廣告概念視覺化之研究--以分析台灣礦泉水廣告影片之概念與意象為例

Abstract

這是個符號消費的時代，消費者不再只是消費「物」本身而已，並且消費 「物」背後所潛藏的意象與符號。而對潛藏意象符號的探求，符號學是探 討消費者深層的意義世界，開發新的意義，以產銷那個負有意義的形式符 號的方式。商品(物)和廣告藉著修辭手法與異化作用來形成符號，人們在 新意義的接受上，主要是透過隱喻來進行的，而消費者面對廣告時，廣告 □的新意義意象是如何藉由廣告修辭(隱喻)而讓消費者所接受呢？這些新 意義的意象又如何被形塑出來呢？民國80年，第一支礦泉水廣告在電視上 播出，從此，台灣消費者進入了喝礦泉水的時代。日本近幾年來各種概念 水的問世，運用漢字為水創造出無限遐思與意境，為不同的概念「水」創 造出許多的意象與符號。但是台灣存在那些概念的「概念水」與符號意象 呢？這些概念如何透過廣告來形塑意象呢？本研究試圖從符號學的角度， 針對台灣目前現有的「概念水」廣告以廣告修辭學進行其「水概念」之概 念與意象研究，以了解「概念水」的概念如何地被意象化；運用符號學概 念分類法、系譜軸(選擇)和毗鄰軸(組合)與廣告修辭法，幫助我們去認知 現象的內在結構與關係，並進而了解其背後隱含的意義。本研究發現可以 用「化妝」做為模式的隱喻來解釋概念視覺化，並找出概念水廣告的系譜 軸選擇語法(厚妝/薄妝，依序/不依序化妝)和毗鄰軸的組合規則(一種修 辭/多種修辭)，並建立了概念清單與修辭法(電視廣告影像修辭)，修辭法 計有雙關(直接/間接)、跳脫/跳入(同鏡頭/不同鏡頭)、堆疊(同鏡頭/不 同鏡頭)、旋轉(前後/順(逆)時鐘/左右)、並列(同鏡頭/不同鏡頭)、對 比(不同產品同鏡頭、不同產品同鏡頭、同產品不同鏡頭)、重覆(同鏡頭/ 不同鏡頭)、排比(同鏡頭/不同鏡頭)、析字(以文字代替代影像/以形表 意/字體發光)、比擬(擬生物為人/擬無生物為人/擬抽象物為人/擬抽象物 為物/擬物為物)、鑲嵌(鑲字/嵌字)、借代(同鏡頭/不同鏡頭)等幾種；而 概念水廣告所販賣的概念主要有天然、科技、評鑑與對人生理、心理、行 為與環境的影響等七種；在廣告意象的呈現上，有充滿文字符號、靜止凝 固、模擬、夢、活力、科技與天然意象等七種。 It is the consumptive age of symbols. Consumers buy not only the things themselves but also their images and symbolic meanings. In accordance with consumers' deepest demands which have been transferred into codes. Producers, wholly engrossed in the world of semiotics, attempt to create the new meanings of signs and invent marketing strategies. Commodities and advertisement are transformed into signs by means of rhetoric and differential techniques, such as contrasts, exaggerations, etc. Through metaphors, addressees acquire signifying implications of objects. And in what ways can these advertising rhetoric be effectively expressed, so that consumers are able to understand them? In addition, how can newly meaningful images be remolded in the process of signification?Consumers in Taiwan have marched onto the era of mineral water since the first mineral-water advertisement broadcasted on TV in 1991. In Japan, various brands of "conceptual water" had come into the world eariler; Japanese businessmen created manyconcepts of water through the manipulation of images and signs. Yet, how many potentially signifying ideas of mineral water would be? And how can advertising men objectify these concepts? Thus, the main purpose of this study was to analyze mineral-water advertisement from the aspect of semiotics and advertising rhetoric and to find out how "conceptual water" was visualized. In other words, one is capable of recognizing the inner structure of mineral-water advertisement as well as its underlyed meanings through the analysis of semiotic categorization, paradigmatic/sytagmatic skills and other advertising rhetoric.In the study of the visualization of mineral-water advertisement, the metaphor "makeup" is used to explicate conceptual visualization and to discover the grammatical choices of paradigms (heavy / light makeup; order/ non-order makeup) and composing rules of the syntagmatic (a/various rhetoric). Lists of concepts and visual rhetoric on the mineral water commercial film are also provided within this study. The applied rhetoricin these films, for example, are puns, pile-ups, reversals, juxtaposing images, contrasts, repetitions, parallel pictures, comparisons, inlays, analogies, synecoche and so on. Besides, the "conceptual water" advertisement largely conveys the following concepts: nature, technology, evaluation, effects on human biology, psyche, behavior and environment…. Finally, these advertising images of mineral water can be divided into, at least, seven categories: wordy signs, stand-still pictures, virtual imitations, dreamy visions, energetic images, technological or natural images, and what not.