This should be a more obvious example, so you don't
need red lines to help you follow the gaze and the glance.
.gif)
Notice how the dotted dress patterns create a strong
visual connection between the women, along the diagonal direction of
the woman's gaze, almost before we notice that there are two women
--and where they are looking.
At first glance, the moustached man and the woman at
the table appear to be 'together' simply because they are 'facing'
each other and are almost touching across that small table. Notice
the cigarettes between them.
"Meet the Turk"
You might at first assume the man with the dark hair
and moustache must be the Turk.
You could read the body language of the cigarette
lighting moment as a man/man connection.
But you could ALSO read the rest of the scene as a
woman/ woman connection. After all, it's the woman at the next table
whose look catches our eye.
The women closest to us, who is directly in line with
the other woman's gaze past the two men, is almost cut off the page.
But we do see enough of her and her colorful clothing that we might
wonder if SHE is the Turk being referred to.
Notice that the people in the background are plainly
dressed, compared to the two women. These people are also randomly
arranged, revealing no relationships among them. That further
emphasizes how clear-cut the body language signals of these four
people's really are--and how they hint at relationships.
NOTE: In cigarette ads, the pack is almost always a new one, just
opened, 'fresh,' with one or two of the first cigarettes coming out.
That re-enforces the idea of buying, since that's what new means.
Back ||
Continue ||
Topics List