By Sean Nixon
`Nixon's learn is a tremendous contribution to the cultural sociology of the hot carrier quarter pros and their gendered identities.It's significance lies in it really is skilful synthesis of special ethnographic examine and social thought. this can be a surely leading edge ebook which reopens cultural debate approximately ads and society' - Frank Mort, Professor of Cultural heritage, collage of East London `Advertising Cultures is a lucid, thorough and hugely attractive account of ads creatives that unlocks the most important matters for knowing the tradition industries: creativity and gender. It marks an important new contribution to the cultural research of financial lifestyles' - Don Slater, London institution of Economics the industrial and cultural position of the `creative industries' has received a brand new prominence and centrality in recent times. This new salience is explored right here in the course of the so much emblematic inventive undefined: advertisements. ads Cultures additionally marks an important contribution to the learn of gender and of business cultures via its detailing of how gender is written into the inventive cultures of advertisements and into the subjective identities of its key practitioners.
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Extra info for Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series)
For Mort, the idea of the `commercial domain' 33 advertising, cultural intermediaries and cultural analysis 34 represented a way of conceptualising a distinct and identi®able ®eld of institutions, moral and intellectual entrepreneurship and related conceptions of personhood that were analogous to the ®eld of the `social' identi®ed by historians like Donzelot and Rose (Donzelot, 1977; Rose, 1991). In Cultures of Consumption these pre-occupations emerged not only in the way Mort explored in detail the forms of identity produced through particular systems of provision and the spatial embeddedness of these commercial cultures, but also in his insistence on situating this analysis within a broader project of cultural history.
We can take the latter ®rst as it can be dealt with quickly. It concerns the contrast between the very large claims that Featherstone makes about the signi®cance of these occupational groups and the very limited evidence upon which these claims are made. In fact, not to put too ®ne a point on it, Featherstone effectively cites no evidence about an occupational group he sees as central to cultural change. The reader is forced to take a lot on trust. This problem is then compounded by the `presentism' of the idea of new cultural intermediaries that he deploys (a problem already evident in Bourdieu's formulation).
One · advertising and commercial culture the notions of fordism and post-fordism to explain changes in these sectors. Their deployment of these terms is a little confusing given that elsewhere they problematise them in favour of the idea of re¯exive modernisation. None the less, they are emphatic in deploying the terms indicatively to refer to changes in the structuring of organisations and production processes within the cultural industries and suggest, for example, that the `culture industries were post-Fordist avant la lettre' (Lash and Urry, 1994: 122±3; see also 113 and 134).
Advertising Cultures: Gender, Commerce, Creativity (Culture, Representation and Identity series) by Sean Nixon