Films that Sell: Moving Pictures and Advertising

Cover
Contents
Acknowledgments
Notes on Contributors
Introduction: On Advertising’s Relation to Moving Pictures
	The Uses Of Screen Advertising
	Para-sited Cinema: One Approach, Many Methods, Countless Sources
	Notes
Part 1 Histories Andapproaches
	1 Advertising and Film: A Topological Approach
		Demarcating The Object Of Study
		Is Advertising Film A Genre?
		Why Space Matters
		Advertising’s Place In Commercial Cinema
		Institutionalised Commercials In 1940s Cinema In Western Europe
		Reconsidering Programme And Spectatorship In Cinema History
		Transnational Comparative Research
		Expanding The Field
		Advertising Film As Performance
		Notes
	2 International Harvester, Business Screen and the History of Advertising Film
		Business Screen Begins
		Essanay’s Back To The Old Farm
		Distribution
		Exhibition
		Conclusion
		Notes
	3 Selling Machines: Film and its Technologies at the New York World’s Fair
		Cinema In The ‘world Of Tomorrow’
		Small Screens
		Towards Cinema’s Future
		Notes
	4 Selling the Motion Picture to the fin de siècle American Public
		Experience
		Technology
		Economics
		Exhibition
		Conclusion
		Notes
	5 Early Advertising and Promotional Films, 1893–1900: Edison Motion Pictures as a Case Study
		Pimping The Love Child From The Very Moment Of Its Birth2
		Promoting Performers
		Advertising Films Presented On City Streets
		Some Newly Pertinent Films In The Paper Print Collection
		Notes
Part II: Forms And Practices
	6 Advertising and Animation: From the Invisible Hand to Attention Management
		Tricks, Control And The ‘invisible Hand’
		Animated Things
		Expertise
		Notes
	7 More Than Product Advertising: Animation, Gasparcolor and Sorela’s Corporate Design
		‘the Rise Of Advertising From Botch To Science’
		Film As Advertising Medium
		Promoting Cartoons
		Absolute Advertising
		Gasparcolor On Canvas(es)
		Launching Sorela
		Notes
	8 Dream-work: Pan Am’s New Horizons in Holland
		Printed Materials
		Post-war Holland
		Conclusion
		Notes
	9 The Five Year Plan on 
Display: Czechoslovakian Film Advertising
		Advertising In A Planned Economy
		Educational Training Or Advertising?
		Film In A Complex Joint Campaign: Vitamins – Juices – Blenders
		Conclusion
		Notes
	10 Advertising Form, Technological Change and Screen Practices in t
he Usa
		Notes
	11 The Best Thing on TV: 1960s US Television Commercials
		Changing Relations Among Broadcast Networks, Advertisers, And Advertising Agencies
		The Creative Revolution In The Advertising Industry
		Changing Television Commercial Strategies
		Conclusion
		Notes
	12 The Bear Facts: Commercial Archaeology and the Sugar Bear Campaign
		Advertising Demographics And Marketing Youth
		We Want Our Maypo!: Brand Loyalty And The Adolescent Market
		The Animated Birth Of Saturday Morning
		Changing With The Times: A Sugar Bear For The Ages
		Acknowledgments
		Notes
	13 Kim Novak and Morgan Stairways: Thinking about the Theory And History of the Tie-in
		Strangers When They Meet: Sceptics And Adventurers
		On The Aesthetic Of The Tie-in
		Conclusion
		Notes
PART III: ARCHIVES ANd SOURCES
	14 Coming Soon! Lantern Slide Advertising in the Archive
		Institutions And Their Collections
		Access And Metadata
		The Imperative For Virtual Access
		Acknowledgments
		Notes
	15 The Hidden Film-maker
		Notes
	16 Robin Hood and the Furry Bowlers: Animators vs Advertisers in Early British Television Commercials
		Challenges
		Animation
		Advantages
		Quality
		Style
		Cost
		The ‘agency Twitch’
		Conclusion
		Notes
	17 Ahead of Its Showtime: The Packard Humanities Institute Collection at the Academy Film Archive
		Origin Of The Collection
		Archival Processing
		Snipes
		Access
		Notes
	18 Parsing the Archive of Rudolf Mayer Film, Vienna, 1937–9
		Context (i): Rudolf Mayer
		Context (ii): Professionalisation Of Advertising In 1930s Austria
		Material (i): Commissioning Films
		Material (ii): Writing Films
		Documents In The Archive Of Rudolf Mayer Film
		Notes
	19 The Film Group’s Cinéma Vérité TV Ads
		Archiving The Film Group
		A Brief History Of The Film Group
		Tv Ads As Nonfiction Film-making
		Conclusion
		Selected Filmography Of The Film Group And Its Members
		Notes
	20 The Challenge of Archiving Commercials
		The Challenge Of Volume
		The Case Of Video Materials
		The Case Of Digital (file-based) Material
		First Postulate: Advertising Is Volume Intensive
		The Challenge Of Handling Time Item Handling
		Metadata Handling
		Second Postulate: Advertising Is Handling Intensive
		The Challenge Of Metadata Metadata Volume
		Cataloguing Systems
		Third Postulate:advertising Is Metadata Intensive
		The Challenge Of Documentation
		Fourth Postulate:advertising Is A Poorly Documented Genre
		Conclusion
		Notes
	21 The Geesink Collection: Selection Criteria Reconsidered
		Notes
	22 The Archivo Nazionale Cinema d’impresa Collections: An Overview
		Typologies Of Advertising Films
		Description Of Commercial Collections
		Fiat Collection
		Edison Collection
		Olivetti Collection
		Martini & Rossi Collection
		Innocenti Collection
		Recta Film Collection
		Filmmaster Collection
		Italgas Collection
		Aurora Collection
		Birra Peroni Collection
		Venchi-talmone-maggiora Collection
		Marzotto Collection
		Bosca Collection
		Acknowledgments
		Notes
Select Bibliography
Index