Category Archives: Advertising

Women, stop sexual harassment!

The professor Lillie Chouliaraki presents the term “spectacle of pity” as to define the sensationalism of western news media when portraying the poverty-striken “others”.  As she says, “pity is a form of politics that relies on the spectacle of vulnerability so as to put forward the moral claim to common humanity, in salvation or revolution, as a cause for our action”.

Therefore, what calls for action is not the cause – poverty, starvation, war…- but the symptoms of social injustice, the pity and the “feeling bad”. However, as Chouliaraki points out, while pity may be motivational in the short term it is not a meaningful basis for political action.

She exposes that this portrayal provoques the dehumanization of the poor into objects of pity, while the ones who can help become powerful. Therefore, they become “distant others” and there is no enough motivation and self-concern for breaking down political structures or ideologies.

Conversely, she suggests to be more aware of how we relate to distant others and to find ways to identify with “them”.

I began this post on campaigns to strive sexual harassment with Chouliaraki’s thought on representation of the “other” to present two alternatives to the “spectacle of pity”: two new campaigns that address sexual harassment that do NOT present women as the distant other and do NOT address pity as the motor to strive for change.

“Hands away”
TBWA París
January, 2018

This video addresses gender-based street harassment and gives voice to women who had suffered sexist and/or sexual language and gestures against them. This campaign encourages women to protect themselves from sexual harassment by using an app that connects women who can support and help each other.

Through the humorous touch of humanizing the penis together with the tough echo of women stories, I consider this video as a powerful call for action.


Campaign website :

Cut and run Sean Stender
November 2017

Campaign’s video:

The concept of “the distant other” remains obsolete in this campaign, since it is a video about women themselves lighting on their sexual abuse and harassment experiences. One of the aims of the director, Lara Everly, was “to make something beautiful out of all this ash”.

Another example of powerful campaign to strive for change, to motivate and fill up the spectators with enough energy to support each other in this game of powers.

8 of march, the international women’s day is coming and we are full of energy.




Chouliaraki, L., (2013) The Ironic Spectator: Solidarity in the Age of Post-Humanitarianism. Cambridge and Malden, MA: Polity.

Ads of the world. (2018).
















The theatrical stage for humanitarianism

While the structure of communication in humanitarian campaigning is changing, we are still witnessing campaigns that illustrate the classical and modern West public culture based on the significance of the mediation of suffering and vulnerability as catalysts for solidarity and compassion.
By showing three examples of campaigning from Amnesty International, Doctors of the world and Unicef, I try to exemplify some of the arguments of Lilie Chouliaraki about the theatrical stage for humanitarian communication and its spectacles of suffering.
Amnesty International: “Fireworks from Aleppo”

Amnesty International in Denmark launched a campaign on January 2017 that reconstructed Danish New Year’s Eve built from the sounds of bombs falling in Syria. It was broadcasted across Denmark the days following New Year’s Eve. The campaign presents a direct message to the spectator that says “we hope these sounds remind you of a wonderful news year’s eve. In Aleppo they remind people of something completely different. That is because these sounds are recordings of the bombings of Aleppo”.
Doctors of the world: “Indifference is a disease”

In December 2016, Doctors of the world launched the campaign “Protect Syria: not like us” in US. The almost 2 minute’s video highlights the narrative of the “West” towards refugees with messages such as “they are not like us”, “They are all terrorists” and “They should go back where they came from”. All these titles are combined with the voice of those ones who we refer to highlighting with their voices and testimonies that they are not that different than us. The campaign concludes with an explicative message of “They didn’t choose to be refugees” and poses the question of “Why are we choosing to let them die?”.
Unicef: “Granatapfel”:

Unicef launched in January 2017 a film in Germany about children in war zones. This movie portrays children as victims of a world that they don’t understand. The main characters of the story are a mother and a girl in a warzone. The girl is chasing what for her is an apple but in reality is a grenade. This story is an attempt to assimilate the spectator with the characters by somehow bringing us to that situation. This aim becomes clear on the message at the end of the video that says “Imagine you and your child in a warzone”. The video finishes with the precision of a number “Every 20 minutes a child dies in a warzone”.

Since those campaigns are a mix of sounds, images and recreations of different realities, they are calling for the imagination of the spectator. This is what Chouliaraki calls as a “humanitarian imaginary” and defines it as a viable space for Western populations to engage with non-Western sufferers. Similarly, this space presents a distant suffering that can threaten the sympathetic identification factor, that catalyses on the emotions of indignation (towards the injustice of suffering) and empathy (care towards the victims) and enable us to imagine ourselves as political actors. This morality of revolution or the modern pity (idea of action for salvation or revolution that separates those who suffer from those who not) (Boltanski: 1993) is within the moral education of the west, according to Chouliaraki, and is represented in all the campaigns above, under a call for empathy, indignation and compassion. Likewise, we can highlight the separation of “us” and “they” in all the campaigns and we can see and attempt to assimilate the sufferers and the spectators with their final messages.

Chouliaraki, after a wide criticism towards the west model of mediation of humanitarianism claims the need to develop a novel approach to humanitarianism that recognizes the perspective to life in a tangible manner. Stating that the citizen is an ironic spectator of other people’s suffering. Thus, rather than engaging with solidarity of distant others, she proposes to use ironic solidarity to engage with the self and relating solidarity with choice, lifestyle and ourselves.

To finish with, I have gathered some examples to exemplify this tendency than is increasingly used by campaigners.

Garde-Mange Pour Tous: “Help us fill the emptiness”

fill the emptiness.jpg

Smoke free life: “Forbidden”


Great Ormond Street Hospital Children’s Charity: “Ordinary World – Trolley”


The aim of those campaigns is to encourage people to act, since it is the essence of humanitarian campaigns. Although in those ones with new approach in particular the individual is conceived as the main character of the campaign, what makes the spectator less distant from its message.

This model seems effective in a growing narcissist West where the new approach to humanitarianism is about the self rather than engaging with the solidarity of distant others (Chouliaraki: 2013).


Chouliaraki, L., (2013) The Ironic Spectator: Solidarity in the Age of Post-Humanitarianism. Cambridge and Malden, MA: Polity.

Boltanski, L. (1993) Distant Suffering: Morality, Media and Politics. Cambridge: Cambridge University Press.




The women’s right to choose campaign; a source of inspiration

Continuation of the Polish women on strike! post

A source of inspiration

Throughout history, we might have to thank lots of women and men for having fought for women rights and for being an exceptional source of inspiration; the Parisians, for example, that in front of the Palace of Versailles during the French Revolution were claiming women’s right to vote. Or when on the 8 of May 1857 a group of women workers in New York submitted a proposal to improve their working conditions. We also have to thank the suffragettes in the UK and the feminists of the late 19th century in US, opposed to the legalization of abortion, and so on.

By comparing different campaigns (similar issues) throughout history, we realize that the practices used in civil society for advocating change to decision makers and the way to tackle them haven’t change much over the years. The “outside track”  that Paul Hilder defines as one of the two approaches of campaigning(popular mobilizations and social movements which actively involve a wider public in making claims on power) is present in all the campaigns we have mentioned.

For instance, the women’s right to choose campaign in US. I would like to share with you the Huffington post article 21 Inspirational Images Of Women Standing Up For The Right To Choose; it’s a historical review of campaigning for women’s right to choose in US from 1935 to the present. I took some “inspirational” examples.


1967: Birth Control information on New York buses is held up for scrutiny by Marcia Goldstein, the publicity director of Planned Parenthood. (Photo by H. William Tetlow/Fox Photos/Getty Images)


1971: Demonstrators demanding a woman’s right to choose march to the U.S. Capitol for a rally seeking repeal of all anti-abortion laws in Washington, D.C., Nov. 20, 1971. On the other side of the Capitol was a demonstration held by those who are against abortion. (AP Photo)


1973: Pro-abortion rights campaigners at a demonstration in favor of abortion in front of the American Hotel in mid-town New York, where the American Medical Association is holding its annual convention. (Photo by Peter Keegan/Keystone/Getty Images)


1974: A reproductive rights demonstration, Pittsburgh, PA, 1974. (Photo by Barbara Freeman/Getty Images)


1986: Pro-abortion rights campaigners at a National March For Women’s Lives in Washington DC, 9th March 1986. (Photo by Barbara Alper/Getty Images)


1999: Protesters organized by the National Abortion and Reproductive Rights Action League demonstrate across the street from the hotel in New York where Republican Texas Governor and presidential hopeful George W. Bush appeared at a reception 05 October, 1999. (Photo credit should read STAN HONDA/AFP/Getty Images)


2013: Women hold up signs during a women’s pro-abortion rights rally on Capitol Hill, July 11, 2013 in Washington, DC. The rally was hosted by Planned Parenthood Federation of America to urge Congress against passing any legislation to limit access to safe and legal abortion. (Photo by Mark Wilson/Getty Images)

Source: Huffington Post website, Jan 21, 2015

Although the fact that the same problems have been tackled for years may lead to problems of legitimacy, campaigning in the present has also advantages such as the power of the media and new technologies in supporting mass mobilization (Hilder, Caulier Grice, Lalor: 2013)

After those images, it’s easier to carry on with the fight; a long road lies ahead of us and with examples like the “Black Protest” movement, we are demonstrating we are ready for it.



Liz Hutchins. Friends of the Earth. Campaigning for change: Lessons from History

Nina Bahadour, 2015.21 Inspirational Images Of Women Standing Up For The Right To Choose. The Huffington post.

Paul Hilder, Julier Cautier-Grice, Kate Lalor, 2013. The Young Foundation. Contentious Citizens.

Project Life Jacket: Refugees ARE also humans beings

Project Life Jacket is a new outreach campaign about the perception of refugees in Europe. Intending to portray the displaced as people and no longer as refugees, they are asked to share their “normal” past lives. Their past lives are drawn in their life jacket, the item that changed everything.

Project Life Jacket is an initiative launched by The Voice Of Thousands, Borderfree and Schwizerchrüz organizations and produced by the advertising agency Jung von Matt.

Refugees for People

The campaign, with a new approach of portraying refugees in the Media, challenges all the other sorts of communication and messages we have been seen in the Media during the refugee crisis. Or even before, that we also had refugees seeking for asylum in Europe coming from another countries in war.

And it is when the possibility for an alternative vision of a problem arises that I, personally, understand the power of “schemata of interpretation” that Goffman defines as a frame (what enable individuals to locate, perceive, identify and label events between their life space and their world at large). Since the fact of “identifying” is something necessary for people to understand facts, we, communicators, have to be very careful when framing to avoid making the mistake of stereotyping and therefore diverting the issue away.

The message of the campaign is framed in a very concrete and powerful way: Refugees are normal people.

The storyline is held by individuals sharing their personal lives, an approach closer to the public.

And the initiative uses frame alignment by stressing commonality; refugees have had normal lives just like European citizens have before they had to flee leaving their lives behind.

It seems clear that Jut von Matt campaigners are aware of the importance of frame alignment (when individual’s interests, values and beliefs are complementary to Social Movements Organizations’ activities goals and ideologies), seen as a necessary condition for participation (Snow, Rochford, Worden and Benford: 1986), since their ultimate goal is represented by the mobilizing message of “Help Refugees Now”.

The refugee crisis have passed through different stages and have had different reactions from people. This campaign questions all this stages by giving a totally different approach of stop seeing refugees as something alien to us and finding similarities instead, to be abe to emphasize and act.




The Voice Of Thousands, Borderfree and Schwizerchrüz. 2016. Available:

Snow, David A. Rochford, E. Burke. Worden, Jr., Steven K. and Benford, Robert D. 1986. Frame alignment processes, Micromobilization and Movement Participation. Vol 51, No. 4, pp. 464-481


Refugee crisis: call for emotions

Today, we are witnessing several never-ending armed conflicts around the world that are destroying our civilization and therefore, humanitarian aid is becoming more and more urgently required.

For instance, the Refugee conflict, that has been present for a long time now, has been calling for help from people since the beginning, as some governments have turned their backs.

Governments, non-governmental organizations, activists, communication professionals and individuals, have contributed over the course of 5 years to spreading awareness and mobilizing citizens.

These tasks have been crucial to present the reality of the conflict, the truth out of many truths. Nonetheless, all those actors have used a strategy in order to get a reaction from people.

In this post I explore EMOTIONS as one of the factors that make people taking action. Moreover, I give context describing sensitization campaigns within different platforms.

Emotions and social movement

“Society is the unique whole to which everything is related”
Primitive Classification, Emile Durkheim and Marcel Mauss

Society, as a conceptual form, has established a structure where emotions, among other factors, are culturally constructed. In this regard, emotions are rational since they are collectively shaped and based on cognitions.

According to the sociologist James M. Jasper:

“strong emotions accompany protest but such emotions don’t render protestors irrational; emotions accompany all social action providing motivation and goals. Social movements are affected by transitory, context-specific emotions, usually reactions to information and events”
The emotions of protest: Affective and social reactive emotions in an around social movements, James J Jasper.

Jasper presents emotions as causal mechanisms shared in a group that constitute our ideas and desires. He looks at different emotions and how they contribute to social mobilization and engagement, and states that not all work the same way. Also, he explores how different emotions interact with one another.

He defines three kinds of emotions: reactive, that creates temporary responses to events such as anger, grief, indignation and shame; affective, as more permanent feelings such as hatred, love, loyalty, trust and respect; moods, somewhere in between such as compassion, cynicism and enthusiasm.

As a case study, I will look at which routes of protest have been taken within communication during the refugee crisis and which emotions have been addressed to.

Refugee crisis: Call for emotions

I have chosen recent and old campaigns that speak for themselves and I have tried to gather a variety of examples addressed to different emotions.


UNHCR, 2007,”It’s great to be a refugee”| Agency: BBDO Canada
See all campaign


UNHCR, 2009, “Stockings” | Agency: Y&R
See all campaign


UNHCR, 2009, “Cigarette” | Agency: Y&R
See all campaign


UNHCR, 2012, “Dilemma 2” | Agency: Y&R
See all campaign


UNHCR, 2016, “Electric Pole” | Agency: Y&R
See all campaign


The Hamdi Foundation, 2014,”What if Manhattan”| Agency: Miami ad school
Whatch video
See campaign


Amnesty International, 2015,”Refugees”| Agency: Cossete
See all campaign

alan kurdi.jpg

Exhibited at Arcola theatre, London, 2016,”The misplaced child”| Anonymous
See exhibition


Caritas, 2015,”Barbed wire”| Agency: DDB
See campaign


Nike, 2015,”Miles for refugees”| Agency: Miami ad school
See campaign

rij-rusted_spoon_poster_copy_aotw.jpgRefugees International Japan, 2016,”Rosted Spoon”| Agency: Ogilvy
See all campaign


Kizilayi, 2016,”Ireland”| Agency: Lowe
See all campaign


Oxfam Intermon, Siria, 2013 | Pablo Tosco
See exhibition Sin Filtros, in Madrid, 2016


Doctors without borders, 2016,”Vlog ep. 01″
Whatch video

And to finish with, I present, in my opinion, the best initiative that has been launched in order to engage people into the refugee crisis.  This campaign, allows viewers to follow in the footsteps of migrants and refugees as they complete their journey. I recommend to experience it.

two billion miles.png

Channel 4 news, 2016,”Two Billion Miles” | BBC
See the initiative

Jasper defines emotions as a social construction and therefore they can be rational. However, emotions need a interpretation to become effective and therefore are subjected to a personal “construction”. Whatever are the emotions these campaigns arouse and whatever are the tones of communication, in my opinion and according to my interpretation, they make feel something.

“a photograph is not the reflection of reality, but the reality of that reflection” (Shaughnessy and Stadler 2005:78)

These campaigns have shown us the truth out of many truths or, in other words, the reality out of many realities. But it’s just through emotions and therefore feelings that we can approach to it because it’s something we all have and recognize, although in different forms; irony make me feel sad “It’s great to be a refugee”, the comparison of the refugees situation with ours make me feel bad “they would like to have the same problems as you have” or questions that make me feel scared to imagine I could be in their situation “stay and risk your lives in the conflict? or flee and risk kidnap, rape, torture or worse?”.

Emotions are what secure mobilization. And this mobilization starts from within.



Shaughnessy and Stadler. 2005. Media and Society: an introduction.

Jasper, James M. 2003. Rethinking social movements : structure, meaning, and emotion.

Ads of the world. Available in:

2015. Channel 4. BBC. Available in:

2016. Expo sin filtros. Available in:

Anonymous. 2016. The misplaced child. Exhibited in: Arcola theatre, London.