By Sean Nixon
`Nixon's research is a big contribution to the cultural sociology of the hot provider region pros and their gendered identities.It's value lies in it is skilful synthesis of distinct ethnographic examine and social concept. this can be a certainly cutting 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 the most important matters for figuring out the tradition industries: creativity and gender. It marks an enormous new contribution to the cultural examine of monetary lifestyles' - Don Slater, London college of Economics the commercial and cultural function of the `creative industries' has received a brand new prominence and centrality in recent times. This new salience is explored right here throughout the such a lot emblematic inventive undefined: advertisements. advertisements Cultures additionally marks an important contribution to the examine of gender and of industrial cultures via its detailing of how gender is written into the artistic cultures of advertisements and into the subjective identities of its key practitioners.
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Extra info for Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series)
This body of cultural studies work has bequeathed a distinctive legacy and continues to shape the way consumption and the consumer economy 31 advertising, cultural intermediaries and cultural analysis 32 are addressed within many studies of popular culture and popular consumption. Perhaps the most enduring impact has been the privileging of studies of acts of consumption and the use of commercial culture by particular groups of consumers. In fact, this attention to acts of consumption forms one half of the twin foci that have dominated cultural studies work in this area, the other being a more textually-driven reading of consumption, in which particular commercially produced cultural forms ± often visual representations ± have been taken as the central object of study.
The recession not only put a signi®cant squeeze on the marketing budgets of client companies, but also provoked some serious questioning among them of the commercial value of advertising? Big spending advertisers such as the processed food manufacturer Heinz and the confectionery giant NestleÂ, for example, both took the decision in 1994 to promote individual brands through direct marketing ± that is, media such as direct or `junk' mail ± rather than through television advertising. Other client companies also began to look much more closely at the effectiveness of above-the-line (principally, press and television) advertising and, in addition, turned a more questioning eye on the overall service they received from advertising agencies (see inter alia, Campaign, 10/12/93: 28±9; 13/3/ 94: 30±1; 25; 14/1/97: 38±9; and 14/11/97: 38±9).
As they note, the core cultural producers in these sectors have often been ± and continue to be ± only weakly integrated into the larger organisations that tend to dominate these ®elds of cultural production. These core workers are often linked by agents and short-term associations, or else operate in partnerships or small businesses. As a consequence self-employment and small-scale enterprises represent important economic structures within this area of cultural activity (ibid: 37). Scase and Davis are also concerned to draw out the differences between the companies that constitute the creative sector.