The advertisement "Animals are not clowns" is complex. Most of its complexity revolves around a sensitive topic consisting of several composite elements. These elements help create a coherent, dramatic story.
Signification system
Advertisers become an integral part of the ad because the supposed action revolves around them.
First of all, the signifiers of the advertisement "Animals are not clowns" are the organizations that contributed to the creation of this advertisement: "Acção Animal" and "LPDA".
Although the signifier can be described in one word, mentioning only organizations, the situation with the signified is different. Two groups can be distinguished: advocacy against animal torture and promotion to stop animal torture.
This is where the system of signification comes from, which can be described as the movement for animal rights, encouraging the end of the use of animals in circuses. This system of signification distinguishes the obvious performers: animals and man. Man is an animal enslaver, a torturer who wants to turn an animal into a tool for entertainment and profit. An animal is abused by a person, oppressed, kept locked up, forced to obey the will of a person.
Synchronization of time, figures and spatiality
Time seems frozen - the animal is locked behind rusty bars, motionless and longingly watching something invisible in front of it. Therefore, gestural subtextual figures also originate from here: prison (restraint, restriction of freedom), life (imprisoned, immobilized, restrained).
Taking into account the clearly visible figures, it is possible to single out the most striking spatial oppositions: freedom vs. captivity; animals vs. humans; assistance vs. exploitation; understanding vs. indifference. According to these oppositions, one can get an impression of the spatial constructs: the action takes place in opposing worlds: the intelligible (which calls for an end to torture and exploitation) and the incomprehensible (in which torture and exploitation continue).
Linearity also plays a strong role in advertising - verticality is obvious due to the existing and vertically arranged gratings. What stands out the most is the fact that its finality is not visible - the upward-rising grottoes fall out of the visible verticality. This partly creates an unlimited verticality, which speaks of the continuity of spatiality. However, you can also find the beginnings of horizontality - the light reflected in the eyes speaks of a larger space that stretches in front of you. It also creates an imitation of the well-known saying "light at the end of the tunnel", which implies a state of undying hope, but it is also associated with death (the path to the light after death), which reinforces the sense of minus space. Therefore, the challenges viz. the problems encountered also highlight heterotopy. This understanding is also strengthened by the peculiarity of spatiality and the supposed stagnation and limitation of time.
Eloquence of the text
There is more than one eloquent message to be found in the text. First of all, the title "Animals are not clowns" is written in a "circus" font. A similar font is used in circus invitations to see the show, so its choice is not accidental. The use of the present tense shows the continued relevance of the problem.
A large text field below the title resembles the introduction of the show. But its realism ("<...>whip against the animal's stinging wounds."); drama ("<...> flaming hoops"; "<...> depressed animals under great stress"); its shocking details ("<...> famed number of cages and tightly binding chains"), obvious indifference ("<A big round of applause <...>"; "Laugh, applaud <...>") creates a relationship between satire and tragicomedy.
Typicality of colors and symbolism
Yellow represents joy, intelligence, optimism, and positivity. The shade of the eyebrows is dull. This can be interpreted as a weak presence of these meanings, and the fact that the eyebrows are painted with this color also tells a lot about the stability of the mentioned meanings (eyebrows move according to the mood, revealing different emotions). Meanwhile, the lips are surrounded by a bright yellow color, which creates a strong synchronization of meanings. On the other hand, such a disparity also highlights the possibility of deliberate suppression, as if deliberately trying to highlight and distinguish the most prominent characteristic of individuality, which manifests itself most clearly.
White color symbolizes cleanliness, purity, innocence, and perfection. This color is bright, as if emphasizing that it is one of the most important elements. Meanwhile, the eyes are considered the mirror of the soul, showing what can be expected from the one who is looking at them, so their association with the color white cannot be accidental - both elements symbolize what can supposedly be good and pure, but also depending on the context in which it is used. Eye color is also worth mentioning. This brown color is associated with reliability, stability, honesty, and comfort. As the white color is reflected in the eyes, this meaning of brown can be equated with dreams and aspirations, and its small area in the eyes reveals a small chance of achieving it.
Red represents action, strength, energy, and passion. Since this color is used on the lips and nose, it can be singled out as the only option for self-expression. On a red background, you can also find information restricting some kind of action, so this red marking is also related to prohibition and control.
Black represents protection, power, elegance, and sophistication, but its depiction in a thin line also reveals the fragile existence of these meanings, so the use of this border to emphasize eyebrows, lips, and tears is a hint of limitation. This limitation includes all the meanings of black, as this use of color reveals great fragility.
The color blue represents safety, trust, loyalty, and responsibility. But since this color highlights the tear, you can see the mockery. This mockery shows that the feeling of suffering is well known, but there is no desire to stop or sympathize with it.
It is worth noting that the face is not colored by chance. This is a reference to clowns painting their faces in different colors. For Auguste Clown, it is important to emphasize the natural color of the body, but by exaggerating specific parts of the face. It is as if an obvious comedy is being created from oneself to others.
Sources
Olesen, J. Color meanings – The Power and Symbolism of Colors. https://www.color-meanings.com/
Tom.raymond. Clown Types – the Auguste clown. https://famousclowns.org/history-of-clowns/clown-types-the-auguste-clown/
Roseman. Circus Fonts. https://www.fontspace.com/category/circus
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