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Journal articles on the topic 'Advertising arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Stoitchkova, Tatiana. "Similar Links Between Advertising, Pop, and the Arts." Postmodernism Problems 10, no. 2 (August 28, 2020): 165–76. http://dx.doi.org/10.46324/pmp2002165.

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This paper explores the views of different ideas regarding popular culture and uses them as a framework to compare other ideas regarding images, messages, and emotional approaches in advertising. In addition to identifying areas of interactions between popular culture, advertising, and pop arts, the research exposes some observations in advertising professionals' working theories. We also argue that dialogue among different fields and practitioners provides an opportunity to enhance advertising theory and practice in postmodern culture. To analyze the functioning of advertising in today’s postmodern conditions as part of the process of social and aesthetic transformations in society, with an emphasis on the links among/between popular culture, arts, and advertising.

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2

ÇINAR, Bekir. "Language Used In Advertising Literary Arts." Journal of Turkish Studies Volume 4 Issue 8, no. 4 (2009): 891–916. http://dx.doi.org/10.7827/turkishstudies.983.

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3

Bae, Bin A. "Use of Fine Arts Works in Domestic Advertising." KOREA SCIENCE & ART FORUM 8 (July 31, 2011): 103. http://dx.doi.org/10.17548/ksaf.2011.07.8.103.

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4

Quester, Pascale G., and Beverley Thompson. "Advertising and Promotion Leverage on Arts Sponsorship Effectiveness." Journal of Advertising Research 41, no. 1 (January 2001): 33–47. http://dx.doi.org/10.2501/jar-41-1-33-47.

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5

Barton, Laurie. "Advertising, Art, and Arts Education: An Uneasy Association." Design For Arts in Education 90, no. 2 (December 1988): 14–19. http://dx.doi.org/10.1080/07320973.1988.9934801.

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6

Cornwell, T. Bettina. "Advertising, ethnicity and attendance at the performing arts." Services Marketing Quarterly 10, no. 2 (1994): 145–56. http://dx.doi.org/10.1080/15332969.1994.9985130.

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7

Cornwell, T. "Advertising, Ethnicity and Attendance at the Performing Arts." Journal of Professional Services Marketing 10, no. 2 (October 7, 1994): 145–56. http://dx.doi.org/10.1300/j090v10n02_10.

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8

Kang, Moon Young. "Advertising allocation and impact of advertising on event ticket sales: Which product, where, and when." International Journal of Market Research 62, no. 4 (April 17, 2019): 483–98. http://dx.doi.org/10.1177/1470785319835380.

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When planning for advertising, an accurate assessment of the impact of advertising is important so that managers can allocate their budgets to maximize the return on each advertising dollar. In particular, the managers need to understand the impact of advertising on different products, media types, and time periods. This study develops a simultaneous model to measure the impact of advertising on product sales using weekly ticket sales data and to capture managers’ decision using the data on advertising budget allocation at a performing arts center. This article provides managerial recommendations for advertising decision in terms of the product, media, and time dimensions.

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9

Atal, Maha Rafi. "The cultural and economic power of advertisers in the business press." Journalism 19, no. 8 (September 13, 2017): 1078–95. http://dx.doi.org/10.1177/1464884917725162.

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Media studies scholarship on advertising has traditionally fallen into two camps. Cultural analysis emphasizes the signals advertisements send to consumers, focusing primarily on the role of advertising creatives. Economic analysis emphasizes advertising’s impact on media companies’ financial performance, focusing on the role of sales managers and proprietors. Both approaches minimize the role of reporters, against whose work advertisers place their messages. This article draws on interviews, as well as financial analysis, at six newsrooms to examine the impact of advertising practices on the editorial independence of reporters. Combining cultural and economic analysis, the article highlights the unique threat advertiser influence poses to critical business reporting, which takes as its subject the very firms who must choose to advertise against it. The article argues that the new forms of advertising, where branded content is presented alongside, and intended to mimic, reported content, increase the threat of advertiser capture. At four legacy outlets studied, investigative business coverage has declined as media organizations react to the changed operating environment with practices that compromise the divide between news and advertising staff. At two online startups studied, where new advertising formats have always been part of strategy, news and sales staff remain separate. Yet there is limited appetite at these outlets for conducting critical business journalism, which is not seen as key to organizational mission. The article concludes with policy recommendations to safeguard the viability of critical business journalism.

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10

Kim, Jin-Man. "Online Forced Exposure Advertising Strategy of Performing Arts Content." Journal of acting studies 19 (August 30, 2020): 149–61. http://dx.doi.org/10.26764/jaa.2020.19.10.

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11

Kulick, Don. "Advertising Missionaries." American Anthropologist 100, no. 3 (September 1998): 774–75. http://dx.doi.org/10.1525/aa.1998.100.3.774.

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12

Keinonen, Heidi. "Arts and Advertising: Aesthetics of Early Commercial Television in Finland." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 165–77. http://dx.doi.org/10.2478/ausfm-2014-0010.

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Abstract Finnish television was launched by a commercial company in 1956. TES-TV, the first television station, was later followed by a programming company called Tesvisio and joined by the television channel of YLE, the Finnish Broadcasting Company. The TES-TV/Tesvisio years are a unique period in television history, since they witnessed the creation of a connection between commercial television and the arts. In this article I aim to study early Finnish television aesthetics by analyzing television as art and also the relations between television and other art forms. My focus is on the representations of high and low culture and the search for a television style. TES-TV aired both popular programmes and high culture, like ballet, while on Tesvisio, these cultural extremities were gradually replaced by a middle-brow culture. The early programming included both filmed and live material, which had a contribution to the evolution of Finnish television aesthetics. The television style was further developed by Tesvisio’s first professional set designer and his experimental work. Therefore I claim that in these commercial companies television was seen as an art form in its own right, not only as a mediator of art

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13

Besana, Angela, and Viviana Clavenna. "Advertising and Branding of Italian Visual Arts at ‘Hard Times’." Procedia Economics and Finance 1 (2012): 41–50. http://dx.doi.org/10.1016/s2212-5671(12)00007-x.

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14

Saylor, Elizabeth A., Katherine A. Vittes, and Susan B. Sorenson. "Firearm Advertising." Evaluation Review 28, no. 5 (October 2004): 420–33. http://dx.doi.org/10.1177/0193841x04267389.

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15

Finlayson, Alan, and Eamonn Hughes. "Advertising for Peace: The state and political advertising in Northern Ireland, 1988‐1998." Historical Journal of Film, Radio and Television 20, no. 3 (August 2000): 397–412. http://dx.doi.org/10.1080/713669727.

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16

Moeran, Brian. "The organization of creativity in Japanese advertising production." Human Relations 62, no. 7 (June 19, 2009): 963–85. http://dx.doi.org/10.1177/0018726709335541.

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This article makes use of the results of ethnographic participant observation to analyze how creativity is organized in the production of Japanese advertising. An ad campaign, like many other creative products, is produced by `motley crews' of personnel from both within an agency contracted to conceptualize the campaign on behalf of its client (an account team) and freelance professionals hired to realize the account team's creative concept (a production team). The concepts of frame analysis and art worlds are used to analyze the symbolic space of the studio and the transformations that occur there, while that of field enables a comparative analysis of advertising's `space of possibles' in which different actors position themselves and their clients' products. Creativity is used to establish relations of power among advertising personnel, as well as over consumers, by means of the constant (re)positioning of advertisers' products. This is the function of advertising's motley crew.

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17

Borchers, Nils S., and Jens Woelke. "Epistemological and methodical challenges in the research on embedded advertising formats: A constructivist interjection." Communications 45, no. 3 (September 25, 2020): 325–49. http://dx.doi.org/10.1515/commun-2019-0119.

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AbstractAdvertisers’ increasing use of embedded advertising formats makes it more difficult for consumers to identify persuasive intents in advertiser messages. However, only if consumers identify these intents and categorize messages as advertising, can they activate advertising-specific reception strategies which might result in lessened persuasion effects. The fact that consumers regularly miss persuasive intents in non-traditional advertising environments, we suggest in this article, carries epistemological and methodical implications. To better appreciate these implications, we argue for a more systematic adoption of a constructivist approach in advertising research. Some established concepts in advertising research such as the persuasion knowledge model and advertising literacy already implicitly follow a constructivist rationale. However, to more fully exploit the potential of a constructivist approach, we review communication concepts that inform advertising research, clarify why a constructivist approach increases the explanatory power of advertising research, and discuss challenges for research designs.

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18

Mehaffy, Marilyn Maness. "Advertising Race/Raceing Advertising: The Feminine Consumer(-Nation), 1876-1900." Signs: Journal of Women in Culture and Society 23, no. 1 (October 1997): 131–74. http://dx.doi.org/10.1086/495238.

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19

Theocharopoulou, Ioanna. "Architecture and Advertising: Terms of Exchange? Arts and Architecture, 1944-1950." Thresholds 18 (January 1999): 6–11. http://dx.doi.org/10.1162/thld_a_00496.

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20

Berryman, Rachel. "Advertising ancestry through the algorithm." Screen 62, no. 2 (June 1, 2021): 217–26. http://dx.doi.org/10.1093/screen/hjab026.

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21

O’Driscoll, Aileen. "From sex objects to bumbling idiots: tracing advertising students’ perceptions of gender and advertising." Feminist Media Studies 19, no. 5 (August 21, 2018): 732–49. http://dx.doi.org/10.1080/14680777.2018.1506943.

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22

Dunagan, Colleen. "Performing the Commodity-Sign: Dancing in the Gap." Dance Research Journal 39, no. 2 (2007): 3–22. http://dx.doi.org/10.1017/s014976770000019x.

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Between 1998 and 2000, the Gap clothing company produced three advertising campaigns whose visual images consisted of choreographed movement sequences based on vernacular dance forms, theatrical jazz dance, and the codes and conventions of the Hollywood musical: “khakis,” “that's holiday,” and “West Side Story.” Each campaign produced a series of commercials that employed dance and musical theater in an attempt to bridge the gap between entertainment and advertising, and between popular culture and art. By manipulating standard advertising conventions, the Gap framed these televisual texts as performances or artworks, rather than as advertisements, creating choreographic, performance-oriented commercials that became the sign of Gap clothing. As a result, the commercials have been identifiable, just as the clothes have been, by style alone.

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23

Krajewski, Sabine. "Advertising menopause: you have been framed." Continuum 33, no. 1 (November 15, 2018): 137–48. http://dx.doi.org/10.1080/10304312.2018.1547364.

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24

Thi Viet Ha, Nguyen. "Urban environment factors in advertising poster in Ho Chi Minh City." MATEC Web of Conferences 193 (2018): 01020. http://dx.doi.org/10.1051/matecconf/201819301020.

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Poster design is an important part in graphic design and contributes considerably to the “green industry” – the modern advertising industry. In the era of International Integration of Vietnam, there is a large number of changes in advertising posters, and Urban Environment factors plays a very important role in this process. Advertising poster is integrated with visual languages, creating a totally new outlook on aestheticism. Special attention has given to the Urban Environment factors, and they have even become a trend, spreading to the art of design, particularly in advertising posters. The article analyses how Urban Environment factors have been expressed in advertising posters, especially in graphic elements, from concept to execution. The article focuses on Commercial Advertising Posters which is used for brands available in Vietnamese market from 2010 till now (2017). The area of research is Ho Chi Minh City, where there is a diversity of market trends and also a place which is greatly and quickly influenced by new trends in Art and Design. This is also considered as the place that can quickly absorb new trends of Arts and Culture in creating Advertising campaigns for Vietnamese market. Besides, Ho Chi Minh City is the leader in development of modern society for Vietnamese; there are many construction projects for skyscraper, plazas, living space, security for storage of belongings and for comfortable life and work of urban population.

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25

Amazeen, Michelle A., and Bartosz W. Wojdynski. "The effects of disclosure format on native advertising recognition and audience perceptions of legacy and online news publishers." Journalism 21, no. 12 (February 7, 2018): 1965–84. http://dx.doi.org/10.1177/1464884918754829.

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This experiment with a representative sample of US adults ( N = 800) examines the effects of disclosure design characteristics in sponsored news on readers’ ability to recognize such content as paid advertising, and examines whether such recognition differently affects perceptions of legacy and digital-first publishers. Although fewer than 1 in 10 participants were able to recognize native advertising, our study shows that effectively designed disclosure labels facilitate recognition. However, participants who did recognize native advertising had lessened opinions of the publisher and the institution of advertising, overall.

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26

Hobbs, Renee. "Analyzing Advertising in the English Language Arts Classroom: A Quasi-Experimental Study." SIMILE: Studies In Media & Information Literacy Education 4, no. 2 (May 1, 2004): 1–14. http://dx.doi.org/10.3138/sim.4.2.002.

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27

Chan, Sally, Emily Caston, Maddie Ohl, and Sean Nixon. "Hai Karate and Kung Fuey: Early Martial Arts Tropes in British Advertising." JOMEC Journal, no. 15 (July 22, 2020): 1. http://dx.doi.org/10.18573/jomec.203.

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28

Reijmersdal, Eva A. van, and Esther Rozendaal. "Transparency of digital native and embedded advertising: Opportunities and challenges for regulation and education." Communications 45, no. 3 (September 25, 2020): 378–88. http://dx.doi.org/10.1515/commun-2019-0120.

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AbstractThis article elaborates on one of the main characteristics of digital native and embedded advertising: its lack of transparency. Challenges and opportunities for disclosing native advertising practices as well as how educational measures concerning this type of advertising should look are discussed. In addition, a future research agenda is presented.

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29

Schwitters, Kurt. "Modern Advertising (1928)." Design Issues 9, no. 2 (1993): 69. http://dx.doi.org/10.2307/1511677.

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30

Fedorenko, Olga. "Politics of Sex Appeal in Advertising." Feminist Media Studies 15, no. 3 (July 11, 2014): 474–91. http://dx.doi.org/10.1080/14680777.2014.930060.

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31

Conrad, Diane. "Drama, Media Advertising, and Inner-city Youth." Youth Theatre Journal 16, no. 1 (May 2002): 71–87. http://dx.doi.org/10.1080/08929092.2002.10012542.

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32

Chalaby, Jean K. "Advertising in the global age." Global Media and Communication 4, no. 2 (August 2008): 139–56. http://dx.doi.org/10.1177/1742766508091517.

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33

Beckert, Johannes, Thomas Koch, Benno Viererbl, Nora Denner, and Christina Peter. "Advertising in disguise? How disclosure and content features influence the effects of native advertising." Communications 45, no. 3 (September 25, 2020): 303–24. http://dx.doi.org/10.1515/commun-2019-0116.

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AbstractNative advertising has recently become a prominent buzzword for advertisers and publishers alike. It describes advertising formats which closely adapt their form and style to the editorial environment they appear in, intending to hide the commercial character of these ads. In two experimental studies, we test how advertising disclosures in native ads on news websites affect recipients’ attitudes towards a promoted brand in a short and long-term perspective. In addition, we explore persuasion through certain content features (i. e., message sidedness and use of exemplars) and how they affect disclosure effects. Results show that disclosures increase perceived persuasive intent but do not necessarily decrease brand attitudes. However, disclosure effects do not persist over time and remain unaffected by content features.

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34

Nie, Sen, and Yan Liu. "Analysis of Application of Digital Media Arts." Advanced Materials Research 989-994 (July 2014): 4223–25. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.4223.

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In 21st century, with the leaping advances in science and technology, computers and the rapid development of science and technology industry, formed by combining human intelligence and high-tech digital content industry that corresponds to the rapid development, and developing at an astonishing speed into a pillar industry of the knowledge economy in the new century. It is well known that digital media are based on digitized text, sound, images, Graphics, animation and video images as information carriers, through means of dissemination and development of science and technology. Basic characteristics of digital media arts: Cross uses online media which contains computer-animated production, the television advertising shoot, digital music player, there are activities such as online games, virtual reality, network, performance art, video, interactive installations and DV (digital video). This paper discusses the present status of digital media art, features, applications in education, vocational orientation and analysis of the development trend.

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35

Mishra, Suman. "From self-control to self-improvement: evolving messages and persuasion techniques in weight loss advertising (1930–1990)." Visual Communication 16, no. 4 (September 26, 2017): 467–94. http://dx.doi.org/10.1177/1470357217717376.

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This study examines six decades (1930 to 1990) of weight loss advertising in the New York Times, using a combination of qualitative content analysis and textual analysis methods to understand how the discourse of weight loss has evolved over the years in the United States. The findings of the study show that the discourse of weight loss evolved from self-control to self-improvement. It also notes greater representations of white women in weight loss advertising. Women’s portrayals evolve from glamorous and thin to curvaceous, feminine and sexually appealing, to youthful, bold and confident and finally to strong and muscular. The study concludes that weight loss advertising reflects the changing roles for woman in society, while simultaneously influencing attitudes about beauty and body though the creation of new cultural images. Collectively, the advertisements cultivate the belief among women that by controlling their bodies through diet and exercise, women can achieve success in all aspects of their lives, from relationships to careers.

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36

D'Enbeau, Suzy. "Sex, Feminism, and Advertising: The Politics of Advertising Feminism in a Competitive Marketplace." Journal of Communication Inquiry 35, no. 1 (November 10, 2010): 53–69. http://dx.doi.org/10.1177/0196859910385457.

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37

Perfect, Tim. "Advertising exposure, memory, and choice." Memory 2, no. 4 (December 1994): 476–78. http://dx.doi.org/10.1080/09658219408258960.

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38

Kirchenbauer, Alena. "The concept of integrated communication under close scrutiny: A study on the effects of congruity-based tactics." Communications 45, no. 3 (September 25, 2020): 363–77. http://dx.doi.org/10.1515/commun-2019-0117.

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AbstractThis study examines how consumers react to a Facebook post that is completely, moderately or not at all in conflict with a brand-typical TV clip. It thus analyzes the need for congruity between the offline and online advertising activities of a brand and draws on the literature of integrated communication, schema incongruity theory and advertising effectiveness. Results of an online experiment with 131 participants and a 2 (content: congruent vs. incongruent) by 2 (stylistic devices: congruent vs. incongruent) between-subjects design provide first insights into the modeling of (in)congruity based on integrated communication. Thus, the article presents a first attempt to conceptualize (in)congruity in advertising through a combination of content and stylistic devices. In addition to this research agenda, the manuscript offers implications for advertising practice.

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39

GANTI, TEJASWINI. "Shoveling Smoke: Advertising and Globalization in Contemporary India:Shoveling Smoke: Advertising and Globalization in Contemporary India." Visual Anthropology Review 21, no. 1-2 (April 2005): 181–83. http://dx.doi.org/10.1525/var.2005.21.1-2.181.

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40

Hoppenstand, Gary. "Editorial: Truth in Advertising." Journal of Popular Culture 43, no. 4 (July 19, 2010): 669–70. http://dx.doi.org/10.1111/j.1540-5931.2010.00763.x.

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41

Roth-Cohen, Osnat. "Immigration Builds a Nation: The Hybrid Impact of European Immigration on the Development of an Advertising Industry." Journal of Communication Inquiry 42, no. 4 (August 15, 2018): 359–80. http://dx.doi.org/10.1177/0196859918792207.

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This research focuses on the nascent advertising industry in British Mandatory Palestine and how it was influenced and transformed by German Jewish immigrants, who arrived between 1933 and 1939, in a wave of immigration known as the Fifth Aliyah. At the time, local advertising was rather small and undeveloped until the mass wave of immigrants (over 200,000), many highly skilled and educated, came from Central Europe, mainly from Germany. These immigrants played a vital role in the local advertising industry. Their contributions were evaluated using a theoretical model consisting of primary analytical factors—mass communication, economy, technology, society, and international transfer. These factors influenced and continue to influence the form of Israeli advertising industry to this day. German immigration demonstrates a hybrid set of influences that played an instrumental role in the development of the local advertising industry in the Land of Israel. Functional-rational and creative aspects in the advertising industry were radically transformed by these new arrivals. Rethinking media history and centering the immigrant’s unique contribution is an important scholarly objective. This is achieved by shifting the discussion from dominant institutions to the local advertising history and focusing on the functional practices and creative methods imported by immigrants.

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42

Mironova, Nataliya. "Hypertext technologies as the basis of native advertising." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 209–17. http://dx.doi.org/10.31648/pw.3190.

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The article deals with native advertising (hidden advertising) disguised as regular site content. To analyze the advertising discourse on the treatment of a disease, we used a cognitive schema (frame) containing a specific set of slots. It was found that a hypertext nature of advertising leads to rupture of the schema and delayed submission of the main frame slot (means/ways to treat the disease), transferring it from the start of the message to its target portion. It was also shown how a frame nature of advertising predetermined semantics of positive evaluation of the words – slot fillers. Native advertising is represented as a means of manipulating individual consciousness and as a way of exercising individual mental (and verbal) aggression.

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43

Stjepanović, Nenad. "Metropolis and post-modern metropolis as a critical field of modern mimicry." SAJ - Serbian Architectural Journal 2, no. 3 (2010): 239–54. http://dx.doi.org/10.5937/saj1003239s.

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Hegel's analysis and definition of the work of art in the Esthetic foretold transformation in visual communication and perception of arts in the advertising age. During the transformative period of economy into money economy fundamental social and cultural ruptures introduced new methods of transgression in forms expression and conception of meaning in arts, and by implication, in architecture. Aesthetic radically departed from the norms of figuration in the classical art into symbolic reading. These exigencies in style and conception reflected the new consciousness that was impinged on by the age of sciences and mechanical reproduction.

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44

Nedelcuț, Nelida, Ciprian Gabriel Pop, and Amalia Cristina Nedelcuț. "17. Electro Arts, a Tool of Interactive Digital Education: A Case Study." Review of Artistic Education 21, no. 1 (June 1, 2021): 139–48. http://dx.doi.org/10.2478/rae-2021-0017.

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Abstract This research analyses the impact of the Elektro Arts Festival on the attending audience, based on the responses offered by 98 respondents, highlighting the socio-demographic characteristics of the participants, the interest in computer art and realising an evaluation of the event’s quality by emphasizing preferences and customs of cultural consumption and identifying the communication and advertising channels preferred by the audience. The organizers of the future editions of the event obtained the necessary feedback on the interest manifested in digital arts as well as on the satisfaction and the preferences of the audience. The Elektro Arts Festival is considered an innovative environment propitious to IT-mediated artistic expression, and the newly organized editions have been linked to the research in the field of computer-based numerical technologies.

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45

Hartlaub, G. F. "Art as Advertising (1928)." Design Issues 9, no. 2 (1993): 72. http://dx.doi.org/10.2307/1511678.

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46

Rauwerda, Antje M. "Whitewashing Drum Magazine (–1959): Advertising Race and Gender." Continuum 21, no. 3 (August 3, 2007): 393–404. http://dx.doi.org/10.1080/10304310701460748.

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47

Farnsworth, John. "New Zealand advertising agencies: Professionalisation and cultural production." Continuum 10, no. 1 (January 1996): 136–51. http://dx.doi.org/10.1080/10304319609365729.

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48

Shankar, Shalini. "Affect and sport in South Asian American advertising." South Asian Popular Culture 11, no. 3 (October 2013): 231–42. http://dx.doi.org/10.1080/14746689.2013.820481.

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49

Skinner, Deborah, and Diana Lawson. "An Opportunity to Remind Students of the Value of a Liberal Arts Education: Integrating Liberal Arts into an Advertising Course." Marketing Education Review 16, no. 1 (March 2006): 79–84. http://dx.doi.org/10.1080/10528008.2006.11488943.

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50

Kim, Yoo Jung, and JinYoung Han. "Why smartphone advertising attracts customers: A model of Web advertising, flow, and personalization." Computers in Human Behavior 33 (April 2014): 256–69. http://dx.doi.org/10.1016/j.chb.2014.01.015.

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