By Jing Wang
One half riveting account of fieldwork and one half rigorous educational learn, Brand New China bargains a distinct point of view at the advertising tradition of China. Jing Wang's stories within the disparate worlds of Beijing advertisements corporations and the U.S. academy permit her to percentage a special point of view on China in the course of its speeded up reintegration into the worldwide marketplace procedure.
Brand New China bargains a close, penetrating, and up to date portrayal of branding and advertisements in modern China. Wang takes us within an ads organisation to teach the impression of yankee branding theories and types. She additionally examines the impression of latest media practices on chinese language advertisements, deliberates at the convergence of grassroots inventive tradition and viral advertising and marketing options, samples profitable advertisements campaigns, offers useful insights approximately chinese language client segments, and gives methodological reflections on popular culture and advertisements examine.
This booklet unveils a "brand new" China that's less than the sway of the ideology of world partnership whereas suffering to not develop into a replicate photo of the U.S.. Wang takes at the activity of revealing the place Western considering works in China, the place it doesn't, and, maybe most vital, the place it creates possibilities for cross-fertilization.
because of its mixture of enticing vignettes from the ads international and thorough study that contextualizes those vignettes, Brand New China could be of curiosity to individuals, scholars of pop culture, and the overall analyzing public attracted to studying a few swiftly remodeling chinese language society.
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Extra resources for Brand New China: Advertising, Media, and Commercial Culture
Within a month, it became a must-see for Netizens, triggering threats of legal action from Chen Kaige and rounds of social and legal debate over the boundaries of intellectual property rights. Such controversies are unprecedented in China. Of immediate relevance to advertising is the fact that “Mantou” turned out to be an effective marketing tool for Chen’s film. Many “Mantou” fans, myself included, purchased Chen’s original film after watching the spoof so as to better appreciate the latter—an excellent case of reverse advertising.
Commercial brands appeared in great numbers in the late nineteenth and early twentieth centuries, when trademark legislation was institutionalized to protect brand owners (Blackett 2004, 14). S. brands—Kodak, American Express, Listerine, Coca-Cola, Heinz baked beans, and Quaker Oats—date from that period. But for mass consumers of those early periods, a brand was not much different from a trademark. Back then, the upper class and the mass audience shared basically similar social instincts and emotions, and therefore advertisers “often saw little need to differentiate copy appeals” (Marchand 1985, 66).
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).
Brand New China: Advertising, Media, and Commercial Culture by Jing Wang