Alphabet r e s e a r c h
SEMIOSCREENA NEW POWERFUL ANALYTICAL COCKTAIL
Barcelona, Bridges to Excellence
May 8th 2008
ALPHABETr e s e a r c h
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AN ORIGINAL METHOD
SEMIOSCREEN is a convergence between two particularly suitable ways of studying stories:
Semiotics of the French school (École de Paris), which Alphabet has adopted over many years as
its main method of analysing advertising
Theories concerning the creation of myths born in the place which,
more than any other, feeds the contemporary imagination:
Hollywood
SEMIOSCREEN is an innovative synthesis,
precious both for analysis and at the stage of creative
development
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IN OTHER WORDS…
SEMIOSCREEN
combines two cognitive tools of extraordinary value, with diverse characteristics and some affinity – never previously brought together:
SCREENWRITING
APPLIED ART
SEMIOTICS
LOGICAL CATEGORIES
SEMIOSCREEN
Main reference:Jean-Marie Floch
Main reference:Christopher Vogler
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THEORETICAL ASSUMPTIONS OF THE FRENCH SCHOOL
MEANING
is a process by which
A DEEP VALUE
is set in
A NARRATIVE STRUCTURE
then filled with
FIGURES AND SIGNS
an excellent basis for the analysis and support of advertising developments
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THE BASIC ANALYTICAL GRID
Widely based on Floch’s perspective, it has four fundamental levels:
1) SURFACE LEVEL visual/colour codes verbal/sound codes proxemics
2) FIGURATIVE LEVEL concrete figures/gestures rhetorical structure spatial/temporal choices
3) NARRATIVE LEVEL general scheme of action actants and archetypes narrative sequence semiotic modalities
4) DEEP LEVEL values of the advertisement
anal
ysis
cam
pai
gn
dev
elo
pm
ent
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NARRATIVE OUTLINE
According to the French school, the narrative outline is based on these main ‘actants’: Addresser Subject (or Hero) Object of Value Anti-Subject (or Anti-Hero) Helper (often Magic) Opponent
In advertising, the product typically covers one of these roles:
Subject, Object of Value or Helper
The ideal role depends on:commercial category, functions of the product and
strategic positioning
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NARRATIVE SEQUENCE
According to semiotics, in the development of stories there are four fundamental steps and three trials connected to them:
Manipulation Sanction
Competence Performance
QUALIFYING TRIAL
The prince finds the sword
DECISIVE TRIAL
The prince defeats the dragon
GLORIFYING TRIAL
The king gives the prince his daughter’s hand
Addresser’s path
Hero’s pathThe king asks the prince to free his
daughter
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LIMITS OF THE SEMIOTIC APPROACH
It does not take into account the many possible differences among Heroes, Helpers, etc.
1. THE DEFINITION OF THE ACTANTS IS TOO SIMPLISTIC
It does not encourage to find new creative ways to tell a story
2. THE NARRATIVE SEQUENCE IS TOO RIGID
NEEDED: SOME FRESH INSIGHT ABOUT HOW GOOD STORIES CAN BE TOLD
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FROM SEMIOTICS TO STORYTELLING
an extraordinary ability to create stories which
transcend boundaries of age, nationality,
language, culture
A different set of competences about storytelling: HOLLYWOOD
an extremely rich literature about
professional screenwriting, made of
thousands of books
The best of screenwriters’ books build on the principles of myth
Fundamental reference:Joseph Campbell’s celebrated work, The Hero with a Thousand Faces
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CAMPBELL AND THE ADVENTURE OF THE HERO
The most influential American author in the analysis of myth structures
Elixir
Tests
Call to adventure
Helper
FlightHelpers
THRESHOLD OF ADVENTURE
Threshold crossing
Brother-battle
Dragon-battle
Dismemberment
Crucifixion
Abduction
Night-sea journey
Wonder journey
Whale’s belly
Return
Resurrection
Rescue
Threshold struggle
1. SACRED MARRIAGE
2. FATHER ATONEMENT
3. APOTHEOSIS
4. ELIXIR THEFT
strong influence on George Lukas for
STAR WARS
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VOGLER’S CONTRIBUTION
A smart adaptation of Campbell’s model to screenwriting:
ORDINARY WORLD
SPECIAL WORLD
ACT ISeparation
ACT II-ADescent
ACT IIIReturn
ACT II-BInitiation
Call
Refusal of Call
Meeting Mentor
Crossing First Threshold
Tests, allies, enemies
Approach
Ordeal
Ordinary World
Reward
Road Back
Resurrection
Return with Elixir
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SEMIOSCREEN: A NEW MIX OF PRINCIPLES
Intermixing Campbell/Vogler’s models with the that of the French school of semiotics:
ORDINARY WORLD
SPECIAL WORLD
ACT ISeparation
ACT II-ADescent
ACT IIIReturn
ACT II-BInitiation
Call
Refusal of Call
Meeting Mentor
Crossing First Threshold
Tests, allies, enemies
Approach
Ordeal
Ordinary World
Reward
Road Back
Resurrection
Return with Elixir
MANIPULATION
COMPETENCE PERFORMANCE
SANCTION
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ACTANTS AND ARCHETYPES
The American approach also enrich the rather abstract semiotic definition of ‘actants’. For instance:
Subject/Hero
Hero of growthHero of actionInvoluntary hero Hero as WarriorHero as LoverSolitary heroGroup-oriented hero Catalysing hero
Anti-Subject/Shadow
Villain, enemyAntagonistFemme fataleProjection (Mr. Hyde)Cruel father/mother Monster, alienHumanised villainForce of nature
Helper/Mentor
MasterBearer of magic giftsInventorShaman, initiation wizardDark Mentor Ex-hero Inner Mentor (conscience)Comic support
It’s not enough to put a certain product in the role of Hero: one has to decide what kind of Hero the product should be
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1st EXAMPLE: THE MACINTOSH 1984 CULT COMMERCIAL
Paradigmatic case of action Hero
ORDINARY WORLD
SPECIAL WORLD
Call
Refusal of Call
Meeting Mentor
Crossing First Threshold
Tests, allies, enemies
Approach
Ordeal
Ordinary World
Reward
Road Back
Resurrection
Return with Elixir
Manipulation
Competence Performance
Sanction
Line of men staring at a giant video…
The girl runs in with a hammer
Guards without faces try to stop her
She runs up to the big screen
The girl throws the hammer
The screen implodes and the supreme guide disappears
Men who were previously stupefied are now free
“And you will see why 1984 won’t be like 1984”
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2nd EXAMPLE: THE 8X1000 CAMPAIGN OF THE CATHOLIC CHURCHIN ITALY – FATHER JOSÉ AD (2007)
Crucial role of the Helper
ORDINARY WORLD
SPECIAL WORLD
Call
Refusal of Call
Meeting Mentor
Crossing First Threshold
Tests, allies, enemies
Approach
Ordeal
Ordinary World
Reward
Road Back
Resurrection
Return with Elixir
Manipulation
Competence Performance
Sanction
Abandoned youngsters living in the poorer streets of Buenos Aires…
Some of the boys react with violence
The rescuers help all those in need…
…plunging into this deep darkness
The biggest fight is against drug addiction…
“…to bring to light treasures otherwise lost forever”
Some rescued boys are brought to the shelter
“With the 8x1000 to the Catholic Church you have done a lot for many”
…meet Father José and his volunteers
They can now share love and friendship
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POWERFUL MESSAGES
STRENGTHS OF FATHER JOSE AD:
depicted as Involuntary or Cathartic Heroes
based on the strong archetype of the Rescuer
as means of identification for the donors at home
In other ads the HELPER can be the Master, the Spiritual Counsellor or the Medicine Man
FRESH FEELING OF CHANGEABILITY, WHILE KEEPING THE NARRATIVE SCHEME REMARKABLY CONSTANT
Young Subjects
Helper’s role
Brave volunteers
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CONCLUSIONS
ADVANTAGES OF THE SEMIOSCREEN METHOD
It may provide:
a greater articulation and refinement of the analysis
a way to overcome the limits of the pure semiotic model
ideas and solutions for improving the creative process
an escape from over-standardized narrative formulas
elements of distinctiveness compared to competitors
CONTRIBUTE TO CREATING BETTER ADVERTISING STORIES
Final aim:
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