ommunication. This schema theory has the ability to enrich the marketing communication study.
Some scholars like Sherry highlighted that the advertising is a cultural document, a way of presenting and apprehending the world. Each and every advertisement is included in cultural shadow and let the readers to negotiate and share the cultural subject matter. Symbols are artistic and man-made. These symbols constructed the world and made the network of social relations in much the same way as religion, science and arts. Science and arts construct the scientific and aesthetic world. Symbolic action and symbolic interaction gratify in the social stream to construct the shadows of the distinctive behaviours of human.
The symbolic and iconic conversation and conventions in the advertisements moves its audience via ritualized enactments by the properties of experiences the cultural esteems . This repetitive ritual will help to maintain the culture by reducing the variance in the cultural behaviour and probably help to lead the cultural perceptions to become natural perceptions. Advertisements construct the definitive reality in the viewpoint. This make the product therapy (Henry 1959) in the competitive marketing world, communicate powerfully and leads to the over consumption world.
In addition, by the transmission model of communication, the source (sender, communicator) relays an information, encodes it using the language or image code and sends it through a transmitter using a certain channel (route, medium) to a receiver (recipient). The receiver gets the encrypted message via a particular receiver and deciphers it. The content is then prepared to interpretation – such interpretation relies also on the amount of communication noise. The mode by which the recipient reacts is called feedback. Advertising communication has the following features: the communicator is the author of the ad, the recipient is the receiver and the conveyed message is marketable material that targets to realize the ad objective, since all communication will be classed as being productive when there is a feedback.
Each advertising sign has its own shape – whether it is big, small, rounded or angular – and by changing shapes, the advertisements reach certain rhythm. Ideally, colour also plays a special role too – mostly by putting crucial shapes into human attention. The basic shapes have their own symbolism. The square indicates stableness and unity, but, paradoxically, advertising uses it only rarely. The rectangle is rather typical for print media than for television promotion, but it can be stated that its features are like in the case of the square. The triangle is symbolically networked to terrestrial world; it can represent anything in the spiritual world. The circle may affect the receivers as easy impression; it reminds us of perfection or alteration. Generally speaking, the oval shapes evoke balance and peace. In thousands of cases, they are directly applied to the corporate logo. Unfinished shapes are the best for attracting attention, although they do not always communicate the most wanted significance.
Music is, no doubt the most used acoustic element in advertising in the past and in the present day. It is connected to symbolic audio stimuli that are able to prevail over all thought diegetic noises of environment (non-symbolic audio stimulus), or more exactly constitute them. Music can function without any natural language. Its fundamental elements are tones created by various musical instruments. Symbolic meaning is included exactly in tones grouped into accords, their sequence, height, pace, repetition, execution, etc. Certain consistency of tones gives individual the capacity to discuss formation of happy, unhappy, and every single other feeling. The key objective of ad is to co
