By Sean Nixon
`Nixon's learn is a huge contribution to the cultural sociology of the recent provider region execs and their gendered identities.It's significance lies in it really is skilful synthesis of targeted ethnographic examine and social conception. this can be a really leading edge e-book which reopens cultural debate approximately advertisements and society' - Frank Mort, Professor of Cultural background, college of East London `Advertising Cultures is a lucid, thorough and hugely enticing account of ads creatives that unlocks an important concerns for realizing the tradition industries: creativity and gender. It marks a huge new contribution to the cultural learn of financial lifestyles' - Don Slater, London tuition 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 right here during the so much emblematic artistic undefined: advertisements. advertisements Cultures additionally marks an important contribution to the learn of gender and of business 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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`Nixon's learn is an incredible contribution to the cultural sociology of the hot carrier quarter execs and their gendered identities. it really is significance lies in it truly is skilful synthesis of unique ethnographic examine and social idea. it is a certainly cutting edge publication which reopens cultural debate approximately ads and society' - Frank Mort, Professor of Cultural background, 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.
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Extra resources for Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series)
In fact, not to put too ®ne a point on it, Featherstone effectively cites no evidence about an occupational group he sees as central to cultural change. The reader is forced to take a lot on trust. This problem is then compounded by the `presentism' of the idea of new cultural intermediaries that he deploys (a problem already evident in Bourdieu's formulation). This problem stems from the unhelpful quali®er `new' that Bourdieu attaches to `cultural intermediaries'. This immediately throws up the question of periodisation in relation to the emergence of these intermediary occupations.
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. This business partner model of the agency was important because it cast agencies as consultants able to operate across the full range of their clients commercial needs and to intervene, if necessary, in areas outside of advertising.
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.
Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series) by Sean Nixon