Advertising Promotion LBS+Summer (1)

8/9/2019 Advertising Promotion LBS+Summer (1)

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ADVERTISING & PROMOTION

COURSE HANDBOOK

2010

Lecturer: Shusma Khan


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Contents

Contents........................................................................................................................................................2

Introduction..................................................................................................................................................1

Student contribution to the course.............................................................................................................1

Learning outcomes.......................................................................................................................................2

The course at a glance................................................................................................................................. 4

WEEK BY WEEK.......................................................................................................................................5

Week 1 Advertising & everyday life plus organisational matters.......................................................... 5

Week 2 Advertising and social change?................................................................................................... 5

Week 3 Modernity to postmodernity.........................................................................................................6

Week 4 Hard and soft sell; or the rational, the creative and the postmodern...................................... 6

Week 5 From posters to internet; from mass to me markets...............................................................8

Week 6 Emotion, nostalgia and utopia: what politics?...........................................................................9

Week 7 Workshops to discuss................................................................................................................. 10

Study Groups............................................................................................................................................. 12

FURTHER READING..............................................................................................................................16

RESOURCES.............................................................................................................................................19

Plagiarism and collusion........................................................................................................................... 22

Note: ........................................................................................................................................................... 22


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Introduction

Advertising and Promotion (COURSE CODE) aims to engage students withthe historical development of the advertising industry; current andcontemporary operations and perception of its own practices, as well asdeveloping a critical understanding of its place within consumer andmedia culture, and society on the whole.

Beginning of the 21st century saw a wider transformation of marketing andadvertising through so-called interactive media. The course shall providean examination of both old and new media. The key framing device forthis course is the attempt to examine and explore the shift frommodernity to post-modernity.

Students shall also aim to examine the notion of advertisings power. Themeans of regulating and challenging those powers are issues ever presentin debates, whether advertising is regarded as shaping our mediaenvironments or encouraging individual consumer purchases and shapingidentities.

Nevertheless, advertising cannot be classified as purely a marketing toolused to manage the capitalist process and to excite promotion and sales.Cultural communication, entertainment and are all products ofadvertising. Advertisements aim to build a bridge between brand andconsumer-audiences matching the values of consumers to the brand.

Students shall examine in detail the different methods of advertisingsdiscourses in consideration of advertisings changing discursive strategies.We shall further examine how ads engage us as audiences. How they offerpleasure, emotional responses, stimulation of thoughts, recall memoriesand provoke dialogue.

Student contribution to the course

Students taking this course are expected to:

Arrive promptly at seminars, lectures, tutorials and workshops and

not leave early except through prior and (exceptional) agreementwith your tutor.

Let your tutor know in advance if you are unable to attendseminars, because of illness or other exceptional circumstances,and if that is not possible email them as soon as possible after theseminar to explain your situation. This is not only polite but willallow tutors to assess whether you need support of some kind.

Engage with the required preparation for your seminar and yourstudy group. If for some reason you cannot do everything that hasbeen asked of you, ensure you bring something to the sessions, i.e.you should not rely on the hard work of your fellow students!

Advertising & PromotionCourse Handbook

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Try to take part in seminar discussions.

Take notes in seminars and lectures, even if these are only brief.They will help you consolidate your learning and act as a reminder

when you are working on your assessments.

Do try to read well beyond the key readings so that by the time youcome to write your essay you have already compiled a substantialbibliography. At this stage in your degree course we would expectyou to branch out to pursue your own particular interests, readingmore widely and with more depth of understanding. But again, dotake some notes, however short, on everything you read, andensure you note the full reference. The latter will save much timelater.

Be conscientious about your study group and make good use of it to

help you think through your ideas, share resources and get to gripswith readings.

When you wish to discuss something with your tutor, do arrange ameeting during office hours. On the whole wed rather not beambushed at the end of a seminar when we are likely to be rushingoff to another class and unlikely to be able to deal adequately withyour queries.

Finally, remember that what you get out of the course depends onwhat investment you make in the course, both inside and outsidethe class room.

Learning outcomes

The course has been drawn on a theoretical and industry-informed criticalawareness approach, therefore students are expected to have gained newinsights into areas that as consumers you already may very well befamiliar with.

In particular a successful student will be able to:

Demonstrate a historical understanding of advertising's economicand cultural development, its relation to changes both in media and

in 'consumer society' and gained knowledge about recentproliferation of advertising and promotional techniques within newmedia.

Engage with discussion of advertising's development in the contextof ideas about the shift from modernism to postmodernism.

Demonstrate a familiarity with key academic debates about theplace and status of advertising, and have read some of the mainacademic texts dealing with advertising.


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Demonstrate insight into the ad industrys practices, its internaldebates and often anxious sense of itself and the value of itsoutput.

Deploy a range of methodological approaches in the research andstudy of advertising, including textual or discursive analysis ofad/campaigns and interviewing of audiences/consumers.

At a more practical level you will have developed some other skills:

You know where to turn to begin to research a particular aspect ofadvertising.

You have built up your experience of working collaboratively andindependently.

You have gained more confidence in expressing your ideas, askingquestions, and responding to others, even in a quite large group.

You have become more adept at doing 'formal' presentations,relying only on notes to speak from, and making appropriate use ofaudio/visual material. But you have also developed your skills inresponding to others presentations and evaluating them.

You have improved your writing skills. You are more confident withthe genre of the academic essay, especially the long researchessay, and have had practice at other forms of writing.


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The course at a glance

INTRODUCTIONWEEK 1: Lecture: Introduction to advertising & promotionSeminars: Advertising and everyday life, plus organisational

matters

BLOCK ONE: CHANGE

WEEK 2: NO LectureSeminars: Advertising and Social Change

WEEK 3: Lecture: Historical developments in advertisingSeminars: Modernity to postmodernity

WEEK 4: NO LectureSeminars: Hard and soft sell; or the rational, the creative

and the postmodern

WEEK 5: Lecture: The relation between media and advertising Seminars: From posters to multimedia; from mass to me

markets

BLOCK TWO: ANXIETY AND RISKWEEK 6:Lecture: Consumption and advertising

Seminars: Advertising as therapeutic

WEEK 7: NOLectureLecture: Behind the brand

Seminars: Emotion, nostalgia and utopia: what politics?The knowledge industry?

WEEK 8: Final Examination


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WEEK BY WEEK

Week 1 Advertising & everyday life plus organisationalmatters

In this week students will have the opportunity to exchange views on theirperception of marketing, while discussing several advertisements. Thepersonal relationship of advertising to our lives shall be discussed, withemphasis on the effect of advertising on our daily lives, as well as thetemporal reach and limited of advertisement. Furthermore, light shall beshed on how advertisements enter our consciousness, their indirectimpact, individual and collective, on our emotions, thoughts and actionsand the boundaries of advertising.

The week shall further take on information based announcements throughthe advertising medium and at what stage advertising becomespromotion? The paradox of the reach of advertising and the recall factor ofparticular advertisements shall be examined.

Week 2 Advertising and social change?

Advertising plays a role in persuading us to buy and consume goods andservices, therefore advertising can be said to exercise some sort of powerover us as audiences. It may be argued that advertising does not in fact

function in that way, but denial of certain powers over buying behaviourcannot be denied. Advertising is also said to have effect over socialchange, in general it is usually representative of the trends within alreadyevident society, in other commentary it is believed to be stereotypingwhether by gender, sexuality, ethnicity, nationality and so on. Othercommentators of advertising see it as pushing change on hapless victims.And still others see advertising as one of a range of cultural apparatuseswhich discursively produce change and opening up possibilities of newidentifiable audiences.

This week shall require students to research advertisements from othercountries with emphasis over historical moments. This shall then bestudied in the classroom in order to examine and explore the relationshipbetween ads and social change, and discussing it briefly in groups.

Key Reading

Everyone should read:

Schudson, Michael (1993), The Uneasy Persuasion, London,Routledge, Ch6 The emergence of new consumer patterns: A case study of cigarettes,pp.178-208


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Week 3 Modernity to postmodernity

This week will engage students with terms and frameworks of thinking

that have been employed since the beginning of the 20

th

century. Theterms modernity to postmodernity here refer to the wider social andpolitical as well as economic shifts, and how audiences experience themodern world, and the cultural change. Students will try to understandhow the development of the advertising industry can be related to theseframeworks and more particularly we will be focusing on how the culturallevel shifts can be identified in advertising i.e. the identification of whathas been referred to as postmodern advertising.

Key Reading

Featherstone, Mike (1991) Consumer Culture and Postmodernism, London,

Sage, Ch 1 Modern and postmodern: definitions and interpretations, pp.1-12

Slater, Don (1997) Consumer Culture and Modernity, Cambridge, Polity,Ch 7 New Times especially sections Fordism and Post-fordism pp. 183-193 [full chapter pp.174-209]

Supplementary Reading

Blake, Andrew (1997) Listen to Britain: music, advertising andpostmodern culture in Mica Nava et al (eds) Buy this Book: Studies inadvertising and consumption, Londong, Routledge, pp.224-238

Featherstone, Mike (1991) Consumer Culture and Postmodernism, London,Sage, Ch 5 The aestheticization of everyday life, pp.165-82

Harvey, David (1989) The Condition of Postmodernity, Cambridge, Polity,Parts,1and 3 but especially Ch 3 Postmodernism, pp.39-65

Lash, Scott and Urry, John (1994) Economies of Signs and Spaces, London,Sage, Advertising: new paradigm for the culture industries, pp.138-142

Lee, Martyn (1994) Consumer Culture Reborn, London, Routledge, Ch 9The culture of deregulation, pp.138-159

Murray, Robin (1988) Life after Henry (Ford), Marxism Today, October,pp.8-13

Week 4 Hard and soft sell; or the rational, the creative andthe postmodern

This week looks at the shift from the historic style of advertising, whichfocused more on rational, plain-speaking advertising relying more onwords than images, to the more creative ad in which product isbackgrounded and visuality foregrounded.


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Hard sell refers to the price emphasis in ads, whereas soft sell evokesvalue and mood that can be associated with the brand. Closerexamination of history in this week shall reveal much complex progressing

of hard to soft sell. The reinvention of creativity in light of the followingreasons shall be determined: a new generation or grouping emerges who cannot satisfactorily be

addressed using the current means because competition within a particular sector demands new

techniques because a new generation of agencies need to make their mark.

Key Reading

Bradley, Sandra (1994) Hard sell v. soft sell: a comparison of Americanand British advertising in G. Englis (ed) Global and Multinational

Advertising, Hillsdale, New Jersesy, Lawrence Erlbaum, pp.141-157

Leiss, William, Kline, Stephen, Jhally, Sut, Botterill (2005) 3rd edn SocialCommunication in Advertising: Consumption in the mediated market

place, London, RoutledgeCh 16 The fifth frame extract pp.563-572 [fullchapter, pp.563-578]

Lee, Martyn (19940 Consumer Culture Reborn, London, Routledge, Ch 9The culture of deregulation extract, pp.148-159 [full chapter pp.138-159]


McFall, Liz (2005) Advertising: A cultural economy, London, Sage,especially Introduction, pp.1-8

Lury, Adam (1994) Advertising: beyond the stereotypes in Russell Keat,Nigel Whiteley and Nicholas Abercrombie (eds) The Authority of theConsumer, London, Routledge, pp.91-101

On hard and soft sell

Barthes, Roland (1988) The Semiotic Challenge, The advertising messageOxford, Basil Blackwell, pp.173-178

Brierley, Sean (1995) The Advertising Handbook, London, Routledge, Ch

10The principles of persuasion, pp.139-151

Bourdieu, Pierre (1984) Distinction: A social critique of the judgement oftaste, London, Routledge, Ch 7 The choice of the necessary especiallypp.372-382

Bullmore, Jeremy (1991) Behind the Scenes in Advertising The consumerhas a mind as well as a stomach, in, pp.107-122

On creativity

Fletcher, Winston (1992)A Glittering Haze, Henley, NTC Publications, Ch 7The creative hook, pp.79-84


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Frank, Thomas (1997) The Conquest of Cool: Business Culture,Counterculture, How do we break these conformists of their conformity?Creativity conquers all, pp.89-103

Mort, Frank (1996) Cultures of Consumption: Masculinities and socialspace in late twentieth century Britain, London, Routledge, Part 2 Ch 1Advertising: the dynamism of commercial society, especially pp.91-120

Nava, Mica (1992) Changing Cultures: Feminism, youth and consumerism,London, Sage, Ch 9 Discriminating or duped? Young people as consumersof advertising/art (with Orson Nava), pp.171-184

Nixon, Sean (2006) The pursuit of newness: Advertising, creativity andthe narcissism of minor differences in Cultural Studies, Vol.20, No.1,

January, pp.89-106

Thompson, John (1990) Ideology and Modern Culture, The valorization of

symbolic forms, pp.154-162

Williamson, Judith (1986) But I know what I like: the function of Art inadvertising in Consuming Passions, London, Marion Boyars, pp.67-74

On postmodern ads

Myers, Greg (1999)Ad Worlds, London, Routledge, Ch 12

Goldman, Robert (1992) Reading Ads Socially, London, Routledge, Ch 9The postmodernism that failed, pp.202-232

Goodwin, Andrew (1993) 'Fatal Distractions: MTV meets postmoderntheory' in Simon Frith, Andrew Goodwin, Lawrence Grossberg (eds) Sound

and Vision The Music Video Reader, London, Routledge, pp. 45-66Giroux, Henry (1994) Consuming and social change: the United Colors ofBenetton in Cultural Critique, Winter 1993-4, No.26, pp.5-32

Wernick, Andrew (1991) Promotional Culture: Advertising, ideology andsymbolic expression, London, Sage, Ch 5 Advertising media and thevortex of publicity, pp.92-123

Week 5 From posters to internet; from mass to me markets

One of the oldest mediums of advertising were the handbills (the Victorianequivalent of the flyer) and posters. This week looks at the development

of the medium of advertising from posters to newspapers and magazines,then radio followed by the television and today the internet. This weekshall also examine the account of advertisings development and changingaddress from mass markets to more segmented micro-markets (thereforeallowing for targeting individuals), what has once been referred to as memedia by a advertising commentator.

Once of the characteristics of postmodernity that shall be examined is therange of media that co-exist rather than a primary mass media. Thisdemands for the careful implementation of advertising campaigns. Postersare even today as important a medium of advertisement as they have


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ever been. Even though advertising is able to target the individual in thisday and age, but most of it still works with the idea of mass, segmentedor micro markets.

Key Reading

Hegarty, John (1998) Selling the product in Margaret Timmers (ed) ThePower of the Poster, London, V&A Publications, pp.220-231

Internet Advertising Bureaux (2006) Online audience and ResourcesRead further on: http://www.iabuk.net/

John Tylee (2006) That was the year that was: Adlands 2006, Campaign15 December, extract p.4 [full article pp.4-5]

Viral marketing (2005) MediaCuardian, Guardian, 19 Dec, p.9


Bernstein, David (1997) Advertising Outdoors: Watch this space,London,Phaidon Press, The strengths of outdoor, pp.112-175 [but if you fancyyou could read any of the other chapters as an alternative]

Curran, James (1981) The impact of advertising, Media Culture andSociety, Vol. 3, January, pp.43-69

Jacobson, Michael F. and Mazur, Laurie Ann (1995) Marketing Madness: Asurvival guide for a consumer society,' Boulder Colarado, Westview

Leiss, William et al (1990) Social Communication in Advertising, London,

Routledge, Ch 5 Advertising and the development of communications,pp.91-122

Miller, Vincent (2000) Search engines, portals and global capitalism inDavid Gauntlett (ed) Web.studies: Rewiring media studies for the digitalage, London, Arnold, pp. 113-121

Myers, Greg (1994) Words in Ads, London, Edward Arnold, Ch 8 Do wehave time for a coffee? Conversations and everyday life, pp.105-121

Myers, Greg (1999)Ad Worlds: Brands, media, audiences, London, Arnold,Ch 5 The media mix, pp.75-92 or Ch 8 Advertising, interaction and theworld wide web, pp.133-147

Week 6 Emotion, nostalgia and utopia: what politics?

Discussions this week are a continuation from Weeks 6 and 7. One,sometimes pessimistic, strand in debates about postmodernity makemuch of the end of affect, and ideas about flatness and lack of depth the idea that we live in a world of surfaces typified by a decontextualisedimage culture which is emotionally impoverished. Either a playfulness(an ironic mode) or a weary detached cynicism characterises our relationto representations. Our world marks the end of history (and politics). Such


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a culture, as the product of capitalism and commodification, breeds theconditions for nostalgia which is one of the mechanisms to ward offanxiety about change and upheaval. Advertising is seen to stir up desire

but also to manage it and us. But can we also see a different strand? Onthe one hand, utopian and carnivalesque strains which sometimes breakthrough those attempts at control, and on the other hand an anti-adpolitics.

Key Reading

Dyer, Richard (1992) Only Entertainment, London, Sage, Ch 3Entertainment and utopia, pp.17-34

Goldman, Robert and Papson, Stephen (1996) Sign Wars: The clutteredlandscape of advertising, New York, Guilford Press, Ch 4 The flip side of

jadedness: memory and a sense of place, extracts pp.115-118, pp.127-

130, pp.137-140 [full chapter pp.115-140]

Klein, Naomi (2000) No Logo, London, Flamingo, Ch Culture jamming: adsunder attack, extracts, pp. 281-288, pp.304-309 [full chapter pp.279-309]


Falk, Pasi (1994) The Consuming Body, London, Sage, Ch 5 Sellinggood(s): on the genealogy of modern advertising pp. 151-185. Especiallysection Modern advertising: dimensions of change pp. 156-157, andEpilogue pp.179-182

Lears, Jackson (1994) Fables of Abundance:A cultural history of

advertising in America, New York, Basic books, extract from Introduction,pp.9-end of first paragraph p.12, extract from Ch 7 The new basis ofcivilization, pp.212-218

McCracken, Grant (1990) Culture and Consumption, Bloomington andIndianapolis, Indiana University Press, Ch 7 The evocative power ofthings: consumer goods and the preservation of hopes and ideals,pp.104-117

Meijer, Irene Costera (1998) Advertising citizenship: an essay on theperformative power of consumer culture, Media, Culture and Society, Vol.20, No. 4, pp.235-49

Winship, Janice (2000) Women outdoors: advertising, controversy anddisputing feminism in the 1990s International Journal of Cultural Studies,Vol. 3, No. 1, pp.27-55

Week 7 Workshops to discuss

This week Theoretical lectures will cover areas in:

Marketing Communication Decisions and Ethics Advertising Management and Strategy


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Advertising Research Media Selection Consumer Promotion and Trade Promotion

Public Relations

Assessment 1 is a report on the Diary

Assessment 2 is your group Advertising Plan in Week 6

Assessment 1

Diary

The diary has to be submitted in by the Friday of the week 1. With yourdiary you should aim for around 1000 words but it may be longer if youactually find it easier to write more.

Criteria for assessment

The criteria for the Diary is:

Your ability to be self-reflective about your own ad consumptionand thus:

o the detail and quality of your observations

o your skill at communicating these to a reader using both

words and images. So please illustrate!

o your ability to think about advertising in terms of its

contribution to the routines of everyday life and itsmarking of space and time

o your ability to think critically and relationally about your

own consumption and responses to advertising.

Feedback


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This work shall only be graded as Pass or Fail, and therefore feedback willbe provided to those who fail to submit or provide a diary that is notfulfilling the criteria mentioned above.

Assessment 2

Group Advertising plan in Week 6

Working in small groups, you will make on a particular advertisement,from particular periods. There will be 4 presentations in one hour so eachpresentation cannot be longer than 10 minutes to allow time fordiscussion.

Further details of the requirements will be provided in the classroom inWeek 3.

A word of warning

Studying advertising can make you get carried away bymarketing/advertising hype. In researching data from various businesspublications from agencies themselves, you are especially likely to getsucked in. Ensure at all time to keep a critical and sceptical distance fromall of this material. Always use an academic literature and frameworks to

throw into question some of the ideas and arguments offered by theindustry.

Study Groups

Aims

Provides you with a supportive environment in which you candiscuss the weeks reading in advance of the seminar thus

developing your confidence to articulate your ideas in the seminar. Help you to actively think through your ideas and enable you to get

to know some other students quite well

Provide a forum where you can exchange and share reading matter,raise problems and issues arising from your individual study andwritten work, and the course more generally.

Your Study Group will also be engaged in a group presentation and ingathering together certain kinds of material to bring to the sessions.

Weekly Tasks


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Every week each study group would be tasked with studying particularareas, and present 10 minute presentations to the class at the beginning

of each lecture. This would therefore require reading, research andanalysis.

Schedule:

We want you to meet regularly, at least once a week, probably for an hourif youre discussing reading and preparing some shared notes to bring tothe seminar. You may need to meet for a bit longer at your first meetingand in your final meeting before doing your presentation in Week 4. Thistime could be split into two shorter periods.

Organisation:Initial tasks: (These can in fact be done in our first seminars)

Introductions!

Exchange names and decide on the best way of communicating(quickly) with each other.

Fix preliminary dates, times and venue. Regular times each weekare probably best and Friday may be the easiest day to opt for.

For each meeting arrange for one of you to lead or chair discussionand a second person to take notes. Try to alternate these roles.Organise this for your first meeting. The chair can then think inadvance about how to manage the session.

Some ground rules:

The pluses of group work should be that you can cover more ground thanwhen working on a project by yourself and this combined intellectualeffort can fruitfully push ideas on. When battling with material by yourselfyou may get 'stuck', and the experience is a lonely one, whereas doingwork with other people can be a more sociable (and hence less anxiousand lonely) experience. Doing a presentation as a group is usually less ofa number than when doing one by yourself: you have the support of thegroup; it is not just your responsibility.

Sometimes, however, the experience of working in a group is morenegative than positive. Problems can arise from not being able to arrangetimes when everyone can meet; by particular individuals not pulling theirweight; from one person dominating the group; from people not likingeach other. As a consequence there is anxiety and bad feeling all round,the shared organisation disintegrates and if the work is accomplished, thechances of it being of a high quality or satisfactory to any party are slim.


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Since you all probably have experiences - good, bad and indifferent - ofgroup work and have learnt quite a lot already about what makes a groupwork and what destroys it, it would seem a sensible idea that at your first

meeting you exchange these ideas.

Our own view is that to get the most out of working in a group, many of ushave to work in a different way than we do when working by ourselves.

In a group you have to work to a group schedule and not just to anindividual one, This means that the group, as a group, has to bewell organised, planning work in advance and strictly meeting thegroup's 'deadlines'.

Doing work at the last minute isn't usually an option in a group inthe way you can get away with that when you're only responsible to

yourself. It may, however, mean that some individuals have to slow down, be

patient and not leap ahead as they might if working by themselves.

In a group you have to communicate, exchange, and record ideas.

This usually means that you have to commit things to paper thatyou might not if you were working by yourself or you do so at anearlier stage than when working alone.

Ideas and what is to-be-done-next have to be collectively and oftenlengthily discussed in a way they don't for individual projects.

Group dynamics are, of course, complex but bear in mind that you do nothave to be great buddies with the people in your group for the group towork well. In fact groups may work better when people are slightly distantfrom each other because they are more likely to adopt 'professional'rather than 'personal' codes in the way they talk and work with eachother.

Bear in mind too that everyone does not have the same strengths (orweaknesses) and can contribute different things to a group. But the bestlearning experience is perhaps where individuals feel they have been ableto contribute what they're already best at, but also tried to improve thoseareas in which they are weaker.

In order to make the best of people's talents the group needs toknow what they are. This, in turn, means you being able to reflecton that yourself and learning to communicate it to the group.

This could also be an issue to talk about at your first meeting.

Being in a group meeting involves you in several activities: on theone hand, participating by offering your ideas, or presenting thework you've done; responding and reflecting on the responsesmade by others to what you've contributed. On the other, listening


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carefully to what they have done and asking them questions andresponding to their ideas.

There is perhaps another task of being aware when individuals are

notcontributing.

Responses to this vary, from ignoring them to being aggressive. It isbest, however, to try to be straight but calm in such situations andact immediately. Don't let things fester.

Try to collectively but gently encourage the person to explain whythey are not contributing. Is it factors outside the group? If so youmight as a group be able to organise a schedule for them thatmeans they can contribute more at a later stage.

Or do they have a problem with how the group (project) is shapingup? Try to get them to articulate what exactly the difficulty is. It

may be that they in fact have some good ideas but there hasn'tquite been space for them to air them and the group project seemsto have leapt ahead in a way they are not entirely happy with; a'resistance' sets in. If the group and the individual concerned canmaintain their cool not allow resentment to boil over (and it ishardnot to feel personally attacked whichever party you are in thissituation) then a discussion of their ideas and their relevance to theproject can be beneficial, though initially it may feel as if things aregoing backwards. Not easy to tolerate when time is short andyoure all under pressure.

If the group dynamic does seem to be breaking down and you feel

unable to control it, then seek outside assistance, i.e. discuss withPolly or I sooner rather than later!

But heres to some productive study groups which make yourexperience of the course a more fulfilling one.


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FURTHER READING

The following are some of the key academic books in the field:

Arvidsson, Adam (2006)Advertising Cultures, London, Routledge

Sheehan, Kim Bartel (2003) Controversies in Contemporary Advertising,London, Sage

Berger, Arthur Asa (2000) Ads, Fads, and Consumer Culture, LanhamBoulder, Rowman and Littlefield

Brierley, Sean (2002) 2nd edn The Advertising Handbook, London,Routledge

Brown, Stephen and Turley (eds) (1997)Consumer Research: PostcardsFrom the Edge, London, Routledge [a collection of articles from thediscipline of marketing]

Burke, Timothy (1996) Lifebuoy Men, Lux Women Commodification,Consumption and Cleanlines in Modern Zimbabwe, Leicester, LeicesterUniversity Press,

Clark, Eric (1989), The WantMakers, London, Coronet

Cook, Guy (1992) The Discourse of Advertising, London, Routledge

Cortese, Anthony (1999) Provocateur: Images of women and minorities inadvertising, Rowman and Littlefield

Cronin, Anne (2000) Advertising and Consumer Citizenship, London,Routledge

Cronin, Anne (2003) Advertising Myths: The strange half-lives of imagesand commodities, London, Routledge

Cross, M. (ed) (1996) Advertising and Culture: Theoretical perspectives,Westport, CT, Praeger

Davidson, Martin (1992) The Consumerist Manifesto, London, Routledge

Dyer, Gillian (1982)Advertising as Communication, London, Routledge

Ekstrom, Karin M. and Brembeck, Helene (eds) (2004) ElusiveConsumption, Berg Publishers

Englis, G. (1994) Global and Multinational Advertising, Hillsdale, NewJersey, Lawrence Erlabaum

Ewen, Stuart (1988)All Consuming Images, New York, Basic Books

Ewen, Stuart (1976) Captains of Consciousness: Advertising and the socialroots of the Consumer Culture, New York, McGraw Hill

Featherstone, Mike (1990) Consumer Culture and Postmodernism, London,Sage,


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Forcefille, Charles (1998) Pictorial Metaphor in Advertising, London,Routledge

Fowles, Jib (1996) Advertising and Popular Culture, Thousand Oaks and

London, Sage

Goldman, Robert (1992) Reading Ads Socially, London, Routledge

Goldman, Robert and Papson (1996) Sign Wars: The Cluttered Landscape,Guildord Press

Hackley, Chris (2005) Advertisng and Promotion: Communicating brands,London, Sage

Hall, Stuart (ed) (1997) Representation, London, Sage Jhally, Sut (1990)The Codes of Advertising, London, Routledge

Johnson, Michael, Myerson, Jeremy, and Vickers, Graham (eds) (2002)

Rewind: Forty years of design and advertising, London, Phaidon Press

Kaid, Lynda Lee and Holtz-Bacha Christine (2006) The Sage Handbook ofPolitical Advertising, London, Sage

Lears, Jackson (1994) Fables of Abundance: A cultural history ofadvertising in America, New York, Basic Books

Lee, Martyn (1994) Consumer Culture Reborn, London, Routledge

Leiss, William et al (1990 2nd ed and 2005 3rd ed), Social Communication inAdvertising, London, Routledge [The two editions offer different things]

Malefyt, Timothy de Waal and Moeran, Brian (2003) Advertising Cultures

Oxford, BergMarchand, Roland (1985), Advertising the American Dream, Berkeley,University of California Press

Mattelart, Armand (1991),Advertising International, London,Routledge

Messaris, Paul (1997) Visual Persuasion: The Role of Images inAdvertising, London, Sage

McFall, Liz (2004)Advertising: A Cultural EconomyLondon, Sage

Moeran, Brian (1996 )A Japanese Advertising Agency: An anthropology ofmedia and markets, London, Curzon

Myers, Greg (1994) Words in Ads, London, Arnold

Myers, Greg (1999)Ad Worlds: Brands, Media, Audiences, London, Arnold

Myers, Kathy (1986), Understains, London, Comedia

Nava, Mica, Blake, Andrew, MacRury, Iain, Richards, Barry (1996) Buy thisBook: Studies in Advertising and Consumption, London, Routledge

Nixon, Sean (1997) 'Circulating culture' in Paul du Gay (ed) Production ofCulture/Cultures of Production, London, Sage, pp 177-234

Nixon, Sean (2003)Advertising Cultures London, Sage


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OBarr, William (1994) Culture and the Ad: Exploring Otherness in theWorld of Advertising, Boulder, Colorado, Westview Press

Odih, Pamela (2007 April) Advertising Consumer Subjectivity in Modern

and Postmodern Times, London, Sage

Pavitt, Jane (ed) Brand.New, London, V&A Publications

Ramamurthy, Anandi (2003) Imperial Persuaders: Images of Africa andAsia in British advertising, Manchester, Manchester University Press

Richards, Barry et al (2000) The Dynamics of Advertising, Amsterdam,Harwood Academic

Schudson, Michael (1993)Advertising, The Uneasy Persuasion: Its DubiousImpact on American Society, London, Routledge

Rutherford, Paul (1994) The New Icons? The Art of Television Advertising,

Toronto, University of Toronto

Saunders, Dave (1996) Best Ads: Shock in Advertising, London, Batsford

Sheffield, Tricia Suzanne (2007 February) Religious Dimensions ofAdvertising in the Culture of Consumer Capitalism, Palgrave Macmillan

Sinclair, John (1989) Images Incorporated, London,Routledge

Tanaka, Keiko (1999) Advertising Language: A pragmatic approach toadvertisements in Britain and Japan, London, Routledge

Thomas, Frank (1996) The Conquest of Cool: Business culture,counterculture, and the rise of hip consumerism, Chicago, University of

Chicago Timmers, Margaret (ed) The Power of the Poster, London, V&APublications

Twitchell, James B. (1996) Adcult USA: The Triumph of Advertising inAmerican Culture, New York, Columbia University Press

Vestergaard, Torben and Schroder, Kim (1985) The Language ofAdvertising, Oxford, Basil Blackwell

Wernick, Andrew (1991) Promotional Culture: Advertising, Ideology andSymbolic Expression, London, Sage

Williamson, Judith (1978) Decoding Advertisements, London, MarionBoyars

Academic Journals it is useful to check through include:

Media, Culture and SocietyCultural StudiesPublic CultureEuropean Journal of Communications StudiesNew FormationsCritical Quarterly


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ScreenInternational Journal of Cultural Studies

Journal of Consumer Studies [articles tend to be rather psychologically

oriented]Feminist Media StudiesJournal of Consumer CultureInternational Journal of Cultural Studies

Journal of Children and Media

RESOURCES

VideosThe Art of Persuasion (multi part series)Carats Classification of consumers from erstwhile Late Show

South Bank Show The Art of the Ad(Germaine Greer)High Interest and News Nighton Benetton

The Advertising and Society Review is an academic journal devoted toan exploration of the cultural and social meanings of advertising. The firstissue is particularly useful having extracts from some of the classicwritings on advertising.Available via the electronic library. Go to the Electronic Database Sectionand then look under the Project Muse database.

More generally the internet is an invaluable research tool for gaining

information about agencies and advertisers or for finding out aboutorganisations like the regulatory bodies (Advertising Standards Authority,OFCOM) for example. See below.

On the internet there are also various ad archives. Many of them aredesigned for people working in the business and are therefore not free.

Try the following to access ads on the net without paying:

http://adflip.comHistorical ads

http://www.advertisingarchives.co.uk

Registration required, cant download (I dont think) but lots ofcontemporary TV ads to view)

http://www.adforum.comRegistration required. UK plus world wide ads.

http://www.visit4info.comRegistration required and payment to access all ads. But some free.

http://media.guardian.co.uk/creative/ads


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http://adflip.com/http://www.advertisingarchives.co.uk/http://www.adforum.com/http://www.visit4info.com/http://media.guardian.co.uk/creative/adshttp://adflip.com/http://www.advertisingarchives.co.uk/http://www.adforum.com/http://www.visit4info.com/http://media.guardian.co.uk/creative/ads


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Registation required.The Guardian newspapers selection of the best newads across all media

Other good ad resources are Internet file sharing programmes such asKazaa or Limewire. The file share programmes can be downloaded, free ofcharge, from:

http://.zeropaid.com

Then select a programme either for Macintosh or PC. My advisor suggestsLimewire on Apple Mac and Kazaa lite on a PC.

Good luck! Let us know if you find other good sites.

See also the sites of regulatoryand industry bodies:

Advertising Standards Authorityhttp://www.asa,org.uk

As well as providing details of regulation, also contains someinteresting papers on advertising and adjudications on complaints againstads

OFCOM (Office of Communications ie media regulator)http://ofcom.org.uk Ajudicates on complaints about advertising on

TV. Useful if interested in advertising of food and drink to children, forexample.

Advertising Association Trade associationhttp://www.adassoc.org.uk

Useful statistics on advertising & useful links to other organizations

http://www.ipa.co.uk Industry body and professional institute.Access to abstracts of their reports (like on the future of advertising), plusBest practice guides Registration required.

Radio Advertising Bureauxhttp://www.rab.co.uk

Some radio ads plus other info about radio advertising. Useful

discussions about radio as an advertising medium compared to othermedia latter in Research section

http://www.aerials foundation.co.uk Radio ads

Outside Advertising Association of Great Britainhttp://www.oaa.org.uk Reports, information and statistics. Each timeyou enter site you see different billboards, in situ, but no archive access

http://www.j.c.deceaux.co.ukOutdoor industry company: billboards shown in situ


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http://ofcom.org.uk/http://www.adassoc.org.uk/http://www.ipa.co.uk/http://www.oaa.org.uk/http://www.j.c.deceaux.co.uk/http://ofcom.org.uk/http://www.adassoc.org.uk/http://www.ipa.co.uk/http://www.oaa.org.uk/http://www.j.c.deceaux.co.uk/


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Interactive Advertising Bureauxhttp://www.iabuk.net


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http://www.iabuk.net/http://www.iabuk.net/


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Plagiarism and collusion

As you are probably aware plagiarism and collusion are regarded

as serious academic offences for which there are high penalties.Do make sure you understand these offences and avoidcommitting them.

Plagiarism is the use of other peoples work or ideas in a writtenassessment without acknowledgement of their source such thatthe ideas are represented as your own. Paraphrasing, copyingsentences and phrases without indicating verbatim quotations(i.e. using quote marks or indenting as a distinct paragraph) andwithout providing adequate referencing is plagiarism. Note thatthe mere mention of the source in your bibliography is not

regarded as sufficient acknowledgement. Rather for each source,including books, articles, material from the net, DVDs, magazinesetc, you are required to reference either in the body of thewritten work or in footnotes, following the guidelines you havebeen provided with in your discipline-specific Study Guide orHandbook.

Collusion is the joint production with someone else of work thatis supposed to be yours (or theirs) alone (i.e. is meant to be anindividual assessment).

Problems or difficulties:If you have problems, difficulties or complaints with any of yourcourses or programme, do discuss these as early as possible withyour Academic Advisor, the appropriate Course Convenor, or aStudent Advisor. If you are need to take matters further, thenspeak to your Head of Department or Director.

Note:

Information regarding contributory assessment and formalcourse requirements is published by the UndergraduateExaminations Office and available on the web. On regulations,

details of submissions and late submissions only this informationis authoritative.

If you are in doubt, always check with the Exams Office, NOTtutors unfortunately as tutors we sometimes make mistakes!


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Advertising Promotion LBS+Summer (1)

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