Selling New Zealand: the Language of Advertising

The Sixties

Framegrab, Myrtle's Millions Part 13

The Post Office Savings Bank: Myrtle's Millions Part 13, Carlton Carruthers Du Chateau, 1965
A spoof of a silent movie where Myrtle gets attacked on the way to the bank. A script reminiscent of the Keystone Cops ensues. Myrtle manages to make it to the Post Office where she hands over her savings. We are told "Now we’ve got the talkies don’t take any risks. Put your savings regularly in the Post Office Savings Bank." Advertisers will often use a nostalgic narrative to indicate the solidity of the service or product offered.

• Imperative – "Put your savings …"
• Appeal to security – your money is safe with us etc
• Air of authority of ‘presenter’ – the typical BBC voice of the times.
• Adverb – "regularly" suggests your savings will grow with the Post Office.
• The ‘Silent Movie’ idea suggests a sense of history, tradition of banking with the Post Office.
• Use of humour – makes the advert memorable.

Framegrab, Caltex I.C. Plus

Caltex I.C. Plus: Flying Saucer over South Africa!, Pacific Films, 196-
Special effects filmed at the Pacific Film studio in Kilbirnie, Wellington. The flying saucer symbolism suggests that Caltex IC Plus petrol is somehow revolutionary – out of this world perhaps!

• Repetition – concept of power, powerful etc
• ‘War of the Worlds’ 1950s B movie effect.
• Comparative – "It’s more than higher octane, it’s …"
• Adverbial intensifier – "…friendly Caltex dealers"
• Exclamatory ‘sentence’/repetition – "It’s here, it’s here, it’s here!!!"

Framegrab, Austin Distributors: Great Shapes

Austin Distributors: Great Shapes, Charles Haines, 1968
The "great shapes" of the Austin Mini, 1100 and 1800 are compared to the "great shapes" of three models in various suggestive poses beside each car. The social mores of particular decades alter but sexual symbolism has been a consistent tool for the advertising industry.

• Use of sexual images to sell product – a time honoured technique
• Adjectival intensifiers – classic, restyled.
• Pun – on "shapes"

Framegrab, Mum Rollette

Bristol Myers: Mum Rollette, Charles Haines, 196-
Poor sound quality but essential viewing. Profiles the perfect secretary. To hold such a desirable position a woman must have the highest qualifications. She must be efficient, feminine (to arrange the flowers), responsible and attractive. She must also use Mum Rollette deodorant for "personal freshness". Gender role specifics abound.

• Adjectival intensifiers – fresh, feminine etc
• Declarative statement – "Used all over the world."
• "Every woman wants …"

Framegrab, Jergen's Lotion: Lobster

Jergen's Lotion: Lobster, 196-
"Would you want to hold hands with a lobster?" What you might call abrupt or basic symbolism Women are encouraged to use Jergen’s Lotion to make their hands "kissing soft". A couple kiss on the beach. Perfectly groomed models, a common feature of sixties advertising, project an image that associates social and physical perfection with the virtues of the advertised product.

• Rhetorical question
• Alliteration – "rough, red …"
• Appeal to sexual acceptance – the best reason for wanting soft hands is to get a nice kiss!

Framegrab, Mennen Skin Bracer: Magnet

Mennen Skin Bracer: Magnet, [196- ]
Association. If you use Mennen Skin Bracer sexual attraction will occur, the product producing the effect. The word magnet in this case is the key to this particular commercial. A word or phrase is placed in the spoken narrative to maximise the advertiser's intent.

• Comparative – "A different after shave …" To what? Why/how is it different?
• Exclamatory sentence – "Makes your face feel great!"
• Syntax – "Skin Bracer. By Mennen" minor sentences for impact
• Appeals to sexual acceptance (rather blatantly!) – if you use this after-shave you will ‘score’!!

Framegrab, Jergen's Lotion: Pine-cone

Jergen's Lotion: Pine-cone, [196- ]
"Would you want to hold hands with a pine cone?" Variations on an advertising theme - in this case the symbol changes; other variants might include a narrative shift, extra information or reinvented visuals. The purpose of introducing a variant on an original format often has the virtue of repetition, a necessary advertising device without loss of impact through familiarity.

• Repetition – "soft"
• Rhetorical question
• "Dry and rough" (harsh words) becomes "soft, soft, so soft" (alliteration, sibilance).

Framegrab, Glade Air Freshener

Johnson Wax: Glade Air Freshener, [196-]
A woman, wearing a holster containing Glade, sets off to kill germs in her home. The set up of this commercial gives equal weight to the visual and verbal, lots of deadly germ killing words and of course the Emma Peel jump-suit holster wearing sixties housewife.

• Connotation – "revolution"
• "Proven germ-killing power" – proven by whom?
• Cowboy imagery – the holster

Framegrab, Matinee Cigarettes

Matinee Cigarettes: Make Mine a Matinee, Pacific Films 196-
A couple lie on the river bank after rowing. The man lights his girlfriend’s cigarette. Accompanied by a swinging theme song; "You love that flavour." Typical set-up of gorgeous people and the association of product with type. Tobacco advertising of course is now illegal in this medium.

• Alliteration – "smoother smoking", "Make mine a Matinee"
• Appeal to sexual acceptance

Framegrab, Fact Insecticide

Fact Insecticide, [196- ]
Footage of war scenes and random violence promote the killing power of Fact insecticide. Fast cut images as a symbolism or narrative vehicle are an advertising standard.

• Exclamatory statement - "If you use it, mean it!"

Framegrab, Brylcreem

Brylcreem – Makes the Most of a Man's Hair, [196-]
A successful man at the office, with a young adoring woman and out on the town in an E Type Jag. The rock hard hair is of course associated with physical beauty, with the added ingredient of economic and social success.

• Alliteration – "makes the most of a man"
• Appeal to sexual acceptance
• Boxing – tough men use Brylcreem!

Framegrab, Macleans Toothpaste

Macleans Toothpaste, [196- ]

A couple laugh over a bubble pipe and show off their white teeth. Excessive smiling, elegance and happiness are scripted items. No doubt straight teeth fit the bill as well.

• Adverbial intensifier – "Irresistibly white"

Framegrab, Teaching? It's a Good Life

Department of Education: Teaching? It's a Good Life, [196- ]
A young male teacher is shown in the classroom, coaching gymnastics and rugby and checking homework. Choice of car and social activities are important images, and the primary advertising phrase emphasises the vocational lifestyle as opposed to occupation.

• Repetition – "good"
• Interrogative sentence – "Why am I a teacher?"
• Imperative – "Enquire now

Framegrab, Labour Party, Make Things Happen

New Zealand Labour Party: Make Things Happen, McHarmon Ayre 1969
A party political broadcast. Norman Kirk walks up parliament steps. Uses moving inserts and split screens (used to disguise Kirk’s "bulk"). Graphics repeat the phrases, "Make Things Happen" and "Vote Labour" against an orange and pink screen. Theme Song: "...old enough to have a past to turn to, yet young enough to have a future we ourselves can make." The association of selected image and types are numerous... young & hip, o/d and lonely, children, babies, health, industry, Norman Kirk beside his authoritative library. The famous image from the Vietnam War is politically bold, and apart from appealing to the New Zealand left wing, may also have interested the CIA.

• Imperative – "Vote Labour", "Make it Happen"
• Direct appeal through use of pronouns – you, we, our etc
• Paradox – "The future is here right now."
• Parallel structure – "For your future, for the future of all New Zealand."
• A banjo solo worthy of a spot in ‘Deliverance’!

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