Saturday 22 January 2011

Advertising Essay: Take II.


““Advertising doesn’t sell things; all advertising does is change the way people think or feel (Jeremy Bullmore).” Evaluate this statement with reference to selected critical theories (past and present).”

It is undisputable- we live in a world consumed by advertising, with constant exposure to products and goods which we are often led to believe are necessities- to inspire, enrich, and even to better ourselves as human beings.
O’Shaughnessy & O’Shaughnessy, 2004, state:
“Persuasion is becoming more important in advertising. A major reason is that competition is finding it easier to erode any functional or price advantage attached to a product.”
Through my time studying and analysing the methods of persuasion in advertising, I have read the opinions of many theorists, but none of which resonate more so than those of John Berger,  acclaimed art critic and essayist, whose programme, ‘Ways of Seeing’ was broadcast by the BBC in 1972, yet his (somewhat Marxist) perspective still remains as significant and truthful today.
Though Berger’s theories may be bold, biased and highly opinionated they undoubtedly have a great element of truth and realism- with an insightful foresight of the world of art and design in modern cultures, a world of which he was so familiar:
“Publicity is the life of this culture. Without publicity, capitalism could not survive, and at the same time, publicity is it’s dream.”
In the last of the series, a programme which particularly focuses on publicity and advertising, Berger looked at the glamourisation of the industry, and it’s necessity in marketing and sales:

“Glamour is for everybody who believes they can be glamourous, or, perhaps, more accurately, everybody who finds that they cannot afford not to be glamourous.”

“Without social envy, glamour cannot exist.” (‘J Berger, ‘Ways of Seeing- Advertising ¼ www.youtube.com)

And, of course, this is true- advertising is strategic and scientific, as well as creative and stylistic.

 In no product (within advertising) is this theory more evident that in the enormous profit-hungry world of perfume and fragrance, of which I shall analyse throughout this essay using multiple case studies- focusing on how televised promotion uses persuasion and influence to manipulate our psyche when purchasing a particular brand.
The first television commercial I have chosen to study is the quintessential 1980’s styling of ‘L’Air Du Temps’ (1982, from www.youtube.com), by Nina Ricci which boasts itself as “the fragrance as romantic as the dreams a woman dreams”.
The short advertisement shows a serene, elegant woman, surrounded by a flock of white doves- the symbol of peace and harmony- portraying that this is how the perfume makes you feel- beautiful, sophisticated and, most of all, abundant in the ideals of love and romance.
In ‘The Looking Glass; ‘The Art of Persuasion- SEG 2’, (0:25, www.youtube.co.uk, n.d.) a Dawnnews TV programme reviewing methods of advertising suggest:
“Companies investigate the groups of people that they’re trying to sell to- trying to understand their thoughts, and hopes, and dreams.”

In the ‘L’Air Du Temps’ advertisement- it directly focuses on marketing itself to romantic sentimentalists- women that long for a life of natural serenity and grace, or those whom aspire to this dream.
Although it is obvious in this advertisement that the product is attempting to appeal and attract a certain audience, with this there is a balance of traditional advertising- simply telling you why the brand believe you should own their product, in this instance, dedicating nearly a third of the television advertisement to an image of the perfume bottle, and informing you as to where you can purchase it (Bullocks, L.A, U.S.A).


The 1980’s was one of the key decades in recent social history that emancipated women and their status within society. It was now becoming far more commonplace for a woman to hold the role as the main breadwinner of the household, now having equal pay to men- and a revival in fashion to match, the Bohemian and creative styles as worn in the 1960’s being traded for a far more glamorous and structured silhouette (particularly in the 1980’s), mimicking that of a man’s body shape- with heavily structured padded shoulders to give a sense of empowerment in the workplace. Bigger was better- shoulders, hairdos, and wages. With this freedom came a new level of competition, and demands of glamour- perfume, of course, being a luxury for the glamorous, and, it was around this time that televised perfume adverts began using persuasive technique to attract their audience.
Adverts, such as the one above, have full intention to manipulate how you feel- the flow of the music, the elegant style of the model, the purity of the white doves- all to make you subconsciously link the product to something more, something extraordinary- seemingly a promise that you too can experience this too, simply by owning this product:

“The consumer buys not just a product, per se, but a product under a description. How a product comes across in that description determines how it is envisaged and how attractive a buy it is likely to be. Persuasion appeals can provide a new perspective on a brand and create a whole new aura for it.” (‘Persuasion in Advertising, O’ Shaughnessy & O’Shaughnessy, 2004)

My second advertisement in my analysis is a contemporary choice, and perhaps one of the most famed fragrance commercials of recent years- notably one of the most expensive adverts ever made, in which actress Nicole Kidman played the leading role, earning US$12 million for the three-minute commercial.
The director chosen to create the advert was distinguished filmmaker, (an increasingly popular choice in advertising- as each commercial gets more sophisticated and memorable, the challenge to progress mounts) Baz Luhrmann, channelling the style of his 2001 film, ‘Moulin Rouge!’, in which Nicole Kidman played the leading lady once more. (‘Chanel No 5 the Film, www.youtube.com

The advert follows “The World’s Most Famous Actress”- fleeing from her limousine after suffering a “nervous breakdown”, to experience, if only for a brief time, a world she has never known- with freedom and tranquillity, fuelled by a new romance and the promise of a different way of life.

Entitled ‘Chanel No. 5- The Film’, is by no means an understatement. In perhaps this, one of the most subliminal perfume advertisements of the past decade, the idea of this advertisement infact being a film seems far more realistic, if it weren’t for the occasional product placement in the way of the iconic ‘Chanel’ logo appearing ever-so occasionally over it’s three-minute duration.

It is only at the very last moment that we discover that this piece of artistry, is, in fact, an advertisement for “the world’s most legendary fragrance” (with an estimated sale of one bottle bought every 55 seconds, ‘Kidman reprises Moulin Rouge role for Chanel’, www.theguardian.co.uk, 2004)), fading out to the tagline:

“Her kiss...her smile...her perfume...”

Despite being so extravagant in production and design, the advertising element, on the surface, appears so minimal- it evokes a deeper, emotional reaction on a subconscious level where
“subliminal persuasion is about getting people to change their minds, to change their beliefs...” (Subliminal Persuasion: Influence & Marketing secrets they don’t want you to know, D. Lakhani, p.2, 2008)

In conclusion to the theory “Advertising doesn’t sell things; all advertising does is change the way people think or feel” (Jeremy Bullmore), I am inclined, in part, to agree- more and more through the years this is becoming evident- directly attacking our innermost thoughts, feelings, desires, though this is certainly dependant on the viewer- some more inclined to the “indulgence” of emotions than others. “In the grips of an emotion, a person not only feels differently, but tends to think differently. Advertising that resonates emotionally stands more chance of inducing a change in beliefs and values/motives/wants/desires than one based on logic alone.” (Persuasion in Advertising, J. O’ Shaughnessy & N. J O’Shaughnessy, 2004, p.27) However, this cannot be said for all advertisements, some being far more directional in purpose. The ones that use this emotional device, however, appear to be the success stories- of course, no bad thing for the creative advertising agencies.

I will admit to being amazed, or even emotionally affected, on occasions, from the immense power that advertisements can have- and, of course, that means that it’s intentions are fufilled. Despite the reality that we are bombarded by them every day, we can avoid them, we don’t need to be “brainwashed” into a state of frantic purchase- you just need to pick up the remote.


Appendix


·         ‘Chanel No. 5, The Film’ (dir, Baz Luhrmann, 2004, www.youtube.com)
·         ‘L’Air Du Temps Perfume Commercial 1982’ (1982, www.youtube.com)
·         ‘Miss Dior Cherie Commercial’ (dir. Sofia Coppola, 2008, www.youtube.com)


·      O’ Shaughnessy, J, & O’ Shaughnessy, N.J (2004), ‘Persuasion in Advertising’, Taylor & Francis e-library, www.amazon.co.uk
·      Lakhani, D. (2008), ‘Subliminal Advertising: Influence & Marketing secrets they don’t want you to know’, Jon Wiley & Sons, Inc. Hoboken, New Jersey.

·     ‘The Looking Glass-Advertising; ‘The Art of Persuasion- SEG 2’ (DawnNews TV, n.d, www.youtube.com)
·      ‘John Berger’s ‘Ways of Seeing’: Advertising’ (1972, BBC, www.youtube.com)

·      ‘Nicole Kidman reprises Moulin Rouge role for Chanel’ (www.guardian.co.uk/media/oct/15/advertising.uknews, 2004)

Wednesday 19 January 2011

Advertising Essay Draft Formative Feedback.


18th Jan, 2011.

Issues discussed at the tutorial:

*Draft Completed
-Theory/Opinions on advertising
-Analysis

Focus on one theorist/one advert

Perhaps John Berger's 'Ways of Seeing' (final chapter)


Student Action:

Restructure the essay for the 25th Jan 2011 deadline.

Friday 14 January 2011

Advertising Essay, Year One.


““Advertising doesn’t sell things; all advertising does is change the way people think or feel (Jeremy Bullmore).” Evaluate this statement with reference to selected critical theories (past and present).”


It is undisputable- we live in a world consumed by advertising, with constant exposure to products and goods which we are often led to believe are necessities- to inspire, enrich, and even to better ourselves as human beings.
‘Persuasion in Advertising’ (J. O’Shaughnessy & N.J. O’Shaughnessy, 2004, p.1) states:
“Persuasion is becoming more important in advertising. A major reason is that competition is finding it easier to erode any functional or price advantage attached to a product.”
 In no product (within advertising) is this theory more evident that in the enormous profit-hungry world of perfume and fragrance, of which I shall analyse throughout this essay using multiple case studies- focusing on how televised promotion uses persuasion and influence to manipulate our psyche when purchasing a particular brand.
 

The first television commercial I have chosen to study is the quintessential 1980’s styling of ‘L’Air Du Temps’ (1982, from www.youtube.com), by Nina Ricci which boasts itself as “the fragrance as romantic as the dreams a woman dreams”.
The short advertisement shows a serene, elegant woman, surrounded by a flock of (what appear to be) white doves- the symbol of peace and harmony- portraying that this is how the perfume makes you feel- beautiful, sophisticated and, most of all, abundant in the ideals of love and romance.
In ‘The Looking Glass; ‘The Art of Persuasion- SEG 2’, (0:25, www.youtube.co.uk, n.d.) a Dawnnews TV programme reviewing methods of advertising suggest:
“Companies investigate the groups of people that they’re trying to sell to- trying to understand their thoughts, and hopes, and dreams.”

In the ‘L’Air Du Temps’ advertisement- it directly focuses on marketing itself to romantic sentimentalists- women that long for a life of natural serenity and grace, or those whom aspire to this dream.
Although it is obvious in this advertisement that the product is attempting to appeal and attract a certain audience, with this there is a balance of traditional advertising- simply telling you why the brand believe you should own their product, in this instance, dedicating nearly a third of the television advertisement to an image of the perfume bottle, and informing you as to where you can purchase it (Bullocks, L.A, U.S.A).


The 1980’s was one of the key decades in recent social history that emancipated women and their status within society. It was now becoming far more commonplace for a woman to hold the role as the main breadwinner of the household, now having equal pay to men- and a revival in fashion to match, the Bohemian and creative styles as worn in the 1960’s being traded for a far more glamorous and structured silhouette (particularly in the 1980’s), mimicking that of a man’s body shape- with heavily structured padded shoulders to give a sense of empowerment in the workplace. Bigger was better- shoulders, hairdos, and wages. With this freedom came a new level of competition, and demands of glamour- perfume, of course, being a luxury for the glamorous, and, it was around this time that televised perfume adverts began using persuasive technique to attract their audience.
John Berger’s ‘Ways of Seeing’ programme, broadcast in 1972 (‘Ways of Seeing- Advertising ¼ www.youtube.com) reviewed advertising and how glamorisation was a necessity in marketing and sales:

“Glamour is for everybody who believes they can be glamorous, or, perhaps, more accurately, everybody who finds that they cannot afford not to be glamorous.”

“Without social envy, glamour cannot exist.”

And, of course, this is true- advertising is strategic and scientific, as well as creative and stylistic.

Adverts, such as the one above, have full intention to manipulate how you feel- the flow of the music, the elegant style of the model, the purity of the white doves- all to make you subconsciously link the product to something more, something extraordinary- seemingly a promise that you too can experience this too, simply by owning this product:


“The consumer buys not just a product, per se, but a product under a description. How a product comes across in that description determines how it is envisaged and how attractive a buy it is likely to be. Persuasion appeals can provide a new perspective on a brand and create a whole new aura for it.” (‘Persuasion in Advertising, J. O’ Shaughnessy & N.J. O’Shaughnessy, 2004)

In modern day perfume advertisements, this persuasion method has only increased, yet often used far more subliminally, in some cases, playing on emotions to deliver their product, and it’s traits they wish to express. I have looked at two examples, the first, for ‘Miss Dior Cherie’ Dior perfume, which as a product received a great deal of exposure- with photographic images for print-based media shot by fashion photographer Tim Walker, and the televised commercial directed by award-winning film director, Sofia Coppola (‘Miss Dior Cherie’ commercial, 2008, www.youtube.com).  


The advert, (along with the soundtrack ‘Moi Je Joue’ by Brigitte Bardot- a song about feisty and playful romance) follows a young woman (model Maryna Linchunk) in a day of Parisian life- filled with carefree fancies, a visit to the florists, patisserie, a bike ride around the city,-concluding on floating away, holding onto balloons, a metaphor of ultimate joy and contentment. 

The 1950’s- like style of the advertisements generates thoughts of sophistication and elegance, glamour and femininity- the happiness of the advert is infectious, and is an undoubted example of just how easily advertisements can affect the viewer- only on few occasions the perfume even acting as a prop for the scene...


Undoubtedly, as aforementioned, the advert is charming; as it was, of course, intend to be. Although it is a blissful thought, very few of us would ever be able to experience such euphoric days as these, however, we can be inspired. “The imagery may be public, but the dreams are intimate.” (John Berger, Ways of Seeing- Advertising ¼, 1972)

My final advertisement in my analysis is perhaps one of the most famed fragrance commercials of recent years- notably one of the most expensive adverts ever made, in which actress Nicole Kidman played the leading role, earning US$12 million for the three-minute commercial.
Once again, the director chosen to create the advert was distinguished filmmaker, (an increasingly popular choice in advertising- as each commercial gets more sophisticated and memorable, the challenge to progress mounts) Baz Luhrmann, channelling the style of his 2001 film, ‘Moulin Rouge!’, in which Nicole Kidman played the leading lady once more. (‘Chanel No 5 the Film, www.youtube.com


The advert follows “The World’s Most Famous Actress”- fleeing from her limousine after suffering a “nervous breakdown”, to experience, if only for a brief time, a world she has never known- with freedom and tranquillity, fuelled by a new romance and the promise of a different way of life.


Entitled ‘Chanel No. 5- The Film’, is by no means an understatement. In perhaps this, one of the most subliminal perfume advertisements of the past decade, the idea of this advertisement infact being a film seems far more realistic, if it weren’t for the occasional product placement in the way of the iconic ‘Chanel’ logo appearing ever-so occasionally over it’s three-minute duration.



 It is only at the very last moment that we discover that this piece of artistry, is, in fact, an advertisement for “the world’s most legendary fragrance” (with an estimated sale of one bottle bought every 55 seconds, ‘Kidman reprises Moulin Rouge role for Chanel’, www.theguardian.co.uk, 2004)), fading out to the tagline:


“Her kiss...her smile...her perfume...”

Despite being so extravagant in production and design, the advertising element, on the surface, appears so minimal- it evokes a deeper, emotional reaction on a subconscious level where “subliminal persuasion is about getting people to change their minds, to change their beliefs...” (Subliminal Persuasion: Influence & Marketing secrets they don’t want you to know, D. Lakhani, p.2, 2008)


In conclusion to the theory “Advertising doesn’t sell things; all advertising does is change the way people think or feel” (Jeremy Bullmore), I am inclined, in part, to agree- more and more through the years this is becoming evident- directly attacking our innermost thoughts, feelings, desires, though this is certainly dependant on the viewer- some more inclined to the “indulgence” of emotions than others. “In the grips of an emotion, a person not only feels differently, but tends to think differently. Advertising that resonates emotionally stands more chance of inducing a change in beliefs and values/motives/wants/desires than one based on logic alone.” (Persuasion in Advertising, J. O’ Shaughnessy & N. J O’Shaughnessy, 2004, p.27) However, this cannot be said for all advertisements, some being far more directional in purpose. The ones that use this emotional device, however, appear to be the success stories- of course, no bad thing for the creative advertising agencies.

I will admit to being amazed, or even emotionally affected, on occasions, from the immense power that advertisements can have. Despite the reality that we are bombarded by them every day, we can avoid them, we don’t need to be “brainwashed” into a state of frantic purchase- you just need to pick up the remote.

Friday 7 January 2011

Hints and Tips for Harvard Referencing.


*inserting the author's name and date of publication*

-when paraphrasing, summarising, or refering to a source, simply insert author's name and date of publication in brackets after the paraphrase/summary, etc...

*when the author's name appears normally within your work*

-insert the author's name in the text, and the date of publication after the name.

*paraphrasing or summarising from specific pages*

-from a lengthy source, which may require more finite information, write date of publication and page numbers in brackets.

*if there is no date on the source*

-write 'n.d' ('not dated') after the author's name.

*linking more than one author at the same point in the text*

-list in order of publication (earliest first), or, use semicolons to seperate authors.

*the author has more than one item puvlished within the same year.*

-use lower case letters after the date referring to more than one item published in the same year by the same author- e.g. a, b, c, d...

*more than one author with the same surname and the same year*

-author's initials should only be used when two or more authors being cities in the same assignment have the same surname and have published in the same year, in which case they should be identified by initials in order to avoid confusion.

*direct quotations*

-if you are directly quoting the author's own words within your writing, you should enclose these in quotation marks and give the author, date, and page number(s) that the quotation was taken from, in brackets. If other details of parts of the document are taken from, required, for example, section numbers or title numbers of sound recordings, these should appear after the date, within the brackets.
standard abbreviations are: page (p.), pages (pp.), section (s) and sections (ss).


*THE LIST OF REFERENCES OR BIBLIOGRAPHY (OR BOTH) COMES AT THE END OF YOUR ESSAY OR ASSIGNMENT. IT IS IMPORTANT TO...*

-BE CONSISTENT.
-FOLLOW THE HARVARD STYLE.
-GIVE ENOUGH INFORMATION FOR THE READER TO LOCATE THE SOURCE IN THE FUTURE.

-your list of references or bibliography is organised alphabetically by author, whether a person or organisation, or by title where there is no author. It is evidence of all the sources you have used in your research. With the exception of any items included for background purposes (see above), the author and date from each reference in your bibliography have already appeared in the text of your essay or assignment. A reader can move easily between the citations in the text and your list in order to check the relevant details.

-highlight the title of each item listed using bold type, or underlined, or italics. Whichever you choose, you must be consistent for all the references in your bibliography- bold type being most commonly used.

-in your list of references or bibliography, in order to maintain consistency, use only the intial letters of the writer's first name; even if you have more information .

*BOOKS*

-take your information from the title page of a book, rather than the cover; these are sometimes slightly different. Include the following information, in this order:

1. author(s), editor(s), or the organisation responsible for writing the book.
2. year of publication- in brackets.
3. title and subtitle (if any)- underlined, or bold, or in italics, followed by a full stop.
4. series and individual volume number (if any)- followed by a full stop.
5. edition, if not the first, for example, '2nd ed.'.
6. place of publication, if known-followed by a comma.
7. publisher- followed by a full stop.

*NEWSPAPER ARTICLES*

-include the following information in this order:

1. author of the article where given, if not the title.
2. year of publication- in brackets.
3. title of the article- followed by a full stop.
4. title of the newspaper- underlined, or bold, or in italics and followed by a comma.
5. date (no year needed)- followed by a comma.
6. page number(s) of article- followed by a full stop.

*ELECTRONIC NEWSPAPER ARTICLES*

-follow the same format as for an e-journal article (see previous page), but give the date information differently. Occasionally, the web address for an electronic newspaper article will be excessively long, as it will contain control codes.

*WEB PAGES*

-in order to maintain consistency, use a style for citing and referencing work from the internet that conforms to the Harvard system.
-web addresses can be excessively long if they contain control codes from your search. In such cases, include enough of the address for your reader to identify the site.

-keep a personal copy of all site links incaser they expire- including the date you accessed it for referencing.

*PERSONAL E-MAIL MESSAGES*

-with personal messages the 'subject line' of the message is given as a title and the full date is given.
-use the words 'e-mail to' followed by the recipent's name.
-you should include both the sender's and recipent's e-mail addresses.

include information in this order:

1. sender
2. sender's e-mail address- in brackets, and followed by a comma.
3. day, month, and year the e-mail was sent- followed by a full stop.
4. subject of message- underlined, or bold, or in italics, and followed by a full stop.
5. the words 'e-mail to' followed by the recipent's name.
6. recipient's e-mail address- in brackets, and followed by a full stop.

*FILM AND VIDEO*

-bear in mind the needs of research whom may follow you. in the case of audio-visual sources, they are not only going to need as much information as possible to trace the recording, but they may also need to know the formats if they are actually going to be able to play it back. where possible, quote the format, such as VHS Video, 35mm film, CD, DVD, etc.

*TELEVISION AND ON-AIR RECORDINGS*


-television programmes are usually identified as video recordings
(however, see ‘podcasts’ page 49).
It is important to include details of when the programme was
broadcast, especially for series that are transmitted throughout the
year.
1. Series title – followed by a full stop
2. Series number (if appropriate) – followed by a full stop
3. Year of production – in brackets
4. Programme title – underlined, or bold, or in italics and followed
by a full stop
5. Place of publication – followed by a comma
6. Transmitting organisation – followed by a comma
7. Date of transmission – followed by a comma
8. Medium and then format – separated by a colon, in square
brackets and followed by a full stop.
1. Film title – underlined, or bold, or in italics and followed by a full
stop
2. Year of production – in brackets
3. Person or body responsible for production (for example, the
director) – followed by a full stop
4. Place of publication (where the television company who screened
the film are based) – followed by a comma
5. Transmitting organisation – followed by a comma
6. Date of transmission – followed by a comma
7. Medium and then format – separated by a colon, in square
brackets and followed by a full stop.

*RADIO PROGRAMMES*
 
1. Title of broadcast – underlined, or bold, or in italics and followed
by a full stop
2. Year of broadcast – in brackets
3. Place of publication, if available, followed by a comma
4. The broadcaster (this will usually give the medium) – followed by
a full stop
5. The date, month and time as appropriate – followed by a full stop.
Example
You and yours. (2008) London, BBC Radio 4. 30 September, 12:00.

*PODCASTS*
-for podcasts, we suggest that you include sufficient information
about the content to clearly identify the item and give the web
location, so that your readers can access it themselves if they wish.
The format of your reference will be similar to that for a television or
radio broadcast, but with additional web page information.
1. Title of podcast – underlined, or bold, or in italics and followed by
a full stop
2. Year of podcast – in brackets
3. Podcast type - in square brackets - followed by a full stop
4. Place of publication, if available, followed by a comma
5. Publisher, broadcaster or podcaster – followed by a full stop
6. Date, if appropriate, followed by a full stop
7. The words ‘Available from’ - followed by a colon
8. The internet address – in angled brackets
8. The word ‘Accessed’ and the date you accessed the podcast - in
square brackets and followed by a full stop.

*SOUND RECORDINGS AND DIDGITAL AUDIO FILES*
*SOUND RECORDINGS*
-for recorded music, the composer or songwriter if known, the year if
known (or n.d. if not), the title of the work, the performers, and the
recording company are usually identified, as well as the format.
1. Composer or songwriter if known - otherwise put the title or the
performers first as appropriate - followed by a full stop
2. Year of production – in brackets or (n.d. if not known)
3. Title of the work or piece – underlined, or bold, or in italics
followed by a comma
4. The performers, followed by a full stop
5. Publisher or recording company – followed by a full stop
6. Medium and then format – separated by a colon, in square
brackets and followed by a full stop.
Recordings of drama, poetry, prose, lectures, and so on, often carry
the name and location of the publisher and the date of publication
and so these can be included in the reference.

*DIGITAL AUDIO FILES*
-for digital audio files, we suggest that you include sufficient
information about the item’s content to clearly identify it and give the
web location of the file, so that your readers can access it
themselves if they wish. The format of your reference will be similar
to that for a sound recording, but with additional web page
information.
1. Composer or songwriter, if known, otherwise put the title or the
performers first as appropriate - followed by a full stop
2. Year of production – in brackets or (n.d. if not known)
3. Title of the work or piece – underlined, or bold, or in italics
followed by a comma
4. The performers (full names or name usually known by) followed
by a full stop
5. File type – in square brackets - followed by a comma
6. Place of publication, if available, followed by a comma
7. Publisher or provider - followed by a full stop
8. The words ‘Available from’ - followed by a colon
9. The Internet address – in angled brackets
10. The word ‘Accessed’ and the date you accessed the audio file - in
square brackets and followed by a full stop.

*IMAGES AND WORKS OF ART*
-in the text of your assignment:
Acknowledge the source from which you have taken the image in the
same way as you would quotations with the author and date (in
brackets) and full details in the bibliography.

*IMAHES TAKEN FROM A BOOK OR OTHER PUBLICATION*

-if you wish to specify that you used an image from a book, follow the
normal rules for referencing a book and then add an abbreviation for
illustration – ‘illus.’.

*ONLINE IMAGES*

-images should always be acknowledged, even if they are on ‘free’
clip art servers. Some web sites specifically request that extra
information should be cited as a condition of free use of the image.
If you are citing online images in your work, make a note of such
requests.
1. Title of image, or a description – underlined, or bold, or in italics
and followed by a full stop
2. Year – in brackets
3. The words ‘Online image’ or ‘Online video’ – in square brackets
and followed by a full stop
4. The words ‘Available from’ – followed by a colon
5. The internet address – in angled brackets
6. The word ‘Accessed’ and the date you viewed the image – in
square brackets and followed by a full stop.

*ORIGINAL WORKS OF ART*
 
1. Artist
2. Year work was produced – in brackets
3. Title of work – underlined, or bold, or in italics
4. Material type – in square brackets and followed by a full stop.
Common material types are: ceramic, drawing, lithograph etc.
5. The words ‘Held at’
6. The location of the gallery, museum, etc. – followed by a full stop.