Курсовая работа: Advertising and popular culture
Dickens knew intimately of what he wrote. Before establishing himself as a novelist, he worked in Warren's blacking factory where shoe polish was manufactured. It seems that he sometimes helped write the copy for advertisements and that for a while he was placed in a window polishing shoes as a form of advertising. Later, when he wrote his novels, the power and presence of factory work and the promotion of goods played significant roles.
In addition, Dickens engaged with advertising yet another way by taking great interest in the advertising of his own novels—choosing or writing ads for them. The great popularity of his stories led to the incorporation of many of his characters into a broad range of advertisements in ways that are familiar today. Player's cigarettes issued in 1912 a set of trade cards (one inserted in each pack of cigarettes) for Dickens's characters. Various commercial products mimicked the style or used the name of one or more of his characters—from Dolly Vardon aprons to chintz fabrics emboldened with Dickensiana. This trend continues even today as various brands make reference to "A Christmas Carol" or ask "Oliver Twist."
The American author Henry James similarly engaged advertising in his novels. The American stage for spectacle, exaggeration, and outrageous claims was set earlier in the 19th century by P.T. Barnum and his extravagant and outlandish publicity for his traveling shows, circus, and museum. An America that succumbed to Barnum and unchecked advertising claims of every sort fascinated James. This fascination is reflected in his novels. According to Wicke, James's own style of fiction "bears a confessed kinship to the melodramatics of advertising." His late work The American Scene (1907) takes up the subject of the consumer society.
His book commemorates the trip he took in 1904, after returning from twenty years in Europe, a "pilgrim" come to see his own native land. The patchwork of places and sights—St. Augustine, Newport, the Waldorf-Astoria, Hoboken—may seem impressionistic renderings of his journey, but above all the text explores the phenomenon of a capitalist culture that has come into its own since his departure.[43]
Irish author James Joyce, like Dickens before him, wrote advertisements at an early stage of his career. (He ran a film theatre and often wrote the ads for it.) It is his masterful Ulysses (1922) that directly conjoins literature and advertising. Leopold Bloom, the central character in the novel, works as an advertising canvasser thus occasioning many references to advertisements in the novel. More profoundly, "the constantly unfurling 'stream of consciousness' that is Bloom's narrative style is largely made up of his 'mind' wending its way through the eddies, currents, and shorelines of advertising or advertised goods."
Many literary theorists have recently noted connections like those above between literature and the culture of consumption for which advertising is the mouthpiece. The James Joyce Quarterly asserts that advertising influenced the writer at least as much as Thomas Aquinas, Dante, or Shakespeare did.[44] Other writers like George Eliot and Sherwood Anderson have been studied for their connections to advertising discourse as well. Eliot's Middlemarch (1871-2) contains passages reflective of Bloom's interior monologues about consumer goods in Ulysses.[45] Anderson himself had a long career in advertising before writing his many observations about its practices.
Thus, what all these connections between literature and advertising show is the impossibility of maintaining any strict division between the "high" culture of literature and the mass culture of advertising. Some writers of great literature were also authors of many advertisements to which and from which they took their style of writing. More importantly, many influential writers have brought advertising into their stories in order to analyze the role of advertising in society. Finally, the study of literature has opened itself to the examination of many kinds of non-canonical texts such as advertisements in order to understand the culture that generates them.
Advertising and Art
The relationship between advertising and art is even more intimate than that with literature. Over the centuries, artists have been hired to paint signboards, shop walls, and other kinds of images in the service of commercial promotion. However, it was in the 19th century that a much closer relationship between advertising and art developed.
In London, the well-known illustrator Cruikshank was commissioned in 1820 by Warren's blacking company (the same company that Dickens worked for as a boy) to illustrate an ad. The drawing he produced—a cat frightened by its own reflected image in the sheen of a highly polished boot—clearly added spark to the long-copy advertisement it accompanied. Such relationships were typical 19th-century interactions between the art world and advertising.
In addition to the drawings and other images produced directly for commercial use, a second relation of advertising to art was the appropriation of high art for use in advertisements. For example, John Everett Millais's sentimental painting Bubbles (1886) became a poster for Pears soap, but not without considerable critical uproar from those who wanted to keep "art" on a high pedestal above the crassness of everyday commercial appeals.
Even more significant, however, was the close connection between advertising and modern art that developed in the later years of the 19th century. Both advertising and the artistic movement known as modernism emerged about the same time—around 1860 to 1870. The stage for their collaboration was set by at least two factors: the development of techniques supporting the mass production of images, and an abundance of consumer goods hitherto unknown. Modernism dismissed literal representations in favor of freer modes intended to evoke the sorts of fantasies and emotions that marketers were coming to realize would help move products. By the final years of the 19th century, modern art and modern advertising were freely borrowing from and influencing one another.
The French advertising poster of the late 1800s marks the beginning of this crossover between advertising and art. For example, Henri de Toulouse-Lautrec produced advertising posters, as did many other artists who are usually thought of as belonging to the "high art" tradition. It was Jules Chéret, however, who invented and perfected the advertising poster as a new genre that had no real precedent in earlier artistic traditions. His poster for the Folies-Bergère in Paris privileges movement over literal representation. Its bright colors also depart from literalism to convey the excitement of the spectacle of the Folies-Bergère.
Despite widespread use, the advertising poster did not always meet with universal acclaim. There were those who felt that filling the streets of Paris with advertising was a sure sign of cultural decay rather than progress. A conservative writer, Maurice Talmeyr, published an article entitled "The Age of the Poster" in which he assessed its impact on society.
[The poster] does not say to us: "Pray, obey, sacrifice yourself, adore God, fear the master, respect the king..." It whispers to us: "Amuse yourself, preen yourself, feed yourself, go to the theater, to the ball, to the concert, read novels, drink good beer, buy good bouillon, smoke good cigars, eat good chocolate, go to your carnival, keep yourself fresh, handsome, strong, cheerful, please women, take care of yourself, comb yourself, purge yourself, look after your underwear, your clothes, your teeth, your hands, and take lozenges if you catch cold!" [46]
The artist Georges Seurat became a great fan of Chéret and the style of his posters. He drew inspiration for some of his later work from them. Chéret's high-stepping dancers in Les Girard: Folies-Bergère, a lithograph from 1879, reappear a decade later in Seurat's Le Chahut (1889-90). Many similar links between "high" artists and the popular cultural artists producing advertising are recognized by historians of art.
In 1990, the Museum of Modern Art in New York mounted an exhibition entitled High and Low: Modern Art, Popular Culture that explored the relation in such areas as words, graffiti, caricature, comics, and advertising. The exhibition catalogue noted: "[T]he story of modern artists' responses to advertising, and vice versa, is the most complex and tendentious of the various histories [the exhibition] addresses." The exhibition traced the link between art and advertising from the French advertising poster to the present.
An artistic movement based around "found objects" spilled over into advertising itself. The now familiar Michelin Man (1898) emerged from Édouard Michelin's observation that a stack of tires might resemble a man with the simple addition of arms. It was in such moments, where art and life come together, that many great advertising ideas of the 20th century were born. Another example is the RCA dog inspired by a real pet and an actual incident.
The influence between advertising and art moved the other way as well. Picasso, in his Landscape with Posters (1912) and Au Bon Marché (1913), and many Dada avant-garde artists incorporated images of ads or actual parts of advertisements into their productions. In the 1920s, Fernand Léger modeled his painting The Siphon (1924) on an ad that appeared in the French newspaper Le Matin. Examples such as these abound in 20th-century art.
The social theorist Michael Schudson has termed American advertising "capitalist realism" in order to indicate the similarity of advertising art in the 1930s to the propagandistic art forms that grew up in Nazi Germany and the Soviet Union at that same time. According to Schudson, each of these states celebrated the different local ideas of heroism (communist, national socialist, or capitalist) in styles that were "reassuringly legible and impervious to ambiguity."
After World War II, artists like Andy Warhol commented on modern life through references to advertisements. Warhol painted cans of Campbell's soup repetitively to comment on modern life—a world in which endless copies of mechanically produced products are available and serve to homogenize experience. (Ironically, Andy Warhol was later commissioned by Absolut Vodka to produce an image of its famous bottle in the Warhol style as an actual advertisement.) Artistic commentaries on the nature of capitalism, consumption, and a world populated with advertising imagery are mainstays in contemporary art.
The omnipresence of advertising imagery in contemporary society is surely one of the hallmarks of this period in history. When future generations look back on 20th- and 21st-century life, they will surely marvel at how little care we took to preserve the popular art of advertising—most of which disappears quickly. TV commercials are intended to evaporate, billboards to come down, and magazines and newspapers to be recycled. Yet, the mutual influence of high art and popular culture is one of the most salient characteristics of contemporary expressive culture.
Advertising and Film
Since the end of World War II, first Hollywood films and later TV scripts have frequently included advertising as one of their themes. The Hucksters (1947) and Mr. Blandings Builds His Dream House (1948) tell stories about the lives of men who work in advertising, but the stories they tell are not flattering. In fact, they constitute the beginning of a long tradition in Hollywood to use advertising (often as a backdrop to a story rather than its central focus) in a highly stereotyped manner. The establishment of this screen version of advertising and its perpetuation even into the present has provided for members of the public—most of whom have never been inside an advertising agency and do not know anyone who works in one—their primary source of information about the inner workings of advertising. It is no different really from how the mass media has constructed images of lawyers, doctors, psychiatrists, airline pilots, movie stars, and a host of other professions. Although these representations develop mythologies through repetition and are usually secondary to the main themes of stories, they nonetheless leave after-images that linger in our minds about what we have seen.
How does Hollywood represent advertising? For the purposes of this unit, a list of several films that deal with advertising in some way was developed. Then about half of these films were studied in detail for how they represent advertising. On the basis of this analysis, recurrent themes about advertising in the films were identified.
The themes that will be discussed in detail are the Hollywood representation of: (1) advertising as a profession, (2) the impact of advertising on society, and (3) the characteristics of people who work in advertising.
By setting a film in an advertising agency and/or featuring people who work in advertising, the film describes (albeit inadvertently) the profession of advertising. Films typically make advertising appear to be easy work. Creative ideas are not depicted in relation to strategy and research, but rather ideas seem to emerge while throwing pencils like darts at the ceiling or in a moment of serendipity. For example, a creative team in Nothing in Common (1986) invents skits and songs by acting out an idea for a commercial. The scene conveys a convivial, friendly, and fun atmosphere at work. Ray Liotta's character comes up with the perfect jingle in Corrina, Corrina (1994) while banging out notes in a piano duo with his housekeeper, played by Whoopi Goldberg. Many scenes show the fun aspects of his job as a writer for commercials for Jell-O and Mr. Potato Head. In the clip, the creative solution "just happens." In How to Lose a Guy in 10 Days (2003), Matthew McConaughey's character is engaged in a conversation with Kate Hudson's, who uses the word "frosting" to describe diamonds. He recognizes the originality and power of the description and develops the tag line, "Frost yourself," for a diamond company.
None of these representations portray the lengthy process that goes into making an advertisement nor the strategy that lies behind it. Rather, the most photogenic aspects of the creative process are selected and edited into the story about advertising that gets told through movies.
Another aspect of advertising's appearance in film is the glamorous lifestyle that surrounds the field. The collage of images in Figures 31-34 below shows advertising professionals dressing stylishly, working in beautiful offices, attending elegant parties, and living in extraordinary apartments and houses. For example, Ben Affleck in Bounce (2000) has a home whose large glass windows give a spectacular view of Venice Beach and the waves of the Pacific beyond it. Keanu Reeves in Sweet November (2001) lives in a high-ceiling refurbished loft in San Francisco. This early morning scene shows the elegant furnishings that include 12 flat-screen TVs. Mel Gibson in What Women Want (2000) lives in a Chicago high-rise apartment with a large balcony, elegant furnishings, and a killer view of the cityscape.
Offices are at least as impressive as homes in Hollywood's version of the lifestyles of advertising professionals. Offices are lively, colorful, interesting places to work. For example, Mel Gibson's office in What Women Want is filled with award trophies, leather chairs, and advertisements. Its dark woods and colors signify masculinity. By contrast, Helen Hunt's office in the same film is brighter and has lots of flowers and a more feminine feel. Her large office has not only a very big desk but plenty of other furniture and memorabilia of her career. The interior shots of the agency in the film show a large open space with many workstations where mid-level employees work. The architecture of the old building, complete with mezzanine and old ironwork, exudes style and good taste.
Advertising people attend lots of parties in the movies. Meg Ryan is shown below in a still from Kate & Leopold (2001). The setting is a business dinner where everyone is well dressed, all the tables have beautiful flowers, and the room itself is lovely. In a second clip from How to Lose a Guy in 10 Days, the party is a gala evening black-tie affair; the occasion is the celebration of an ad campaign for diamonds, plenty of which sparkle in the room. In Picture Perfect (1997), guests attend a lavish dinner where canapés pass on trays and two models dressed as the product celebrate Gulden's Mustard.
