ADVERTISING & PROMOTION

COURSE HANDBOOK

2010

Lecturer: Shusma Khan

 Contents

Contents........................................................................................................................................................ 2

Introduction..................................................................................................................................................1

Student contribution to the course.............................................................................................................1

Learning outcomes.......................................................................................................................................2

The course at a glance................................................................................................................................. 4

WEEK BY WEEK.......................................................................................................................................5

Week 1 Advertising & everyday life plus organisational matters.......................................................... 5

Week 2 Advertising and social change?................................................................................................... 5

Week 3 Modernity to postmodernity.........................................................................................................6

Week 4 Hard and soft sell; or the rational, the creative and the postmodern...................................... 6

Week 5 From posters to internet; from mass to ‘me’ markets............................................................... 8

Week 6 Emotion, nostalgia and utopia: what politics?...........................................................................9

Week 7 Workshops to discuss................................................................................................................. 10

Study Groups............................................................................................................................................. 12

FURTHER READING..............................................................................................................................16

RESOURCES............................................................................................................................................. 19

Plagiarism and collusion........................................................................................................................... 22

Note: ........................................................................................................................................................... 22
Introduction

Advertising and Promotion (COURSE CODE) aims to engage students with

the historical development of the advertising industry; current and
contemporary operations and perception of its own practices, as well as
developing a critical understanding of its place within consumer and
media culture, and society on the whole.

Beginning of the 21st century saw a wider transformation of marketing and

advertising through so-called interactive media. The course shall provide
an examination of both old and new media. The key framing device for
this course is the attempt to examine and explore the shift from
modernity to post-modernity.

Students shall also aim to examine the notion of advertising’s power. The
means of regulating and challenging those powers are issues ever present
in debates, whether advertising is regarded as shaping our media
environments or encouraging individual consumer purchases and shaping
identities.

Nevertheless, advertising cannot be classified as purely a marketing tool

used to manage the capitalist process and to excite promotion and sales.
Cultural communication, entertainment and are all products of
advertising. Advertisements aim to build a bridge between brand and
consumer-audiences matching the values of consumers to the brand.
Students shall examine in detail the different methods of advertising’s
discourses in consideration of advertising’s changing discursive strategies.
We shall further examine how ads engage us as audiences. How they offer
pleasure, emotional responses, stimulation of thoughts, recall memories
and provoke dialogue.

Student contribution to the course

Students taking this course are expected to:

• Arrive promptly at seminars, lectures, tutorials and workshops and
not leave early except through prior and (exceptional) agreement
with your tutor.
• Let your tutor know in advance if you are unable to attend
seminars, because of illness or other exceptional circumstances,
and if that is not possible email them as soon as possible after the
seminar to explain your situation. This is not only polite but will
allow tutors to assess whether you need support of some kind.
• Engage with the required preparation for your seminar and your
study group. If for some reason you cannot do everything that has
been asked of you, ensure you bring something to the sessions, i.e.
you should not rely on the hard work of your fellow students!

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 • Try to take part in seminar discussions.
• Take notes in seminars and lectures, even if these are only brief.
They will help you consolidate your learning and act as a reminder
when you are working on your assessments.
• Do try to read well beyond the key readings so that by the time you
come to write your essay you have already compiled a substantial
bibliography. At this stage in your degree course we would expect
you to branch out to pursue your own particular interests, reading
more widely and with more depth of understanding. But again, do
take some notes, however short, on everything you read, and
ensure you note the full reference. The latter will save much time
later.
• Be conscientious about your study group and make good use of it to
help you think through your ideas, share resources and get to grips
with readings.
• When you wish to discuss something with your tutor, do arrange a
meeting during office hours. On the whole we’d rather not be
ambushed at the end of a seminar when we are likely to be rushing
off to another class and unlikely to be able to deal adequately with
your queries.
• Finally, remember that what you get out of the course depends on
what investment you make in the course, both inside and outside
the class room.

Learning outcomes

The course has been drawn on a theoretical and industry-informed critical

awareness approach, therefore students are expected to have gained new
insights into areas that as consumers you already may very well be
familiar with.

In particular a successful student will be able to:

• Demonstrate a historical understanding of advertising's economic

and cultural development, its relation to changes both in media and
in 'consumer society' and gained knowledge about recent
proliferation of advertising and promotional techniques within new
media.
• Engage with discussion of advertising's development in the context
of ideas about the shift from modernism to postmodernism.
• Demonstrate a familiarity with key academic debates about the
place and status of advertising, and have read some of the main
academic texts dealing with advertising.

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 • Demonstrate insight into the ad industry’s practices, its internal
debates and often anxious sense of itself and the value of its
output.
• Deploy a range of methodological approaches in the research and
study of advertising, including textual or discursive analysis of
ad/campaigns and interviewing of audiences/consumers.

At a more practical level you will have developed some other skills:
• You know where to turn to begin to research a particular aspect of
advertising.
• You have built up your experience of working collaboratively and
independently.
• You have gained more confidence in expressing your ideas, asking
questions, and responding to others, even in a quite large group.
• You have become more adept at doing 'formal' presentations,
relying only on notes to speak from, and making appropriate use of
audio/visual material. But you have also developed your skills in
responding to others’ presentations and evaluating them.
• You have improved your writing skills. You are more confident with
the genre of the academic essay, especially the long research
essay, and have had practice at other forms of writing.

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 The course at a glance

INTRODUCTION
WEEK 1: Lecture: ‘Introduction to advertising & promotion’
Seminars: Advertising and everyday life, plus organisational
matters

BLOCK ONE: CHANGE

WEEK 2: NO Lecture
Seminars: Advertising and Social Change

WEEK 3: Lecture: Historical developments in advertising

Seminars: Modernity to postmodernity

WEEK 4: NO Lecture
Seminars: Hard and soft sell; or the rational, the ‘creative’
and the postmodern

WEEK 5: Lecture: The relation between media and advertising

Seminars: From posters to multimedia; from mass to ‘me’
markets

BLOCK TWO: ANXIETY AND RISK

WEEK 6: Lecture: Consumption and advertising
Seminars: Advertising as ‘therapeutic’

WEEK 7: NO Lecture
Lecture: Behind the brand
Seminars: Emotion, nostalgia and utopia: what politics?
The knowledge industry?

WEEK 8: Final Examination

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WEEK BY WEEK

Week 1 Advertising & everyday life plus organisational

matters

In this week students will have the opportunity to exchange views on their
perception of marketing, while discussing several advertisements. The
personal relationship of advertising to our lives shall be discussed, with
emphasis on the effect of advertising on our daily lives, as well as the
temporal reach and limited of advertisement. Furthermore, light shall be
shed on how advertisements enter our consciousness, their indirect
impact, individual and collective, on our emotions, thoughts and actions
and the boundaries of advertising.

The week shall further take on information based announcements through

the advertising medium and at what stage advertising becomes
promotion? The paradox of the reach of advertising and the recall factor of
particular advertisements shall be examined.

Week 2 Advertising and social change?

Advertising plays a role in persuading us to buy and consume goods and

services, therefore advertising can be said to exercise some sort of power
over us as audiences. It may be argued that advertising does not in fact
function in that way, but denial of certain powers over buying behaviour
cannot be denied. Advertising is also said to have effect over social
change, in general it is usually representative of the trends within already
evident society, in other commentary it is believed to be stereotyping
whether by gender, sexuality, ethnicity, nationality and so on. Other
commentators of advertising see it as pushing change on hapless victims.
And still others see advertising as one of a range of cultural apparatuses
which discursively produce change and opening up possibilities of new
identifiable audiences.

This week shall require students to research advertisements from other

countries with emphasis over historical moments. This shall then be
studied in the classroom in order to examine and explore the relationship
between ads and social change, and discussing it briefly in groups.

Key Reading
Everyone should read:
Schudson, Michael (1993), The Uneasy Persuasion, London, Routledge, Ch
6 The emergence of new consumer patterns: A case study of cigarettes,
pp.178-208

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Week 3 Modernity to postmodernity

This week will engage students with terms and frameworks of thinking
that have been employed since the beginning of the 20th century. The
terms modernity to postmodernity here refer to the wider social and
political as well as economic shifts, and how audiences experience the
modern world, and the cultural change. Students will try to understand
how the development of the advertising industry can be related to these
frameworks and more particularly we will be focusing on how the cultural
level shifts can be identified in advertising i.e. the identification of what
has been referred to as postmodern advertising.

Key Reading
Featherstone, Mike (1991) Consumer Culture and Postmodernism, London,
Sage, Ch 1 Modern and postmodern: definitions and interpretations, pp.1-
12
Slater, Don (1997) Consumer Culture and Modernity, Cambridge, Polity,
Ch 7 ‘New Times’ especially sections ‘Fordism’ and ‘Post-fordism’ pp. 183-
193 [full chapter pp.174-209]

Supplementary Reading
Blake, Andrew (1997) ‘Listen to Britain: music, advertising and
postmodern culture’ in Mica Nava et al (eds) Buy this Book: Studies in
advertising and consumption, Londong, Routledge, pp.224-238
Featherstone, Mike (1991) Consumer Culture and Postmodernism, London,
Sage, Ch 5 ‘The aestheticization of everyday life’, pp.165-82
Harvey, David (1989) The Condition of Postmodernity, Cambridge, Polity,
Parts,1and 3 but especially Ch 3 ‘Postmodernism’, pp.39-65
Lash, Scott and Urry, John (1994) Economies of Signs and Spaces, London,
Sage, ‘Advertising: new paradigm for the culture industries’, pp.138-142
Lee, Martyn (1994) Consumer Culture Reborn, London, Routledge, Ch 9
‘The culture of deregulation’, pp.138-159
Murray, Robin (1988) ‘Life after Henry (Ford)’, Marxism Today, October,
pp.8-13

Week 4 Hard and soft sell; or the rational, the creative and
the postmodern

This week looks at the shift from the historic style of advertising, which
focused more on rational, plain-speaking advertising relying more on
words than images, to the more ‘creative ad’ in which product is
backgrounded and visuality foregrounded.

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‘Hard sell’ refers to the price emphasis in ads, whereas ‘soft sell’ evokes
value and mood that can be associated with the brand. Closer
examination of history in this week shall reveal much complex progressing
of hard to soft sell. The reinvention of creativity in light of the following
reasons shall be determined:

 a new generation or grouping emerges who cannot satisfactorily be

addressed using the current means
 because competition within a particular sector demands new
techniques
 because a new generation of agencies need to make their mark.

Key Reading
Bradley, Sandra (1994) ‘Hard sell v. soft sell: a comparison of American
and British advertising’ in G. Englis (ed) Global and Multinational
Advertising, Hillsdale, New Jersesy, Lawrence Erlbaum, pp.141-157
Leiss, William, Kline, Stephen, Jhally, Sut, Botterill (2005) 3rd edn Social
Communication in Advertising: Consumption in the mediated market
place, London, Routledge Ch 16 ‘The fifth frame’ extract pp.563-572 [full
chapter, pp.563-578]
Lee, Martyn (19940 Consumer Culture Reborn, London, Routledge, Ch 9
‘The culture of deregulation’ extract, pp.148-159 [full chapter pp.138-159]

Supplementary Reading
McFall, Liz (2005) Advertising: A cultural economy, London, Sage,
especially ‘Introduction’, pp.1-8
Lury, Adam (1994) ‘Advertising: beyond the stereotypes’ in Russell Keat,
Nigel Whiteley and Nicholas Abercrombie (eds) The Authority of the
Consumer, London, Routledge, pp.91-101
On ‘hard’ and ‘soft’ sell
Barthes, Roland (1988) The Semiotic Challenge, ‘The advertising message’
Oxford, Basil Blackwell, pp.173-178
Brierley, Sean (1995) The Advertising Handbook, London, Routledge, Ch
10 ‘The principles of persuasion’, pp.139-151
Bourdieu, Pierre (1984) Distinction: A social critique of the judgement of
taste, London, Routledge, Ch 7 ‘The choice of the necessary’ especially
pp.372-382
Bullmore, Jeremy (1991) Behind the Scenes in Advertising ‘The consumer
has a mind as well as a stomach’, in, pp.107-122
On ‘creativity’
Fletcher, Winston (1992) A Glittering Haze, Henley, NTC Publications, Ch 7
The creative hook, pp.79-84

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Frank, Thomas (1997) The Conquest of Cool: Business Culture,
Counterculture, ‘“How do we break these conformists of their conformity?”
Creativity conquers all’, pp.89-103
Mort, Frank (1996) Cultures of Consumption: Masculinities and social
space in late twentieth century Britain, London, Routledge, Part 2 Ch 1
‘Advertising: the dynamism of commercial society’, especially pp.91-120
Nava, Mica (1992) Changing Cultures: Feminism, youth and consumerism,
London, Sage, Ch 9 ‘Discriminating or duped? Young people as consumers
of advertising/art’ (with Orson Nava), pp.171-184
Nixon, Sean (2006) ‘The pursuit of newness: Advertising, creativity and
the “narcissism of minor differences”’ in Cultural Studies, Vol.20, No.1,
January, pp.89-106
Thompson, John (1990) Ideology and Modern Culture, ‘The valorization of
symbolic forms’, pp.154-162
Williamson, Judith (1986) ‘…But I know what I like: the function of “Art” in
advertising’ in Consuming Passions, London, Marion Boyars, pp.67-74
On postmodern ads
Myers, Greg (1999) Ad Worlds, London, Routledge, Ch 12
Goldman, Robert (1992) Reading Ads Socially, London, Routledge, Ch 9
The postmodernism that failed, pp.202-232
Goodwin, Andrew (1993) 'Fatal Distractions: MTV meets postmodern
theory' in Simon Frith, Andrew Goodwin, Lawrence Grossberg (eds) Sound
and Vision The Music Video Reader, London, Routledge, pp. 45-66
Giroux, Henry (1994) ‘Consuming and social change: the “United Colors of
Benetton” in Cultural Critique, Winter 1993-4, No.26, pp.5-32
Wernick, Andrew (1991) Promotional Culture: Advertising, ideology and
symbolic expression, London, Sage, Ch 5 ‘Advertising media and the
vortex of publicity’, pp.92-123

Week 5 From posters to internet; from mass to ‘me’ markets

One of the oldest mediums of advertising were the handbills (the Victorian
equivalent of the flyer) and posters. This week looks at the development
of the medium of advertising from posters to newspapers and magazines,
then radio followed by the television and today the internet. This week
shall also examine the account of advertising’s development and changing
address from mass markets to more segmented micro-markets (therefore
allowing for targeting individuals), what has once been referred to as ‘me’
media by a advertising commentator.

Once of the characteristics of postmodernity that shall be examined is the

range of media that co-exist rather than a primary mass media. This
demands for the careful implementation of advertising campaigns. Posters
are even today as important a medium of advertisement as they have

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ever been. Even though advertising is able to target the individual in this
day and age, but most of it still works with the idea of mass, segmented
or micro markets.

Key Reading
Hegarty, John (1998) ‘Selling the product’ in Margaret Timmers (ed) The
Power of the Poster, London, V&A Publications, pp.220-231
Internet Advertising Bureaux (2006) ‘Online audience’ and ‘Resources’
Read further on: http://www.iabuk.net/
John Tylee (2006) ‘That was the year that was: Adland’s 2006’, Campaign
15 December, extract p.4 [full article pp.4-5]
‘Viral marketing’ (2005) MediaCuardian, Guardian, 19 Dec, p.9

Supplementary Reading
Bernstein, David (1997) Advertising Outdoors: Watch this space, London,
Phaidon Press, ‘The strengths of outdoor’, pp.112-175 [but if you fancy
you could read any of the other chapters as an alternative]
Curran, James (1981) ‘The impact of advertising’, Media Culture and
Society, Vol. 3, January, pp.43-69
Jacobson, Michael F. and Mazur, Laurie Ann (1995) Marketing Madness: A
survival guide for a consumer society,' Boulder Colarado, Westview
Leiss, William et al (1990) Social Communication in Advertising, London,
Routledge, Ch 5 ‘Advertising and the development of communications’,
pp.91-122
Miller, Vincent (2000) ‘Search engines, portals and global capitalism’ in
David Gauntlett (ed) Web.studies: Rewiring media studies for the digital
age, London, Arnold, pp. 113-121
Myers, Greg (1994) Words in Ads, London, Edward Arnold, Ch 8 “Do we
have time for a coffee?” Conversations and everyday life’, pp.105-121
Myers, Greg (1999) Ad Worlds: Brands, media, audiences, London, Arnold,
Ch 5 ‘The media mix’, pp.75-92 or Ch 8 ‘Advertising, interaction and the
world wide web’, pp.133-147

Week 6 Emotion, nostalgia and utopia: what politics?

Discussions this week are a continuation from Weeks 6 and 7. One,

sometimes pessimistic, strand in debates about postmodernity make
much of the ‘end of affect’, and ideas about flatness and lack of depth –
the idea that we live in a world of surfaces typified by a decontextualised
image culture which is emotionally impoverished. Either a ‘playfulness’
(an ironic mode) or a weary detached cynicism characterises our relation
to representations. Our world marks the end of history (and politics). Such

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a culture, as the product of capitalism and commodification, breeds the
conditions for nostalgia which is one of the mechanisms to ward off
anxiety about change and upheaval. Advertising is seen to stir up desire
but also to manage it – and us. But can we also see a different strand? On
the one hand, utopian and carnivalesque strains which sometimes break
through those attempts at control, and on the other hand an anti-ad
politics.

Key Reading
Dyer, Richard (1992) Only Entertainment, London, Sage, Ch 3
‘Entertainment and utopia’, pp.17-34
Goldman, Robert and Papson, Stephen (1996) Sign Wars: The cluttered
landscape of advertising, New York, Guilford Press, Ch 4 ‘The flip side of
jadedness: memory and a sense of place’, extracts pp.115-118, pp.127-
130, pp.137-140 [full chapter pp.115-140]
Klein, Naomi (2000) No Logo, London, Flamingo, Ch ‘Culture jamming: ads
under attack’, extracts, pp. 281-288, pp.304-309 [full chapter pp.279-309]

Supplementary Reading
Falk, Pasi (1994) The Consuming Body, London, Sage, Ch 5 ‘Selling
good(s): on the genealogy of modern advertising’ pp. 151-185. Especially
section ‘Modern advertising: dimensions of change pp. 156-157, and
‘Epilogue pp.179-182
Lears, Jackson (1994) Fables of Abundance:A cultural history of
advertising in America, New York, Basic books, extract from ‘Introduction’,
pp.9-end of first paragraph p.12, extract from Ch 7 ‘The new basis of
civilization’, pp.212-218
McCracken, Grant (1990) Culture and Consumption, Bloomington and
Indianapolis, Indiana University Press, Ch 7 ‘The evocative power of
things: consumer goods and the preservation of hopes and ideals’,
pp.104-117
Meijer, Irene Costera (1998) ‘Advertising citizenship: an essay on the
performative power of consumer culture’, Media, Culture and Society, Vol.
20, No. 4, pp.235-49
Winship, Janice (2000) ‘Women outdoors: advertising, controversy and
disputing feminism in the 1990s’ International Journal of Cultural Studies,
Vol. 3, No. 1, pp.27-55

Week 7 Workshops to discuss

This week Theoretical lectures will cover areas in:

 Marketing Communication
 Decisions and Ethics
 Advertising Management and Strategy

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  Advertising Research
 Media Selection
 Consumer Promotion and Trade Promotion
 Public Relations

Assessment 1 is a report on the ‘Diary’

Assessment 2 is your group Advertising Plan in Week 6

Assessment 1
Diary
The diary has to be submitted in by the Friday of the week 1. With your
diary you should aim for around 1000 words but it may be longer if you
actually find it easier to write more.

Criteria for assessment

The criteria for the Diary is:
• Your ability to be self-reflective about your own ad consumption
and thus:
o the detail and quality of your observations
o your skill at communicating these to a reader using both
words and images. So please illustrate!
o your ability to think about advertising in terms of its
contribution to the routines of everyday life and its
marking of space and time
o your ability to think critically and relationally about your
own consumption and responses to advertising.
Feedback

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This work shall only be graded as Pass or Fail, and therefore feedback will
be provided to those who fail to submit or provide a diary that is not
fulfilling the criteria mentioned above.

Assessment 2
Group Advertising plan in Week 6

Working in small groups, you will make on a particular advertisement,

from particular periods. There will be 4 presentations in one hour so each
presentation cannot be longer than 10 minutes to allow time for
discussion.

Further details of the requirements will be provided in the classroom in

Week 3.

A word of warning

Studying advertising can make you get carried away by

marketing/advertising hype. In researching data from various business
publications from agencies themselves, you are especially likely to get
sucked in. Ensure at all time to keep a critical and sceptical distance from
all of this material. Always use an academic literature and frameworks to
throw into question some of the ideas and arguments offered by the
industry.

Study Groups

Aims
• Provides you with a supportive environment in which you can
discuss the week’s reading in advance of the seminar thus
developing your confidence to articulate your ideas in the seminar.
• Help you to actively think through your ideas and enable you to get
to know some other students quite well
• Provide a forum where you can exchange and share reading matter,
raise problems and issues arising from your individual study and
written work, and the course more generally.
Your Study Group will also be engaged in a group presentation and in
gathering together certain kinds of material to bring to the sessions.

Weekly Tasks

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Every week each study group would be tasked with studying particular
areas, and present 10 minute presentations to the class at the beginning
of each lecture. This would therefore require reading, research and
analysis.

Schedule:
We want you to meet regularly, at least once a week, probably for an hour
if you’re discussing reading and preparing some shared notes to bring to
the seminar. You may need to meet for a bit longer at your first meeting
and in your final meeting before doing your presentation in Week 4. This
time could be split into two shorter periods.

Organisation:
Initial tasks: (These can in fact be done in our first seminars)
• Introductions!
• Exchange names and decide on the best way of communicating
(quickly) with each other.
• Fix preliminary dates, times and venue. Regular times each week
are probably best and Friday may be the easiest day to opt for.
• For each meeting arrange for one of you to lead or chair discussion
and a second person to take notes. Try to alternate these roles.
Organise this for your first meeting. The ‘chair’ can then think in
advance about how to ‘manage’ the session.

Some ground rules:

The pluses of group work should be that you can cover more ground than
when working on a project by yourself and this combined intellectual
effort can fruitfully push ideas on. When battling with material by yourself
you may get 'stuck', and the experience is a lonely one, whereas doing
work with other people can be a more sociable (and hence less anxious
and lonely) experience. Doing a presentation as a group is usually less of
a number than when doing one by yourself: you have the support of the
group; it is not just your responsibility.

Sometimes, however, the experience of working in a group is more

negative than positive. Problems can arise from not being able to arrange
times when everyone can meet; by particular individuals not pulling their
weight; from one person dominating the group; from people not liking
each other. As a consequence there is anxiety and bad feeling all round,
the shared organisation disintegrates and if the work is accomplished, the
chances of it being of a high quality or satisfactory to any party are slim.

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Since you all probably have experiences - good, bad and indifferent - of
group work and have learnt quite a lot already about what makes a group
work and what destroys it, it would seem a sensible idea that at your first
meeting you exchange these ideas.

Our own view is that to get the most out of working in a group, many of us
have to work in a different way than we do when working by ourselves.

• In a group you have to work to a group schedule and not just to an

individual one, This means that the group, as a group, has to be
well organised, planning work in advance and strictly meeting the
group's 'deadlines'.
• Doing work at the last minute isn't usually an option in a group in
the way you can get away with that when you're only responsible to
yourself.
• It may, however, mean that some individuals have to slow down, be
patient and not leap ahead as they might if working by themselves.
• In a group you have to communicate, exchange, and record ideas.
• This usually means that you have to commit things to paper that
you might not if you were working by yourself or you do so at an
earlier stage than when working alone.
• Ideas and what is to-be-done-next have to be collectively and often
lengthily discussed in a way they don't for individual projects.
Group dynamics are, of course, complex but bear in mind that you do not
have to be great buddies with the people in your group for the group to
work well. In fact groups may work better when people are slightly distant
from each other because they are more likely to adopt 'professional'
rather than 'personal' codes in the way they talk and work with each
other.

Bear in mind too that everyone does not have the same strengths (or
weaknesses) and can contribute different things to a group. But the best
learning experience is perhaps where individuals feel they have been able
to contribute what they're already best at, but also tried to improve those
areas in which they are weaker.

• In order to make the best of people's talents the group needs to

know what they are. This, in turn, means you being able to reflect
on that yourself and learning to communicate it to the group.
This could also be an issue to talk about at your first meeting.
• Being in a group meeting involves you in several activities: on the
one hand, participating by offering your ideas, or presenting the
work you've done; responding and reflecting on the responses
made by others to what you've contributed. On the other, listening

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 carefully to what they have done and asking them questions and
responding to their ideas.
• There is perhaps another task of being aware when individuals are
not contributing.
Responses to this vary, from ignoring them to being aggressive. It is
best, however, to try to be straight but calm in such situations and
act immediately. Don't let things fester.
Try to collectively but gently encourage the person to explain why
they are not contributing. Is it factors outside the group? If so you
might as a group be able to organise a schedule for them that
means they can contribute more at a later stage.
Or do they have a problem with how the group (project) is shaping
up? Try to get them to articulate what exactly the difficulty is. It
may be that they in fact have some good ideas but there hasn't
quite been space for them to air them and the group project seems
to have leapt ahead in a way they are not entirely happy with; a
'resistance' sets in. If the group and the individual concerned can
maintain their cool – not allow resentment to boil over – (and it is
hard not to feel personally attacked whichever party you are in this
situation) then a discussion of their ideas and their relevance to the
project can be beneficial, though initially it may feel as if things are
going backwards. Not easy to tolerate when time is short and
you’re all under pressure.
• If the group dynamic does seem to be breaking down and you feel
unable to control it, then seek outside assistance, i.e. discuss with
Polly or I sooner rather than later!
But here’s to some productive study groups which make your
experience of the course a more fulfilling one.

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FURTHER READING

The following are some of the key academic books in the field:
Arvidsson, Adam (2006) Advertising Cultures, London, Routledge
Sheehan, Kim Bartel (2003) Controversies in Contemporary Advertising,
London, Sage
Berger, Arthur Asa (2000) Ads, Fads, and Consumer Culture, Lanham
Boulder, Rowman and Littlefield
Brierley, Sean (2002) 2nd edn The Advertising Handbook, London,
Routledge
Brown, Stephen and Turley (eds) (1997)Consumer Research: Postcards
From the Edge, London, Routledge [a collection of articles from the
discipline of marketing]
Burke, Timothy (1996) Lifebuoy Men, Lux Women Commodification,
Consumption and Cleanlines in Modern Zimbabwe, Leicester, Leicester
University Press,
Clark, Eric (1989), The Want Makers, London, Coronet
Cook, Guy (1992) The Discourse of Advertising, London, Routledge
Cortese, Anthony (1999) Provocateur: Images of women and minorities in
advertising, Rowman and Littlefield
Cronin, Anne (2000) Advertising and Consumer Citizenship, London,
Routledge
Cronin, Anne (2003) Advertising Myths: The strange half-lives of images
and commodities, London, Routledge
Cross, M. (ed) (1996) Advertising and Culture: Theoretical perspectives,
Westport, CT, Praeger
Davidson, Martin (1992) The Consumerist Manifesto, London, Routledge
Dyer, Gillian (1982) Advertising as Communication, London, Routledge
Ekstrom, Karin M. and Brembeck, Helene (eds) (2004) Elusive
Consumption, Berg Publishers
Englis, G. (1994) Global and Multinational Advertising, Hillsdale, New
Jersey, Lawrence Erlabaum
Ewen, Stuart (1988) All Consuming Images, New York, Basic Books
Ewen, Stuart (1976) Captains of Consciousness: Advertising and the social
roots of the Consumer Culture, New York, McGraw Hill
Featherstone, Mike (1990) Consumer Culture and Postmodernism, London,
Sage,

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Forcefille, Charles (1998) Pictorial Metaphor in Advertising, London,
Routledge
Fowles, Jib (1996) Advertising and Popular Culture, Thousand Oaks and
London, Sage
Goldman, Robert (1992) Reading Ads Socially, London, Routledge
Goldman, Robert and Papson (1996) Sign Wars: The Cluttered Landscape,
Guildord Press
Hackley, Chris (2005) Advertisng and Promotion: Communicating brands,
London, Sage
Hall, Stuart (ed) (1997) Representation, London, Sage Jhally, Sut (1990)
The Codes of Advertising, London, Routledge
Johnson, Michael, Myerson, Jeremy, and Vickers, Graham (eds) (2002)
Rewind: Forty years of design and advertising, London, Phaidon Press
Kaid, Lynda Lee and Holtz-Bacha Christine (2006) The Sage Handbook of
Political Advertising, London, Sage
Lears, Jackson (1994) Fables of Abundance: A cultural history of
advertising in America, New York, Basic Books
Lee, Martyn (1994) Consumer Culture Reborn, London, Routledge
Leiss, William et al (1990 2nd ed and 2005 3rd ed), Social Communication in
Advertising, London, Routledge [The two editions offer different things]
Malefyt, Timothy de Waal and Moeran, Brian (2003) Advertising Cultures
Oxford, Berg
Marchand, Roland (1985), Advertising the American Dream, Berkeley,
University of California Press
Mattelart, Armand (1991), Advertising International, London, Routledge
Messaris, Paul (1997) Visual Persuasion: The Role of Images in
Advertising, London, Sage
McFall, Liz (2004) Advertising: A Cultural Economy London, Sage
Moeran, Brian (1996 ) A Japanese Advertising Agency: An anthropology of
media and markets, London, Curzon
Myers, Greg (1994) Words in Ads, London, Arnold
Myers, Greg (1999) Ad Worlds: Brands, Media, Audiences, London, Arnold
Myers, Kathy (1986), Understains, London, Comedia
Nava, Mica, Blake, Andrew, MacRury, Iain, Richards, Barry (1996) Buy this
Book: Studies in Advertising and Consumption, London, Routledge
Nixon, Sean (1997) 'Circulating culture' in Paul du Gay (ed) Production of
Culture/Cultures of Production, London, Sage, pp 177-234
Nixon, Sean (2003) Advertising Cultures London, Sage

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O’Barr, William (1994) Culture and the Ad: Exploring Otherness in the
World of Advertising, Boulder, Colorado, Westview Press
Odih, Pamela (2007 April) Advertising Consumer Subjectivity in Modern
and Postmodern Times, London, Sage
Pavitt, Jane (ed) Brand.New, London, V&A Publications
Ramamurthy, Anandi (2003) Imperial Persuaders: Images of Africa and
Asia in British advertising, Manchester, Manchester University Press
Richards, Barry et al (2000) The Dynamics of Advertising, Amsterdam,
Harwood Academic
Schudson, Michael (1993) Advertising, The Uneasy Persuasion: Its Dubious
Impact on American Society, London, Routledge
Rutherford, Paul (1994) The New Icons? The Art of Television Advertising,
Toronto, University of Toronto
Saunders, Dave (1996) Best Ads: Shock in Advertising, London, Batsford
Sheffield, Tricia Suzanne (2007 February) Religious Dimensions of
Advertising in the Culture of Consumer Capitalism, Palgrave Macmillan
Sinclair, John (1989) Images Incorporated, London, Routledge
Tanaka, Keiko (1999) Advertising Language: A pragmatic approach to
advertisements in Britain and Japan, London, Routledge
Thomas, Frank (1996) The Conquest of Cool: Business culture,
counterculture, and the rise of hip consumerism, Chicago, University of
Chicago
Timmers, Margaret (ed) The Power of the Poster, London, V&A
Publications
Twitchell, James B. (1996) Adcult USA: The Triumph of Advertising in
American Culture, New York, Columbia University Press
Vestergaard, Torben and Schroder, Kim (1985) The Language of
Advertising, Oxford, Basil Blackwell
Wernick, Andrew (1991) Promotional Culture: Advertising, Ideology and
Symbolic Expression, London, Sage
Williamson, Judith (1978) Decoding Advertisements, London, Marion
Boyars

Academic Journals it is useful to check through include:

Media, Culture and Society

Cultural Studies
Public Culture
European Journal of Communications Studies
New Formations
Critical Quarterly

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Screen
International Journal of Cultural Studies
Journal of Consumer Studies [articles tend to be rather psychologically
oriented]
Feminist Media Studies
Journal of Consumer Culture
International Journal of Cultural Studies
Journal of Children and Media

RESOURCES

Videos
The Art of Persuasion (multi part series)
Carat’s Classification of consumers from erstwhile Late Show
South Bank Show The Art of the Ad (Germaine Greer)
High Interest and News Night on Benetton

The Advertising and Society Review is an academic journal devoted to

an exploration of the cultural and social meanings of advertising. The first
issue is particularly useful having extracts from some of the classic
writings on advertising.
Available via the electronic library. Go to the Electronic Database Section
and then look under the Project Muse database.

More generally the internet is an invaluable research tool for gaining

information about agencies and advertisers or for finding out about
organisations like the regulatory bodies (Advertising Standards Authority,
OFCOM) for example. See below.

On the internet there are also various ad archives. Many of them are
designed for people working in the business and are therefore not free.
Try the following to access ads on the net without paying:

http://adflip.com
Historical ads

http://www.advertisingarchives.co.uk
Registration required, can’t download (I don’t think) but lots of
contemporary TV ads to view)

http://www.adforum.com
Registration required. UK plus world wide ads.

http://www.visit4info.com
Registration required and payment to access all ads. But some free.

http://media.guardian.co.uk/creative/ads

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Registation required.The Guardian newspaper’s selection of the best new
ads across all media

Other good ad resources are Internet file sharing programmes such as

Kazaa or Limewire. The file share programmes can be downloaded, free of
charge, from:

http://.zeropaid.com

Then select a programme either for Macintosh or PC. My advisor suggests

Limewire on Apple Mac and Kazaa lite on a PC.

Good luck! Let us know if you find other good sites.

See also the sites of regulatory and industry bodies:

Advertising Standards Authority

http://www.asa,org.uk
As well as providing details of regulation, also contains some
interesting papers on advertising and adjudications on complaints against
ads

OFCOM (Office of Communications – ie media regulator)

http://ofcom.org.uk Ajudicates on complaints about advertising on
TV. Useful if interested in advertising of food and drink to children, for
example.

Advertising Association Trade association

http://www.adassoc.org.uk
Useful statistics on advertising & useful links to other organizations

http://www.ipa.co.uk Industry body and professional institute.

Access to abstracts of their reports (like on the future of advertising), plus
‘Best practice guides’ – Registration required.

Radio Advertising Bureaux

http://www.rab.co.uk
Some radio ads plus other info about radio advertising. Useful
discussions about radio as an advertising medium compared to other
media – latter in ‘Research’ section

http://www.aerials foundation.co.uk Radio ads

Outside Advertising Association of Great Britain

http://www.oaa.org.uk Reports, information and statistics. Each time
you enter site you see different billboards, in situ, but no archive access

http://www.j.c.deceaux.co.uk
Outdoor industry company: billboards shown in situ

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Interactive Advertising Bureaux
http://www.iabuk.net

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Plagiarism and collusion
As you are probably aware plagiarism and collusion are regarded
as serious academic offences for which there are high penalties.
Do make sure you understand these offences and avoid
committing them.

Plagiarism is the use of other people’s work or ideas in a written

assessment without acknowledgement of their source such that
the ideas are represented as your own. Paraphrasing, copying
sentences and phrases without indicating verbatim quotations
(i.e. using quote marks or indenting as a distinct paragraph) and
without providing adequate referencing is plagiarism. Note that
the mere mention of the source in your bibliography is not
regarded as sufficient acknowledgement. Rather for each source,
including books, articles, material from the net, DVDs, magazines
etc, you are required to reference either in the body of the
written work or in footnotes, following the guidelines you have
been provided with in your discipline-specific Study Guide or
Handbook.

Collusion is the joint production with someone else of work that

is supposed to be yours (or theirs) alone (i.e. is meant to be an
individual assessment).

Problems or difficulties:
If you have problems, difficulties or complaints with any of your
courses or programme, do discuss these as early as possible with
your Academic Advisor, the appropriate Course Convenor, or a
Student Advisor. If you are need to take matters further, then
speak to your Head of Department or Director.

Note:
Information regarding contributory assessment and formal
course requirements is published by the Undergraduate
Examinations Office and available on the web. On regulations,
details of submissions and late submissions only this information
is authoritative.
If you are in doubt, always check with the Exams Office, NOT
tutors unfortunately as tutors we sometimes make mistakes!

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Advertising & Promotion 23
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