문화연구입문 발표자료, <현대캐피탈>광고 분석 및 담론
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자본주의는 클래스가 있음을 인정하는 사회이나, 분명한것은 그 클래스가 민주주의가 보장하는 자유나 권리를 침해해선 안된다. 이 발표는 그러한 원칙을 어기고 있는 광고를 소개함으로써 현대 캐피탈이 생산하는 Class의 개념이 현재 민주주의가 가지고 있는 모든 이들의 권리를 침해하는 새로운 Class임을 밝히고, 분석한다
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문화연구입문 발표자료, <현대캐피탈>광고 분석 및 담론
- 1. Life + Class = ? 20081610 Jaehyun Ahn 20131155 Seohee Kong 1
- 2. Democracy should guarantee equal chance but… • The capitalistic society we live today hinders equal chance of the people and accordingly, the advertisements promote privileges which will result in unequal outcomes to the buyers those who can afford and who cannot. • We start on the basis of acknowledging we are in a capitalist society where ‘economic’ class exists. However, in this presentation we want to say that these advertisements recreate a new kind of ‘social’ class hindering the equality of democratic society. http://en.wikipedia.org/wiki/Democracy http://en.wikipedia.org/wiki/Classless_society 2
- 3. Hyundai Capital or Not 3
- 4. Comparison in the Past 4
- 6. Baldly shows a ‘Class’ in advertisement 6 VS
- 7. How we accepting it Resembles it conceptual object Indication Something that serves to indicate; a sign The relationship between the sign And its conceptual object arbitrary 7 Symbol in certain ways. Icon
- 8. How ‘we’ accepting it 8
- 9. How we trust 9 Buyer Customer Hyundai Capital (Seller)
- 10. Ways of seeing 10 Movie: The seven year itch (1955) Subject: Temporary freedom of a married man Scene: First met a young woman, who will be a sexual fantasy of married man Movie: The circus (1928) Subject: Irony of capitalism Scene: last scene of the movie, he fired by the circus team and look back That team with his sorrowful eyes
- 11. Ways of seeing 11 (if there is a) high class class
Notas do Editor
- Now we are going to watch an advertisement. That is capital promotion advertisement.
- 문제제기, 천천히 따라 읽으면서 문제를 제기해줍니다.
- 광고감상
- (Left Picture) Rouen cathedral, Monet (Right Picture) Different phase of the moon, Galileo In the past, the method of ‘comparison’ were mostly found in the artists’ works and their standard of comparison was “the object itself”. On the left is Monet’s picture of Rouen Cathedral in France. Monet wanted to show different appearance of the cathedral as time went by. On the right is Galileo’s drawing which depicted the different phases of the moon. As we can see here, in the past, the comparison standard was the object itself. In other words, in a society where hierarchy existed and was accepted by every social participants, the visual texts needed not to mention about ‘class distinction.’
- In today’s capitalistic society, people are eager to gain more profit and make use of their wealth. This encouraged them to start comparing with others and form an atmosphere of competition. Therefore, today, we see a different wave of advertisement in which the product is compared with another brand’s product. This brings about the “class distinction.” One product’s characteristic/identity is evaluated higher and better than the other and thus the advertisement formulates an environment where “social class” is formulated. All of these advertisements depict that a special class exists, which allows the buyer to enjoy a unique kind of privilege that other’s can not enjoy. It is no more the question of the product itself but the achieved desire by utilizing the product.
- &lt;Culture in a Liquid Modern World&gt; Zygmunt Bauman First of all, this not a promotion advertisement emphasizing its function like a right side advertisement. On the right side, that advertisement depicts its availability, however, this advertisement emphasizes its nobility by referencing a word ‘Class’. And this stimulates a human dreams and desires to be a high class person who only can allow to afford to do it. (Mattew Amold의 ‘현대문화’ p.7 인용. ‘culture is the blending of human dreams and desires with the toil of those willing and able to satisfy them’) Also, as Bauman says, contemporary person are ‘connoisseurs’. (p.1,2, 문화 잡식가) This advertisement mention that all of these cultural things (영화, 비행기, 태권도 등) are enjoyable. However, only specific class can enjoy those privilege, which class’ person are ‘omnivorous’.(잡식성의) That ‘high’ class person’ only permitted to enjoy these special legacy.
- Stuart Hall – Iconic sign / Indexical sign And let’s see how this advertisement persuade us to understand there is a new kind of class exists that is divided by a capitalistic privilege. 스키l Icon: relationship by resemblance (A picture of your face, icons on your computer) - Imaginary relationship/resemblance 코스의 난이도에 따라 높아지는 경사도와 스키를 타는 모습에 역동성 미슐랭l Symbol: relationship by convention (Star of David and Jews) – fixed relationship; simply accept as cultural convention, as norms; there is no need to think of the “relationship” between the signified and the signifier so metonymy’s relationship is stronger than symbol- people do not think about the relationship at all - Symbol can vary depending to different cultural backgrounds 레스토랑을 평가하는 미슐랭 가이드의 기호 A등급l Index: relationship by implication/indication (Dark clouds in the west à an index of impending rain) - Not necessarily cause and effect relation A A+ A++ - 육류 등급, 신용 평가 등급
- Jonathan Culler, 빼야할지 여쭤보자. – 빼야한다. 여기서 구조주의를 언급하고 있어요!
- Raymond Williams &lt;Advertising the magic system&gt; Referring Raymond Williams, he said, the past advertisement mainly addresses product’s effectiveness. However in these days, advertising grown up mainly in relation to fringe products and novelties. Likewise, we can easily see this advertisement not only a simple ‘Capital’ advertisement, but also reinforcement its trustworthy by referring ‘Hyundai’. We already know that is very well known company and they have a very stable financial condition. Thus, the sign of ‘Hyundai’ becomes a meaning of trustworthy in a symbolical way. (Roland Barthes) Therefore, the term ‘Hyundai’, which manipulates the advertisement like a magic. As a result, this advertisement becomes a systematic part of capitalism, not simply emphasizes the product’s service quality, but the buyer’s quality.
- John Berger &lt;Ways of seeing&gt;
- John Berger &lt;Ways of seeing&gt;