Dissecting Olympic Game Advertisements: BBC vs Channel 4

Advertisement Comparison

Advertising is the promotional publication of products and ideas, which utilise inducing methods to appeal to a specified demographic. In recent years, this commercial practice has revolutionised in correspondence to the innovative advancements in our technological world; where the development of media platforms such as online streaming, has shifted the global view of digital entertainment. Being the largest sporting spectacle in the world, The Olympic Games is unquestionably a dominant fragment within the advertising industry due to its worldwide audience that surpasses millions. Two advertisements that are prevalent to this are BBC’s coverage of the 2012 Summer Olympic Games (Text One) and Channel 4’s depiction of

the 2012 Paralympics (Text Two). Both visual texts provide emphasis on the notion of super-humans through the use of context and form and employ erratic forms of language features to strengthen emotional responses. Furthermore, patriotic imagery and iconography are induced to the nationwide demographic of the United Kingdom to heighten national pride and triumphalism.
The visual form emulates the conspicuous features present within advertisements, as they evoke powerful emotions from the audience. This practice has been represented in Text One, as the superhuman motif is regulated through the use of Computer Generated Imagery. BBC’s use of CGIs has enabled animators to equip characters with hyperbolic physiques and prodigious talent, which resultantly acquaints envy and astonishment into the audience. This has been exemplified through the depiction of a train speeding alongside a hurdling track as athletes are perceived to run at a same pace. By witnessing such a superhuman feat, the audience is impelled with a sense of astonishment as they make connections with Marvel’s superhero, ‘The Flash’. Channel 4 similarly promotes the superhuman motif, however utilises footage captured from reality to resonate realism into the audience. Text Two’s approach endorses transparency through the presentation of physically disabled individuals, which in turn, conjures the viewers’ sympathetic aspirations with regards to human endeavour. With the assistance of visual montages and confronting imagery, the audience are impelled by the Paralympians’ sense of determination as they overcome some of the greatest challenges in life. In essence, the Olympic campaigns have utilised contrasting forms to synthesise emotional responses in regards to the superhuman motif.
Symbolism and filmic techniques have been rehearsed numerously throughout the Olympic campaigns to further contextualise the notion of super-humans. BBC projects this through the concept of human ascension, as they portray their athletes as ‘God-like’. This technique was evidently shown in Text One when a male athlete prepares to dive from a platform. Large mountains are depicted in the background, allowing the audience to grasp the high elevation, symbolising the man’s supremacy above the human race. The athletes’ differentiating skill, power and emotional strength has also been reinforced through the utilisation of low camera angles, as it depicts the character as a larger, hence, a superior figure. On the contrary, Text Two acknowledges the dogma behind individuality by creating a familiar connection between Paralympians and fictional superheroes. This has been achieved by utilising close up (CU) cinematography to display the athlete’s facial features, ultimately recognising them as distinct heroes. Additionally, Channel 4 features visual presentations of car crashes, birth defects, and scenes from the war to illustrate their past sufferings; similarly depicting how superheroes overcome impossible challenges. The visual context of the superhuman motif was ultimately regurgitated when the telecast climatically ends as Paralympians pose in a team formation. This prompts the audience of Marvel’s ‘Avengers’ and ‘X-Men’ film posters. In effect, both visual texts utilise super-heroic connections to contextualise the notion of super-humans.
The conventional language features of advertisements directly influence the audience’s interpretation of the visual scheme.

This was predominant in Channel 4’s Paralympics commercial as the contemporary soundtrack ‘Harder Than You Think’ by Public Enemy, was synchronised with the visual text to entice the audience. The trailer’s motivational influence was further enhanced through its lyrical verses, ‘Get up, Just Like That’ in addition to subtexts such as “It’s Time to do Battle” to invigorate the audience. Disparately, BBC has deliberately minimised the use of lyrical conventions and has instead employed a harmonious melody that intensified in a gradual manner. This technique heightened the audience’s engagement with the visual text, allowing them to deeply analyse the major elements of the advertisement. Essentially, the implication and exclusion of conventional language features have been utilised to deepen the audiences’ captivation of the

text.
The establishment of a specific target audience has been categorised through the repetitive use of patriotic imagery.

This was present in both commercials, as they utilise visual triggers to encourage the sense of nationalism to the residence of the United Kingdom. In Text One, this was evidently shown by the prominent key landmarks, as athletes are surrounded by the traditional, vintage-styled cities of Britain and renowned architecture including the Big Ben and London Eye. Patriotism has similarly been embedded within Channel 4’s commercial through the continual presentation of The Union Jack and its national colours (red, blue and white). These iconic symbols and colours schemes have been worn repetitively by athletes, patronising the audience to support their fellow representatives. Overall, the patriotic iconography and national symbols have been embedded to isolate a particular target audience.

With liaison of techniques highlighted above, both BBC and Channel 4 have objectified the audiences’ national pride through triumphalism and valour. Congruently enticing the viewers to promote their respective broadcasts, which further results to fluctuate product sales and buisness opportunities. Write

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