The Golden Age of Advertising - The 70s by Steven Heller, Jim Heimann
By Steven Heller, Jim Heimann
Either eclipsed and encouraged via tv, American print advertisements of the Seventies departed from the daring, picture types and sophisticated messages that have been common in their sixties opposite numbers. extra literal, extra in-your-face, 70s advertisements sought to trap the eye of a public familiar with blaring, to-the-point television advertisements (even VW advertisements, identified for his or her witty, ironic statements and minimalist designs, misplaced a few of their punch within the 1970s). All was once now not misplaced, notwithstanding; as advertisements are an indication of the days, racial and ecological know-how crept into every thing from cigarette to vehicle ads, reminding american citizens that daily items have been hip to the trendy age. by way of the top of the last decade, print advertisements had started to recoup, gaining in originality and creativity as they inquisitive about objective audiences via conscientiously selected placement in smaller guides. a desirable examine of mass tradition dissemination in a post-hippie, television-obsessed kingdom, this weighty quantity gives you an exhaustive and mawkish evaluate of 70s ads.
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The traits of gifting and “face consumption” (mianzi xiaofei) are key to our understanding of consumer behavior, especially dur- Introduction • 17 ing festival periods. Take the Autumn Moon festival, for example, in which, as a popular saying goes, “those who buy premium moon cakes won’t eat them, and those who eat them don’t purchase them” (mai de ren bu chi, chi de ren bu mai). If you are mystified by this paradox, you have not fully grasped Chinese gifting culture. The majority of those who have bought pricey moon cakes are giving them to friends or seniors who are wealthier and higher in status than they.
They are considered a cut above those deemed “gray collar” (lower-level technicians and service personnel) and close in their pattern of brand adoption to that of the lower end of the white-collar stratum. The psychological profile of this segment sounds a tad boring: confident, optimistic, responsible, well-grounded mentally and emotionally. Less romantic than the white-collar workers, they pursue a lifestyle that squarely matches their income bracket. Thus emulative spending is not the norm. In fact blue-collar couples identify with very few brands, because paradoxically, although many brands are made for this segment, they are branded in white-collar language and images that alienate their real targets.
Icons and images soon took center stage, enabling consumers to acquire an emotional attachment to objects as nonsensical as an eye patch (the Hathaway Man) or a wrist tattoo (the Marlboro Man). Later the same magic appeared in a giant swoosh mark and small alligators sewn on shirts. 19 Ogilvy conceives of a brand as a complex symbol, an “intangible sum of a product’s attributes, its name, packaging, and price, its history, reputation, and 24 • BRAND NEW CHINA the way it is advertised” (D. Ogilvy 1955).