LEADER 04296nam 2200637 450 001 9910456509403321 005 20200520144314.0 010 $a1-282-04555-5 010 $a9786612045554 010 $a1-4426-8186-1 024 7 $a10.3138/9781442681866 035 $a(CKB)2430000000001641 035 $a(EBL)3258013 035 $a(SSID)ssj0000304293 035 $a(PQKBManifestationID)11263583 035 $a(PQKBTitleCode)TC0000304293 035 $a(PQKBWorkID)10278832 035 $a(PQKB)10029225 035 $a(CaBNvSL)thg00602180 035 $a(MiAaPQ)EBC3258013 035 $a(MiAaPQ)EBC4672112 035 $a(DE-B1597)479196 035 $a(OCoLC)992483087 035 $a(DE-B1597)9781442681866 035 $a(Au-PeEL)EBL4672112 035 $a(CaPaEBR)ebr11257795 035 $a(CaONFJC)MIL204555 035 $a(OCoLC)958581323 035 $a(EXLCZ)992430000000001641 100 $a20160923e19951994 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe new icons? $ethe art of television advertising /$fPaul Rutherford 210 1$aToronto, Ontario ;$aBuffalo, New York ;$aLondon, England :$cUniversity of Toronto Press,$d1995. 210 4$dİ1994 215 $a1 online resource (289 p.) 300 $aDescription based upon print version of record. 311 $a0-8020-7428-6 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tList of Photographs -- $tAcknowledgments -- $tIntroduction: Ads as Art -- $t1 The First Clios (1948-58) -- $t2 Studies in American Excellence -- $t3 Art in the Service of Commerce -- $t4 Reading the Bessies -- $t5 The Cannes Lions, Etc. (1984-92) -- $t6 The Captivated Viewer and Other Tales -- $tAfterword: Travels in Europe (October 1992) -- $tAppendix: How to View Commercials -- $tListing of Commercials -- $tSources -- $tIndex 330 $aCommercials enjoy a privileged place in one of the most important institutions of everyday life - television. Such is their prominence that a comparison can be made to the icons gracing the walls of a much older institution, the medieval cathedral. Paul Rutherford admits that the analogy can be carried too far, but he sees commercials as 'the art of our times' and approaches them as an art historian would. Like icons, commercials can be 'read' for particular styles or for the myths of a national culture; like icons, they are instruments of cultural power.Rutherford is an aficionado of fine commercials, more interested in what commercials are than what they do, and his love of the subject infuses this illustrated cultural history. Tracing commercials from the late 1940s, when they made their first appearance, to the early 1990s, Rutherford focuses on the shape and character of actual commercials as well as on what we do with them. He has studied roughly six thousand commercials, from Sweden to Hong Kong, Canada to Ecuador, France to South Africa. This book concentrates on 'commercials of distinction,' or ads that have been singled out for special merit: the Classic Clios of the 1950s, the 'Marlboro Country' campaign of the 1960s, Coca-Cola and Pepsi ads, Canada's best (the Bessies), and the world's best (the Cannes Lions). Rutherford looks at the most celebrated pieces of work to understand the creativity and significance of this truly modern art form.The breadth of Rutherford's treatment is unique. He explores such diverse topics as the aesthetic response to commercials; how ads mirror viewers' anxieties, aspirations, and ideology; the importance of gender and age in the adworld; the prevailing ethos of consumption; the emergence of a global repertoire of images; and the persistence of national styles. This is a story of one kind of cultural power.; how it has been generated and stored, articulated and exercised, resisted as well as maintained. 606 $aTelevision advertising 608 $aElectronic books. 615 0$aTelevision advertising. 676 $a659.14/3 700 $aRutherford$b Paul$f1944-$0104184 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456509403321 996 $aThe new icons$92476886 997 $aUNINA