Mass media criticism - semiological analysis from ads Essay

Mass media criticism - semiological analysis from ads - Essay Example to their audience by shaping and lending significance to their â€Å"experience of reality† through the use of â€Å"non-verbal semiotic messages† (Najafian & Ketabi 64-65). The ad under discussion also uses images and text effectively to lure its audience to the product through its appeal to their sense of semiotics and aesthetics. The ad is set in pitch black background that highlights both the red font of the text message as well as the red jacket of the female in the picture. This tactic draws the viewer’s attention to the image and holds it there as he or she will feel intrigued to know what the whole story is about. On the other hand, the man’s face only is clear, which prompts the viewer to look closer and pay focused attention on the image. Once the audience gets a clear idea that the couple is attempting to kiss, leaning out of their cars going in different ways, it makes them think about the message. Obviously, what Diesel want to say is, â€Å"We even unite people from different levels through our product,† or â€Å"No matter where people head, our product makes them pause and take notice.† The image provides a sense that the man and woman, despite their different purposes and intentions, are united by the singularity of the brand’s appeal to them. The brand mostly targets youngsters and the image as well as message will immensely appeal to such an audience. The text message â€Å"Smart Listens to the Head, Stupid Listens to the Heart† challenges the popular notion that smart is better by appealing to the emotions of the audience rather than their intelligence. Besides, the image connotes to a carefree attitude and a liberal way of life, which will also have immense appeal to the younger generation as well as the older generation who think differently. Similarly, the ad also accentuates a passion for life, and Diesel’s motto of doing things â€Å"differently from others† (Saviolo & Marazza 100). Thus, while reflecting the lightheartedness of