Advertising Cultures: Gender, Commerce, Creativity (Culture, by Sean Nixon

By Sean Nixon

`Nixon's learn is an incredible contribution to the cultural sociology of the hot provider zone pros and their gendered identities.It's significance lies in it is skilful synthesis of specific ethnographic learn and social thought. this can be a certainly leading edge booklet which reopens cultural debate approximately ads and society' - Frank Mort, Professor of Cultural historical past, collage of East London `Advertising Cultures is a lucid, thorough and hugely attractive account of ads creatives that unlocks the most important matters for knowing the tradition industries: creativity and gender. It marks an incredible new contribution to the cultural examine of financial lifestyles' - Don Slater, London university of Economics the industrial and cultural position of the `creative industries' has received a brand new prominence and centrality lately. This new salience is explored right here in the course of the so much emblematic inventive undefined: ads. ads 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 inventive cultures of advertisements and into the subjective identities of its key practitioners.

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Additional info for Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series)

Example text

More than that, in naming his factory, together with leading lines of his pottery, Etruria, Wedgewood was as cognisant of the symbolic dimension of commodities as any of those players involved in the regime of re¯exive accumulation identi®ed by Lash and Urry. Such observations are important in undercutting the claims of authors like Lash and Urry that somehow the `culturalising' of goods and services is a new or recent phenomenon. As McKendrick et al show, Wedgewood knew a thing or two about the cultural associations that could be attached through design and promotion to commodities.

The concern to place cultural forms in a wider map of cultural power and to explore the way speci®c cultural forms, practices and representations contribute to or disrupt various forms of social hegemony remains the typically unstated, but none the less constitutive ethos, of studies of consumption. This has not been an entirely unproblematic inheritance. As has been well documented, a search for the progressive currents in popular culture and the deployment of a largely rhetorical cultural politics in which cultural forms and practices were read for the contribution they might make to an imagined project of counter-hegemony led to a highly skewed account of the cultural ®eld (Bennett, 1992; 1998; Nixon, 1996, 2000).

In the end advertising is all about the leap from brief [the marketing proposition] to creative execution' (Creative Review, December 1983: 19±20). For Hegarty, then, creatives were the practitioners able to bring to bear the necessary imagination that could turn the terse terms of the marketing strategy into an advert that connected with audiences and lifted the product through its style, look and feel. The commercial success of agencies like BBH and Saatchi and Saatchi during the 1980s contributed to the wider take-up of these representational techniques in advertising and to a new privileging of creatives in the advertising development process.

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