VISUAL IMAGING FEATURES OF MUSIC VIDEO ADVERTISEMENT AND ITS EFFECTS ON CONSUMER
Authors:   Gerasimov All-Russia State Institute of Cinematography (Gerasimov VGIK), Federal State Budgetary Educational Institution of Higher Education (Moscow, Russian Federation), Golovanova Elena A. 
Published: December 2021

Before 1950s, advertising had a reputation as a not entirely reputable business. A fragment from A. Hitchcock’ film may serve as an approval of it, where a hero states that in the world of advertising, there is no such thing as a lie, but there is only the expedient exaggeration. With the advent of the TV, the musical functions of transferring and evoking the emotions are generated. Since 1990s, music in advertising refers to music integrated in the media advertisement in order to enhance its success. The novelty of the research concerns the visual and music-visual modalities in the advertisement video contributing to the commercial interest from the consumers, which have been analyzed based on the aesthetic appeal to the screen images. Music is a crucial part of advertising. Thus, the Race of Parts musical content of the advertisement for 2008 featuring the Renault Megane, accompanied by the music from Vivaldi’s the Four Seasons, Summer, Part 3, is closely associated with formation of a product itself. It is expressed by the attractive interactions between the car parts and the rising tessitura, while the color gamut is in contradiction to the general associative perception. The musical score expressing a product olfactory perception is more rhythmic and airy. Thus, the advertisement of the Giorgio Armani Acqua Di Gioia perfume uses the audio-visual modality of the water element including rain, sea waves, and waterfall. Constructing the visual perception is supported by the dominant in music with a tendency to the gradually developing variation set. Unreasonable music used in advertising can result in decreasing the interest to the made brand. This fact has caused a strong activity in finding the new ways to attract the interest of the audience to the commercial product. Animation is one of them (for instance, the animated Coca-Cola Polar Bears Commercial, 2012). The music is written in the classical style by Glenn Rueger. Music supplements expand the imagery of the main heroes, attracting the potential consumers. In the clip of political advertising, the music may play a significant role. The music sounding as a patriotic call can help the audience perception of the essence of the challenge images in the clip and the opportunities to overcome them. The clip from the I am Shapovalov film (1973) with the Let’s Raise the Cavalry Swords song (Composer E. N. Ptichkin and Lyricist E. E. Karelov) performed by V. Mulerman contains a sustaining calmer rhythm. With respect to the same song performed by A. Chuprin, the constants of the march precise in rhythm sound against the reference history of creating and developing the Armed Forces of the Soviet Union and modern Russia. The musical content in advertising is shown to increase the psychological impact on the audience and its emotional arousal, enhancing the attractiveness of a commercial product. Therefore, careful selection of the music material and the method of its use may contribute to creating the rhythmically charged imagery of the clip itself, providing insight into imagery and forming an appropriate language content with the use of cinematographic techniques (editing, color grading, etc.). In addition, the ideological dimension of the musical rhythmic pattern in advertising may contribute to determining the genres of the clip itself.