a visual rhetorical analysis of selected nexium prescription drug advertisements according to

Law, i

AVisualRhetoricalAnalysisofselectedNexiumPrescriptionDrugAdvertisements

AccordingtothemethodologyofSonjaFoss

by

JonathanLaw

SubmittedtotheDepartmentofCommunicationStudiesinpartialfulfillmentoftherequirementsforthedegreeof

MastersofArtsinCommunication

at

LibertyUniversity

May2009

Law, ii

TerriCornwell,Ph.D.

MichaelP.GravesPh.D.

ToddSmith,M.F.A.

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ThesisCommittee

___________________________________________________________

TerriCornwell,PhD.,ThesisChairDate

_____________________________________________________________

MichaelP.Graves,PhD.,ReaderDate

____________________________________________________________

ToddL.Smith,M.F.A.,ReaderDate

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Abstract

Direct‐to‐consumeradvertisinghasgatheredmuchnegativeattention.It’s

purposeisfilledwithquestionsofethicsandlegitimacy.Thisanalyticalstudytakesa

deeperlookintotheadvertisementsthatpromoteprescriptiondrugs.The

advertisementscanbeseenattheflipofamagazine,clickofabutton,orawalkdown

theroad.ThemethodologyforanalyzingvisualimagesaccordingtoSonjaFossprovided

aframeworktoprovideresults.Thispreliminarystudyfoundevidentproblemsinthe

drugadvertisingindustry.Furtherresearchwasbeckonedduetothefindingsofthis

exploratoryproject.

KeyTerms:Nexium,AstraZeneca,Direct‐to‐ConsumerAdvertising,PrescriptionDrugs,

andQualitative

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Dedication

OnbehalfofRossandNancyLawwhoinstilledinmehardworkethicsalongwith

perseverance.Theirguidanceandloveprovidedthemotivationnecessarytocomplete

thisstudy.

Law,vi

Acknowledgements

Iwouldliketothankmyfamilyfortheirsupport,help,andencouragement.My

parentspushedmetoachievehigherthingsthenIthoughtimaginable.Mybrothers

taughtmetoconsistentlyworkhardandbepersistent,andwithoutthemIcouldnot

havemadeitthrough.

IalsowouldliketothankReverendGaryOrrwhopushedmetogoformy

masters.WithouthisextrapushIwouldnothaveconsideredfurthereducation.Thank

youforyoursupport.

Finally,Iwouldliketothankmycommitteewhoservedwithmethroughthis

process.Eachofyouprovidedgreatguidancetomyscholarship,butmoreimportantly

tomycharacter.Ithankeachofyou.

Law,vii

Copyright©2009

JonathanLaw

AllRightsReserved

Law,viii

Introduction

Irememberbeinginthedoctor’sofficeatayoungageof22explainingmy

symptomstothedoctor.Veryfewtestswhereconducted,andIsimplywastoldthatI

neededtotakeNexium.Thislackofexplanationandquickactionledtotheinitialtrivial

questionofdirect‐to‐consumeradvertising.Thequicknessofactionontheprescription

ofthedrug,andthelackofquestionsprobedfurtherresearch.

Irealizedthatthereismoretotheindustryofadvertisementprescriptiondrugs.

Idesiredtoanalyzethisindustry,butdidnotknowwheretostart.AtthispointIcame

acrossSonjaFossandhermethodologyofanalyzingvisualimages.Thishelpedshape

thestudyandprovideananalysisguideline.

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TableofContents

ThesisCommitteeSignatures....................................................................................................................... iii

Abstract.................................................................................................................................................................. iv

Dedication...............................................................................................................................................................v

Acknowledgements .......................................................................................................................................... vi

Introduction…………………………………………………………………………………………………………….viii

TableofContents............................................................................................................................................... ix

ChapterOne‐ThePresentedProblem........................................................................................................ 1

ChapterTwo‐LiteratureReview .................................................................................................................. 4

ChapterThree‐Methodology .......................................................................................................................16

ChapterFour‐ApplicationandAnalysis:AdvertisementNumberOne.....................................19

ChapterFive‐ApplicationandAnalysis:AdvertisementNumberTwo.....................................32

ChapterSix‐ResultsandDiscussion .........................................................................................................42

WorksCited.........................................................................................................................................................45

Appendix ..............................................................................................................................................................48

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CHAPTERONE

THEPRESENTEDPROBLEM

Althoughdrugs,fromtonicsforhairgrowthtoheadachemedicines,havebeen

advertisedaggressivelysincetheearly20thcentury,prescriptiondrugadvertisinghas

onlyexistedsincetheearly1980’s.Becauseadvertisementsfordirect‐to‐consumer

(DTC)drugshavebeenwidelycriticized,researchintothemethodsusedandeffectsof

theseadvertisementsisimportant.Alookintosomeoftoday’stopsellingdrugsand

theiradvertisementscanproduceuniqueinsightintotheindustry.Arecentstudy

conductedbyRoyneandMyersstated,“Nearlyhalfoftherespondentsinboththe1999

andthe2002surveyswhorecalledseeingDTCadsindicatedthattheadmotivatedthem

toseekadditionalinformationfromtheirdoctor”(61).Thiselevatedrateofreturn

stronglybeckonsstudyintowhytheseadvertisementsaresosuccessful.

ArecentarticleintheWashingtonPostdiscussestheissueandtransitionsofthe

advertisingindustry.Thewriter,MelodyPeterson,discusseskeyissuesinregardstothe

industry’sgrowth.Shestates,

Today,ofcourse,drugcompaniesarehugelyprofitableenterprisesandthe

darlingsofbothWallStreetandKStreet,havingspentmoreonlobbyingthanany

otherindustrybetween1998and2004.Theirtransformationfromsmall

chemicalmanufacturerstomarketingmachineswithsidelinesindrug

developmentisowedinlargemeasuretoblockbusterdrugs.(Peterson,BW3)

Thearticlecontinuestofocusonthecompetitionintheindustryaswellastherisein

spendingonmarketingpharmaceuticaldrugs.

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Studiesrevealthatpharmaceuticalcompaniesspendmoreoftheirfundson

promotionandadvertisingthanonresearch.ArecentstudyconductedbyShaw

revealedthatAstra‐Zeneca,apharmaceuticalcompany,spent$216millionon

promotingitsdrugs.InthesameyearPepsionlyspent$212milliononpromotion.

Theprescriptiondrugindustrygrowsnearly100%everytwoyears.A1989

studyrevealedthatthedrugindustryspentacombined$712milliononDirectto

Consumeradvertising(DTCA).Thatfigureincreasedto$2.38billionin2001(Palumbo,

423).Theindustryhasundergonestudiestorevealtheincreaseinrevenue,butfew

studieshavebeendoneonitsadvertisements.

BecausethestrategiesusedinDTCadvertisingareextremelysuccessfulbasedon

financialrevenueandmoneyspentonDTCads,itisimportanttoevaluatethetactics

usedinthisformofadvertisingandtoanalyzewhatmakesthemsosuccessful.This

thesiswillattempttoanswerthefollowingquestions:

(1)WhatdoesDTCadvertisingconsistof?

(2)Whatconceptsandtermsderivedfromtheacademicstudyofvisualrhetoric

areusefultothestudyofDTCadvertising?

(3)WhatinsightsaboutDTCadvertisingcanbegainedfromtheapplicationof

conceptsandterminologydiscoveredinquestiontwo?

Thesectionstofollowanalyzescholarlyliteraturerelevanttotheadvertisingindustry’s

DTCads.Thenextchapterwillalsodiscussthemethodsdiscoveredinvisualrhetorical

scholarshipthatappeartobemostgermanetothestudyofDTCadsfordrugsandthat

willbeusedforthisstudy.

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ThisthesisanalyzestwoprintadvertisementsfromNexium’sdirect‐to‐consumer

database.Nexiumisadrugdevelopedanddistributedbypharmaceuticalgiant

AstraZeneca.Twoadvertisementsprovideastrongcomparisonandprovideasuccessful

foundationforusingvisualrhetoricalcritique.Nexiumalsohasanonlinepresence,but

thescopeofthisstudyisstrictlyrelatedtotheprintmedia.

Thisstudy,althoughuniqueandbeneficial,doeshaveafewlimitations.The

averagemagazineconsumermaynotlookasintentionallyuponanadvertisementasthis

studyhas.Heorshealsomayhaveseveralotherthingsoccurringatthetimetheadisin

view.Frequentmagazineviewerstypicallywillnotlookasintentionallyatapresent

advertisement.DominickL.FroschandPatrickM.Krueger’sstatethat,“viewersare

alsolikelytointerpretDTCAbasedontheirownbeliefsaboutthepowerofmedication

andtheroleoflifestylechange”(3).TheirstudyfocusedpredominantlyonTVads,but

thislimitationexistsforthisstudy.Theseconstraintsshouldbetakenintoconsideration

whenreadingthisthesis.

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CHAPTERTWO

REVIEWOFLITERATURE

Direct‐to‐ConsumerAdvertising

AccordingtoWilkes,Bell,andKravitz:

Direct‐To‐Consumer(DTC)Advertisingofprescriptiondrugsisaffectingpatients,

doctors,andhealthcareorganizationsinprofoundbutnotalwayspredictable

ways.Inarecentsurveymorethanone‐thirdofrespondentsreportedasking

theirdoctorsforinformationaboutadrugtheyhadseenorheardadvertised.

(Wilkes,Bell,andKravitz,111)

DirecttoConsumer(DTC)advertisinginfiltratesalmosteveryhomeinAmerica.The

industryhasbecomeoneofthemostprofitableandcontroversialbusinessesin

existenceandisthereforeofsignificancetobestudied.Adeffectivenessisalarge

portionofthisstudy,makingitnecessarytoanalyzeliteraturethatgivesahistorical

accountofDTCadvertising.Thischapteranalyzesresearchonthepharmaceutical

advertisingindustryandshowshowitrelatestothisstudy.

BeforeIdiscussthehistoryofDTCadvertising,theterm“DTCadvertising”must

bedefined.ThetermDirecttoConsumeradvertisingisusuallydirectlyrelatedtothe

pharmaceuticalindustry.Vogtstates:

Direct‐to‐Consumeradvertisingisusuallydescribedasanypromotionaleffortby

pharmaceuticalcompaniestopresentprescriptiondruginformationtothe

generalpublicthroughthelaymedia.DTCadvertisingshowsupinmagazines,

newspapers,non‐medicaljournals,pharmacybrochures,anddirect‐mailletters,

andontelevision,radio,videos,andInternetwebsites.Anyonewhowatches

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televisionorlistenstotheradiotodayhaslikelyseenorheardsomesortofDTC

advertisementforprescriptiondrugs.(Vogt,1)

Individualsintoday’scultureareconstantlybombardedwiththesetypesof

advertisements.TheFoodandDrugAdministration(FDA)breaksDTCadvertisement

intothreecategories:

• “Product‐claim”adsthatincludeaproduct’snameandatherapeuticclaim

abouttheproduct.

• “Help‐seeking”adsthatdiscussaparticulardiseaseorhealthcondition

andadvisetheconsumerto“seeyourdoctor”butdonotmentionthe

product’sname.

• “Reminder”adsthatcallattentiontotheproduct’snamebutmakeno

referencetothehealthconditionthedrugisusedtotreat.1

Giventheaboveinformation,anoverviewofthepharmaceuticaladvertising

industryfollows.Thisindustryhasundergonenumeroustransitionsinthepastone

hundredyears.TheFoodandDrugLawJournalof2002revealedthatprevioustothe

onsetofDTCads,prescriptiondrugadvertisingwasdirectedprimarilytothedoctors

andprescribersofmedicineratherthantheconsumers.Thesamejournalstated:

Aspatientsbecamemoreinvolvedintheirtreatment,drugcompaniesexpanded

theirpromotionaleffortstoincludeconsumers.ThefirstU.S.prescriptiondrug

printadvertisementdirectedtotheconsumerwasissuedin1981byBoots

Pharmaceuticals,aBritishdrugcompanywhoseAmericansubsidiarywaslocated

1GatheredfromtheFoodandDrugAdministration.

[http://www.fda.gov/cder/handbook/adverdef.html]

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inShreveport,Louisiana,fortheibuprofenproduct,Rufen.(Palumbo;Mullins,

424)

Asthe20thcenturyprogressed,thepharmaceuticalcompaniesrealizedthatconsumers

desiredtohavemoreofavoiceintheirmedicaltreatment.Pharmaceuticalcompanies

realizedthattheyhadagoldenopportunitytocapitalizeonthisphenomenon.

FollowingthereleaseofthisfirstDTCadvertisementintheearly1980’s,Palumbo

andMullinsstate,“ThefirstU.S.prescriptiondrugprintadvertisementdirectedtothe

consumerwasissuedin1981byBootsPharmaceuticals,aBritishDrugcompanywhose

AmericansubsidiarywaslocatedinShreveport,Louisiana,fortheibuprofenproduct,

Rufen.”Manyotherpharmaceuticalcompaniesfollowedsuitandbegantoreleasetheir

ownadvertisements.AccordingtoPalumboandMullinsintheFoodandDrugJournal,

“InSeptember1982,facedwithanovelconceptforwhichtheFDAwasunprepared,the

CommissioneroftheFDAissuedaformalrequesttothepharmaceuticalindustryfora

voluntarymoratoriumonDTCadvertisements”(424).TheFDAdidthistogivethe

agencytimetoresearchtheindustryandthepossibleeffectsofDTCadvertising.The

FDAwasnotpreparedtoputclearrestrictionsontheindustryatthatpoint.

RegardingtheresearchperiodbytheFDA,MorrisandMillsteinstated,“During

themoratorium,FDAandtheindustryconductedseveralstudiesontheeffectsofDTC

advertisements.Onestudy,commissionedbytheFDA,showedthatconsumersretained

moreinformationaboutthebenefitsoftheproductsthantherisks”(Morrisand

Millstein,497).ThisprovidedtheinformationthattheFDAneededtostartsettingup

somekindofregulationsregardingthiscontroversialtypeofadvertising.Another

importantpointthattheFDArealizedduringthisperiodwasthatindividualspurchasing

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prescriptiondrugswantedmoreinformation,andpotentiallywouldviewDTC

advertisingfavorably(Morris,BrinbergandKlimberg,82).

TheroadtothisdevelopmentwaslongandfullofconfusionasDTCadvertising

wentthroughmanytransitionalperiods.Asnotedabove,priorto1981pharmaceutical

advertisementsweredirectedtophysiciansandplacesthatprovidedhealthcare.

Regulationsforthisportionoftheindustryoccurredlongbefore1981.Thefollowing

sectionwillprovideabriefsummaryregardingtheindustry,whichbirthedDTC

advertising.

In1906theFDApressuredlegislationtoissuetheWileyAct.Thisbasically

touchedonthelabelofprescriptiondrugsandonlystatedthattheycouldnotbe

misleading.Theactspecifiedthataproductwasmisleadingormisbranded“onlyifits

labelcontainedfalsestatementsaboutitsingredients’curativeortherapeuticeffects

(PalumboandMullins,425).PalumboandMullinsnotethatthisleftroomforerrorin

regardstodrugs.Therestillwerequestionsofsafetyandefficiencythatwerenot

addressedinthepromotionalcopylabel.Atthispointintimethelabelwastheonly

formofpromotionforaproduct.

From1906to1938technologygrewrapidly,asdidadvertisingtechniques.

Therefore,newregulationappearedtobenecessary.TheFederalFood,Drug,and

CosmeticActof1938soonreplacedtheWileyActandaddressedotherimportantissues

suchasfraudulentmarketingtechniques(Toumlin,16).Thisactgrantedregulationof

advertisementstotheFederalTradeCommission.Themainreasonfortheswitchfrom

theFDAtotheFTCwasduetotheinfluenceoftheCommissionerwhowasinplace,Ewin

Davis(PalumboandMullins,426).HewasthemajorlobbyistfortheFTCatthetime.

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AccordingtoPalumboandMullins,EwinDavis’slobbyingeffortswereextraordinary

anddrewmuchattentiontotheissueofprescriptiondrugadvertising(426).EwinDavis

showedthatitwaspossibletochangethecurrentstatusofthedrugadvertising

industry.

Themajorissueatthispointwasthatbefore1951therewasnoclearline

betweenoverthecounterdrugsandprescriptiondrugs.PalumboandMullinsstated,

“In1951,theDurham‐HumphreyamendmentstotheFDCArequireddrugsthatarenot

safeforuseexceptundermedicalsupervisiontobedispensedonlybyprescriptionof[a]

licensedpractitioner”(426).Thisisacriticalhistoricalevent,whichwouldeventually

leadtothecontroversialissueofDTCadvertising.Followingthisimportantdecisionin

1962,regulationpowerwasgivenbacktotheFDA.2Duringthetimeofthistransition,

prescriptiondrugadvertisingwasnotpracticedsoitisnotreferencedintheact.The

FDAintheU.S.CodeCollectionstatesthatadsmustcontain“informationinbrief

summaryrelatingtothesideeffects,contraindications,andeffectiveness”(352).Allof

thishasledtothecurrentstateofFDAregulation,whichisstatedabove.Thisis

essentialtothestudybecauseitprovidesanunderstandingastopublicpolicyregarding

thepharmaceuticaladvertisingindustry.Itprovidesabackdropforthecurrent

conditionoftheindustryandcanexplainthenecessityofhavingregulationonthings

suchasdrugs.

ThereisstillnegaidingspeculationregardingtheFDA’sguidelinestothecurrent

conditionofDTCadvertising.AnarticleinHealthAffairsstated,

2ForfurtherinformationseeKefauver‐HarrisDrugAmendments.

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TheFDA’soversighthasnotpreventedcompaniesfrommakingmisleading

claimsinsubsequentadvertisements,andarecentpolicychangehaslengthened

theFDA’sreviewprocess,raisingthepossibilitythatsomemisleadingcampaigns

couldruntheircoursebeforereview.(Gahart,Duhamel,Dievler,andPrice,1)

Thisisimportanttothestudybecauseitprovidesaperspectivefromwhichtoviewthe

currentconditionofdirect‐to‐consumeradvertisements.

Itwillalsobebeneficialtoprovideaconcisehistoryoftheproductunderthe

microscope.Nexium’shistoryhasgatheredmuchrecognitionregardthebillionsof

dollarsofrevenue.

NexiumisaproductofAstraZeneca,whichisoneofthemostprofitable

pharmaceuticalcompaniesinexistence.Nexium,accordingtheproduct’swebsite,isan

esomeprazolemagnesiumdevelopedtocombatissuessuchasheartburnandacidreflux.

AccordingtoNexiumResearch.com,Nexiumisplacedinthecategoryofprotonpump

inhibitorsalongwithdrugssuchasPrilosecandPrevacid.Thebasicgoalofthese

productsistoreducetheproductionofacidinthestomach.

Accordingtothe2001annualreportunderthe“KeyProducts”section,Nexium

wasfirstlaunchedinSwedeninAugustof2000.Thereportcontinues,“Nexiumwas

launchedin82marketsduring2001includingtheU.S.,Canada,andkeyEuropean

countries.”Thiswassimplythebeginningofwhatisknownasthefamous“purple‐pill.”

A2004articleinFreshNewsstated,“in2004,Nexium‐‐aka,thePurplePill‐‐wastheNo.1

drugdirectlymarketedtoconsumersinAmerica”(Watson,1).FromthispointNexium

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continuedtobeoneofthetop‐grossingprotonpumpinhibitors.In2006AstraZeneca

spentwelloverabilliondollarstoadvertiseproducts,especiallyNexium(Staton,1).

Nowthatafoundationhasbeenlaidinthetopicofprescriptiondrugadvertising

andabriefhistoryofNexiumwasprovided,thevisualrhetoricalframeworkwillnowbe

outlined.Thissectionwillsetouttheconceptsandterminologyneededtoanalyze

pharmaceuticaladvertisements.Thissectionwillfirstjustifyvisualrhetoricasa

legitimateformofanalysisaswellasdiscussthespecifictheoriesusedtoanalyzeDTC

advertising.

AccordingtoastudyconductedbyLawrenceJ.MullenandJulieD.Fisher:

Inthelate‐1980’sand1990sSonjaFossdevelopedaresearchprogramusing

rhetoricalstrategiestoexaminevisualimages...Providingalanguageandanew

waytothinkaboutvisualimages,herworkcontinuestoinfluencethestudyof

visualimages.(185)

SonjaFosswasnot,however,thefirsttoexaminevisualimages,butherareasoffocus

playedalargeroleinmakingthestudyalegitimateareaofattention.3Thisformof

rhetoricalstrategieswillprovidethemajorityofthemethodologyusedforthisstudy

(describedindetailbelow).

SonjaFossprovidesamaptoinitiatethissectionbybreakingthetopicdowninto

threeclearlylaidoutareas:(1)definitionsofvisualrhetoric;(2)areasoffocusinthe

studyofvisualrhetoric;and(3)approachestotherhetoricalstudyofvisualartifacts

(HillandHelmers,304).Fossarguesthatthesethreetopicscanchangetheworldof

3SeeT.Benson:TheRhetoricalStructureofFrederickWiseman’sHighSchool,orM.J.Medhurst&M.DeSousa,:PoliticalCartoonsasRhetoricalForm.

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rhetoricalstudiesinsignificantways.Shewritesfromacontemporaryperspectiveof

theoryandcriticizesnormalrhetoricalstudiesfornotrecognizingimagesasaformof

persuasion.Herargumentisthatvisualimagescanbejustaspowerfulorevenmore

potentthantheverbal.ShewritesthefollowingintheHandbookofVisual

Communication:

Inthemostbasicsense,rhetoricisanancienttermforwhatnowtypicallyis

calledcommunication.Visualrhetoricisaverynewareaofstudywithinthis

centuries‐olddiscipline.Thelate1980’swasthefirstformalcallmadetoinclude

visualimagesinthestudyofrhetoric,whichuntilthenhadbeenconceived

exclusivelyasverbaldiscourse.Inthatyear,attheNationalConferenceof

Rhetoric,convenedbytheSpeechCommunicationAssociation,a

recommendationproducedbytheconferenceparticipantscalledforan

expansionofthestudyofrhetoric.4(141)

The1970’sbroughtanexpansionofthisnewareaofthinkinginvisualrhetoric,which

hasasitsbasisthestudyofvisualdepictionsthatcanpersuadeanindividualtoaction.

Manyrhetoricalscholarsdisregardvisualrhetoric,butFossstates,“Visual

artifactsconstituteamajorpartoftherhetoricalenvironment,andtoignorethemto

focusonlyonverbaldiscoursemeansweunderstandonlyaminisculeportionofthe

symbolsthataffectusdaily”(ascitedinHillandHelmers,303).Fosscontinuesto

formulatetherelationshipbetweenrhetoricandtheneedforvisualrhetoric.She

elaboratesonthistopicandstates,“Becauserhetoricaltheoryhasbeencreatedalmost

exclusivelyfromthestudyofdiscourse,rhetoricianslargelylacksophisticated4ForcompletehistoricaccountofrhetoricconsiderWendyOlmsted.

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understandingoftheconventionsthroughwhichmeaningiscreatedinvisualartifacts

andtheprocessesbywhichtheyinfluenceviewers”(ascitedinHillandHelmers,303).

Thisstatementdepictsthegapthatcanexistbetweenvisualrhetoricand“normal”

rhetoric,butinrealityvisualrhetoricusesthesametheories,andmore,astraditional

rhetorictoanalyzethevisualratherthantheverbal.Intoday’ssocietyvisualimagesare

effectivewaysofpersuadingindividuals.Itisimpossibletogoforawalkwithoutseeing

anadvertisementoraphotographthatwasdesignedtopersuade.Fossgoesfurtherto

explainandquoteAudigier:“humanexperiencesthatarespatiallyoriented,non‐linear,

multidimensional,anddynamicoftencanbecommunicatedonlythroughvisualimagery

orothernondiscursivesymbols”(Foss,303).

AccordingtoFosstherearethreemainareasoffocusinregardstovisualobjects:

...nature,function,orevaluation.Inthispillaroftheframeworkforstudiesof

visualrhetoric,naturedealswiththecomponents,qualities,andcharacteristics

ofvisualartifacts;functionconcernsthecommunicativeeffectsofvisualrhetoric

onaudiences;andevaluationistheprocessofassessingvisualartifacts.(ascited

inHillandHelmers,307)

Thesethreeareasoffocusprovideapathforthisstudythatcanhelptheevaluation

processofadvertisementsandmorespecificallyDTCadvertising.Itwillbebeneficialto

lookateachoneoftheseindepthtoprovideafirmfoundationfortheframeworkthat

willbeusedtoevaluateDTCadvertising.

Natureisbrokendownfurtherintotwoseparatecomponents,whichinclude

presentedelementsandsuggestedelements.Thepresentedelementsincludenaming

thedominantphysicalfeaturessuchascolor,space,andmedium.Theseelementsare

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physicallypresentinregardstothevisualandleavelittleroomforassumptions.

Outliningthepresentedelementscanleadtoanevaluationofthesuggestedelements,

whicharebasedaroundviewerassumptions;Fossstates,“Itistheprocessof

discoveringtheconcepts,ideas,themes,andallusionsthataviewerislikelytoinferfrom

presentedelements”(ascitedinHillandHelmers,307).MullenandFisherarguethat

thisistheprocessof“theidentificationofvisualconceptswithinanimagesuchaslines,

textures,colors,lighting,cameraangles,andvariousotheridentifiablevisualconcepts”

(MullenandFisher,187).Anexampleofsuggestedelementsinthevisualwouldbethe

ornategoldleafingonbuildings,whichdepictwealthandpower(Kanangieter12‐13).

Thesecondareaoffocusisthefunctionofavisualartifact.AsoutlinedbyFoss,it

is“theactionitcommunicates”(ascitedinHillandHelmers,309).Advertisingiscreated

tocauseanaction,predisposition,orattitudeintheviewer.Onceavisualartifactis

created,thefunctioncantakeondifferentformsdependingontheviewer.Thefunction

isdepictedthroughtheviewerandtheindividualevaluatingthevisualobject.The

intentofthe“artist”orproducerisirrelevanttothefunction,accordingtoFoss.

Edwardsrevealsanexampleofthisconceptbystating,“oneuseoficonicimagesistheir

appropriationtonewcontexts,wheretheyfunctiontocreateanalogiesthatrecallpast

momentsandsuggestfuturepossibilities”(HillandHelmers,308).Theseimages

includetheuseofvisualobjectstopromotethingsthatmaycome,whichareparticularly

relevanttoadvertisingthatseekstopromotefutureconsumerbehavior.Accordingto

Foss,thisnewwayofthinkingcantransformrhetoricaltheory.FossandGriffinrelease

whatseemstobeawarninginregardstothisformofanalysis:“Exactlywhatthe

messageisofanartifactisoftenopentomyriadinterpretations,limitingitspersuasive

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potentialbutexpandingitspotentialtocommunicatefunctionsthatmaybeless

dominatingandmoreinvitational”(ascitedinHillandHelmers,309).

Asstatedabove,Fosstakesthepositionthatthefunctioncanbedifferentfrom

thecreator’svieworthecritic’s.Similarly,accordingtoMullenandFisher,theprocessis

predominatelytheroleofthereceiver(187).MullenandFisheralsoobservethatthe

functionis“notthefunctionintendedbyanadvertisement’screator,butrather

encompassestheactiontheimagecommunicatesasnamedbythecritic”(187).

Thefinalareaoffocusistheevaluationoftheartifact.Itisthejobofthe

rhetoricalanalystintheevaluationsteptoassesshowwellthefunctionisactually

communicated.ThisareaoffocusissummarizedbyFossinthisway:“Ifanartifact

functionstomemorializesomeone,forexample,suchanevaluationwouldinvolve

discoveryofwhetheritsmedia,colors,formsandcontentactuallyaccomplishthat

function”(HillandHelmers,ed.309).Thisformofevaluationisusedwhenlookingat

theartist’sintendedfunction,comparedtothefunctionofthecritic.Fossrevealsthat

thisthirdareacanalsobelookedatfromanotherperspective.Shestatesinregardsto

functions:“Reflectingontheirlegitimacyorsoundnessdeterminedlargelybythe

implicationsandconsequencesofthosefunctions—perhaps,forexample,whetheran

artifactiscongruentwithaparticularethicalsystemorwhetheritoffersemancipatory

potential”(ascitedinHillandHelmers,309).Thisformofevaluationplacesthe

functioninaspecificcontextandlooksatthefunctionfromtheethicalframework.

MullenandFisherprovideaclearexampleregardingthisideaofevaluationof

functions:

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Ifatelevisioncommercial,oradfromsomeothervisualmedium,istofunctionto

increasethesalesofaproductandsalesdonotincrease,thenonemightsaythat

thefunctionoftheadisofpoorquality,atleastintermsofsales.Butevenifthe

image’sfunctionisfulfilledonthisbaselevel,onemustalsoconsiderits

legitimacyandappropriateness.(188)

Thisperhapsisthemostcriticalportionoftheanalysisprocess.Thisareaoffocuscan

definetheadvertisementasasuccessorfailureinethicalterms.

ArecentstudyledbyMullenandFishertookmanyofFoss’sstrategiesandput

themtopracticaluseinregardstotheprescriptiondrugadvertisingindustry.Thestudy

isclearlylaidoutinthelanguageofthefollowingportionoftheabstract:

BycombiningtwomethodsofrhetoricalvisualanalysisdevelopedbySonjaFoss,

thisstudy“elaborates”hertechniques.Ananalysisofprescriptiondrug

advertisementthatwascommonlyseeningeneralinterestmagazineswasused

totesttheelaboratedmethod.(185)

MullenandFisherprovidethetechniquethatIwillappropriatetogenerateapatternof

analysisandmuchofthemethodolologicalrigorofthepresentstudy.Mullenand

Fisher’sstudytakesmanyofFoss’stechniquesandadaptsthemtoprescriptiondrug

advertisinginanelaboratedfashion.Thisthesiswilltakeasimilarapproachbutwill

limitSonjaFoss’sstrategiestostrictlythenature,function,andevaluationofvisual

images.

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CHAPTERTHREE

METHODOLOGY

ThemainmethodologyofthisthesisistheadaptionofSonjaFoss’stheories

regardingvisualartifactscombinedwiththeapproachestoDTCadvertisingasextended

andappliedbyMullenandFisher.Thisprojectwilltakeonasimilarapproach,as

statedintheliteraturereview,asoutlinedinLawrenceMullenandJulieFisher’sstudy,A

VisualAnalysisofPrescriptionDrugAdvertisingImagery:ElaboratingFoss’sRhetorical

Techniques.

Thisthesiswillevaluatetwoadvertisements.Therationaleforchoosingtwoads

istwofold:(1)tosuitablydepicttheuseoftheanalysisprocessand(2)toprovideasolid

baseforacomparisonandcontrast.Acompareandcontrastapproachwillfacilitatethe

identificationofthesimilaritiesanddifferences.Choosingtwoadvertisementsfromthe

sameproductattwodifferentperiodsintimecanenableawidervarietyofstudyand

revealthedifferencesinnature,function,andevaluation.

Thetwoadvertisementsselectedarefromthecampaigntomarketthevery

controversial“purplepill.”ThefamousNexiumadvertisementsareputunderthe

microscopeofFoss’stheories.Thisdrugisusedtotreatheartburnandisoftenaccused

oftargetingwomen.Thisiscriticalbecauseofthequantityofadsthatwerecreated.

NexiumisproducedbyacompanyknownasAstraZeneca,whichisthesupplierand

distributor.AccordingtoTracyStaton,ajournalistforFiercePharma,in2007

AstraZenecaspentcloseto$700milliononadvertisingandpromotion.Thelargest

portionofthoseadvertisementsexistedinmagazines.Infact,$200millionofthattotal

wasusedforprintadvertising.

Law,17

ThereareseveralreasonswhytheNexiumadswereselected.First,these

advertisementshavefrequentlyprovokedcontroversyasmanypreviousstudieshave

stated.Therehavebeenlawsuitsoverthealleged“money‐hungrycorporation”to

changeaproductnamefromPrilosectoNexium.Priloseccostsaboutaneighthof

Nexiumandcanbeboughtover‐the‐counter(Hagens‐Bermen).Immediatelythis

changeraisesethicalquestionsandisoneoftheprimaryreasonswhytheNexium

advertisementswereselected.DTCadvertisingingeneralhasinvitedattentiononthe

issuesofethicsandlegitimacy.TheGeneralAccountingOfficedevelopedareporttitled,

FDAOversightofDirect­to­ConsumerAdvertisingHasLimitations,anditstates:

ThepotentialconsequencesofprintandbroadcastDTCadvertisinghave

promptedmuchdebate.SupportersofDTCadvertisingmaintainthatiteducates

consumersaboutmedicalconditionsandcareoptionsandthattheincreaseduse

ofprescriptiondrugsthatDTCadvertisingencourageshasimprovedthepublic’s

health.CriticsofDTCadvertisingcontendthatitissometimesmisleading,leads

consumerstoseekprescriptiondrugswhenothertreatmentsmaybemore

appropriate.(GOA)

Withthatstated,twoprintadvertisementsforAstraZeneca’sNexiumisselectedat

randomforthisstudy.Thetwofollowingchaptersarebrokendownbythethree

differentcategoriesregardingFoss’sthree‐stepmethod.Theyconsistofnature,

function,andevaluation.Eachoftheadvertisementswillbecomparedusingthese

strategies.5

5NumerousattemptshavebeenmadetocontactAstraZenecabyphoneandemailbuttheyhavebeenunresponsive.

Law,18

MullenandFisherfurthermorecategorizeandlumpfunctionandevaluationinto

whattheycalltheEvaluationofimages(187).MullenandFisherstate,“Theprocedure

fortheevaluationofimagesfocuseson1)identifyingthefunctionoftheimage,2)

assessingthefunction,and3)analyzingtheconnectionbetweenthefeaturesofthe

imageandthefunctionoftheimage.”Thisprovidesasolidfoundationtoguidethis

study,andtheseelementswillbeseenthroughthefollowingtwoanalysischapters.

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CHAPTERFOUR

APPLICATION&ANALYSIS:ADVERTISEMENTNUMBERONE

AReporttoCongressionalRequestersdevelopedbytheUnitedStatesGeneral

AccountingOfficestatedinthereportofprescriptiondrugs:

Spendingondirect‐to‐consumeradvertisingofprescriptiondrugshastripledin

recentyears.Pharmaceuticalcompaniespromotetheirproductsdirectlyto

consumersthroughadvertisementsinmagazines,newspapers,andconsumer

brochures;ontheInternet;andonradioandtelevision.(GAO,1)

Thischapter’sanalysisfocusesonthistypeofpromotion.Specifically,hereapopular

printadproducedanddistributedbyAstraZenecaontheprescriptiondrugNexiumwill

bescrutinized.TheNexiumadwillbeexaminedunderthemicroscopeofSonjaFoss’s

visualrhetoricalmethodsstrategyinhopesofdiscoveringarationaleforsuchahigh

return.6Asnotedpreviously,thosethreecriticalpartsofanalysisarethenatureofthe

ad,thefunctionofthead,andtheevaluationofthead.

Toprefacethestudyitisbeneficialtolookoveranddefineafewofthekeydesign

conceptsthatarediscussed.Thisiscriticaltounderstanddifferentgraphicelementsas

wellasspecificdesignlanguagethatwillbeused.

Thisstudywillusetheclassicgraphicdesigntheoryinregardstothevisual

analysisthatwilltakeplace.ManyofthetermstofollowaredefinedbyBonnieSkaalid

fromtheUniversityofSaskatchewan.6Aspreviouslystated,thereisa40%returnondirect‐to‐consumeradvertising.

Law,20

Thefirstconceptisthatoflines.Lineshavethepowertoconveyamood.

Differenttypesoflinessuchascurvedlines,jaggedlines,orverticallinesallconveya

differentmessage.Skaalidthenmovesontodiscusstheelementsofvalueanddesign.

Shedefinesvalueas“therelativelightnessordarknessofacertainarea.”Valuebasically

referstoapicture’slighting,anditcanbeusedtoemphasizeaspecificpartofthe

picture,orcanbeusedtodrawattentionawayfromaspecificpartofthepicture.Color

valueisthelightnessordarknessofaspecificcolor.Hueisstronglycorrelatedwiththis

concept.Colorshavetheabilitytoportrayaspecificmeaning.Colorsusedindifferent

circumstanceshavegivencolortheabilitytodescribesomething,forexample

purple=royalty.

Finally,Skaaliddiscussesthetermsspaceanddepth,whichwillbebeneficialfor

thisstudy.Shestates,“Weliveinathree‐dimensionalworldofdepth.Whenwelook

aroundus,somethingsseemcloser,somefurtheraway.Theartistcanalsoshowthe

illusionofdepth...“.Furthermorespaceanddeptharebrokenintosizeandvertical

location,overlapping,detail,andlinearperspective.Theseissuesallplayaroleingiving

aflatimagedifferentperspective,forexample,usingsizetomakeobjectsinpictures

fartheraway.Detailisalsoaverycommonuseindesign;furtherawayobjectshavea

tendencyofhavinglessdetail.Thesearejustafewoftheconceptsthatareused,andit

isvitaltothestudytounderstandtheelementsandterminologyofdesign.

Tocommencetheanalysis,thischapterbeginswithadescriptionofthead,astep

thathelpsilluminatethenatureofthead,acopyofwhichisfoundintheappendix.This

stepincludesabasicsummaryofadepictionoftheadaswellasadiscussionofthe

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presentedandun‐presentedelementsintheadvertisement.Thosethingsthatarenot

physicallypresentintheadvertisement,butarethingsthattheadvertisershaveelected

nottosayortoshowcandefineun‐presentedelements.

ThefirstadvertisementselectedwasapprovedbytheFDAin1997accordingtoa

2004NewYorkTimesarticle.Theopeningheadlinereads:“It’shappeningacross

America.”Thesewordsarefollowedbyabriefstatementexplainingthegrowing

numberofNexiumpatientsasrecommendedbydoctors,whichmeansthatprescribed

doctorshavehelpedthesuccessofNexiumthroughprescriptions.Theadpicturesan

aerialviewlookingoverneighborhoodswithamountainskylineinthebackground.

Manyoftherooftopsdepictedintheadarepurple,butnotallofthem.Someroofsare

simplygrayorwhite,buttheyjustfadeintothesurroundings.Thereisacurvinglinein

themiddleoftheadseparatingthepicturefromthetext’sdominantlowerrightandleft

sectionsofthead.Thereisapillbridgingthegapbetweentheupperpartoftheadand

thelowerpart.Thisadvertisementcontainstwosections,whichaccordingtoRoyneand

Myers,includes“anFDArequiredportioncontainingriskinformationandapromotional

portioncontainingthepersuasivemessage”(68).Forcompletedepiction,refertothe

advertisementintheAppendix.7Thefollowingsectionsofthischapterlookatthe

nature,function,andevaluationoftheabovedescribedadvertisement.

7Pleasenote,onlythefrontsideoftheadvertisementwillbeanalyzed.Thereversesideconsistsofdetailedmedicalinformation.

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NATURE

Withthedescriptioninhand,thesectionstofollowwillbegintoanalyzethe

rhetoricalappealofthisadvertisement.Thestudycannowturntothenatureofthe

advertisement,whichsetsthefoundationtoprovideaproperclearseg‐wayintothe

functionandevaluationoftheadvertisement.

Thissectionwillbreakdowntheadvertisementevenfurtherandwillprovide

insightintoapossibledeepermeaningofthevisualadvertisement.Asstatedinthe

literaturereview,thenatureoftheadisidentifyingtheideas,themes,andallusionsthat

theviewerwilltakeawayafterlookingatthead.Tounderstandthenatureofthe

advertisementitiscriticaltodepictthevisualelementsasstatedbyMullenandFisher.

Theseelementsconsistoflines,textures,lighting,color,andothervisualelementsthat

canbeidentified(MullenandFisher,187).Furthermore,MullenandFishercallthese

theproductionelementsoftheadvertisement.Theproductionelementsaswellasthe

aestheticelementsarecombinedtoformthenatureelementofanadvertisement.From

thispointacriticcandepictthepresentedandun‐presentedelementsinan

advertisement.

Toidentifytheseelementstheadisobservedfromitsmostdominantfeatures,

movingontoperhapsitsmoreoverlookedfeatures.Thefirstthingthatdrawstheeyes

intheadisthecenterpictureoftheneighborhoodwithpurpleroofs.Asfarastheeye

cansee,therearepurplerooftopswiththerandomoutofplacewhiteroofssporadically

intermixed.Thepicturelookslikearealimagewithsomedigitalillustrationoverthe

top.Thecameralookslikeitissittingontopofarooftopthatisjustslightlyhigherthen

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alltheotherhomestogiveitsomedepth.Itiseasytonoticethatthehousesarelarger

thantheaverageAmericanhome.Thiselementoftheimagecanpossiblybeexplained

throughreferencetotheexpenseofNexium.Asstatedpreviously,Nexiumisfarmore

expensivethanmanyotherssuchasitscounterpartPrilosec.Secondly,theviewer

noticesthatmanyoftherooftopsarepurple.Thisinstantlyiseye‐catchingbecause

purpleshinglesarequiterare.Purpleisalsopopularlyknownasthecolorofroyalty,

whichcanbeeasilyassociatedwiththingssuchaswealthorpower.Thisvisualnoteof

differenceimmediatelyconnotestheideathatsomepeopleinthisneighborhoodare

beingleftout.Thevisualcuepromptstheviewertolookfurtherintotheadvertisement

tofindoutwhatitisaboutandwhattheelusivemessageisreferringto.

Thesubheadingthatfollowstheproclamation,“It’shappeningacrossAmerica,”

reads:“Nationwide,doctorswhospecializeinacidrefluxdiseasehaveswitchedmore

patientstoNEXIUM‐thepurplepill‐thantoanyotherprescriptionofitskind.”Thistag

lineseemstobedirectednotonlyattheconsumer,butalsotothephysicianswhoare

potentialprescribersofthedrug.Thisstatementalsodoesanexcellentjobtostrokethe

egosofthosedoctorswhoarealreadyprescribingthedrug,thereforeenforcingthose

actionsthattheyarecurrentlydoing.Thesearethedoctorsandphysiciansacrossthe

countrythedealwithissuesofacidrefluxandheartburn.

Themaincolorsthatexistintheadvertisementarepurpleandwhite.Thereare

manyothercolorsinthepotentialpallet,butthesearethevisuallydominantcolorsin

thisadvertisement.Thepurposeofwhiteinthisadvertisementisonlytomakethe

purplemorevisible.Also,intheadaverysubtlecurvylineisshowninthecenterofthe

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advertisementtoseparatethetextfromthepicture.Thepurposeofthelineistosimply

actasadividerandmovetheviewer’seyestothedifferentsectionsofthead.According

toCharlotteJirousekofCornwellUniversity,“curvedlinesdovaryinmeaning....Soft,

shallowcurvessuggestcomfort,safety,familiarity,andrelaxation.Theyrecallthe

curvesofthehumanbody,andthereforehaveapleasing,sensualquality.8”Regardless

ofwhatthecreatorsoftheadintended,theseareamongthepossiblefeelingsinducedby

theexistenceofthecurvedlineinthead.

Alsopresentintheadvertisementisaverywordylowerportion.Thisconstitutes

thegovernment(FDA)mandatedandregulatedportionoftheadvertisement.Therest

oftheadvertisementispresentinhopesthattheviewerwillnotreadthislower,more

verbosesection,forthissectionisrequiredbytheFDAandmayactuallysubvertthe

functionofthead.Thismandatedtextstateswhatreliefmightbeobtainedthrough

Nexiumandthesideeffectsthatmayexist,allofwhichareextremelynegativetothe

functionoftheadvertisement:tomarketthedrug.Thetextalsodirectsthereaderto

anotherformofpromotion,whichissampling.AccordingtoGinwalla,Chergui,and

Mathews(2004),samplingoccurswhenphysiciansprovidefreesamplestoinquiring

patients.Thisprocesswillmostlikelyhelpmovetheviewertotheultimatefunctionof

theadvertisement,analyzedsectionstofollow.

Mostofthetextinthelowerportionoftheadvertisementappearsinanormal

font(notboldoritalics),whileonesentencestandsoutfromtherest:“HealingIsSuchA

GreatFeeling.”Itstandsoutfromtherestbecauseitislargerandbolderthantherestof

8http://char.txa.cornell.edu/language/element/element.htm

Law,25

thecopyinthelowerrightportionoftheadvertisement.Thisstatementisironic

becauseNexiumdoesnothavehealingpower,whichiswhyitisapillthatneedstobe

takeneveryday.Furtherexplorationcanrevealtheironyinthisstatement.This

statementexistsforitsfunctionality,whichisalsodiscussedinthesectiontofollow.

NoticethatthestatementneverclaimsthatNexiumactuallyheals,onlythathealingfeels

good.Theideaofhealingtomostpeoplewhoseethisadcarriesapositivelightand

buildsanaffinitytoNexiumintheaudience.Theconsumerthusfightsaninner

cognitivebattle,whichsubconsciously40percentofthetimetheadvertisementwins.

FUNCTION

AfterreviewofthenatureoftheadusingSonjaFoss’sapproach,itisnowfeasible

tolookintothefunctionoftheadvertisement.Anarticleaboutdrugads,which

appearedintheSanFranciscoChronicle,states:“Almost60percentofadultssaythey

learnlittleornothingaboutthedrugitself.”Thatisclearlynotthecasewiththis

Nexiumadvertisement.Fromtheveryfirstglanceitisapparentwhatthis

advertisementisfor,orisit?Theseadvertisementsmightcarrymoreunderlying

functions,whichcanbedecodedusingFoss’scriticaleye.

Asstatedintheliteraturereviewthefunctionisnotnecessarilybasedonthe

creator’sintention,rather,fromtheviewpointofthismethodologicalapproach,itis

strictlybasedontheperceptionandinterpretationofthereceiver.Theconsumer,orthe

criticrather,createsthefunction.Shapiro(39)statesthatwhenthereceiverinterprets

thead,it“willhavemoremeaningsforitscollectiveaudiencethanitdoesforits

producer”(ascitedinMullenandFisher187).AccordingtoMullenandFisher,“This

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putsthefocusonthedecodingprocessesofthereceiver”(187).Themajorityof

individualsdonotuseastrategyofdecoding,butsuchanapproachiscriticalto

understandingthefunctionalityofanadvertisement.Nowwewilllookmorecloselyat

thisadvertisementandthefunctionsitcouldpossiblycreate.

Thisportionofthechapterwilldiscusssomeprimaryandsecondaryfunctions

thatcouldbededucedthrougharhetoricalcritic’seye.Perhapsthemostdominant

functionofthisadvertisementistobuildacuriosityintheviewer’seyes.Theopening

statement,“It’shappenacrossAmerica,”leavestheviewerquestioningwhatthe

advertisementisreallyabout.Aprimaryquestionthatmayexistis:whatishappening

acrossAmerica?Thisquestionprobesfurthercuriositybyitselusiveness.Ithintsthat

themajorityofAmericaisdoingsomethingthattheviewerisnotyetawareof.The

statementbegsforaresponse,settinguptheviewertosearchforcluestoariddle.It

setstheviewerintoaninteractiveframeofmindwiththead.Thestatementtriggers

viewercuriositythatleadstheviewertocontinuereadingwhattheadvertisementis

about.

Thesecondpossiblefunctionthatexistsispromotinganurgencytobeinvolved.

Thisurgencyispromotedthroughthetaglinebelowthemainheading“Nationwide,

doctorswhospecializeinacidrefluxdiseasehaveswitchedmorepatientstoNEXIUM‐

thepurplepill‐thantoanyotherprescriptionofitskind.”Thisfunctioncanbedecoded

bynotonlyaconsumer,butalsobyapotentiallyprescribingdoctor.Doctorsthatare

“notintheknow”feelanurgencytobeinformedaboutNexium.Thetaglinealso

provokesurgencyintheconsumertofindoutwhatheorshehavebeenmissingouton.

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Thistaglinecorrespondswiththevisualimageofthehouses,somewithpurpleroofs,

andsomewithwhiteroofs.Thisfunctiontiesstronglyintotheemotionalappealofthe

advertisement.RoyneandMyers’studyfoundthat“emotionalappealswerefarmore

prevalentthanrationalappealsinthepromotionalportionofDTCads...”(68).This

appealforurgencystrikesachordintheviewerbecausethemajorityofindividualsdo

notlikethefeelingofnotknowingsomething,whichleadsustodeducethefollowing

presumedfunction.

Thisfunctiontakesamorerationalaswellasanemotionalapproachandcreates

afeelingofignorance.Thisfunctioncanstrictlyonlybeaddressedthroughfurther

investigation.Rationallytheadvertisementfunctionstopromotealackofknowledge

regardingthepopulardrugNexium.Thisthenstimulatesanemotionalresponseinthe

viewer,becauseindividualsdesiretheanswers,andmoreoftenthannotwillseekinthe

advertisementforthem.Thisfunctioncouldcausetheconsumertofeeluniformed,

which,inturn,producesafeelingofignorance.Thisfunctiontiestogetherthe

phenomenaofcuriosityandurgencyandmovesthecriticorconsumertothetextcopy

theliesonthelowerportionofthead.Thistext,asnotedabove,containstheFDA

mandatoryinformationofthesideeffectsoftheproduct.Sincethisportionis

governmentmandated,themajorfunctionofthissectionissimplytoinform.This

portiontakesabackseattothepredominantpromotionalfunctionoftheadvertisement.

RoyneandMyersstateinregardstothisissue:

Theoverwhelmingpresenceofemotionalappealsintheheadlineandpictorial

portionsoftheadsindicatesthatadvertisersattempttoplacethepromotional

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elementsinamoreprominentposition,leavingthegovernmentmandated

informationaboutrisksandsideeffectsintherarelyreadbodycopy.(68)

ItisironicthatthisportionoftheDTCadendswiththestatement,“HealingIs

SuchAGreatFeeling.”Justbeforethisstatement,theadliststhepossiblesideeffectsof

thedrug,whichinclude:“headache,diarrhea,abdominalpain...“justtonameafew.

Theendingstatementfunctionstosmoothoverthatwhichhasjustbeenstated.This

juxtapositionperhapscouldbethemostmisleadingpartoftheentireadvertisement.

Nexiumdoesnotnecessarilycureheartburn,butratherrelievesit.Thisiswhypeople

havetotakethe“purplepill”daily.Theword“healing”hintstothefactthatan

individualpossiblycanbehealedfromheartburnusingNexium.Thestatement

functionsprimarilytoproduceacognitivebiasintheconsumer’smind.Themajorityof

theadvertisementisdirectedattheuninformedperson,sothislinkto“healing”isno

different.Ifapersonisuninformed,thenthisstatementbecomesextremelypowerful.It

ascribesahealingpowerfortheissueofheartburn,whichAstraZenecahaslabeledasa

“disease.”

Eachoftheabovefunctionsleadstowhatseeminglyistheprimaryoverall

underlyingfunctionofthead:thepromotionoftwodistinctfunctions,withasingular

missiontoincreaserevenueforthedrugcompany.Insum,thefirstfunctionismoving

theconsumertofurtherinquiryabouttheproduct,andthesecondfunctionisto

promotetheprescriptionoftheproductbydoctors.Thisistypicallythecreator’s

purposeoftheadvertisement,butintermixedinthosefunctionsliesanarrayof

functionsthatcausetheviewertothinkoractacertainway.Allofthesefunctions

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employtheamusingfantasythatyourroofcanbepaintedpurpleaswell,ifyoujustask

yourdoctoraboutthepurplepill.

EVALUATION

Aspreviouslystated,intheliteraturereview,theevaluationstepinFoss’s

schemaconsistsoftheassessmentofhowwellorifthefunctionwasactuallybroughtto

fruition.MullenandFisherstate:

Onewaytoassessthefunctionistodetermineiftheelementsoftheimage

contributetothefunction.Theaesthetic,production,andinterpersonalvisual

elementsallcontributetothefunctionofassociatingthedrug...”(193)

MullenandFisher’sstudyevaluatedthesuccessofaDTCadbecauseitwasnotracially

biased.Strictlyfollowingthatidea,theadusingtheimageofpurpleroofswouldbe

judgedassuccessfulaswell.However,theadvertisementlacksthepresenceofahuman

being;therefore,theadvertisementcannotbebiasedtoanyspecificrace.Thisadcould

beplacedanumberofplacesandbesuccessfulbecausethisadvertisementcrossesall

racialboundaries,itwillevaluatethesuccessofsomeoftheotherfunctions,aswellas

discussissuesofethicsinthisfinalsectionofchapterfour.9

Statisticsprovethatthisadvertisementhadameasureofpositiveresultsfrom

thefunctionslistedabove.TheDTCadvertisementsprovideaninfluxofrevenueforthe

pharmaceuticalcompanies.AnarticleintheWashingtonPostreferstoNexiumasa

9 For further discussion of the racial bias issue, see Mullen and Fisher.

Law,30

“blockbusterdrug.”Petersonstatesinherarticle“BigPharma’sGoldenEggs”:“Thisis

thetermforanymedicationthatgeneratesmorethan$1billioninsalesannually.”If

Nexiumisoneofthese“blockbusterdrugs,”thenthereisnoquestionthatthe

advertisementhelpedfurtherthisresultandwasthussuccessfulontheissueproviding

aprofit.

A2001articleintheSanFranciscoChroniclestates:“40percentsaytheyplanto

talkwiththeirdoctoraboutthehealthconditioncitedinthead”(B‐1).Froman

advertisingperspective,thisisashockingamountofreturnonanygivenDTC

advertisement.Perhapsmorealarming,astudyconductedbytheKaiserFamily

Foundation,citedbyDavidLazarusintheSanFranciscoChronicle,revealed,“70percent

ofadultslearnlittleornothingfromsuchadsaboutthehealthconditioninquestion.”

Thisbeginstoraisequestionsofethicsregardingtheseformsofadvertisements.

WithsuchalargeamountofsuccesswithDTCadvertisements,pharmaceutical

companiesareencouragedtoraisethepricesofthedrugs.Adssuchastheonein

questionmaybeplayingofftheweakanduninformed.Manyindividualsbuyinginto

thisadvertisement’senticingbehaviordonotknowthatcheapersimilardrugsexist.

Nexiumhasprovidedamarketingschemetopromoteamuchmoreexpensivedrug

developedbythesameorganizationthatcreatedacheaperover‐the‐counterversionof

thesamedrugknownasPrilosec.

Clearly,therearemanyethicalquestionsathand.Thesetypesofadvertisements

aresuccessful,butaretheysuccessfulattheexpenseofethics?Ratherthaninform

thosethatarenoteducated,thisadvertisementmakesthosethatdonotknowabout

Law,31

Nexiumfeel“leftoutoftheneighborhood.”Thisformofadvertisementprovidesasense

ofurgency,whichcanpossiblyinducereaderstoskiptheprocessofbecomingproperly

informed.AnindividualviewingtheadvertisementcouldbegintakingtheNexiumpill

withouteverlearningthefulleffectsofthepill.Itcouldalsobemisleadingforthe

advertisingtousetheword“healing.”Thislinguisticchoicecreatesanexcitementinthe

consumer’smindthathelpspromotetheuninformedattitude.

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CHAPTERFIVE

APPLICATIONANDANALYSIS:ADVERTISEMENTNUMBERTWO

NowthatthemethodologyofFosshasbeenconductedonthe“purpleroof”ad,

thischapterfocusesitsattentiononasecondadvertisement.ThemethodsofFosswill

againbeusedasatooltoanalyzetheadvertisements.Thischapterwillhaveseveral

sectionssimilartothepreviouschapter.Itwillbecriticaltoprovideadetailedvisual

descriptionofthevisualimage/advertisement,whichiscontainedintheAppendix.

Thischapterwillalsoincludethenature,function,andevaluationaspectsofSonjaFoss’s

visualimageanalysis.Theselectedadisaproductclaimadaswellasareminderad.It

callsattentiontotheproductnameandsuppliesthesideeffectsinaverysubtleway.It

alsojustremindsindividualsoftheproductandbeckonsfurtherresearchaboutthe

advertisement.

Asnotedinthepreviouschapter,itisvitaltodiscussthepresentedandun‐

presentedelementsintheadvertisement.Thepresentedelementsarethegraphical

themesthatexistintheimage,whiletheun‐presentedelementsarethosethingsthat

arenotvisuallypresent.Thisadvertisementbeginswiththepredominantphrase,“A

newexperienceinpower.”Situatedbelowthestatementisamalemaestrowavinga

wandinhishandsdirectingwhatseemstobeasymphonyorchestra.Themaestrois

dressedinastrappingtuxedowithablackblazer,overawhitevest,shirt,andbowtie.

Hishairisalmostshinysilverwithabeardtomatch.Directlybelowthemaestroarea

fewfacelessindividuals,asiftheyareactuallymusiciansintheorchestralookingtothe

maestroforthenextmelodioustransition.

Law,33

Flowingfromthemaestro’shandsisapartoftheNexiumlogo,10whichismade

upofcirclesofdifferentsizesinaswoopmotionappearance.Theydifferslightlyfrom

thelogointhattheyarewhite,andthelogoispurple.Purpleandwhiteareagainthe

mostpredominantcolorsintheadvertisement.Themid‐sectioncontainsalinethat

separatesthepurpledominanttopportionfromthewhitedominantlowersection.

Furtherdescriptionoftheadvertisementispresentedinthesectionstofollow.The

nature,function,andevaluationoftheadvertisementaspreviouslyconductedusing

Foss’smethodologyofanalyzingvisualimagesisdiscussed.

Theadvertisement,likethepreviouslyanalyzedadvertisement,hasalineinthe

middlethatseparatesthevisually“captivating”portionoftheadvertisementfromthe

verbosedescriptivelowerportion.Thelowerportionbeginswithastatementthat

reads,“Anewfeelingofrelief,Nexium40mgoffersgreateracidcontrolthanthe

initiationdoseofallotherPPI’sandgreaterhealingpowerthaneitheromeprazoleor

lansoprazolewithnocompromiseintolerability.”Followingthatstatementisthemost

prevalentstatementduetoitsmuchlargerfontselection,whichstates,“It’sgotthe

powerNexium.”Followingthisportionoftheadvertisementisaverywordypassage,in

muchsmallerprintthatdescribesallofthesideaffectsaswellasmuchofthe

governmentalregulatorylanguageandabriefstatementcourtesyofAstraZeneca.This

statementispresenttoclearlyshowtheviewerthatthedrugNexiumisaproductof

AstraZeneca.

10Nexiumlogo:seeAppendix.

Law,34

NATURE

Asstatedpreviously,thenatureofavisualimageconsistsoftheideas,themes,

andallusionsthattheviewerwilltakeawayafterlookingattheadvertisement/image.

Thissectionofthechapterwilldiscusstheaestheticelementsaswellastheproduction

elementsandwillhelpmovetheanalysisintothefunctionstage(MullenandFisher,

187).

Thereareafewkeypresentedelementsthathintatthedifferentfunctionsthat

thisadportrays.Firstandforemost,thecriticaleyecannothelpbutnoticethemaestro

thatissituatedfrontandcenter.Secondly,thebatoninhishanddemonstratesideas

suchasleadershipandpower.Themajorityoftheattentionofthisadvertisementis

dedicatedtothismaestro,duetoitsdominantpresenceandcatchycolor.The

implicationofleadershipandpowerfrominthisdepictionisanimportantexampleof

un‐presented,butimpliedelements.Furthermore,thevisualimagealsocontainsa

brightspotlightpointeddirectlydownontopofthemaestro,exposinghisblackand

whitetuxedoaswellashisglowingwhitehairandfullmixedcoloredbeard,whichagain

callsattentiontothemaestro.Toexpresstheexistenceofpowerfurther,thereisagiant

swooshofglowingwhiteorbsstrollingfromthemaestro’shandsacrosstheentire

centeroftheimage.Thesearewhiteorbsonadarkbackground,whichcontainabright

outerglowthatcausesthemtobeadominantfeatureoftheimage.Theseelements

collectivelyimplythatalleyesareonthemaestro,includingthoseofthe

consumer/critic.

Law,35

Theactualperspectiveoftheimageisthatfromaseatedmusicianfacingthe

maestro.Onthesidesoftheimagefellowmusiciansareseatedwiththeireyesfixedon

themaestrowithmusicstandsstandingupright.Thesemusiciansareclearlysecondary

tothemaestroandhaveminimallightvaguelyilluminatingtheirpresence.Itisalso

clearthatthemusiciansareofminimalvaluebecauseonlythesidesandbacksoftheir

headscanbeseen.

Asfarastextualelementsareconcerned,thebeginningphraseisthemosthighly

visibleportionoftheadvertisementthatstates,“Anewexperienceinpower.“The

entiretextiswritteninlargewhitefont,whichismuchlargerthentherestofthe

presentedtext.Thefontalsocontainsabrightouterglow,whichfromadesigners

perspectiveisamethodusedtocallattention.Thewords“new”and“power”aredouble

thesizeofthewordsthatarecontainedinthesentence.Theyalsoarepresentedina

bright,bold,andglowingfashion,whichdrawstheattentionoftheviewer.Thefunction

thispromoteswillbeoutlinedinthefollowingsection.Theentirelowerfourthofthe

advertisementisconsumedbymedicalmandatoryinformation,whichfadesintothe

backgroundduetoitsopaqueness.Thisportionoftheadvertisementisthelastpartthat

drawstheattentionoftheviewerorcritic,ifatall.

FUNCTION

Thefunctionoftheadvertisementis,asFossstates,“theactionitcommunicates”

(ascitedinHillandHelmers309).Oncethevisualimageiscaptured,itcanthentakeon

differentfunctionsbasedontheviewingaudience.Thissectionlooksspecificallyatthe

advertisementdescribedaboveandwilllookatthedifferentfunctionsthatthis

Law,36

advertisementeffects.Aspreviouslystated,thefunctionisnotnecessarilybasedonthe

creator’sintention,butisratherformedthroughtheperceptionandinterpretationof

thereceiverorcritic.Theactualfunctionsofthisadvertisementcouldexpandtolarger

purposesthanthecreatorintendeditto.

Thisadvertisementcommunicatesmanydifferentfunctionsaccordingtotheeye

ofthecritic.Theassessmentofthenatureofthisadvertisementprobesatseveral

differentkeyfunctions,inwhichsomearetext‐based,whileothersareimage‐based.The

textcombinedwiththevisualprovideamuchmoreelaboratefunction,whichperhapsis

themostdominant.Thisfunctionislikelytobethatoftheintentionsofthecreator.

Thefirstfunctionwillfocusonafewoftheaestheticelementsofthe

advertisement.Asstatedinthenaturesectionofthischapter,theimageistakenfrom

thatofaseatedorchestramemberposition.Thiscanleadtoaseveraldifferent

functionsthatcalltheconsumertoaction.Firstofall,theroleofamusicianisprimarily

towatchthemaestro,andbereadytocomein,cutoff,orholdanote.Themusicians

alsohavemusicstands,whichcorrespondwithwhatthemaestroisportrayingwithhis

batonandhands.Amusicstandexiststoholdthemusicfortheselectedmusicpiece,

whichcorrelatestothemovementsofthemaestro’shands.

Eachmusicianinanorchestraorsymphonyhasaspecificroletoplay,anda

masterpiececanonlybeperfected,wheneachoneofthoserolesisfilled.Iftheviewerof

thisadvertisementissittinginandispartoftheorchestra,theroleofthevieweristo

followthemaestro,whichinthiscaseisbrandingthedrugNexiuminaclassysubtle

fashion.Everyindividualmusicianofagreatsymphonyorchestradesirestoplayhisor

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herpartperfectlyandneverbenegativelynoticed.Ifthisisthecase,thenitiscriticalfor

theviewertoplayhisorherpartintheadvertisement,which,inthiscase,istofollow

theleadandexploreNexiumfurther.Theadvertisementthusinvitesaresponsesimilar

totheadvertisementinthepreviousanalysis,whichcreatedafeelingof“beingleftout.”

Secondly,theexistence,posture,andleadershipofthemaestroprovidesmore

functionalitytothisadvertisement.Amaestroexiststocompose11,direct,andlead

manyindividualsinhopesofproducingtheperfectmusicperformance.Maestrosare

mastersatwhattheydo;theyareusuallyconsideredthebestofthebest,whichiswhy

heorsheisinthepositionthattheyfill.Theyarecompletelyincontrolatalltimes,or

shouldcomeacrossassuch.Themaestrointhisadvertisementevenhashiseyesclosed

andhisheadcockedbackasifenjoyingthemusic.Maestrosareintheleadership

positionbecauseheorshearethemostlearned,andheorshemostlikelysatintheseat

ofamusicianforyearsandslowlybecamebetterandbetteruntilheorshereacheda

pointwheretheywereconsideredexpertsinthefield,andthusworthytolead.

Themaestro’spostureisthatofconfidence,power,andpresence.Confidenceis

criticalandconnectswithmanydifferenttargetaudiences.Theviewerofthis

advertisementisinvitedtoconnectwiththelevelofconfidenceofthemaestro.The

viewermightalsodesirethatlevelofconfidence,andquitepossibly,theviewermight

notevenrealizethatthisisaNexiumadvertisement.Perhaps,afunctionofthis

advertisementissimplytopromoteconfidenceintheviewer,andinturn,connect

confidencewithNexium.Thiscorrelationsuggestsfurtherinvestigationintowhatthe

11Compose:Atermusedtorelatetomusicianswhowritehisorherownsymphony.

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visualimageisabout,whichmayleadtheviewertofurthereducationaboutwhat

Nexiumis.

Themostcentralfunctionofthisadvertisementseemstobetiedtothedesirefor

power.Itlooksasiftheheadline,picture,andsloganallpointtoonemajorconcept,

whichispower.Theheadlinecopyreads,“Anewexperienceinpower.”Thatheadline

correlatedwiththeimageofthemaestroallpointtotheissueofpoweranddirection.

Tofurtherthisnotion,aspreviouslystated,themaestrohasaswooshofglowingorbs

fromhishandsasifthemusicandpowerandjustbeingpouredout.Ifthevieweris

familiarwithNexium,thentheviewermostlikelyrecognizesthattheadvertisementis

associatedwithNexiumafterviewingthisportionoftheimage.

Theelementsofpowerandself‐controlcanbeutilizedtopromotethedrug

Nexium.TheeducatedindividualregardingNexiumfeelstheneedtobeincontrolofhis

orherheartburn,andthusempoweredtostopthatwhichishinderingtheindividual

fromdoingexactlywhatheorshewantstobedoing.Themaestro’spostureshowsthat

heiscompletelycomfortablewhereheisstanding.Ifhewereexperiencingproblems,

suchasheartburnoracidreflux,hemostlikelywouldnotbestandinginthatposition,

orhavesucharelaxedlookonhisface.Thefunctionofempowermentisbeneficial,

becauseamajorityofindividualsdonotwanttobehinderedbysomethingthatcouldbe

fixed,inthiscase,persistentheartburn.

Thedesireforpower,hasbeenshownthroughouthistorytobelargelyassociated

withvaluessuchasleadershipandconfidence.Poweralsoisstronglyassociatedwith

conceptssuchaswealthandevenroyalty.Eachofthesethingsaredesiredbyamajority

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ofpeoplewhichhelpstowidentheactualtargetfortheadvertisement.Thereare

severalnegativeaspectsoftheadvertisementandsomeelementsthatcoulddecrease

theeffectivenessofthisadvertisement.Theadvertisement,likethepreviousanalysis

couldpossiblyseemtobeaimedatawealthieraudience.SymphonyOrchestrasare

usuallyassociatedwithmiddle‐uppertoupper‐classindividuals,whichcouldcorrelate

withthehighpriceofNexium.

AnotherfunctionIwillfocusonisthatwhichtheword“new”promotes.Many

priorstudieshavediscussedandanalyzedthesuccessofthiswordinadvertisementand

thedifferentmessagesitcanportray.12Theopeningtextreads,“Anewexperiencein

power.”Thisstatementcanproduceseveraldifferentresponsesintheviewer.People

generallyareexcitedbynewthings,whichiswhysocietysupportssomanydifferent

typesofstores.Peopleliketopurchasenewthings.Thiseye‐catchingwordstrikesa

chordwiththevieweronthatlevel.Itbuildsanaffinitytolookfurtherintothe

advertisement.Itraisesanddevelopscuriosityintheviewertoaskthesimplequestion:

whatisnew?

Thebeginningcopyinthelowerrightportionoftheadvertisementalsoreads“a

newfeelingofrelief.”Thedesireforsomethingnew,aswellasthedesireforpower,

providesversatilefunctionalitytothisadvertisement.Theviewerstrugglestofind

affinitywiththemaestroorwiththosethatarelookingatthemaestro.Theviewercan

potentiallybethemaestroortheseatedmusician.Nowthatthenatureandfunctionof

12 See D. Ogilvy: On Advertising, 1995.

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theadvertisementhavebeenaddressed,itisnowpossibletoassessandevaluatehow

wellthosethingsworked.

EVALUATION

Theuseofandpromotionofideassuchaspowerandconfidencecanprovetobe

beneficialtotheadcreator’spurpose.Likethemajorityofalladvertising,thestrategyis

topromote/sellaproduct,service,oridea.Thisadvertisementdoesjustthat,and,given

thepopularityofNexium,theadvertisementissuccessfulfromthatperspective.Nexium

ispartofmulti‐billiondollarindustryandisoneofthemostsuccessfulandmosthighly

promotedproton‐pumpinhibitorsonthemarket.

Theoverallassessmentofthefunctionandnatureoftheadvertisementproveto

bebeneficialfromarevenueperspective.SinceNexium’sbirth,ithasgrownrapidlyand

seenrevenueofmorethanthreebilliondollarsfortheyear2003,thetimeperiodjust

afterthisadvertisementwasdeveloped.Itisnoteasytotrackthebenefitsofthisexact

advertisementfinancially,butatleastitcanbesaidthatitdidnothinderthegrowthof

theproduct.HugoCarlos,amarketinganalyst,stated,

Nexiumisindeedperceivedassalvationforthosewhosufferfrom

gastrointestinaldisease,andforthosewhohaveusedthedrug...theyhavealso

doneagreatjobingettingtheirnametobeknown,evenforthepeoplewithno

needforthetreatment.(Zumpano,3)

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TheadvertisementselectedforthisanalysisisaperfectexampleofwhatHugaCarlosis

discussing.TheadvertisementdoesanexcellentjobpromotingthedrugNexium,aswell

asprovidespositivepromotionforAstraZeneca.

However,theaddoesraiseethicalquestions,whichispartoftheevaluation

includedinFoss’smethods.Playingontheideaandneedofpowercanitselfbe

misleading.Theadvertisementinfluencestheuseoftheproductandputsasmall

influenceonthesideeffectsandthedifferentformsoftreatmentforthegivenhealth

problem.Thesideeffectsarenotproperlyandpredominantlydisplayedthereforethey

haveamuchsmallerinfluenceontheviewer.Italsokeenlyplaystoahigher‐income

crowdverysubtlythroughtheuseoforchestratedelementssuchastheuseofa

symphony.Promotionofadrugandbrandingitinsuchawaythatisnecessary,froma

criticalethicalperspectiveisslightlymisleading.AnarticleinNewYorkTimesstated

...manymedicalexpertssaymostpatientswoulddojustaswellwithvarious

cheaperover‐the‐counterremediesforindigestionandheartburn,including

AstraZeneca’sownPrilosec‐achemicallysimilarpredecessorthatnolonger

requiresaprescriptionandsellsfor$40amonthorless.(ElliottandIves)

ThesamearticlewentontoquoteDr.SharoneLevinefromKaiserPermanente,“Nexium

isnomoreeffectivethanPrilosec”(ElliottandIves,2).So,ethicallyspeaking,the

majorityofprintadvertisementsforNexiumareslightlymisleadingandalittle

disturbing.Ithasbeenpromotedasanewtypeofrelief,whichinrealityitisthesame

reliefthathaspreviouslyexisted,justwithbetterbrandidentityandwithslightly

differentingredients.

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CHAPTERSIX

RESULTSANDDISCUSSION

TheuseofMullenandFisher’sstudyofSonjaFoss’svisualrhetoricalanalysis

providedaproperguidelineatwhichtoconductthisstudy.Thisstudyhasrevealed

somekeyissuesregardingthedirect‐to‐consumeradvertisingindustry.Aspreviously

stated,theindustryhasbeeninmuchscrutinyregardingthelegitimacyandpowerit

holds.Itiscriticaltoseeexactlywhatistakingplaceinadvertisementsandto

understandthepowerasingleadvertisementcancarry.Thissuccessisduetothe

natureoftheadvertisement,thefunctionstheadvertisementsconclude,aswellasthe

successfulevaluationandassessmentoftheadvertisements.

Bysalesrevenuealone,AstraZenecahasdoneanexcellentjobofbranding.

Brandingisapopularstrategyofadvertisersthatisusedtobuildpopularityofaany

givenproductorservice.AccordingtoAdvertisingGlossary,brandingis“amarketing

functionthatidentifiesproductsandtheirsourceanddifferentiatesthemfromallother

products.”AstraZenecahasdonejustthatwiththeaboveadvertisements,alongwith

theircurrentadvertisingstrategy.

Thenaturesection’sofeachadvertisementprovidinganenlighteningprinciple

bywhichtodissectthevisualimage.SonjaFoss’smethodsoriginallycreatedfor

traditionalimagesaswellasphotographycanalsobeappliedtoanyvisualimagewhose

goalistomovetosomeformofaction.Itisanelementaryconcepttoconcludethatthe

purposeofdirect‐to‐consumeradvertising’smaingoalistobringinrevenueon

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whateverproductorserviceisbeingadvertised.Itisnothoweverelementaryto

pinpointinanadvertisementthatwhichcallstheviewertoaction.

Thisstudyhasproducedmanyquestionsregardingtheactualfunctionalityofan

advertisement.Itisasimpleconcept,buttheabilitytolookpastthecreator’sintention

ofavisualimagecanprovidesomevaluableoutcomes.Asseeninthetwochaptersof

analysisthefunctionsaremuchlargerwhenseenfromacriticalrhetoricalanalysis

perspective.Eachproductionandaestheticelementoftheadvertisementcanholda

separatefunctionthatcancausesideeffectsfortheviewer.Therehavebeenmany

previousstudiesregardingthesideeffectsofdirect‐to‐consumeradvertisingandthis

studytouchesonthose.ThepurposeofthisstudywastoshowtheadaptionofSonja

Foss’svisualrhetoricalanalysisonotherformsofthevisualthantraditionalartorthe

like.Thefunctionsprobequestionsonethicalissues,andcouldpossiblygeneratea

muchfirmerregulationfromorganizationssuchastheFDA.

Thecompareandcontrastanalysisofthetwoseparateadsraisessomeethical

questions,aswellassomequestionsofalackofintegrityandhonesty.Thisstudyhas

revealedthatoneoftheadvertisementsstatesthatthepillNexiumisusedforrelief,

whiletheotheradvertisementusesthewordhealing.Clearlythesearetwoseparate

things.Reliefisusuallysomethingacasewherethepainisreprievedforatime,while

healingprovidesacompletedeletionofwhatevertheproblemmaybe.Thisraises

furtherethicalquestionsregardingtheadvertisement’sfunctions.

Thisstudyalsocouldserveasapointofreferenceforhowtoproperlyanalyzea

currentnon‐traditionalartform,inthiscasedirect‐to‐consumeradvertising.Ethical

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questionswillalwayslingerregardingthelegitimacyoftheseadvertisements.Thisstudy

couldserveasamapforfurtheradvertisingdevelopmentalprocess,andhelpeliminate

issuesinvolvingethics.

AlthoughrecentlyAstraZenecahascutbackontheamountofprintadvertising,

thecompanystillpushesthefamousorinfamouspurplepill.ArecentFiercePharma

articlestatedthat$200millionwasspentonprintadvertisingin2007(Staton,1).

FurtherstudymightconsistofanalyzingAstraZeneca’s“successful”onlinepresence.

ThisstudyhasprovidedanenlighteninglookintotheadaptionofSonjaFoss’s

methodsontheissueofDTCadvertising.Thisstyleofanalysiscanbeadaptedtoany

formofvisualartorimageandcanprovideaframeworkforviewingdifferent

advertisements.

Futurestudymightlookatthecurrentconditionoftelevisionadvertisements;

theymaybeanalyzedwithinaspecificethicalframework.Continuousstudycouldalso

revealthattheFDAneedstochangesomeoftheregulationregardingDTCadvertising.

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AppendixA

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AppendixB