By Sean Nixon
`Nixon's research is a huge contribution to the cultural sociology of the hot carrier quarter execs and their gendered identities.It's significance lies in it truly is skilful synthesis of targeted ethnographic examine and social idea. this can be a certainly cutting edge e-book which reopens cultural debate approximately ads and society' - Frank Mort, Professor of Cultural historical past, collage of East London `Advertising Cultures is a lucid, thorough and hugely attractive account of advertisements creatives that unlocks an important matters for realizing the tradition industries: creativity and gender. It marks an immense new contribution to the cultural learn of financial existence' - Don Slater, London university of Economics the commercial and cultural function of the `creative industries' has received a brand new prominence and centrality in recent times. This new salience is explored right here during the such a lot emblematic inventive undefined: advertisements. advertisements Cultures additionally marks an important contribution to the examine of gender and of business cultures via its detailing of ways gender is written into the artistic cultures of ads and into the subjective identities of its key practitioners.
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Additional resources for Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series)
In fact, this attention to acts of consumption forms one half of the twin foci that have dominated cultural studies work in this area, the other being a more textually-driven reading of consumption, in which particular commercially produced cultural forms ± often visual representations ± have been taken as the central object of study. While its direct in¯uence upon the study of consumption has undoubtedly waned, a neo-Gramscian model of cultural power and cultural change also continues to give a distinctive gloss to more recent work (see McGuigan, 1992).
As Helen Blair has shown, the persistence of semi-permanent ®lm production work groups within the UK forces a recasting of general claims about the impact of `vertical disintegration' within the sector (where vertical disintegration is seen as classic evidence of post-Fordist organisation). The peculiarities of the domestic ®lm industry ± which historically had a more fragmented production base than Hollywood and was made up of a large independent sector alongside studios like Rank ± also problematises the idea that the UK ®lm industry can be ®tted into the model of a transition from `Fordism' to post-Fordism.
Furthermore, the informal cultures inhabited by theses practitioners will both set limits upon and provide resources for the performance of the creative execution in which these practitioners are engaged. It is this insistence that informs my contention about why the subjective identities and informal cultures of advertising practitioners matter so much. There is a further conceptual theme associated with this revisionist kind of analysis of commercial culture that is worth reinforcing. As many cultural critics have argued, the world of commercially produced goods plays an important role in shaping particular consumerist conceptions of identity and social rituals among those populations successfully targeted by commercial practitioners.
Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series) by Sean Nixon