Cult 205 culture and advertisement



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CULT 205 CULTURE AND ADVERTISEMENT




Full Course Title:

Culture and Advertisement




Kultura i reklama

Course Code:

CULT 205

Course Level/BiH cycle:

I cycle

ECTS credit value:

6

Student work-load:

(Table with hours for: Lectures; Exercise; Other; Individual learning)




For the whole semester:

Lectures


Practical training

Assignment

Individual learning

TOTAL

45

15

30

60

150




Length:

Fall 2014, Lectures - 3 hours per week

Faculty/School/Department:

FASS; Cultural Studies

Course leader:

Sen. Assist. Nadja Berberovic

Contact details:

Office:

F 2.7 (Building A)

e-mail:

nberberovic@ius.edu.ba




Office hours:

Wednesday 11-12, 14-15

Thursday 10-12

Phone:








































Site:

IUS Main Campus







Host Study Program:

Cultural Studies

Course status:

Faculty Course

Pre-requisites:

None

Access restrictions:

None

Assessment:

Attendance and Participation, Essays, Presentation, Midterm Exam, Final Exam.

Date validated:

February 2012

Course aims:

The aims of this course are to:

  1. To understand the origins of contemporary advertising and consumer culture in the Euro-American context

  2. To develop a creative and critical approach to reading and engaging with advertisements

  3. To evaluate advertising messages in terms of their ideological import and cultural context

  4. To research how the ethos of consumerism influences different aspects of social life

  5. To critically assess the art of advertising and persuasion

Learning outcomes:

On successful completion of this course IUS student will be able to:

  1. Interpret the various semiotic, visual, aesthetic, cultural and sociological dimensions of advertising;

  2. Explain the history and evolution of the culture of advertising;

  3. Think and discuss about culture and advertisement critically and creatively;

  4. Employ interdisciplinary approaches when conducting research;

  5. Think independently and formulate critical opinions.

Indicative syllabus content:

This course offers a critical investigation of the parameters and meanings of contemporary culture of advertising and consumption.  Students will examine the different ways in which advertising influences, informs and reproduces the culture of consumption. In particular, the course will trace the ways in which advertisements “speak” to people, promising to satiate their desires while at the same time, shaping the very nature of those desires.  Students will explore mechanisms by which the persuasive nature of advertising can be ruptured, even momentarily, so that they will become more critically aware of its power to camouflage, divert or erase issues that require societal attention and intervention.  The course focuses on ways in which people become and perform as ‘consumers’, and the subsequent repercussions.

Learning delivery:

Interactive lectures, assignments, homework, field trips.

Assessment Rationale:

In order to provide solid undergraduate foundation in Cultural Studies Program and to enable students to develop a critical and evaluative understanding of culture with the socio-political environment, and to demonstrate commitment and diligence at any time, different assessment methods are proposed for this module. Therefore, appropriate and diverse assessment methods include field-work project, presentations, group activities, consultations, exams and take-home exams with the aim to help students to stay focused and active, and fully benefit from the module.

Assessment Weighting:

Attendance and Participation 5%,

Essay 15%

Presentation 10%

Midterm Exam 30%

Final Exam 40%

Essential Reading:

  1. Tungate, Mark. (2007). A Global History of Advertising.

  2. Hoffman, Barry. (2003). The Fine Art of Advertising. Stewart, Tabori and Chang.

Recommended readings:

Additional/recommended reading:

  1. Timothy de Waal Malefyt and Brian Moeran. (2003). Advertising Cultures. New York: Oxford.

  2. Williams, Raymond. (2009). Advertising: The Magic System. In Matthew P. McAllister & Joseph Turow (Eds.), The Advertising and Consumer Culture Reader (13-24). London: Routledge.

  3. Barthes, Roland. (1972). Mythologies. New York: Noonday Press.

  4. Hall, Stuart. (2008). Encoding/Decoding. In Neil Badmington & Julia Thomas (Eds.), The Routledge Critical and Cultural Theory Reader (234-244). London: Routledge.

  5. Lury, Celia. (2011). Consumer Culture. 2nd Ed. Cambridge, UK: Polity Press.

Intranet web reference:




Important notes:

Course policy: Class absences should not exceed 20% of total class time. Students who exceed the limits without a medical certificate or emergency excuse acceptable to and approved by the Dean of the relevant faculty member shall not be allowed to take the final examination and shall receive a mark of N/A for the course. If the Dean approves the excuse, the student will be considered to have withdrawn from the course.




Presentation of assignments
- Your cover page must include:

  • Your name

  • Essay title

  • Title of the subject

  • Your lecture’s name

  • Date of submission/Due date


- Your paper:

  • Font: Times New Roman

  • Size: 12

  • You must use 1.5 spacing

  • Include page numbers

  • Staple the pages together

  • Ensure that you use spell check and then check over your paper yourself again.

  • Double check over your grammar and expression

  • You will use the in-text citations (APA) for your referencing

  • You will NOT USE the following or similar websites in your academic writing:

  • Wikipedia

  • Answers.com

  • Yahoo answers




Plagiarism:

Assignments must be the original work of the student. Sources must be acknowledged and cited. Plagiarism will result in an immediate fail.

Submitting your work


  • You must submit your work on time in class.


In the subject section of the email, you must include:

  • Your name

  • Course title

  • Assessment

Submitting your work



In the subject section of the email, you must include:

  • Your name

  • Course title

  • Assessment type

Quality Assurance:

Student surveys, discussion on course, student appeals, e-mails, direct (formal) feedback at the end of the semester by students, assistants and other colleagues.


Course schedule:




Week

Lesson / Date

Topics to be covered

Class activities

Problems/ Assignments (Homework)

Readings

Learning objectives (After this lesson student will be able to) :



1 & 2

Introduction
Differences / similarities between art and advertisement (low art/kitsch/popular art/commercial illustration).Dadaism and the Pop Art movement (Oldenburg, Lichenstein, Warhol).The rise of the consumer culture. The American dream of pursuing happiness and the culture of selling.The evolution of advertising and the development of the media.The positive and negative aspects of advertising. Social status and brands.


-Analyze the origins and evolution of advertising

-Explore the influences of high art on low art (advertising) via Dadaism and the Pop Art movement

- Discuss how the development of the media has affected the stream of advertising

-Discuss pros and cons of advertising






Hoffman, Barry. (2003). The Fine Art of Advertising. Stewart, Tabori and Chang.

Introduction

Pg. 4-11




  • Define the key semiotic, artistic, sociological and cultural dimensions of advertising

  • Explain the beginnings of the culture of advertising

  • Distinguish the similarities and differences between art and advertising

  • Understand the influences of high art on advertising

  • Compare and contrast fine art and advertising/low art



3

The high art of class lust
Using „fine art“ to advertise and sell products. The influence of advertising on „high art“.Thomas J. Barratt, the father of modern advertising. Early advertising campaigns and first brand slogans. Barratt's advertisement strategy and its influence on the art of advertising. Class lust and the appropriation of fine art in advertising.

-Discuss the relationship between fine art and advertising

-Learn the history of fine art advertising

-Analyze examples of fine art appropriation in advertising

-Discuss various approaches to using fine art in advertising





Read Essay - Semiotic analysis of an advertisement

A Semiotic Analysis of Magazine Ads
for Men's Fragrances
, Alexander Clare

Chandler, Daniel (1997): Semiotics for Beginners [WWW document]

Hoffman, Barry. (2003). The Fine Art of Advertising. Stewart,Tabori and Chang.

Chap. 1

Pg. 12-26



The high art of class lust


  • Conduct basic semiotic analysis of advertisements

  • Interpret and analyze various layers of meaning in advertising

  • Understand the concept of class lust and its relation to social status and advertising

  • Understand how advertisers have used „fine art“ to sell their products and how advertising has influenced „high art“





4

When the going gets ironic, the ironic get going
Art of irony as a counter strategy. Irony, parody and satire in advertising. The mythology of sport in advertising.Traditional vs. non-traditional approaches in advertising. New generations, fresh approaches.


-Discuss irony, parody and satire as counter strategies in advertising

-Analyze examples of adverts in which fine art works are mocked and made fun of

-Compare traditional and non-traditional (ironic) adverts


-Students will prepare essays and analyze examples of the use of parody and irony in advertising

Chap. 2

Pg. 26-38



When the going gets ironic, the ironic get going


  • Critically analyze the use of irony, parody and satire in advertising

  • Compare and contrast traditional vs. non-traditional advertising strategies

  • Understand the use of mythological and artistic elements in sport advertising



5

The naked truth

The use of fine art images in advertising. Fine art nudes vs. the taboo of nakedness. Purposes and approaches in using nudity in advertising. Nudity in fashion campaigns. Provocation and entertainment. Nude images from high art as a visual euphemism. Fine art vs. the vulgarity of nakedness. Botticelli and the modern Venus. Michelangelo's David as the epitome of male sensuality. Nudity as a tool for creating a sense of intimacy and privacy in advertising.



-Discuss the social taboo of nakedness in contemporary advertising

-Analyze examples of fine art nudes in the history of advertising







Chap. 3

Pg. 39-54



The naked truth

  • Distinguish and compare the use of nudity vs. fine art nudes in advertising

  • Understand how art transforms forbidden bodies into socially acceptable selling objects






6

The queen of all media

Mona Lisa as the most popular work of fine art used in advertising. The enigmatic smile which can be turned into anything. The ideal of Renaissance art turned into a new value in consumer culture.

-Explore the ways in which various advertisers have used the iconic Mona Lisa in their campaigns

-Analyze examples of adverts in which the Mona Lisa appears

-View TV commercials featuring the Mona Lisa and discuss today’s perception of the Renaissance ideal of female beauty




Chap. 4

P. 54-68


The queen of all media

  • Examine the ways in which the iconic Mona Lisa appears in media and advertising

  • Analyze the effect of the pop art movement

on the famous Renaissance icon





7

Hello Dali

The influence of the surrealist art movement of advertising. Salvador Dali, Max Ernst, René Magritte and Joan Miró. The artists’ commercial work in fashion photography, advertising and film.



-Analyze examples of famous surrealist artworks

-Discuss the influence of surrealist commercial art on modern advertising







Chap. 5

Pg. 68-82



Hello Dali

  • Recognize the influence of surrealist commercial art on contemporary advertising

  • Understand surrealist tactics of juxtaposition and distortion, motivated by the belief that the actual world is more vivid when perceived through the lens of the unconscious






8

Midterm Exam















9

The patron and the package

Patrons of art and advertising. Walter Paepcke, packaging design and the Container Corporation of America. The famous CCA advertising campaign featuring Bauhaus designers. Paul Klee, Wassily Kandinsky, Walter Gropius, Josef Albers, Laszlo Mogoly-Nagy.



-Analyze the influence of Bauhaus art on contemporary advertising and packaging design

-Discuss how the CCA campaign became a benchmark of some of the best contemporary graphic design



-View and discuss examples of Container Corporation of America advertising campaigns

-View and discuss examples of Bauhaus packaging and advertising design



Chap. 6

Pg. 83-96



The patron and the package

  • Critically examine the basic Bauhaus notion that in the industrial society form follows function and understand how this notion has influenced contemporary advertising




  • Understand how great artists, such as Willem de Kooning, Henry Moore, Joseph Cornell, Renee Magritte, Jacob Lawrence and James Rosenquist, have combined high art and advertising in a new way



10

Pop goes the easel

Pop art as the synthesis of art and advertising. The American movement and commercial art. Andy Warhol and the Factory. Roy Lichenstein, Robert Rauschenberg, Jasper Johns and Richard Hamilton. Consumerism and the American dream.



-Evaluate pop art as the finest example of the fusion of high and low culture, of masterpiece and mass production, of beauty and marketing

- View, analyze and compare examples of famous works of pop art and discuss the ways in which pop artists influenced modern advertising

-Discuss ways in which pop art made fun of high culture and museums in order to give us new ways of understanding the world by giving us new ways to see it





Chap. 7

Pg. 97-110



Pop goes the easel

  • Understand pop art’s visual and conceptual language




  • Analyze contemporary advertising within the scope of consumer culture



  • Understand pop art’s representation of the consumer class in an ironic, materialistic and self-critical way



11

Advertising under the influence

Liquor advertising and high art. The iconic Absolut Vodka advertising campaign and identity marketing. Cultural advocacy, advertising’s powerful tool.



-Explore ways in which high art was appropriated in modern examples of liquor advertising

-Analyze the iconic Absolut Vodka campaign and discuss examples of famous artists’ design for the brand

-Compare how liquor advertising has evolved through the ages





Chap. 8

Pg. 111-124



Advertising under the influence

-Analyze the modern history of liquor advertising
-Understand the influence of Michel Roux and the iconic Absolut Vodka campaign on subsequent liquor advertising campaigns
-Understand and interpret how the concepts of escape, exhilaration and inspiration are used in liquor adverts
-Understand the concepts of identity marketing and cultural advocacy in relation to advertising design



12


The greatest degeneration

Greenberg’s “universal culture”. Avant-garde and “art junk”. Mass culture, American consumerism and kitsch. Tracey Emin, Damien Hirst, Jeff Koons, Hans Haacke, Barbara Kruger. The post-pop generation.



-Analyze how the post-pop generation took art and advertising in a new direction

-Discuss the art in tradition of the “age of mechanical reproduction” and its influence on modern advertising






Chap. 9

Pg. 125-142



The greatest degeneration

  • Understand the concepts of consumer culture, commercial art and kitsch

  •  Critically examine the modern history of art and advertising





13

Final Exam













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