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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: