SEMIOSCREEN A NEW POWERFUL ANALYTICAL COCKTAIL

1. SEMIOSCREENA NEW POWERFUL ANALYTICAL COCKTAIL Barcelona, Bridges to Excellence May 8th 2008 ALPHABET r e s e a r c h

2. AN ORIGINAL METHOD SEMIOSCREENis 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 Alphabet r e s e a r c h 3

3. IN OTHER WORDS… SEMIOSCREEN combines two cognitive tools of extraordinary value, with diverse characteristics and some affinity – never previously brought together: SEMIOTICS SCREENWRITING LOGICAL CATEGORIES APPLIED ART SEMIOSCREEN Main reference: Jean-Marie Floch Main reference: Christopher Vogler Alphabet r e s e a r c h 4

4. 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 Alphabet r e s e a r c h 5

5. THE BASIC ANALYTICAL GRID Widely based on Floch’s perspective, it has four fundamental levels: • SURFACE LEVEL • visual/colour codes • verbal/sound codes • proxemics • 2) FIGURATIVE LEVEL • concrete figures/gestures • rhetorical structure • spatial/temporal choices analysis campaign development • 3) NARRATIVE LEVEL • general scheme of action • actants and archetypes • narrative sequence • semiotic modalities • 4) DEEP LEVEL • values of the advertisement Alphabet r e s e a r c h 6

6. 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 Alphabet r e s e a r c h 7

7. NARRATIVE SEQUENCE According to semiotics, in the development of stories there are four fundamental steps and three trials connected to them: Addresser’s path Manipulation Sanction Hero’s path The king asks the prince to free his daughter 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 Alphabet r e s e a r c h 8

8. LIMITS OF THE SEMIOTIC APPROACH 1. THE DEFINITION OF THE ACTANTS IS TOO SIMPLISTIC It does not take into account the many possible differences among Heroes, Helpers, etc. 2. THE NARRATIVE SEQUENCE IS TOO RIGID It does not encourage to find new creative ways to tell a story NEEDED: SOME FRESH INSIGHT ABOUT HOW GOOD STORIES CAN BE TOLD Alphabet r e s e a r c h 9

9. FROM SEMIOTICS TO STORYTELLING A different set of competences about storytelling: HOLLYWOOD an extremely rich literature about professional screenwriting, made of thousands of books an extraordinary ability to create stories which transcend boundaries of age, nationality, language, culture The best of screenwriters’ books build on the principles of myth Fundamental reference: Joseph Campbell’s celebrated work, The Hero with a Thousand Faces Alphabet r e s e a r c h 10

10. CAMPBELL AND THE ADVENTURE OF THE HERO The most influential American author in the analysis of myth structures Call to adventure Elixir Threshold crossing Brother-battle Dragon-battle Dismemberment Crucifixion Abduction Night-sea journey Wonder journey Whale’s belly Return Resurrection Rescue Threshold struggle Helper THRESHOLD OF ADVENTURE Tests Flight Helpers strong influence on George Lukas for STAR WARS SACRED MARRIAGE FATHER ATONEMENT APOTHEOSIS ELIXIR THEFT Alphabet r e s e a r c h 11

11. VOGLER’S CONTRIBUTION A smart adaptation of Campbell’s model to screenwriting: ACT I Separation Ordinary World ACT III Return Call Return with Elixir Refusal of Call Resurrection Meeting Mentor ORDINARY WORLD Crossing First Threshold Road Back SPECIAL WORLD Tests, allies, enemies Reward Approach ACT II-A Descent ACT II-B Initiation Ordeal Alphabet r e s e a r c h 12

12. SEMIOSCREEN: A NEW MIX OF PRINCIPLES Intermixing Campbell/Vogler’s models with the that of the French school of semiotics: ACT I Separation Ordinary World ACT III Return Call Return with Elixir Refusal of Call MANIPULATION SANCTION Resurrection Meeting Mentor ORDINARY WORLD Crossing First Threshold Road Back SPECIAL WORLD Tests, allies, enemies COMPETENCE PERFORMANCE Reward Approach ACT II-A Descent ACT II-B Initiation Ordeal Alphabet r e s e a r c h 13

13. ACTANTS AND ARCHETYPES The American approach also enrich the rather abstract semiotic definition of ‘actants’. For instance: Subject/Hero Hero of growth Hero of action Involuntary hero Hero as Warrior Hero as Lover Solitary hero Group-oriented hero Catalysing hero Helper/Mentor Master Bearer of magic gifts Inventor Shaman, initiation wizard Dark Mentor Ex-hero Inner Mentor (conscience) Comic support Anti-Subject/Shadow Villain, enemy Antagonist Femme fatale Projection (Mr. Hyde) Cruel father/mother Monster, alien Humanised villain Force of nature 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 Alphabet r e s e a r c h 14

14. 1st EXAMPLE: THE MACINTOSH 1984 CULT COMMERCIAL Paradigmatic case of action Hero Line of men staring at a giant video… Ordinary World Call Return with Elixir Refusal of Call “And you will see why 1984 won’t be like 1984” Manipulation Sanction Resurrection Meeting Mentor ORDINARY WORLD Crossing First Threshold Road Back SPECIAL WORLD The girl runs in with a hammer Men who were previously stupefied are now free Tests, allies, enemies Competence Performance Guards without faces try to stop her Reward Approach The screen implodes and the supreme guide disappears She runs up to the big screen Ordeal The girl throws the hammer Alphabet r e s e a r c h 15

15. 2nd EXAMPLE: THE 8X1000 CAMPAIGN OF THE CATHOLIC CHURCHIN ITALY – FATHER JOSÉ AD (2007) Crucial role of the Helper Abandoned youngsters living in the poorer streets of Buenos Aires… Ordinary World Return with Elixir Call “With the 8x1000 to the Catholic Church you have done a lot for many” Refusal of Call Manipulation Sanction …meet Father José and his volunteers Resurrection Meeting Mentor They can now share love and friendship ORDINARY WORLD Crossing First Threshold Road Back SPECIAL WORLD Some of the boys react with violence Some rescued boys are brought to the shelter Tests, allies, enemies Competence Performance The rescuers help all those in need… Reward Approach “…to bring to light treasures otherwise lost forever” …plunging into this deep darkness Ordeal The biggest fight is against drug addiction… Alphabet r e s e a r c h 16

16. POWERFUL MESSAGES STRENGTHS OF FATHER JOSE AD: depicted as Involuntary or Cathartic Heroes Young Subjects based on the strong archetype of the Rescuer Helper’s role as means of identification for the donors at home Brave volunteers 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 Alphabet r e s e a r c h 17

17. 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 Final aim: CONTRIBUTE TO CREATING BETTER ADVERTISING STORIES Alphabet r e s e a r c h 18