ADVERTISEMENTS TAGLINE AND EXPRESSION THROUGH

CONNOTATIVE MEANING ANALYSIS ON “COCA-COLA VS PEPSI”

ADVERTISEMENTS TAGLINE AND EXPRESSION THROUGH

BARTHES’ THEORY OF SEMIOTICS APPROACH

A Thesis

Submitted to Letters and Humanities Faculty

In Partial Fulfillment of the Requirements for

The Degree of Strata One (S1)

SYAHRUL LAIL

1113026000070

ENGLISH LETTERS DEPARTMENT

ADAB AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH

JAKARTA

2018

i

ABSTRACT

Syahrul Lail, “Connotative Meaning Analysis on “Coca-Cola vs Pepsi”

Advertisements Tagline and Expression Through Barthes Theory of Semiotics

Approach”. Thesis: English Letters Department, Faculty of Adab and Humanit ies,

State Islamic University of Syarif Hidayatullah, 2018.

The objective of this research is to find out the meaning of signs on Coca-Cola and Pepsi advertisement taglines or slogans and to explain its semiosis prosses. This research applied descriptive analysis the meaning of the signs and investigate

its semiosis process is using Roland Barthes’ theory. The unit analysis of this research is Coca-Cola and Pepsi advertisement taglines from several sites. There

are 9 advertisement slogans of both Coca-Cola and Pepsi are selected. The researcher determines which one is the expression (within picture and tagline) from the advertisement, and uses it as the data. Data has been selected, the researcher

analyzes the expression of the taglines, and finally gets the contain in order to give the meaning of the advertisement. To give the meaning, it is only based on the

contain formulation of taglines and based on the researcher’s understanding in interpreting the sign as well.

Keywords: taglines, connotative meaning, semiosis, Barthes’ theory of semiotics.

v

ACKNOWLEDGEMENT

Bismillahirrahmanirrohim

In the name of Allah, the Most Gracious, the Most Merciful

All praises be to Allah, the Lord of the world, the creator of everything, who

has given everything for the writer to finish this thesis. Peace and salutation be upon

to our beloved prophet Muhammad Sallallahu ‘Alaihi Wasallam who has changed

the world from ignorance to cleverness.

The writer would like to express the deepest love to h parents who always

give their love until this time and always pray for their son’s success. They are the

biggest motivator in his life that he can finish his final task of this study. Thanks to

all his family, his brother and his sisters who always support and give his advices

until he can complete this thesis.

The writer would like to give his thankfulness to Mr. Hilmi S.S., M.Hum as

his thesis advisor who has given support, guidance, instructions, time, and beautiful

scratches on the thesis sheets that make his able to finish this thesis.

Furthermore, the writer would like to deliver his gratitude to the following

persons:

1. Prof. Dr. Syukran Kamil, M.Ag as the Dean of Faculty of Adab and

Humanities.

2. Drs. Saefudin, M.Pd as the Head of English Letters Department.

3. Elve Oktafiyani, M.Hum, as the Secretary of English Letters Department.

vi

4. All Lecturers of English Letters Department who have given their fine

knowledge to the writer during his study in the State Islamic Univers ity

Syarif Hidayatullah Jakarta.

5. Ratu Ana, Dicky, Iqbal, Riandy, Aliza, and Bila, Rizqy, Yussie who are the

closest friends, who always give the support, and who are always with him

until the completion of this thesis.

6. KKN PRANGIE, Topik, Ari, Adam, Fatah, Lutfi, Sarah, Dini, Nina, Ridha,

and Marza for the outstanding experience that had been given to him during

the Student Study Service.

7. B-BRAVE family for being the writer’s classmates from semesters 1 to 5

and Linguistics Class .

Ciputat, Januari 2018

Syahrul Lail

vii

THE LIST OF DIAGRAMS AND TABLES

Diagram 1. Two Orders Signification ............................................................. 17

Table 3.1. The List of Unit Analysis ............................................................. 21

Table 3.2. Datum 1 ........................................................................................ 25

Table 3.3. Datum 2 ........................................................................................ 26

Table 3.4. Datum 3 ........................................................................................ 28

Table 3.5. Datum 4 ........................................................................................ 30

Table 3.6. Datum 5 ........................................................................................ 31

Table 3.7. Datum 6 ........................................................................................ 33

Table 3.8. Datum 7 ........................................................................................ 34

Table 3.9. Datum 8 ........................................................................................ 36

Table 3.10. Datum 9 ....................................................................................... 37

viii

TABLE OF CONTENTS

ABSTRACT ..................................................................................................... i

APPROVEMENT ............................................................................................ ii

LEGALIZATION............................................................................................. iii

DECLARATION ............................................................................................. iv

ACKNOWLEDGEMENT ............................................................................... v

LIST OF DIAGRAMS AND TABLES ........................................................... vii

TABLE OF CONTENTS ................................................................................. viii

CHAPTER I INTRODUCTION

A. Background of Study ..................................................... 1

B. Focus of Study ............................................................... 4

C. Research Question.......................................................... 5

D. Significance of Study ..................................................... 5

E. Research Methodology .................................................. 5

1. The Objectives of Research ..................................... 5

2. The Method of Research .......................................... 6

3. The Instrument of the Research ............................... 6

4. The Unit of Analysis ................................................ 6

5. The Technique of Data Collection ........................... 7

6. The Technique of Data Analysis.............................. 8

CHAPTER II THE THEORETICAL FRAMEWORK

A. Previous Research .......................................................... 9

B. Definition of Semiotics Theory ..................................... 11

1. Saussurean Semiotics ............................................... 11

2. Barthes Semiotics..................................................... 13

CHAPTER III DATA FINDINGS

A. Data Description ............................................................ 20

B. Data Analysis ................................................................. 24

ix

CHAPTER IV CONCLUSIONS AND SUGGESTIONS

A. Conclusions .................................................................... 39

B. Suggestions .................................................................... 40

BIBLIOGRAPHY ............................................................................................ 41

APPENDIX ...................................................................................................... 44

1

CHAPTER I

INTRODUCTION

A. Background of Study

Language and tools of human communication in the context and acceptance

of information that can affect human life. Language that can be used to

communicate as a means of communication and also as a tool for broadcasting

messages or speaker calls to listeners or observers. Every word spoken or written

has certain functions and objectives, such as those used to communicate, use, and

identify themselves (Harimurti Kridalaksana: 24). The function of language in

advertising is to attract consumers or consumers (Santosa, 2009: 1). With terms and

objectives, people are different for each person who visits or sees the advertisement.

Language is related to the practice of language knowledge. The broader use

of language used in communication increases the language skills in giving meaning

to a word or sentence. Speaking is a social activity, like other social activit ies.

Humans as individual and social beings always fulfill their desires by using

language, because language is an effective and easy medium to communicate and

work together in fulfilling their desires. The language of its role as a means of social

interaction is able to convey information from one human to another. That is, the

interaction between humans is mostly done using language as proof that humans

are social beings while the communication in question is a part of the action to do

these interactions or vice versa. Language as a communication tool, language

consists of two parts, namely the form or symbol in the form of utterances and

meanings. Language activity in a social interaction is actually an activity of

2

expressing language symbols to convey the meanings of the symbol. And one of

the branches of linguistics that discusses or reveals the meaning of language found

in symbols or slogans is semiotics. Meaning is the most important aspect in a

language study because the meaning of communication can occur smoothly and

understand each other. Learning meaning means essentially learning how each

language usage in a language society understands each other.

Advertisement is a phenomenon of language use that is inseparable from

human life. Speaking of competition in the world of advertising, creativity in

persuading consumers is the most important, and indirectly language has an

important role in it. Therefore, writing slogans in advertisements, producers are

required to have language skills. The world of advertising is one of the most

common tools used by a company to mobilize persuasive communication to

customers and society. Language is a very important tool in conveying intent and

purpose. Advertising world becomes useless if there is no role of language in it.

Slogans are short or interesting expressions, words, or sentences and are easy

to remember and tell, or explain the purpose of an ideology, class, organization, etc.

slogan is the writing used to convey the intentions to be conveyed by the sloga n

maker (producer, etc). Advertising slogans are concise and simple sentences.

Persuasive advertising slogans that are intentionally made by a particular company

in terms of (research), especially Coca-Cola and Pepsi products which contain

specific meanings and objectives so that the listeners and watchers will choose

products that fit the needs of consumers and buy them.

3

In marketing a product and developing it into a well-known brand, sometimes

a company has many challenges and intense competition. And before he became a

large company, he certainly had a history where he was able to overcome these

challenges and competition so he could last for several years. Like the competition

between Coca-Cola Co. and Pepsi Inc. in playing its role as a soft drink product.

Both have a long and legendary history of competition, where the competition

began in 1975, the competition was called the "Pepsi Challenge". At that time, a

number of people followed a "blind test" or taste test with their eyes closed. In an

unseen situation, the participants provided two soda drinks, namely Coca-Cola and

Pepsi. then after holding the test, the fact was quite surprising, where most of the

participants who took the test preferred Pepsi compared to Coca-Cola, whereas in

the event Coca-Cola dominated the market share at that time. As a result of Coca-

Cola experienced a decline in market share up to ten years since the "blind test"

event was held. Do not stop there, two soft drink brands continue to compete until

tens of years recovered. The battle now penetrates into social media in the form of

images accompanied by slogans from each product with the intention of displaying

the best side and lowering the opponent between the two.

Slogans and images contained in a product ad have an implicit meaning and

it becomes its own attraction as well as being the key to success in the goal of

identifying and selling products to the public. In addition, each slogan has a

different type. Each type has its own a purpose, for example to emphasize the

difference between one product and another, to introduce new products, and to

compare differences with the intention of provoking listeners or watchers, etc.

4

In realm of a sign, one needs a science called Semiotics to know, understand,

and analyze the meaning behind slogans that appear in various types of media, both

print and electronic. Since the mid-20th century, semiotics has grown into a truly

large field of study, including studies of body language, art forms, rhetorical

discourse, visual communication, media, myths, narratives, language, artifacts,

gestures, eye contact, clothing, advertising, food, ceremonies, etc. (Danesi, 6)

Advertising is one of them, things that have been familiar with our lives, which

appear through good media television, radio, newspapers, and so on are a set of

signs that contain certain messages, codes and meanings.

After the events experienced by Coca-Cola and Pepsi, a lot of slogans have

sprung up in the context of provoking buyers to lead which products are worth

buying by consumers. Therefore, in this study, the author tries to analyze the

meaning contained in the comparison slogan between Coca-Cola Co. and Pepsi Inc

which is included in each product advertisement that has been selected by

researcher using Barthes Theory of Semiotics.

B. Focus of Study

In this research, the authors focus on the connotation and denotation meaning

on slogans and expressions in Coca-Cola’s vs Pepsi’s advertisement that obtained

and chose from various sources. The way of interpreting advertisements based on

linguistic messages, text of slogan and expressions through graphics of Barthes's

semiology theory. The five samples in the advertisement are chosen randomly

sampled (Hermawan Wasito, 54).

5

C. Research Question

Based on the background and the focus of study, the questions are formulated

for more specific purposes. The research questions are:

1. What denotative and connotative meanings are revealed from the Coca-Cola

and Pepsi billboard advertisements based on visual signs.

2. What is the meaning of the slogan contains in each advertisement between

Coca-Cola and Pepsi.

D. Significance of Study

This research is expected to increase the awareness and attention of signs in

the advertisement to the reader, listener, and audience as customer in seeing or

reading an advertisement through knowing and understanding the meaning of the

advertisement through its expression (such as sign etc.). moreover, this research

hopefully can be useful to enrich the knowledge about semiotics especially and can

be benefit for the reader.

E. Research Methodology

a. The Objectives of Research

The Objectives of Research are:

1. To describe the denotative and connotative meanings revealed from the Coca-

Cola and Pepsi billboard advertisements based on visual and verbal signs.

2. To analyze the meaning of the slogan contains in each advertisement between

Coca-Cola and Pepsi

6

b. The Method of Research

This research will use the qualitative method, as has been stated by Nana

(2013) about the definition of qualitative research, which is intended to describe

and analyze the phenomena, events, social activities, attitudes, beliefs, perceptions

of individual thoughts as well as groups.

Therefore, this research is very important to be done by using qualitat ive

methods to reveal and describe social activities as well as to describe the beliefs and

perceptions of thought related to the signs contained in Coca-Cola and Pepsi ads.

c. The Instrument of Research

In this research, the classified data from the taglines of Coca-Cola and Pepsi

are compiled in a data card. The data card is used for analyzing the taglines in Coca-

Cola and Pepsi advertisements. Then, the data in the card will be examined one by

one. According to Hadari and Nawawi (171) data card is a card that use to make

summary or information as an instrument from the data that come from

documentation. The way to using the data card based on the rule meanwhile needed

to add the citation in the data card to make the analysis is easier.

4. The Unit of Analysis

The unit analysis in this research is taken and selected from various sources

obtained through the web. They are, Coca-Cola, “You Can Beat the Feelings” is a

slogan promoted by Coca-Cola Inc. in the USA and Canada in 1988 who replaced

the previous slogan, “When Coca-Cola is a Part of Your Life, You Can’t Beat The

Feelings”. Then Pepsi, “We Wish You A Scary Halloween” is a Pepsi slogan that

7

appeared on social media precisely in 2014, where Pepsi wanted to get a sensation

on Halloween party celebrations on their Facebook and Twitter pages by listing

their competitors, namely Coca-Cola in the advertisements as an object of satire.

Next, Coca-Cola with its slogan “Everybody Wants To Be A Hero” is a reply

addressed to its competitors, Pepsi, which first insinuated Coca-Cola with various

visuals in its advertisements during Halloween party celebrations. Then, Pepsi with

the slogan “Pepsi Taste Beats The Other Cold” is the slogan used by Pepsi in the

promotion of iots product for three years, 1967-1969. Then, Coca-Cola “Open

Happiness” is a global marketing campaign for the Coca-Cola Company that was

rolled out world wide in the first half of 2009 and it was developed by either the

McCann-Errickson or the Wieden+Kennedy creativity agency. Furthermore, Pepsi

with its slogan “Happiness is a choice” is a slogan used to introduce three new

variants of Pepsi’s possessions, are Pepsi Max, Pepsi Blue, and Pepsi Vanilla. Then,

Cola-Cola “Thirst Knows No Season,

5. The Technique of Data Collection

The data for this research are collected by biblioghraphy technique (Teknik

kepustakaan) which is taken from the chosen printed advertisement. The

biblioghraphy technique is the technique which uses the written resources to acquire

the data (Edi Subroto, 42), The steps of data collecting are conducted as follow:

a. The data are downloaded from various sources on the web, and then printed

them.

b. Every datum or advertisement is given the code as identity.

c. There will be 9 pictures selected and analyzed.

8

d. It is taken by using simple random sampling.

e. After the data are collected, the data are analyzed.

6. The Technique of Data Analysis

The non-statistical analysis is used in this research. Because of this research

used qualitative method, the non-statistical is the best choice to analyze these data

(Wasito, 88-89). The researcher tries to determine and describe which one the

tagline and expression of advertisement using the Barthes’ theory. After that, the

researcher analyzes the meaning that contained in the advertisements includ ing

denotation, connotation, and the meaning behind the slogan of two branded

beverage, Coca-Cola and Pepsi.

CHAPTER II

THEORETICAL FRAMEWORK

A. Previous Research

9

The Research that examines about semiotic is quite a lot, especially in

deepening the message behind a certain meaning of a logo, image, and slogan on

an advertisement. The theory is used is also diverse, the theory of semiotic model

Ferdinand de Saussure and Charles Sanders Pierce is often used in semiotic

research. However, in this research researcher wants to examine the semiotics

behind the meaning and hidden messages in a slogan that takes some specific object

in Coca Cola vs. Pepsi advertisement using Roland Barthes theory, among them are

thesis and journal.

First, is the research in a thesis about observed semiotic in State Islamic

University Sharif Hidayatullah Jakarta has been done by Bahtiar Rifa'i (2010) with

title A Semiotic Analysis on Coca Cola's Commercial Advertisements. In his

research, Bahtiar uses Coca Cola Ads as the subject of research. The details of five

advertisements of Coca-Cola Slogan juxtaposed with images attached to the slogan,

they are Welcome to the Coke side of life, Taste so, Taste so Much like Coke, Real

Taste and Real Sugar. The differences between Bahtiar's research is used. The data

which is used by Bahtiar is about image and slogan in Coca-Cola's Advertisement.

Bahtiar's objective is to help the readers to learn signs in visual advertisement

and the relation between the image and the hidden slogan meaning. His conclusion

is that all the slogan in Coca-Cola's advertisements what he analyzed have structure

of sign system and each of the sign has a system and formed by combination

between pictorial element, text and context, so the element has contribution to give

a meaning of Each signifier in pictorial element, text and signified to denotation

10

and connotation meaning. Furthermore, he concluded that the appearance of color

in a product gives a significant effect to give a positive impression to the product.

Second, is a semiotic research from a scientific journal by Inon Beydha and

Koncho Putra Adila (2013) with title "The Meaning of You C1000's Slogan to

Product Image". The difference of this study with Inon and Kuncho's research is the

corpus that is used and objective. In his research on semiotic contained in the You

C1000 advertisement, explaining how the meaning that emerged from his analysis

can generate meaning in the slogan which is the construction of the image of You

C1000 product, then comes the reposition of meaning which becomes the dominant

meaning that appears, that is natural and healthy in showing A beverage about the

product being studied.

So, the overall difference between this research and the previous studies

related to the Barthes model's semiotic problem is the corpus that is used and the

objective. In addition, in this study, the researchers tried to explain the hidden

meaning behind the slogan and expression contained in Coca Cola versus Pepsi

commercials by using Barthes model mapping to be more easily understood in

interpreting the meaning of the slogan and expression of each product.

B. Definition of Semiotics Theory

1. Saussurean Semiotics

11

The emergence of Ferdinand de Saussure has a positive impact on the surviva l

of the modern linguistic world, so that he has been named the father of modern

linguistics at this time. From there, he introduced a semiology which was part of a

linguistic study in his book Course de Linguistique Generale. He is also the

founding character of Structualism because he explains the formation of meaning

by referring to the system of structured differences in language (Chris Barker, 71).

In semiology, Saussure is a highly influential linguistics character for the

development of semiology. It is characterized by several linguistic studies that

make semiology as the object of study. Semiology according to Saussure is a study

of signs in human social life, including what are the signs and what laws govern the

formation of signs. This shows that the signs and meanings behind the signs are

formed in social life and are influenced by the system that prevails in it. In his

semiology concept, Ferdinand de Saussure has four concepts each shown

dichotomously (1) Langue vs. Parole, (2) Syntagmatic vs. Paradigmatic, (3)

Synchrony Vs Diachroni, and (4) Signifiant vs Signifie.

(1) Langue vs Parole

The first concept is the aspect in the language divided by Saussure into

two parts, namely langue and parole. Langue is a system of abstract language

and system used collectively as agreed by all language users, as well as a guide

in language practice in a community. While parole is a practice of speech and

individual speech form in the community at one time or at a certain moment.

12

It is in the concept of langue-parole that the adherents of structualism form

a cultural structure of language that they understand in social, cultural, and

natural phenomena.

(2) Sintagmatic vs Paradigmatic

The second concept made by Saussure is the concept of relationship

between elements divided into syntagmatic and paradigmatic. Sintagmatic

explains the relationship between elements in linguistic concepts that are

organized and arranged with regular. While paradigmatic explains the

relationship between elements in a speech that is not contained in other speech

for the concerned, which seems visible in the language but does not appear in

the composition of the sentence.

These sintagmatic and paradigmatic relationships can be traced to the

order of language in the sentences we use all time. If the included sentence

has a syntagmatic relation, it will show the unity of meaning and relationship

in the same sentence in each word in it. While the paradigmatic relationship

shows the unity of meaning and relationship in one sentence with another

sentence, which relationship has not seen if see one sentence only.

(3) Synchronic vs Diachronic

The third concept is about the study of language divided by Saussure into

two parts, namely synchronic and diachronic. Synchronic is a study of

languages that study the language in a certain time, while diachronic is a study

of language that learns language continuously as long as the language is still

used.

13

(4) Signifiant vs Signifie / Signifier vs Signified

The last concept applied by Ferdinand de Saussure is Signifiant and

Signifie. Saussure argues that the sign consists of images or sounds called

signifiers, and the concepts of the sounds or images coming from the

agreement which are then called signified. Both of them, signifiant and

signified, constitute an inseparable unity to make it a sign. As an example of

the word lion, the lion is a figure of a carnivore animal that has thick hair for

the male lion. In the example, the lion image described is Signifiant, while the

word 'lion' is signified. Both are a unity that makes it a sign.

2. Barthes' Semiotics

One of the ways linguists use to discuss the greater meaning is to distinguish

denotative meanings with connotative meanings. And one of the linguist who is

very concerned about the problem of denotative as well as connotative is Roland

Barthes.

Roland Barthes (9) states that semiology presents a wide range of field

studies, ranging from art, literature, anthropology, mass media, and so on. Simply

put, he defines semiology as the study of signs and meanings in language, art, mass

media, music, and every human effort that can be reproduced or represented to a

person or audience.

LION

SIGNIFIANT

Sig

nificatio

n

SIGNIFIED

14

Barthes is the successor of de Saussure who is a structuralist. Structuralist

view language as a system of signs that are not only sounds or written texts, but

also all meaningful social practices and cultural phenomena that can compose

various languages. Thus, social practices and cultural phenomena can be analyzed

as systems of meaning or language. One of his phenomenal books is Mythologies,

where the book is a collection of popular essays he has ever made. In his book,

Barthes attempted to apply a semiologycal analysis of commonly known cultural

objects such as the Citroen DS, Tour de France cycling, billboard advertisements

and others as a symptom of bourgeois society and he tried to demonstrate his

ideology.

In general, with its semiology, Barthes wants to offer a method to deepen the

understanding of language, literature, and society. In particular, Barthes focuses on

non-verbal signs. The main concern is oxidentalism, a critique of the French

bourgeoisie that claims its culture and tradition are universal. By observing the

topics that emerged in various mass media in 1954-1956, he saw that the reflection

on reality that appears in various media as if accepting all cultural phenomena as

something natural, as a historical necessity. Barthes sees something confusing in

this generally accepted perception, and tries to trace back the decorative spectacle

of this "commonplace". It holds society as a construction that is perpetuated through

the signs presenting the dominant values in society.

Barthes began to study the subject of semiology, not as a process, but as an

attitude. The important value of semiology lies in its functionality. This Semiology

model of Barthes makes it possible to dismantle the perit-bourgeois myth as well

15

as the other myths that lie behind the meaning of a sign in the life of a particular

society by analyzing the process of meaning that you used bourgeois and others to

transform historical conflicts into a culture that is universal.

The essence of Barthes's semiology theory involves two orders of significance

(Rachmat Krisyanto, 268). The first order of signification is denotation, and the

second order of signification is connotation. The first order includes signifier and

signified. This sign is called the meaning of denotation. (M. Antonius Birowo, 56)

Denotation is the order of signification that describes the relationship between

signs and references to reality, which results in explicit, direct, and definite

meaning. While connotation is the order of signification that explains the

relationship between signifier and signified, in which operating meaning is implic it

and hidden. (Tommy Christomy, 94)

According to Barthes signifier is a text, while signified is a sign.

→

Denotation

→

Connotation

In examining a sign, we can distinguish it in two stages. In the first stage, the

mark can be seen behind it on (1) the sign and (2) is indicated. This stage is more

of a denotative sign. This denotation stage only examines the language sign. From

1. SINGIFIER 2. SIGNIFIED

3. SIGN

I. Signifier II. Signified

III. Sign

16

this language we can go to the second stage, which is to examine the connotative

sign. At this stage, the cultural context has been included in the review.

Thus, in the concept of Barthes, the connotative sign does not merely have

additional meanings but also contains both denotative denominations that underlie

its existence. In fact, this is Barthes's contribution to the refinement of his teacher's

semiology, Ferdinand de Saussure, which ceases to be labeled and denotative.

Connotation and denotation are often described in terms of the degree of

representation. In summary, denotation and connotation can be explained as

follows:

a. Denotation is the interaction between signifier and signified in sign, and

between signing with the referent (object) in external reality.

b. Connotation is an interaction that arises when a sign meets the feelings or

emotions of the reader or user and their cultural values. The meaning

becomes subjective and intersubjective. Mark is more open in its

interpretation of connotations than denotation (M. Antonius Birowo,: 57).

Simply stated, denotation is described as a word with no additional meaning

or feelings. Its meaning is called denotative meaning. The denotative meanings

have several other terms such as denotational meanings, referential meanings, and

conceptual meanings. Connotation is a word that contains additional meanings,

certain feelings, or certain taste values in addition to the common basic meaning.

Connotation or connotative meaning is also called connotational meaning, emotive

meaning, or evaluative meaning. (AS Haris Sumandiria, 27-28)

17

Denotations and connotations cannot be seen separately or independently. A

sign we see for sure or a denotation. The meaning of denotation is what appears on

the image, in other words the image by itself spawns the denotation. Denotation by

itself would be a connotation and thus connotation becomes a denotation when the

connotation is commonly used and understood together as a rigid meaning

Diagram 1. Two Orders of Signification

First Order Second Order

Reality Sign Culture

Form

Signifier (Signifie) Connotation

Denotation → ------------------------

Signified (Signifiant) Myth

Content

From the picture above Fiske (88) explains that the first stage of significance

is the relationship between signifier and signified in a sign to external reality.

Barthes calls it denotation, the most obvious meaning of a sign. Connotation is a

term used by Barthes to show the significance of the second stage. This describes

the interactions that occur when a sign meets the feelings or emotions of the reader

18

as well as the values of his culture. Connotation has a subjective or least

intersubjective meaning. In other words, denotation is what the sign represents of

an object; whereas connotation is how to describe it.

In the second phase of significance relating to the content, the sign works

through myth. Myth is how culture explains or understands some social class

products that already have a dominance. Myth is how culture explains or

understands some aspects about reality or natural phenomena. Myth is a social class

product that already has a dominance. Primitive myths, such as life and death,

humans and gods, and so on. While the myths of today such as femininity,

masculinity, science, and violence. (Fiske, 1990: 88)

The myth in the view of Lappe & Collin (Raharjo, 1996: 192) is understood

as something that the general public perceives as true, but actually contradicts the

facts. What Lappe & Collins calls the myth is a kind of modern myth (Alex Sobur,

224). The myth in the view of Lappe & Collin (Raharjo, 1996: 192) is understood

as something that the general public perceives as true, but actually contradicts the

facts. What Lappe & Collins calls the myth is a kind of modern myth. (Alex Sobur,

224)

However, in the case of myths, in which Barthes has an important role in

developing this discussion, he essentially only wishes to conclude two reasons put

forward in his book Mythologies (Barthes, 1957 as quoted by Benny H. Hoed

(2008: 153) 1) to criticize the ideology of the cultural language of the [critique

ideologique portant sur le langage de la culture dite de masse] and (2) undertake

the semiologycal disassembly of the language [demontage semiologique de ce

19

langage] to understand the rooted meaning of ' cultural phenomena in French

society.

Thus, in this study, the researcher tries to explore the meaning (based on

denotation and connotation) behind the slogan and expression used in the Coca-

Cola vs. Pepsi advertisement.

CHAPTER III

DATA FINDINGS

A. Data Description

The main purpose of analyzing advertisements using semiotic analysis is to

read. In the advertisements, that are often found in various media, especially on

billboards or over other media, the interpreter should be able to find the latent

20

meaning associated with connotations, myths, or certain ideological content to

understand the product to be selected. The problem, the relativity of the meaning

truth in semiotics causes a sign can be interpreted differently, every sign in the

language of Barthes, has a polysemy or multilanguage potential. This is due to the

ambiguous nature of the signifier and the likelihood given by the marker to be

interpreted.

Therefore, in this study writer will analyze 9 selected advertisements on

"Coca-Cola vs. Pepsi" commercial that have connotations, myths, or certain

ideological meanings in playing graphics displayed in billboards or other media to

bring up image for each company which can be seen in the table below.

Table 3.1. The List of Unit Analysis

No. Unit Analysis Description of Unit

Analysis

21

1

Coca-Cola's advertisement, featuring a passionate woman who wants to enjoy a glass of Coca-Cola, followed by the slogan "You can’t beat the feeling".

2

Pepsi’s Advertisement,

featuring a can of Pepsi covered in half-body by

Coca-Cola brand using a tagline “We wish you a scary Halloween!” and

followed by a view of the grass-covered rock

mountain as well as Pepsi’s own logo itself.

3

Coca-Cola’s advertisement, featuring a can of Pepsi covered in

half-body by Coca-Cola brand using the phrase “Everybody wants to be a

hero!” and followed by a view of the grass-covered

rock mountain as well as the Coca-Cola logo itself.

22

4

Pepsi’s advertisement, featuring a bottle of Pepsi

which is covered by ice and its slogan. “Taste that beats the other cold!” by

underlining “cold” in its slogan.

5

Coca-Cola advertisement, featuring a

bottle of Coca-Cola lying on an iceberg followed by

a Coca-Cola slogan “Can’t Beat the Real Thing” and ends with the

Coca-Cola Logo itself.

6

Coca-Cola’s billboard with red color, featuring a Santa is drinking a bottle

of Coca-Cola followed by a white ribbon and slogan

“Open Happiness”, then ends with Coca-Cola’s logo.

23

7

Pepsi’s advertisement with blue color, featuring

three cans of Pepsi with different colors and flavors and followed by

slogan “Happiness is a choice,

#Justsoyouknow”.

8

Coca-Cola’s advertisement, featuring a

woman dressed in a Santa clothing skiing in the

snowy mountain followed by a slogan “Thirst knows no

season”. A bottle of Coca-Cola accompanied

by a glass of Coca-Cola, 5₵, and ends with the Coca-Cola Company.

9

Pepsi’s advertisement, featuring a can of Pepsi

decorated with background of several

Pepsi’s style logos from a few generations and followed by slogan “This

is the Pepsi for every generation.”

The data will be analyzed by looking for the dominant signs of the

advertisements. In addition, the details will be analyzed and explored on the data

analysis. At last, the relation between the denotation and connotation in slogan and

24

expression of each advertsiement will be searched by using the Barthes’ semiology

analysis.

B. Data Analysis

In analyzing data, according to the semiotic signification on the

advertisements, the writer analyzes the meaning of the pictorial aspect or an object

of the advertisement, and the text of advertisement as the linguistic symbol.

As advertisement has a complex meaning when it appeared in many ways. A

semiotic signification had determined a meaning of advertisement to denotative

meaning (an explicit meaning of sign) and connotative meaning (a meaning of sign

related to ideological and cultural term).

Due to advertising has it referring codes, then the writer analyzes the code

that laden in the Coca-Cola’s and Pepsi’s advertisements. This code may show its

hermeneutic code, semantic code, symbolic, cultural, or even narrative code.

Finally, finding the meaning of Coca-Cola’s and Pepsi’s advertising meaning is the

final step of this data analysis, whether it shows in denotative meaning or

connotative meaning.

25

Table 3.2. Datum 1

Signifier Signified

YOU CAN’T BEAT THE FEELINGS!

Expression of a woman who

wants to enjoy a cold glass of Coca-Cola.

Denotative Sign

A woman who is passionate about enjoying a glass of fresh Coca-Cola by

showing her index finger towards the front decorated with red nails

Connotative Signifier Connotative Signified

In the picture and slogan above shows a woman who is full of desire to enjoy a glass of fresh Coca-Cola that cannot be beaten by

its taste and freshness with other drinks.

The meaning of the connotation contains in the advertisement of Coca-Cola

develops to become an assumption that everyone who

chooses Coca-Cola, he will feel the unparalleled freshness.

Connotative Sign

Full of confidence, Coca-Cola carries the slogan "You can't beat the feelings" in

the advertisement to give "resistance" and the confidence that Coca-Cola is the best drink and invincible by any drink that can always give freshness to anyone who enjoyed it.

The icons that contained in the Coca-Cola advertisement above are a woman,

a glass of Coca-Cola, fore finger, the slogan of Coca-Cola, the Logo of Coca-Cola,

red color.

26

Disclosure of interpretation on first order signification is not very clear to

state what the advertiser wants to convey. To find out more details about the

meaning contained in the ad, it is necessary to interpret it through the second order

signification obtained from the icons that appear in the advertisement.

A woman who is decorated with red attached to her lips and fingernails that

appear in the advertisement by holding a glass of Coca-Cola can be interpreted as

passion or attracting the attention of consumers who see the ad to participate in

enjoying the freshness of Coca-Cola. Then the slogan "You can’t beat the feelings! "

accompanied by the fore finger of a woman who as if pointing to the object in front

of her can be interpreted as a form of satire, mockery and resistance to her opponent,

in this case Pepsi, that the opponent is not can defeat the deliciousness of the

freshness of the product.

Table 3.3. Datum 2

Signifier Signified

27

WE WISH YOU A SCARY HALLOWEEN!

The expression of a can of Pepsi half-covered by a Coca-

Cola cloth that stood tall in the mountains of grass

Denotative Sign

A can of Pepsi is covered in half body by a slightly bumpy Coca-Cola cloth blown windily stood on a mountain of grass accompanied by slogans "We wish

you a scary Halloween!"


A can of Pepsi is covered half body by a Coca-Cola cloth followed by the slogan "We

wish you a scary Halloween" shows the tension and fear.

The meaning of the connotation contains in the

advertisement of Pepsi develops to become an assumption that everyone felt

scared and anxious if they consumed Coca-Cola, even

just to just look at it.

Connotative Sign

Pepsi tries to bring up the message and "ridicule" to the public of Coca-Cola's audience with the presence of the slogan "We wish you a scary Halloween!"

That by consuming Coca-Cola, someone feel anxious and fearful like someone wearing a "Dracula" costume during a Halloween party which is feared by anyone who saw it.

On the Pepsi's advertisement, there is a tagline just above a can of Pepsi

covered by a Coca-Cola-branded "We wish you a scary Halloween!". begins with

28

a tagline on a Pepsi advertisement that reads "We wish you a scary Halloween!", in

that sentence there is a word "wish" which means in the Oxford Dictionary it is said

(1546) that a noun that used to want something to happen or to be true even though

it is unlikely or impossible. After the word "wish", there is a Halloween word

pinned to Coca-Cola; It is shown by the expression of Pepsi wearing "Halloween

costume", where at Halloween party usually at party participants there are wearing

a scary costume that has a wing like a vampire. Thus, the use of a phrase in the

Pepsi ad tagline has a negative "negative" charge that is shown to Coca-Cola as a

"creepy" drink product for consumption as well as to negatively affect the audience

of Coca-Cola products. In addition, the cool mountains that serve as Pepsi's

advertising campaign background add to the impression that Pepsi is a beverage

capable of creating a cool atmosphere that anyone who enjoys it.

Table 3.4. Datum 3

Signifier Signified

29

EVERYBODY WANTS TO BE A HERO!

The expression of a can of Pepsi half-covered by a Coca-Cola cloth that stood tall in the mountains of rock-grass

Denotative Sign A can of Pepsi is half-covered by a Coca-Cola cloth followed by the slogan "Everybody wants to be a hero!"


The appearance of a can of Pepsi is covered by a

half-body of Coca-Cola cloth and followed by the slogan "Everybody wants to be a hero!" shows the confidence and optimism of its

strength

The meaning of the

connotation contains in the advertisement of Coca-Cola develops to become an

assumption that everyone will have high confidence

and be optimistic about the strength they have for those who consume Coca-Cola

like a hero.

Connotative Sign

Coca-Cola wants to reciprocate and change the view of the public about the previous Pepsi ads that have damaged its reputation by replying elegantly, by

displaying the same visuals, but changing its slogan “Everybody wants to be a hero!” So that everyone seems like someone hero if you can consume Coca-

Cola even for its own opponent, Pepsi.

30

In the third datum, Coca-Cola captures the same place background on the

previous ad, Pepsi's promotional product, the cool, peaceful mountains.

In its advertisement, Coca-Cola deliberately did not release images from

Pepsi's pre-existing ads in its ad campaign. It's just inside the ad, Coca-Cola

juxtaposing its ad campaign with a more elegant reply. In his promotion, Coca-Cola

uses a tagline that says "Everybody wants to be a hero!", Followed by the same

expression as what Pepsi Co. has promoted, a can of Pepsi wrapped in Coca-Cola

shaped costume which connotes like a superhero who wants to fly. The tagline is a

reply to straighten the negative ideological contents that Pepsi Co. has spread.

against Coca-Cola Inc. it is done in order to provide a more creative view to the

audience so that they can choose their own products which are the best between the

two without having to hurt any party.

Table 3.5. Datum 4

Signifier Signified

31

TASTE THAT BEATS THE OTHER

COLDS!

A bottle of Pepsi Classic that is partially covered by a body of

ice

Denotative Sign

A fragment of a classic Pepsi bottle partially covered by a collection of ice with

a slogan display "Taste that beats the others cold!


The appearance of visual and verbal signs found in the Pepsi advertisement, it shows that it has a different freshness from other

drinks.

The meaning of the connotations contains in the advertisement of Pepsi

develops to become an assumption that Pepsi always

gives coolness and freshness to anyone who enjoys it.

Connotative Sign

The slogan "Taste that beats the other cold" in the Pepsi advertisement will give

effect to the public that the taste Pepsi belong to is different from other drinks, and also gives the impression of freshness and coolness for anyone who drinks and enjoys a bottle of Pepsi.

The next data comes from Pepsi Co. which has the tagline "Taste that beats

the other cold" followed by the expression of a bottle of Pepsi swarmed by a little

ice around it.

According to another source (Tidbits and Trivia) written in their blog that

tagline of Pepsi, Taste that beats the other cold, is a ninth slogan or tagline that was

launched and popularized in 1967-1969. In the tagline above has a sense of image

32

to the taste of Pepsi, that is, with a sense of coldness that can beat all other soft

drinks. This is supported by the expression of a bottle of Pepsi is surrounded by a

little ice around it that adds freshness impression to anyone who sees and enjoys

such soft drinks.

Table 3.6. Datum 5

Signifier Signified

CAN’T BEAT THE REAL THING

A bottle of Coca-Cola in the

supine position on top of a collection of ice

Denotative Sign

A bottle of Coca-Cola in the supine position placed right on top of a cold ice pack


Visual and verbal signs of the ad show

freshness from a bottle of Coca-Cola that has a real cold.

The meaning of the connotation

contains in the advertisement develops to become an assumption that a bottle of

Coca-Cola with a real cold sensation can beat all problems

for those who drink and enjoy it.

Connotative Sign

The emergence of the slogan on the Coca-Cola ad above "Can't beat the real

thing" gives a message that the taste of Coca-Cola can refresh any moment for those who enjoy it.

In the next datum, the forth datum takes the object from Coca-Cola

advertisement. In the data Coca-Cola uses a tagline that reads "Cannot Beat The

33

Real Thing", then accompanied by a bottle of Coca-Cola that is supine on top of a

collection of a little ice.

According to another source (Conversations Staff) written in their blog that

"Can’t Beat the real thing" is one of the slogans owned by Coca-Cola which was

launched and popularized in 1990. In his promotional tagline, Coca-Cola does not

include a subject and an object, but under that tagline is a bottle of drink that says

Coca-Cola Classic which is probably the object or substitute for the word "thing"

in the tagline. It shows a certain meaning that can be attributed to the tagline owned

by its competitor Pepsi that reads "Taste that beats the other cold", where in its

tagline Coca-Cola wants to declare Pepsi is one of the subjects of the tagline in

question. It happens after a long dark history between Pepsi and Coca-Cola,

especially in the 70s to 90s where the two are competing for market share with

several challenges war between them (Martthew Yglesias). Once more, It means

Coca-Cola claims that He has "the real cold taste" in soft drinks after the events

heated up in the 70s to 90s between Coca-Cola and Pepsi, in addition to the

expression of a bottle of Coca-Cola that was in the kumupulan a little ice connotates

the freshness of every Coca-Cola bottle for anyone who drinks it

Table 3.7. Datum 6

Signifier Signified

34

OPEN HAPPINESS

The expression Santa, who is enjoying a bottle of Coca-Cola

wearing his costume as a Santa, is followed by a white ribbon tied.

Denotative Sign

A Santa complete with the costume he is wearing is enjoying a bottle of Coca-Cola followed by a white ribbon bound and also is equipped by the slogan

"Open Happiness".


The presence of Santa who is enjoying a bottle of Coca-Cola which is followed by the

emergence of a tied ribbon accompanied by the slogan "Open Happiness"

The meaning of the connotation of the advertisement of Coca-

Cola develops to become an assumption that Coca-Cola wanted to share happiness when

Christmas arrived by giving a gift of Coca-Cola drinks to be

enjoyed together which is represented by Santa as a Christmas symbol.

Connotative Sign

In the slogan on the Coca-Cola’s advertisement "Open Happiness" gives a

message and a certain ideology that by enjoying a bottle of Coca-Cola at Christmas they will get the happiness and freedom like a Santa who is always

free to give happiness to anyone he wants.

The next data is a Coca-Cola billboard that reads an "open happiness" tagline

expressed with a Santa enjoying a bottle of Coca-Cola.

In the advertisement above Santa is used as an object. In addition to being a

mascot or Coca icon since the 1920s, A Santa in his history is also known for his

35

activities that always give gifts to anyone for those who are celebrating Christmas

(Suprapto). The presence of a Santa who is enjoying a bottle of Coca-Cola besides

the Coca-Cola tagline "Open Happiness" connotates that a Santa is willing to pause

his activity in sharing a prize to everyone just to enjoy a bottle of Coca Cola as

stated on his official website stating that the tagline " Open Happiness has the

central message that it is an invitation to billions around the world to pause, refresh

with a Coca-Cola, and continue to enjoy one of life's simple pleasure.

Table 3.8. Datum 7

Signifier Signified

HAPPINESS IS A CHOICE

The expressions of three cans of Pepsi which have different tastes, namely Pepsi Max,

Pepsi Blue, and Pepsi Vanilla stand upright followed by the

slogan "Happiness is a choice".

Denotative Sign

Pepsi wants to show and offer three new flavors that it has to the public


The appearance of three cans of Pepsi with

different flavors is a form of offerings promoted by Pepsi.

The meaning of the connotation

contained in the advertisement of Pepsi develops to become an assumption that with the

presence of three new flavors, one can achieve happiness by choosing and enjoying one of

the three new tastes he has.

Connotative Sign

The presence of the slogan "Happiness is a choice" in the Pepsi advertisement, Pepsi wants to promote and convince its consumers to choose one of the new

flavors offered by Pepsi to get happiness after enjoying it.

36

The seventh datum comes from Pepsi's tagline "Happiness is a choice"

followed by 3 Pepsi cans which have different colors and flavors in the graphic

above.

Pepsi’s tagline in this advertisement tends to focus more on the individual and

plays on emotions such as happiness and calmness. Its tagline reads “Happiness is

a choice. #JustSoYouIKnow#.” In a way, this tagline is promising happiness if you

buy their product. It could also be said that it is appealing to lonely individuals or

acting as comfort food, which in reality junk food, like soda, is comfort food. The

blue palette chosen also provide a somber feel for the viewer’s eyes. Many studies

conducted showing that hues of blue induce calmness in the brain which Pepsi is

taking advantage of. Also, in Pepsi’s background, there appears to be blue, silvery

crystals in the background which could be interpreted as ice crystals. This again

reinforces the thought of an ice-cold beverage.

Table 3.9. Datum 8

37

Signifier Signified

THIRTS KNOWS NO SEASON

The expression of a woman who is skiing in the ice

mountains cheerfully followed by the appearance of a glass

and a bottle of Cola-Cola.

Denotative Sign

A woman skiing Cheerfully in the middle of the ice mountains followed by the

slogan "Thists knows no season", accompanied by a glass and a bottle of Coca-Cola.


The presence of a glass and a bottle of Coca-

Cola is equipped by a view of a woman skiing in the midst of the ice mountains shows an offer of Coca-Cola to the public in

the winter.

The meaning of connotations

contains in the advertisement develops to become an assumption that for now Coca-

Cola can not only be enjoyed during the summer months

which is to eliminate thirst. However, it can also be enjoyed when winter arrives, a sign of

knowing the season, because Coca-Cola does not only give

freshness in the summer, but also when the winter comes.

Connotative Sign

The emergence of the slogan "Thirst knows no season" that a woman is wearing

a Christmas costume (Santa) is skiing in the middle of the ice mountains that are the background of the Coca-Cola advertisement has a message that now Coca-Cola can be enjoyed in all seasons, not only when just summer. And it

will be a refresher to anyone who consumes it when winter arrives.

38

The ninth datum comes from Coca-Cola's tagline "Thirst knows no season"

followed by a woman wearing a Christmas costume skiing in the snow and cannot

be separated from the presence of an open bottle of Coca-Cola and a glass of Coca-

Cola ready to serve.

In the graphic above, the tagline connotates that Coca-Cola is now present to

relieve thirst in the winter where since the advent of Coca-Cola, it is only known as

a drink that can be consumed in the summer season to relieve thirst. The presence

of a happy-looking woman wearing a Santa costume that is playing ski on the snow

on the picture adds a happy and satisfying impression of having to ski in winter

without having to worry about losing her thirst while enjoying her vacation, as she

can enjoy a bottle or a glass of Coca- Cola to relieve the thirst she was feeling.

Table 3.10. Datum 9

Signifier Signified

THIS IS THE PEPSI FOR EVERY GENERATION

An expression of a can of Pepsi

that is overshadowed by the previous Pepsi cover.

Denotative Sign

The appearance of a can of Pepsi is surrounded by the shadow of the previous Pepsi cover is followed by the slogan "This is the Pepsi for every generation".


39

The presence of the previous Pepsi cover shadows on the Pepsi advertisement shows

the existence of "re-generation" of Pepsi products

The meaning of the connotations contained in the

advertisement develops to become an assumption that Pepsi always innovated

indefinitely on the results of his work to satisfy the hearts of

its consumers by raising new tastes in every different moment.

Connotative Sign

The slogan that appears on the ad "This is the Pepsi for every generation" gives a certain ideology that Pepsi is an innovator drink that always understands the satisfaction of Pepsi consumers to continue to bring new flavors from each

generation and also in certain moments.

The last datum is the Pepsi's tagline "THIS IS THE PEOPLE FOR EVERY

GENERATION" in blue and red, followed by Pepsi's new generation logo and a

can of Pepsi with a new look.

In the graphic above, the existence of the Pepsi logo from year to year is a

"Nostalgia" for all Pepsi fans to recall the best moments of Pepsi in the past and

brightly on the picture above a new Pepsi face appears on a can of Pepsi in the row

front graph to create new iconic moments for today. Then, the tagline "THIS IS

THE PEOPLE FOR EVERY GENERATION" with the distinctive color of Pepsi

itself is blue and red is an invitation to consumers to get to know the new product

of Pepsi that exist today without having to forget the Pepsi Generation in the past,

because actually Pepsi have the same goal that is to encourage consumers to have

fun, live out loud and enjoy life to the fullest, and Pepsi has also created memorable

moments across generations that have shaped culture and still generates interest

from consumers today.

40

CHAPTER IV

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

This research aims to find out and understand the meaning behind the visua l

signs (connotative and denotative) and slogan are found in the Coca-Cola vs. Pepsi

advertisement using Barthes theory of semiotics theory seen in terms of certain

denotations, connotations and ideologies in each advertisement. And after

observing several advertisements that have been selected and analyzed, the

following conclusions have been revealed.

In the Coca-Cola and Pepsi advertisements, each advertisement has signs and

signs including about competing, bringing pride to each product, and also giving a

strong influence from each unique and "bold" slogan made by each product with

the hope of influencing the behavior of their products. The denotation meaning in

this ad is to display some interesting poses and creative slogans that can give a

positive impression for anyone who sees the ad. It shows how important the role of

images and slogans in competing to attract the attention of new consumers. Whereas

the connotation meaning is that each picture and slogan that appears on the

advertisement has a special meaning, that is, in addition to introducing new

products or old products that are reappeared with different innovations, it also has

the intention to drop the opponent's role in competing to win the sales rate of each

product.

While, the meaning of the slogan contained in each product gives an

understanding that in choosing a drink that is "the same" with a different product

41

for someone will give a social influence and way of thinking someone in making

the right decision with various reasons that exist in certain communities.

Using Barthes theory of semiotic is very meaningful in this study to reveal

clearly every meaning behind the signs that appear, both in terms of visual

(supporting images) and verbal (slogans). Behind the slogan that appears in each

advertisement on the billboard shows the ideology or specific message conveyed

by the company from each of the soft drink brands to the community in order to

embed their products in the hearts and minds of the community. Therefore, with

Barthes's theory of meaning at the third level about a sign, the myth that aims to

bring up a certain ideology can be revealed clearly and straightforwardly.

B. Suggestions

To refine the next research, the authors look to the following authors who are

interested to discuss the signification especially in advertising to pay attention to

aspects of theory that are still less deepened by using theories more contemporary

than the theory used in this study, and also search for objects or data more

challenging in order to provide insight and to deepen the study of semiology itself,

both theoretically and practically.

42

BIBLIOGRAPHY

Books

A. Shimp, Terence. Periklanan Promosi (Aspek Tambahan Komunikasi Pemasaran Terpadu). Jilid 1, edisi Terjemahan. Jakarta: Erlangga. 2007.

Ackerman, Laurence, D. Identity is Destiny. Jakarta: PT. Garmedia Pustaka. 2004.

Aminuddin. Semantik (Pengantar Studi Tentang Makna). Bandung: Sinar Baru Algensindo. 2011.

Anggoro, M.L, Teori dan Profesi Kehumasan Serta Aplikasinya di Indonesia. Jakarta: Bumi Aksara. 2000.

Barker, Chris. Cultural Studies, Theory and Practice. London: Sage Publicat ion. 2000.

Barthes, Roland. Elements of Semiology. New York: Hill and Wang. 1986.

Berger, Arthur Asa. Media and Communication Research Methods. SAGE Publication, Inc. 2000.

Birowo, M. Antonius. Metode Penelitian Komunikasi. Yogyakarta: Gitanya li. 2004.

Chaer, Abdul. Pengantar Semantik Bahasa Indonesia. Jakarta: Rineka Cipta. 1994.

Chaer, Abdul, dan Agustina, Leonie. Sosiolinguistik: Perkenalan Awal. Jakarta: Rineka Cipta. 2004.

Christomy, Tommy dan Yuwono, Untung. Semiotika Budaya. Jakarta: Pusat Kemasyarakatan dan Budaya UI. 2004.

Danesi, Marcel. Messages, Signs, and Meanings: Basic Textbooks on Semiotics and

Communication Theory. Yogyakarta: Jalasutra. 2010)

Fiske, John. Cultural and Communications Studies. 1990.

Hoed, Benny. Semiotik dan Dinamika Sosial Budaya Ferdinand de Saussure, Roland Barthes, Julia Kristeva, Jacques Derrida, Charles Sanders Pierce. Marcel Danesi & Paul Perron, etc. Depok: Komunitas Bambu. 2008.

Hornby, AS. Oxford ADVANCED LEARNER’S Dictionary. Oxford: Oxford University Press. 2003.

Jefkins, Frank. Periklanan. Jakarta: Erlangga. 1997.

43

Kasali, Rhenald. Manajemen Periklanan: Konsep dan Aplikasinya di Indonesia.

Jakarta: Pustaka Utama Grafiti. 2007.

Kridalaksana, Harimurti. Kamus Linguistik Edisi Keempat. Jakarta: PT Gramedia Pustaka Utama. 2011.

Kurniawan. Semiologi Roland Barthes. Magelang: Indonesiatera. 2001.

Krisyanto, Rachmat. Teknis Praktis Riset Komunikasi. Jakarta: Kencana. 2007.

Samsuri. Berbagai Aliran Linguistik Abad XX. Jakarta: Depdikbud. 1998.

Sobur, Alex. Semiotika Komunikasi. Bandung: PT. Remaja Rosdakarya. 2003.

Subroto, Edi. Pengantar Metode Linguistik Struktural. Surakarta: Sebelas Maret University Press. 1992.

Sukmadinata, Nana Syaodih. Educational Research Method. Bandung: PPS UPI and PT Remaja Rosdakarya, 2013.

Sumandiria, AS Haris. Jurnalistik Indonesia, Menulis Berita dan Feature.

Bandung: PT. Refika Aditama. 2004.

Wasito, Hermawan. Pengantar Metodologi penelitian: Buku Panduan Mahasiswa.

Jakarta: PT. Gramedia Pustaka Utama. 1997.

Journal

Inon, Beydha and Adila, Koncho Putra. Makna Slogan You C1000 Terhadap Citra

Produk (Analisis Semiotika Iklan Makna Slogan You C1000 ‘Healthy Inside, Fresh Outside’ Versi Xinema Zvarette Terhadap Citra Produk di Televisi

Swasta. Web. 20 Juli 2013.

Newspaper

Suprapto. Sejarah dan Asal Usul Santa Claus. Wartakotalive.com. The Wartakota 26 December 2015. Web. 26 December 2015.

Websites

http://www.coca-cola.co.id/id/sejarah-m/

http://www.worldofcoca-cola.com/about-us/coca-cola-history/

http://www.pepsico.com/live/pressrelease/pepsi-unveils-new-global-campaign-

pepsi-generations-with-debut-of-new-tv-adverti01112018

http://www.coca-cola.co.id/id/sejarah-m/

http://www.worldofcoca-cola.com/about-us/coca-cola-history/

http://www.pepsico.com/live/pressrelease/pepsi-unveils-new-global-campaign-pepsi-generations-with-debut-of-new-tv-adverti01112018

http://www.pepsico.com/live/pressrelease/pepsi-unveils-new-global-campaign-pepsi-generations-with-debut-of-new-tv-adverti01112018

44

Blogs

Staff, Conversations. A History of Coca-Cola Advertising Slogans. Coca-Cola Journey Blog, 1 January 2012. Web. 1 January 2012.

Titbids and Trivia. Pepsi Slogans. Titbids and Trivia Blog. 28 July 2010. Web. 28 July 2010.

Yglesias, Matthew. Sweet Sorrow: Coke Won the Cola Wars Because Great Taste

Takes More Than a Singe Sip. Slate Blog, 9 August 2013. Web. 9 August 2013.

Theses

Rifa’I, Bahtiar. A Semiotic Analysis on Coca-Cola’s Commercial Advertsiements. Under-graduated thesis. UIN Jakarta, 2010.

45

APPENDIX

No Brand Data Source Code Website Address

1 Coca-Cola

Datum 1

http://www.10steps.sg/article/advertising-

wars-pepsi-vs-coca-

cola/

2 Pepsi

Datum 2

http://www.sudinfo.be/852731/article/fun/tend

ances/2013-11-06/pepsi-attaque-coca-

cola-a-l-occasion-de-halloween- la-replique-

de-coca-etait-un-f

3 Coca-Cola

Datum 3

http://www.sudinfo.be/

852731/article/fun/tendances/2013-11-

06/pepsi-attaque-coca-cola-a-l-occasion-de-halloween- la-replique-

de-coca-etait-un-f

4 Pepsi

Datum 4

https://www.google.co.id/search?q=pepsi+tast

e+beat+the+other+cold&dcr=0&source=lnms&tbm=isch&sa=X&ve

d=0ahUKEwiRiLiV4snZAhWBppQKHfIaDvgQ_AUICygC&biw=13

66&bih=634#imgrc=wHIJ2eRlSE5kgM:

5 Coca-Cola

Datum 5

https://www.google.co.

id/search?q=coca+cola+can%27t+beat+the+re

al+thing&dcr=0&source=lnms&tbm=isch&sa

=X&ved=0ahUKEwjpn

pzq4cnZAhWJjpQKHXMuDuQQ_AUICygC

&biw=1366&bih=634#imgrc=0szJB6OBpfccv

M:

46


6 Coca-Cola

Datum 6

https://www.google.co.id/search?dcr=0&biw=

1366&bih=634&tbm=isch&sa=1&ei=jDyXWoL9E4W00ASJgbSgD

w&q=coca+cola+open+happiness+on+billboa

rd&oq=coca+cola+open+happiness+on+billbo

ard&gs_l=psy-

ab.3...8475.11111.0.11353.13.13.0.0.0.0.235.1

581.0j9j1.10.0....0...1c.1.64.psy-

ab..3.1.233...0i19k1j0i3

0i19k1j0i8i30i19k1.0.EmGIOx1CPJs#imgrc=

BzEOS_wY-VgNOM:

7 Pepsi

Datum 7

https://www.google.co.id/search?dcr=0&biw=1366&bih=634&tbm=i

sch&sa=1&ei=jDyXWoL9E4W00ASJgbSgD

w&q=pepsi+slogan+happiness+is+a+choice&oq=pepsi+slogan+happ

iness+is+a+choice&gs_l=psy-

ab.3...1216.10091.0.10781.60.38.1.0.0.0.306.5735.0j16j11j1.29.0....0..

.1c.1.64.psy-ab..31.12.2325.0..0j0i1

9k1j0i30i19k1j0i8i30i19k1j0i67k1j0i30k1j0i5i30k1j0i8i30k1j0i5i30i1

9k1.209.ENuM_aQSwNg#imgrc=UVh4PA6P

GMw-JM:

47


8 Coca-Cola

Datum 8

https://www.google.co.id/search?dcr=0&biw=

1366&bih=634&tbm=isch&sa=1&ei=jDyXWoL9E4W00ASJgbSgD

w&q=Coca+Cola+ads+thirst+knows+no+seaso

n+drink+coca+cola&oq=Coca+Cola+ads+thirst+knows+no+season+dr

ink+coca+cola&gs_l=psyab.3...1000.21121.0.2

1297.78.54.2.4.4.0.343.7727.0j39j5j1.46.0....0..

.1c.1.64.psy-

9 Pepsi

Datum 9

https://www.google.co.

id/search?dcr=0&biw=1366&bih=634&tbm=i

sch&sa=1&ei=jDyXWoL9E4W00ASJgbSgDw&q=pepsi+slogan+thi

s+is+the+pepsi+for+every+generation&oq=pe

psi+slogan+this+is+the+pepsi+for+every+gen

eration&gs_l=psy-

ab.3...1020.12504.0.12773.75.52.0.0.0.0.407.7

816.0j22j14j1j1.39.0....0...1c.1.64.psy-

ab..38.11.2834.0..0j0i1

9k1j0i30i19k1j0i8i30i19k1j0i67k1j0i30k1j0i5i

30k1j0i8i30k1j0i5i30i19k1.173.aieCP--

M_OI#imgrc=51rPnnQ

KZkY7iM:

ADVERTISEMENTS TAGLINE AND EXPRESSION THROUGH

Documents

Transcript of ADVERTISEMENTS TAGLINE AND EXPRESSION THROUGH