SPECIFIC COMPETENCES

SC1: Assess the evolution of Advertising as a communication phenomenon and technique that contributes to the articulation and development of modern societies.

SC2: Analyze the conformation of the advertising system and of all the agents that have participated in the advertising processes over the last 160 years of evolution of advertising communication techniques.

SC3: Identify changes in advertising communication models, changes in forms, values, modes of representation.

SC4: Periodize and identify the body of theories that have been shaping the advertising know-how.

SC5: Apply adequate research methods in the field of the history of advertising communication.



TRANSVERSAL COMPETENCES

CT3. Communication and multilingualism

CT5. Communication management and digital citizenship

CT7. Critical thinking

CT8. Teamwork



LEARNING OUTCOMES

-Be able to adapt and learn in work teams.

-Know how to find the necessary documentation for the preparation of a project in the established times, forms and deadlines.

-Be able to use and integrate the documentation and available resources based on a common project.

-Acquire the specific language of the field of advertising communication.

-Be able to analyze and plan any communication object and advertising system.

-Develop the ability to communicate and present a project in public.

-Understand the role that the advertising communication industry has played in modern consumer societies.

ONE. ADVERTISING HISTORY

1.1. What Is Advertising?

1.2. Is Advertising Art?

1.3. Is It Really Effective?



TWO. THE PREHISTORY OF ADVERTISING

2.1. Ancient Forms of Advertising

2.2. Ancient Egypt: Papyri

2.3. The Greeks: Kerux

2.4. The Romans: Album

2.5. Medieval Advertising

2.6. Newspaper Advertising



THREE. THE BIRTH OF ADVERTISING: 1850-1880

3.1. P. T. Barnum and Patent Medicines in the USA

3.2. Early Advertising Agencies in Europe and in the USA



FOUR. THE CONSOLIDATION OF ADVERTISING: 1880-1919

4.1. Art Nouveau in Europe

4.2. Advertising Agencies in the USA: Helen Lansdowne Resor, Earnest E. Calkins and Theodore MacManus



FIVE. THE EXPANSION OF ADVERTISING: 1920-1945

5.1. Radio and Illustrated Magazines

5.2. War Advertising

5.3. Art Déco in Europe

5.4. Scientific Advertising in the USA: Claude Hopkins and Albert Lasker



SIX. THE REVOLUTION OF ADVERTISING: 1945-1970

6.1. Television

6.2. Political Advertising

6.3. Madison Avenue and Creative Revolution: William Bernbach, David Ogilvy and Leo Burnett



SEVEN. ADVERTISING IN THE LAST THIRD OF THE 20TH CENTURY

7.1. Eighties Extravagance

7.2. Nineties and Shock Advertising



EIGHT. THE TURN OF THE CENTURY

8.1. Internet and the Digital Age: Since 2000

8.2. Consolidation Incorporated

8.3. New Trends



PRACTICAL CONTENTS

PROJECT 1

Learning from the poster. The origins of advertising language: working with the graphic style of Art Nouveau.

PROJECT 2

Learning from the poster. The origins of advertising language: working with the graphic style of Art Deco.

PROJECT 3

Learning from poster artists. The origins of advertising language: Art Nouveau, Art Deco and the avant-garde.

PROJECT 4

Learning from scientific advertising: from advertisement to campaign. Create a scientific advertising campaign worthy of the 1940s.

PROJECT 5

Learning from the creative revolution: from cinema to television. Analyze and compare two television spots: one shot in the 1950s and the other in the 1980s.

PROJECT 6

Learning from creative advertising: the internet. Update the campaign of the fourth project to the present.

The course is designed based on the teaching-learning methodology, following a project-based learning model. The teacher will provide the necessary material for the resolution of each of the designed projects, so that the students can advance in learning the contents.



In this subject, two and a half hours a week will be taught in the classroom for the whole group, in which an explanation of the theoretical and conceptual framework corresponding to each week will be given. In the remaining hour and a half, the six projects to be delivered will be prepared, and the presentations will be made.



The course design is therefore based on three activities:

• Participation in theoretical classes.

• Six group projects.

• Project presentations.



On the first day of class, students will meet in small groups of three or four people. These working groups will carry out the six tasks proposed by the teacher throughout the semester.

The teacher will act as a guide, indicating the steps to be taken in the proposed projects and supervising their development.

A great deal of student participation is expected, as well as respect for the criteria and points of view of colleagues and teachers to prevail, since the exchange of new ideas, information, reflections, and proposals will improve the development and pace of the course.

The assessment will be based on the sum of the individual results obtained in the different projects as well as on the active participation of the student throughout the course.



a) For students attending lectures and practices and delivering the practical work of the course on time:

1 - Theoretical test (individual work, worth 40% of the final mark).

2 - Practical projects (teamwork, worth 60% of the final mark).

You will have to pass the theoretical test to be able to make the average between its results and them of the practical projects.



b) According to the UPV/EHU Regulations governing the evaluation (BOPV nº50, March 13, 2017), students may resign from the continuous evaluation system and choose the final evaluation, regardless of whether or not they participated in the evaluation (Article 8.3), as long as they resign in black and white, and during the first nine weeks of the quarter. In that case, it will be agreed to carry out a final test:

1 - A theoretical-practical test that will allow to asses the 100% of the subject, and will be done on the day and time indicated by the Center.



The student may also resign from the regular evaluation call. He/she must write to the teacher no later than one month before the end of the semester. The final grade will be Not presented.



This evaluation system will apply both in person and non-face manner, if the situation demanded it.

Personal Computer and Internet
E-gela
E-mail
Tutorships

Basic bibliography

Checa Godoy, A. (2007). Historia de la Publicidad. La Coruña: Netbiblo.



Eguizábal, R. (1998). Historia de la publicidad. Madrid: Eresma & Celeste.



Tungate, M. (2007). Ad Land: A Global History of Advertising. Philadelphia: Kogan Page.

In-depth bibliography

Cohen Selinger, I. (1999). The Advertising Century. New York: The Advertising Age.
Eguizábal, R. (2014). El cartel en España. Madrid: Cátedra.
Fox, S. (1984). The Mirror Makers: A History of American Advertising and Its Creators. New York: William Morrow.
Kanner, B. (1999). The 100 Best TV Commercials and Why They Worked. New York: Random House.
Pérez Ruiz, M. A. (2001). La publicidad en España: anunciantes, agencias y medios (1850-1950). Madrid: Fragua.
Pérez Ruiz, M. A. (2003). La transición de la publicidad española: anunciantes, agencias, centrales y medios (1950-1980). Madrid: Fragua.
Pincas, S. y Loiseau, M. (2008). A History of Advertising. Los Angeles: Taschen.
Puig, J.J. (1986). La publicidad: historia y técnicas. Barcelona: Mitre.
Raventós Rabinat, J. M. (2000). Cien años de publicidad española 1899-1999. Barcelona: Mediterránea.
Reichert, T. (2003). The Erotic History of Advertising. Amherst and New York: Prometheus.
Sánchez Guzmán, J.R. (1989). Breve historia de la publicidad. Madrid: Ciencia 3.
Satué, E. (1988). El diseño gráfico. Desde los orígenes hasta nuestro días. Madrid: Alianza.
Saunders, D. (1999). 20th Century Advertising. London: Carlton.
Sivulka, J. (2012). Soap, Sex, and Cigarettes. A Cultural History of American Advertising (1ª ed. 1998). Boston: Wadsworth.

The works of the stars
Hopkins, C. (1966). Scientific Advertising (1ª ed. 1923). New York: Crown.
Ogilvy, D. (1963). Confessions of an Advertising Man. New York: Atheneum.
Ogilvy, D. 1983). Ogilvy on Advertising. New York: Crown.
Séguéla, J. (1979). Ne dite spas à ma mère que je suis dans la publicité… Elle me croit pianiste dans un bordel. Paris: Flammarion.

Journals

Ad Latina
Ad Week
Advertising Age
Anuncios
Communication Arts
Communication for Effectiveness
Control
El Periódico de la Publicidad
El Publicista
Estrategias
Guía Creativity
Gustavo Gili
Index Book
Ipmark
MK Marketing y Ventas
Phaidon
Publifilia
Tashen
Visual