From the first newspaper ad in colonial times to Web sites for advertisers, Soap, Sex, and Cigarettes explores advertising's integral role in both reflecting and shaping American life and how advertising has become a part of our personal habits with roots in popular culture as well as in the popular mind. Sivulka, both an advertising educator and a practicing professional, emphasizes advertising's greatest contribution - how it provides a way for society to learn about an endless stream of new products and in the process, how it shapes what we think, feel, and want.
This book explores the quasi-religious nature of consumerism and how American Christianity interacts with consumerism. The author uses mixed methods to unpack the nexus between the Christian faith and consumption and how habitual discretionary consumption functions as a pseudo-faith in America.
Made Up exposes the multibillion-dollar beauty industry that promotes unrealistic beauty standards through a market basket of advertising tricks, techniques, and technologies. Cosmetics magnate Charles Revson, a founder of Revlon, was quoted as saying, "In the factory, we make cosmetics. In the store, we sell hope." This pioneering entrepreneur, who built an empire on the foundation of nail polish, captured the unvarnished truth about the beauty business in a single metaphor: hope in a jar. Made Up: How the Beauty Industry Manipulates Consumers, Preys on Women’s Insecurities, and Promotes Unattainable Beauty Standards is a thorough examination of innovative, and often controversial, advertising practices used by beauty companies to persuade consumers, mainly women, to buy discretionary goods like cosmetics and scents. These approaches are clearly working: the average American woman will spend around $300,000 on facial products alone during her lifetime. This revealing book traces the evolution of the global beauty industry, discovers what makes beauty consumers tick, explores the persistence and pervasiveness of the feminine beauty ideal, and investigates the myth-making power of beauty advertising. It also examines stereotypical portrayals of women in beauty ads, looks at celebrity beauty endorsements, and dissects the “looks industry.” Made Upuncovers the reality behind an Elysian world of fantasy and romance created by beauty brands that won’t tell women the truth about beauty.
This groundbreaking work explores media scholar Sut Jhally's thesis that advertising functions as a religion in late capitalism and relates this to critical theological studies. Sheffield argues that advertising is not itself a religion, but that it contains religious dimensions - analogous to Durkheim's description of objects as totems.
A spirited chronicle of the West's ambivalent relationship with dirt The question of cleanliness is one every age and culture has answered with confidence. For the first-century Roman, being clean meant a two-hour soak in baths of various temperatures, scraping the body with a miniature rake, and a final application of oil. For the aristocratic Frenchman in the seventeenth century, it meant changing your shirt once a day and perhaps going so far as to dip your hands in some water. Did Napoleon know something we didn't when he wrote Josephine "I will return in five days. Stop washing"? And why is the German term Warmduscher—a man who washes in warm or hot water—invariably a slight against his masculinity? Katherine Ashenburg takes on such fascinating questions as these in Dirt on Clean, her charming tour of attitudes to hygiene through time. What could be more routine than taking up soap and water and washing yourself? And yet cleanliness, or the lack of it, is intimately connected to ideas as large as spirituality and sexuality, and historical events that include plagues, the Civil War, and the discovery of germs. An engrossing fusion of erudition and anecdote, Dirt on Clean considers the bizarre prescriptions of history's doctors, the hygienic peccadilloes of great authors, and the historic twists and turns that have brought us to a place Ashenburg considers hedonistic yet oversanitized.
For the last 150 years, advertising has created a consumer culture in the United States, shaping every facet of American life—from what we eat and drink to the clothes we wear and the cars we drive. In the United States, advertising has carved out an essential place in American culture, and advertising messages undoubtedly play a significant role in determining how people interpret the world around them. This three-volume set examines the myriad ways that advertising has influenced many aspects of 20th-century American society, such as popular culture, politics, and the economy. Advertising not only played a critical role in selling goods to an eager public, but it also served to establish the now world-renowned consumer culture of our country and fuel the notion of "the American dream." The collection spotlights the most important advertising campaigns, brands, and companies in American history, from the late 1800s to modern day. Each fact-driven essay provides insight and in-depth analysis that general readers will find fascinating as well as historical details and contextual nuance students and researchers will greatly appreciate. These volumes demonstrate why advertising is absolutely necessary, not only for companies behind the messaging, but also in defining what it means to be an American.
Gender After Gender in Consumer Culture provides an updated discussion of how gender cuts across consumer culture, in light of increasing gender fragmentation and integration with other identity positions. Sex, the biological distinction male/female, and gender, which refers to a person’s sense of being male, female, or any other combinations of these, inform issues as varied as personal identity, social interactions, and market behaviours. First, contributions account for the increasing fluidity and/or fragmentation of gender positions, which reshape the interplay between consumers and marketers. Second, they provide a timely illustration of how consumption and markets concur in contrasting gender inequalities, taken both individually and jointly (e.g., at the intersection of ethnicity or positions of market marginalisation). Third, chapters question the role of gender in granting personal and societal well-being, as they reflect on the collective capacity of constantly undoing gender stereotypes. Focusing on gender, this book allows the reader to trace the links among cultural categories (e.g. masculinity, femininity, gender identity), social phenomena, and market (dis)functioning. The chapters in this book were originally published as a special issue in the journal Consumption Markets & Culture.
From 1918’s Tickless Time through Waiting for Lefty, Death of a Salesman, A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner of Second Avenue to 2005’s The Clean House, domestic labor has figured largely on American stages. No dramatic genre has done more than the one often dismissively dubbed “kitchen sink realism” to both support and contest the idea that the home is naturally women’s sphere. But there is more to the genre than even its supporters suggest. In analyzing kitchen sink realisms, Dorothy Chansky reveals the ways that food preparation, domestic labor, dining, serving, entertaining, and cleanup saturate the lives of dramatic characters and situations even when they do not take center stage. Offering resistant readings that rely on close attention to the particular cultural and semiotic environments in which plays and their audiences operated, she sheds compelling light on the changing debates about women’s roles and the importance of their household labor across lines of class and race in the twentieth century. The story begins just after World War I, as more households were electrified and fewer middle-class housewives could afford to hire maids. In the 1920s, popular mainstream plays staged the plight of women seeking escape from the daily grind; African American playwrights, meanwhile, argued that housework was the least of women’s worries. Plays of the 1930s recognized housework as work to a greater degree than ever before, while during the war years domestic labor was predictably recruited to the war effort—sometimes with gender-bending results. In the famously quiescent and anxious 1950s, critiques of domestic normalcy became common, and African American maids gained a complexity previously reserved for white leading ladies. These critiques proliferated with the re-emergence of feminism as a political movement from the 1960s on. After the turn of the century, the problems and comforts of domestic labor in black and white took center stage. In highlighting these shifts, Chansky brings the real home.
The American military-industrial complex and accompanying culture are most often associated with massive weapons procurement programs and advanced technologies. However, one aspect of the complex is not a weapon or even a machine, but one of the world’s most highly engineered consumer products: the manufactured cigarette. Smoke ’Em If You Got ’Em describes the origins of the often comfortable, yet increasingly controversial relationship among the military, the cigarette industry, and tobaccoland politicians during the twentieth century. Smoke ’Em If You Got ’Em is also a study in modern American political economy. Bureaucrats, soldiers, lobbyists, government executives, legislators, litigators, or anti-smoking activists all struggled over far-reaching policy issues involving the cigarette. The soldier-cigarette relationship established by the Army in World War I and broken apart in the mid-1980s underpinned one of the most prolific social, cultural, economic, and healthcare-related developments in the twentieth century: the rise and proliferation of the American manufactured cigarette smoker and the powerful cigarette enterprise supporting them. Using the manufactured cigarette as a vehicle to explore political economy and interactions between the military and American society, Joel R. Bius helps the reader understand this important, yet overlooked aspect of twentieth-century America.
This is the first book to document the history of cigarette advertising on college and university campuses. From the 1920s to the 1960s, such advertisers had a strong financial grip on student media and thus a degree of financial power over colleges and universities across the nation. The tobacco industry's strength was so great many doubted whether student newspapers and other campus media could survive without them. When the Tobacco Institute, the organization that governed the industry, decided to pull their advertising in June of 1963 nearly 2,000 student publications needed to recover up to 50 percent of their newly lost revenue. Although student newspapers are the main focus of this book, tobacco's presence on campus permeated more than just the student paper. Cigarette brands were promoted at football games, on campus radio and through campus representatives, and promotional items were placed on campus in locations such as university stores and the student union.
