conclusion, receivers of advertising may not be a group that shares common features/characteristics; therefore, their interpretations of particular product will always vary. In addition to Eco’s theory of the open work this concept is also related to the statements of Stuart Hall that identified how crucial groups and sub-groups of the society bring their own experience into the process of rendition. For instance, perception of the works is affected by individual pursuits and opinions, but also by present state of attention. The involvement of intellect during watching advertisements is constrained; this fact has been confirmed also by the research of some Psychologists. Emotional, automated brain processes that have been defined as System 1 correspond with the setting of the spectators that is related to common reception of any advertisement – they watch it with deep thought, react to it more emotionally instead of radically, while these tendencies are, in most cases, intentionally supported by the advertising itself – it is as much accessible as possible, mostly focused on the emotional communication. The absence of thorough thinking about advertising by nature does not indicate that the receivers accept the products without any objections. For example, the attitude of the receiver is affected by experience. Advertisements intend to form or relive this event(s). In order to get the best skills to do so, many researches rendered more attention to their convincingness, memorability and ability to be identifiable. However, convincingness is especially cogent for direct purchase of products. Truly effective advertising has a long-time effect that affects shopping behaviour by recalling the memory of a part of its content. Most memories are formed by the end of the advertisement itself, what is probably caused by peak-end effect. Guy Cook (2010) calls the advertising a positive discourse, as it takes other discourses, their content, form, authors and also receivers; however, it is a point that it often does so in quite imaginative ways. Identification of the symbolism while taking into account other meanings should lead individuals to replacement of stimuli that are very different from each other. Not everything suggestive must be inevitably a symbol, metaphor or metonymy. Television advertisements still include quite significant amount of such stimuli. Their interpretation shows how these clearly commercially-oriented products may head for pursuing higher (a little more artistic) objectives than only attracting the sharp attention of the recip>