英语论文网

iewer's attention, the images in an ad are typically meant to give rise to some emotional disposition toward the product, politician, social cause, or any other issue the advert deals with. The iconicity of visual images serves this process by making it possible for images to draw upon the rich variety of visual motivation and associated emotions, to which we are already familiar through our interactions with our social and natural environments; these are our facial expressions, gestures, postures, personal appearance and physical surroundings. Moreover, visual images are capable of simulating certain aspects of those interactions by means of the variables that control the viewer's perspective; these are degree of proximity, angle of view, presence or absence of subjective shots, morphing of two images and so on.

The images in my examples serve both the functions I discussed earlier. On the one hand they both violate reality to attract attention, and on the other the images metaphorical dimension gives rise to an emotional response. My examples have shown the resentment at the exclusion of women from politics and the harsh reality of human cruelity. 'In general, both surrealistic images and metaphorical violations of reality are particularly well-suited to the requirements of visual advertising precisely because of their ability to combine an eye catching first impression with a more substantive message.' (Messaris, 1997) The fact that images can reproduce the appearance of reality, or selected aspects of that appearance, also means they can call forth a variety of pre-programmed emotional responses.

According to Kraft (1987), 'The iconicity of visual images is not just a matter of content. whereas the appearance of the people or places in a picture may be its obvious iconic element, the pictures formal or stylistic features (e.g. whether it is a close up or a long shot) also may bare an iconic relationship to our real world visual experiences.' My first example shows a close up of a female, showing emotion, filling up the screen. The advert may not work as well if it was a long shot; as other elements around the image may distract the audience and not be as effective in sending out the intended message evoking the audiences' reaction.

By drawing on their understanding as well as a growing body of research concerning the relationship between vision and emotion, 'advertisers are able to elicit strong, sometimes primal reactions -desire for a particular type of sexy model; respect for a certain look that makes a politician appear dignified; pity for the pathetic appearance of a famine victim -that might not be as easily accessible through other non pictorial means.' (Messaris, 1997) playing on our fears and anxieties, the images in adverts attempt to manipulate our desires. Advertisements sell products or services through creating illusions of lifestyles and represent a way of thought. For example, if someone orders a brand of drink, whose advertising includes original works of art may be a way of signalling good taste and refinement. Adverts not only sell products but campaign to sell a way of thinking. The campaign adverts I have used in my examples, both re-represent a different reality, a reality that many people ignore or have ignored. They explicitly send out a message with minimal text surrounding the image. The role of images here is本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。