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Análise de Discurso Crítica da publicidade

nalities with certain rules and a theatrical behaviour as well. There is one, who is a kind of commercial hero, who is always right, does the right choice, has the ‘savoir faire’ and another one who is an anti-hero, the personality whose destiny is to perform difficulties, believe in insincere advertising proposals, live in pain or unnecessary and heavy expenses. This category has interesting ethic implications such as happiness conceptualisations which are mediated by objects and supported by advertising speech acts. The structural distinction between advertising polemics and parody reflects different conceptions of the brand about the origin of the error of the competitor which underlies its advertising ads. This error is not classified as unintentional anymore, but totally voluntary and malicious. In my opinion the reasons for this change in attitude must be sought in a situation of incompatibility among the ideological advertising axioms. When the competitor brand produces an ad allusive to an advertising axiom which is different from its own original or traditional one, this discrepancy allows the other brand to produce a reactive aggressive advertising strategy based on the fact that it conceives the competitor ad as voluntarily abusive and insincere because it is incongruent. The advertising discrepancy is an situation that is relatively normal: the competitor brand tries to create a new brand imagery by reference to new advertising basic concepts (ideologems) such as, for example, the functionality (and not the style anymore), economical competitiveness (and not the ‘functionality’ anymore). However, this process produces advertising interference among other advertising brands which originally had the same advertising position. This is the reason why advertising parody is always related to the sense of usurpation and urgent necessity of replacing an advertising discursive normality. In the ‘process of replacing an advertising order’, marks of an agony discourse show up an emotive language and a struggle against not only the ad of the competitor, but also its discursive own competence and existence. Besides, the brand that produces the parody doesn’t conceptualise the receiver as a neutral advertising referee anymore (as it happened on the polemic advertising ads), but an interested part who should have, a priori, a positive position with its discursive pretensions. The advertising parody – and sometimes the invective –, introduces a discursive situation in which the brand and the advertising receivers are together in a kind of a consensual community. This advertising discursive community tends to exclude – in a grotesque basis – www.livroslabcom.ubi.pt

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