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As Thomas Frank explains:. Advertising in the s taught that the advertising of the s had been terribly mistaken, that people should not consume in order to maximize their efficiency or fit in or impress their neighbors. Such redefinitions are examined in the analysis of a Calvin Klein advertisement to follow. It expresses desire with the hope of exploiting it. Yet the reverse is true. Advertising remains a global, multi-billion dollar industry. What motivates consumers to consume?

What motivates their desire for more images and thus more advertising? In the third part of this work, Burke addresses the basic nature of communication, proposing:. In its essence communication involves the use of verbal symbols for purposes of appeal. This purely technical pattern is the precondition of all appeal. It is this element, he asserts, that is responsible for the maintenance of any appeal.

This aspect of persuasion is particularly relevant when it comes to the pursuit of objects, the attraction to things.


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Burke explains:. To go on eternally as a form does it could not be directed merely towards attainable advantages. And insofar as the advantages are obtainable, that particular object of persuasion could be maintained as such only by interference. Either the object must remain perpetually unobtainable or, if obtainable, obstacles must be placed in the way of the one hoping to obtain it. Burke proposes, however, that interference must be supplied if the persuasion is to continue.

It stands to reason, therefore, that with the lessening of internal interferences to desires people no longer feel the need to keep their desires in check , individuals have the need for more external interferences—quite a paradox in this age of plenty.


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  5. Resolving this paradox, however, is relatively simple. What Burke is describing, in effect, is the double bind as theorized by Girard. The simultaneous, mutually dependent yet contradictory movements inviting imitation and maintaining differences described by Burke are embodied in the dynamics of mimetic desire. The perpetuation of these movements, and thus the perpetuation of persuasion, is necessarily dependent on the transformation of the desired object insofar as it must continually appear to be both obtainable and unobtainable; it must, in other words, take on the appearance of the sacred.

    This transformation is equally dependent on the desires of consumers and the powers of advertising.

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    Consumers sustain the persuasion because all humans, Girard asserts, are driven by a metaphysical desire to be the Other , and advertising seems to supply the objects by which this transfiguration may be effected. Advertising sustains the persuasion insofar as it provides a ready supply of images of the Other embodied in hierarchical relationships which invite and prevent imitation and identification and thus sustain desire by mediating it. The following Calvin Klein advertisement—offered as an example of typical late twentieth-century and early twenty-first century advertising—exhibits the paradoxical consumer imperative mentioned previously and mediates desire by appearing to explicitly dismiss attempts at imitation while implicitly inviting such attempts through an artful juxtaposition of images and vague commands.

    With no product immediately in sight, the consumer is faced with three consecutive black and white snapshots of sullen, underdressed models, under whose artfully posed torsos is found the following command in white letters, centered and superimposed on the black frame:. Although such a statement seems to coolly reject conformity and offers the impression of indifference—the impression of aloof disregard for the standards of others—this impression is quickly undermined by its exhortative nature.

    Its implied audience is consumers in a society thoroughly acculturated to the images of beauty, glamour, thinness, and superiority regularly associated with Calvin Klein. Often naked, perfectly sculpted, thoroughly absorbed in something unseen, Calvin Klein models of the s can be found—frozen in classic black and white images—swinging in Edenic gardens, submerged in serene pools, or draped across elegant couches they are thus bohemian and atypical.


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    Hence, the Girardian double bind is established. In the face of this, there is no need for Calvin Klein to even initially mention a product much less offer an argument in support of its desirability though this particular series of magazine ads includes images of the product on the flip side, often with a scent envelope. In the end, both CK and consumers know that it matters little what the product is or how it fits or smells, and so this advertisement reveals as much about consumers and the nature of their desire as it does about advertisers and the nature of their rhetoric.

    It is language not just about objects to be consumed but about the consumers of objects.

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    What the theories of both Burke and Girard suggest, therefore, is that human desire is not materialistic, that though people appear to continually desire new things , this appearance is deceptive. Desire for objects does not, therefore, precede desire to be otherwise a desire that can never be sated and is thus responsible for the perpetuation of rhetoric ; desire for objects is merely the way in which individuals can simultaneously sustain and conceal their other-directed desire, their desire to transcend metaphysical hierarchies.

    Humans are, in this way, intensely and perhaps ironically spiritual. In a culture that has become, in many ways, increasingly secular, they have, therefore, turned towards the act of purchasing in order to find redemption or salvation. Twitchell is one of the few media scholars to have noted this aspect of advertising. Mid-twentieth-century American culture is often criticized for being too materialistic…we are not too materialistic. We are not materialistic enough. If we craved objects and knew what they meant, there would be no need to add meaning through advertising … What is clear is that most things in and of themselves do not mean enough.

    In fact, what we crave may not be objects at all but their meaning. For whatever else advertising does, one thing is certain: by adding value to material, by adding meaning to objects, by branding things, advertising performs a role historically associated with religion. The Great Chain of Being, which for centuries located value above the horizon in the World Beyond, has been reforged to settle value on the objects of the here and now.

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    This dynamic is at work in most modern advertising and is especially obvious in the glut of recent advertisements employing celebrities. A recent television advertisement for Gap demonstrates, in a simple and straightforward manner, the power of the mediated gaze. Shot in and directed by the well-regarded Coen brothers, this thirty-second commercial features movie actor Dennis Hopper and movie actress Christina Ricci clad in khakis and crisp white button-down shirts.

    Free of any dialogue, this "mini-movie" unfolds to the sound of the Beach Boy's "Hang on to Your Ego" and begins with a title in white font, "Two White Shirts," set against a black background. As the black disappears, the first scene appears, and the audience sees a black and white close-up of Hopper adjusting his sunglasses. The camera pulls back as a female hand bearing an iced beverage lemonade, according to the producers enters to the right of Hopper's face. The camera continues to pull back until the scene is complete: two lounge chairs, Hopper occupying the one to the viewer's right and facing the camera, are positioned in front of a beautiful swimming pool, which in turn sits beneath a clear open sky and in front of a large, well-manicured lawn.

    Set between the chairs is a small table with chessboard, over which the twenty-something Ricci, after handing the drink to Hopper, hovers, body oriented towards the camera, as she appears to ponder her next chess move. She then makes the move, settles into the lounge chair to the viewer's left, draws on her sunglasses, and poses coolly. The scene ends with Hopper, arms crossed, looking down at the chessboard.

    Entirely free of spoken arguments if one ignores the soundtrack and almost entirely dependent on visuals, this commercial is most productively approached through the hybridized Burkean-Girardian perspective proposed by this essay. It is clear that the makers of this advertisement are counting on their audience's collaborative efforts, their receptiveness to invitations to identification, and their desire to be something other than what they are, to make this commercial work. Employing no spoken or written claims, offering no evidence or supporting arguments, and making no attempts to persuade the consumer that their white shirt is in any way inherently better than any other white shirt on the market, the Gap relies entirely on the power of mimetic desire to move its audience towards purchase.

    Dennis Hopper, a popular actor for years, who is known for being enigmatically "cool," indicates his superiority to the audience by ignoring them completely, the opening touch of his shades a reminder that they are "beyond" his gaze and attention. He does not "pitch" the product or otherwise ask for the attention of consumers.

    At the same time as his reputation and body language imply his superiority to his audience, his top position in the social hierarchy; however, his donning of the Gap's most popular and common products, khakis and a white shirt, invite both identification and imitation. These invitations are intensified by the presence of Ms. Ricci, an "indie" actress known for being hip, cutting-edge, somewhat quirky and independent.

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    Completely absorbed in a leisurely game of chess with a man more than twice her age, she appears totally unaware of the presence of the camera or viewing consumers. As she glides smoothly through the pristine black and white beauty of this thirty-second scenario, her body language suggests familiarity and ease with the wealth and glamour of her settings and chess partner.

    Her beauty and ease endow her simple white shirt with magic, implying, as ludicrous as it seems, that her success and celebrity is partially a product of her apparel. These "Two White Shirts," it is suggested by the mise-en-scene, have the magical power to transform the lives of those who wear them. When consumers do the work of this commercial, respond to this suggestion and purchase the shirt, their disappointment at its failure to transform them will merely be transformed into desire for yet other objects.

    Their desire is not for things, for, as Burke argues:. The principle of wanting is never satisfied with getting, since by its very nature as a principle it transcends all mere material things, even while being encouraged to think that material things are what it wants. So, no matter how much it gets, it will in the end be frustrated because it cannot get still more.

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    Religion This end sends consumers on a perpetual search for the material objects that will deliver transcendence and fuels advertising campaigns that are increasingly aware of the power of this search. Stephen J. For example, as Sivulka points out, during hard times, like those of the depression years, advertisers had to become more cost-conscious and cut down on use of color and illustrations.

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    Similarly, in the mids, advertising agencies increasingly employed textual arguments in attempts to combat growing consumer skepticism Guilt needs Redemption for who would not be cleansed! Redemption needs Redeemer which is to say, a Victim! Religion 5. Boorstin, Daniel J. New York: Atheneum, Bryson, Bill. New York: Harper Collins, Frank, Thomas. Chicago: U of Chicago P, Yvonne Freccero. London: Athlone, The Girard Reader. James Williams, Ed.