Week III March 23, 2009 Postmodernism in Advertising Adcult: some characteristics: --advertisement as accessory to product --advertisement as comfort for post-decision consumer --advertisement may not create desire, but can channel it effectively, and define it in terms of culture --what is carried with the advertisement is what we know, share, and believe in --Adcult enculturates --Adcult creates both things and their meanings In his discussion of Adcult, Twitchell makes an astounding comparison between the culture of religion in 16th century Florence and the culture of advertising in 21st century North America. To do this, he makes use of four principles: people hold certain values (cultural level); these values are communicated using different images, icons, objects (symbolic level); people tend to desire these objects in the context of their personal lives (popular level); institutions/individuals wish to promote themselves by associating themselves with the cultural values (advertising level) Cultural level: religion and concept of the divine Symbolic level (primary contextualization): icons, religious paintings, stained glass, sculpture, artifacts, etc. employed within the direct context of the religious institution Popular level (secondary contextualization): the acquisition of these items by individuals as a sign of their sophistication and personal association with the cultural value Advertising level (tertiary contextualization): the purchase of an association with the religious institution by having ones personal signifier (read Religious Order) visually associated with the religious signifier. What was advertised was the services these Orders offered at a lucrative price. Worldview &amp; Basic Notions: --images possess no intrinsic meaning, but have a multitude of potential meanings; --decoded meaning depends upon diverse contextual factors, including the differing perspectives of the viewers; --thus, images originally considered to have a single meaning and to be interpreted within a single framework now seen to possess multiple meanings within multiple interpretative frameworks. Postmodernism rejects the distinction between high and low art (or elite and popular culture) as artificial. Items created in the one may take on different meaning in the other when recontextualized. Postmodernist expression frequently becomes selfreferential &amp; highly self-conscious (examples) Postmodernism employs the notion of nostalgia through the use of retro images in a contemporary interpretative frame. (examples) The Statue of David Commissioned in 1501 by the Arte della Lana (Guild of Wool Merchants), who were responsible for the upkeep of the decoration of the Cathedral in Florence. When completed, influential artists and citizens insisted it be placed in the public square in front of the Town Hall. The Statue of David by Italian sculptor Michelangelo is considered one of the finest pieces of elite art of the Western world. Yet here, its image has been co-opted by advertisers to promote Levi s Jeans. The juxtaposition of contexts for interpretation creates the new meaning of the overall image. James Twitchell calls subliminal messaging &quot;utter nonsense.&quot; The perpetuation of the subliminal myth is more convenient rationalization for over consumption than anything else, he says. &quot;It's one of our most popular interpretations of advertising: They are injecting us with an unnatural desire, &quot; he says. &quot;It [says], I'm so weak that someone with a strong message can make me do something that I wouldn't normally do . For those who believe in it, it's a gift from heaven. It explains everything. It's poppycock.&quot; Advertisers who take a tongue-in-cheek approach to the notion avoid negative connotations and engage consumers in a dialogue. &quot;It creates a commonality of interest between the advertiser and the consumer,&quot; says Ewen, author of Captains of Consciousness: Advertising and the Social Roots of Consumer Culture. &quot;If the traditional subliminal advertising criticism was one that these evil people are situating these images in your advertising and plucking your libidos without your knowledge, then this is one image saying to the consumer, 'You know these stories. Let's turn it into a game.' The advertising and the client are on the same side, and they are participating in each other's folklore.&quot; In the 1950s, it was believed that advertisements for alcoholic beverages used subliminal advertising by hiding sexual images which would be recognized subconsciously. This ad satirizes this belief and invites the reader to share the joke. Here, a depiction of the female form by French Impressionist painter, Renoir, is juxtaposed with a contemporary female form to demonstrate the merits of spandex! The use of this painting takes on a new meaning in this consumer context, while at the same time, the ad does not take itself seriously. This is an example of American Regionalism. Some propose that Wood intended this as a parody of strict Midwestern American conservatism, which Wood denied. Others see it as a glorification of the moral virtue of rural America. This well-known American painting has been co-opted to establish the message desired by the advertiser. Classical Americana redefined in terms of consumer culture, with a humorous twist for good measure. This ad for Fendi is a testimony to the profitable convergence of postmodernist curiosity and aggressive marketing. A young woman about to kiss a male statue, it portrays the Pygmalion myth: the implication that Fendi will work Aphrodite-like, and bring the statue to life. Art in ad &amp; art as ad momentarily merge. Here, we have an ad for Swatches timepieces which focuses on the variety of designs available. It refers itself to the various self-portraits of Dutch painter Vincent van Gogh as a similar form of art of changing . Cortese s view of what constitutes postmodernist worldview : discussion (counter to modernism and instrumental rationality) Cortese s discussion of postmodernism in advertising: the elements of postmodernist style, but an exploitation of postmodernist philosophy. 1) Postmodernism in advertising relates to the style of composition and presentation of <a href="/keyword/contemporary-advertising/" >contemporary advertising</a> ; admitting to the consumer their true purpose, coming clean , as Cortese puts it. 2) Postmodernism in advertising also applies to the academic paradigms which analysts apply to advertising Sir John E. Millais and his portrait A Child s World (c. 1885). Hailed by Royal Academy. Sir William Ingram purchases for Christmas issue of Illustrated London News (1887). Thomas J. Barratt of Pears Soap Co, purchase painting &amp; all its rights. Uses in advertisement (late 1880s). advertisements as mini-dramas advertisements as windows advertisements as mini-narratives advertisements as art advertisements as sports advertisements as mirrors advertisements as discourse --positive treatment of products --non-alienation of viewers --content geared towards target group --audience treated as homogeneous -- percepti...