A thesis submitted in fulfilment of the requirements for the degree of MA (cum laude) in Communication Science University of Zululand, 2002. / In this thesis I characterise South African Infomercials as forms of persuasive mass media messages. After outlining the general nature of persuasive communication, and the rela¬tionship between persuasion and propaganda, I explain which communication codes adver¬tisers use to promote their products, particularly which codes Infomercial advertisers use. After characterising a range of South African TV Infomercials I give a detailed analysis of the pioneering serial radio and TV Infomercials used by the company SA Natural Products (SANP) in their extremely successful campaign over the past two years to make the natural health food supplement Spirulina by Marcus Rohrer® the best known and most used nutri¬tional supplement in South Africa today. 1 in particular look at the forms of communica¬tion used by managers at SANP to create information networks within their organisational network to sustain the popularity of the product in the public mind, and to keep it supplied to pharmacies, health food shops and chain stores that sell it.

This thesis concerns the utility of including the art of hand lettering in a curriculum of a university advertising art program. Data secured from 155 questionnaires sent to 266 advertising firms in five states were analyzed by simple descriptive statistics including frequency counts and percentages. Two hypotheses were examined, and it is concluded that hand lettering is still needed in advertising art and should be taught in university art programs.

Contemporary art market in China has influenced Taiwan¡¦s art market recently. The number of auction houses and new art galleries has been increased in Taiwan. The researcher discovered that the work of New Media Art has represented by galleries gradually. However, the sale of work of New Media Art is still limited. The reason is that the work of New Media Art lacks of physical form, and it can be easily replicated, which is contradicting to the traditional collectors¡¦ perspectives. This research attempts to understand how the New Media Art be promoted through galleries¡¦ perspectives. Three questions are raised in this research: First, How is the partnership between galleries and new media artists? And what service galleries provide to the collectors? Second, how galleries manage the product of New Media Art? And how it is different from managing other traditional art works? Third, how galleries interact with external environment, such as competitors, governments, enterprises, museums, academic departments, curators and auction houses? And how these environmental factors influence galleries while managing the work of New Media Art? Cross-case studies are used as the research methodology. Eleven galleries were interviewed, including East Gallery, IT Park, Lin & Keng Gallery, Galerie Grand Siecle, Main Trend Gallery, AKI Gallery, Chi-Wen Gallery, VT Artsalon, Soka Contemporary Space, Project Fulfill Art Space, and Gallery 100 (by establishing time). Methods of data collection include observation, document analysis and interviews. Triangulation is used to increase the credibility and trustworthiness. In conclusion, this research shows the New Media Art is still one of the commodities that the galleries sell. In order to respond to variable formats of New Media Art, galleries need to take different actions to promote them. Few suggestions are generated from this research: First, the work of New Media Art can easily be replicated; therefore, the government should assist to develop more effective technology to prevent the work be duplicated. Second, solving the restriction on the circulation of knowledge by promoting the concept of copy left. Third, galleries should have a more clear policy in consignment and licensing. Fourth, encouraging hi-tech corporations to sponsor hardware, and be responsible for equipment repairing. Galleries will only need to responsible for software of the work. Fifth, art education is good way to increase consumers¡¦ understanding on New Media Art. Galleries should connect with the museums effectively. Sixth, curators involve in commercial art galleries improve the value of the exhibitions. Galleries and curators should work on the details of cooperation. Seventh, galleries should host hung events in order to improve the interaction with communities. Eighth, while the Taiwanese contemporary art market is developing, galleries should monitor the quality of art, and develop long-term career path for artists.

Thesis (M.Des.)--York University, 2008. Graduate Programme in Design. / Typescript. Includes bibliographical references (leaves 58-61). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38805

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references.

This thesis presents the results of research which investigated how creative processes in advertising agencies are organized and the role aesthetic understandings play therein. Indepth accounts describing how creative processes in advertising agencies are organized were not well characterized in the extant literature. This was surprising, given the confusion that existed about whether or not advertising practitioners share similar tastes. Whereas some research suggests highly homogenous taste patterns, other research, reporting about severe conflicts in advertising agencies, suggests that the contrary is true. Consequently, also research on taste-making processes and thus the ways through which tastes and collective action are negotiated was missing. This research aims to address these gaps in the literature by providing an in-depth account of the way specific practices creative processes are organized by analysing how practices and tastes interlink as well as by providing insights into the ways through which taste and collective action are sustained at advertising agencies. To do so, qualitative research at a leading London-based advertising agency was carried out over a period of five months. Two sets of practices by which the advertising creative processes were organized were identified. In addition, four types of tensions between both sets of practices and thus different tastes among advertising practitioners, depending on the practices in which they were immersed, were found. Moreover, ways in which tensions were resolved and thus how different tastes were negotiated were identified. By doing so, this research closes the above gaps in the literature and reveals that at advertising agencies' creative processes and taste-making go hand in hand. Finally, practical insights for managers in the advertising industries, aiming to foster collective engagement, collaboration and conversations, and creative expression in creative advertising processes as well as suggestions for future research are offered.

M.Tech. / The landscape of South Africa has changed dramatically since early colonisation. Even so, it appears that the conventions employed in portraying landscapes have not; colonial landscape imagery that helped promote European immigration to this country during the Nineteenth Century remains remarkably similar to conventions employed in contemporary landscape representation used to market game reserves. In this dissertation, it is argued that colonial landscape imagery facilitates and supports a view of nature as an „authentic‟ wilderness available for expropriation. It is proposed that wildlife reserves, both in their intent and realisation, present a simulacrum of wilderness, also available for the consumer and promoted by advertising imagery. It is further argued that it remains the imperative commodification of nature which informs the pictorial conventions adopted in both cases. Thus, the myths inherent in both colonial representations of landscape and the utopian vision proffered in game reserve marketing are challenged. This research project employs discourse analysis that is framed in a qualitative, interpretative paradigm. Colonial imagery is examined in terms of post-colonialist critique of imperial landscape representation, while a post-modern approach is used to investigate contemporary imagery. This research project demonstrates that landscape imagery used to promote a „natural‟ wildlife site, is persistently presented according to prescribed canon as a functioning system regardless of its actual condition. Futhermore, the research project leads to an alternative view of nature, presented in my practical work, that is cognisant of the problems experienced in reality.

Cette étude traite du concept de l’intérêt (à susciter chez le lecteur) dans les guides de rédaction professionnelle. Une analyse de contenu de 38 livres électroniques sur la rédaction nous a permis d’observer la prise en compte et la variété du concept de l’intérêt. Les discours sur l'intérêt portent essentiellement sur l’importance de le créer ainsi que sur les moyens pour le susciter. Parmi les 21 sous-catégories de moyens qui se sont manifestées dans le discours des auteurs, les 5 principales concernent l’importance de cibler le lecteur (50 énoncés, 17 sources), d'attirer l'attention (42 énoncés, 22 sources), d’être pertinent (22 énoncés, 12 sources), d’être concis (16 énoncés, 13 sources) et d’écrire avec simplicité (14 énoncés, 11 sources).

Orientador: Ivan Santo Barbosa / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:53:28Z (GMT). No. of bitstreams: 1 Negri_MarinaAparecidaEspinosa_D.pdf: 26068979 bytes, checksum: c14a89ba16bdb552854ef0a9ce3d5c06 (MD5) Previous issue date: 2012 / Resumo: ...Observação: O resumo, na íntegra, poderá ser visualizado no texto completo da tese digital / Abstract: ...Note: The complete abstract is available with the full electronic document / Doutorado / Artes Visuais / Doutor em Artes

"This study is limited to the problems of and demands made upon the advertising artist in relation to the television medium"--1.