FROM BRITISH AIRWAYS TO NIKE: THE FACE IMAGE IN ADVERTISEMENTS AND MAKING A WORLD

Öz

This paper is mainly based on British Airways' 1989 Globe (Face) advertisement (HudsonFilmLtd, 2012) and Nike's 2018 Dream Crazy advertisements (Franck, 2018; Kemp, 2022). By carrying out a narrative analysis and a discourse analysis on these advertisements, it focuses on revealing the political, economic, social, and cultural meanings accompanying the aesthetic concerns, which fall behind the face image. In these two historical campaigns, the face that 'makes a world' grounded on Goodman (1978), is the one that unites and separates, builds and disintegrates, liberates by overflowing borders, but is deterritorialized simultaneously. The advertising narrative of British Airways, which represents the transportation sector that facilitates the rapid circulation of goods, services, and money around the world, can be analyzed through the white wall and black holes that Deleuze and Guattari mention about faciality (Holland, 2013, s. 92). On a vast ground, the face is born in nature in this advertisement. Two-dimensional, almost despotic face that can be observed from a wide angle from above, consisting of individual organs - mouth, ear, nose - which requires an eye and power to manage, but when it is completed, uncanny with a smile and a wink. In the Nike outdoor ad, Colin Kaepernick, backed by the Black Lives Matters movement, looks straight ahead, expressionless, as a black American citizen with his death-defying face alone. In this context, the brand dissolves the Other in such a way that only its face is exposed, transforming it into a functioning machine, a living thing which is based only on the face, like Miyazaki's No-Face character, whose face remains constant even though it swallows everything. As a result, both campaigns, tangent to each other through the face image and following different trajectories, complete their tasks of creating a whole of meanings by the zeitgeist and selling successfully.

Anahtar Kelimeler

• Face
• Advertisement
• Brand
• Image
• Other

BRITISH AIRWAYS’TEN NIKE’A: REKLAMDA YÜZ İMGESİ VE BİR DÜNYA YAPMAK

Öz

British Airways'in 1989 tarihli Globe (Face) reklamı (HudsonFilmLtd, 2012) ve Nike’ın 2018 tarihli Dream Crazy reklamlarını (Franck, 2018; Kemp, 2022) örnek olarak seçerek bu reklamlar üzerinden bir anlatı analizi ve söylem çözümlemesi gerçekleştiren bu çalışma; reklamda yüz imgesinin ardına düşen estetik kaygılara politik, ekonomik, sosyal ve kültürel olarak eşlik eden anlamları ortaya koymaya odaklanmıştır. Bu iki tarihi kampanyada yüz, Goodman’dan (1978) yola çıkarak söylersek, bir dünya yapan yüz; birleştiren ve ayrıştıran, inşa eden ve bozan, sınırlardan taşarak özgürleşen ama aynı zamanda yersizyurtsuzlaşandır. Deleuze ve Guattari'nin yüzsellik ile ilişkili olarak bahsettiği beyaz duvar ve siyah delikler (Holland, 2013, s. 92); mal, hizmet ve paranın dünya üzerinde hızla dolaşımını kolaylaştıran ulaşım sektörünü temsilen British Airways markasının reklam anlatısı üzerinden değerlendirilebilir. Bu reklamda uçsuz bucaksız bir zemin üzerinde, doğanın içinde tek tek organlardan -ağız, kulak, burun- oluştuğunu yukarıdan geniş açı ile gördüğümüz, idaresi yukarıdan bakan bir göz ve güç gerektiren ancak tamamlandığında gülümser ifadesi ve göz kırpışıyla tekinsiz, iki boyutlu, adeta despotik bir yüz doğar. Black Lives Matters hareketini ardına alan Colin Kaepernick de Nike açıkhava reklamında, tek başına yüzüyle adeta ölüme meydan okuyan, siyahi bir Amerikan vatandaşı olarak, ifadesiz bir şekilde tam karşıya bakar. Bu bağlamda marka “öteki”ni sadece yüzü açıkta kalacak biçimde eritir, Miyazaki’nin No-Face karakteri gibi sadece yüzden kurulu, her şeyi yutsa da yüzü sabit kalan bir canlıya, işler halde bir makineye dönüştürür. Sonuç olarak her iki kampanya, birbirine yüz imgesi üzerinden teğet geçip farklı yörüngeleri izleyerek zamanın ruhuna uygun bir anlamlar bütünü oluşturma ve satış görevlerini başarıyla tamamlarlar.

Anahtar Kelimeler

• Yüz
• Reklam
• Marka
• İmge
• Öteki

Kaynakça

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