This dissertation addressed two broad questions: a) is it
possible to systematically describe dimensions of form on
which montage varies in TV advertising, and b) given that
dimensions can be identified, how do variations in form
affect viewer responses to ads? The first question was
addressed through a semiotic analysis of ad form, the second
question through an experiment that tested for pace and
angle effects on brand learning and brand attitudes.
The semiotic analysis built upon the work of C.S. Peirce,
Christian Metz, Gerard Genette, and Herbert Zettl. Using
our normal experience of time and space as a kind of deep
structural baseline, it formally defined such montage
variables as pace, angle, horizon, color, the camera cut and
camera movement, and paradigmatic/syntagmatic shot syntax.
Mathematical or quasi-mathematical notation was developed to
describe the range of values possible for these variables.
In the experimental portion of the study, the effects of
pace and angle were tested within a composite ad response
model that combined two competing theories -- distraction
theory (which predicts a negative distraction effect for
abnormal pace and angle values) and the dual-mediation
hypothesis (which predicts a positive attention effect) .
The results were consistent with distraction theory, i.e.,
abnormal executions resulted in significantly lower brand
learning and brand attitudes.
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