Analysing and targeting customers’ preconceived ideas can ... · paper or magazine reveals scores of adverts with double meanings, designed to communicate on an unconscious level

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T he widespread use of signs,symbols and other powerful imagesin modern advertising shows that

advertisers are well aware of the potentialpower of symbolism in communicatingtheir all important messages to theircustomers.

A cursory glance through any news-paper or magazine reveals scores ofadverts with double meanings, designedto communicate on an unconscious levelby playing on people’s wishes, anxietiesand expectations.

Whilst symbols are widely used inmodern advertising, there is a wide gulfin opinion about their effectiveness. Forsome people, the use of symbols plays amajor part in influencing customerbehaviour.

For others, symbolism is a load ofnonsense that is best avoided.

Given the diversity of these views, an

exploration of how symbolism can beand is used, as well as looking at the roleand importance of symbolism in adver-tising, is bound to throw up some inter-esting findings.

SIGNS AND SYMBOLSTo begin an exploration into the relation-ship between symbols and the innerworkings of the human mind, an under-standing of basic human psychology is anabsolute must.

Karen Stobbart is a Jungian therapist fromthe Society of Analytical Psychologists,who agreed to give an expert opinion onthe imagery used in a number of leadingpharmaceutical ads.

Before dispensing her wisdom, however,Stobbart is quick to differentiate betweenan image used as a ‘sign’ and one used asa ‘symbol’.

On the one hand, a ‘sign’ is an image

that literally represents what is shown.For example, the Micardis ad probablyuses ants as a sign of a hard-working,industrious product. Indeed, the imagesimply portrays the strapline: “Earlymorning and still going strong”.

A ‘symbol’, on the other hand, has asecondary meaning, which may not beobvious to all viewers. For example, theuse of cherries in the Leavold PollardRogan ads may be symbolic, as it doesnot directly show what it’s trying toportray (see page 49).

If you don’t know what ‘losing yourcherry’ means, you’ll probably miss thepoint of this ad.

DIFFICULT ASSOCIATIONSSymbols rely on associations being madebetween the chosen images and themessages advertisers are trying tocommunicate. Consequently, symbolism

Analysing and targeting customers’ preconceived ideas can give your sales a lift.

Dr Darrin Baines

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SECRETS OF

THE

MINDis only effective when the chosen imageselicit the necessary connections in theminds of the target customers.

Ad agencies, therefore, face a potentialpitfall with the use of symbolism, asimages may generate different associa-tions with different people.

A simple example is the Lipostat adfeaturing children playing. This imagecould mean young hearts being strong tosome people, whilst others may link theimage to treatment being child’s play forthis product.

Given the range of meanings images mayevoke, Stobbart suggests that advertisersshould be cautious when using symbolismin their ads, unless their meanings areclearly defined and unambiguous. Indeed,it’s better to be safe than sorry.

JUNGIAN THOUGHTAs a member of the Society of AnalyticalPsychologists, Stobbart is trained in theapproach to psychology first developed

by Carl Jung. To help in our analysis ofpharmaceutical adverts, a discussion ofhis theories on the operation of the mindmay shed some light on things.

According to Jung, we all haveconscious and unconscious thoughts.Whilst we are constantly aware of ourconsciousness, our unconscious mindsare hidden from us, outside of everydayexperience.

In his work, Jung argued that our uncon-scious has two parts. One part is our‘personal unconscious’, which consists ofwhat we have personally forgotten,repressed, thought, felt and subliminallyperceived. This is our private property.

The other part is a deeper level, the‘collective unconscious’, which does notdevelop individually, but is inherited.Although this psychic substrate exists inus all, we are not usually aware of itscontents.

Jung argued that we can access theclosed areas of our unconscious through a

set of universal images, which he refers toas archetypes. Just as iron filings outlinethe shape of a magnet field, archetypalimages translate our hidden thoughts intosomething recognisable.

Amongst the archetypal imagescommon to all humankind, Jung cited theshadow, the child and the hero.

Through the study of these three formswe are able to access the contents of thecollective unconsciousness, which hasshaped human behaviour since the dawnof time.

For example, the shadow archetype signi-fies the side of ourselves we would ratherpeople did not know about. This can bedark, such as a bad temper, or a tendencyto shop-lift (even if we have the moneyavailable). Alternatively, a tough busi-nessman may want his colleagues to knowhe helps the homeless at Christmas. This isan example of a hardy character trying notto hide a more caring, softer side.

The hero archetype, on the other hand, ��

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embodies our most powerful aspirations.When heroes appear in folklore, myths ordreams, they can reveal the manner inwhich we would ideally like to defeat ourenemies, which to a sick person couldmean beating a disease.

Alternatively, rescuing a princess cansymbolise living happily ever after. Tosome patients, waking up a prince couldmean escaping from depression.

In our conversation, Stobbart stated that,on a simple level, mythical children (suchas Peter Pan) represent innocence and/orthe desire never to grow old. According toJungians, the child archetype also person-ifies the hope and the promise of newbeginnings, more fruitful futures.

INTERPRETATIONWhen encountered for the first time,Jung’s idea of archetypes strikes many ascomplicated or inaccessible.

However, Stobbart’s interpretationmakes matter simpler.

Jungian psychologists, says Stobbart,have different opinions about what Jungmeant by the term ‘archetype’.

However, an archetype is not the samething as a symbol. Confused yet? Here’s anexample.

An archetype is an outline of a potential.For example, babies are born with arutting instinct, if you stroke their cheeksthey turn their heads in order to receivetheir mothers’ milk.

Therefore, you could argue that childrenare born with expectations of being fed,which implies that they are born with a‘prototype’ mother.

For babies, the experience of mother isliterally the experience of feeding.Consequently, images of mother figuresare often associated with the feelings ofsatisfaction, repletion or deprivation,which are commonly connected withbeing fed (positive) or not receiving themilk we desired as a hungry child(negative).

SIGNS AND SYMBOLSAt this point, you may be asking, what hasthis got to do with pharmaceutical adver-tising? The answer is that we and ourcustomers are all people.

We all have in-built, unconscious dispo-sitions or inclinations, with relatedfeelings, which we associate with partic-ular archetypes, such as the motherfigure. It is through symbols that we canexpress and access these hidden struc-tures inside our minds.

For instance, an image of a mother canbe used symbolically to represent ourfeelings about the world and whether wewill be nourished or left frustrated andwaiting like crying babies.

Agencies that use pictures of mums intheir ads can either stimulate ourconscious, happy (or unhappy) thoughtsabout our mommies or tap into uncon-scious, unexpressed feelings of satiation(or neglect). Therefore, in theory, adver-tisers could use archetypal images to stim-ulate emotions that make potentialcustomers buy.

However, Stobbart warned that agencieshave to be careful when using archetypalimages, because not only can they stimu-late positive associations betweenproducts and emotions, but they can alsoarouse negative feelings potentialcustomers unconsciously hide.

Consequently, part of an agency’s job isto ensure that adverts don’t produceemotions other than those required.

PHARMA ADSBefore she commented on the individualads, Stobbart says that many of the imagesshe examined contained signs notsymbols, as their meaning was obviousand unambiguous. Although they tendedto use signs, agencies seemed to clearlyunderstand what images appeal toprescribers. ��

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For instance, the Viagra campaignsuccessfully used a picture of a couple torefer to a happy sex life, perhaps thatexperienced when they were firstmarried.

Indeed, the image clearly signifies thatthe product is designed to improve qualityof life, and counters any suggestions thatsomething so natural, so wholesomeshould be the subject of jokes and innu-endoes.

IMAGE CONFUSIONWhen looking at the specific pharmaceu-tical ads, Stobbart said it must be nearlyimpossible for advertisers to link productswith images, as the majority of imageshave so many possible associations.

For example, she asked what connec-tions were intended in the Zithromax ads?Does the drug rescue patients from pain?Do sufferers see the world through aplastic shield? Or do they look out andsee a threatening world?

The ads Karen studied, therefore,confirmed that images may be interpretedin different ways, depending upon theexperiences, viewpoints and psycholog-ical make-up of those viewing them.

ARCHETYPES AND ADSGiven the importance of Jung’s work onthe link between symbols and humanbehaviour, Stobbart examined a numberof ads which could be designed to repre-sent archetypal figures such as the child,the hero and the shadow.

Firstly, the Pulmicort ads, which couldbe read as a representation of the childarchetype, suggesting new beginnings,more fruitful futures.

On looking at the images, Stobbartbelieved they implied that the drug freedchildren to explore life more fully.

However, the association between

children and improved life options wasmore descriptive than symbolic.

Next, the Uriplan ad, which could beseen as containing an archetypal hero.On an unconscious level, Stobbartsuggested that the advertisers could betrying to create the fantasy that users ofthis product would be like the strongfigure portrayed in the ad.

Consequently, there is some evidencethat the image was used symbolically togenerate deeper, positive feelings inprescribers.

However, this evidence was not conclu-sive, and the bandanna-wearing patientcould simply be a well-informedconsumer who knows what he wantsfrom his life and his doctor.

Finally, we discussed the Zithromax ad,which could represent the shadow arche-type. After contemplating, Stobbart was intwo minds about this one.

On the one hand, she thought that theshadow archetype was implied because thefigures in the ad were quite threatening.

On the other, she thought that a bit ofshadow might have been used to makethe image more striking. Consequently,she withheld her final judgement.

POST-MATCH ANALYSISAfter examination of the pharma ads,Stobbart drew some conclusions.

Upon reflection, she was impressed withmany of the ads and that there was someevidence that advertisers had usedsymbols. For example, children in adssymbolise hope, health and possibilitiesfor the future.

However, the ways that advertisers tendto use archetypal images often make themsigns rather than symbols, as theirmeaning is obvious and not hidden.

From the work she saw, Stobbartbelieved that agencies already know how

to make effective ads. As a psychologist,she could not think of ways in which theycould be improved.

Nevertheless, she warned that imagesoften have unconscious associations,both formed within the individual and aspart of the collective unconscious.

In response, Stobbart surmised thatresearch done by advertisers before thelaunch of their campaigns probably iden-tified any damaging, unconscious reac-tions that they hadn’t been envisagedduring the design stage.

At the end of our interview, Stobbartpointed out that pharma advertisers seemwell aware of the sign and symbols thatrelate to our fantasies about health.

However, if creatives are not careful, theads they design could betray their ownfantasy lives.

WHERE NOW?This analysis of pharmaceutical advertssuggests the following. Firstly, that byharnessing appropriate signs andsymbols, pharma ads can be effective atcommunicating product messages.Secondly, these ads usually minimise theambiguity associated with secondarysymbolic meanings.

Consequently, evidence suggests thatsymbolism is used selectively by theindustry, with ads being based uponwhat works, rather than on naïvetheories of what stimulate prescribers’minds.

The message is clear: pharma ads areeffective because advertisers know howto reassure us that our wishes to behealthy can come true.

THE AUTHORDr Darrin Baines is the director of medM Limited.He can be contacted at [email protected]

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