Evolution of Advertising

Evolution of Advertising Solomon Asad Advertisements have an astounding power and ability to influence peoples opinions and ideas of the world. In the late 19th century, with the socio-cultural and economic shift from producer to consumer economy, advertisements began to play a major role in the consumerist society of the United States. Advertising responded to evolving business demands, media technologies and cultural frameworks, all in hopes of making products more appealing to consumers. Before the turn of the century, company ads targeted customer nostalgia, which at the time was very dominant in gaining product attention[1]. As time progressed, ads drastically changed. By the turn of the century modern advertisements emerged with executive advertisers, like Edward Bernays, who indulged in ads appealing to extravagance and leisure[2]. Advertisements evolved from portraying objective information to subjective depictions in order to evoke the hopes and anxieties of consumers, basing purchases more on desire rather than need. Customer values shifted due to various reasons between the 19th and 20th centuries, leading people to purchase less necessities and more desirable products, thus causing dramatic advertisement shifts in both form and function in order to optimize companies profits. Advertisements from 1880s to the early 1900s primarily performed to promote goods for consumers and provide them with a need for their product. As new modes of transportation were developed during this time period to deliver physical items and ideas across the country, companies issued nationwide broadcasting for their products. Regarding more important and higher quality company products, newspapers, billboards and other signs were utilized for commercializing these since they would be optimally advertised in general stores throughout the nation. At the time, these ads in particular focused on consumers limited to purchasing solely necessities. Therefore, promoting its products qualities over competitors. The Model K vehicle advertisement stresses its first-class mechanics with its bold title, The Fully-Finished Car which advocates for higher quality over competing products[3]. However, such ads along with, Will your car do this? fail to effectively endorse their products due to ext ensive information that disregards concern for competitors[4]. Both advertisements are text-reliant, with the exception of a single image, and limit their market due to their advertisements description only providing information about the product particular mechanics; therefore, failing to provide consumers with engagement or originality. Such advertisements were common during the time period due to the market consisting of consumers who were exclusively of need. Although this form of an ad is of low appeal, it proved effective for its limited market as the consumers needed cars that would be sustainable and required fulfilling information since providing a necessity took priority over desirables. Over time advertisements evolved along with the market and the consumerist economy. During the early and mid-1900s, dramatic changes took effect with ads, especially with automobile ads. The old text-heavy and informative advertisements were replaced with ads portraying numerous colorful images that evoked consumer psyche and emotional connections to company products. With this shift in advertisements, the focus on consumer desires replaced the old form of product promotion. Baker Electrics vehicle ad, Pleasure portrays a significant change from the 19th century to 20th centurys advertisements and is able to present a unique form of vehicles that is not solely limited as a necessity, but instead promotes a luxurious, family-like and endearing essence for future automobiles[5]. Along with Lexington Motor Companys ad, The Motor Car is the Magic Carpet of Modern Times, Baker Electrics advertisement implies a new ideal for automobiles[6]. Lexington Motor Companys ad implies a magical cha racter for automobiles, therefore expanding the market for those who dont own a vehicle through the advertisements unique and engaging personality, as well as promoting vehicles character as that of luxury. At the same time Baker Electrics ad expands the automobile audience to families, allowing for a more inviting market that is not exclusive for certain genders or people. It is during this period that certain companies changed their advertising approach and began to target different groups and implement diversified values for an expansive market. By the 1920s women developed a substantial status among automobile companies and their advertisements, henceforth evolving from basic luxury to a product inducing sex appeal. This advertising development seduced men into buying certain vehicles that commercials would promote, as it appeared for consumers that women preferred particular products. Ford Motor Company released an ad in 1928, Buy your Wife a Ford, which suggests a wife will be happier and more loving if bought a Ford automobile[7]. Buick, in 1931, also promoted a similar advertisement that marketed its brand as a fashionable and for the wealthy product, with bold words, Wherever fashion and character reign there you will find the Eight as Buick builds it, under a portrayal of an affluent woman.[8] By implementing women in advertisements, not only do automobile companies expand their markets, but also develop their products as luxury, therefore making their vehicles the necessity for the wealthy, and the desire for middle and lower class. However, the aforementioned, necessity for the wealthy no longer truly applies as a need. Instead it represents the difference in class by the automobile brand one owns. Therefore, the development of a need is no longer desired to encourage consumers to purchase products. Automobile advertisers utilized this understanding to appeal to the public on a more emotional level in order to develop a larger target market. It was understood that the more consumers purchased based off desire, the more they bought based off of emotions[9]. With colored and illustrated advertisements influencing emotional appeals, the market was able to be manipulated through the promotion of luxury of a brand with vivid depictions, therefore separating motor companies from outdated advertisements. Therefore, expanding the potential market and creating a luxury ideal encompassing the industry, and further attracting more consumers. Automobile industries have adapted significantly and successfully along with the fluctuating consumerist economy of the United States during the late 19th and early 20th centuries. Originally producing bland informative product descriptions as company advertisements, the automobile industry expanded fruitfully with illustrations, emotional appeals and successful techniques adaptable to the market leading towards a growing business where advertisements became more enjoyable, understandable and engaging for numerous groups of consumers. Through altering the form and function of advertisements, advertisers were able to focus on different aspects and ideals for products in order to keep up with the ever changing consumer market. Bibliography Dr. Katarina Keane, HIST289R Lecture Series, Commercialized Leisure at the Turn of the Century, 2016 Dr. Katarina Keane, HIST289R Lecture Series, Selling in America: New Advertising and Marketing, 2016 Winton Motor Carriage Co., The Fully-Finished Car, 1905. J. Walter Thompson, Co., Will Your Car Do This? c. 1900. Baker Electrics, Pleasure, c. 1910. Lexington Motor Company, The Motor Car is the Magic Carpet of Modern Times, ca. 1920. Ford, Buy Your Wife a Ford, 1928. Buick, Wherever Fashion and Character Reign, 1931. Baker Motor Vehicle Co., The Social Prestige of a Baker Electric, 1911. [1] Dr. Katarina Keane, HIST289R Lecture Series, Commercialized Leisure at the Turn of the Century, 2016 [2] Dr. Katarina Keane, HIST289R Lecture Series, Selling in America: New Advertising and Marketing, 2016 [3] Winton Motor Carriage Co., The Fully-Finished Car, 1905. [4] J. Walter Thompson, Co., Will Your Car Do This? c. 1900. [5] Baker Electrics, Pleasure, c. 1910. [6] Lexington Motor Company, The Motor Car is the Magic Carpet of Modern Times, ca. 1920. [7] Ford, Buy Your Wife a Ford, 1928. [8] Buick, Wherever Fashion and Character Reign, 1931. [9] Baker Motor Vehicle Co., The Social Prestige of a Baker Electric, 1911.

Vlad The Impaler, The True Dracula Essay -- essays research papers

Vlad the Impaler, a.k.a. Vlad III, Dracula, Drakulya, or Tepes, was born in late 1431, in the citadel of Sighisoara, Transylvania, the son of Vlad II or Dracul, a military governor, appointed by Holy Roman Emperor Sigismund. Vlad Dracul was also a knight in the Order of the Dragon, a secret fraternity created in 1387 by the Emperor, sworn to uphold Christianity and defend the empire against the Islamic Turks. Transylvania, along with Moldavia, and Wallachia, are now joined together as Romania. The name Dracul can be interpreted in two ways, the first translation from Romanian would be "Dragon", but it sometimes also means "Devil". Vlad was not called Tepes, which means ""spike" in Romanian, until after his death; instead, he was known as Vlad Dracula, the added "a" meaning "son of", so essentially, throughout his life, he was known as the "son of the Devil". While growing up with such a name would normally present problems for most of us, Vlad certainly did not seem to mind, as he really did live up to his title; but before we look upon the exploits of the son, let us learn a bit more about the father. In 1436, Vlad Dracul took over the throne of Wallachia, taking up residence in the palace of Tirgoviste. It was there young Vlad Dracula would get his first taste of the opulent lifestyle, and perhaps also where the beast within would begin to grow. Merely two years later, in a strange turn of events, Vlad II betrayed the Order of the Dracul, forming an alliance with the Turks. He even went as far as allowing Sultan Murad II to keep his two sons, Vlad Dracula, and his younger brother Radu, as "insurance" that he would not plan to strike against the Turks. In the winter of 1447, Vlad Dracul was assassinated in a coup orchestrated by one of his relatives, John Hunyadi, who had devoted his life to fighting the Ottoman Turks, and did not approve of Vlad Dracul's pro-Turkish policy. Vlad Dracula was granted his freedom following his father's death, but Radu decided to stay behind. In addition to learning of his father's demise, Vlad was also told his older brother, Mircea had had his eyes gouged out, and been buried alive by the boyars of Tirgoviste. While in captivity, Vlad had grown resentful, and vowed to have his revenge. The throne of Wallachia, which would have normally been reserve... ...ese veins?" He held up his arms. "Is it a wonder that we were a conquering race, that we were proud, that when the Magyar, the Lombard, the Avar, the Bulgar, or the Turk poured his thousands on our frontiers, we drove them back?" Count Dracula alsop ststes that: "Who was it but one of my own race who as Voivode crossed the Danube and beat the Turk on his own ground?" Van Helsing explains that another way to insure a vampire will not return is to cut off its head. Vlad the Impaler was rumored to have been decapitated. Van Helsing also theorizes that: "He must, indeed, have been that Voivode Dracula who won his name against the Turk." In Francis Ford Coppola's feature film "Bram Stoker's Dracula", actor Gary Oldman is shown wearing an armor sporting the "Order of the Dragon" insignia, and a fair amount of background is given on the Character which was not in the book but is based on the historical Vlad Dracula. Again, In Coppola's adaptation, Prince Vlad Dracula's wife Elisabeta is shown committing suicide to avoid capture in exactly the same manner as Vlad the Impaler's wife during the capture of his castle by the Turks.

Manuel Barkan and his contribution to art education

Contemporary generation of young art educators are being introduced to significant figures in the history of art education in their programs of study. In today’s fast-paced environment, it is natural that some of these figures are accepted without question and some are left languishing in history only to be revisited by those interested in revising that history. Manuel Barkan could be considered such a figure. An individual who emerges as a pivotal force in the development of ideas now infused in contemporary art education is Manuel Barkan who in 1965 advocated a then new approach to the curricular content of art education: the use of the roles of the art historian, the art critic, and the aesthetician as well as that of the studio artist. Today these ideas seem so commonplace that it’s difficult to imagine just how radical they were when they were first introduced. The purpose of this paper is to examine Barkan’s work and its effect on contemporary art education in order to understand current practice and philosophy of art education. About half a century ago, Barkan (1962) addressed the importance of historical reflection in an article published in Art Education titled â€Å"Transition in Art Education: Perceptions of Curriculum Content and Teaching† and asserted that he believed the next decade would â€Å"bring some truly fundamental changes in the theory and practice of art education† (Barkan, 1962, p. 12). He went on to say that â€Å"when basic ideas are in the process of transformation, there is and must be an inevitable grinding of opinions one upon the other. There must be inevitable controversy and debate, because old ideas by their very nature, cannot and do not change unless and until they are challenged by new ones† (p. 12). The transformation of which he spoke was the shift from the child-centered approach of the progressive movement to the disciplined-centered approach advocated for general education. Another essential Barkan’s point concerned the kind of behavior a person must learn in order to achieve understanding from the subject being studied. He stated that to learn through art, â€Å"one must act like an artist† (p. 14). Barkan (1962) also spoke of the need to treat children as artists and explained the characteristics of the artist as â€Å"immersion in a medium,† and â€Å"determination †¦ to achieve the discipline and the skills involved† (p. 18). He cautioned against organizing curriculum simply to give students experiences in a wide range of media, an approach he considered â€Å"detrimental to the purposes which art education ought to be trying to achieve† (p. 17). Instead, he thought students should engage is some exploration of media so that they could discover a medium they liked and be able to â€Å"use it to express their ideas† (p. 18). The art room should, in Barkan’s words in the 1962 article, re-create the â€Å"atmosphere of an artist’s studio† (p. 18). In 1965 Barkan proposed a research and development center for aesthetic education to the U.S. Office of Education; the plan called for a consortium of five universities each with research and curriculum development labs (Hubbard, 1971). According to Chapman (1993), the plan was not funded due to the federal government’s position that all of the arts must be included, making the initial plan too complex. Barkan continued to refine the idea. Barkan turned to television as a tool for disseminating resources and curriculum concepts for the teaching of art. By that time, he had begun to work with Laura Chapman, and together they developed Guidelines for Art Instruction through Television for the Elementary Schools for what became National Instructional Television. In 1970, he and Chapman published Guidelines for Curriculum Development in Aesthetic Education as a guide for educators working to develop curriculum materials in music, dance, theater, literature, and the visual arts. Elliot Eisner, writing in a 1971 issue of Studies in Art Education that focused on Barkan’s work, stated that â€Å"throughout his career in art education, Manuel Barkan concerned himself with both the development of more adequate theory and the improvement of the art of teaching art† (p. 4). In fact, Barkan believed that art education could promote a more sensitive understanding of social problems. His first book, A Foundation for Art Education, published in 1955, presented a synthesis of then â€Å"current concepts from psychology, sociology, anthropology, cultural history, philosophy and the arts† (Barkan, 1955, p. vi). According to Chapman (1971), Barkan was concerned with the growing number of sometimes questionable classroom activities that were being justified as forms of creative self-expression. He sought to better define the term in relation to â€Å"concepts about human behavior growing out of research in other fields† (Barkan, 1955, p. vii) and to develop â€Å"a foundation for art education that would rest on a synthesis of this information in the context of operational problems in teaching† (Chapman, p. 40). Barkan’s book was an effort to develop a strong philosophical foundation for art education built upon research in other disciplines. Today, the idea that the curricular content of art education should encompass artmaking, art history, art criticism, and aesthetics is generally widely accepted. Art teachers address these components of art education in a manner that takes into account the nature of the child and the importance of both making and responding to art. Art has become a subject for study, but it retains its ability to teach us about ourselves and the others with whom we share this world. That art education is still engaged in transition is without doubt, and, is in fact, desirable. Postmodern thought, feminist perspectives, and multicultural concerns are but a few of the contemporary issues that influence today’s emerging art educators. However, an understanding of the history of our field and the work of key individuals such as Manuel Barkan can provide insight and guidance as we continue the ongoing â€Å"transition in art education† that he addressed in 1962. Works Cited List Barkan, M. â€Å"A transition in art education.† Art Education, 15.7 (1962): 12-27 Barkan, M. A Foundation for Art Education. New York: The Roland Press, 1955. Chapman, L. H. â€Å"A second look at A Foundation for Art Education.† Studies in Art Education, 13.1 (1971): 40-49. Chapman, L. H. Reflections on the theory and practice of curriculum development in art. Paper presented at the National Art Education Association Convention Super-Session III, Chicago, IL, 1993. Eisner, E. â€Å"Media, expression, and the arts.† Studies in Art Education, 13.1 (1971): 4-12. Hubbard, G. â€Å"The professional leadership of Manuel Barkan.† Studies in Art Education, 13.1 (1971): 70-72.   

Reviews of the Television Version of the Sound of Music Essay

First things first the television show Sound Of Music that was broadcasted in December 5th 2013 and was broadcasted on national televison channel called NBC the producers name was Craig Zadan and Neil Meron , the special had a cool cast such as a Carrie Underwood who stared in this show as Maria von Trapp. It was performed and televised live all over the country from a film studio in Bethpage , New York. The history of the show was very interesting so far and how they had famous actors such as Carrie Underwood , although there was criticism directly to Carrie Underwood who was casting in the show as Maria , many said that Carrie did not have much experience to play such a big role as Maria. It was said before that critics described†¦show more content†¦Woah thats a lot of von Trapps you might say well there is a lot of them. Not just that but also there is credits to be credited including Rob Ashford and Beth Mccarthy-Miller as directors. So many cast members you also might say , but on September 16 , 2013 , NBC revealed the full cast of the special. Want to know a little bit more about the history well in The Sound Of Music Live was broadcasted live from a stage in Bethpage , New York in about a budget of 9 million dollars which was not much you may think but one of the producers named Zadan considered it to be one of the profoundly complicated , amazing experiences weve ever had Zadan said. If you didnt know before The Sound Of Music Live was aired as part of a push by NBC to air more live entertainment specials. As it was said before that the Sound Of Music was broadcasted among programs such as Sunday Night football , the show got in those rankings of views which is incredible ; the sound of music was watched by 18.62 million viewers and had a 4.6 rating in the 18-49 demographic it was one of the most viewed shows that was programmed at night. Another topic that would be interesting to discuss would be on the sponsorships that The Sound Of Music recieved by big companies that are seen in every corner and city. This sponsorship must of helped a lot because this company is well known. The place that helped a lotShow MoreRelatedThe Sound of Music And The Sound of Music Live!731 Words   |  3 PagesThe Sound of Music is one of the most favorite musical film movies of all time. The movie was first introduced to the audience in 1965, and it received popular attention from the public and five Academy Awards including Best Picture. The movie’s plot revolves around Maria, a young woman who has to leave the convent to become a governess at the Von Trapp family due to a request from the head nun. During the time at the Von Trapp’s house, Maria finds her affection grows bigger every day with the sevenRead More Videogames and Violence Essays1391 Words   |  6 Pagesouter space, an event that was to forever change life on our planet. 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