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1 The advertising industry in the age of affluence W hen London Life, the fashionable magazine edited by Mark Boxer, the founding editor of the Sunday Times colour section, threw a party to mark the opening of the GPO tower in central London in May 1966, it invited a number of advertising people among a guest list that included the fashion photographer Terence Donovan, the designer Ossie Clarke, the pop artists Peter Blake and David Hockney, the model/actress Una Stubbs and the musician Georgie Fame.1 The inclusion of advertising people in this gathering of the
2 The 1968 social uprising and subversive advertising design in Japan: the work of Ishioka Eiko and Suzuki Hachirō The economic miracle of the 1960s gave a boost to the commercial advertising and graphic design industry, leading to what can be considered the first golden age of graphic design and advertising in postwar Japan.1 At the beginning of the decade, advertisements were heavily influenced by the International Style of the 1950s. However, the atmosphere changed after the 1965 exhibition of Belle Époque posters curated by the collector Katsumie Masaru
-historical context’ and ‘criticises forms of culture that foster subordination’. 1 The choice of advertising has not been accidental. Advertising is a form of cultural production that permeates every aspect of our lives. Advertising bombards us from every direction, on the streets, in our homes and in the magazines we buy and read. Although the level of bombardment has increased throughout the twentieth century
B4B Advertising the town Distant prospects, panoramas, and guidebook illustrations continued to be produced throughout the nineteenth century. However, by the 1840s, perhaps the most ubiquitous and accessible form of urban imagery was that produced to advertise and promote the interests of individual manufactories, warehouses, and merchants. Bills of trade, trade cards, newspaper advertisements, and even free gifts were produced and circulated in ever greater numbers. Accordingly, a full appreciation of how the ‘new’ values of large-scale manufacturing and
In the period prior to 1914, images of black people and Empire in commodity advertising represent the conflicting ideological interests of companies. They highlight the different attitudes and approaches of companies to colonial policy and imperialised labour relations. During this period, it appears to have been private enterprise, rather than the government, that was powerful
for its emphasis on labour – a rare feature in advertising, where labour is usually denied. This emphasis on labour was only possible because of the contemporary belief in racial hierarchy. Just like soap and cocoa, tea was branded and packaged for the first time during the 1880s. Unlike the other two products, however, it retains aspects of its colonial identity even today. The advertising of tea
This chapter will explore the effect of the specific material interests of soap manufacturers, their consumers, and the general political climate of the period on the representation of black people. While soap was by no means the only product which represented Empire and black people in late nineteenth-century advertising, soap companies made the most extensive use of
For cocoa manufacturers the period of pacification and consolidation was marked by support for what became known as indirect rule in West Africa. This support is apparent both from the kind of images of Africans depicted in cocoa advertising during the first decade of the twentieth century and from the frequency with which such images were used. As we have seen, soap firms repeatedly used
directed from the outside. 12 The representation of neo-colonialism through the espousing of modernisation theory is apparent in all the images produced by corporate firms during the 1950s and early 1960s. Dominant representations Four particular types of imagery dominate corporate advertising during this period. The first could
This paper considers the impact of extra-filmic elements on the cultural decision-making behaviours of a small rural Australian cinema audience, focusing on the rural New South Wales village of Cobargo in the late 1920s. In considering how why such fragile rural picture show operations either failed or became successful, it is critical to take account of rural geographies, particularly in terms of early road development, and the nature and state of road bridges in flood-prone areas. The paper argues that these elements are part of a broad ecosystemic framework for cultural decision-making which can assist in our interpretation of early newspaper advertising and promotion for picture show programs.