One day we won’t need this day
Brand: NIKE
Production company: R/GA, Portland
Created in: 2020
The Nike campaign ‘One day we won’t need this day’ effectively employs cinematography and semiotics to convey its message of gender equality, positioning the brand as a supporter of social progress and fostering a profound connection with its audience.
Context for the content
The Nike campaign “One day we won’t need this day” stands out as a powerful endorsement of International Women’s Day, envisioning a future where the celebration becomes unnecessary due to full acceptance and equality. This impactful one-minute video features a diverse group of women in sports, highlighting Nike’s inclusive approach. All models and athletes, representing different ethnicities, are dressed in Nike attire, reinforcing the brand’s commitment to diversity and support for consumers’ aspirations. Posted on International Women’s Day, the campaign aims to draw attention to gender equality while simultaneously offering hope for a future where gender disparities cease to exist. The clip, narrated with a message that one day women won’t need International Women’s Day because of achieved equality, succinctly captures the essence of the campaign’s message.
Content in context
Branded content aims to create a connection with the audience by associating the brand with certain values, emotions, or experiences, while focusing on providing value to the audience rather than overt advertising (Lou & Xie, 2020). Brands are increasingly leveraging powerful narratives to forge deeper emotional connections with customers, aiming for their audience to visually witness their stance on various issues (2017). This trend, known as brand activism, is employed as a marketing strategy to appeal to consumers seeking authenticity in brands (Rishe, 2018). When executed effectively, brand activism can serve to raise awareness about societal issues (Terrel, 2019). Nike exemplifies this approach through its engagement in brand political activism, wherein the company takes a non-neutral stance on controversial social issues and utilizes sport to drive social change (Moorman, 2020). Aligning with the rising trend of athlete activism, Nike showcases prominent sports figures like Megan Rapinoe and Naomi Osaka who advocate for social change.
Theoretical framework
Cinematography
The term cinematography is from the Greek roots meaning “writing with motion.” Cinematography is more than just photography; it is the process of taking ideas, words, actions, emotional subtext, tone, and all other forms of nonverbal communication and rendering them in visual terms (Brown, 2016, p.1). Cinematography plays a crucial role in shaping the viewer’s perception of characters, settings, and narrative progression through the visual representation of scenes. Analyzing cinematography entails examining the visual components of the film, including camera angles, lighting, and color. Through this analysis, one can grasp how these elements are employed by the filmmaker to evoke a particular mood or atmosphere and to communicate their message (Yellowbrick, 2023).
My cinematographic analysis will include:
Camera angle and shot composition: This concept focuses on how the angle and composition of shots influence viewer perception and emotional engagement. Different angles, such as frontal, oblique, and low angles, convey varying levels of power dynamics and emotional connection to the subject (Kress & Leeuwen, 2006).
Framing: Framing pertains to the arrangement of elements within the camera frame to create visually compelling or meaningful shots. It involves the placement of subjects within the frame, including central-margin placement and the prevalence of medium shots and close-ups (Kress & Leeuwen, 2006).
Color and modality: Color and modality are used to convey meaning and enhance the narrative of the advertisement. This concept examines how color manipulation, such as rich hues and contextualized backdrops, supports thematic elements. Modulation of color and occasional use of black and white segments create contrast and emphasize specific aspects of the narrative (Kress & Leeuwen, 2006).
Semiotics
Semiotics, one of the oldest paradigms for perceiving meaning, is frequently utilized in advertising to convey messages through signs and symbols. Signs, often referred to as signifiers or symbols, represent something beyond themselves (Ijam & Abbaas, 2019). According to semiotics, advertisements are composed of signs that adhere to established conventions. In this framework, images function as text, each possessing its own grammar articulated through elements like composition, lighting, framing, focus, gestures, and spacing of forms. Understanding this grammar is crucial for interpreting the language of images (Campbell, 2014). We can only comprehend the meaning of advertisements by examining how they convey meaning and analyzing their operational mechanisms (Williamson, 1978). Marketers utilize semiotics, employing visual and verbal cues such as logos, tag lines or slogans, colors, and endorsements by famous individuals, to evoke positive actions and responses from their audience (Johnson, 2020). I will use the framework for a semiotic analysis of an audio-visual product (film, television, music video, game) based on The Semiotics of The Theatre by Erika Fischer-Lichte (1992).
Cinematography
Camera angle and shot composition
Medium shots
The predominant use of medium shots throughout the advertisement establishes an impersonal relationship with viewers. This technique aims to maintain social distance and objectivity, allowing viewers to observe the scenes without feeling directly involved.
Angles of Shots
The angle from which shots are taken, particularly frontal angles, influences the perceived level of attachment. Frontal angles create a sense of attachment to the viewers.
Eye-Level and Low-Angle Shots
The use of eye-level shots aims to establish equal power relations between participants and viewers, fostering a sense of connection. In contrast, low-angle shots portray participants as more powerful, altering the dynamics within the scenes and influencing viewer perceptions. In the advertisement there are more low-angle shots, which makes the woman look very powerful.
Framing techniques
Color Modulation and Contextualization
Semiotic analysis
Mimic signs
Participants in the advertisement utilize direct gazes and serious facial expressions, conveying a message of empowerment and seriousness regarding women in sports. These visual cues demand attention from viewers and emphasize the importance of the narrative being communicated.
Set design
The context in which the portrayed participants are placed is significant in conveying the intended message. In both Nike advertisements, there is a consistent placement of women participants in sports-related settings. This reinforces Nike’s messaging surrounding women’s empowerment.
Famous individuals
The inclusion of prominent figures like Megan Rapinoe and Serena Williams in the Nike campaign adds depth and meaning to the advertisement’s message. These athletes are admired not only for their athletic achievements but also for their commitment to social change and equality. Their presence in the campaign embodies the pursuit of inclusion and empowerment, allowing viewers to resonate with their struggles and draw inspiration from their example. Their fame provides a powerful symbol of hope and progress, amplifying the impact of the advertisement’s message.
Conclusion
Overall, the ad successfully communicates Nike’s brand values while aligning with broader societal movements for gender equality. By leveraging visual storytelling and engaging in brand activism, Nike not only promotes its products but also contributes to meaningful conversations about social progress. The ad serves as a poignant reminder of the ongoing struggle for equality while offering hope for a future where gender disparities cease to exist. This content expression fits seamlessly into Nike’s overall campaign, emphasizing the brand’s dedication to empowering women and fostering inclusivity in sports and society as a whole.