Advertising History

La col•lecció de matrius xi lografiques de la impremta gironina Tipografia Carreras, fundada l'a ny 1842, compren un deis fons més importants d'Europa. La seva importimcia rau tant en la varietat iconografica deis temes com en !'amplia trajectoria d'aquestes peces , que va des del segle XVII fins al XX. Una gran quantitat de matrius es poden datar graci es al fet que algunes apareixen signades pel mateix gravado r i alhora ens permeten situar les peces en l'ambit de la il•lustració del gravar popular al barroc. El valor intrínsec d'aquesta coHecció rau en que va pertanyer a amigues impremtes gironines que va n actuar des del segle XVII a Girona i que la famOia Carreras va anar adquirint al llarg de la seva historia com a nissaga d'impressors. t:any 1984 la Diputació de Giro na compra aquesta coHecció que actualment es troba al Museu d'Art de Girona. El present anide és fi•uit d'un estudi realitzat en la recent catalogació d'aquest conjunt de matrius que ha permes ampliar la visió sobre aquestes peces tan preuades i que confirma, en alguns casos, la seva originalitat barroca.

In this study the mediator role of the Turkish magazine Hayat, in Turkey’s transition from an orientation to Eurepean images to American ones was questioned. The issues of 1957 and 1958 were covered soon after the change of the magazine with the inspiration of American Life. This transition in the cultural life was discussed under the title of Turkish modernization, launched under Ottomans and continued under the Republic. From the beginning the main scope of Turkish modernization was to be westernized. The visual images which were accepted as the marker of Americanization were categorized and discussed in accordance with their themes: Hollywood icons in the covers; Hollywood icons in the advertisements; News on America; News on Hollywood; Female sexuality; New /modern Turkish women. In accordance with the covered visual images, Americanization was discussed together with the concept of the “ modern woman”a symbol of the American modernization with the specificuty of the liberation ...

Rat sind viele TV-Beiträge und fast alle Wochenmagazine, Frauen-oder Fernsehzeitschriften nicht mehr denkbar. Wir werden in den Medien als besondere Instanz stilisiert. Der Psychologe soll als Gewährsmann gegen die Kränkungen der modernen Zeit wirken: Ungewissheiten oder Irritationen sind unerwünscht. Können wir diesem Anspruch aber gerecht werden? So sind mittlerweile auch Antworten aufberechtigt wirkende Fragen prekär geworden, da wir praktisch genötigt werden, die Botschaft zu verkünden: Das menschliche Erleben ist völlig erklärbar -es gibt keine offenen Fragen, alles ist prinzipiell lösbar, und zwar recht schnell. Psychologie via Television verkommt dabei aber zur Quacksalberei. Immer wieder wird gefragt: Was mache ich, wenn der Partner mich verlässt? Wie oft sollte ein Paar miteinander schlafen? Wie häufig soll man als verheiratete Frau die beste Freundin sehen? Wie erhält man eine Ehe sexuell interessant? Wie soll

The ubiquity of advertising in modern life is difficult to deny. No item used has not been advertised in some medium even in some simplistic way, for instance using leaflets. Consciously escaping the images, jingles and commercials of brand new and old but redeveloped products, is almost impossible for an individual hard as they may try. Advertising exists first and foremost to make known to the public of an item and its use, and secondly to prove its necessity so that that people will buy it. On the other hand, however contemporary a device advertising may be, the science of consumer persuasion has rapidly evolved. This paper will try to examine whether the advertisements' objective is to inform people of the properties and qualities of products or to control and direct the public's purchases towards particular objects.

Postmodern feminist women all struggle for fair representation under the law; whether it is a battle over control of their own bodies, access to public space without facing street harassment, or basic rights to equal pay, their bodies are the center of debate. Edwardian suffrage women put their actual bodies on the line: Marching in processions, advertising meetings with sandwich boards, chaining themselves to government fences, suffering forced-feedings, in all such cases theirs were bodily sacrifices that invited comment just by their very presence in the public domain. Then, as now, women suffered a keen and constant surveillance, as Kitty Marion, a British suffragette member of the Women's Social and Political Union (WSPU), confessed: "What a lesson in self-denial, self-abnegation, self-discipline. The first time I took my place on the 'Island' in Piccadilly Circus, near the flower sellers, I felt as if every eye that looked at me was a dagger piercing me throug...

Bu çalışma, bir pazarlama iletişimi aracı olan reklam ile sunulan iletilerin bilinçdışı boyutlarına odaklanmaktadır. Reklam iletileri, hedef kitlesini bulur ancak bilinçte çok uzun süre tutunamaz. Enerjisini yitiren bu bilinç içerikleri zamanla psişenin diğer bir bölümü olan bilinçdışına doğru kayar. Bilinçdışın ise yalnızca bireysel değil, aynı zamanda kolektiftir. Bazı içerikler, olumsuz bir etkiye sahiptir. Bilinci istila eder ve karmaşaya neden olur. Jung'un kompleks ismini verdiği bu türden içeriklere reklamlarda da rastlanır. Burada bunları "reklam kompleksleri" olarak kavramlaştırıp, bunların bir listesini oluşturdum. Ardından, belirlediğim on kompleksin (güzellik/çekicilik, ilintilendirme, zehirli olumluluk, tamahkârlık, suni mutluluk, statü, kimlik, ıskalama kaygısı, altıklık ve mükemmeliyetçilik kompleksleri) tanımları, nasıl ortaya çıktıkları ve bilinçli içerikte hangi şemaları ne şekilde tetiklediğini açıkladım. Sunduğum kuramsal perspektifin, iletişim, pazarlama ve psikoloji başta olmak üzere pek çok disiplinde yapılan incelemeler için bir zemin hazırlayacağı kanaatindeyim.

La influencia que Apple ha tenido en los modelos de negocio de las industrias de la música, computación, entretenimiento y publicidad, además de su impacto en la cultura popular, los medios y por supuesto el marketing, es innegable (Viticci). Es por esta razón que se ha decidido estudiar el aporte de la publicidad para crear una marca tan reconocida a nivel mundial como es Apple. A lo largo de este texto, se estudiarán las tres campañas más reconocidas. La campaña de lanzamiento de la computadora Macintonsh, 1984 en ese mismo año, la campaña Think Different del año 1997 y finalmente la campaña del lanzamiento del iPod en el año 2001. De esta manera, se puede observar que las últimas dos décadas, Apple Inc. ha sido muy reconocida por su publicidad. Es verdad que el iPod y iTunes revolucionaron la industria musical, el iPhone cambió la industria de los teléfonos celulares y es muy probable que el iPad haga lo mismo con la industria del entretenimiento, de los medios y de las publicaciones. Incluso la Mac ha encontrado su vía en el mundo de las PC. Pero gran parte de este éxito se lo debe a la publicidad. La publicidad de Apple ha hecho posible crear lealtad entre los consumidores, les hizo sentir que al comprar se volvían parte de una comunidad global (Goldberg). Es decir, está claro que la calidad de los productos y la tecnología es fundamental para crear lealtad en los consumidores, pero la publicidad ha aporta mucho, como es el caso de Apple. Apple fue fundada en 1976 por Steve Jobs y Steve Wozniak. Cuando el joven Steve Jobs necesitaba un experto en marketing, llamó a Intel y preguntó quién hacía su publicidad, la cual le parecía muy definida y pulida. Le respondieron: "Regis Mc-Kenna". Jobs entonces preguntó, ¿qué es un Regis McKenna? A lo que le respondieron, "una persona" (Creamer). Regis McKenna fundó su propia firma de marketing, Regis McKenna Inc, en Silicon Valley en 1970 después de trabajar en los departamentos de marketing de otras compañías pioneras. En los últimos treinta años su empresa ha evolucionado hasta

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He creat aquest document per als col•leccionistes de les nadales de la Fundació Carulla. La col·lecció és ben viva avui en dia, publicant-se puntualment un nou número cada any. Però és també viva en l'altre extrem temporal: quina fou la primera nadala publicada pel matrimoni Carulla-Font? Hi va haver continuïtat des d'aleshores?

Empirical research into early commercial advertising is still in its infancy. This article analyzes the booming chemical-pharmaceutical market using the example of the stain remover Benzolinar, first offered in 1891 by Wilhelm Roloff, a leading roofing felt producer from Leipzig. The rather expensive preparation was advertised with numerous graphics and text ads aimed at middle-class customers. It was a scientific innovation, a by-product of modern tar chemistry. Developed by the chemist Wilhelm Meister, Benzolinar quickly established itself as a reference product for the market despite false reports about its composition. In the medium term, however, the product failed due to competition from cheaper competitors who relied on stronger branding and simpler advertising. For Meister, however, Benzolinar was nevertheless a profitable interlude, providing him with the means to significantly expand his building materials business and advance to the top of the Saxon economic bourgeoisie.

Purpose -To write a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic images featuring its lever action rifles. Design/methodology/approach -This study applies visual culture perspectives and methods to the research and writing of brand history. Iconic images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data. The primary sources consist of sample photographs from the 19 th century and films and television shows from the 20 th century. Most visual source materials were obtained from the Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West, and the Internet Movie Firearms Database. These have been augmented by written sources. Findings -Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced and sold to consumers in the form of cartes-de-visite, cabinet cards, and stereographs made from an albumen prints. Starting in the 1880s, the live "Wild West" shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the 20 th century and into the present, Winchesters have been featured in motion pictures and television series with western themes. Research limitations/implications -The historical research is in its early stages. Further interpretation of the selected images is necessary and additional primary data sources need to be discovered and analyzed. Originality/value -Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them, but also from consumers, the media, and other producers of popular culture.

The output is a curated project, which displayed the creative advertising work of Colin Millward (1924-2004) and Ron Collins (1939-2011), formerly of the London advertising agency, Collett Dickenson Pearce (CDP - 1960-2000). CDP was the first creatively-led agency in the UK, recognised through the D&AD awards. Research Process: Works displayed in the project were obtained through archival research at the History of Advertising Trust and the National Art Education Archive (NAEA). The Trust holds the CDP archive which includes a range of ephemera and examples of 48-sheet and billboard adverts. A range of images were reproduced (with permission) from digital files supplied by the Trust. Directories such as the D&AD awards were also used to aid selections and interpretation of the award-winning works (By Ron Collins). Two of Millward’s artworks, one oil painting and one pencil-portrait, were displayed adjacent to advertisements created under Millward’s creative directorship publicly for...

Nowadays, the changing consume types and consumer behaviours causes to be more creative in advertising. To be different, to reach the target audiences with effective messages pointed out the need of creative strategic studies. The objective of this studies is to reach the target audiences with the most different and effective way. Due to this reason, the ethics part of advertisements can be missed. So that the most important dilemma of advertising is creativity and ethics. This study is based on some criterias that has used content analysis to understand the ethical point of view of creative advertisements. With this study creativity strategies used as given in the literature and the ethical parts and characteristics are searched in this advertisements. The research methodology is qualitative, content analyzed method. Simple Random Sampling used in this research as total Billboards Advertisements in Istanbul in March and April 2004, 50 Billboards are choosen random. The Nonethical parts of this advertisements criterias are; sexy dressing, deceptive and misleading messages, unfair competition and using slang or dialect as. This researched point out that; to be more creative, more effective and impressive, this analyzed Turkish Billboard's figures and messages are full of nonethical characteristics. To generalize this study the sample size can be widen and be covered all around the Turkey. Lastly, it is possible to say that, self regulation system should be more effective on advertisers' practices.

The book has more than 700 illustrations in 232 pages, from the Middle Ages to 2022. It is the companion book to "História da Publicidade em Portugal - Com Estudo de Caso do Grupo CUF", that covers the same period in six chapters and 1132 pages.

This book if the first ever History of advertising in Portugal. in its 1132 pages, it covers nine centuries of advertising since the Middle Ages until 2022. It is divided in six chapters corresponding to periods of commercial communication rather that the usual division in political periods. The references (sources, archives, interviews, essays) cover 52 pages. The volume covers all type of commercial advertising in existence. It has no illustrations, because it was published with a companion volume, "História Ilustrada da Publicidade em Portugal", with more than 700 illustrations in its 232 pages.

Saint Anthony of Lisbon and Padua is so popular in Portugal that it has had a persistent presence in advertising since 1735 until the present. Anthony is an influencer in Portuguese culture since the thirteenth century.
This is the first book ever in the world about the representations of a saint in advertising. It was the result of the research for the exhibition of the same title in Museu de Lisboa - Santo António,, that published it. In its 198 pages it includes a study of around 60 pages and 256 illustrations. it is bilingual.

En este trabajo se describe un conjunto de discursos, prácticas, espacios y tiempos que se desarrollaron como procesos propios de capitalismo en Medellín, desde 1939 hasta 1962, y cómo durante la primera mitad del siglo XX se constituyó una nueva configuración de subjetividades, provocada por unos intereses que convirtieron los espacios, los tiempos y la praxis ciudadana, en nuevos tipos de ciudad y de vida cotidiana.This work describes a series of discourses, practices, spaces and times that developed as processes of capitalism in Medellin from 1939 to 1962. It also addresses how, during the first half of the 20th century, new subjectivities were configurated by specific interests that transformed spaces, times and citizen praxis into new types of city and daily lif

During the period 1934 to 1949, the Columbia Broadcasting System provided William Lescaze with a series of commissions that, considered together, constitute one of the largest, most varied, and most important bodies of work in his entire career. Lescaze was responsible for the ...

espanolCon base en el referencial teorico y metodologico del Analisis del Discurso, y en especial en los conceptos de ethos discursivo y escenografia, tomados de Dominique Maingueneau, se examino la publicidad dirigida al administrador brasileno a lo largo de 50 anos, entre 1961 y 2010, en las paginas de un conjunto de revistas especializadas, editadas en Sao Paulo. El objetivo consistio en identificar que imagenes del administrador aparecen construidas por el discurso publicitario. El analisis permitio trazar cuatro perfiles estilizados, que se suceden en el tiempo y componen una periodizacion. Los cuatro perfiles fueron, en seguida, discutidos a la luz de la historia de la administracion y de las practicas de gestion de personas en Brasil. francaisSur la base du cadre theorique et methodologique de l'Analyse du Discours, particulierement les concepts d'ethos discursif et scenographie proposes par Dominique Maingueneau, la recherche a examine des annonces publicitaires adre...

In this article, I analyse the genre of ‘Fat Lady’ photographs popular between the mid-nineteenth and mid-twentieth centuries. I assert that there is an archetypal appearance that developed in the 1860s and was standardized by the 1880s, consisting of certain dress, grooming and posing practices that emphasized their subjects’ sizes and presumed social status. Fatness was a performance that these women were employed to embody – one that straddled the lines between corporeal deviance and normality. Freak shows reveal cultural anxieties about bodies. The way Fat Lady performers were costumed reflected concerns about fatness taking up too much space and visibility as well as fatness rendering people immature and androgynous, thereby challenging established sex-role differences; it also revealed the potential erotic allure of extreme body size. Over a century of popularity, Fat Lady performers came to rely on costumes inspired by evening dress, childrenswear and then lingerie, all of which grew scantier as time progressed. Existing cartes de visite, cabinet cards, posters, advertisements, reports from journalists and side show insiders, and rare interviews with the performers themselves provide material for close analysis.

The story of US Pioneer Tire & Rubber Companies and Their Advertising. Chapter from the Thesis Dissertation: The Forgotten Years of Bibendum. Michelin’s american period in Milltown: Design, Illustration and Advertising by Pioneer Tire Companies (1900-1930)

The story of US Pioneer Tire & Rubber Companies and Their Advertising. Chapter from the Thesis Dissertation: The Forgotten Years of Bibendum. Michelin’s american period in Milltown: Design, Illustration and Advertising by Pioneer Tire Companies (1900-1930)

The story of US Pioneer Tire & Rubber Companies and Their Advertising. Chapter from the Thesis Dissertation: The Forgotten Years of Bibendum. Michelin’s american period in Milltown: Design, Illustration and Advertising by Pioneer Tire Companies (1900-1930)

The story of US Pioneer Tire & Rubber Companies and Their Advertising. Chapter from the Thesis Dissertation: The Forgotten Years of Bibendum. Michelin’s american period in Milltown: Design, Illustration and Advertising by Pioneer Tire Companies (1900-1930)

La producció publicitària de l'il•lustrador català Joan Cardona i Lladós (1877-1958) transita en l'eix París-Barcelona -les dues ciutats en què va viure i treballar-i es limita a un període concret: entre el debut del segle xx i els albors de la Primera Gran Guerra. Amb poc més de vint anys, Cardona es va traslladar des de la capital catalana a la francesa cap al 1900, després d'haver-la visitat prèviament, i va ser allà on va desenvolupar la seva carrera com a il•lustrador de premsa. Creiem que no és una casualitat que l'arribada de Cardona coincidís amb la celebració a París de l'Exposition Universelle de 1900. Va ser un esdeveniment descomunal que va revitalitzar tots els àmbits de l'activitat econòmica. Els països participants, amb les seves institucions i empreses -van sumar un total de 83.000 expositors, gairebé la meitat d'ells estrangers-desitjoses de donar-se a conèixer i de presentar els seus productes, van acudir a les impremtes i tallers litogràfics amb els seus encàrrecs. Diaris i revistes ompliren les seves pàgines amb cròniques il•lustrades relatives al gran esdeveniment i als productes exposats, i s'esmerçaren en la captació publicitària d'anunciants. Així fou com pintors, il•lustradors, cartellistes, fotògrafs, retolistes i tota mena d'artistes gràfics van veure com se'ls obria una etapa d'oportunitats, ja que eren ells els que s'encarregarien de donar forma a tots aquests continguts. Per al nouvingut Cardona, els encàrrecs directes de les impremtes i els concursos de cartells van propiciar l'ocasió de donar-se a conèixer. Exemple d'aquests treballs inicials són els cartells creats per anunciar les bicicletes americanes rambler -realitzat per a la impremta Chaix-i les franceses koempgen -realitzat per als tallers litogràfics de Jules Kossuth-, així com els concursos de cartells per a la promoció de les marques del cacau bensdorp i del tònic aperitiu byrrh. Seguint una dinàmica semblant, però aquesta vegada en terres catalanes, Cardona va participar en el concurs del Paper de Fumar Roca i va mantenir una vinculació professional amb la impremta barcelonina dels germans Barral.

El passat 2024 es van complir cent deu anys de la important Internationale Ausstellung für Buchgewerbe und Graphik, coneguda també pel seu acrònim BUGRA, que va tenir lloc a Leipzig entre principis de maig i finals d'octubre de 1914. La fira commemorava el 150è aniversari de la fundació de la Köngliche Akademie für Graphische Kunste und Buchgewerbe, creada el 1764, i pretenia mostrar al món la puixança de la indústria alemanya en les arts gràfiques enfront de la francesa i anglesa, antany dominadores. Leipzig, població destacada ja en aquesta època per l'organització de grans esdeveniments de tota mena i pels seus recintes firals i infraestructures, assolia llavors la xifra de 600.000 habitants, convertida en una de les principals ciutats alemanyes i rivalitzant amb Berlín com a capital del llibre i de l'edició.

This  paper  presents  results  of  an  analysis  of  1,060  advertising  campaign slogans  on  the  German  market  from  the  late  20th  and  early  21st  centuries.  All analyzed slogans were very popular, while German speakers still remember them, and we are yet to see for how long.The introductory part of the paper contains general information on advertising slogans  and  the  language  of  advertising,  while  the  next  one  offers  a  typology  of phraseologismsfound  in  German  commercials.The  third  part  deals  with  various modifications of these slogans, which were made by their creators, who created puns hoping that the slogan and commercial will thus become more conspicuous, interesting or effective.The final part of the paper summarizes the results of the analysis and point to the  potential  role  of  advertising  slogans  in  teaching/learning  German  as  a  foreign language, and in particular at university level or advanced language courses. Finally, the  paper  suggests  possible  approaches  to  slogans  in  the  process  of  localization  of commercials and advertising campaigns.Key words: phraseologism, pun, slogan, commercial, the German language, localization

This article demonstrates how "counterculture" remains a poorly defined way to talk about rapidly developing milieux, scenes, and networks born out of the religious awakening stimulated by psychedelics in the mid-1960s. It proposes an alternative framework of "psychedelicism" to better understand the nuances and complexity of historical and contemporary psychedelic communities.

A socialist advertiser/ adperson sounds very much like a contradiction. However, Turkish advertising was formed as a "field" from the 1960s to late 1980s by left leaning intellectuals and literary figures associated with the dominant socialist political party of the time. While entrepreneurial and profit-oriented agents were significant initiators, the field was essentially shaped by leftist/ socialist adpersons along with established/ entrepreneurial agents and entered into competition with such profit-oriented actors. Such competition, combined at times with cooperation, led to the creation of a field in the Bourdieusian sense. Thus, analysing the formation of the field, we can go beyond conceptualizing adpersons as mere cultural intermediaries and understand advertising as a social space in which multiple capitals operate. This allows us to reflect on the un(der)theorized work of left (ists) in the making of consumer capitalism during the post war period in Turkey.

This introduction to the special issue “Jewish Dress Through Visual Sources” prompts engagement with visual sources to expand research into the role of dress in the history of perceived minority groups. Drawing on the example of the Jewish people as one of the longest-lasting oppressed groups in history, the text opens by discussing some of the ways in which dress has played a primary role in shaping the social status of Jewish individuals and communities. It then highlights the interconnection between perceptions of dress with its visual imagery. Foregrounding some of the means that imbue dress with social significance and cultural value, it points to the ability of visual sources to offer insights into conditions underrepresented by other types of historical registers. Special attention is given to photographic image-objects as products of a medium that has radically changed—and democratized to a certain degree—how people re/work their identities, and perceive those of others, through dress. After introducing the contributions to the special issue, the text reflects on how the study of dress through engagement with visual sources pertaining to minority groups can transcend existing research approaches and diversify the scope of dress, fashion, and cultural history alike.

This article aims to discuss the strategies used by the American advertising industry to market its products aimed at female consumefs. Tlıe mateı'ial of disçussion will be printed adveıtisenrents that were ı'un between l920-l955. This tlıirty five year span in American history and culture seemed to be a convenient' period in terms of the purpose of this study. The time advertising had becoıne widespread as a serious practice and gained impetus is the early 1920s. As tlıe First World War ended, the eızı of "salesnranship'' arrived, and advertising truly becauıe "salesmanship in print.'' This means that. for the first time. ınarketing, inclııding advertising and selling, was not only respectable, but consicierecl equal in production. Probably, the high spirits of the "roaring twenties" galvanizecl advertisiııg practices, as well. The geneı'al tendency in advertising of tlıis period was to acÇoınplish astonishing perforınahces, allowing excesses. Verbal hyperbole and even dishonesty were of seemingly little concern to a public cauglıt up with tlıe energy of the "Jazz Age.'' Foı the first time, ordinary Americans enjoyed a lifestyle whosr contents depended on "consumption of pleasure." Girls appeared in flapper dresses, boys showed off in luxurious AarS; dancing' ııovic going. automobile touring and radio, beçame national crazes; jazz music' and alcohol ğuvenated tlıe young souls tilled with desire. American women, in particulaı', f'elt liberated. Many had left farms and villages for home-fıont duty in American cities during World War I, and had become resolutely "modern." They cut tlıeir hair short (popularly referred as "bobbed"), wore short dresses, and gloried in the ri-elıt to vote assured by the l9th Amendment to the Constitution, passed in l920. They began taking public toles in society. lnstead of gencler diffeı'ence. the geııeration ğap was tlıe debatable issue of the 1920s' The superfluous lifestyle of the I920s was followed by the depression in tlıe l930s. on october 29, |929, the stock market crashed, the Great Depression began. The effects of the çrisis were felt throughout the whole nation and intense precautions were taken. The glutting of false and misleading advertising strategies_an inheritance of the "lunatic 20s"-resulted in goveı'nment regulation, and advertising expenditures wel'e drastically reduced. Professional

While the development of commercial television advertising in Britain is often framed in the context of the American model, this paper will argue that London advertising agencies looked across the Channel to French and Dutch production companies and personnel, particularly in the first five years of commercial television, from 1955-1960. Using case studies, this paper will illustrate the involvement of these Continental companies and personnel on the production of advertising films for British commercial television, and identify the reasons why they were replaced by their British counterparts from the early 60s.

This study examines how consumer culture is reproduced through advertising visuals in the context of graphic design. Three different advertisements were selected, and the graphic design elements used in these visuals (such as color, composition, and symbols) were analyzed in terms of their impact on consumer perception. Employing the semiotic analysis method, the study reveals that advertising visuals are not merely aesthetic tools but also carriers of ideological and social meanings. The findings indicate that graphic design elements effectively convey the ideological messages of consumer culture and establish profound symbolic connections between brands and consumers. Additionally, the role of graphic design has become more prominent in the digital era, evolving into an interactive and multi-layered structure within modern consumer culture. This study underscores the critical function of graphic design as a communication tool that not only creates visual aesthetics but also shapes social values and consumer behaviors. In conclusion, advertising visuals are evaluated as strategic tools in the reproduction of consumer culture, contributing to theoretical and applied studies in this field.

Miguel Hernández Communication Journal is pleased to announce a call for papers for its upcoming issue, dedicated to the theme "One Hundred Years of Weimar Cinema: The Legacy of German Expressionism, Avant-garde, and Other Experimental Perspectives." We invite researchers, academics, and professionals in communication, humanities, and arts to submit manuscripts addressing the importance and relevance of Weimar cinema, as well as its various cinematic perspectives, including expressionist cinema, abstract animation, and the social realism of the New Objectivity, which represent only a part of its wide range.

Verzeichnis der wissenschaftlichen Publikationen von Anja Wolkenhauer. Die Titel sind innerhalb der Abteilungen chronologisch aufsteigend angeführt. Ältere Titel sind, soweit es die Rechtslage zulässt, auch digital bei academia.edu oder über den Zweitpublikationsserver der Universität Tübingen zugänglich.

List of scientific publications by Anja Wolkenhauer. The titles are listed in chronological order. Older titles are also accessible digitally at academia.edu or via the "Zwitpublikationsserver"  of the University of Tübingen, as far as the legal situation allows.

La serie satírica La pita de noche de šaḅat se publicó con regularidad durante más de 10 años en el periódico Acción de Salónica. En ella, bajo la apariencia de una carta remitida por su autor a la propia gaceta salonicense, se ofrece la crítica visión de su responsable sobre un amplio abanico de noticias o sucesos importantes (tanto locales como internacionales). En el presente trabajo se analiza el recurrente uso del diálogo en la composición de los textos, pues con frecuencia, el autor cede la palabra a muchos de los personajes que desfilan por sus líneas, acercándonos más vivamente a la realidad comentada, y permitiéndonos entrar en el ámbito sociolingüístico y pragmático de la lengua sefardí de las primeras décadas del siglo XX.

E possivel notar que as transformacoes tecnologicas ocorridas desde a virada do seculo XXI afetaram, em diversas medidas, a estrutura do consumo. Para alem de formas rotineiras das praticas cotidianas de compra, venda e troca de mercadorias, os movimentos e combinacoes voltados para novos formatos de comercializacao e de publicizacao das marcas de bens materiais e imateriais alteraram nao so o olhar, como o papel do consumidor e a consciencia de sua importância em todo o processo. Desta forma, com base em observacoes simples e pesquisa bibliografica, o presente artigo ira refletir sobre como o atual momento em que a alteracao dos mecanismos de fabricacao, distribuicao, exposicao e negociacao, outrora rotineiros, interfere no ordenamento das relacoes comerciais e pessoais. Destacando, portanto, o papel estrategico que a ciberpublicidade tem ocupado no cenario contemporâneo, em continua transformacao, uma vez que permite interacao “ full time ” do consumidor com as marcas.

This article examines the institutional advertisements discourse of the Brazilian stateowned company Petrobras. The analyzed pieces comprehend ads published between the years of 2006 and 2007 in the Superinteressante magazine, issued by editora Abril. The objective is to identify the news configurations of the information and how to occur the symbols exchange in the appropriation of editorial content with advertising. To do so, it was used the Discourse Analysis methodology.

La publicidad es un tipo de comunicación que pone en juego diferentes formas discursivas -entre ellas el relato- con el fin de motivar a su destinatario al consumo/preferencia de un determinado producto-marca. La presente investigación se propone describir y analizar las estructuras de un conjunto de textos publicitarios que, en tanto persuasivos, despliegan ciertos esquemas narrativo-argumentativos, es decir estructuras narrativas en las que se construye una argumentación que versa sobre el beneficio de adquirir lo que se está anunciando. Para cumplir con ese objetivo principal, se ha recortado como corpus de análisis, distintos spots televisivos emitidos por la televisión argentina en los últimos 20 años.Facultad de Bellas Arte

In 2007, Mother Nature saved Tampax. An advertising campaign, featuring nature personified as a middle-aged woman, played a decisive role in helping the tampon brand overcome a challenging period. Five years earlier, the owners, Procter & Gamble (P&G) had developed their own plastic, as opposed to cardboard, tampon applicator in the form of Tampax Pearl, and were promptly sued for patent infringement by the original plastic applicator inventor Playtex (Hanes Brands), a fight P&G lost. On other fronts, the menstrual product industry was battling against an aging population and menstruation-suppressing hormonal birth control, resulting in an annual 1 percent market share drop for the previously globally best-selling brand. A team of women at the Leo Burnett advertising agency came up with a new Tampax branding strategy in response, and as a result the international Mother Nature campaign ran in Europe and North America from 2007 till 2009. This article surveys the issues facing Tampax...

Neste trabalho, analisamos o papel da mulher no imaginário de anúncios publicitários de lingeries na segunda metade do século XX e início do século XXI no Brasil. Para tanto, descrevemos cinco anúncios com base na Escola de Análise do Discurso Francesa e nos conceitos operacionais foucaultianos. Com a pesquisa, constamos que a figura da mulher, nos anúncios de lingerie, põe em jogo diferentes posições de sujeito, ora associadas à satisfação da consumidora, ora ligadas à sedução do outro. Essas diferentes posições formam um domínio de memória, onde o elemento mulher funciona sempre como meio de impulsionar o consumo.