ADVERTISING PEUGEOT: WHEN GENDERS DIFFER
a bachelor thesis about differences and similarities in TV commercials
from a narrative, persuasive, and social perspective
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Anna Emilie Angelo Thiis
301534
Bachelor Thesis – English
Morten Pilegaard
6 May 2013
54.912
Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
ABSTRACT
Within visual advertising and marketing, this thesis has the purpose of creating separate
examinations of two TV commercials from Peugeot, presumably directed at women and men
respectively, from a narrative, persuasive, and social aspect. In order to elaborate on this, the
analyses are carried out by the use of the narrative model, the use of the commercials’ mutual
metaphor, taget styringen, the phases of the AIDA model, and the properties of gender
subtypes. To enhance the analysis, the two commercials are compared in order to clarify
differences and similarities.
The analysis has discovered that their use of the metaphor, taget styringen, the presentations
of the main conflicts being personal as well as interactional, and the main characters’
development of representing gender subtypes are all similar. Thereby, parallels are created
between the two commercials. Their most obvious differences are how they distinguish
between men and women. Finally, the thesis discusses the implication and effect of the two
commercials, as well as interactions between the used theories.
Keywords: the narrative model, metaphor, AIDA model, gender subtypes, commercial,
Peugeot, comparison, differences, similarities, interaction, hermeneutics, control, comparative
analysis
Title of bachelor thesis: When gender differs – a bachelor thesis about differences in TV
commercials from a narrative, persuasive, and social perspective.
Student’s full name: Anna Emilie Angelo Thiis
Education Institution: Aarhus University – Aarhus Business and Social Sciences
Submission date: 6 May 2013
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
CONTENT
1 INTRODUCTION ....................................................................................................................................................... 5
1.1 MOTIVATION ........................................................................................................................................................................... 5
1.2 PROBLEM STATEMENT ........................................................................................................................................................... 5
1.3 EMPIRICISM ............................................................................................................................................................................. 5
1.4 LIMITATIONS ........................................................................................................................................................................... 6
1.5 STRUCTURE.............................................................................................................................................................................. 6
2 METHODOLOGY ....................................................................................................................................................... 7
3 THEORIES ................................................................................................................................................................... 7
3.1 THE NARRATIVE MODEL ........................................................................................................................................................ 7
3.2 THEORIES OF PERSUASION .................................................................................................................................................... 8
3.2.1 Metaphor ................................................................................................................................................................................ 8
3.2.2 AIDA model ............................................................................................................................................................................ 9
3.3 THEORY OF GENDER SUBTYPES ......................................................................................................................................... 10
4 ANALYSIS .................................................................................................................................................................. 11
4.1 THE NARRATIVE MODEL ..................................................................................................................................................... 11
4.1.1 Commercial A .................................................................................................................................................................... 11
4.1.1.1 Opening ................................................................................................................................................................................................................ 11
4.1.1.2 Presentation ...................................................................................................................................................................................................... 12
4.1.1.3 Elaboration ......................................................................................................................................................................................................... 12
4.1.1.4 Point-of-no-return .......................................................................................................................................................................................... 13
4.1.1.5 Conflict escalation ........................................................................................................................................................................................... 13
4.1.1.6 Climax ................................................................................................................................................................................................................... 14
4.1.1.7 Fade-out............................................................................................................................................................................................................... 15
4.1.2 Commercial B .................................................................................................................................................................... 15
4.1.2.1 Opening ................................................................................................................................................................................................................ 15
4.1.2.2 Presentation ...................................................................................................................................................................................................... 16
4.1.2.3 Elaboration ......................................................................................................................................................................................................... 16
4.1.2.4 Point-of-no-return .......................................................................................................................................................................................... 17
4.1.2.5 Conflict escalation ........................................................................................................................................................................................... 17
4.1.2.6 Climax ................................................................................................................................................................................................................... 18
4.1.2.7 Fade-out............................................................................................................................................................................................................... 18
4.2 METAPHOR ........................................................................................................................................................................... 19
4.2.1 Commercial A .................................................................................................................................................................... 19
4.2.2 Commercial B .................................................................................................................................................................... 20
4.3 AIDA MODEL ........................................................................................................................................................................ 22
4.3.1 Commercial A .................................................................................................................................................................... 22
4.3.1.1 Attention.............................................................................................................................................................................................................. 22
4.3.1.2 Interest ................................................................................................................................................................................................................. 22
4.3.1.3 Desire .................................................................................................................................................................................................................... 23
4.3.1.4 Action .................................................................................................................................................................................................................... 23
4.3.2 Commercial B .................................................................................................................................................................... 24
4.3.2.1 Attention.............................................................................................................................................................................................................. 24
4.3.2.2 Interest ................................................................................................................................................................................................................. 24
4.3.2.3 Desire .................................................................................................................................................................................................................... 25
4.3.2.4 Action .................................................................................................................................................................................................................... 26
4.4 GENDER SUBTYPES .............................................................................................................................................................. 26
4.4.1 Commercial A .................................................................................................................................................................... 26
4.4.1.1 Pernille ................................................................................................................................................................................................................. 26
4.4.2 Commercial B .................................................................................................................................................................... 27
4.4.2.1 Benjamin ............................................................................................................................................................................................................. 27
5 COMPARISON .......................................................................................................................................................... 28
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
5.1 THE NARRATIVE MODEL ..................................................................................................................................................... 28
5.2 METAPHOR ........................................................................................................................................................................... 29
5.3 AIDA MODEL ........................................................................................................................................................................ 29
5.4 GENDER SUBTYPES .............................................................................................................................................................. 30
6 DISCUSSION ............................................................................................................................................................. 30
7 CONCLUSION ........................................................................................................................................................... 32
8 LIST OF REFERENCES ........................................................................................................................................... 33
9 APPENDIX A ............................................................................................................................................................. 35
10 APPENDIX B .......................................................................................................................................................... 42
11 APPENDIX C .......................................................................................................................................................... 47
12 APPENDIX D .......................................................................................................................................................... 53
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
1 INTRODUCTION
1.1 Motivation
The traditional social society typically distinguishes between to sexes, namely women and
men (West & Zimmerman, 1987: 133). These are considered different in countless
connections, including possessing physical and behavioural differences (West & Zimmerman,
1987: 133-134).
In the end of 2012 I observed two separate TV commercials (Peugeot 2012a; Peugeot 2012b)
from Peugeot with a common purpose of purchasing cars. The main difference of the two
originates in the fact that they were presumably directed at women and men respectively.
This caught my attention and made me wonder how come Peugeot chose this strategy rather
than using one single commercial targeting car purchasing in general. Instinctively, Peugeot
could have addressed both women and men by using one single commercial, thereby reducing
costs, staff, resources, and time spending.
1.2 Problem statement
The main purpose of this thesis is to examine the two commercials by Peugeot from a
narrative, persuasive, and social aspect.
In order to do so, I will firstly consider the commercials as separates, analysing the narrative
structure in both commercials in order to provide the reader a reasonable overview of the
commercials. Second, I will analyse their use of the metaphor, taget styringen, and how it
relates to everyday life. Third, I will analyse how properties of gender subtypes are expressed
in the two commercials, as well as how the main characters’ developments are expressed
through gender subtypes. Fourth, I will compare the two commercials in order to clarify
differences and similarities. Finally, I will discuss my results.
1.3 Empiricism
My empiricism consists of two TV commercials by Peugeot (Peugeot, 2012a; Peugeot, 2012b)
(see also appendix A and B). Their contents and relevance to each other and to interesting
theories, establish the foundation for this thesis.
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
Throughout this thesis I will refer to the commercial including Pernille as commercial A, and
the other including Benjamin as commercial B. They are shown by appendix A and B,
respectively, illustrating the commercials clip by clip.
1.4 Limitations
During my research for this thesis I encountered several interesting and relevant aspects
related to the topic of the commercials. However, due to the fact that this thesis has a rather
limited space, a limited number of aspects is required in order to make a profound analysis in
order to answer my problem statement. Therefore, I have made the following limitations.
I will only consider the two mentioned commercials, i.e. I do not analyse or comment on
Peugeot as a company or anything it has advertised in the past.
Credibility is usually an important and interesting factor within persuasion, however also
rather comprehensive and requires an inclusion of analyses regarding target groups and
audiences. Hence, this is excluded from the thesis.
Technical and stylistic means such as photography, music and editing are also relevant
concepts, though they have also been excluded from this thesis, as they require a
comprehensive analysis.
1.5 Structure
My thesis is structured so that the applied methodology and theories are presented in section
2 and 3. This is followed by a comprehensive analysis of both commercials in section 4. These
are then compared to each other in order to shed light on similarities and differences in
section 5. This is followed by a discussion of my results and newly found perspectives in
section 6. Lastly, a conclusion to sum up the important and relevant results from the analysis
is presented in section 7. Lists of references and appendixes are also included in the end.
Regularly I translate Danish expressions of the theories, and words stated by the voice-over
into English. These are my own assumptions of how a translation shall be, as no English terms
are given within the theories.
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
2 METHODOLOGY
Within human science and social science, hermeneutics, i.e. the art and science of text
interpretation and comprehension, is considered one of the most well established theories
(Holm, 2011: 84-85).
My approach for the thesis is hermeneutical and I perform a comparative analysis of my
empirical material. The analysis of the parts of the commercials is necessary to comprehend
them as a whole. I also apply particular theories separately in order to understand the
commercials from different theoretical perspectives and thereby achieve synergy and a deep
understanding of the commercials as a whole. Hence, I find myself within the hermeneutic
circle, which defines comprehension as contextual. This means that those parts of the
commercials and theories become comprehensive in comparison to their whole, as well as the
whole becomes comprehensive in comparison to their separate parts (Holm, 2011: 85-88).
Moreover, my approach for this thesis is not without prejudices or prior knowledge. As
argued by Gadamer (Holm, 2011: 90), the world is already a part of the concept it wants to
grasp. I therefore consider myself as having prior knowledge of both of the two commercials
in question and of the theories used to analyse the commercials. Within this understanding, I
seek to understand the commercials with my prejudices and new knowledge in mind, and my
prior knowledge feeds into and mixes with my analysis to the effect that my prior and current
understanding merge into a ‘mutual comprehension’ of the phenomenon investigated, i.e. I
achieve comprehension owing to the connection of prior and new knowledge (Holm, 2011:
90-94).
3 Theories
3.1 The narrative model
In order to analyse the narrative and the dramatic structure of the commercials, I draw on the
theory of the narrative model (roughly equivalent to the Danish term berettermodellen) by
Katz & Poulsen (2006: 36-39) (see appendix D). This model focuses on the parts of the drama
and argues that the parts are dependent of each other, and that the drama is constructed by
relations of cause and effect. The narrative model has two axes, the X-axis and the Y-axis.
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
The Y-axis expresses the viewers’ engagement and empathy. Empathy refers to viewers’
identification with the characters of the drama. Since my analysis does not focus on the
audience, this Y-axis will be included to only a limited extent, and based of my subjective
evaluations. That is, my analysis does not include measurements, since these require a
comprehensive analysis and would move the focus away from the purpose of this thesis,
namely to analyse the commercials and their contents. The X-axis expresses the narrative of
the drama, and consists of seven separate narrative sections, namely the opening, the
presentation, the elaboration, the point-of-no-return, the conflict escalation, the climax, and
the fade-out (roughly equivalent to anslag, præsentation, uddybning, point-of-no-return,
konfliktoptrapning, klimaks og udtoning) (my own translations) (Katz & Poulsen, 2006: 3639).
This approach implies that I view commercials as films to the extent possible and that I focus
on the narrative of the commercials. However, the analysis will be selective as commercials
are not films as such. The analysis will therefore be focused on those parts only that are
relevant and meaningful regarding my thesis and problem statement. Moreover, I choose the
theory of the narrative model by Katz & Poulsen (2006) because of its good illustration of the
model itself, its relevance into the perspective adopted, and because of the thorough
definitions of the separate sections.
3.2 Theories of persuasion
3.2.1 Metaphor
The analysis of persuasion draws on the theory of metaphor by Dillard & Pfau (2002). A
metaphor is considered a means of creating a figurative and persuasive comparison (Dillard &
Pfau, 2002: 407-408). Considering a commercial as a method of persuasion, I will examine the
commercials’ common metaphor taget styringen (roughly equivalent English term: take
control) in general, how and when it is presented, and its functions in particular. Dillard &
Pfau (2002) distinguish between five types of metaphors, e.g. pleasure/relief, communicator
credibility, cognitive resources, stimulated elaboration, and superior organisation (Dillard &
Pfau, 2002: 413). In my analysis I will exclusively focus on superior organisation because of
its relevance for persuasion and for the metaphor taget styringen. In relation to the superior
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
organization view, a metaphor improves the organisation of the arguments of a message (for
instance, in the case of taget styringen, the arguments are constituted by the act of being in
control in order to avoid a negative situation similar to the commercials’), as it gives rises to
semantic associations (for example, other ways of being in control). Moreover, when the
arguments of the message relate to the metaphor, they connect through the semantic
associations of the message. The metaphor’s connections bring the metaphor’s arguments
into focus by stressing them, and thereby enhancing the metaphor’s persuadability.
Furthermore, Dillard & Pfau state that using one single metaphor as well as presenting it in
the beginning of a message improves the message’s persuadability (Dillard & Pfau, 2002: 417418).
Lastly, I do not translate the Danish metaphor, as its meaning is lost in the translation. Hence I
refer to the Danish and original version taget styringen during my analysis. I include the
metaphor theory by Dillard & Pfau (2002) because it allows me to connect metaphor and
persuasion.
3.2.2 AIDA model
The analysis of persuasion also draws on the AIDA model, which describes viewers’
perception of a message, ensuring an effective and persuasive message (Rawal, 2013: 39;
Kotler, et al., 2003: 622; Burch, 2010: 121-122). Both Rawal (2013) and Burch (2010) provide
useful accounts of the model, however I base my analysis on Burch (2010), because of the
structured exposition of the AIDA model, especially the thorough evaluation of the third
phase, desire.
The AIDA model has four phases, identified as attention, interest, desire, and action (Burch,
2010: 121-130). These phases surface in various ways in a text in casu the two commercials,
A, and B. First, attention is a crucial factor in relation to persuasion, as, according to Burch
(2010), it is impossible to persuade without obtaining viewers’ attention. For instance, a
question is an effective strategy of creating attention. Second, viewers’ interest is created by
demonstrating the functions of a product. Third, desire is created by the so-called FBI
structure. F refers to feature, namely features of a given product. For instance, a car’s
powerful engine, and fashionable colour constitute a car’s features. B refers to benefit, which
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
elaborates the benefit of the feature. For example, a car’s powerful engine allows the car to
drive quickly, thus the speed constitutes the benefit of the feature, namely the engine. I refers
to incentive, which states abilities based on the feature and the benefit. For instance, a car’s
powerful engine allows the car to drive quickly, thus making it possible to get quickly from
one place to another. Thereby, the connection between F, B, and I, creates viewers’ desire of
wanting the product in question. Fourth, action is the phase, in which the well performed
previous work comes into its own and customers decide whether or not to purchase, for
instance by directing customers (Burch, 2010: 121-130).
The reasons for including the AIDA model are based on its structure, which ties in well with
persuasion, however it should be noted that the AIDA model is not used without certain
reservations even if it may seem a well-suited model for analysis of persuasion.
3.3 Theory of gender subtypes
Six & Eckes (1991) define gender stereotypes as perceptions of personal characteristics of
women and men (Six & Eckes, 1991: 58). They represent several cluster solutions of
categorising female and male types. For instance the type sorting data (see Fig. 1, 2, 3, and 4,
appendix C), which deals with sorting based on gender types (Six & Eckes, 1992: 62-67), and
the property sorting data (see Table IV, and V, appendix C), which deals with sorting based on
gender properties (Six & Eckes, 1991: 67-69). In this thesis, I focus on the property sorting
data as this solution presents a broad perspective of the properties, which makes it possible
to analyse the gender subtypes of the commercials.
I draw on this theory by Six & Eckes (1991) because of their comprehensive specification and
divisions of gender properties. By including this theory, I have the opportunity to analyse the
commercials beyond their technical and persuasive means, and to relate the commercials to
the social world.
This theory is relevant to my thesis because of my focus of analysing the main characters’
characteristics and personalities and their developments of possessing these. By doing this, I
have the ability of comparing the main characters.
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
4 ANALYSIS
4.1 The narrative model
4.1.1 Commercial A
4.1.1.1 Opening
Based on the narrative model (Katz & Poulsen, 2006: 36-39), the opening of commercial A is
expressed in clip 1A because of several factors.
For instance, it presents the narrative style of the drama by a voice-over stating the beginning
of the narrative, namely by “Mød Pernille, før hun fik Peugeot” (rough English translation
“Meet Pernille, before she got Peugeot (my own translation) (Peugeot, 2012a)). Thus, the
voice-over represents the narrative style of the commercial.
Identification is created through several ways, for instance by applying images of the similar
gender (Messaris, 1997: 41-44). Hence, it is possible for viewers to identify themselves with
Pernille as a woman. There are several ways to interpret the opening, which is why the
chances for identification increase along with viewers’ engagement. This is expressed by the
model’s illustration of viewers’ engagement (Katz & Poulsen, 2006: 37). For instance, the
voice-over states the beginning of a narrative, and thereby catches viewer’s interest of the
narrative.
Furthermore, it indirectly presents the main conflict of the commercial, as it shows Pernille
searching for her name on the place cards. She clearly looks seeking and questioning, and
thereby gives viewers the impression of a conflict in the commercial.
However, the clip also presents the main character, Pernille, thus the clip differs from the
original narrative model (Katz & Poulsen, 2006: 36-37). This introduction of main characters
is namely a part of the presentation section of the model (Katz & Poulsen, 2006: 37).
Therefore, the presentation of Pernille is not consistent with the original features of an
opening.
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
4.1.1.2 Presentation
Clip 2A and the beginning of clip 3A, express the presentation because of several factors. For
example, it presents the other character of the commercial, the bride. Pernille is presented as
one of the bride’s guests, and they hug each other, seeming to be good friends. Moreover, the
environment is presented as the wedding location, an elegant room with large windows and a
well-set dinner table with white china, flowers, and candles.
However, clip 2A and 3A also express a difference to the narrative model as they present a
second narrative style, namely the bride’s monolog. According to Katz & Poulsen (2006) the
narrative style is presented during the opening, thus the presentation includes factors
originally related to the opening (Katz & Poulsen, 2006: 36-37).
In relation to the degree of viewer’s engagement, as the model illustrates, it decreases at first,
as the importance of the given information is limited. That is, the characters are simply
presented, no information of their deeper personalities is given nor their relationship. The
information is therefore rather sketchy and general. However, as the commercial continues
into the elaboration section, the engagement slightly increases.
4.1.1.3 Elaboration
The elaboration is expressed by the end of clip 3A, and through the clips of 4A, 5A, and 6A
because of a number of factors. However, firstly an oscillation to the narrative model is
expressed by a direct presentation of the main conflict given by the bride. She explains
Pernille about her issues of the seating plan, which refers to Pernille’s searching for her name.
She has been forgotten in the making of the plan, making her feel oppressed. According to
Katz & Poulsen (2006), the main conflict is a part of the opening. As mentioned above, the
opening indirectly presents the main conflict, whereas the elaboration directly presents it.
However, it is possible to view this clash with the original model of an opening as a connector
of the references to the main conflict and thereby reinforcing it.
Even though the elaboration does not follow the narrative model, it has a reinforcing effect on
the main conflict due to the redundancy, i.e. it refers to the conflict several times. There is
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
some extent of oscillation, but the main conflict stays in focus and in line with the original
model.
For instance, the elaboration clarifies the division between Pernille and the bride, presenting
Pernille as the good person. The bride is presented as the bad person due to her comment
about Pernille being single. This comment makes viewers taking sides, increasing viewers’
empathy for Pernille because of her vulnerable and condemnatory situation, expressed by her
facial discomfort. Because of this, identification is created, as it is rather possible for many
single women to recognise Pernille’s situation due to one’s own experiences. Also, many
single women may have friends that might be married or in a romantic relationship, thereby
considering themselves superior compared to single women. The bride expresses this
superiority, and therefore feels the right to oppress Pernille.
4.1.1.4 Point-of-no-return
The end of clip 6A, and the complete clips of 7A, and 8A express the point-of-no-return. In this
section, the bride has found a seat for Pernille and points to the other end of the room without
including further information. As the model illustrates (Katz & Poulsen, 2006: 37), this
increases viewers’ concurrent curiosity as the bride keeps her information from viewers.
However, Pernille’s facial expression indicates that she is terrified and speechless. She finds
herself in a crucial situation of the conflict and she needs to react on it. In line with the model,
viewers’ engagement drastically decreases, as further information about Pernille’s seat is
excluded in clip 8A. However, due to the expose of Pernille’s reaction, the decrease is limited.
4.1.1.5 Conflict escalation
Clip 9A, 10A, and 11A express the conflict escalation in several ways. For instance, the seat is
shown, placed at the children’s table. A colourful setting with balloons marks the picture, and
in the middle, Pernille’s white and tall chair is placed. Pernille has to eat with the children
instead of the adult guests. However, the bride giggles and looks very happy, because she has
found a solution to the problem of the seating. Perhaps she is also trying to lighten the
atmosphere or she simply does not care about Pernille. The bride is a tricky character, as she
expresses a very superficial attitude. It is possible to perceive her as a general careless human
being, or she really tries to improve the situation by giggling and telling her to join the main
table after dinner. Regardless the case, she is condescending and appears to be the bad person
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
of the two. Her character increases viewers’ empathy for Pernille. Pernille’s facial expression
is reshown and she looks even more terrified than before, feeling humiliated and chocked.
The main conflict thereby becomes the focus. This is a mix of Pernille being oppressed as well
as her lack of ability to contradict the bride. They are parts of each other, parts of one big
problem. Consisting with the model illustration (Katz & Poulsen, 2006: 37), viewers’
engagement increases, as the chair is shown, thereby recreating the empathy and sympathy
for Pernille. Moreover, the engagement increases because of viewers’ curiosity of Pernille’s
reaction. It is time for her to take action in order to prevent any further humiliations. Clearly
the placement of Pernille’s seat is completely unacceptable, and Pernille needs to take action.
4.1.1.6 Climax
Clip 12A, 13A, and 14A express the climax of the commercial. The returning voice-over states
that now “Nu har Pernille endelig taget styringen” (rough English translation “Pernille has
finally taken control”, (my own translation) (Peugeot, 2012a)). She is represented in a half
right profile, namely another perspective, and as a new woman. She is clearly relieved, as she
has escaped the uncontrolled situation. This clip differs from the rest, as it indicates
something new. Pernille solves her issues by moving away from the situation with the bride.
She sits in a Peugeot, and has no longer the bride’s condescending comments directed
towards her. She has the control, and closes the door in order to keep other people away.
Thereby, the car becomes the new focus. The conflict’s climax indicates a change in the
narrative, i.e. the narrative focuses on the car, as the commercial moves away from Pernille’s
situation. As the narrative model illustrates (Katz & Poulsen, 2006: 37), viewers’ engagement
decreases due to the conflict solution. The car is the solution to Pernille’s problem. The
illustration of the logo also expresses a new focus and a change in the narrative. Pernille
touches the logo on the steering wheel as the word styringen is said by the voice-over.
Moreover, Pernille’s smile indicates the solution and her escape from an oppressed situation.
She is shown from a whole right profile holding on to the steering wheel and indicates her
control of the car and of the previous situation with the bride. Furthermore, the voice-over
states, “Det kan du også” (rough English translation “You can too”, (my own translation)
(Peugeot, 2012a)). This statement gives viewers the possibility of identification, as the
statement is directed towards them. Thereby, viewers have the ability to solve their problems,
and their engagement increases, as the model illustrates (Katz & Poulsen, 2006: 37).
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
4.1.1.7 Fade-out
Clip 15A, and 16A express the last section of the narrative model, the fade-out. This section
focuses on the car and its functions, illustrating the car itself, and the price on a black
background. The fade-out differs from the rest of the sections, as the narrative with Pernille is
finished. The fadeout is rather short, and thereby viewers have the possibility of still having
the climax in their minds. Viewers’ engagement decreases, as the solution has been offered in
the climax. In relation to the narrative of Pernille, the engagement drastically decreases, as the
answers are given. However, in relation to the focus of the car, the decrease of engagement is
not consistent with the model by Katz & Poulsen (2006). The fade-out expresses important
information about the car and its functions and qualities, and thereby viewers’ engagement is
still present.
4.1.2 Commercial B
4.1.2.1 Opening
The first six seconds of clip 1B express the opening because of several reasons. First, it
introduces the narrative style of the commercial, based on the voice-over stating “Mød
Benjamin, før han fik Peugeot” (rough English translation “Meet Benjamin, before he got
Peugeot” (my own translation) (Peugeot, 2012b)).
The clip presents the characters, Benjamin and his girlfriend. Benjamin looks extremely bored
as he sits straight up, looking straight ahead and tapping with his fingers. The girlfriend, on
the other hand, is presented by showing her right profile as she leans back, wears cucumbers
on her eyelids, and sighs, expressing her pleasure of the spa treatment. This presentation is
originally a part of the opening, thereby the commercial differs in relation to the original
narrative model (Katz & Poulsen, 2006: 36-37).
Moreover, identification is created by several manners, for instance by applying gender
images (Messaris, 1997: 41-44). Hence, it is possible for viewers to identify themselves to
Benjamin as a male character, increasing the degree of engagement.
Furthermore, the opening presents the main conflict as Benjamin’s conflict. He is in a place
that is not in his interest, covered up in vanilla peeling.
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Anna Emilie Angelo Thiis
301534
BA Thesis
English
6 May 2013
As the narrative model illustrates (Katz & Poulsen, 2006: 37) viewers’ engagement increases
at the opening. As the voice-over states the beginning of a narrative, engagement increases.
Moreover, Benjamin’s awkward situation expresses a comical situation, which catches
viewers’ engagement.
4.1.2.2 Presentation
The remaining part of clip 1B (starting at seven seconds in the commercial), and the complete
clip 2B express the presentation, thus the opening and presentation slightly fade together.
The presentation continues on presenting the girlfriend, as she expresses how wonderful the
treatment is. By doing this, she performs a monologue that is consistent throughout the most
of the commercial, however not in line whit the original model. As illustrated by the narrative
model, viewers’ engagement slightly decreases due to the small amount of information of the
conflict (Katz & Poulsen, 2006: 36-37).
The girlfriend’s relaxation and pleasure of the treatment compared to Benjamin, who is
covered in vanilla peeling, express a comical situation, increasing viewers’ engagement. It also
indicates that she is in control of the situation, and oppresses Benjamin. The luxurious spa
location, heated water, large loungers, and white towels illustrate the environment. The
commercial approaches the next phase, elaboration, and as illustrated by the narrative model,
viewers’ engagement vaguely increases (Katz & Poulsen, 2006: 37).
4.1.2.3 Elaboration
Clip 3B expresses the elaboration because of several factors. For instance, the conflict
increases along with the girlfriend’s pleasure increases. She is clearly enjoying the spa
treatment, dividing her and Benjamin even more, as he is not interested. The girlfriend is a
difficult character, as it is possible to interpret her in different ways. For instance, she clearly
considers a spa treatment as an indulgence and has good intentions wanting to experience a
romantic time with her boyfriend. On the other hand, she might take advantage of him due to
his lack of courage to contradict her. It is possible to identify her as an unsympathetic person,
or trying to introduce her boyfriend to spa treatments. Regardless the case, she appears as the
bad person due to her choice of bringing her boyfriend, who is clearly bored, helpless, and
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humiliated covered up in vanilla peeling, to a spa treatment. Benjamin thereby appears as the
good person, as he is oppressed and shocked in the situation, without knowing how to escape
the situation.
As the model illustrates (Katz & Poulsen, 2006: 37), viewers’ engagement increases based on
their ability to identify themselves with Benjamin in his vulnerable situation. They create
empathy and sympathy for him, as his situation is unfair and comic. It may be possible for
men to recognise the situation due to their own controlling girlfriends. The girlfriend
mentions, “vanilje peeling” (rough English translation “vanilla peeling” (my own translation)
(Peugeot, 2012b)), and the word glares in the ears of a masculine man, and the curve
increases.
4.1.2.4 Point-of-no-return
Clip 4B expresses the point-of-no-return. In this clip, the girlfriend expresses how wonderful
the spa treatment is, and Benjamin looks more and more sad and despairing. He clearly
expresses a need for change. As the model illustrates, viewers’ engagement increases, as the
excitement for Benjamin’s solution approaches. However, the model illustrates a drastic
decrease in engagement, which the commercial does not indicate, as it still provides the
girlfriend’s condescending comments. Nevertheless, the decrease is present because of her
comments of being with the boys, a very tempting situation for Benjamin. Therefore, the
development of the degree of engagement is not completely in line with the model (Katz &
Poulsen, 2006: 37).
4.1.2.5 Conflict escalation
Clip 5B expresses the conflict escalation based on several factors. For instance, the girlfriend
mentions the word “landskamp” (rough English translation “international soccer match” (my
own translation) (Peugeot, 2012b)) and that Benjamin would have missed out on the spa if he
had been with the boys watching the international soccer match. Due to Benjamin’s facial
expression, a night with the boys, or in fact any other situation, seems a rather good exchange
for the spa treatment. His girlfriend’s comment crosses Benjamin’s line for what is acceptable,
and he therefore needs immediate change to get out of the feminine domain. The main conflict
of Benjamin being in a foreign domain has thus developed into Benjamin’s lack of
contradicting his girlfriend. The main conflict is two sides of the same coin, and Benjamin
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starts to change them both. Viewers’ engagement therefore strongly increases, as the model
also illustrates (Katz & Poulsen, 2006: 37).
4.1.2.6 Climax
Clip 6B, 7B, 8B, and 9B express the climax, or the conflict solution, based on several factors.
The returning voice-over states a change in the narrative by saying “Nu har Benjamin endelig
taget styringen” (rough English translation “Now Benjamin has finally taken control” (my own
translation) (Peugeot, 2012b)). The clip shows Benjamin in a half right profile closing the car
door with a bang. The closing of the door symbolises his change, by excluding the girlfriend
from the car. The car implies the solution to his problem, as he expresses relief and smiles. He
has turned to the technical specifications of the car, which now becomes the focus of the
commercial.
Moreover, in clip 7B Benjamin pushes a button inside the Peugeot, illustrating the car’s
features, however also the symbolic of pushing one’s buttons. In Benjamin’s previous
situation, his girlfriend irritated him, i.e. she pushed his buttons. Now that Benjamin has the
control, he also has the control over the buttons. Clip 8B illustrates the integrated GPS, which
implies new ways, i.e. symbolises new changes for Benjamin. Viewers catch the solution and
symbolic interpretations of the car’s abilities, and engagement increases. Moreover, the car
becomes a focus of the commercial, contributing to the increase of engagement (Katz &
Poulsen, 2006: 37).
4.1.2.7 Fade-out
Clip 10B and 11B express the remaining section, fade-out. This section focuses exclusively on
the car itself and its abilities, as it illustrates the car, and its price on a black background. This
section differs from the previous sections, as it focuses on a different narrative, namely the
car.
As the model illustrates (Katz & Poulsen, 2006: 37), in elation to the narrative of Benjamin,
viewers’ engagement decreases, as his solution has been presented. However, in relation to
the car, this narrative implies a new focus, as well as important information about the car.
This information is relevant for potential buyers, and therefore viewers’ engagement does not
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decrease as drastically as the original model, but the commercial keeps the focus right to the
end of clip 11B, in which the engagement decreases to the origin (Katz & Poulsen, 2006: 37).
4.2 Metaphor
4.2.1 Commercial A
In clip 12A, 13A the metaphor, taget styringen (roughly equivalent English term “taken
control” (my own translation) (Peugeot, 2012a)), appears. The reason for defining taget
styringen as a metaphor is based on figurative comparison between the two ways of taking
control (Dillard & Pfau, 2002: 407-408). That is, styringen refers to the general and direct
understanding of controlling a car by its steering wheel. This is expressed by clip 13A and
14A, in which Pernille touches and holds on to the Peugeot’s steering wheel. Moreover, in clip
14A the voice-over adds “Det kan du også” (rough English translation “You can too” (my own
translation) (Peugeot, 2012a)), referring to viewers’ of the commercial, thereby providing
them semantic associations of one’s own situation of control.
The metaphor is used figuratively in order to refer to the control of the unequal relationship
between Pernille and her friend, and as a request (Dillard & Pfau, 2002: 407-408).
The metaphor, taget styringen, organises the commercial’s structure and arguments in order
to persuade viewers (Dillard & Pfau, 2002: 417). It is possible to argue for the product in
several ways. For instance, the commercial could have referred to the car’s horsepowers,
security, handling, economy, or space for the family. This commercial simplifies the message,
referring to control. That is, Pernille, and viewers have the ability and possibility to choose.
Hence the commercial uses Pernille as an example for all to follow.
The commercial’s arguments refer to having control in order to prevent problematic issues
similar to Pernille’s. It is possible to take control in many aspects of live. The metaphor
indicates that it is possible to take control and choose to purchase a car. A car is controllable,
and in the same manner one can choose to control one’s life.
The metaphor creates semantic associations as having control of several situations and issues
in the everyday life, e.g. within a work sphere, family, and society. The commercial’s
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arguments are connected through these associations, also connecting the product with
viewers.
The links to the metaphor are constituted by the steering wheel and the act of controlling and
driving a car. When Pernille controls the car, she also controls her life. She sits with her life in
her hands and controls it, and thereby clarifies the arguments. Moreover, she provides the
subconscious impression of people driving Peugeot, also are in control, as Pernille was shown
before and after she purchased a Peugeot, and expressed two opposite attitudes. Hence, the
coherence of the arguments therefore reinforces the commercial’s persuadability (Dillard &
Pfau, 2002: 417).
Moreover, according to Dillard & Pfau (2002) a metaphor is most effective when placed in the
beginning of a message. However, in the commercial, the metaphor appears approximately in
the middle, and is therefore not in line with the theory. The theory argues that placed in the
beginning, the metaphor persuades right from the start of the commercial, and influences
viewers’ selection of information (Dillard & Pfau, 2002: 417-418). Nevertheless, taget
styringen, does not appear in the very end of the commercial, and viewers have thereby the
opportunity to select information in the rest of the commercial. Moreover, taget styringen, is
the only metaphor presented in the commercial, and it therefore improves the commercial’s
persuadability (Dillard & Pfau, 2002: 418).
4.2.2 Commercial B
In clip 6B, 7B, and 8B, the metaphor, taget styringen, (roughly equivalent English term “taken
control” (my own translation) (Peugeot, 2012b)), appears. Taget styringen is considered a
metaphor based on its figurative comparison between the two manners of taking control
(Dillard & Pfau, 2002: 407-408). The word, styringen, refers to the two manners of taking
control, namely the specific way of controlling a car by a GPS. That is, a GPS directs the driver
to its destination, which is expressed by clip 8B physically illustrating the car’s integrated
GPS. Additionally, in clip 9B the voice-over expresses “Det kan du også” (rough English
translation “You can too” (my own translation) (Peugeot, 2012b)), referring to viewers of the
commercial, thereby providing them semantic associations of one’s own situation of control.
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6 May 2013
The metaphor, taget styringen, structures the commercial’s composition and arguments,
creating persuadability (Dillard & Pfau, 2002: 417). The commercial’s arguments refer to
being in control in order to avoid negative situations similar to Benjamin’s at the spa. It is
possible to take control in many aspects of life, and the metaphor signifies the ability to take
control in a romantic relationship and choose to purchase a car. A car is controllable, as a
friendship can be if one chooses to take the control.
The metaphor creates semantic associations to being in control of several issues in the
everyday life, e.g. within a work sphere, family and life itself. The commercial’s arguments are
connected through these associations, i.e. the arguments relate more to each other through
these associations about life control. Moreover, the metaphor combines the product to
viewers.
The links to the metaphor are the integrated GPS and the act of controlling and driving a car.
That is, when Benjamin controls the car, he also controls his life. He has his life in his hands,
controlling it, and thereby clarifying the arguments, namely to take control. Furthermore,
Benjamin evokes the subconscious idea of those people driving a Peugeot also have control of
their lives, as the commercial shows Benjamin before and after he purchased a Peugeot,
expressing two opposite attitudes. Because of this coherence of the arguments, the
commercial’s persuadability is strengthened (Dillard & Pfau, 2002: 417).
Furthermore, according to Dillard & Pfau (2002), in order to persuade effectively, the
metaphor shall be placed in the beginning of a message, offering viewers the possibility of
selecting information. Hence, taget styringen, is not in line with the theory in this particular
aspect, as the metaphor is placed in the middle of the commercial, changing the focus of the
commercial and indicating the end of Benjamin’s problem. However, taget styringen, is not
placed at the end of the commercial, giving viewers the opportunity to grasp and select
information of the remaining part of the commercial. Additionally, taget styringen, is the only
metaphor of the commercial, which is why it improves the commercial’s persuadability
(Dillard & Pfau, 2002: 418).
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4.3 AIDA model
4.3.1 Commercial A
4.3.1.1 Attention
This commercial begins with a statement, namely given by the voice-over saying “Mød
Pernille, før hun fik Peugeot” (rough English translation “Meet Pernille, before she got
Peugeot” (my own translation) (Peugeot, 2012a)) in clip 1A. In this manner, the commercial
does not follow the theory of the AIDA (Burch, 2010: 125), which argues that a question
functions as the most effective way of creating attention. However, the commercial’s
statement does not focus on the product’s abilities or functions, but rather on the
commercial’s narrative, creating a rather indirect way of creating attention. The sender
Peugeot is mentioned, however the focus is on Pernille, which is why the attention of the
viewer is created. The commercial also states why the viewer should continue to watch the
commercial, because of the narrative of the commercial by the voice-over stating “…før hun
fik Peugeot”, i.e. the commercial tells a story, which is an indirect way to get to the overall
product. We become curious about what happened Pernille before she got Peugeot, which
persuades us in continuing watching the commercial. The attention is now created, and then
the next phase of the AIDA is interest.
4.3.1.2 Interest
In clip 12A, and 13A Pernille has now taken control, stated by the voice-over saying “Nu har
Pernille endelig taget styringen” (rough English translation “Now Pernille has finally taken
control” (my own translation) (Peugeot, 2012a)). Pernille sits in the Peugeot car having
control of the situation. Therefore, the commercial does not only show the car as simply being
a car, but a means of getting control. This raises interest, and curiosity of learning more about
the car, for instance further abilities, and price. The word, styringen, also catches the interest.
We all want to be in control in some points in our lives, especially in terms of controlling
people. This is much comparable to Pernille’s situation. And now she is sitting in the car. We
relate the control and the car together. We want to now more. According to Burch (2010) this
clip does not indicate the traditional interest factor, but it does show the product’s invisible
factor. The commercial wants to give us the idea or illusion that a Peugeot is not simply a car,
but it also fixes problems and gets the best out of you.
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4.3.1.3 Desire
Clip 13A creates viewers’ desire related to the FBI structure (Burch, 2010: 126-127). First, the
feature is the stylish and bright logo on the steering wheel. Second, the benefit of the feature is
based by the fact that the car looks stylish inside. Third, the incentive is constituted by the fact
that others may admire the inside design of the car. The coherent FBI structure therefore
expresses that the car has a stylish logo, and therefore the car looks good inside, and thereby
others may admire my car. Thereby the desire is created.
Moreover, clip 14A has indicators of desire based on the FBI structure (Burch, 2010: 126127). First, the feature is Pernille’s smile and her relaxed and relieved attitude. That is, her
smile and attitude become a result of the car, and thus also a part of the car. The smile and the
car belong together. Second, the benefit of the feature is based on the fact that the car can
create happiness. Third, the incentive is made up by the fact that oppression is not obvious,
and thereby more energy is made. The coherent FBI structure therefore expresses that the car
creates Pernille’s smiles and reliefs, and hence the car creates happiness, and thereby making
the ability to feel less oppressed and having more energy. Thereby the desire is created.
Furthermore, clip 15A creates viewers’ desire related to the FBI structure (Burch, 2010: 126127). First, the feature is the car’s air-condition. Second, the benefit of the feature is based by
the fact that the car modifies the temperature. Third, the incentive is made up by the fact that
it is possible to avoid sweating or freezing, even though the temperatures outside are of a
certain degree. The coherent FBI structure therefore expresses that the car has air-condition,
and hence have the ability to modify temperatures, and thereby feeling more comfortable
inside the car. Thereby the desire is created.
4.3.1.4 Action
Up until clip 16A the commercial has shown some of the product’s benefits and reasons why
viewers should buy the product. The commercial represents the product in a way that it
seems unreasonable to turn down the product, thereby persuading viewers into a purchase.
In this clip all this information are taken in and viewers wonder about and connect the
information. Moreover, because of the logo, and the slogan Motion & Emotion, there is no
doubt about the sender’s identification, and viewers know, whom to contact. The slogan also
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refers to two different aspects, namely the more technical aspect, Motion, and the
psychological aspect, Emotion. That is, a Peugeot is not simply presented as a technical
purchase. It also refers to emotion and the ability of enjoying a car. All these factors are means
of creating action, however not in line with the theory of Burch (2010), as it stresses the
possibility of directly asking customers in order to receive feedback.
4.3.2 Commercial B
4.3.2.1 Attention
Commercial B begins in clip 1B with a statement, expressed by the voice-over saying “Mød
Benjamin, før han fik Peugeot” (rough English translation “Meet Benjamin, before he got
Peugeot” (my own translation) (Peugeot, 2012b)). Hence the commercial does not follow the
AIDA model by Burch (2010: 125), as the original model argues that a question is an effective
way to obtain attention. Nevertheless, this statement focuses on the commercial’s narrative
and not on the product’s functions. Even though the sender is mentioned, the clip focuses on
the character Benjamin because of the narrative of the commercial by the voice-over stating
“…før han fik Peugeot” and on telling a story. The clip functions as a rather indirect way of
creating attention. It does not catch viewers by a question, but rather by curiosity on the
narrative. The attention is now created, after which the commercial moves on to the next
phase of the AIDA model.
4.3.2.2 Interest
Based on the voice-over in clip 6B saying “Nu har Benjamin endelig taget styringen” (rough
English translation “Now Benjamin has finally taken control” (my own translation) (Peugeot,
2012b)), Benjamin has now solved his problem, sitting in a Peugeot, having control. This
relates control together with the car, and suddenly the car is not represented as just a car. It is
also a means of getting control, thus an ability of the car. Interest is created as well as the
curiosity of discovering further functions of the car. According to Burch (2010) this clip does
not refer to the original interest factor, however it does show the product’s invisible function.
The commercial wants to give us the idea or illusion that a Peugeot is not only a car, but also
able to fix problems.
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6 May 2013
4.3.2.3 Desire
Clip 7B creates viewers’ desire by indicators of the FBI structure (Burch, 2010: 126-127).
First, the feature is the new technology inside the car, i.e. Benjamin pushes a button, which is a
part of the car’s new technology. Second, the benefit of the feature constitutes the fact that the
car has advantages, compared to older cars. Third, the incentive is made up by the fact that
new technology increases the quality and joy of the car. The coherent FBI structure expresses
that the car has new technology, which makes the car better than older cars. This also
increases the quality of the car, which leads to the creation of desire.
Moreover, clip 8B also creates viewers’ desire by indicators of the FBI model (Burch, 2010:
126-127). In this case the feature is the integrated GPS, which is a part of the car. Second, the
benefit of the feature is based on the fact that the GPS assists in directing the driver towards a
destination. Third, the incentive is shown by the fact that the GPS prevents the driver from
getting lost and wasting time. The coherent FBI structure expresses that the car has an
integrated GPS, providing the driver with a direction assistant at all times, and the driver
therefore avoids getting lost and wasting time. Hence the desire is created.
Furthermore, clip 9B has indicators of desire based on the FBI structure (Burch, 2010: 126127). First, the feature is Benjamin’s smile and his relaxed attitude. These are not features of
the car as such, however they become the result of the car and thereby also parts of it, which
relates Benjamin’s attitude to the car. Second, the benefit of the feature is based on the fact
that the car creates happiness and peace. Third, the incentive is constituted by the fact that
oppression is not a necessity, thus it allows more energy. The coherent FBI structure
therefore expresses that the car creates Benjamin’s smile and relaxation, and thus the car
creates happiness and peace, providing the ability to feel less oppressed and to have more
energy. Thereby the desire is created.
Additionally, clip 10B creates desire by indicators of the FBI structure (Burch, 2010: 126127). First, the feature is the car’s conditions of price, i.e. the possibility of a company car with
tax base. Second, the benefit of the feature is based on the fact that it increases the ability of
affording the car. Third, the incentive is the possibility of affording other things as well, and
that the car is a good investment. Hence, desire is created.
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4.3.2.4 Action
Clip 11B creates action by expressing several factors. First, the commercial has shown
benefits of the product and offered several advantages of the product, and thereby persuading
viewers to purchase the product. The clip connects the preceding information, and gives
viewers the ability to ponder about these. Furthermore, based on the logo and the slogan,
Motion & Emotion, the sender is clear. The slogan also refers to two different aspects, i.e. the
technical aspect, Motion, and the psychological aspect, Emotion. This indicates that a Peugeot
is not simply represented as a technical item, but rather a deeper level of joy. These factors
create action, though are not in line with the theory of Burch (2010), as it stresses the
possibility of directly asking customers in order to receive feedback.
4.4 Gender subtypes
4.4.1 Commercial A
4.4.1.1 Pernille
Based on the property sorting data by Six & Eckes (1991) (see appendix C, table IV) the main
character of commercial A, Pernille, expresses a development in female subtypes. During the
first eleven clips she performs properties of cluster VII, and a singleton. First of all, Pernille’s
problem is two-sided. Her friend oppresses her by commenting on her single status and
placing her at the children’s table, and this is a difficult situation per se. However, Pernille
complicates the situation for the following reasons. She conforms herself to the situation, and
behaving unobtrusively, as she does not want to cause any problems. She considers the
wedding more important than her dignity, and therefore appears without any interest of her
own, being the ‘good girl’ and a pleaser. Hence, Pernille’s attitude relates to cluster VII.
Additionally, Pernille’s face expresses her reaction, however she does not contradict her
friend. This also indicates her insecurity, which is a cluster of its own, in herself and that she
does not have the power to stand up for unfairness. She does not have the power or
confidence to change the inequality with her friend. She feels insecure in herself, and
therefore does not have the power to say no.
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However, in clip 12, Pernille changes her attitude. She starts taking control, by moving away
from the bad situation and turns to the technic of the car. She can control her own car,
choices, and purchases. She grabs on to the steering wheel and signifies that she is in control.
Thereby Pernille develops herself into a self-confident, and independent woman. She does not
contradict her friend, however she is able to move away from it, demanding control. Pernille
knows what she wants, and strives for higher goals. Pernille therefore represents properties
belonging to cluster IV.
Moreover, Pernille smiles and behaves in a relaxed manner. She has escaped the oppressed
situation and finds herself having a different attitude, being a happy woman. Hence, Pernille
also represents properties related to cluster VI.
Pernille changes her personality, and thereby also properties of female subtype, and two ways
of being a woman. At first she expresses properties of cluster VII, and the singleton ‘insecure’.
As she takes the change and takes control she expresses properties of cluster IV, and VI, IV
possessing both traditional and non-traditional properties (Six & Eckes, 1991: 68).
4.4.2 Commercial B
4.4.2.1 Benjamin
Based on the property sorting data by Six & Eckes (1991) (see appendix C, table V) the main
character of commercial B, Benjamin, also expresses a development in male subtypes. During
the first five clips, his girlfriend talks positively about their spa treatment, however
Benjamin’s awkwardness is obvious. He sits straight up, with open eyes, not enjoying the
treatment, unlike his girlfriend. The treatment is clearly her idea, and she brought him with
her. Benjamin clearly expresses frustration and helplessness over the situation. However, he
behaves insecure and weak due to his passiveness of taking action and changing the situation.
In relation to this, taking from his attitude, he does not expect to win, as he does not make any
effort to win the situation, as he does not contradict his girlfriend. He simply conforms to the
situation, and let the girlfriend control. Besides being frustrated at his girlfriend, Benjamin
may also be frustrated at himself, as he does not contradict her. He therefore represents many
properties of cluster X, as well as the property ‘can show weakness’ of cluster II.
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Nevertheless, in clip 6B, Benjamin changes the situation, by taking control and moving away
from the bad situation. He embraces the car, and its technology. He thereby appears confident,
and closes the car door in order to keep others away, expressing properties of cluster II. He
also appears as the master in his own house, representing properties of cluster IV.
Benjamin expresses two ways of being a man, and therefore a change in his personality.
At first he expresses rather negative and oppressed properties of cluster II, and X. He becomes
confident, and the master in his own house, and possesses properties of cluster II, and IV,
thereby expressing different properties of the same cluster, II.
5 COMPARISON
5.1 The narrative model
Commercial A and B express several similarities in relation to the narrative model (Katz &
Poulsen, 2006: 36-38). For instance, in the opening, they both present the main character by a
voice-over expressing the same phrase, excluding the character’s name, thus differing from
the original narrative model. Moreover, they present the main conflict, and possibility of
identification, however of a woman and a man, respectively. In the presentation, they both
present the relation of the characters, the monologue of the secondary character, as well as
the environment. During the elaboration, they also clarify the secondary character as the ‘bad’
person, and the main character as the ‘good’ person, creating empathy and sympathy for the
main character through the main conflicts. At the point-of-no-return, both commercials
illustrate the main characters’ facial expressions, indicating a need for change. In the conflict
escalation, both commercials reach the main characters’ limits of acceptance, and in the
climax, both commercials present the conflicts’ solution, namely the ability to escape from the
bad situation, and turning to the Peugeot. The fade-out is also expressed in a similar way. That
is, they both focus on the cars’ abilities, as well as Peugeot’s logo and slogan.
However, the commercials also possess a few differences, for instance in relation to the
openings, in which commercial A possesses a female main character, whereas commercial B
possesses a male main character. Additionally, the presentations present their relations as a
friendship and a romantic relationship, respectively. The climaxes also present different
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technical abilities inside of the Peugeot, as well as the fade-outs illustrate two different
Peugeots, with different information.
Moreover, the commercials express the same pattern in relation to the degree of viewers’
engagement, because of similar reasons such as identification, presenting the main conflict, as
well as its solution, empathy for the main character, lack of information, and abilities of the
car.
5.2 Metaphor
The commercials have several similarities in relation to the metaphor, taget styringen. First of
all, they present it in similar clips related to the climax, which is placed at the last half of the
commercial, of the narrative model (see appendix D). The arguments related to the metaphor
also indicate homogeneity, given that they refer to the act of being in control in order to
prevent negative and oppressed situations alike the main characters’. Moreover, as the
metaphor is identical in both commercials, the semantic associations to it are as well. One of
the links to the metaphor is also identical in the commercials, i.e. the act of driving and
controlling a car, as well as the commercials evoke the subconscious idea of the fact that,
those people driving a Peugeot also control their lives. Both of the commercials connect its
arguments in order to improve the commercials’ persuadability, as well as the fact that the
commercials only posses one single metaphor also reinforces their persuadability.
However, the commercials also differ in one case. For instance, the remaining links to the
metaphor are presented as the steering wheel in commercial A, and as the GPS in commercial
B. The commercials therefore directly represent the act of having control by different ways.
5.3 AIDA model
The commercials also express similarities in relation to the AIDA model. They create attention
in their first clips, 1A, and 1B by the similar voice-over, with the name as the difference. That
is, both commercials begin with a narrative focusing on the main character, creating indirectly
viewers’ attention. Interest is also created in their respective clips, in which the voice-over
states “Nu har Pernille endelig taget styringen” and “Nu har Benjamin endelig taget styringen”
(rough Enlish translations “Now Pernille has finally taken control” and “Now Benjamin has
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BA Thesis
English
6 May 2013
finally taken control” (my own translation) (Peugeot, 2012a; Peugeot, 2012b)) and the main
characters sit in a Peugeot closing the car door. Interest is created both places based on the
new focus on the product.
Moreover, both commercials create desire by the FBI structure, commercial A illustrating
three features, whereas commercial B illustrates four features. They both illustrate the cars’
inside abilities, however commercial B offers two abilities, the button and the GPS, whereas
commercial A offers one, the logo on the steering wheel. Furthermore, they both illustrate
their main characters smiling, as well as the car itself, related to a further function of the car.
Lastly, both commercials create action by their last clip, clip 16A and 11B, respectively. These
clips show Peugeot’s logo and slogan, and thereby end in a similar manner.
5.4 Gender subtypes
Commercial A and B differ first of all by their characters. Commercial A includes two women,
Pernille, and the bride, whereas commercial B includes a woman and a man, Benjamin, and his
girlfriend. The main characters express a similar change in their gender subtypes. In the
beginning they both appear as the oppressed part of their relationships, having difficulties
contradicting their opposite character. They both face a similar problem by having an
opponent, and being in an unpleasant environment, but also having a weak personality and
not enough courage to contradict them. They both represent negative properties, female and
male respectively. They also go through a change in their individual personality and become
more confident. They both move away from the bad situation, keeping others out of their
space of control. They sit alone in the Peugeot, signifying their control of the cars, and their
lives. The commercials also express a similar pattern of possessing and changing properties of
gender subtypes.
6 DISCUSSION
The commercials have a lot of similarities in order to view them as coherent, however they
also possess differences in order to consider them as separate commercials. The most obvious
similarities are based on commercial A’s use of a woman as the main character, and
commercial B’s use of a man as the main character, expressed by the names, and visual
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images. In relation to my included theories, the narrative model, the theory of use of
metaphor, the AIDA model, and the theory of gender subtypes, they separately identify
interesting similarities and differences between the commercials. The narrative model
provides a broad, yet thorough overview of the commercials’ narratives, illustrating viewers’
engagement by the engagement curve. The theory of metaphor provides an interesting
perspective on the figurative comparison between the two related ways of control, namely the
specific, concrete and physical way of driving a car, and the way of taking control in an
interactional context. The AIDA model examines the commercials from viewers’ point of view,
evoking phases leading to a purchase action. The theory of gender subtypes examines and
clarifies the commercials’ use of gender subtypes, evoking differences and developments of
the main characters.
These separate theories individually create an interesting and broad perspective of the
commercials and their content. However, during my commercial analysis based on the
separate theories, I encountered interesting interactions between the theories, especially
between the narrative model and the AIDA model. By analysing these separately, I noticed
some similarities and ways of complementing each other, and thereby ended up with an even
broader perspective with a bigger depth. For instance, the climax of the narrative model, and
the phase interest of the AIDA model. Their separate functions are mentioned above, however
both the climax and interest point out the commercials’ product, a car. That is, when creating
interest, climax is also created. They function as a united part, evoking a common meaning of
this particular place within the commercials. Moreover, they increase the viewers’ interest
and engagement at the same time, focusing on this particular place in the commercials, and
the car. Therefore, it is possible to interpret an interaction between the narrative model and
the AIDA, as they create a connection because of the illustration of the car. The interaction
between these two theories, stresses the importance of the car in the commercial, something
they would not have done to the same extent individually. Their interaction reinforces the
cars’ part and importance, leading up to what the commercial in the end is about, namely the
product. In case of excluding one of the theories, for instance the narrative model, then the
cars’ importance would have been limited, as it would not have been presented as a problem’s
solution. Thereby, the theories interact and collaborate, indicating the product’s importance
to a higher extent, than if one of the theories were excluded.
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6 May 2013
Moreover, I want to refer to the analysis, regarding the metaphor and the AIDA model,
including the phase interest. They also provide individual perspectives on the commercials,
however they also express interaction through analysis. They both represent the act of having
control, i.e. the metaphor focuses on the figurative comparison of controlling a car, and life
itself, and interest is created by illustrating the car, connecting the car to the act of having
control. This interaction reinforces the importance of the car, as it obtains several meanings
because of the interaction of the theories. This importance would have been to a limited
extent, considering the theories individually. As in the case with the narrative model and the
AIDA model, the theory of metaphor and the AIDA model create a connection because of their
mutual relation to the car, focusing on the actual focus of the commercial, namely the car.
Moreover, by excluding one of the theories, for instance the metaphorical means, the car’s
importance would have been limited, as it would not have connected the car and the act of
having control to the same extent. Therefore, the theories together indicate the product’s
importance by collaborating and complementing each other, hence reinforcing and extending
the analysis’ perspective.
7 CONCLUSION
The purpose of this thesis was to examine commercial A and B in a narrative, persuasive, and
social aspect. My thesis provides an overview of the commercials’ narrative structure, giving
readers a broad and a detailed description of the commercials. The use of the metaphor, taget
styringen, also plays a significant part of the commercials, as it combines the product and
viewers by its figurative comparison of taking control of the car, and in a relationship. My
thesis also provides an overview of the phases of the AIDA model taken place in the
commercials, improving the commercials’ ability to persuade. The commercials’ main
characters are analysed, evoking an overview of their relation of and development in gender
subtypes. The analysis considers the commercials as separate, examining them separately,
thus viewing them individually. However, the comparison creates parallels between the two,
identifying differences and similarities. Throughout this thesis I have discovered that the
commercials are rather similar to each other, expressing the identical metaphor, presenting
the main conflict as personal as well as interactional, and the car as the solution to the conflict.
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Moreover, they have rather similar patterns of the narrative model, as well as of the AIDA
model. Also, they have a few differences regarding the focus of gender being the most
significant, as they distinguish between women and men.
Additionally, I have developed a new view on my empiricism as not simply being commercials
with different aspects of gender, as they also differ in terms of different sorts of relationships,
and elements of the product. The focus of gender slides into the background, whereas
interactions of theories evoke from the analysis, raising new and further questions of their
functions through interaction.
Generally, I believe I have answered my problem statement in a reasonable manner by
shedding light upon the two commercials. Obviously, I have excluded some elements in my
limitations due to limited space. Further research and analysis of the two commercials could
benefit by including these. Furthermore, the methodologies and theories applied in this thesis
could prove as a basis for similar purposes or studies of commercials in the future.
8 LIST of REFERENCES
Burch, G. (2010). Irresistible Persuasion: The secret way to get to yes every time. Capstone
Publishing Ltd.: West Sussex.
Dillard, J. P. & Pfau, M. W. (2002). The Persuasion Handbook: Developments in Theory and
Practice. Sage Publications, Inc.
Holm, A. B. (2011). Videnskab i virkeligheden: en grundbog i videnskabsteori.
Samfundslitteratur.
Katz, P. B. & Poulsen, H. (2006). Fokus: en grundbog i film, tv og video. Gyldendal.
Kotler, P., Cámara, D., Grande, I., & Cruz, I. (2003). Dirección de marketing. Prentice Hall.
Messaris, P. (1997). Visual advertising: the role of images in advertising. London: Sage
Publications, Inc.
Peugeot. (2012a). Bryllyp – Tag styringen. [video online]Available at:
http://www.youtube.com/watch?v=vjBTkRNDEWY [Accessed 3 April 2013].
Peugeot. (2012b). Wellness – Tag styringen. [video online]Available at:
http://www.youtube.com/watch?v=8y230I2kqDQ&feature=endscreen&NR=1
[Accessed 3 April 2013].
Rawal, P. (2013). AIDA marketing communication model: Stimulating a purchase decision in
the minds of the consumers through a linear progression of steps. IRC’s International
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Journal if Multidisciplinary research in social & management sciences, 1, 1, 37-44.
Available at: http://ircjournals.org/vol1/37-44.pdf [Accessed 30 April 2013].
Six, B. & Eckes, T. (1991). A closer look at the complex structure of gender stereotypes. Sex
Roles, 24, 57-71.
West, C. & Zimmerman, D. (1987). Doing Gender. Gender and Society 1, 125-151.
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9 APPENDIX A
Commercial A (Peugeot, 2012a).
Illustrated clip by clip.
In case of technical problems with links, I refer to the attached media.
Clip number 1A
Clip number 2A
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Clip number 3A
Clip number 4A
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Clip number 5A
Clip number 6A
Clip number 7A
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Clip number 8A
Clip number 9A
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Clip number 10A
Clip number 11A
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Clip number 12A
Clip number 13A
Clip number 14A
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Clip number 15A
Clip number 16A
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10 APPENDIX B
Commercial B (Peugeot, 2012b).
Illustrated clip by clip.
In case of technical problems with links, I refer to the attached media.
Clip number 1B
Clip number 2B
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Clip number 3B
Clip number 4B
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Clip number 5B
Clip number 6B
Clip number 7B
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Clip number 8B
Clip number 9B
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Clip number 10B
Clip number 11B
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11 APPENDIX C
Figures and Tables by Six & Eckes (1991: 63-66).
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12 APPENDIX D
The narrative model (roughly equivalent term from the Danish term: berettermodellen),
presented by Katz & Poulsen (2006: 37).
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