Трансформация формы и содержания современной российской телерекламы под влиянием технологических и ценностных факторов

Литовчин Юрий Михайлович

UDC 659.1 + 654.1 + 7.05

DOI: 10.30628/1994-9529-2024-20.3-15-53

EDN: EPWSQQ

Received 20.08.2024, revised 11.09.2024, accepted 27.09.2024

YURI M. LITOVCHIN

GITR Film and Television School,

32a, Khoroshevskoe sh.,

Moscow 125284, Russia

ResearcherID: LPQ-5963-2024

ORCID: 0009-0009-3302-9110

e-mail: [email protected]

For citation

Litovchin, Yu.M. (2024). Transformation of Form and Content in Contempo�rary Russian Television Advertising Influenced by Technological and Cultural Factors. Nauka Televideniya�The Art and Science of Television, 20 (3), 15�53. https://doi.org/10.30628/1994-9529-2024-20.3-15-53, https://elibrary.ru/EPWSQQ

Transformation of Form

and Content in Contemporary Russian Television Advertising Influenced by Technological

and Cultural Factors*

Abstract. This article analyses how expressive tools and semantic constructs have evolved in creating Russian advertising content over the past decade. The study pinpoints the key drivers behind the corresponding shifts in the form and substance of television commercials: advancements in digital and media technologies, the competition posed by emerging formats of native and contextual online advertising, and the modern socio-cultural leanings towards traditional values. Methodologically, the paper employs a chrono�topic approach, viewing an advertisement as a brief cinematic piece that reconstructs a specific type of symbolic time-space. The article provides a�comparative analysis of technological and value factors that shape the visual narratives of contemporary Russian TV commercials, exemplified by the evolution of standout advertising strategies in the commercial sector (such as Tele2, Alfa-Bank, Sber, etc.). Concluding findings suggest a notice�able shift in symbolic chronotope dominants, driven by technological and ideological influences, compared to the early 21st century. The piece illus�trates how the previously prevailing chronotopes of stylization and carnival are giving way to the chronotope of the family, encompassing the happiness chronotope, while the wealth chronotope is visualized as inner freedom, evoking the dynamism of a metropolis or expressed through avant-garde aesthetics. A significant trend in contemporary commercial advertising is its role in fulfilling educational objectives and contributing, alongside social advertising, to shaping cultural and value systems.

Keywords: advertising, media culture, chronotope, traditional values, styl�ization, television, technology, Internet culture, native advertising

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DOI: 10.30628/1994-9529-2024-20.3-15-53

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INTRODUCTION

Modern television constantly faces the challenge of competing with online platforms, which also influences the evolution of creative methods in crafting advertisements. On the one hand, the younger generation aims to break free from what Jean Baudrillard termed the repressive care of television, viewing it as a tool for non-communication (Baudrillard, 2006). On the other hand, recent statistics indicate that the television audience, in terms of percentage, has not significantly decreased over the past few years; rather, the method of consuming television content has changed. Research by Mediascope shows that 66 % of the popula�tion still tune in to television daily, while others opt for watching TV content on their smartphones and computers (Mediascope, 2024). Yet, advertising formats are adapting to cater to popular online themes. New forms of advertising, such as native and contextual ads, seamlessly integrate with the content being viewed, appearing unobtrusive. The rise of modern visual tools, like neural networks, accessible not just to professionals but also to everyday users, intensifies com�petition among advertising producers. Furthermore, the expressive techniques in television advertising are evolving in response to the latest trends in Russian culture, with a renewed focus on traditional values.

Hence, the relevance of this study lies in the changing form and matter of advertising products influenced by various technological and sociocultural factors, impacting visual design choices and thematic emphases in advertising content. The article aims to analyze the evolution of prominent advertising cam�paigns from the past decade to understand the shifts in expressive techniques in TV advertising, influenced not only by new technologies but also by changing societal values. The selection of the cases under review prioritizes representative�ness and illustrative qualities over sheer quantity, focusing on qualitative seman�tic transformations. While quantitative data, following the standards of empirical sociological research, may be gathered in the future for a more comprehensive investigation, the primary objective of this article is to conceptualize the driv�ing forces and delineate the trajectories of transformation in the visual language of�modern TV advertising.

THEORETICAL AND METHODOLOGICAL FOUNDATIONS FOR RESEARCH AND CONTEMPORARY APPROACHES TO ANALYZING TV ADVERTISING

Exploring advertising stands out as one of the most sought-after pursuits in modern scholarly endeavors across various branches of the humanities. Primarily sociological or economic facets are examined and dissected, with advertising�s artis�tic merit often taking a back seat, possibly due to a decline in the aesthetic quality of commercials. The dominance of internet culture, shaped by the pragmatic ethos of trust in the global village (as coined by Marshall McLuhan) and the grapevine effect, relegates aesthetics to a secondary role. Nonetheless, the television format mandates adherence to specific professional benchmarks when crafting advertising content, drawing from the rich tapestry of screen arts evolution spanning dramatic techniques to editing, all while complying with high aesthetic standards.

Among the most effective narrative frameworks, applicable not just in cin�ematography but across all media forms, is storytelling. Present-day scholars view storytelling in broad strokes as the major format of the media environment, a sociocultural technology, and a concept for constructing corporate commu�nications, both internal and external (Kurochkina, 2020, p.�81; Todorova, 2014). Storytelling emerges as a creative instrument for engaging audiences in diverse formats, not necessarily implying the traditional hero�s journey a la Joseph Camp�bell or the actant actions of Vladimir Propp and Yuri Lotman. Rather, it hinges on emotionally and trustingly involving consumers in communication, incorporating cutting-edge predictive technologies like neuromethods for �facial action encod�ing� (Page, 2010). Delving into various storytelling formats within Russian brand advertising, Tatiana Kaminskaya and Darya Troshkova observe that �the protago�nist of these narratives within brand communications embodies human charac�teristics, emotions, and feelings� (Kaminskaya & Troshkova, 2022, p.�58; author�s translation). Furthermore, insights from the analytical front at Millward Brown affirm that a�well-crafted advertising narrative wields more motivational prowess compared to a plotless advertisement (ResearchLive, 2016).

One of the pivotal aspects of advertising products lies in their reflection of the value component, intertwined with the latest developmental paradigms of Russian culture�emphasizing the actualization of traditional values. With a potent emotional impact, advertising inherently contributes to shaping the cultural and values backdrop, aligning with specific ideological orientations. Through the lens of social advertising, numerous scholars underscore a highly effective method of audience engagement known as counterpoint: �a dynamic juxtaposition of two content-logical narrative planes, corresponding to two facets of represented reality: the problematic and the ideal� (Melnik, 2010, p.�16; author�s translation). This juxta�position involves contrasting concepts like life and death, health and illness, wealth and poverty, etc. As Oksana Kazachenko articulates, �An important element is the �value�anti-value� opposition, often implying specific behavioral models within illustrated or described scenarios� (Kazachenko, 2024, p.�45; author�s translation).

The�binary nature characterizes the construction of a mythological reality and proves pertinent in crafting the hero�s image, aligning with the fundamental principle of constructing the symbolic chronotope within advertising products. Within this context, investigations into the incorporation of mythological models and elements in advertising creation pique interest. For instance, scholars observe the application of techniques reminiscent of mythological thought, such as object anthropomorphism (akin to animism), where objects assume magical functions. At a deeper philosophical stratum, this process involves the establishment of hier�archies among objects and bodies in mass culture, intricately linked to the notion of power (Kornev, 2004). The exploration of mythologism in advertising as a tool within consumer society draws heavily from the seminal works of prominent phi�losophers like Roland Barthes, Jean Baudrillard, and Slavoj Zizek.

In his research, Maxim Mishchenko observes that in the era of �postsecular� thought, the �positivist� confrontation between science and religion has lost its rele�vance. �Religiosity itself, a phenomenon in the era of modernism radically opposed to secularism, is now regarded as a socially organic component embedded in the post-secular structure� (Mishchenko, 2024, p.�132). The integration of religion into the fabric of the �consumer society� occurs not only through the direct incorpora�tion of religious imagery and concepts but also through the adoption of the very mechanisms underpinning religious sacraments, rituals, and more. However, ideo�logically, the culture of consumption stands in stark contrast to the ascetic values inherent in religious practices. In this light, a parallel can be drawn with the evolu�tion of Chinese advertising, which similarly leans towards actively embracing Con�fucian and other national values traditionally associated with the Celestial Empire, often leading to internal conflicts with prevailing business strategies.

Mariya Ulyanova�s article delves into the analysis of utilizing �elements of traditional Chinese culture (such as emulating archaic scripts, well-wishes, cal�ligraphy, various painting styles, applied arts, literary works, historical events)� as expressive tools, fostering �associations between brands and national values� (Ulyanova, 2015, p.�421; author�s translation). The incorporation of Confucian five virtues of a righteous person is regarded as a crucial and effective strategy in craft�ing advertisements to engage the target audience within China�s domestic market (Wang & Remchukova, 2021). Nonetheless, tension arises between Confucian eth�ics and the competitive principles of capitalism (such as the pursuit of profit, a trait not typically associated with virtuosness). The harmonious fusion of traditional values with contemporary economic and technological trends in Chinese culture presents intriguing possibilities for the evolution of advertising endeavors within the Russian media landscape.

In Western English-speaking environments, the ideological engagement of�consumers stands out as one of marketing communication methods as well. As�highlighted by Victoria Hartung and Anna Stepanova in their study, contempo�rary English-language advertising texts actively leverage the media agenda. For instance, �by declaring involvement in charitable initiatives, social programs, or pro�moting eco-friendly products, producers create an impression for consumers that their purchases contribute to changing the world for the better, fostering a sense of enhanced self-worth� (Hartung & Stepanova, 2024, p.�514; author�s translation).

Qualitative and quantitative studies on advertising content are conducted in various countries, encompassing crucial aspects like gender studies. For instance, Camelia Cojan meticulously analyzed over 2,000 minutes of TV commercials aired on seven Romanian channels in 2020 and 2021, focusing on gender stereotypes. The findings revealed that predominant values linked to girls include care, beauty, friendship, entertainment, and happiness, whereas boys are associated with com�petition, independence, adventure, and challenge (Cojan, 2023, p.�120). Svilen Ivanov advocates for the efficacy of an interdisciplinary approach to scrutinizing advertising content, proposing in his research an analysis of advertisements inter�twined with encoding and decoding advertising messages during brand-audience communication (Ivanov, 2021, pp.�53�55).

Therefore, in the advertising research of the past decade, the primary focus remains on methodologies to influence audiences. This includes delving into spe�cific aspects such as color schemes, graphic design choices, the impact of artistic styles on commercial production, and more. In my 2011 study concerning the evolution of TV advertising in the late 20th and early 21st centuries.11 Litovchin, Yu.M. (2012). Evolyutsiya vyrazitel'nykh sredstv televizionnoy reklamy v 1990�2010�gg. [The evolution of expressive means in television advertising from 1990 to 2010] [PhD dissertation, Institute for Advanced Training of Television and Radio Broadcasting Workers].

, I drew upon the chronotopic methodology rooted in the concepts of Mikhail Bakhtin (1975) and Gaston Bachelard (2004). Methodologically, I delineated seven fundamental chronotopes: the adventurous (related to danger), mythological, wealth-oriented, happiness-centric (depicting personal spaces, homes, families), male or female-oriented, stylized, and carnivalesque. While this typology is original, it draws inspiration from the classification of Hristo Kaftandzhiev, who distinctly separated temporal and spatial attributes (Kaftandzhiev, 2005). In my present study, the term chronotope signifies a distinctive symbolic arrangement of time and space within a short screen production, encompassing pivotal visual elements that define the semantic and value-laden essence.

Given the absence of such studies in recent years, it seems judicious to fur�ther advance the chronotopic approach in analyzing advertising, a methodology that stands out as uniquely significant in the broader humanitarian realm of this field of study.

Analyzing Influential Factors Driving the Evolution of Visual Elements in Contemporary TV Advertising. Let us reiterate a few of the most significant factors that, in my view, steer the evolution of expressive means in modern TV advertising:

1. competition with emerging Internet native advertising formats;

2. advancements in technologies (AI, neural networks);

3. emphasis on traditional values.

The first factor poses a specific challenge because unlike Internet formats, television advertising blocks are disconnected from the context of TV programs; they are inherently isolated from the overall semantic context. Consequently, an advertising TV spot consistently confronts the viewer�s negative reaction, prompting them to interrupt their movie or TV program viewing. In contrast, native or contex�tual Internet advertising frequently extends the conversation, seamlessly offering recommendations on where to find more information or purchase relevant prod�ucts. This approach proves advantageous for advertisers, efficiently reaching the tar�get audience with lower costs, as it does not necessitate the production of a highly professional product�although it may not always be suitable for mass production. A �ustomized article or video can look like native advertising in ways that consumers may not be aware of. Presently, studies delve into the manipulative and cognitive distortions interwoven within native advertising texts (Glukhova, 2024, pp.�90�102).

Modern contextual advertising on popular bloggers� channels, whether inte�grated into videos or texts, predominantly hinges on psychological factors and is determined by the trustworthiness of the individual. Take, for instance, Tutta Larsen, formerly a prominent radio and TV host who now infrequently graces television screens but curates a personal social media channel. There, she shares insights about her children, personal life, humanitarian endeavors, stance on Christian values, and frequently endorses various consumer goods, ranging from kitchen furniture to footwear. For such advertisements, a concise text coupled with a personal emotional evaluation and a single image of her contented family often suffices, eliciting positive responses from the affable channel subscribers. Such a�trust-building effect is diffi�cult to achieve in TV commercials, despite the increasing recourse to celebrities by advertisers to engender it. Consequently, this factor may influence the simplification or even reduction of visual elements in TV ads, diminishing their aesthetic and cre�ative essence as screen productions. Notably, this element of trust is imperative for banking advertising, prompting the enlistment of actors like Sergei Garmash, Mikhail Porechenkov, and Sergei Burunov for such campaigns. Attempts to engage popular bloggers for TV ads often yield adverse effects, as their prominence predominantly resides in the online sphere among younger audiences.

The influence of technological advancements, the second factor, not only enhances the expressive capabilities in video production but also aids in predicting the effectiveness of advertising products. Researchers in Russia are actively explor�ing the impact of technological innovations, particularly the integration of artificial intelligence in internet marketing (see, for instance, Syutkin, 2024; Algaliyeva & Shalkarbek, 2024). The evolution of computer graphics tools directly impacts the creation of visually appealing video content across various media formats. Simul�taneously, the availability of graphic programs utilizing neural networks for a broad user base is reshaping the landscape of design service market. The digital space offers a plethora of educational workshops leveraging cutting-edge AI technologies to promote channels, blogs, products, and social media groups.

The third factor, rooted in traditional values, primarily influences TV adver�tising by altering dominant chronotopes with their distinct expressive elements and characters. A notable trend in both commercial and social advertising is the convergence of techniques; for instance, images and narratives tailored for com�mercial brands often serve significant social purposes. Furthermore, consumer ideological engagement stands out as a potent marketing strategy, evident from the above mentioned review of contemporary advertising researches. A retrospec�tive analysis of advertisements from 2005 to 2010 highlights the dominance of the stylization chronotope, marking a decline in the significance of the mythological chronotope during that period. This era also witnessed the incorporation of dan�ger and carnival themes, previously linked to the mythological chronotope, into the chronotope of stylization. Does this trend persist, and have new chronotopes emerged in the past decade under the influence of these factors?

DOMINANT CHRONOTOPES IN RUSSIAN ADVERTISING

OVER THE LAST DECADE

One standout illustration of the application of the stylization chronotope is the evolution of Tele2�s22 On September 4, 2024, Tele2 has changed its name to t2.

advertising campaign, which consistently employs this technique, transitioning from comedic detectives and mobsters to sleek contem�porary superheroes (Fig. 1, a-c).

Fig. 1 (a�c): Evolution of Tele2�s mobile network operator advertising33 See the image sources: https://www.sostav.ru/news/2008/08/27/net2/, https://www.omsk.kp.ru/daily/26715/3741047/, https://sakhalinmedia.ru/news/848482/ (19.07.2024).

The chronotope of stylization is both hybrid and complex, as it can incorpo�rate elements from other chronotopes based on the original to which the parody refers. This chronotope emerges from postmodern aesthetics, inherently imply�ing a system of references and quotations designed to evoke positive emotions in consumers. However, stylization targets a specific audience, as references may not resonate with the general consumer. For instance, in a 2023 commercial, a�small business owner traverses a dusty desert in the style of Mad Max, while other ads draw inspiration from the ambience of Now You See Me and The Matrix. In a bold move, Tele2�s advertising strategy underwent a significant shift, replac�ing the elegant, silver-haired man and stunning blonde who had been the faces of the company since 2020. This change proved remarkably successful, sparking lively discussions about the characters on social media platforms. Of particular interest was the portrayal of a �modern pensioner,� as labeled by the ad creators, a persona more aligned with a trendy hipster image. This unconventional depic�tion garnered attention in its own right, eliciting a range of reactions from viewers, spanning from admiration to annoyance (Fig. 2).

Fig. 2: Tele2�s mobile network operator advertisement44 See the image source: https://tenchat.ru/media/2131626 (19.07.2024).

A standout demonstration of incorporating elements of the stylization chro�notope is seen in Sberbank�s commercial, pioneering the use of cutting-edge deepfake technology from its AI Lab in an ad featuring George Miloslavsky. This innovative approach sparked intense conversations among online users. In the narrative, a character from a 1973 Leonid Gaidai film, Ivan Vasilievich: Back to the Future, finds himself in the year 2020, discovering that Sberbank represents a vast empire. Miloslavsky cruises in a Citymobil car, while monitoring health metrics through the SberHealth app and enjoying music on SberSound, and attends Nilet�to�s concert (Fig. 3). �Miloslavsky�s voice was recreated using artificial intelligence by the Speech Technology Center, a key player in the Sber ecosystem. Typically, achieving high-quality speech synthesis through text-to-speech (TTS) technology demands over 20 hours of recorded speech, yet the team accomplished this feat with only four minutes at their disposal (Lipanova, 2020; author�s translation).

Fig. 3: George Miloslavsky�s storyline in the advertisement of Sberbank55 See the image source: https://mediaheads.ru/blog/sber-snial-virusnyi-rolik-s-ispolzovaniem-tekhnologii-deepfake (19.07.2024).

Undoubtedly, this screen production stands out as one of the finest in advertising over the past decade. The creators skillfully strike a balance between leveraging cultural heritage elements and embracing contemporary trends. The postmodern tapestry of references seamlessly resonates with the masses, yet it raises a pertinent question for many: �Why does a thief become the face of a�bank?� The irony lies in the fact that the quip about the Savings Bank (which is literally �Sberbank� in Russian) advertisement was originally conceived by Gaidai himself. In the film Ivan Vasilievich: Back to the Future, Miloslavsky advises to �keep your money in the Savings Bank� to safeguard it from thieves. In today�s advertising landscape, this jest is ingeniously reimagined, creating a multi-layered ironic effect. The fusion of spatial and temporal dimensions occurs in the viewer�s mind through the CG-rendered character of George, portrayed by Leonid Kuravlyov, a�figure beloved and cherished across generations. It is worth noting that such techno�logical advancements not only captivate consumers but also pique their curios�ity in the creative process behind screen productions, marking a breakthrough in expressive mediums.

The chronotope of wealth predominantly shines through in contemporary bank advertising, symbolically aligning with prosperous personalities. For instance, Alfa-Bank has featured well-known show hosts, actors, and musicians, garnering attention across varied age groups. Showman Ivan Urgant long represented the bank, succeeded in 2019 by actor Alexander Petrov, with rapper Basta assuming the role of Alfa�s face from 2023. Increasingly, internet bloggers take the spotlight in advertising campaigns. Renowned blogger Yury Dud* served as an Alfa-Bank ambassador starting in 2018, portraying roles such as a butcher cutting up a cow carcass, a carpenter nailing boards, or a gardener cutting flowers. Continuing this trend in 2023, singer Instasamka starred in an Alfa-Bank video for her track Alfa-Samka, showing her wrapping chewing gum in a 5000-ruble bill while proclaiming unrestrained spending. The catchy chorus echoes, �Yes, I�m an Alfa-Samka with an Alfa-Bank card, spending freely. With my card, backed by Alfa, I�m living large.�

Fig. 4. Yury Dud* in the advertisement of Alfa-Bank66 See the image source: https://ru.pinterest.com/pin/576671927270433471/ (19.07.2024).

The visual arrangement in Alfa-Bank�s advertisements is constructed upon a deliberately minimalist aesthetic. Given Alfa�s iconic red brand color, a prominent use of red backgrounds serves as the backdrop against which the actor embodies the essence of the bank. Color itself wields significant influence, a fact substanti�ated by numerous studies in neuropsychology, design, and the historical trajec�tory of visual arts. While red traditionally connotes danger, aggression, and fire (Sysoeva, 2011, p.�148), it also signifies leadership and, in ancient cultures, was intertwined with celebrations, festivities, and beauty. Despite Alfa-Bank�s recent design overhauls, evident even in their video ads, the enduring presence of the color red remains a steadfast hallmark. Mono-color backgrounds, geometric ele�ments, and minimalism echo avant-garde aesthetics drawn from abstract and cub�ist art movements. The artistic strategies of modernism serve not only to engage the target audience but also to shape collective consciousness and establish per�ceptual boundaries (Simonova & Levshina, 2024, p.�45).

The videos for Alfa-Bank inherently embody a minimalist aesthetic: studio shots are presented without embellishment, emphasizing the artificiality of the setting. Within these stark spaces, the presenter takes center stage in an armchair or behind a table. This stylistic choice mirrors the approach commonly found in video blogs, where the focal point shifts from visual illusions of symbolic spaces or live footage to the persona of the speaker. Psychologically, this spatial arrange�ment evokes simplicity, authenticity, and trustworthiness. Notably, the concept of wealth is cleverly hinted at through witty verbal slogans rather than overt visual representations: �We�ll help you rake it in� or �How much are you cutting? How to cut more?� (2018).

However, this somewhat aggressive form of wealth propaganda has tran�sitioned into a different direction. For instance, by 2019, the slogan �Nothing to blush for� emerged against a red backdrop featuring Alexander Petrov, and by 2023, a new concept took shape��Bank for smart and free clients,� embodied by rapper Basta (Vasiliy Vakulenko). Here, the focus once again shifts to personal experience, visually manifested through minimalistic techniques. In the 2023 video, the dimly lit outlines of a hall and an audience gradually materialize, eventually illuminating the musician standing on stage, delivering the final words in a red jacket against a white background. These visual elements collaborate to construct an iconic chronotope of personal inner space, a notion that avant-garde artists previously explored: the fewer external objects present, the greater the liberation of imagination.

Contrastingly, Sber employs more realistic imagery and technically intri�cate visual methods. In a 2023 commercial directed by Tigran Bezhanov, the central figure becomes singer Anton Belyaev, navigating through nocturnal Mos�cow, seated at a piano and interpreting the song Everything Will Be as You Desire77 A 1997 song by Alexander Shevchenko and his band Deja Vu.

in a fresh rendition. The location shooting captures a distinctive metropoli�tan ambiance, encapsulating diverse emblematic facets of vibrant urban life in �the city that never sleeps� and persistently thrives in motion. Such a portrayal often depicts the chronotope of the modern city in advertisements as dynamic, contemporary, yet comforting. This representation deviates from the archetype of a cozy nest as depicted by Gaston Bachelard in the context of topophilia, instead aligning with the chronotope of progress, transformation, and modernity, facili�tated by an array of visual techniques: dynamic editing, mobile camera work, and computer-generated graphics. Consequently, the chronotope of wealth intersects with the concept of freedom, encompassing mobility and boundless consumption. Visually, it manifests as the liberty to forge one�s path, avenues for personal advancement, and the sensation of complete existential fulfillment. There exists a subtle reshuffling of values: freedom, construed as an internal sen�timent, a�spiritual state detached from external circumstances, becomes teth�ered to the possession of a bank card. This convergence sparks a clash between the ideologies of traditional culture, rooted in spiritual evolution and intangible principles, and the tenets of consumerist society. Advertising, a tool of capitalist economies, serves the materialistic worldview and consumerist mythology, and these examples showcase how it continues to create semblances of authentic values through various guises.

It is nonsensical to separate and scrutinize male and female chronotopes and the chronotope of happiness independently, as a trend towards their fusion and evolution into a collective family chronotope emerges. The shift from the prevailing values of personal independence and self-sufficiency towards a famil�ial image is prominently observed across the advertising spectrum of food and household goods. An exemplary fusion of these chronotopes can be seen in the brand Daddy Can [Papa Mozhet], which originated from a slogan introduced by the Ostankino meat processing plant in 2012 to market sausage products. Since 2015, the advertising narrative has pivoted towards the male chronotope: showcasing physical prowess, ruggedness, vigor, and audacity, all tethered to the father figure as the familial leader. This imagery has endured, remaining pertinent and unaltered over the years, seamlessly aligning with the framework of traditional values that accentuate a distinct hierarchy and functional distribu�tion within the family unit. The pronounced masculine essence, evoking trust, a shield of protection, and nurturing within the family context, is now more sought after in modern Russian culture than ever before. In the early stages of crafting the Daddy Can commercials, the creators drew upon the stylization chronotope, drawing references from cinematic works like the 1995 Braveheart (Fig. 5). The latest commercials often depict snippets of everyday family life: school lunches, train journeys, and other scenarios where the father (a bodybuilder) endeavors to manage his daughter�s appetite.

Fig. 5. Advertisement for the Daddy Can [Papa Mozhet] product series

of the Ostankino meat processing plant88 See the image source: https://dzen.ru/a/ZqtLQS7hZgoYTAAe (23.07.2024).

The female chronotope, prevalent in cosmetics or fashion advertisements, visually creates images of delicacy, softness, and airiness, employing pastel hues and unique lighting techniques. The most sought-after archetype in the female chronotope is that of Venus, embodying qualities like sensuality and femininity. The portrayal of a seductive blonde has become a prevalent stereotype in adver�tising, with figures like Polina Gagarina endorsing numerous brands, including her role as an ambassador for the e-commerce company Ozon. In music videos fea�turing singers Gagarina and Dmitry Malikov, creators integrated elements of the carnival chronotope, with the �hands-raking� scene evolving into a wellspring for internet memes. Absurdity, grotesque elements, and buffoonery often serve as a�mechanism to captivate audience attention.

Fig. 6. Polina Gagarina in an advertisement for the e-commerce company Ozon99 See the image source: https://dzen.ru/a/Y2qLtMMYdQqQEFkS (19.07.2024).

Commercials featuring actor and showman Dmitry Nagiyev for the mobile network operator MTS have long played on the theme of male-female relation�ships in an ironic manner. Nagiyev�s partners followed one another, yet consis�tently remained vibrant blondes. This particular female archetype does not align with the mother archetype, which fundamentally differs in function from arche�types like Venus or Cora (Maiden). The global trend of popularizing the image of a�strong, independent woman within feminist ideals had previously dominated the female chronotope. For instance, in pads commercials, the use of these hygiene products was paradoxically linked to the notion of freedom.

However, since 2024, there has been a growing inclination to emphasize the family chronotope, encompassing the chronotope of happiness and values such as mutual assistance and neighborly relations. An illustrative case is an advertis�ing sitcom centered around neighbors from the same floor, commissioned by VTB Bank. The characters in these commercials are everyday individuals residing in the same building, representing diverse social and professional backgrounds, yet consistently offering each other guidance and support. Initially inspired by the notion of satirizing �neighbors chats,� typically rife with disputes, this adver�tising campaign has assumed a somewhat educational role. Overall, the family chronotope stands out as the most visually replicable and impactful, effectively resonating with a broad audience, thus securing a prominent place in today�s advertising landscape.

CONCLUSION

Having examined the most notable examples of the evolution of expressive tools in the advertising content production over the past decade, it becomes evi�dent that a trend toward shifting chronotopic dominants is emerging, influenced by both technological advancements and ideological shifts. The transformation in semantic emphases (marked by the rise of new dominant chronotopes) holds a socio-cultural underpinning in terms of values, while the forms (characterized by novel visual designs) are shaped by technical and technological determinants. Nevertheless, visual technologies have not yet significantly impacted the complex�ity of special effects. For instance, widespread adoption of deepfakes or graphics generated through neural networks remains uncommon in TV commercials�at least, so far these methods serve as experimental tools. Undeniably, the latest CG capabilities enable the production of high-quality content, particularly within the stylization chronotope. However, internet advertising, with its innovative formats, acting as the primary rival of the television industry, often leads to a reduction in expressive elements. This trend is driven by other mechanisms at play in native and contextual advertising, focusing on fostering trustworthiness. Consequently, the prevailing tendency leans towards highlighting the chronotope of individual�ity, inner realms, freedom, and self-development�qualities that transcend exter�nal imagery. This shift may result in minimized expressiveness or accentuation through elements borrowed from alternate chronotopes like roads and journeys. Within the framework of traditional values, the family chronotope, encapsulating both male and female chronotopes alongside the notion of happiness, becomes particularly popular. A significant trend in contemporary commercial advertising involves its role in fulfilling educational objectives and contributing, alongside social advertising, to shaping cultural and value systems.

* On April 15, 2022, the Ministry of Justice of the Russian Federation included Yury Dud in the list of media�foreign agents.

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ABOUT THE AUTHOR

YURI M. LITOVCHIN

Cand.�Sci. (Art History), Rector,

Professor at the Department of Film,

Television, and Multimedia Directing,

GITR Film and Television School,

32a, Khoroshevskoe sh., Moscow 125284, Russia

ResearcherID: LPQ-5963-2024

ORCID: 0009-0009-3302-9110

email: [email protected]

��

�� , ��,

��, �� ,

��

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125284, ��, ��, �� , �.�32�

ResearcherID: LPQ-5963-2024

ORCID: 0009-0009-3302-9110

email: [email protected]

* Translated by Anna P. Evstropova.

Аннотация научной статьи по СМИ (медиа) и массовым коммуникациям, автор научной работы — Литовчин Юрий Михайлович

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Transformation of Form and Content in Contemporary Russian Television Advertising Influenced by Technological and Cultural Factors

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