When it comes to awarding Lions at Cannes, the eyes have it.
June 22, 2010
Per usual, a great many short-listed adverts in the press and poster categories in Cannes are driven by their visuals. Assume similar for films. This has come to be expected; after all, it’s an international festival. Words are not the same everywhere. Not only is translating copy an imperfect means of determining its exact meaning (wordplay hardly ever comes across) but, let’s be honest, judges are impatient to do so. Jet lagged and jaded from hundreds of submissions, how can we expect each and every judge to take the necessary time to read the provided –often flawed- translations? It’s not fair –to them and the submitting agencies.
President and co-chief creative officer of the Martin Agency, Mike Hughes wrote an excellent article last week in Ad Age entitled, “Why Judging for International Awards Shows is Broken.”
In it, he writes: “I confess that I often can’t even tell how good the craftsmanship is on many foreign pieces of work. How do I know if the writing’s sharp or if the use of local idioms is relevant when all I’ve got is a translation?”
But here we are and that’s the way it’s done. That said, pictures –be they illustration or photography- do translate across cultural divides. While aspects of the concept may yet be indigenous to a given population, and alien to others, an image fares infinitely better at being interpreted correctly than a piece of copy. Goes without saying, doesn’t it? Which is why so many of the submissions to Cannes also go without saying. (Point in fact there is little chance my hopefully clever double usage of the phrase “goes without saying” would ever come across translated in 17 different languages.)
And so we “see” more and more visually stunning ads in Cannes than we do copy-driven work. Maybe this isn’t so bad? Maybe it’s indicative of our shrinking world, whereby people from all walks of life are juxtaposed more than ever. The advent of social media has only turned up the heat. It’s like the melting pot at full boil.
In addition, for better or worse, I’d argue we are becoming an ever more visually driven world. Instead of all learning a common vocabulary we are increasingly reliant on images to communicate. This was said when TV first entered our lives, changing them forever. And it has only become more so.
As a wordsmith, I suppose I find the continuing transformation bittersweet. Watching communication be whittled down to 140 characters on Twitter or brief updates on Facebook can be disheartening.
On the other hand, it’s not like I don’t appreciate the changes either. Hell, I’m a part of them. I now use words to create images. I write stories (advertising and fiction), seeing the narratives in my head. Frankly, I started doing this a long time ago. Truth be told, agents and editors were quick to criticize my two books, The Last Generation and The Happy Soul Industry as being more like screenplays than novels. Younger people, however, appreciated them for precisely the same reason.
And so it goes at Cannes. The new breed of marketing communications is quicker: mobile technology, Apps, links, shared video, posters and design. A picture is truly worth a 1,000 words. Or millions of dollars, like this short-listed poster for the Illinois Lottery from Chicago’s own Energy BBDO.