är viktigt.</p>

Ce travail de doctorat sur la communication politique dans l’Albanie postcommuniste vise à étudier la place, le rôle, les effets de l’industrie de l’image et de la communication politique basée sur l’image pendant les campagnes électorales au niveau national et local durant la période de la transition politique en Albanie. Au centre des analyses effectuées, nous avons établi des thèmes, importants et cruciaux comme le rôle, la fonction et la place des images dans le cadre de la communication politique et électorale, l’évolution et la transformation de ce rôle jusqu’au point où elle a réussi à se placer au centre des stratégies de persuasion et de propagande des partis politiques et des autres acteurs politiques du pays. L’image dans le contexte de cette thèse est considéré comme un ensemble significatif de formes, de couleurs, de mouvements, qui représentent des objets réels ou imaginaires, des signes spatiaux souvent associés à des bandes sonores et des textes, articulés sur des supports variés : affiches électorales, spots publicitaires électoraux et structuration des apparitions télévisées des acteurs politiques locaux, et la « scénographie –type » des évènements organisés dans le cadre des campagnes électorales. Toujours en fonction des besoins de cette étude, nous allons appeler cet aspect de la communication politique : « communication par l’image», et par ce terme que nous emprunterons tout au long de cette thèse, nous entendrons : Communication à travers les affiches électorales, la publicité électorale ainsi que la structuration scénographique de l’apparition des acteurs politiques locaux devant les médias en période de campagne électorale. L’utilisation de l’image dans la communication politique en Albanie représente une caractéristique locale importante. Il s’agit d’une tendance qui suit les dynamiques communicationnelles en Occident. Par un comportement de mimétisme, les acteurs politiques locaux ont trouvé intéressant, efficace et rentable d’appliquer en Albanie le modèle occidental de la communication politique sous tous ses aspects et surtout en ce qui concerne la logique interne des processus qui constituent la communication politique, les infrastructures qui rendent possible la communication politique, les principes des rapports des acteurs qui produisent la communication politique dans le triangle politique -médias - images, et jusqu’à l’introduction dans le pays des modèles de communication politique au travers des compagnies occidentales, surtout américaines, qui sont consultées par les principaux partis politiques localement situés ou qui restent derrière eux dans le processus de réalisation des stratégies politiques réalisées au cours des élections.Le processus de l’adoption des instruments, techniques et des modèles qui viennent de l’Occident a été réalisé dans le contexte albanais avec une rapidité surprenante pour s’achever en l’espace d’une seule décennie. La question qui se pose ici, ce serait : Quels sont les effets de la communication à travers les images sur l’intégralité du processus politique local ? Il s’agit, en effet, d’une communication politique qui s’éloigne toujours plus d’une tradition locale fondée sur la communication politique directe, interpersonnelle, face à face, orale et fondée sur un réseau organisationnel partisan. Bref, il faudrait bien évidemment étudier les avantages de la communication par l’image par rapport à la communication politique verbale et celle organisationnelle – partisane. Cette thèse a pour objectif de décrire et d’analyser la façon dont s’est développé ce processus dans le temps, quelle était la logique interne de cette transformation, comment la société albanaise est passée d’une communication politique fondée sur la parole écrite ou sur des moyens oraux de l’expression, vers une communication orientée vers un univers d’images ou vers le virtuel. / This doctoral thesis on political communication in post-communist Albania, aims to study the national and local election campaigns carried out during the political transition in Albania after 1991. This is done so to highlight the communication through images. The analysis thus centres on the role, evolution, transformation and the use of images to enable political and electoral communication. We use images in this thesis to mean: electoral posters, electoral campaign adverts, as well as the construction of the TV appearances of the local political actors, which we will call a “typical stage”. In this thesis when interpreting this aspect of political communication we will use “image communication” to mean: communication through electoral posters, electoral campaign adverts as a set up stage for the local political leaders to play in front of the media during the election campaigns. The use of images in political communication in Albania represents a distinguished local feature, which in turn shows also the integration to what happened in Western Europe. This can be seen as a full reflection of the western political communication regarding: the internal rationale process of creating political communication, the infrastructure enabling political communication, the principles of the actors that produce political communication in the politics-media-image industry triangle as well as the importing of these models through the western companies. The latter are mostly American and they consult and stand behind the most important political parties during the political election campaigns It is worth noting that within a decade most of the western models, instruments and technical features were fully adapted in Albania. Therefore the enquiry that arises concerns the implication of extensively using image communication. The recent political communication is distancing even more to the local tradition of direct personal and oral political communication highlighting the advantage of image communication to political communication. 318 The objective of this thesis is to describe and analyse the development of this process over time, the internal rationale of this transformation and how political communication moved away from oral and direct communication to the more universal and virtual images. As regards to time, this thesis focuses on the use of virtual images during the political communication course accompanying national election campaign from 1991, the first free elections held in Albania, to 2009, the last national elections in the country. In this thesis we also include the last local elections for the Tirana Municipality starting in year 2000 to 2007. These elections are the embryo of the above mentioned phenomena that were in turn quickly adopted at the national level and thus changing the political communication landscape. The political candidate Edi Rama has constantly won these elections from year 2000 thus representing what we earlier called image communication, as he was the first to embrace and use the power of image. He modelled a new type of politician who would enter politics after working in the media. His approach was copied extensively and his success is evident as in 2005 he became the leader of the socialist party, one of the biggest parties in the country, without being a career politician neither in the country’s political scene nor within the party.