AAVV - The Multimodal Analysis of Television Commercials

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1In this respect, changes in the TV medium not only affect the economic model (negative) but also the contents and narratives (positive). In Francés-Doménech (2009) the keys to this debate are discussed.

2The multimodal analysis of TV ads requires a recontextualization precisely because of the relevance of social and historical aspects when TV ads are broadcast (Baldry and Thibault, 2006: cf. 165). This perspective is latent throughout this chapter.

3Barcelona Televisió, BTV could have been chosen for this study due to its importance in the metropolitan area of Barcelona. The same can be said for TVE 2, part of the Spanish broadcasting company TVE, which also offers programmes in Catalan.

4After the changes in the law introduced in 2007 (Catalan State Bulletin: DOGC, 2007), the corporation changed its name to Corporació Catalana de Mitjans Audiovisuals (Catalan Corporation of Digital Audiovisual Media CCMA). The purpose was to adapt the law to the changes brought about by digital communication technologies, that is, the digitalization of existing television channels.

53XL was broadcast on a regular basis until its disappearance on October 1st, 2012. Also from that date, the 33 and Super 3 channels have shared different time slots on the same frequency. The justification for the changes was the economic crisis and the need to cut down on public spending. It is predicted that these measures will save twelve million euros a year. (“El Super3 i el 33 compartiran el mateix canal a partir de l’1 d’octubre”. In www.ara.cat, 12/09/2012).

6The same could be said, in general terms, of generations of Valencian citizens who were able to receive Tv3 from its inception until quite recently. This possibility ended abruptly in February 2011 when the Valencian government won its court case against Acció Cultural, the owners of a series of transmitting towers that retransmitted the Tv3 signal. Tv3 has had a sustained influence on the Valencian Community, that is, beyond the natural limits of its influence.

7The length of ads on Tv3 is regulated by the Norma de Publicitat (CCMA, 2011), which, in turn, follows the dispositions laid down in the Llei de la Comunicació Audiovisual de Catalunya (DOGC, 2006). In this respect, we find ads that last from a minimum of 5 seconds to 180 seconds. In any case, Tv3 fixes the length of a standard ad at 20 seconds. Figures on the exact number of ads broadcast have not been made public.

8This number was found in the 2009 report drawn up by the General Association of Advertising Firms and the National Federation of Advertising Companies (Asociación General de Empresas de Publicidad, AGEP; Federación Nacional de Empresas de Publicidad FNEP) and details the different subsectors within the advertising industry: advertising agencies, media agencies, agencies for advertising abroad. AGEP and FNEP represent 90% of the sector in Spain.

9Throughout the twentieth century half of the advertising agencies in Spain are based in Barcelona (Fernández-Poyatos 2010: 52).

10Although more than 90% of TV ads are dubbed into Catalan (Tv3, 2009), some companies, El Pozo or Pachá Colonia, do not dub their ads or use mixed formats. When the actor or actress is a Spanish speaker, like Lola Herrera in an ad for Actimel, the original version is maintained, although on-screen text in Catalan is sometimes found. In other ads there are versions in Spanish with subtitles in Catalan as in the case of Corega.

11What is of interest here are the relations that hold between these aspects and others such as synergy, holism, or objective as they have formed part of the general theory of systems for four decades (Von Bertalanffy, 2003: 54). However, taking into consideration all the concepts or axes that integrate the theory (types, purposes, growth, mechanization, centralization, etc.) seems excessive given the objectives of this chapter.

12My analysis of the ads broadcast on Tv3 the 22nd and 23rd of May and the 11th and 12th of September 2012 showed that almost all were also broadcast –in Spanish– in the rest of the Spanish State. Out of a sample of thirty ads, I found 26 were broadcast outside Catalonia: Michelin, Gallina Blanca, Ikea, Regal, Galp, Max Factor, Danone, Font Vella, o Nissan.

13It is quite common for ads to include special effects or animation: Festival de Sitges, Somatoline Cosmetic, Estrella Damm-Barça, etc. but I have only found one that was 100% animation: Michelin Energy Saver.

14Digital communication technologies have slowly redefined the professional profiles in the audiovisual sector. These new professions, in most cases, are related to content types. De Vicente (2011) has drawn up a detailed report in which he talks about a new generation of advertising professionals who attempt to find the best audiovisual procedures for advertising in digital contexts.

15It is worth pointing out that Catalonia and Andalusia are the only autonomous communities that have an audiovisual advisory body (Consejo del Audiovisual). Among its functions is the responsibility to make sure that legal norms applicable to public and private television channels are complied with.

16A slogan for FC Barcelona.

17A list of abbreviations is provided in the appendix.

18The Advertising Code (Norma de Publicitat CCMA, 2001: 5) specifically regulates the possibility of repeating an ad in the same block: “The minimum duration of an ad is five seconds. The same ad cannot be broadcast within the same block. In exceptional circumstances, as long as it is justified from an artistic viewpoint, shorter ads will be permitted” (“La durada mínima d’un anunci serà de cinc segons. Un mateix anunci no es podrà repetir dins el mateix bloc. Excepcionalment, sempre que creativament estigui justificat, s’admetran anuncis de menys durada”).

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