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Offre un panorama historique de l'industrie de la publicité. A partir d'exemples emblématiques, guide à travers les cent idées clés qui ont généré des changements, depuis les premières affiches et l'historique d'une marque jusqu'aux créations révolutionnaires des années 1960. Analyse également les recherches les plus récentes, comme le neuro marketing. ©Electre 2015

Advertising --- Advertising copy --- Publicité --- Rédaction --- History --- Publicité --- Rédaction --- Advertising - History

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Objects are all around us – and images of objects, advertisements for objects. Things are no longer merely purely physical or economic entities: within the visual economy of advertising, they are inescapably moral. Any object, regardless of its nature, can for at least a moment aspire to be “good,” can become not just an object of value but a complex of possible happiness, a moral source of perfection for any one of us.Our relation to things, Coccia, argues in this provocative book, is what makes us human, and the object world must be conceived as an ultimate artifact in order for it to be the site of what the philosophical tradition has considered "the good." Thinking a radical political praxis against a facile materialist critique of things, Coccia shows how objects become the medium through which a city enunciates its ethos, making available an ethical life to those who live among them. When we acknowledge that our notion of “the good” resides within a world of things, we must grant that in advertising, humans have revealed themselves as organisms that are ethically inseparable from the very things they produce, exchange, and desire. In the advertising imaginary, to be human is to be a moral cyborgs whose existence attains ethical perfection only via the universe of things. The necessary alienation which commodities cause and express is moral rather than economic or social; we need our own products not just to survive biologically or to improve the physical conditions of our existence, but to live morally. Ultimately, Coccia’s provocative book offers a radically political rethinking of the power of images. The problem of contemporary politics is not the anesthetization of words but the excess power we invest in them. Within images, we already live in another form of political life, which has very little to do with the one invented and formalized by the ancient and modern legal tradition. All we need to do is to recognize it. Advertising and fashion are just the primitive, sometimes grotesque, but ultimately irrepressible prefiguration of the new politics to come.

Advertising. --- Consumer goods. --- Advertising History. --- Art History. --- Art. --- Cultural History. --- Marketing History. --- Marketing. --- Moral Philosophy. --- Philosophy.

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Les rapports entre l'art et la publicité sont parfois explosifs : d'un côté, les deux domaines s'influencent et s'interpénètrent, avec une vraie complicité ; de l'autre, ils se font concurrence et se critiquent réciproquement, non sans humour... De Toulouse-Lautrec à Andy Warhol en passant par Sonia Delaunay, ce livre permet de découvrir des créateurs de génie ayant travaillé pour la publicité, de voir des chefs-d'œuvre détournés par des campagnes diverses et variées, de savourer les qualités esthétiques époustouflantes de certaines d'entre elles ou encore de mesurer les combats de plasticiens contemporains contre les symboles de la société de consommation. Loin de céder à l'opposition stérile des vertueux artistes face aux vilains publicitaires, un ouvrage traversé par une quête commune de la surprise, de l'inventivité et de l'imaginaire.

Commercial art --- Advertising --- Art and industry --- Art and society --- History --- Commercial art - History --- Advertising - History --- Art and industry - History --- Art and society - History

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On les croirait extraites du magazine Hara-Kiri. Et pourtant, elles sont toutes authentiques, ce ne sont pas des parodies. Ce sont des réclames, des publicités, pour vendre du savon, des cigarettes, des voitures, des pulls… Que des produits grand public dont les budgets étaient gérés par de grandes agences et qui essayaient de coller à l’air du temps. Quelquefois surréalistes, très souvent machistes, parfois purement racistes, ces pubs expriment mieux que tout essai l’époque dans lesquelles elles ont été imaginées. Ce livre n’a pas la prétention d’analyser ces images ni de les replacer dans un contexte politique et militant. Non, il est juste une compilation d’images du passé, le constat d’une certaine naïveté face à la consommation galopante, et l’amateurisme des publicitaires qui ne maîtrisaient pas encore la communication...

Posters --- Advertising --- Popular culture --- Sexism --- Racism --- Stupidity --- Affiches --- Publicité --- Culture populaire --- Sexisme --- Racisme --- Bêtise --- History --- Histoire --- Popular culture. --- Publicité --- Affiche --- Sociologie de la culture --- Comportement social --- Themes, motives --- Affiches - 20e siècle --- Publicité - 20e siècle --- Posters - History - 20th century - Themes, motives --- Posters - History - 20th century - Pictorial works --- Advertising - History - 20th century - Themes, motives --- Advertising - History - 20th century - Pictorial works

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In the early nineteenth century, the American commercial marketplace was a chaotic, unregulated environment in which knock-offs and outright frauds thrived. Appearances could be deceiving, and entrepreneurs often relied on their personal reputations to close deals and make sales. Rapid industrialization and expanding trade routes opened new markets with enormous potential, but how could distant merchants convince potential customers, whom they had never met, that they could be trusted? Through wide-ranging visual and textual evidence, including a robust selection of early advertisements, Branding Trust tells the story of how advertising evolved to meet these challenges, tracing the themes of character and class as they intertwined with and influenced graphic design, trademark law, and ideas about ethical business practice in the United States.As early as the 1830s, printers, advertising agents, and manufacturers collaborated to devise new ways to advertise goods. They used eye-catching designs and fonts to grab viewers' attention and wove together meaningful images and prose to gain the public's trust. At the same time, manufacturers took legal steps to safeguard their intellectual property, formulating new ways to protect their brands by taking legal action against counterfeits and frauds. By the end of the nineteenth century, these advertising and legal strategies came together to form the primary components of modern branding: demonstrating character, protecting goodwill, entertaining viewers to build rapport, and deploying the latest graphic innovations in print. Trademarks became the symbols that embodied these ideas-in print, in the law, and to the public.Branding Trust thus identifies and explains the visual rhetoric of trust and legitimacy that has come to reign over American capitalism. Though the 1920s has often been held up as the birth of modern advertising, Jennifer M. Black argues that advertising professionals had in fact learned how to navigate public relations over the previous century by adapting the language, imagery, and ideas of the American middle class.

Brand name products --- Marketing --- Trademarks --- Law and legislation --- Advertising history. --- American middle-class. --- Franco-American chef. --- Lydia Pinkham. --- National Biscuit. --- Quaker Oats man. --- Trademark law. --- billboards. --- brand. --- branding. --- character. --- consumers. --- corporate capitalism. --- counterfeits. --- display. --- fakes. --- font. --- fraud. --- goodwill. --- graphic design history. --- illustrations. --- infringement. --- knock off. --- labels. --- logos. --- media. --- newspaper. --- packaging. --- pictorial. --- print culture. --- product name. --- trade cards. --- visual culture. --- white space.