The Application of the Element of “Appropriation” in Commercials Ads

Image creation is a well-recognized mean of communication. Nowadays, the method of creation has changed to other communication forms, different from previous ages. With the flourishing of economies, the image creation moved towards ad illustration which itself evolved into an art form of the globalization age. This art is based on referring functions because the use of references is inevitable for accelerating the message sending process. In addition, the postmodern age aims to use exophoric references and references to other works are considered intertexual, which justifies its use. On this basis, it seems that it matches the concept of appropriation in art (accordingly, the definitions of the originality and nobility also change) because making use of others peoples’ works, completely or partially, is in fact a reference to audiences’ implications. On one hand, communications, as the contemporary visual language influenced by the globalization process, makes use of the references in expressions such as commercial ads in a way that it is seemingly speaking about their fundamentals using the intertexual relations and thus opens up to new horizons to identify and criticize these illustrations; since it both refers to the presence of other works in novel ones and also affirms the element of co-presence. Therefore, art appropriation is investigated through providing a definition of the commercial ads and originality areas as well as piracy. The paper at hand is theoretical and fundamental in terms of the methodology, using descriptive-analytic approach. The required data was collected through desk study of library resources and note taking. A purposeful sampling of images was conducted which, through a comparative approach, explains the view that the illustration art in commercial ads is a perfect example of referencing samples and appropriation in commercial ads are comparable to two general categories of intertexuality, each comprising of three sections (the imitation category such as pastiche, charge and forgery; and the transformation category like parody, travestissement and transposition). The results indicate that creation of works based on pastiche, is the re-creation of the work in commercial ads illustration and its real manifestation appears in violating the copyright law. Parody is a change in preconceptions and imitation and in commercial ads, the work is used to express and convey a new concept through changing others peoples’ works and accepting the changes. Charge is the exaggeration in previous works made by creating a satiric atmosphere in advertisement field. Exaggerating and radical imitation is travestissement where in ads; earlier works are destroyed in order to create new ones. Forgery is a form of imitation which believes in the use of other works based on the similarities of the two forms where either a template is a means of sustainability of the other works or is itself a sustainable template, complementing earlier works and can be compared to serial advertisement strategy in commercial ads. Moreover, transposition is an adapted concept of earlier works where the changes made are serious where semiotic references evoke previous works that in commercial ads, they emerge in semiotic examples of ads using a semiotic reference. The findings confirm that the art of producing commercial ads frequently makes use of referencing procedures and through this, shatters the holiness of the artwork into pieces in technology and information world. With its postmodern taste (the inclination of contemporary works is not the product of an artist’s original thought, but it is of a referencing function and the works’ ambience, is composed of an infinite number of potential relations and connections), it matches the ways of the present age, justifies the originality of artwork based on common criticism theories of the time which are acceptable as the representative of art in contemporary age.