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Campofrío advertising text Message to the enemy
We are faced with a commercial announcement, broadcast on television, composed of a clip and a sequence of text, appearing at the end of this the logo of the advertiser company (Campofrío) and its corresponding slogan. There is no publicized product in particular, but a brand: the announcement has been created in order to transmit a message of hope referring to the current situation. The intention of giving visibility to this brand is deduced, a function of advertising, making use of humor, something already characteristic of its ads, and what should be the national and community unity against such a complicated event.
Transcription is as follows, the spoken part has been bold:
Is the enemy? Could you stop the war for a moment? This … are many? Wint what beasts! And … could war stop at least an hour or so? Because we have a lot to do. We have to share some memes to encourage us. We have to help the neighbor make the purchase. We have to call friends and family. We have to cook for our elders. We have to thank those who work for us and take care of us. Well, then we stay like this. In agreement. Because this war we will win it. Campofrío. That nobody removes our way of enjoying life. Well, then I will send me two missile. And … assorted bullets.
The difference between argumentation on the facts must be pointed out, which objectively exposes the characteristics of the product in question, and rhetorical argument, based on its entirety on the subjective presentation of the aspects. As we can easily discern, the rhetorical argument is the one that prevails in this case. In fact, an impartial argument does not appear at any time: the intention of the spot is to support, to demonstrate that, even in difficult times, the brand strives to move forward. To do this, resources are used that seek to awaken nostalgia and move the viewer. For example, make use of Gila’s aforementioned sketch, which we will analyze in greater depth below.
There are three different types of rhetorical argument: ethical, affective and analogical. Campofrío recurs notoriously to ethical arguments by linking his message to the mythical Miguel Gila, famous actor, humorist and Spanish cartoonist already deceased and very dear in the country. Specifically, he uses an excerpt from one of his best known sketches: is the enemy?
In this, Gila, dressed in a uniform somewhat different from the one who would have used years ago in the Spanish Civil War, participating in the Republican side, calls the enemy army by phone to ask if they could stop the war … just for a couple of hours, complainof a cargo of cannons that had arrived without hole to, immediately, ask for more weapons as if it were a purchase list. Gila asks to stop war because we have a lot to do (the labels follow, what we have to do).
Because of this, consumers identify the brand with this personality, providing it with prestige.
It is not the first time that they do the humorist participant in one of his ads. Already in 2011 with its comic spot, in which precisely comic appears, such as Los Morancos, Chiquito de la Calzada or Santiago Segura, they meet on the occasion of the crisis to file roughness and melt into a hug to the tomb of MiguelGila, who refer as a teacher, and who calls on the phone to, again, stop the war.
Nor is it surprising that he is chosen by the brand, always recognized for his ability to deal with his vital traumas, such as he almost died shot at the hands of drunk mercenaries, through humor, which contrasts with hard times such as thethat we are living.
The use of this monologue adapts perfectly to our current situation: the enemy is now the coronavirus, and a break is requested to continue doing everything that has become our new normality to make the purchase to our neighbors or send memes,ending with the phrase: because we will win this war.
On the other hand, you can see the presence of affective argument, which aims. This argument is based on one of the most used advertising topics: ours, the national, the Spanish. Instead of resorting to the attraction of the foreigner, the spot at all times uses references to our country: our humor (gila or making memes), our humanity (making the purchase to our neighbors), our ability to unite despite thedifferences before complicated moments;All aimed at increasing the persuasive force of the message.
The conative or appellative function is usually the predominant in advertising messages, manifesting through the use of the imperative or negative advertising. In the announcement analyzed, it appears by other resource called the sociative plural, which connects with the possessive of the 1st person of the plural and directly addresses the receiver / buyer, encompassing it in the speech and marking a certain relationship of trust, even offamiliarity with this, which facilitates its persuasion, which is the final purpose. This is expressed through the currency that nothing and nobody removes our way of enjoying life, and the 1st person of the plural of the verb to have. This linguistic brand of subjectivity is connected with that purpose of appealing to the unity of all Spanish citizens.
The aesthetic or poetic function can be seen in the composition of the message, which we can divide into three parts:
The insertion of the extract of the monologue of Gila. The fact of using it has no other purpose than to impact the receiver, to return perhaps to another era or remind such a dear character, which contributes to the spot being easy to remember, unforgettable even. The series of signs that carry the message of the brand, which stand out for their simplicity and encourage to move forward despite everything. The Campofrío logo and its already famous slogan, arranged classically and exercising as a link between the above and the company.
The referential function is involved when informing about the existence of a product or company. The brand is represented through its logo and motto, as we have previously mentioned. However, the final product does not focus especially on this part: the message prevails above all, reducing the commercial reference to the phrase we have to help the neighbor make the purchase and the last ten seconds of the video.
The title of the announcement message to the enemy must be taken into account, which refers to advertising itself: it is a direct message within what we already consider a message (by custom, indirect). It constitutes the entire announcement, that support and optimism, the security that we will win the war, which is intended to be shared.
The different elements of advertising communication that participate particularly in this spot are identified:
In the issuer function, we distinguish between source and encoder. The source is the advertising company interested in the sale of a brand product or propaganda. However, and, although it is possible for the company itself, being a partner of other brands as well known as Coca-Cola or Ikea. This is responsible for creating the concept of the announcement based on its objective, investigating the market and its future consumers to design a strategy, or determine the means in which it will be issued, among others.
The message must also be kept in mind. As mentioned in previous points of the analysis, it is a commercial advertisement of the brand, which does not advertise a specific product and in which it spreads, as the main intention, its support for the country for what happens to us at this moment .
We also make the distinction between receiver and recipient. We refer with the concept of receiver to anyone who, unintentionally, becomes a spectator of the announcement, due to the great dissemination offered by the media. It should be noted that this specific ad. However, the announcement has been specifically designed for a type of recipient that is considered as a potential consumer. Taking into account the use of Gila’s sketch, we could say that the prototypical recipient is an adult, middle -aged, who has been able to develop a relationship of affection towards the humorist and for which his presence may mean a greater attraction.
The central communicative channel of this spot is television, which has a degree of efficacy greater than the others. In the same way, thanks to the great impact of social and internet networks today, most advertising campaigns take advantage of these means to expand their dissemination, this being the case of ours. In short, the mass media are used. As for the context in which advertising communication occurs, this would be its television broadcast during the transmission of the usual programming, or its appearance, as already explained, in social networks (Facebook, YouTube, …), whichIt allows an even greater diffusion and, therefore, reach a greater number of receptors.
Regarding the code, its multiple nature is observed: the campaign uses the language code, in its oral and written variety (television), and, with respect to the images, the iconic code is used (black background with the logo and theslogan of the company, merely informative) and the iconographic code (the fragment of is the enemy?, with a purely persuasive value). The insertion of the Pachelbel canon as a nonverbal acoustic sign must be mentioned, whose connotation we will explain in the linguistic characteristics section.
General characteristics of advertising texts
Advertising is characterized by a series of factors that have as its ultimate purpose the persuasion of the receiver, either with the intention of modifying their behavior, or influencing it in the acquisition or contracting of a certain product or service.
Among them, brevity and condensation stand out. One of the indispensable features for this type of text is the conciseness, aimed at preventing the receiver from losing interest. This concise forces to carry out a selection of the essential contents that convince the future client in some aspect, regardless of those unnecessary, to concentrate them as much as possible, always maintaining coherence. Short, clear and effective messages are developed that manage to capture attention, therefore, in a reduced period of time. The synthesis of verbal content is applied in the same way to the images, choosing those that may surprise and prevail in memory in a better way, and that can be understood by any type of receptor. That is why, on many occasions,
In direct relation to those mentioned above is multifunctionality, through which the different resources used will fulfill different functions at the same time, thus favoring a greater synthesis of the contents. Likewise, the plurisignification of the linguistic elements is given. The use of the conative function or symbolization is frequent.
Another aspect would be the heterogeneity of the codes used, that is, the presence of codes of different types or nature in the same message. For example, verbal, iconographic and sound codes.
Originality and innovation are characteristics of advertising texts that contribute to this process of persuasion, making the message something memorable and attractive. This explains the transgressions of the linguistic norm. We could highlight the fusion of different words to create words games, at the spelling level. It is used, with that same objective of memorization, to repetition.
In the phonological level, the use of anaphora highlights through the repetition of the verb we have (which) at the beginning of prayer. They are phonic resources that serve to remember the announcement. Another determining factor in the phonological composition is the chosen music. This is Pachelbel’s canon, traditionally heard at weddings. It is a subtle and light piece, which establishes an atmosphere of peace, peaceliving.
In reference to the graphic plane, we must highlight the chosen typology, which, as seen in the lower sample, is quite simple. They are available on seven different screens, with a black background, a prayer centered respectively in white. The contrast between these opposites and the austerity of the design is aimed at granting complete relevance to the message, rather than the design: it is intended to capture attention not through ingenious double senses or striking colors, but making the reader understand, without any distraction, what you want to express. This can be seen, to the same extent, in the subtitling of the inserted clip – with the same typology or, at least, a similar, just as simple – to be accessible to the entire public.