Please use this identifier to cite or link to this item: https://ah.lib.nccu.edu.tw/handle/140.119/54981
題名: 舞蹈建構於酒類廣告再現之研究
The Research of Dancing Construction and its Representation in Alcohol Drink TV Advertisements
作者: 許秀珍
Yane Kusuma
貢獻者: 黃葳威
Huang, Vivian
許秀珍
Yane Kusuma
關鍵詞: 品牌
酒類廣告
符號學
電視廣告
舞蹈
Alcohol Drinks Advertisement
Brand
Dance
Semiotics
TV commercial
日期: 2011
上傳時間: 30-Oct-2012
摘要: 本研究主要為探討討論三種酒類之啤酒(Beer)、烈酒(Liquor)、及紅酒(Wine)的電視廣告中,所呈現的舞蹈及其意義,以質化研究方法之符號學的理論取向,解析舞蹈的符號(舞蹈的建構背景、種類、及特徵);轉借自舞蹈的符號(服裝、服裝的顏色);其他廣告因素的符號(舞者、廣告文字);非語言傳播的符號;及媒介鏡頭語言的相關符號,依據符號具與符號義的概念,及明示義與隱含義的符號分析,便以品牌的角度,討論舞蹈應用於三種酒類的電視廣告,所要傳遞的訊息與意涵,並揣摩酒商設計出其舞蹈呈現在他們的廣告,來代表與宣傳產品的目的。\r\n研究發現,藉由舞蹈、舞者、服裝及其顏色,搭配舞者(代言人)的肢體動作、廣告的文字、及鏡頭的一些符號,呈現於酒類廣告,可獲得企業的核心價值、根基、競爭能力等概念;品牌的形象及目標市場;產品的品味、品質、原產地等訊息。此外,不同酒類廣告,傳遞、強調不同的訊息,因此酒商在其廣告中,也設計出不同的舞蹈性質。啤酒類的廣告中,強調年輕的主題,所以啤酒廣告再現了年輕性質的舞蹈風格;烈酒廣告著重有事業成就且有社會地位的成熟男性,因此烈酒類也呈現了屬於正式、成熟性的舞蹈風格;水果酒類的廣告,多以女性為主,因此酒商所引用的舞蹈,也屬於女性演出的舞蹈性質。
This research discussed dancing construction and its meaning implied on beer, liquor, and wine, example of three different alcohol drinks which can be seen on TV advertisements. By using qualitative research methodology and semiotic theoretical approach, this research tried to analyze five different elements of dancing representation in alcohol drinks TV commercial. These elements are: the resemblance of dance symbols (such as background, type, and its characteristics), factor that contributes to dancing (such as costumes and its colors), advertising elements (such as dancers/endorsers, and texts), non-verbal communication, and visual (camera) language.\r\nThis analysis was based on the concepts of signifier/signified and connotation/denotation. Alongside with branding point of view, this study was designed to find out the message and the meaning beyond a particular dance assigned to those advertisements. The research was also tried to identify the reasons why the firms choose to exercise a certain dance in their TV commercial as product representative and moreover to advertise it.\r\nThe research found that through dance representation, the firms attempt to send the message about company core values, foundation, and its competitiveness, as well as the hint to its brand image and target market. The dancing that represented in the advertisements was also showing the taste, quality, and origin of its particular product. Moreover, as different type of alcohol drinks encompassed various type of messages, therefore the variety of dance generous and style were used also different. For example beer TV commercials were prominences young as a theme, thus the dance style applied within was also appertain youngster dance style. On the other hand, Liquor TV advertisements were more focus on a mature male who has carrier achievements and social statuses hence the dance style used on its advertising was far more formal and mature. Finally, wine TV advertisements were more predominantly for female rank, therefore the dance cited by the wine company was also belong to the nature of female dance performances.
參考文獻: 中華民國廣告年鑑(2007)。中華民國廣告年鑑編纂委員會編纂。\r\n中華民國廣告年鑑(2008)。中華民國廣告年鑑編纂委員會編纂。\r\n中華民國廣告年鑑(2009)。中華民國廣告年鑑編纂委員會編纂。\r\n中華民國廣告年鑑(2010)。中華民國廣告年鑑編纂委員會編纂。\r\n王福闓(2011)。《整合行銷傳播策略與企劃》。台北:宇河文化。\r\n全球新聞(2012年03月)。《羅志祥MV「有我在」耗資800萬台幣創個人新高》。上網日期:2012年4月30日,取自http://dailynews.sina.com /bg/ent/music/sinacn/20120323/01123254131. html\r\n何曉飛(2011)。《成年觀護個案酒駕風險知覺、拒酒自我效能與酒後駕車行為之關聯性》。國立交通大學教育研究所碩士論文。\r\n吳知賢(1998)。《兒童與電視》。台北:桂冠。\r\n吳知賢(2001)。〈台灣電視酒類廣告內容意涵之探討〉,《視聽教育雙月刊》,43(3):27-38。\r\n呂冠瑩(2002)。《廣告學管理、策略、創意》。台北:新文京開發。\r\n宋志民、江怡臻、實習記者馮怡超/綜合報導(2010-12-25)。《蔡依林撅翹臀大胸罩照擠出G奶》。上網日期:2012年4月30日中國時報。http://showbiz.chinatimes.com/showbiz/ 110511/112010122500009.html\r\n李幼蒸(1997)。《理論符號學導論卷三:哲學符號學》。台北:唐山。\r\n洪賢智(2002)。《廣播電視廣告製作與創意》。台北:五南。\r\n洪賢智(2004)。《廣告原理與實務》。台北:五南。\r\n徐建榮(2010)。《依莎朵拉‧鄧肯自由舞蹈形象建構之劇場符號研究—以重建舞作「南方玫瑰」為例》。國立臺灣藝術大學表演藝術學系碩士論文。\r\n秦家琇(2003)。《電視廣告製作管理:德芙巧克力電視廣告之個案研究》。世新大學傳播學系碩士論文。\r\n張宇晴(2009)。《3D動畫的鏡頭語言-好萊塢成功商業動畫長片的鏡頭取向及表現性探討》。國立臺灣藝術大學多媒體動畫藝術學系碩士論文。\r\n張芮瑄(2008)《廣告代言人性別與可信度對廣告效果影響之研究:以啤酒及衛生棉為例》。朝陽科技大學企業管理學系碩士論文。\r\n張朝清(1999)。〈進口啤酒行銷通路發之研究:三家領先品牌為例〉。《八十八年度全國管理碩士論文獎暨研討會》。\r\n張慶珍(2002)。《從體驗行銷的觀點探討廣告的視覺符號—以女性雜誌服飾廣告為例》。銘傳大學設計管理學系碩士論文。\r\n張錦華等譯(1995)。《傳播符號學理論》。台北:遠流。(原書:Fiske, J. [1990]. Introduction to communication studies. London, New York: Routledge.)\r\n陳尚永、洪雅慧、蕭富峰譯(2002)。《廣告學》。台北:華泰文化。(原書Wells, W., Moriarty, S. E., & Burnett, J. [1999]. Advertising: Principles and practice (5th ed.). Prentice Hall.)\r\n陳彥豪譯(1999)。《非語言傳播》。台北:五南。(原書 Knapp, M. L, & Hall, J. A. [1992]. Nonverbal communication in human interaction (3rd ed.). Hold, Rinehart and Winston, Inc.)\r\n陳清芳(2010年6月17日)。《酒捐案,烈酒28元,啤酒3.4元》。上網日期2012年8月2日,取自中央社新聞網:http://www.cna.com.tw/News/First News/201006170058.aspx\r\n陳琪玲(2007)。《電視廣告影片影音記憶效果之研究以台灣衛生棉電視廣告影片為例》。國立台灣藝術大學美術學院造形藝術研究所視覺傳達設計組碩士論文。\r\n陳逸平(2005)。《科幻電影的未來學意涵》。佛光人文社會學系碩士論文。\r\n湯永成(1994)。〈廣告設計的思考〉,《藝術家》,39(3):236-240。\r\n黃志文(1993)。《行銷管理》。臺北:華泰。\r\n黃振家、張永慧譯(2008)。《廣告理論與戰略》。台北:亞太圖書。(原書Shimizu, K. [2005]. Advertising theory and strategies.)\r\n黃深勳(1998)。《廣告學。》。蘆洲:國立空中大學。\r\n黃漢宗(2007)。《廣告文本與肖像符號、語言符號的運用以商業廣告影片為例》。國立臺中技術學院商業設計學系碩士論文。\r\n楊中芳(1994)。《廣告的心理原則》。台北,遠流。\r\n葉芝伶(2000)。《電視酒類廣告與識讀教學對國小學童喝酒信念相關問題之研究》。臺南師範學院國民教育學系碩士論文。\r\n廖榮利(1992)。〈酒類食品與飲酒行為之社會文化面分析〉,《今日生活》,308:33-36。\r\n漆梅君譯(1994)。《廣告學》。台北,亞太圖書(原書 Jugenheimer, D.W., & White, G.E. [1991]. Basic advertising. Cincinnati: South-Western)。\r\n翟治平、樊志育(2002)。《廣告設計學》。台北:楊智。\r\n蔡明娟(2006)。《廣告代言人說服力與消費者涉入對廣告溝通效果的影響-以台灣啤酒廣告為例》。\r\n蔡榮貴(1978)。《電視對我國兒童教育之影響》。國立台灣師範大學教育學系碩士論文。環球技術學院中小企業經營策略管理研究所碩士論文。\r\n賴珆緽(2005)。《台灣客家舞蹈創作研究以朗格符號論美學為基礎》。國立臺灣體育學院體育學系碩士論文。\r\n蘇偉華(2001)。《酒類廣告迷思與理解之研究以成年學生為例》。淡江大學大眾傳播學系傳播碩士班碩士論文。\r\n〈財政部國庫署財〉(2010年12月15日)。〈政部九十九年度委託研究計畫。上網日期:2012年5月26日,取自http://www.nta.gov.tw/files /%E5%A7%94%E8%A8%97%E7%A0%94%E7%A9%B6%E8%A8%88%E7%95%AB-%E5%A6%82%E4%BD%95%E8%BC%94%E5%B0%8E%E6%88%91%E5%9C%8B%E9%85%92%E5%93%81%E7%94%A2%E6%A5%AD%E4%B9%8B%E7%A0%94%E7%A9%B6.pdf\r\n〈財政部國庫署菸酒管理〉(無日期)。上網日期:2012年4月30日,取自財政部國庫署網頁:http://www.nta.gov.tw/dbmode93/Content.asp?CatId=189\r\n\r\nAaker, D. A. (1991). Managing Brand Equity. N.Y.: The Free Press.\r\nAcademy of Television Arts & Science. Retrieved March 23, 2012, from Academy of Television Arts & Science. Website: http://www.emmys.tv/ awards\r\nAllen, J. (16 Jun 2011). Bud up for Cup in £8m a year deal. Retrieved April 11, 2012, from The Sun. Website http://www.thesun.co.uk/sol/homepage/sport/ football/3640588/Budweiser-up-for-Cup-in-8m-a-year-deal.html.\r\nAndrews, J. C., Netemeyer, R. G., & Durvasula, S. (1993). The role of cognitive responses as mediators of alcohol warning label effects. Journal of public policy & marketing, 12(1), 57-68.\r\nArgyle, M. (1969). Social interaction. London: Methuen; New York: Artherton.\r\nArgyle, M. (1972). Non-verbal communication in human social interaction. In R.A. Hinde (Eds.), Non-verbal communication (p. 243-269). London, N.Y.: Cambridge University Press.\r\nAtkin, C. K. (1985). Beer and Wine advertising: Impact of Electronic Media. The 99th International Congress on telecommunications, consumer protection, and finance of the committee on energy and commerce, May 1985. (ERIC Document Reproduction Service No. ED 263 489).\r\nAtkin, C. K. (1993). On regulating broadcast alcohol advertising. Journal of Broadcasting & Electronic Media, 37, 107-113.\r\nBabbie, E. (2007). The practice of social research (11th ed.). USA: Thompson Wadsworth.\r\nBaldwin, H. (1989). How to create effective TV commercials (2nd ed.). Lincolnwood, IL: NTC Business Books.\r\nBarnes, C. (2000, August). Who’s jazzy now? Dance Magazine, 90.\r\nBarnes, C. (2004, August). Attitudes. Dance Magazine, 98\r\nBarthes, R. (1967). Elements of Semiology (A. Lavers & C. Smith, Trans.). N.Y.: Hill and Wang. (Original work publishes 1964).Beasley, R., & Danesi, M. (2002). Persuasive signs: the Semiotics of advertising. Berlin, N.Y.: Moutor de Gruyter.\r\nBarthes, R. (1972). Mythologies (A. Lavers, Trans.). N.Y.: The Noonday Press. (Original work publishes 1957).\r\nBarthes, R. (1977). Image music text (S. Heath, Trans.). London: Fontana Press. (Original work publishes 1977).\r\nBear, J. H. (n.d.). Black. Retrieved June 20, 2012, from http://desktoppub.about.com/cs/colorselection/p/black.htm.\r\nBear, J. H. (n.d.). Brown. Retrieved June 20, 2012, from http://desktoppub.about.com/cs/colorselection/p/brown.htm.\r\nBear, J. H. (n.d.). Red. Retrieved June 20, 2012, from http://desktoppub.about.com/cs/colorselection/p/red.htm.\r\nBerger, A. A. (1995). Cultural Criticism. Thousand Oaks, CA.: Sage.\r\nBiehal, G., & Chakravarti, D. (1986). Consumers use of memory and external information in choice: Macro and micro perspectives. Journal of Consumer Research, 12, 382-405\r\nBiel, A. (1993). Converting image into equity. In Aaker, D. A., & Biel, A. (Eds.), Brand Equity and Advertising. New Jersey: LEA.\r\nBlackett, T. (1991). The valuation of Brands. Marketing Intelligence & Planning. 36(1), 27-35.\r\nBland, A. (1976). A history of Ballet and dance in the western world. London: Barrie and Jenkins.\r\nBoross, B. (1999, August). All that’s Jazz. Dance Magazine, 54.\r\nBull, P. (2001). State of the art: Nonverbal communication. The Psychologist, 14(12), 644-647.\r\nBurkert, W (2008). Greek Religion (J. Raffan, Trans.). Harvard University Press (Original work published 1977)\r\nCherantony, L. D., & McWillian, G. (1989). Branding Terminology: The real debate. Marketing Intelligence & Planning. 7(7/8), 29-32.\r\nColormatters. (n.d). Green. Retrieved June 22, 2012 from http://www.colormatters.com/green.\r\nCraig, A.J. et al.(Eds.)(1993)The role of cognitive responses as mediators of alcohol warning label effects. Journal of Public Policy & Marketing, 36(3):28-33.\r\nCross, R. G. (1997). Revenue management: Hard-core tactics for market domination. Broadway Books.\r\nDaily Mail UK’s Scientists discover that eyes really are `the window to the soul`. (2007). Retrieved Juli 1, 2012 from http://www.dailymail.co.uk/ sciencetech/article-436932/Scientists-discover-eyes-really-window-soul.html#ixzz1zMffRJ4S.\r\nDavis, R. (n.d.). Origins of Femme Vogue Dance. Retrieved June 22, 2012 from http://www.ehow.com/about_6692717_origins-vogue-femme-dance.html.\r\nDenniston, C. (n.d). Clichés about Tango origins of the dance. Retrieved June 22, 2012 from http://www.history-of-tango.com/tango-origins.html.\r\nDeVito, J. A. (2002). Human communication: the Basic course. Boston: Allyn & Bacon.\r\nDuncan, I. (1955). My life: Isadora Duncan. N. Y.: Liveright.\r\nFairclough, N. (1995). Critical discourse analysis: the Critical study of Language. London and New York: Longman.\r\nFennis, B. M., & Stroebe, W. (2010). The psychology of Advertising. Hove and N.Y.: Psychology Press.\r\nFishkin, R. L. (2011). Dance: A practical guide to pursuing the Art. MN: Compass Point Book.\r\nFiske, J., & Hartley, J. (1978). Reading Television. London: Methuen.\r\nFreiden, J. B. (1984). Advertising spokesperson effects: an Examination of endorser type and gender on two audiences,” Journal of Advertising Research, 24(5): 33-41.\r\nGarofoli, W. (2011). Hip hop dancing: Breaking. M. N.: Capstone Press.\r\nGarofoli, W. (2011). Hip hop dancing: the Basics. M. N.: Capstone Press.\r\nGates, H. L. (2009). Harlem Renaissance lives from the African American national biography. Oxford University Press, p. 429.\r\nGillis, J. B. (2008). Ballroom dancing for fun. M. N.: Compass Point.\r\nGreen, C. (Producer). (2005-2011). Dancing with the stars season 1-14. [Television series]. Los Angeles: ABC.\r\nGrube, J. W. (1993). Alcohol Portrayals and Alcohol Advertising on Television. Alcohol Health & Research World, 17(1), 61-66.\r\nGrube, J. W., & Wallack, L. (1994). Television beer advertising and drinking knowledge, beliefs, and intentions among schoolchildren. American Journal of Public Health, 84(2), 254-259.\r\nHall, S. (1973) Encoding and Decoding in the Television Discourse. Birmingham: Centre for Contemporary Cultural Studies.\r\nHall, S. (1986). Encoding/Decoding. In: Hall, S., Lowe, A., & Willis, P. (Eds.), Culture, Media, Language: Working Papers in Cultural Studies, 1972-79. London: Hutchingson.\r\nHall, S. Ed. (1997). Representation: Cultural representations and signifying practices. London, California, New Delhi: Sage Publications in association with the Open University.\r\nHayes, H. (2009, September). Educators make a case for keeping the history alive in the studio. Dance Teacher, 58.\r\nHistory of Flamenco. (n.d.). Retrieved Juli 1, 2012 from http://www.deaflamenco.com/history-of-flamenco.html.\r\nHogan, K., Stubbs, R. (2003). Can’t get through 8 barriers to communication. Grenta, LA: Pelican Publishing Company.\r\nHorton L. (1992). Confronting Social Attitudes Toward Alcohol Use. In Developing Effective Drug Education Programs. 19-25. (ERIC Document Reproduction Service No. ED 348 620).\r\nKassing, G. (2007). History of dance: An interactive Arts approach. IL: Human Kinetics.\r\nKeegan, W., Sandra, M. & Tom, D. (1991). Marketing Managing. A Division of Simon and Schusster. 12(5), 120-141.\r\nKeller, K. L. (2008), Strategic brand management: Building, measuring and managing brand equity (3rd ed.). NJ: Prentice-Hall, Englewood Cliffs.\r\nKerényi, K. (1980). The Gods of the Greeks. London: Thames & Hudson.\r\nKlopman, A. (January 1, 2007). Interview with Popin Pete & Mr. Wiggles at Monsters of Hip Hop – July 7–9, 2006. DancerUniverse.\r\nKotler, P. (1994). Marketing management. New Jersey: Prentice Hall.\r\nKotler, P. (2000). Marketing management (10th ed.). New Jersey: Prentice Hall.\r\nKotler, P. (2003). Marketing management (11th International ed.). New Jersey: Pearson Education Inc.\r\nLewis, H.G., & Nelson, C. (1999). Advertising age: Handbook of advertising. Chicago: NTC/Contemporary Publishing Group, Inc.\r\nLythgoe, N. (Producer). (2005-2011). So you think you can dance season 1-8 [Television series]. Los Angeles: FOX.\r\nMascelli, J. (1998). The five C`s of cinematography: Motion picture filming techniques. USA: Silman-James.\r\nMateo, A. (2011, March 3). Lady GaGa`s \"Born this way\" dance workout. Retrieved March 23, 2012 from Selfy Stars Website: http://www.self.com/ magazine/blogs/selfystars/2011/03/lady-gagas-born-this-way-dance.html\r\nMorton, J. (2011, October 25). The Colors of fright! Black, Orange, and White. Retrieved June 20, 2012, from Color Matters Website: http://www.colormatters.com/color-matters-blog/entry/blogs-a-news/the-colors-of-fright-black-orange-and-white-1.\r\nNedungadi, P. (1990). Recall and consumer consideration sets: Influencing choice without altering brand evaluations. Journal of Consumer Research, 17, 263-76\r\nNorton, E. H. (July 30, 2010). Norton Introduces Resolution to Launch Annual National Dance Day. Retrieved March 23, 2012 http://www.norton. house.gov/index.php?option=com_content&task=view&id=1757&Itemid=88\r\nO`Sullivan, A., Sheffrin, S. M. (2003). Economics: Principles in Action. Upper Saddle River, New Jersey: Pearson Prentice Hall.\r\nPesendorfer, W. (1995). Design innovation and fashion cycles. American Economic Review, 85(4), 771-792.\r\nPride, W. M., & Ferrell, O .C. (1995). Marketing: Concepts and strategies (9th ed.). Boston, MA: Houghton Mifflin.\r\nRandazzo, S. (1993). Mythmaking on Madison Avenue: How advertisers apply the power of Myth and Symbolism to create dominant and enduring brands. U.S.: Probus Pub.\r\nRao, A. R., & Ruekert, R. W. (1994). Brand Alliances as Signals of Product Quality. Sloan Management Review, 36(1), 87-89.\r\nRaum, E. (2011). Song and dance: A Journey trough musical theatre. London: Capstone Global Library, Ltd.\r\nResnik, A. & Stern, B.L. (1977). An Analysis of Information Content in Television Advertising. Journal of Marketing, 41(January), 50-53.\r\nRyan, J. (Sep. 11, 2011). Who won and lost at the 2011 creative Arts Emmys?. Retrieved March 23, 2012 from E! Online. Website: http://www.eonline.com/ redcarpet/2011/emmys/news/who-won-and-lost-at-the-2011-creative-arts-emmys/263062\r\nSchudson, M. (1984). Advertising, the uneasy persuasion: Its dubious impact on American society. New York: Basic Books\r\nSeiter, E. (1992). Semiotics, structuralism, and television. In Allen, R. C. (Ed.), Channels of discourse reassembled: Television and contemporary culture. London: Routledge\r\nSilvester, V. (1993). Modern ballroom dancing. London: Tralfalgar Square.\r\nSmith, K. (n.d). All about the color Black. Retrieved June 20, 2012, from http://www.sensationalcolor.com/color-messages-meanings/color-meaning-symbolism-psychology/all-about-the-color-black.html.\r\nSmith, K. (n.d). All about the color Brown. Retrieved June 20, 2012, from http://www.sensationalcolor.com/color-messages-meanings/color-meaning-symbolism-psychology/all-about-the-color-brown.html\r\nSmith, K. (n.d). All about the color Green. Retrieved June 20, 2012, from http://www.sensationalcolor.com/color-messages-meanings/color-meaning-symbolism-psychology/all-about-the-color-green.html.\r\nSmith, K. (n.d). All about the color Red. Retrieved June 20, 2012, from http://www.sensationalcolor.com/color-messages-meanings/color-meaning-symbolism-psychology/all-about-the-color-red.html.\r\nSmith, K. (n.d). All about the color White. Retrieved June 20, 2012, from http://www.sensationalcolor.com/color-messages-meanings/color-meaning-symbolism-psychology/all-about-the-color-white.html.\r\nSpanish Fiestas (n.d.). Flamenco Dance. Retrieved Juli 1, 2012 from http://www.spanish-fiestas.com/culture/flamenco-dance/.\r\nWallack, L., Cassady, D., & Grube, J. (1990). TV beer commercials and children: Exposure, attention, beliefs and expectations about drinking as an adult. Washington, DC: AAA Foundation for Traffic Safety. (ERIC Document Reproduction Service No. ED 333 298).
描述: 碩士
國立政治大學
廣播電視學研究所
95453020
100
資料來源: http://thesis.lib.nccu.edu.tw/record/#G0095453020
資料類型: thesis
Appears in Collections:學位論文

Files in This Item:
File SizeFormat
index.html115 BHTML2View/Open
Show full item record

Google ScholarTM

Check


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.