The patrimonialization process of advertising : from scorn and mistrust to documentary heritage, archive, and history

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dc.contributor.authorArmand, Cécileen_US
dc.contributor.editor-en_US
dc.date.accessioned2015-04-27T14:59:25Z
dc.date.available2015-04-27T14:59:25Z
dc.date.issued2013en_US
dc.description.abstractThis short essay aims at tracing the patrimonialization process of advertising from the 19th century to nowadays. The process followed third steps. First, advertising evolved from a despised object to a valuable cultural artifact. Considered as useless or deceitful in first place, advertising has gradually managed to gain legitimacy as a useful and even necessary tool for both companies that want to sell their products and for consumers in search of information, and finally as a cultural artifact and a work of art worthy of being collected or entering museums or exhibitions (from French poster designers such as Jules Chéret or Toulouse-Lautrec to the creative revolution in the 1960s or the more recent exhibitions Goudemalion at the Musée des Arts Décoratifs in Paris in 2012). This process of recognition is mainly due to the efforts made by advertisers who participate in the profesionalization process of their activities at the time. The second and more recent step, from a cultural object to an archive, raises such sensible issues as collecting and preserving advertisements; digitization (digitized/digital-born ads; methods and tools); metadata and semantic. As a specific archive, torn between abundance and scarcity or unequal quality of data, it requires a specific literacy from archivists who need to be trained for that purpose. The case of Duke University will serve to illustrate these questions. The last step from an available archive to a historical material also requires a special literacy for historians to build databases and corpora, to identify and select the accurate documents, to choose the appropriate methodology and tools to examine and interpret this specific material. Finally, the question of whether and how to use advertising as a material to imagine new forms of historical narratives (visual or digital narratives, vi- tual exhibits) will be explored. Last but not least, we will examine the transformation of ads in the last decade through digital approaches, the impact of digitization on copyright and on the preservation and study of advertising.en_US
dc.description.sectionheadersTrack 3, Short Papersen_US
dc.description.seriesinformationDigital Heritage International Congressen_US
dc.identifier.doi10.1109/DigitalHeritage.2013.6743814en_US
dc.identifier.urihttps://doi.org/10.1109/DigitalHeritage.2013.6743814en_US
dc.identifier.urihttps://diglib.eg.org:443/handle/10.1109/DigitalHeritage
dc.publisherThe Eurographics Associationen_US
dc.subjectAdvertisingen_US
dc.subjectArten_US
dc.subjectCompaniesen_US
dc.subjectCultural differencesen_US
dc.subjectHistoryen_US
dc.subjectMaterialsen_US
dc.subjectVisualizationen_US
dc.subjectvisual arten_US
dc.subjectadvertisingen_US
dc.subjectarchiveen_US
dc.subjectcurationen_US
dc.subjectdigital humanitiesen_US
dc.subjectheritageen_US
dc.subjectmuseumen_US
dc.subjectvisual historyen_US
dc.titleThe patrimonialization process of advertising : from scorn and mistrust to documentary heritage, archive, and historyen_US
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