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

By Sean Nixon

`Nixon's examine is an immense contribution to the cultural sociology of the hot provider zone pros and their gendered identities.It's value lies in it really is skilful synthesis of distinct ethnographic study and social concept. this can be a certainly cutting edge publication which reopens cultural debate approximately advertisements 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 figuring out the tradition industries: creativity and gender. It marks an important new contribution to the cultural research of monetary lifestyles' - Don Slater, London college of Economics the industrial and cultural position of the `creative industries' has won a brand new prominence and centrality in recent times. This new salience is explored right here in the course of the so much emblematic artistic undefined: ads. 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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Additional info for Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series)

Example text

Re¯ecting on the quality of senior management within the agency sector, it ponti®cated, `the differences between agencies lies in the advertising they create. . The creative function is therefore the most important one performed by agencies and the one where the most rigorous standards need to be maintained' (Campaign, 16/7/93: 21). Elsewhere the paper reinforced this perception of creative people's central role. In its regular pro®les of the industry's shakers and movers, for example, it was creatives, along with Chairmen, Chief Executives and Managing Directors, who dominated the pieces.

A more differentiated account of these occupations is required; one that can grasp the differences between them as much as `family resemblances'. Additionally, the idea of new cultural intermediaries as Featherstone uses it is inattentive to the organisational cultures of the enterprises that make up this diverse sector of intermediary work. It is a central claim of this book that exploring these workplace, and broader, industry cultures is integral to an adequate understanding of these occupations.

Looming large in this was the move among a group of agencies to realign the commercial and creative dimensions of advertising practice. Associated with a so-called `creative revolution' in British advertising, agencies like Saatchi and Saatchi, Yellowhammer and Bartle Bogle Hegarty (BBH) had sought to shift the terms of what counted as effective advertising and to develop a more aestheticised style of promotion. They argued that the commercial fortunes of their clients could be enhanced by a long term process of brand building and a defence of `brand values'.

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