Looking through the Keyhole on the backdoor of International Public Relations (IPR): Critically evaluating the seamy value of framing
IPR roams widely in the fields of public communication, framing effect and international branding. By subtly influencing audiences’ perception on interpreting image which framed by mass media, the seasoned wire-puller behind IPR intentionally establishes and maintains mutual comprehension and positive impact between the actors and its publics. This essay aims to critically analyze and evaluate the IPR’s manipulation in the realm of image, framing and branding by looking through the keyhole on the backdoor where the wire-puller scheming behind.
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639). The prerequisite condition of manipulation demands that audiences pay constant attention on memory-based image. This is how the magic that framing plays in IPR to manipulate audiences.
Framing makes fake image real in feeding the audiences’ expectation of branding. In practice, logos, slogans and market strategies are utilized by branding in shaping international actors’ “logo” on a processing terrace that founded by image and framing. However, the process of establishing reputation for actors’ logo gives rise to the conflict between fakery and reality in which areas framing is the sharpshooter.
“Brand is image, reputation is reality, brand is fake, or has elements of fakery, while reputation is closer to reality. Therefore, brand is best conveyed by a consistent “core message,” while reputation is best conveyed by transparency” (Blumenthal 2012, web). On one hand, transparency guarantees the actor’s logo; on the other hand, actors’ seamy side needs to be concealed. How and to what extent to maintain the transparency is a question posted to branding. The desire of securing the actors’ undisputed reputation drags all the stakeholders back to the drafting chamber, where the framing once again back on the magic table fastidiously balancing the selection of image and faking the logo’s positive side. Therefore, the framed logo delivered a favour to branding in satisfying the both expectation of actors and its publics.
Critical evaluation: the poker face of framing in IPR. Every way of seeing was also a way of not seeing (Burke, 1935). “the inherent faith that people have in visuality is the very thing that makes it such an effective way of transmitting ideas meant to construct a sense of reality that favors some and disadvantages others” (Ryan 2010, p.137). By looking at interior and exterior contents of IPR, the unavoidable inclination...