Forceville - Pictorial Metaphor in Advertising

The selection of mappable features in a verbal metaphor

Rhetorical figures in the advertising image. Source: Durand 1987:296

Jakobsons (1960) communication model

The influence of pictorial context upon perception. Source: Bosch 1985:146

The influence of pictorial context upon similarity judgments. Source: Tversky 1977:341

Source: Advertising agency: Publi-Est/Gerstenhaber + Cie.

Source: doctored version of Figure 6.1

The selection of mappable features in a pictorial metaphor

Source: Advertising agency: Beverly-Markagri, Groupe Publicis

Source: Advertising agency: FHV/BBDO

Source: Advertising agency: DDB, New York

Source: Advertising agency: HCM

Source: Advertising agency: HCM

Source: Advertising agency: PPGH/JWT

Source: Advertising agency: Abbott Vickers/SMS Ltd.

Source: Advertising agency: Baums, Mang und Zimmermann, Dsseldorf

Primary subjects, secondary subjects and projected features in pictorial metaphors

Source: Advertising agency: McCann-Erickson

Source: Advertising agency: KVH/GGK

Source: Advertising agency: HCM

Source: Advertising agency: PPGH/JWT

Source: doctored version of Figure 6.16

Source: Advertising agency: Foot, Cone & Belding

Source: Advertising agency: Young & Rubicam

Source: Advertising agency: Campaign Company

Source: Advertising agency: Noordervliet & Winninghoff/Leo Burnett

Source: Advertising agency: Young & Rubicam

Source: Advertising agency: PPGH/Moussault

Source: Advertising agency: PPGH/JWT

Source: Advertising agency: J.Walter Thompson

Source: Realization: Hans Haselaar, Wim Ubachs, Roel Salomons

Source: Advertising agency: FHV/BBDO

Source: Advertising agency: HSR & S

Source: Advertising agency: DDB Needham

Source: Advertising agency: GGK Amsterdam

Source: Advertising agency: GGK Amsterdam

Source: Advertising agency: GGK Amsterdam

Every attempt has been made to obtain permission to reproduce copyright material, and publisher and author would like to thank the copyright holders who granted permission to reprint their advertisements and billboards in this book. If any proper acknowledgement has not been made, we would invite copyright holders to inform Routledge of the oversight.

A metaphor is the result of the interaction between two different domains; completing a book on metaphor is the result of the interaction with numerous people. First of all I want to thank Elrud Ibsch and Lachlan Mackenzie (both Vrije Universiteit Amsterdam), who monitored and commented upon the progress of this book from its earliest beginnings. I have benefited much both from their expertise and their enthusiasm. Apart from closely watching over the books overall structure, Elrud managed to convince me that the book would gain by the incorporation of an empirical component. To Lachlan I want to express my gratitude for giving me the first taste of metaphor. His inspiring seminar on the subject in the early 1980s was for me the beginning of what may well prove a life-long addiction. Furthermore, the text owes much to his thoughtful comments and meticulous editing.

Among my colleagues in the Department of English and the Department of Comparative and Empirical Literature at the Vrije Universiteit Amsterdam I would like to thank specifically Johan Hoorn, Dick Schram, and Gerard Steen. The formal and informal discussions in this group helped foster the kind of research climate without which no scholar can thrive.

While the academic community tends to agree readily that interdisciplinary research deserves priority in funding decisions, the extent to which this conviction is practised is often disappointing. I am therefore much indebted to NWO (Netherlands Organization for Scientific Research) for subsidizing the somewhat unconventional project of which this book is the fruit, and for the grants that allowed me to present my research abroad.

Various chapters or parts of chapters in this book have been, or will be, published in scholarly journals and collections of essays. In writing and rewriting for the journals I learnt much from critical reports on submitted articles.

Among the many academics whose suggestions and encouragement came at moments when this was particularly welcome I would like to single out Guy Cook, Leo Hoek, John Dixon Hunt, Mark Johnson, John Kennedy, and Jaap H.Spoor.

Many people have commented over the years on ads and billboards in seminars, lectures, and during conferences. The fact that often I do not even know their names does not detract from the fact that many of their observations have found their way into my analyses.

For years Marieke Nieuwland of the Nederlandse Vereniging van Erkende Reclame Adviesbureaus (VEA) and Marie-Lou Florisson of the Art Directors Club Nederland (ADCN) generously allowed me to consult their archives, and helped me find the information I needed. I much enjoyed the brief glimpses into the world of advertising, so vastly different from the academic one, which my visits to the VEA and the ADCN afforded me.