The Art of Persuasion : An Analysis of the Apple Mac Advertisement Campaign

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The Art of Persuasion

An Analysis of the Apple Mac Advertisement Campaign

The focus of study for this assignment will be Apple’s “Get a Mac” advertising campaign, a series of vignettes produced by New York-based advertising agency TBWA. The adverts concentrate on technical differences between PCs and Macs and these are presented by employing a visual metaphor: two actors assuming the roles of the PC and the Mac. There are 23 commercials in Apple’s US campaign, which star John Hodgman and Justin Long as the MAC and PC respectively. Six of these have been re-shot for the UK market and star popular comedians David Mitchell and Robert Webb.

The first thing to note about the adverts is the clarity and simplicity of style. In keeping with Apple’s bare-bones marketing approach, there are no slogans, no ornate visual effects, no third party endorsements and no voice-overs. There is nothing to steer attention from the two actors. The advert works on two levels and combines science and art. On the surface we have the aesthetic design, which is intended to influence our perception of the product. The visuals immediately render each product relevant to a distinct type of personality. The Mac (Robert Webb) is dressed in trendy, casual clothes – a stark contrast to the PC (David Mitchell), who is dressed in a drab suit and tie. The actors represent the two computing platforms, but they also represent their users. One interpretation is that we are being told that Mac users are easy-going, while PC users are professional. On the other hand, we might just as easily deduce that PC users simply have better jobs and are more affluent than Mac users.

The presentation of two actors representing computer systems is a metaphor, and a highly original concept in this particular field of advertising. Lakoff and Johnson (1980, p.5) define a metaphor as “understanding and experiencing one kind of thing in terms of another”, which thereby enables us to map properties of one thing into another. This definition is particularly pertinent as it allows for non-verbal expressions of this trope. In the case of the “Get a Mac” advertising campaign,  the metaphors employed are ontological metaphors. In “Virus”, the PC character is physically debilitated by an actual illness (in itself a metaphor for a computer virus), and in “Restarting” he repeatedly freezes mid-sentence in a representation of the kind of system crashes supposedly inherent in PCs. At the end of the “Virus” advert, the metaphor is stretched further as the PC character declares that he is about to “crash”, and promptly falls backwards and drops out of frame. The light-hearted tone of the advert masks the more serious implications of the characterisation of Mac and PC. The Mac is presented as being calm and laid back, while the PC is austere and businesslike. Their characterisation creates what Ron Beasley and Marcel Danesi (2002, p.95) describe as a “connotative chain”:

Mac = trendy = fun = excitement = pleasure

PC = boring = work = mundanity = tedium

When the characters speak, a subtext is exposed, and in this undertone lies most of the advert’s psychological impact. As we move to a closer study of the dialogue, it is helpful to consider Austin’s definition of perlocutionary acts: “certain consequential effects upon the feeling, thoughts or acts of the audience, or of the speaker, or of other persons” (1962, p.101). For Austin these effects can be intentional or unintentional, a fact disputed by Bach & Harnish (1979: 17 & 81). For them, perlocutionary acts are an intentional part of communication and are intended to bring about a particular intentional action. In the “Get a Mac” campaign, the locutionary, illocutionary and perlocutionary acts are all encoded in the dialogue and at first glance there appear to be no explicit examples. For example, at no point does the Mac ever directly instruct the audience to go out and buy an Apple computer. Indeed, it is Searle’s (1969, p.46) contention that contrary to most writing concerning persuasive communication, a person may “say something and mean it without in fact intending to produce that effect.” Yet it seems unlikely that Apple’s advertising campaign is simply intended to entertain: that it is, in fact, merely a friendly conversation between two computer formats. Ultimately, the goal in advertising communication is to sell, even when, as in this case, the goal appears to be an effort to forge a relationship with the consumer.

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However, these perlocutionary acts can be found if we dissect the speech of the two characters. It will be helpful here to consider the basic speech act framework devised by Bach & Harnish (1979). In the first few moments of the advert titled “Virus”, PC sneezes exaggeratedly. Although not strictly a locutionary act, it has the perlocutionary effect that the audience feels a certain amount of sympathy for the character. Indeed, the Mac character articulates this by asking if PC is all right. The immediate perlocutionary effect is one of predilection for the Mac, who comes across as compassionate and ...

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