Here is another ad that I will be using for my ad campaign analysis. It is another mac vs. pc ad that I see as the next part of the mac vs. pc story that mac is trying to tell.

I forgot to mention last week that this campaign has been created for Apple Inc. by TBWA, which is Apple Inc.’s advertising agency. TBWA is a very large advertising agency that has a long client list, including Absolute Vodka, Adidas, Playstation, McDonalds and Infiniti, to name a few. This particular campaign is called the “Get a Mac” campaign and it started in 2002. Apple’s intentions of these ads were to get PC users to switch over to Macs.

The ads are directed by Phil Morrison and are accompanied with music composed my Mark Mothersbaugh called “Having Trouble Sleeping”. Mothersbaugh is well known for his music composed for Wes Anderson films, such as The Royal Tenenbaums, The Life Aquatic with Steve Zizzou, and Rushmore. In addition he has composed music for over 80 other mainstream and independent films.

I know this weeks lecture was on “image and sound” and how they work together, but I am mainly going to focus on sound in light of my research on the composer of the music. In these commercials I think tropes play a large part to their success. Of course the addition of artistic genius and creativity ultimately are what make these commercials enjoyable for me to watch over again, and actually look forward to the next episode of the campaign, these ads might have completely flopped without the use of tropes.

In this ad we see the familiar faces of Mac and PC, played by the same characters we have seen in previous commercials. The only difference is that this ad has added another, unfamiliar character, the body guard. First of all, this ad uses synechdochy by using characters to represent the different computers, which allows the audience to attach human attributes to each computer. In the beginning of the commercial the characters announce “I’m a Mac” and “I’m a PC”, but the body guard doesn’t announce who he is, the audience can gather from previous cultural implications of his clothing and the way he talks that he is probably a body guard.

This ads purpose is to illustrate the problems of the new Windows Vista operating system. Every time the Mac says something the body guard repeats the question and asks “allow” or “deny”. It becomes very irritating and hard to focus on what Mac is saying because of all the interruptions. I think this aspect of the commercial evokes an emotional response, at least in me. Whenever I use PC’s I get so annoyed at all the pop ups and different windows that i have to click “okay” on before I can finally get to the page that I am trying to find. I guess Vista is trying to minimize the amount of pop ups by adding all these security features, that end up being just as, if not more, annoying than pop ups are. In this ad I can identify a past experience and build on it when I see the actors bring it to life.

I have kind of gotten off topic from sound but I did want to comment on the ad agency’s use of Mark Mothersbaugh music in the ad. This is purely an assumption but in any case, I think that many people who are familiar with Wes Anderson films would know who Mark Mothersbaugh is and by that same measure, I think that many people who use Mac computers for their artistic implications and abilities probably have seen a Wes Anderson film and therefore know the music of Mark Mothersbaugh. This might be completely false logic, but regardless, I think Apple chose Mark Mothersbaugh music on purpose and probably for these specific reasons, and I think it is genius on their part. On the other hand, I don’t think many people would know off the bat that these commercials use Mothersbaugh tunes, I looked it up, but it carriers many of the same intentions that his other music uses in the Wes Anderson films. I think it attracts people and appeals to people in this target group that I have been talking about because it might evoke the same feelings that his music would evoke on a film soundtrack, regardless of if they know specifically who made the music.