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In an interactive, non-linear interface and its companion essay, I invite the user to explore how computational methods and digital tools can contribute to the study of advertising histories. The interface was built keeping three tenets in mind: a) that the collection, digitisation, annotation, and visualisation of data is an act of interpretation, and must therefore be open to critique and modification; b) that scholars can use their programming skills to make the former visible and query-able by its users; and c) that this work is an intellectual pursuit in its own right. In the companion essay, I reflect on the development of the interface, as well as its potential to contribute to the exploration and dissemination of scholarly knowledge. [ABSTRACT FROM AUTHOR]

Copyright of Scientific Journal of Library, Archives & Information (SJLAI) is the property of Cairo University, Faculty of Arts - Documents & information Technology Department and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In his history of Unilever, Charles Wilson stated that cinema advertising was not part of the company's marketing strategy until the late 1930s. However, despite the paucity of surviving archival sources, recent research has proved that Lever Brothers was engaged with the new medium of cinematography from its earliest days and that the practice continued up to and after the formation of Unilever in 1930. William Lever is renowned for his innovative approach to advertising and marketing, and as a pioneer of creating brand identity, but he was also one of the first British businessmen to recognise the value of film as a marketing tool. This article will argue that Lever Brothers was active in the use of cinematography from the mid-1890s and that it played a significant role in the company's marketing campaigns. [ABSTRACT FROM AUTHOR]

This article discusses the interwar collaboration in the Nordic advertising industry in relation to the literature on 'Americanisation' in advertising and business history. We argue that the focus on Americanisation has caused research to overlook other important arenas for sharing knowledge in the development of advertising and commercial practices in twentieth-century Europe. We show the importance of the systematic collaboration between advertising communities in the Nordic countries through which Anglo-Saxon ideas, as well as domestic experiences, were shared. The collaboration was a crucial platform for the advertising industry to achieve increased societal clout. We also find that the Nordic advertising industry, as a collective, clearly distanced themselves from continental Europe based on a perception that Anglo-Saxon and Nordic advertising shared the same foundations. The results raise questions concerning assumptions about Americanisation and the role of alternative sources of inspiration and transnational collaboration in advertising history. [ABSTRACT FROM AUTHOR]

Copyright of Sakarya Communication Journal / Sakarya İletişim is the property of Sakarya Iletisim and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The commercialization of the American film industry has affected the development of cinematic product placement. A similar but distinct situation has happened in China. The difference is that the Chinese film industry achieved considerable commercial progress in a short time from the late 1990s to the 2000s. This rampant commercialization was customarily accompanied by resistance coming from inside the Chinese film industry. This resistance valued artistic integrity in relation to the impact of business interests. Therefore, during this period, Chinese film professionals first resisted, then tried, and eventually accepted product placement. With attention to the historical development, this article aims to investigate the connection between the localization of product placement and the Chinese film industry's commercialization, and how the connection causes this cinematic advertising practice to develop its own cultural peculiarities in such context. It also reveals the causes of the formation of these peculiarities, from the perspective of the country's ideological shifts. [ABSTRACT FROM AUTHOR]

Brothers John Harvey Kellogg and William Keith Kellogg understood the importance of public health concerns, particularly those relating to constipation, and of home economics and dietetics research. The Kellogg's Corn Flake Company's investment into home economics became integral to the brand itself and helped establish Kellogg's as a leader in addressing the growing dietary health concerns of the early twentieth century and in the breakfast food industry. The Kellogg's Corn Flake Company used "reason why" advertising appeals for its bran cereals to teach consumers about the connections between eating bran and health. While the campaigns changed over time, the main focus of eating bran to prevent constipation remained consistent. The company's success today can clearly be traced back to its original efforts to address health concerns through advertisements that taught women how to use bran cereal as both a curative and preventative food for constipation and related symptoms. Perhaps more significantly, the Kellogg's Company's Home Economics Department influenced early dietary standards established by the government for both the American public and military. [ABSTRACT FROM AUTHOR]

The late seventeenth and eighteenth centuries saw the development in London of the public commercial concert which made early and increasing use of the newspaper as a method of advertising. This was both an innovation for promotion of commercial entertainments and a huge rise in pervasiveness over existing methods such as flyers and bills. A detailed analysis of the advertisement texts shows how they used various advertising techniques to convey a persuasive message about the concert and employed concepts such as novelty, quality, and appeals to class, status and self-identity. Moving beyond the argument that early advertisements could be persuasive, this paper identifies and interprets the techniques of persuasion musicians used and discusses how they foreground those found in more recent and current advertising practice. [ABSTRACT FROM PUBLISHER]

In 1960s Italy, mass culture played an important role in the circulation of ideas as tens-of-millions of people read magazines, listened to music, and watched television. In 1963, Mina – one of Italy's most popular singers and a variety television star – had an illegitimate child. Despite this public moral lapse, her records continued to sell, magazines reported on her situation, and advertisers continued to use her to promote products. While the Italian state and the Catholic Church sought to guide the public and slow the pace of social change by restricting mass culture, Mina's case reveals cracks in the mediation of moral content by the state broadcaster and demonstrates the growing influence of middle-class audiences by the end of Italy's economic 'miracle'. The article uses magazine and television content, market research, and viewer surveys to argue that Mina's case shows the importance of mass culture in social change and new limits to church and state control over audiences. Mina's career recovery would have been unthinkable a few years earlier. Her return to television variety in 1965 demonstrated the importance of mass culture in social change, and a new role for audiences, advertisers and enterprises in setting Italy's moral codes. [ABSTRACT FROM AUTHOR]

Macromarketing issues relate to society's values and maintaining marketing activities that avoid harm and promote the public good. Social media influencers, anti-consumption, consumer-animal relations, transformative branding, big thinking about marketing, macromarketing concerns, entrepreneurial arbitrage, public lands marketing system, postcapitalism sustainable consumption, regulatory entrepreneur, political entrepreneur, advertising history Keywords: big thinking about marketing; macromarketing concerns; transformative branding; regulatory entrepreneur; political entrepreneur; entrepreneurial arbitrage; social media influencers; public lands marketing system; advertising history; anti-consumption; postcapitalism sustainable consumption; consumer-animal relations EN big thinking about marketing macromarketing concerns transformative branding regulatory entrepreneur political entrepreneur entrepreneurial arbitrage social media influencers public lands marketing system advertising history anti-consumption postcapitalism sustainable consumption consumer-animal relations 527 530 4 11/22/21 20211201 NES 211201 Macromarketing has historically been in the mainstream and a major concern of the marketing discipline. Macromarketing occupies an important role in knowledge development different from consumer behavior, quantitative modeling, and marketing strategy that focus more on the dyad of buyers and sellers. [Extracted from the article]

Copyright of Documentación de las Ciencias de la Información is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to understand the place of Brazilian audiovisual advertising production in the global field, considering its relations with the dominant markets. Therefore, we seek to map which agencies operating in Brazil are internationally recognized, using as a parameter the performance of these companies in the Film category of the Cannes Lions Festival, between 1971 and 2015, associating information on the development of the national and global advertising markets. From quantitative and qualitative analysis, of an exploratory and descriptive character, we conclude that the award-winning Brazilian productions have decreased over the decades, while the world market is concentrated in large communication conglomerates. In addition, it is noted that the Brazilian films that are awarded prizes progressively resemble the technical-stylistic standards of advertising created by the dominant countries in this space, especially the US standard. [ABSTRACT FROM AUTHOR]

Speaking in 1926, President Calvin Coolidge warned advertisers not to abuse "a great power that has been entrusted to your keeping which charges you with the high responsibility of inspiring and ennobling the commercial world." His message reflected the hopes and concerns of twentieth-century critics who defended advertisements for educating the public about transformative products and services but denounced the industry for exaggeration and deception. This article examines more than a dozen seminal books, published between 1906 and 1999, to identify dominant themes and variations in advertising criticism in the United States. The study also analyzes the archival papers of a leading trade association for advertising agencies as well as more than thirty other primary sources, including speeches, period advertisements, and articles from newspapers, magazines, and trade publications. [ABSTRACT FROM AUTHOR]