Modern advertising really began in the middle of the century. World War II had taught Americans plenty about propaganda and new technologies had erupted, offering both increased production and more ways to propagate a media message. They combined to create the modern ad. In addition to stating the facts somewhere in the fine print, advertisers began to lace their ads with ideas designed to appeal to the senses of the reader, as well as the deeper, more emotional self interests of love, sex, anxiety, fear, alarm, ambition, envy, indulgence and especially vanity. And to discover which appeal would work best, advertisers began to develop more and better research techniques — and act upon the results. Someday, they’d call it “target marketing,” but for now, they were content with being able to select the right message to transmit and then aim it at the right receiver in the market.
What sounds obvious now was in fact not recognized in the 19th century. Advertising was a print medium at first, and primarily followed the basic rules of decorum and factual reporting of the journalism of the day. Thus, a Sears And Roebuck catalogue from the 19th century offered Underwear For Fat Men with a line drawing a hefty, older fellow with a distended belly trying on a pair of longjohns (Sears & Roebuck, 1879, p. 6).
In addition to such straightforward advertising, there were rules which limited the effectiveness of print advertising as a visual medium in many venues. Ads were kept in the back in the early 19th century, and only moved across to the front of magazines and newspapers in the 1890s. Line drawings and other artwork was introduced, but the copy remained relatively staid and straightforward.
The Term Paper on Advertising Print
It is my great pleasure to take this opportunity to acknowledge the contribution of number of people who helped me in successful completing of this project. Firstly I would like to express my heartily gratitude and sincere thanks to Mr. Agarwal Sir for allowing me to do this project and gratefully acknowledge the contribution by him without his support and valuable suggestion this project could ...
Print advertising today is far different. Incredible graphics, manipulative copy and inserts, Aadvertorials@ (ads disguised as articles) and coupons make up the bulk of newspaper and magazine advertising. Of course, the old style of print ads remain as well. There are still classified ads in the back of nearly every magazine, and line drawings grace the ads in many newspapers. Nobody sells Aunderwear for fat men@ any more though.
Bills, or bulletins, are also still common in the 1990s. Most urban centers have huge sections of walls and public space taken over by row after row of bills, huge print ads. In these days of media saturation, it is not surprising to see many layers of bulletins atop a wall or on a construction site. Bulletins were started in the 1890s as well. ARagged bills hawking everything from Tutts Pills and St. Jacob=s Oil to Battle Ax Plug, Hood=s Sasparilla, and Official Five Cent Cigars fluttered from every fence, lamppost and curb.@ (Starr and Hayman, p. 25).
In both centuries, bulletins are most often Asniped@ or posted up without the permission of property owners.
The final form of outdoor advertising is the billboard or display. Displays are three-dimensional, huge mockups of products or events. The first billboards were painted bulletins, permanently covering the side of a building and often identifying the businesses within. Later, around the end of the 19th century when most major cities had electricity to spare, these billboards were lighted so that they would be visible at night. It wasn=t long before the Aspectacular@ was born. Spectaculars are bright, lighted billboards made of many bulbs (the slogan or logo is often spelled out in light) which often contains some three-dimensional elements. The first spectaculars debuted at the end of the 19th century, along with the first lighted marquees. At the end of the 20th century, spectaculars have become even more important, becoming landmarks in places like New York City and Las Vegas. However, outside of the landmark status of some spectaculars, outdoor advertising is very limited.
The Term Paper on Advertising and Identity through Consumer Culture
Never before in the history of the modern world has advertising become so prevalent, ubiquitous, and an “undeniable essential” to a modern man’s everyday life than that of our century. Advertising images of all sorts, now flood public spaces: from billboards with eroticized images to the blinding electronic billboard, down to the “comfort ads” which oddly stares back in the rest rooms of malls. ...
The largest differences between the advertising of the 1890s and the 1990s are the sheer number of media available and what can be called the culture of Acool.@ The 1990s has radio, television, ads before motion pictures and videotapes, Internet advertising of various types (email Aspam@ banner ads), direct mail advertising, blimps and cropdusters to add to the arsenal of outdoor advertisement and concentrated target marketing. More important than the available media is the net effect of advertising. Advertising is now totalizing, both the dominant culture and counterculture are appealed to. Instead of simply announcing the existence of a product, advertising works to create a culture of consumption for everyone. Advertising’s images of consumption evolved from phony promises of a better life for white, nuclear families to the hip-based brand of product cool that still exists today. (Frank, 1997).
Everything from youth rebellion to counter-hegemonic violence to law breaking has been commodified. Advertising today seemingly encourages people to break the rules, to tell the world to Akiss off@ and to be an individual. Beneath this surface rebellion though, people are trained to buy, to tie their emotions to consumption, and eventually, to discard the old with disappointment and embrace the new, in order to rebel again. The greatest difference between the advertising of the 1890s and the 1990s is that instead of buying underwear, one buys the feeling of being cool.
Works Cited
Frank, Thomas. The Conquest of Cool : Business Culture, Counterculture, and the Rise of Hip Consumerism. Chicago: University Of Chicago Press, 1998.
Sears & Roebuck. Sears And Roebuck Catalog. Chicago, IL: Sears & Roebuck, 1879.
Starr, Tama and Hayman, Edward. Signs And Wonders: The Spectacular Marketing Of America. New York: Doubleday, 1998.
The Essay on Richard Warren Sears And Sears Roebuck Company
Richard Warren Sears and Sears, Roebuck, & Company Richard Warren Sears was born on December 7, 1863, in Stewart ville, Minnesota. He was the son of James Warren and Eliza A. Sears, both of Englishancestory. His father led anything but a happy life. He had failed in his quest for gold during the California Gold Rush of 1849 and was a bitter soldier in the Civil War, which he blamed on ...
