SEOUL MAN After a while the business traveller

SEOUL MAN After a while the business traveller feels as comfortable walking these streets as his own. And when you’ve reached that point, you’ve also discovered the best way to get there. United. Fine meals, double-feature films, a full complement of amenities. It’s the best in International travel, all served up with Friendly Skies spirit. Non to mention Plus Bonuses when you fly First or Business Class. You choose United to Seoul. Because you know that travelling great distances is no reason not to feel right at home. United is dedicated to giving you the service you deserve. Come fly the friendly skies.

A Tagline / Slogo is a variant of a branding slogan typically used in marketing materials and advertising. The idea behind the concept is to create a memorable phrase that will sum up the tone and premise of a brand or product (like a film), or to reinforce the audience's memory of a product. Some taglines are successful enough to warrant inclusion in popular culture (also from tv, film or commercials; EX: "Love means never having to say you're sorry" – Love Story; EX "In space, no one can hear you scream. " – Alien)

FAMOUS TAGLINES Nike, Just do it Adidas, Impossible is nothing Apple, Think different Barilla, Dove c'è Barilla c'è casa, THE CHOICE OF ITALY Chicco, Dove c’è un bambino Mc. Donald's I'm lovin' it Canon, With canon you can FIAT, Guidati dal futuro, YOU ARE WE CAR Nutella, Che mondo sarebbe senza Nutella? Sky, Liberi di. . . Master. Card, Ci sono cose che non si possono comprare, per tutto il resto c'è Master. Card HSBC, The world's local bank Lufthansa, There's no better way to fly Conad, Persone oltre le cose Gratta e Vinci, TI PIACE VINCERE FACILE

UNITED AIRLINES TAGLINES The current slogan, since the merger of United and Continental in October 2010, is “Let's fly together". This replaced the slogan "It's time to fly" created in 2004. United's earliest slogan, "The Main Line Airway, " emphasized its signature New York-Chicago-San Francisco route, and was replaced in 1965 with "Fly the Friendly Skies". The "friendly skies" tagline was used until 1996. "That's what friendly skies are all about" (1980) "You're not just flying, you're flying the Friendly Skies" (mid 1980 s) "From the ground up, rededicated to giving you the service you deserve. Come fly the friendly skies" (Late 1980 s) "Come fly the airline that's uniting the world. Come fly the Friendly Skies" (late 1980 s) "Come fly our Friendly Skies"

UNITED AIRLINES TAGLINES 1) "We Are United" following the September 11 attacks https: //www. youtube. com/watch? v=Vyw. UQz-Dt. Hs 2) “It's time to fly" (2004 -2010) This was uses for the animated commercials (voiced over by Robert Redford), banners, and magazine advertisements of the campaign first unveiled during Super Bowl XXXVIII. ''Where you go in life is up to you. There's one airline that can take you there. United. It's time to fly. '' LIGHTBULB COMMERCIAL: A woman has an idea which she takes all over the world using United to get her there. https: //www. youtube. com/watch? v=s. XN 7 jpu. XJHI 3) "Let's fly together" (2010 -Present)

5. 1. Attention-value strategies: code-switching Usually, tourism advertisements promote a destination which is physically and psychologically a long way from the place where the potential Tourist lives. The longer the distance, the more exotic a place is perceived to be. Therefore, in tourism advertising a sense of the exotic must be conveyed in the text. The easiest way to make a poster look exotic is by using words expressed in the language spoken in the destination country. When the advertisement employs a code-mixing text in which the Language used by the targeted group of consumers contains items belonging to another language – as may be the case of promotional texts – it does indeed achieve attention-getting effects and at the same time offers an insight into the cultural background of the source language. This, however, goes against the main concept behind the policies of the advertising industry, i. e. , the fact that in order to be successful an advertisement text must be understood. Indeed, the use of codeswitching makes the identification of the intention behind the speaker’s communicative behaviour more difficult to perceive.

ATTENTION-SEEKING DEVICES in ADVERTISING 1) CODE SWITCHING When Tourism Texts want to achieve a sense of exotic they often use expressions in a foreign language, i. e. in the language spoken in the place to be promoted Code-mixing achieves attention-getting effects and at the same time it offers an insight into the background of the source language (and of the source culture) EX: “ARRIVEDERCI” SLOGAN (in Maci, 60 -62)

ATTENTION SEEKING DEVICES: METAPHORICAL LANGUAGE SICILY “GRAND TOUR”CAMPAIGN: Personification Metaphor Synaesthesia Multimodality

Sicily here is personified, since it speaks. The action of speaking is a promise, as revealed by the use of the modal will and appears in somewhat unusual ways, because the message is conveyed with music and through literature and theatre. The apparently nonsensical relationship between the verb to speak and the images is immediately reconstructed from a semantic viewpoint: the sea is theatre (with the moon as the spotlight source), the music can be listened to thanks to the wind in the hay field, depicted as a pentagram, and the literature volume is written by the clouds.

Literature, music and theatre are given voice in a synaesthetic way by means of nature. The arts and nature are thus metaphorically depicted as inseparable: not only is nature an artistic masterpiece but is also the spokesperson of Sicilian art. In these images, not only is nature the Manifesto of the Arts, but the Arts are nature itself: Sicilian nature is so harmonious and unique that it is a work of art. Nature and the Arts are the same thing and cannot be separated because they are a single element.

ATTENTION-SEEKING DEVICES 2. HUMOUR AND IRONY Irony is a rhetorical trope by means of which a stetement conveys a meaning different from the one it professes to give and creates a discrepancy between what the words actually say and what they really mean (literal vs figurative meaning) When the audience understand the jokes (by decoding the hidden message), they feel special and clever and a special bond is established with the advertised brand.

SINGAPORE SPICE GIRL 1) Humour: the old lady is exactly the opposite of the members of the Spice Girls. The exotic feature of the country is exalted while otherness is rendered closer to the Western reader. 2) The rhetorical question stimulates the reader to interact.

Kenya campaign 1) Difference between chaotic, stressing and polluted environments (from which the tourists come from) and the peace and calm they will find there. 2) Humorous effect: exaggeration in defining “rush hour” through the presence of three people riding horses (not cars) in a barren land with no sign of buildings or streets.

3) Taboo language It facilitates the recognition of the product and especially attracts the attention of the readership because they fulfil the desire to break with the tradition (social conventions), i. e the desire that characterizes the younger audience targeted by such advertising texts. Moreover, in this case the colloquial taboo expression recalls the stereotype of the rough, tough and blunt Australian, reflected even in his sense of hospitality. . .

1) REAL VS IDEAL 2) THE SLOGAN SEEMS TO BE HANDWRITTEN: This is a graphological device acting as a paralinguistic feature which incites friendship-like feelings, the usual ones conveyed by a postcard written by a friend inviting us to join in the fun (as well as the idea of providing a “real” communication rather than a virtual one) 3) Memorable quality – Striking verbal image

EGO-TARGETING

The Towneplace Suites HELLO FRANK: in its Latin origin, it means "free man" and nowadays it is quite a common name and in English is still means "sincere" or "truthful". Headline: it exalts the main strengths of the brand which are the recognition of the guest as a person, the simplicity and the warm and friendly atmosphere which make the guest feel valued. The act of greeting the guest upon arrival is thus direct. The background is all of an intense red, symbolizing warmth, energy, passion but also sincerity. On the bottom-right part of the ad, on the front desk there is a bowl full of green apples. The choice of this fruit can represent simplicity but also health ("An apple a day keeps the doctor away"). in fact, they are green apples, the colour of nature and health.

On the bottom, in the centre, there is the slogan "Add life to longer stays". The only verb is the imperative form of "add", inviting the guest to take advantage of the extra-benefit offered, which is "life". This intangible added value is the feature that makes the difference, the unique selling proposition of the brand that, clearly, is targeting guests used to "longer stays".

ATTENTION-SEEKING DEVICES SENSORY BRANDING It is a persuasive strategy which employs several elements (visual and verbal) that directly address the viewer/reader’s senses: taste, smell, hearing (sounds), touch (softeness delicacy, warmth, freshness etc. ), sight.

PUN - EGO-TARGETING – SENSORY BRANDING:

The Ritz-Carlton poster is highly representative of the warm, relaxed and refined ambience they want to create for the targeted guest, This kind of guest is usually cultivated and experienced, confident and discerning, he is the kind of person who is looking for the best and who can appreciate it. This advert is based on the techniques of sensory branding, i. e. the addressee can imagine the whole situation through his senses: he can feel the sun on his skin, taste the fresh drink, see the clear sky and nice women walking, hear the pleasant sound of water flowing, smell the clean air. (Erica D’Anna). THIS allows PRE-FRUITION. The ice in the glass and the fountains on the background immediately confer an idea of freshness and relief that contrasts the heating of the sunny day. The shape of the fountains, which seems to surround the person looking at the ad, confirms the idea that the guest is implicitly posed at the centre of the scene. In a landscape with lush nature and a clear blue sky, the predominant colour is the white of the tablecloth, dishes and water, transmitting a sensation of calm, relaxation and purity. .

RITZ CARLTON TEXT Let us invent a drink in your honour Let us transform your room into a tropical paradise Let us turn your weekend getaway into a honeymoon you never thought you’d have Let us create a memory so indelible, you’ll savor it long after you’ve left LET US STAY WITH YOU

RITZ CARLTON The repetition of the words "let us" in every line of the text (also recalled in the tagline) suggests that it is the Ritz Carlton's staff who would be honoured to serve the guest and "stay with" him. The word "stay" assumes a double meaning: it seems to express the idea of spending time with somebody (in which the actor is the hotel), but hides the concept of sojourn in a hotel (applied by the guest). By unifying the two meanings, the result will be a well-known and exclusive brand of hotels in which every client aspires to stay: the subliminal message transmitted is that the guest is the privileged one for having the possibility to "stay with Ritz-Carlton". (Erica D’Anna).

LEBANON BLUES: https: //www. youtube. com/watch? v=UIh 9 Uo. Jj. O 2 U https: //www. youtube. com/watch? v=tc. MUouzh. PY 4 The three videos of this advertising campaign are set in three of the most popular tourist destinations: London, Paris and New York. Three persons are asked about their holidays. They can’t answer and are lost in a daydream recalling those experiences. Finally, we discover they went to Lebanon due to the slogo “It's the Lebanon Blues” followed by a collection of images that show different perspectives of Lebanon as a tourist destination.

The LEBANON BLUES commercials don’t highlight Lebanese touristic sights but they create curiosity about Lebanon, where the fun and the satisfaction are assured by the protagonists' inability of describing it. The idea of its uniqueness is reinforced by the trademark “Only Lebanon” that appears, handwritten, at the end of the commercial. .

“Smi. Lebanon” was co-produced by the Lebanese Ministry of Tourism and The Middle East Airline. It was launched in 2013 promoting a fifty percent discount on flights and accomodation during a period of fifty days. This special offer began on January 8 th with the intention of luring back tourists in Lebanon for the winter season. Tourism in Lebanon had been suffering a decrease in international arrivals since 2011, when the country had to face again problems related with the war. International arrivals to Lebanon declined from 2. 2 million visitors in 2010 to 1. 85 million in 2011 to 1. 6 million in 2012, due to the Arab Spring and, especially, to the war in Syria : https: //www. youtube. com/watch? v=svf. W 5_u 6 Ft. E

SMILEBANON video is set in the cabin of a Middle East Airlines starting its landing There is a shudder and a brief flickering of the lights. The passengers are momentarily anxious, but their fears are unfounded: the cabin crew puts on an unexpected cabaret and the cabin is “magically” transformed into a stage where, then, it even starts to snow. During the performance, the cabin crew impersonate the potential tourists and show what the passengers will experience during their holiday: romance, luxury, Lebanese cuisine, nightlife and winter activities. The message of the commercial seems to be that as the passengers fears are unfounded, so as to suggest, therefore, that the potential tourists’ fears of travelling to Lebanon are also unfounded. Consequently, as the passengers had an unexpected surprise in their flight, the potential tourist will also find an unexpected holiday in Lebanon, where the “non-ordinary” replaces the ordinary life of his home.

The lexis reinforces the idea of the “isolation” of the country from the regional turmoil. Lebanon is presented as a planet instead of a country, so as to highlight its own “dimension”. This “planet” has also a different name, Smi. Lebanon, which links all the positive associations of the smile, such as amusement and friendliness, to the destination The lexis of the song stresses on words related to light, such as “dazzling”, “stars”, “shimmering”, “glitter” and “bright”.