Advertising Cultures: Gender, Commerce, Creativity (Culture, - download pdf or read online

By Sean Nixon

ISBN-10: 0761961976

ISBN-13: 9780761961970

ISBN-10: 0761961984

ISBN-13: 9780761961987

ISBN-10: 1847876617

ISBN-13: 9781847876614

`Nixon's learn is an important contribution to the cultural sociology of the hot carrier region pros and their gendered identities.It's value lies in it truly is skilful synthesis of exact ethnographic examine and social conception. this can be a surely leading edge e-book which reopens cultural debate approximately advertisements and society' - Frank Mort, Professor of Cultural heritage, college of East London `Advertising Cultures is a lucid, thorough and hugely attractive account of ads creatives that unlocks the most important concerns for figuring out the tradition industries: creativity and gender. It marks an incredible new contribution to the cultural learn of monetary lifestyles' - Don Slater, London university of Economics the commercial and cultural function of the `creative industries' has won a brand new prominence and centrality in recent times. This new salience is explored the following throughout the so much emblematic inventive undefined: advertisements. advertisements Cultures additionally marks an important contribution to the learn of gender and of industrial cultures via its detailing of how gender is written into the artistic cultures of ads and into the subjective identities of its key practitioners.

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Extra resources for Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series)

Sample text

While the studio system may have displayed many of the features of vertical integration characteristic of fordist enterprises, ®lm as a cultural form was not (and indeed, is not) amenable to the kind of product standardisation associated with mass production. Further, ®lm production was not caught up in the drive to produce ever more complex machines that de®ned the classic Fordist sectors. The Hollywood studios may have worked to produce a relatively stable set of genre ®lms and broadly conceived of its audience within the rubric of the mass market and in both senses been drawn into a wider culture of `mass production', but ®lm production was not, per se, Fordist.

These changes posed both challenges to established ways of working within agencies and also offered commercial opportunities. In the second part, I explore how agencies responded to this moment of crisis and opportunity. In doing so, I focus upon two exemplars of the wider shifts in the sector. These were the agencies Bartle Bogle Hegarty (BBH) and Howell Henry Chaldecott Lury (HHCL). Both companies are instructive because they sought to protect their status (and income) in the face of external pressures on the agency sector by positioning themselves as the trusted business partners of clients and attempted to resist the very different constitution of their identities as the mere suppliers of adverts.

Furthermore, the informal cultures inhabited by theses practitioners will both set limits upon and provide resources for the performance of the creative execution in which these practitioners are engaged. It is this insistence that informs my contention about why the subjective identities and informal cultures of advertising practitioners matter so much. There is a further conceptual theme associated with this revisionist kind of analysis of commercial culture that is worth reinforcing. As many cultural critics have argued, the world of commercially produced goods plays an important role in shaping particular consumerist conceptions of identity and social rituals among those populations successfully targeted by commercial practitioners.

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Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series) by Sean Nixon

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