Frank, Thomas. The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism. Chicago: University of Chicago Press, 1997.
Argument
Addressing the typical historiography of 60s advertising and fashion which posits that industries co-opted countercultural youth values merely to sell products, Frank argues that advertisers and fashion designers were not cynical co-opters but, more complexly, believed and enthusiastically embraced countercultural ideals: namely, non-conformity.
On another level, Frank explicitly takes Cultural Studies and John Fiske to task, arguing that the trend toward focusing merely on reception and consumption ignores a more complex story on the production side.
Specifics
Led by the agency DDB (Doyle Dane Bernbach, particularly Bill Bernbach) and its groundbreaking Volkswagon ads, advertisers adopted frankness, self-deprecation, and anti-conformist tactics. They did so, Frank demonstrates through advertising archives, because they were anti-conformists themselves. The advertising agency was exactly the kind of stifiling bureaucratic office that was under attack in anti-conformist business literature, most notably Whyte's The Organization Man. Advertisers yearned for greater creative leeway, and saw the countercultural movement and critique as an argument for greater freedom at work.
Examples of Ads
Alka-Seltzer: "That's a spicy meatball!" self-consciousness about the fact that ads are artificial as a way to sell Alka-Seltzer.
Cola Wars: "The Pepsi Generation" v. old school Coke
Anti-obsolescence: ad for VW model for years 51-61. Same car. Ironically, obsolescence was key to men's non-conformist fashion boom of 60s, and continues to drive the essence of the fashion industry.
Conclusion
"The sixties are more than merely the homeland of hip, they are a commercial template for our times, a historical prototype for the construction of cultural machines that transform alienation and despair into consent. Co-optation is something much more complex that the struggle back and forth between capital and youth revolution; it's also something larger than a mere question of demographics and exploitation.Every few years, it seems, the cycles of the sixties repeat themselves on a smaller scale, with new rebel youth cultures bubbling their way to a happy replenishing of the various culture industries' depleted arsenal of cool. New generations obsolete the old, new celebrities render old ones ridiculous, and on and on in an ever ascending spiral of hip upon hip. As adman Merle Steir wrote back in 1967, "Youth has won. Youth must always win. The new naturally replaces the old."" (235)
Showing posts with label Advertising. Show all posts
Showing posts with label Advertising. Show all posts
Friday, May 6, 2011
Thursday, December 30, 2010
Marchand - Advertising the American Dream
Marchand, Roland. Advertising the American Dream: Making Way for Modernity, 1920-1940. Berkeley: University of California Press, 1985.
Argument
In the 1920s and 30s the advertising industry in America boomed. Marchand studies advertisements from the period (and the men who created them) in an attempt to understand what they can (and can't) tell us about American society as a whole. The title indicates two key parts to Marchand's argument. First, he credits advertising as playing a key role in shaping American consumer values that would resonate with the middle class after World War II. Second, he argues advertising men (and they were mostly affluent white men) saw themselves as serving society by advancing the benefits of modernity.
Key Terms
Modernity - Essentially, "progress;" advertisers saw themselves as "town criers" for new technology, styles, and ways of life. (1) Marchand also notes the heavy influence of modern art on advertising design.
Uplift - Recognizing that the masses of consumers to which they were advertising occupied a lower status on the socio-cultural-intellectual scale than they, some members of the advertising elite saw their role as affecting improvement among the American masses on these terms. Skilled advertisers could find a way to communicate with the ignorant masses and offer them products and services that might improve their life and, in the long run, improve their minds.
Social Tableau - a category of advertisements that depict several persons and their relationship to each other, thus offering a glimpse of the perceived social structure.
Studying Advertising to Understand Society as a Whole
The careful yet nonetheless evocative ways Marchand used advertising as sources was interesting for my own desire to use film and television as sources. The social tableau chapter was one example.
He also identified several "great parables" used as a formula for many advertisements. Marchand argues these parables "reinforced (and even encouraged conversions to) a modern, secular 'logic of living'..." (207). They "subtly redefin[ed] the terms of [the American dream]" as "the older values of discipline, character-building, self-restraint, and production-oriented achievement were subordinated to the newer values of pleasure, external appearance, and achievement through consumption." (234) Thus, advertising played an important role not only reflecting but inspiring the shift in American values of the 20th century. In the final chapter, Marchand goes on to show how by the end of the period advertising methods were firmly engaged in offering therapeutic solutions to the dilemmas of modern life.
Marchand also identifies several common cliches in advertising, such as "the office window" portraying the male CEO surveying his domain and "the family circle" demonstrating the relationship between father, mother, and children. He suggests such cliches can be useful in understanding values of the age.
He also explore depression era developments in advertising, revealing shifting tactics. Advertisers strove to emphasize the equalizing power of consumerism, as well as the dangers of ill-advised purchasing decisions.
The Morgan Memorial "Deja Vu - You've Seen this Before"
Cohen-Consumer's Republic - This is something of a prequel to Cohen with a more specific focus. Advertisers in the 20s and 30s were laying the groundwork and fighting for the shift to a "Consumer's Republic" of purchaser consumers who saw their buying power as a way to self-improvement rather than community- or national- improvement. According to Marchand, advertisers painted a picture of consumption as the secret to individual and family happiness relative to individuals and families around them, rather than consumption as a way to improve the wealth of the nation as a whole.
Critique
Well-written, clear and interesting. Marchand was also able to include numerous black-and-white and color examples throughout the pages that really drive his point home. His chapters are nicely organized and accessible. His methods are clear and his argument is well-made.
Argument
In the 1920s and 30s the advertising industry in America boomed. Marchand studies advertisements from the period (and the men who created them) in an attempt to understand what they can (and can't) tell us about American society as a whole. The title indicates two key parts to Marchand's argument. First, he credits advertising as playing a key role in shaping American consumer values that would resonate with the middle class after World War II. Second, he argues advertising men (and they were mostly affluent white men) saw themselves as serving society by advancing the benefits of modernity.
Key Terms
Modernity - Essentially, "progress;" advertisers saw themselves as "town criers" for new technology, styles, and ways of life. (1) Marchand also notes the heavy influence of modern art on advertising design.
Uplift - Recognizing that the masses of consumers to which they were advertising occupied a lower status on the socio-cultural-intellectual scale than they, some members of the advertising elite saw their role as affecting improvement among the American masses on these terms. Skilled advertisers could find a way to communicate with the ignorant masses and offer them products and services that might improve their life and, in the long run, improve their minds.
Social Tableau - a category of advertisements that depict several persons and their relationship to each other, thus offering a glimpse of the perceived social structure.
Studying Advertising to Understand Society as a Whole
The careful yet nonetheless evocative ways Marchand used advertising as sources was interesting for my own desire to use film and television as sources. The social tableau chapter was one example.
He also identified several "great parables" used as a formula for many advertisements. Marchand argues these parables "reinforced (and even encouraged conversions to) a modern, secular 'logic of living'..." (207). They "subtly redefin[ed] the terms of [the American dream]" as "the older values of discipline, character-building, self-restraint, and production-oriented achievement were subordinated to the newer values of pleasure, external appearance, and achievement through consumption." (234) Thus, advertising played an important role not only reflecting but inspiring the shift in American values of the 20th century. In the final chapter, Marchand goes on to show how by the end of the period advertising methods were firmly engaged in offering therapeutic solutions to the dilemmas of modern life.
Marchand also identifies several common cliches in advertising, such as "the office window" portraying the male CEO surveying his domain and "the family circle" demonstrating the relationship between father, mother, and children. He suggests such cliches can be useful in understanding values of the age.
He also explore depression era developments in advertising, revealing shifting tactics. Advertisers strove to emphasize the equalizing power of consumerism, as well as the dangers of ill-advised purchasing decisions.
The Morgan Memorial "Deja Vu - You've Seen this Before"
Cohen-Consumer's Republic - This is something of a prequel to Cohen with a more specific focus. Advertisers in the 20s and 30s were laying the groundwork and fighting for the shift to a "Consumer's Republic" of purchaser consumers who saw their buying power as a way to self-improvement rather than community- or national- improvement. According to Marchand, advertisers painted a picture of consumption as the secret to individual and family happiness relative to individuals and families around them, rather than consumption as a way to improve the wealth of the nation as a whole.
Critique
Well-written, clear and interesting. Marchand was also able to include numerous black-and-white and color examples throughout the pages that really drive his point home. His chapters are nicely organized and accessible. His methods are clear and his argument is well-made.
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