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

By Sean Nixon

`Nixon's examine is a big contribution to the cultural sociology of the hot carrier area pros and their gendered identities.It's significance lies in it truly is skilful synthesis of specified ethnographic examine and social concept. it is a really cutting edge ebook 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 enticing account of ads creatives that unlocks the most important matters for realizing the tradition industries: creativity and gender. It marks an important new contribution to the cultural research of financial existence' - Don Slater, London institution of Economics the commercial and cultural position of the `creative industries' has received a brand new prominence and centrality in recent times. This new salience is explored the following throughout the so much emblematic inventive undefined: ads. ads 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 resources for Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series)

Sample 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.

In a dizzying formulation they claim that `advertising in effect evolves from a free-professional type business service to, in Fordism, an industry and, in post-Fordism, to a fully-¯edged `culture industry' (Lash and Urry, 1994: 138). The British industry, they contend, became from the late 1970s `simultaneously Fordist and neo-Fordist' (ibid: 139). Such formulations do great damage to the organisational structures and institutional forms that have historically characterised the advertising industry in Britain.

Neither the model of Fordist mass production nor that of post-Fordism are directly applicable to the media and cultural industries. The ®lm industry is the sector that has been most frequently ®tted into these boxes ± Lash and Urry, in fact, draw heavily upon Christopherson and Storper's well known account of Hollywood (Christopherson and Storper, 1989). Even Hollywood ®lm production in the era of the studio system is not best understood through the model of industrial organisation derived from the manufacture of consumer goods.

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