Uni UAB

Artículos y Libros

ART CONVERGENCES

CONVERGENCES AND DIVERGENCES BETWEEN

ADVERTISING AND PUBLIC RELATIONS

David Roca & Daniel Tena

Palabras Clave: Advertising, Public Relations, Communication, Spain

This essay tries to update the relationships between Advertising and public relations. With world crisis and the rise of new media these two concepts need new attention. We start with a historical review of the concepts of Advertising and public relations from a Catalan and Spanish perspective. From this point we define what should be understood as Advertising and public relation and their relationship. Convergences and divergences are found within these two concepts. After this discussion we try to confront Advertising and public relations concepts with some “emerging” concepts that seem to gain popularity between professional and academics. All these ideas are using the umbrella of communications, probably not because of the lack of meaning of Advertising and public relations but for professional needs of selling. Many talk about commercial communication, marketing communications, business communications, or sometimes just communications. We reflect, draw boundaries and classify these concepts. Advantages and drawbacks of use are discussed. We alert about the danger how some disciplines, as journalism try to invade the field of public relations, for example, reducing them to press releases. We try to summarize what we teach when we teach Advertising and public relations. In summary, this chapter is an essay about convergences and divergences of Advertising and public relations from a Spanish point of view, trying to clarify these concepts in contrast of the powerful concept of communication. The chapter mainly uses Spanish references to add an original perspective.

ART VANISHING

VANISHING ACTS: CREATIVE WOMEN

IN SPAIN AND THE UNITED STATES

Jean Grow, David Roca & Sheri J. Broyles

Palabras Clave: Creativity, advertising, gender, qualitative

This exploratory cross-cultural study examines the experiences of women in advertising crea- tive departments in Spain and the United States. The study, an exploration of the creative environment and its impact on female creatives, is framed by Hofstede’s dimensional model of national culture (Hofstede 2001; de Mooij & Hofstede 2010) and signalling theory (Spence 1974). Interviews with 35 top female creatives suggest that the challenges women face are rooted in the ‘fraternity culture’ or ‘territorio de chicos’ of creative departments in both coun- tries. The data further suggest that the gender-bound cultural environment of advertising creative departments may be a global phenomenon, one that may adversely affect the creative process and impact women’s upward mobility.

ART GENDERBIAS

IS THERE GENDER BIAS IN THE

ASSESSMENT OF ADVERTISING CREATIVITY?

David Roca, Daniel Tena & Patrícia Lázaro

Palabras Clave: Creativity, advertising, gender, qualitative

Women are not employed to the extent that might be expected in creative departments given their proportion in the population at universities and at portfolio schools. This research studies whether this employment record might be the result of biases against creative level of future professionals. Future advertising professionals, almost 800 hundred advertising students at communication schools, assessed ads created by their peers. On online evaluations, neither effect for sex creator nor effect for sex evaluator were found. Females evaluated ads slightly better than male did. Future research is discussed.

cubaenvallas

CUBA EN VALLAS:EL IMAGINARIO DE LA REVOLUCIÓN CUBANA A TRAVÉS DE SUS VALLAS POLÍTICAS

 

Alfons Gónzalez Quesada

Palabras Clave: Cuba, Cuban Revolution, Politics, Photography

All the great revolutions have sought to legitimize their power through the creation of new symbols. Flags, hymns, liturgies and celebrations have served to deny and overcome the old order and announce an inaugural time. The Cuban Revolution has not been an exception. Fences and murals spread throughout more than a half a century throughout the geography of the Island have contributed to forge its imaginary. Those pieces of the propaganda gear of the Revolution are the raw material of this book.

As if it were a mosaic, "Cuba en Vallas" (Cuba in Fences) has put these piece together. The result is a story of the recent history of the Island told from its mural graphic, giving room to the most significant characters, themes and episodes of the revolutionary process. Its reading cannot overlook the fact that billboards and murals are a reflection of the monopoly that power exercises over politicial discourse and public space.

"Cuba en Vallas" (Cuba in Fences) is the fruit of many years of work. Its author, Alfons González Quesada, in addition to traveling repeatedly to Cuba to photograph billboards and murals, has been able to consult and digitalize the documentary collection of the Political Editor of the Communist Party of Cuba, the institution in charge of designing, editing and installing mural graphics. The more than 500 images collected in the book, most of them unpublished, show the artistic and communication dimension of a singular graphic heritage. 

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